The holding of the sticks was unusual, but not unique, with the end being fully within the hand ie the "correct" positioning is the stick extending through the hand to some degree. The snare was also positioned relatively low with Baker seated high. More unusual was the positioning of the top toms, which were flat rather than angled. This was all related to the grip – it allowed Baker to apply great but economic power in his stroke through a combination of gravity, shoulder/forearm muscle and wrist while remaining very flexible and loose and retaining subtle finger control. It also allowed for rim shots (rim and batter hit simultaneously) on the toms but the downside was occasional rim miss-hit sounds.  This produced an explosive sound which caused considerable problems in studio recordings but was extremely effective live.

Competition bicycle riding as a teenager gave Ginger Baker two invaluable assets: stamina and powerful legs. He used those legs to great effect in the Toad climax "with the locomotive-like sixteenth note hammering on his twin bass drums"[Cianci]. It is not readily obvious but Baker often alternated his foot between hi-hat and left bass to create even more complex patterns.

Ginger makes no claims to any technical brilliance in his drumming as it is built "on the rudiments".  His approach is much like that of Art Blakey in that it is an unsophisticated driving style.  Though, like Blakey,  Baker is fully schooled in all those rudiments: flams, ruffs, paradiddles etc. His signature device is the flam triplet using multiple drums. He skillfully uses those devices over his full kit and in combination, with the result that it becomes transparent.  Phil Seaman tutoring was critical in developing this mastery of the fundamentals - the "Traintime" pattern is based on a  Phil Seaman exercise

The extended rhythmic patterns on the toms are profoundly African influenced. In reality his drumming evolved into an African approach as he distilled his jazz technique to the power rock technique involving clearly defined rhythmic patterns in the high volume environment of Cream. After Cream his drumming readily fitted into an African percussion context.

The cymbal work is less subtle, relying on the array for variety rather than playing technique (this statement does not apply these days). Never the less his use of cymbals was far more subtle than any other in the pop/rock world at the time - "Tales of Brave Ulysses". However his hi-hat playing is of the highest order (the Max Roach influence). Listen closely to the body and jam of "White Room" which is all hi-hat except for a few crashes. Also "Doing that Scrapyard Thing" where he uses one of his favourite devices – hi-hat between the beats.  His use of brushes is now rare in rock.  Considering the high volume environment its use acompanying   Eric on "Stepping Out" was very adventurous and also stunningly effective.  It has never been matched in Rock music and nothing like it exists in Jazz.

Baker is not a fast drummer, relying on the complex interaction of all his limbs. But without doubt he can play fast as shown on the live "Sitting on Top of the World" where he opens with a tight buzz roll and then unleashes a lightening tom run. Neither is he a busy drummer preferring to fill holes and accentuate rather than play lots of notes with "Politician" (studio and live) being the best example: ride cymbal holding the beat, selected placing of snare beats between the riff notes while the bass drums, selectively, reinforce the riff.

The solos, by Jazz standards, were uncomplicated as they largely stayed in 16th-note divisions.  He can, and occasionally did, play more complexly.  This limited way of playing was effective because it allowed the  rock audience to come to terms with the concept of a drum solo.  Baker kept it simple so that the audience could follow the logical development much the same as Clapton's pentatonic scales were easier to listen to.  Straight jazz playing would not have worked and would not have gotten Baker the standing ovations he received. This upset many jazz drummers - Buddy Rich in particular who even parodied Toad at a concert in England.  But now, with hindsight, Baker's playing was much closer to jazz, and more interesting, than the solos of other Rock Drummers.  He helped many to expand their musical horizons and discover jazz.

Note: Ludwig Fittings

The production approach of the time was inconsistent resulting in kits that were bad sounding, good sounding and great sounding. A master drummer knew what a great kit sounded like and Baker assembled one. Baker had what is now defined as a "classic" kit which, by today’s standards is virtually a custom made kit.

In Live performances Baker played unmiked. The only reinforcement was what was picked up via his announcement mike and the vocals mikes through the PA. On the Final tour of the USA some very rudimentary miking was used with a single omni-directional mike between the bass drums. This lack of miking was the norm for all drummers. This changed in 1969 when Baker was comprehensively miked on the Blind Faith tour.

Baker’s physical power and the volume of his Ludwig Kit allowed him to cut through the volume of the dual stacks. This is evidenced on the audience bootlegs but what is also in evidence is that the stacks often overwhelmed the drums. The subtlety of his playing was often drowned, which most other players avoided by not being subtle at all. However the sound of the drums is a hi-lite of the remastered releases. The remastering from the original tapes has clarified the drums, however the cymbals are strangely recessed with a decided lack of sizzle (a case of heavy handed filtering?).