Bernie Dresel built a career on feel, precision, and professional versatility — the kind of drummer who can power a roaring big band one night and record for major film and TV projects the next. In the modern “neo big band” world, his name comes up constantly because he brings swing, discipline, and personality without sounding stiff or mechanical.
Growing up in Sharon, Pennsylvania, Dresel’s musical spark hit early. He has described hearing The Beatles on The Ed Sullivan Show in 1964 as the moment the torch was lit, and he started playing young — first on a kit that seemed enormous to a child, then through serious rudimental training. As a kid he competed in drum-and-baton corps events and won a National Snare Drum Championship four years in a row (ages 10–13), laying the foundation for the chops and control that later became part of his studio identity. He later studied at the Eastman School of Music in Rochester, New York, studying with John Beck and earning degrees in music education and orchestral percussion, while immersing himself heavily in jazz ensembles even before jazz undergrad degrees were common.
After moving to Los Angeles, Dresel’s early pro work included touring with The Lettermen, followed by high-level Latin experience with musicians in the Cal Tjader / Clare Fischer orbit—training that sharpened his instincts about listening, leaving space, and not duplicating what other instruments already cover. From there his career expanded quickly across styles and scenes, including years of touring and recording with Brian Setzer (including the Brian Setzer Orchestra and the Ignition! trio approach), driving the big bands of Maynard Ferguson and Gordon Goodwin, and becoming a go-to recording drummer for large-scale studio work.
What he’s doing now: Dresel continues living in the highest level of professional drumming, including recording for major television animation and film soundtrack work. He has discussed being active on sessions for shows including The Simpsons, Family Guy, and American Dad, plus major films including Jurassic World, Zootopia, and Jersey Boys (including on-screen work and performance involvement). He also leads his own large ensemble, BBB Featuring Bernie Dresel, which has performed high-profile events such as the Sabian party at the winter NAMM show and has documented the band through releases like Live N’ Bernin’, recorded live with no fixes.
Recordings / credits: Beyond the Setzer and big-band worlds, Dresel’s studio résumé includes extensive orchestral percussion and drumset work for film/TV, including major mainstream soundtracks and high-pressure session work where performance must be right immediately—often on the first take.
Gear: Dresel has used a vintage-leaning big-band setup designed for classic tone and controlled resonance. In the BBB band setting he described using Johnny Craviotto drums in vintage sizes: 13×9, 16×16, and 18×16 toms; a 26×14 bass drum; and a 14×5.5 snare, with poplar/mahogany/poplar shells and rounded “baseball bat” edges inspired by classic Slingerland/Ludwig-style profiles, plus single-flange hoops for openness. Cymbal-wise, he discussed using Sabian—specifically a 21″ HH Raw Bell Dry Ride as his main ride and a 22″ Apollo AA “Big & Ugly” style cymbal as a secondary ride option—chosen for stick definition, control, and a dry/dark character that still speaks clearly in a big band.
Sources: Classic Drummer Magazine (Vol. 17 Issue 2, Bernie Dresel interview, NAMM 2017); Modern Drummer; All About Jazz; SVS Artist Spotlight; IMDb.
Update: 1/22/26
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