If you get the opportunity to hear the Annie Moses Band (www.anniemosesband.com), you'll be impressed with the intricacy and musicianship. Javier Santiago supplies the percussion power in the ensemble with tasteful trap set playing AND hand drumming skills.
Percussion For Worship: What was your musical training as you grew up in Puerto Rico?
Javier: I started taking percussion lessons at the age of eleven at a performing
arts school in San Juan. I started drumming at church a year later and continued playing music and traveling across Central and South America all through
my teen years. I have a Bachelor's degree in Percussion Performance from the
Conservatory of Music of Puerto Rico and a Master's degree in Jazz Pedagogy
from the University of Miami. My musical training and experience are very
diverse and full of varied influences.
PFW: What drew you to move to Nashville?
Javier: I moved to Nashville in January of 1999 upon receiving a phone call to
tour with the band TRUTH. Moving to
Nashville was never in my long term plans but the call came at just the right
time for a fresh start and a change of scenery. After the tour ended, I
felt God prompting me to remain in Nashville and follow His lead. This was a
free new start indeed!
PFW: You’ve backed some well-known Christian artists. How about
dropping a few names?
Javier: Back in the mid 90's, I had the opportunity to play with Ron Kenoly in
a couple of festivals in Puerto Rico. In 1999, I played percussion in a tour
that included 4Him, Russ Taff, and Wayne Watson. I also played for Travis
Cotrell, Ronnie Freeman, Nestor Torres, and many others.
PFW: I heard you playing with the Annie Moses Band a few years
ago. There are a lot of styles being played
in that show. Tell us a little about playing drums and percussion with that
ensemble.
Javier: Playing with the Annie Moses Band gives me the opportunity to put into
practice everything I learned in school and every previous musical experience.
Growing up, I played in many churches and with a wide variety of ensembles. AMB's arrangements are extremely
musical and require great sensitivity and creativity. Drum parts are not
specifically written for me so the end result is typically a combination of many
ideas tried and worked out during rehearsal and recording.
PFW: I understand that you have an interest in some “expanded techniques”
on the cajon. Please share
a little about your cajon ideas.
Javier: I love to play the cajon! It's one of the most versatile hand
drums out there. I was introduced to the instrument in Peru a few years
ago and to the flamenco cajon shortly thereafter. First of all, it is very
important to know the difference between the two instruments and the techniques
and applications of each one. I've studied some of this techniques and use them
in playing the cajon in all kinds of musical situations. I also add a hi-hat,
tambourine with a pedal, and shakers to play more of a drum set/percussion part in acoustic and semi-acoustic settings.
Using a combination of hands and left foot (playing the hi-hat in more of an open
hand technique between it and the cajon) allows me to play any kind of pattern
imaginable. You can make this instrument as personal as the sticks you
play.
Javier Santiago endorses and plays with joy:
Innovative Percussion
Longo Custom Solid Shell Snares
Machudo Cajon
You can even generate a decent suspended cymbal roll with one stick.
Here's the setup that was used this past weekend at the Plymouth Park United Methodist Church (Irving, TX) performance of the Benjamin Harlan cantata, A Candlelight Christmas.
The recent issue of Worship Musician contains an article based on writings from Percussion For Worship (unpublished book).
It was the return of the Percussive Arts Society International Convention (PASIC) to the Lone Star State last week. Attendees to the world's largest gathering of drummers enjoyed Austin's warm temperatures and dozens of concerts and clinics. 
Grover instruments have been a part of "my sound" for over two decades!
Several months ago, Grover released the Roll Ring. Wow! With the Roll Ring, you can lay down a confident thumb roll on the tambourine (with no saliva).
Check out this photo from William Johnson Garcia ! This was William's layout for the North Carolina Baptist Campus Fall Convention from a few weeks ago. 
Here's a shot of a recent setup of mine. I was laying down some 808 kick and handclap with the Handsonic 15 (while playing shaker) on that particular weekend. The Gajate bracket with bass drum pedal is a big help when I need some backbeat tambourine while playing djembe or congas. The trap table lives on my right side so I can access the items with my dominant hand. I have a couple of suspended cymbals on my left so that I can play one-hand rolls while playing something more rhythmically intricate with my right. The tambourines are at the ready on the launch pad (see posting from 4/19/10 on making a launch pad).
Zach defines and clarifies the meaning of worship for the
believer. 
Javier: I started taking percussion lessons at the age of eleven at a performing
arts school in San Juan. I started drumming at church a year later and continued playing music and traveling across Central and South America all through
my teen years. I have a Bachelor's degree in Percussion Performance from the
Conservatory of Music of Puerto Rico and a Master's degree in Jazz Pedagogy
from the University of Miami. My musical training and experience are very
diverse and full of varied influences.
Javier: I love to play the cajon! It's one of the most versatile hand
drums out there. I was introduced to the instrument in Peru a few years
ago and to the flamenco cajon shortly thereafter. First of all, it is very
important to know the difference between the two instruments and the techniques
and applications of each one. I've studied some of this techniques and use them
in playing the cajon in all kinds of musical situations. I also add a hi-hat,
tambourine with a pedal, and shakers to play more of a drum set/percussion part in acoustic and semi-acoustic settings.
Using a combination of hands and left foot (playing the hi-hat in more of an open
hand technique between it and the cajon) allows me to play any kind of pattern
imaginable. You can make this instrument as personal as the sticks you
play. 
