Moshe Milon Sr.  ©2011   All rights reserved

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I have been involved with the art of drumming since the age of four.  As an African American, growing up in inner city Chicago, I was taught that the original source of the snare drum I learned to play was Africa .  From then on I began to pursue any information I could to connect me with Africa and its vast drum culture. 


I first studied with Atu (Harold) Murray, leader of Sundrummer of Chicago.  Then  I started traveling east to New York where there were master drummers from Africa and America, notably Ladjie Camera,  Baba Olatunji from West Africa, as well as American born Chief Bey.


My first trip to Africa came when I was selected to represent the United States in a festival of cultures with the Darlene Blackburn Dance Company held in Lagos, Nigeria in 1977.  From that time on I have been traveling to Africa studying the culture of the drums and all its many facets.   I have lived and studied in Nigeria, Ghana, Senegal, Gambia, Guinea, and the Ivory Coast mastering the art of drum making as well as playing various drums from each of these countries.  I have traveled to Africa over 25 times continuing  to expand and deepen my knowledge, earning the title of Tan Tan Jaliba, drumming griot or keeper of the oral traditions of African drums. 


Over the years, I have worked with Art Ensemble of Chicago, Najwa Dance Company (Chicago), Muntu Dance Company of Chicago, Nigerian author and playwrite Wale Soyinka, Don Moye, Kahlil El Zabaar, Kahlil Shaheed, Ed Kelly, John Santos.   


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  1. Congo

  2. Bongo

  3. Djimbe

  4. Dundun

  5. Talking Drum

  6. Traps

  7. Quica

  8. Shakere

  9. SabarKutero

  10. Bougarubu

  11. Pondero

Drum Supply Types

My Biography

Mosheh Milon, Sr.  As a teacher and musician, my mission is to keep the culture of the drum alive and flourishing.   I have been blessed  with great teachers and master drummers over the years.  I am dedicated to passing on these traditions and giving back the gift that was given to me.

Mosheh Milon, Sr.

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