Peter Erskine’s Infinity Drummers

Infinity Drummers. Day #233. Paulo Braga. "A Felicidade" Eliane Elias Sings Jobim. Veteran of countless legendary recordings, Paulo Braga and his superb drumming have put more feet into motion — and hearts into flight — than I can count. And, while there are dozens of legendary tracks to consider with Elis Regina among others, this recording with Eliane Elias, Marc Johnson, Oscar Castro-Neves, Café and Michael Brecker remains a personal favorite and, so, I'm including it with great relish on the List. There's something magical about the combination of players, and the sound, and the — well, okay — the MICHAEL BRECKER of it all. Drums and sax, a la Brasil. It doesn't get any better. What a great idea to add Mike to "A Felicidade." Bravo, Eliane, and Paulo Braga: "obrigado" for all of your drumming genius and service.

Infinity Drummers. Day #234. Kenny Washington "Jingles" Mike LeDonne Trio with Dennis Irwin. Michael Brecker once told me that "Kenny Washington knows more about recorded music than anyone else I've ever met." Mike was astonished by the breadth and scope of Kenny's knowledge ... a musicological database that I put to the test one evening on a terrace in Italy at some hotel's ristorante: he was still talking when the maître d' ushered us out of the place because the workers finally wanted to go home. Ever since my hearing him play with Johnny Griffin at the Village Vanguard, Kenny has been THE standard in straight-ahead small-group drumming. He has mastered the art not only of swinging and improvising (check out his solo here: wonderful), but of treating the piano trio like a larger group (or a big band, even) without it ever becoming overbearing. To borrow Chick Corea's phrase: "light as a feather." Many listeners may know Kenny's work with the exceptional Benny Green and Peter Washington (all of it highly recommended!), but this bright-tempo gem, recorded on New Year's Eve day in 1990 with pianist Mike LeDonne and the late Dennis Irwin (surely one of the most beloved and sturdy of bassists) is outstanding in every way. For your listening and dancing pleasure, then, the Infinity List proudly presents the incomparable Kenny Washington, playing the Wes Montgomery tune "Jingles." The swinging synergy here is something else. Take it away, Gentlemen!

Infinity Drummers. Day #235. Omar Hakim. "Pearl on the Half Shell" Weather Report / Sportin' Life. Exuberant. Funky. Technically ALL THERE. And earthy. Did I mention exuberant, funky and earthy ... with chops to burn? Omar Hakim. I first met Omar when he was a young man, swinging through LA (Hermosa Beach, actually) with trumpeter Tom Browne, and I was asked by Rudy at the Lighthouse if it would be okay for this other/out-of-town drummer to play on my kit for a short spotlight set? Which, to be honest, is one of those questions that there's only one answer to: "yeah, sure." And I sure never heard that little Slingerland drumset sound like that ... Omar brought those drums to life! And he brought down the house that night, too. He was a tough act to follow. The tables would turn in a sense when he took over the drumming duties in Weather Report, where he and the great Victor Bailey had to follow the Jaco and Peter Show. Only they didn't follow ... they led the band to a new and better place, in my opinion. And of all of the recordings they made, this cut is my favorite. I listened to it over and over when the album came out. Wayne's tunes will do that to you, and so will a rhythm section of Omar, Victor and Mino Cinelu. Omar would go on to play the drums on some of the biggest hits of the 80s, including David Bowie's "Let's Dance," and he drummed for Dire Straits, Miles Davis and Madonna as well as Sting. If this were an Infinity Bassists list, I would have chosen this same cut because Victor Bailey is pure magic on this. Victor and Omar together? That's some Harry Potter sh*t right there.

Infinity Drummers. Day #236. Edu Ribeiro "Jazzman no Morro" Gian Correa Big Band. Edu Ribeiro is a wonderful drummer. A wonderful drummer with a right hand to die for (is that Moeller ... or the Devil?). Whether with guitarist Chico Pinheiro, or the members of his cooperative Trio Corrente, Edu always turns in a sublime performance (the last time I heard him in-person was in Japan with Sadao Watanabe, an excellent night of Brazilian music at Tokyo Blue Note). Edu turned me onto this particular album by guitarist Gian Correa and a stellar big band of Brazilian musicians (in Edu's non-native English: "We recorded that before pandemic times and is so singular in a rhythmic section. There is Drums, percussion, acoustic bass, 7-strings acoustic guitar and Cavaquinho"). I think it dazzling and I hope you will, too. It is also an excellent way to start off the week. Keep the faith, everyone. These are not easy times. Music helps.

Infinity Drummers. Day #237. Paul Clarvis. Wonderful Town, Act I: Overture. Simon Rattle conducting the Birmingham Contemporary Music Group. Leonard Bernstein was picky about his drummers, and he had a favorite one in London whose name is Paul Clarvis. This same drummer may very well be the percussionist you hear in some of your favorite films ... the chances are good that, if the score was recorded in London, the percussionist's name is Paul Clarvis. I first heard Paul in Osaka, Japan of all places. The John Abercrombie Trio was playing at the Blue Note club there and staying at the Osaka Grand Hotel. Meanwhile, the entire London Symphony Orchestra was staying at the same hotel, and a chance encounter with (principal percussionist) Neil Percy in the lobby coffee shop led to what has become a life-long friendship, in addition to a friendly exchange of promised entry to each other's gig. My dad, who had come with me to Japan for that tour, accompanied me to the concert hall where the LSO played a Sunday matinee. Paul Clarvis was playing the drums for a Bernstein piece ("On The Town," as I recall), and we fast became friends as well. I invited a couple of the musicians to the Blue Note for our final night there (that same evening), figuring that 3 or 4 might bother to show up. Right after the first set ended, the manager of the club (I had given him a Guest List with "x number members of London Symphony Orchestra" on it) came up to me and said, "Peter-san ... do you know how many friend from symphony come?" I replied, "No ..." and he quickly followed with a number like "FORTY THREE" Figuring I was going to be asked to pay for all of those cover charges, I almost fainted, but the manager smiled and continued, "Oh ... no, please don't worry ... THEY ARE DRINKING A LOT!" Since it was the final night of their tour, the musicians were indeed partying it up and I recall seeing a lot of bottles of champagne being poured with toasts being made all around.

Back to Paul. I have studied his drumming a lot, and he ALWAYS plays not only what the music needs, but he includes EVERYTHING that the composer asks for while doing that amazing juggling act of making the part both personal and universally drummer-like (not a simple or easy thing to do ... most of us will fudge it one direction or the other). Whether it's Bernstein, Turnage or Birtwistle, Paul Clarvis delivers the goods. Lately, his hand drumming and drumming on instruments from all corners of the globe has been what sets him apart from most other percussionists. And London has plenty of great percussionists as well as drummers (as does Los Angeles!) ... suffice to say that Paul Clarvis always brings an intimate sound and touch to world music. And he plays a mean Broadway show overture, too. (Check out the tempo changes ... I know, typical show drumming fare, but he does it so well.) Bravo, Paul.

Infinity Drummers. Day #238. Ringo Starr “Magical Mystery Tour” The Beatles. 213 Beatles songs to choose from. I chose this. Why? Because ... the beat is so great. And the tempo changes are so, well ... magical.

Infinity Drummers. Day #239. Keith Jarrett "Starbright" Facing You . Apologies for the delay, the Infinity Drummers list does its best to deliver ..."Neither snow nor rain nor heat nor gloom of night stays these couriers from the swift completion of their appointed rounds." In humble dedication to all essential workers, here's a little something that celebrates the drummer inside all of us. And it is absolutely brilliant.

Infinity Drummers. Day #240. Stewart Copeland. "Don't Stand So Close To Me" Zenyatta Mondatta / THE POLICE Boy, did this song change things! Cross-sticks and splash cymbals would never be the same again once Stewart Copeland came on the scene. The kinetic power of his drumming reaches the listener through any set of speakers. Steve Khan turned me onto The Police while we were working on the Mike Mainieri album, "Wanderlust." As I recall, that next morning in the studio (Power Station "A"), the engineer attached a Countryman mic to the rim of the snare drum I was playing and we used that to gate a pair of additional overheads positioned way up high in the room. It sounded cool, but only Stewart Copeland can sound like Stewart Copeland. (That tune is "Crossed Wires" on Mike's album. Tony Levin is playing bass on it!) Enjoy this ride with The Police.

Infinity Drummers. Day #241. Jim Keltner. "Song of Injured Love" Gabor Szabo / Dreams. Recorded in 1968, this album was my introduction to Jim Keltner. His beat is sly yet solid. His musical empathy is without peer. The depth of soul he brings to every performance is inspiring, and his drumming is musical comfort food in the very best sense. Jim always gets a great sound, and he always brings a great sound to any recording he's on. The man's a legend.

Infinity Drummers. Day #242. Steve Smith "Enigmatic Ocean, Parts I-IV" Jean-Luc Ponty. It's hard for me to imagine a more disciplined, charismatic and versatile drummer than Steve Smith. We've known each other since the early 1970s, and he has never failed to impress me with his drumming skills, confidence and humility. This is a musician who understands that the reward is in the journey of the quest. Steve has never stopped looking for or working towards perfection. Check out that video of his playing the Sonor vintage kit, filmed in the Sonor factory. THOSE HANDS! (and feet).

He honors tradition while breaking new ground and he has my unending respect. This track is from some of the earliest work in his career (I'm going to guess between Lin Biviano's Big Band and Journey). Hey ... don't stop believing! Here's the band: Jean-Luc Ponty -- electric violin(s); Allan Holdsworth -- lead electric guitar; Daryl Stuermer -- lead and rhythm electric guitar; Allan Zavod -- organ, synthesizer, electric piano, grand piano; Ralphe Armstrong -- electric basses, fretless bass; Steve Smith -- drums and percussion.

Infinity Drummers. Day #243. Paul Leim. "Maybe It Was Memphis" Pam Tillis (1991) Paul Leim's discography reads like The Dictionary of Contemporary Hit Songs. Texas-born, he moved to Los Angeles in his twenties where he began carving out a career before moving to Nashville in 1988. Since that time, Paul has stayed busier than a cranberry merchant in November. I first became aware of Paul's drumming on a direct-to-disc album he made with Chuck Rainey and such LA musical stalwarts as Larry Nash, Mitch Holder and Luis Conte, et al. They made the disc in Japan while on tour with the then-very popular vocal duo known as Pink Lady. The interpreter on that tour (and her photo is on the back of the LP cover)? Mutsuko Erskine. Small world. So ... "maybe it was Memphis," but if I had to wager, I'd say that the chances are pretty good that this song was cut in Nashville. With the one and only Paul Leim on drums. (Listen to that snare drum placement and sound!)

Infinity Drummers. Day #244. Kenny Aronoff. Justice and Independence '85. John Cougar Mellencamp. Kenny Aronoff is, literally, the hardest-working man in rock 'n roll. What makes this all the more amazing to me is that I got to know Kenny as THE premier timpanist and percussionist at Indiana University where we both studied with Professor George Gaber. Kenny was also known as a *drummer* drummer, but more or less as the guy in town — Bloomington — that played in the local Blue Note Records or Steely Dan cover bands. Morgan, Fagen, Becker & Bartók ... not bad! Kenny and I first saw each other after our student days when he came out to visit Los Angeles around 1979. I had moved to LA after joining Weather Report, and Kenny was telling me about some band he was playing with back in Indiana ... a band where the leader was literally busting his chops (that is, he wanted Kenny to play more simply). Guy's name was Puma or Tiger or something. We were drinking beers. Kenny asked my opinion of what he should do: stay the course, or move on. I can't remember my reply with 100% certainty, but I'm pretty sure I said something along the lines of, "Hey, give it a chance. And pass the peanuts." Maybe this was my contribution to rock 'n roll history! Kenny not only persevered to become an all-important part and rhythmic voice in John Cougar Mellencamp's music, he has played an integral part of more bands and recording sessions than I can count. His drumming shines on this track, plus he gets some hot licks in. And he can still play some mean timps.

Infinity Drummers. Day #245. Jerry Marotta. "Utopia" Tony Levin(with Pete Levin, Steve Lukather, et al). Jerry, brother of Rick Marotta, has been the rhythmic backbone of many bands over the years, very notably with Peter Gabriel for a long and fruitful time. Rock-solid and creative in the best-possible sense always, his drumming adds value to the music and never detracts (or distracts!). There is something exquisite about all of this track, so I'll let the music speak for itself. But I will say that Tony Levin (brother of Pete Levin) is a treasure both as a musician and a person. Remind me to tell you the story someday of how he was called to fill-in for Jaco during a tour of Japan ... he was on stand-by, everything worked itself out — this was before the days of email or faxes, even — in any event, I was glad to finally play with Tony in Japan as part of a Buddy Rich big band/tribute gig ... oh wait, that's ANOTHER story. Never mind. Listen! And bravo, Jerry!

Infinity Drummers. Day #246. Willie Jones III. "Blues for Dat Taz" My Point Is... with Eddie Henderson, Ralph Moore, Buster Williams, Eric Reed (2017).It's funny, sometimes, what will impress and stick with you when you first hear a musician. In the case of Willie Jones III, it was his remarkable sense of calm, ownership and his being able to simply SIT DOWN AND PLAY THE DRUMS on-stage at the Hollywood Bowl during a jazz festival concert where there was absolutely NO TIME for him to adjust anything about the drumset he "inherited" from the previous drummer. I mean, he barely was able to set his stickbag down and get himself onto the throne when the tune was counted off ... he just grabbed a pair of sticks, and WHAM BAM swung the night away in beautiful and perfect fashion. Just like he's swinging and playing in perfect fashion on this cut from his solo album "My Point Is ..." Wonderful band. And no wonder ... any band is going to sound and feel great when Willie Jones III is holding court. If I may point out his hands AND feet on this. The élan of a master but with that same youthful energy he's always shown ... and one of L.A.'s own, too.

Infinity Drummers. Day #247. Richie Hayward. "Cadillac Hotel" Little Feat. I met Richie Hayward and the rest of Little Feat during my first tour with Weather Report in Japan (1978). The two bands shared the same management and Little Feat had a night off in Nagoya where we played a concert and they showed up. All of them were so gracious and enthusiastic during and after the show (especially Richie). Fast-forward a couple weeks or so later and the two bands were in the same town again, only this time we're all in Honolulu. Little Feat played an outdoor concert at the University of Hawaii's Andrews Ampitheatre on July 14. Jaco and I went to their show and I remember Jaco sitting in with the band at some point (near the end of their set ... he clambered onto stage and did *something* at any rate). And it was the next night that Little Feat and Weather Report all went out to dinner together at some Chinese restaurant in Honolulu. For some reason I found myself sitting next to Lowell George. And the night after that (July 16), Weather Report played a concert in the Waikiki Shell. Following that concert, Zawinul officially invited me into the band (we had toured Japan and Australia prior ...). The Little Feat adventure was fun. Hearing them for the first time "live" was an education, and things just felt, well, glamorous and exciting ... being in that world and all, all of a sudden ... just waltzing backstage into a Little Feat concert in Hawaii, and then sharing some General Tso's Chicken with these rock n' roll legends. They were all really down-to-earth people. (An aside: Lowell George went on to release a solo album, "Thanks, I'll Eat It Here," in which there's a credit or mention of "Pete Erskine" and something having to do with socks ...This has puzzled me for some time, and only by harnessing the power of some internet searching just now have I discovered that there was a writer for the NME (New Music Express publication in the UK) with the name Pete Erskine. I believe that he interviewed Lowell George circa 1975 or so. Which is a relief to know because I could never figure out how sharing a table in a Chinese restaurant led to my being mentioned on his solo album.) Back to Richie Hayward! The man knew how to lay down the greasiest beat that still burst with sunshine and flowers. Maybe some of what was the magic that was Little Feat, but he was certainly the right man for the job, and a lovely man at that as far as I got to know him. Richie Hayward (February 6, 1946 – August 12, 2010), founding member of Little Feat.

Infinity Drummers. Day #248. Mike Baird. "Don't Talk To Strangers" Rick Springfield / Success Hasn't Spoiled Me Yet (1982). Okay ... Rick Springfield LPs are hard to find in my record collection. But I know a great drum track when I hear one, and Mike Baird consistently lays down great drum tracks, song after song and hit after hit. This is an example of a perfectly-played song, and Mike's use of the bass drum highlights his feel as well as his control here. Come to think of it, I did watch the movie that starred Rick Springfield, "Hard To Hold" ... mainly because my Interlochen Arts Academy classmate Janet Eilber had a starring role in it as well. And, guess what? I think Mike Baird played the drummer in the movie! Let's take a ride back to the 80's.

Infinity Drummers. Day #249. Clifford Jarvis "Hub-Tones" Freddie Hubbard, w/ James Spaulding, Herbie Hancock & Reggie Workman (1963) Clifford Jarvis excelled both as a hard-bop drummer and a "free" jazz improviser. The son of Malcom “Shorty” Jarvis, Clifford was born in Boston in August of 1941. (quoting wikipedia) << He studied at the Berklee College of Music in the 1950s. Moving to New York City, he established himself in jazz between 1959 and 1966 by recording with bebop and hard-bop musicians including Randy Weston, Yusef Lateef, Freddie Hubbard, Barry Harris, Jackie McLean, John Patton, Chet Baker, Kenny Drew, Walter Davis, and Elmo Hope, and playing with Grant Green and Rahsaan Roland Kirk. He worked and recorded with musicians associated with free jazz, including Sun Ra (from 1962 to 1976), Pharoah Sanders, Sonny Simmons, Alice Coltrane, and Archie Shepp. During the 1980s, Jarvis moved to Britain, where he played with younger musicians including Courtney Pine. He also worked as a music educator at Chats Palace Arts Centre in London and Pyramid Arts Development in Dalston. Jarvis continued teaching until his death in 1999. >> The man had hands as well as a tremendous swing feel. This made his "free" playing all the more powerful and informed.

Infinity Drummers. Day #250. Brian Brake. "Horn Man" Bob Mintzer / Horn Man (entire album). This is Bob Mintzer's first solo album, and this is Brian Brake you hear playing the drums on the first couple of tracks (the YouTube page lists all of the songs and who plays what...). The album also features Don Alias playing some greasy skins on "Whole Wheat Groove," and I'm playing on one tune ... this album would mark the first of many Mintzer albums I played on, and Bob would return the favor on many of my own discs as well. Back to Brian ... truly a stalwart musician for many years on the New York music scene. He was Bob's "go-to" guy for the funk. Fun(k) fact: the vocals on the first tune are by James Carter Cathcart, who was the pianist in the trio where Bob played BASS (and I played drums) at the Interlochen Arts Academy back in 1969-70. Mintzer is one of those musicians who can play, write and accomplish virtually anything. I cherish our 50+ year friendship and musical association (we are currently teaching colleagues at the Thornton School of Music at the University of Southern California). Back to Brian! Wait! Jim Cathcart also does the voices for dozens of the Pokémon characters in the animated series of the same name. NOW back to Brian. I saw in a recent post on Facebook that he is playing the drums for Liza Minelli. That's the same gig another Infinity Drummer had for many years (in addition to Liza's mom, Judy Garland), Bill LaVorgna. Brian is living, breathing and drumming proof that it is ALL ABOUT THE SONG. Dig him here, and dig the entire album.

Infinity Drummers. Day #251. Zutty Singleton. "Moppin' and Boppin'" Zutty Singleton w Fats Waller & His Orchestra (1/23/1943) DRUMOLOGY What better way to spend your Sunday (or Monday) than by listening to Arthur James "Zutty" Singleton along with Fats Waller and the band (including Slam Stewart singing and swinging on the bass, arco and pizzicato)? Zutty Singleton was born and raised in Lousiana. (from wikipedia) << According to his Jazz Profiles biography, his unusual nickname, acquired in infancy, is the Creole word for "cute". He was working professionally with Steve Lewis by 1915. He served with the United States Navy in World War I. After returning to New Orleans he worked with Papa Celestin, Big Eye Louis Nelson, John Robichaux, and Fate Marable. He left for St. Louis, Missouri, to play in Charlie Creath's band, then moved to Chicago. In Chicago, Singleton played with Doc Cook, Dave Peyton, Jimmie Noone, and theater bands, then joined Louis Armstrong's band with Earl Hines. In 1928 and 1929, he performed on landmark recordings with Louis Armstrong and his Hot Five. In 1929 he moved with Armstrong to New York City. In addition to Armstrong in New York he played with Bubber Miley, Tommy Ladnier, Fats Waller, Jelly Roll Morton and Otto Hardwick. He also played in the band backing Bill Robinson. In 1934, Singleton returned to Chicago. He returned to New York in 1937, working with Mezz Mezzrow and Sidney Bechet. In 1943, he moved to Los Angeles, where he led his own band, played for motion pictures, and appeared on the radio program The Orson Welles Almanac (1944). He also worked with Slim Gaillard, Wingy Manone, Eddie Condon, Nappy Lamare, Art Hodes, Oran "Hot Lips" Page, and Max Kaminsky.

Singleton retired after suffering a stroke in 1970. He died in New York City in 1975 at the age of 77. His wife Margie (sister of Charlie Creath) died in 1982 at the age of 82. >> There you have it. I will post another full recording that features Zutty's wonderful drumming (and singing) below. Happy Sunday, everyone.

Infinity Drummers. Day #252. Gregg Hutchinson. "The Stars You Saw" Vince Mendoza / Nights On Earth w/ Joe Lovano, Kenny Werner, John Abercrombie, Christian McBride. My first impression of Gregg's mighty drumming was, well, Gregg's mighty drumming: powerfully burning-hot swing. Here's a side to him that's every bit as much an element of his musical being: sensitive, tonal and open. In other words, Gregg is a complete musician as well as a musician's drummer (in addition to having the chops-wherewithal to be a drummer's drummer). Vince and I go way back to the early 1980s when I was a guest artist at Ohio State. A student there approached me with a score and drum part to a piece he had written for the occasion ("Scherzo for Hi-Hat and Jazz Ensemble," the title mercifully shortened to "Scherzo" by the time Vince recorded it on his first album in 1985). And I was like, "Yeah, nice ... thanks. Uh, excuse me ..." and THEN we ran the piece down in rehearsal ... 1). the piece was a real challenge to play, and 2). the writing sounded amazing. Thus began an association that has lasted to this day. Vince is simply amazing. This gathering of musicians echos the band on my album "Sweet Soul" (where we played a number of Vince's compositions), with the exceptions of Christian McBride and Gregg Hutchinson. This gathering proves to be an exquisite combination, and listening to this tune will improve your day, I promise. Bravo, Gregg. I'm one of your biggest fans.

Infinity Drummers. Day #253. Ron Davis

"Lazy Bird" Woody Herman / Thundering Herd. Ron Davis was a terrific drummer, part of that upstate New York group of players in the 1970s who were as versatile as they were swinging. We crossed paths when he was touring with Woody's band and I was on Stan's ... sharing some double bills, he and the herd always sounded great. That's Ron with the beard and glasses on the album cover. He subbed for me a few years later when I double-booked myself and couldn't fulfill an obligation to George Gruntz and his Concert Jazz Band in Europe, and that was the last time I had contact with him. Gordon Johnson did that tour as well as the previous one with me, Gordon and I were Maynard Fergsuon rhythm section mates. As Wayne Shorter once said to me (the last time we spoke, in fact ... at Disney Hall ... his parting words as Mutsy and I were leaving his dressing room): "Hey Pete ... BIG BANDS!" Enjoy this excellent Woody Herman big band performance. Arranged by Bill Stapleton. Solos: Frank Tiberi - ts, Bill Stapleton - flh; Woody Herman - soprano and alto saxophones; Dave Stahl, Buddy Powers, Bill Stapleton, Tony Klatka - flh; Bill Byrne - tpt; Jim Pugh, Steve Hohlbacher, Harold Garrett (bass) - tb; Frank Tiberi, Greg Herbert, Gary Anderson, Jan Konopasek (bs) - winds;

Andy Laverne - electric piano, Chip Jackson - electric bass, Ron Davis - drums, John Rae - percussion. Recorded January 2-4, 1974 Fantasy Studios, Berkeley, CA

Infinity Drummers. Day #254.

Vinnie Ruggiero

"Star Eyes"

Exodus / Slide Hampton Octet

recorded in Paris, November 18, 1962

Slide Hampton(tb,arr), Benjamin Jacobs-El(tb), Nat Pavone, Richard Williams(tp), George Coleman(ts), Jay Cameron(bs), Butch Warren(b), Vinnie Ruggiero(ds)

Long a larger-than-life legend, Vinnie Ruggiero's drumming has to be heard to appreciate how great of a player he was. A total swinger with a kinetic power that bordered on the kung fu. Upstate New York mojo. His son Charles Ruggiero continues the tradition while carrying on the family name. And who isn't a Slide Hampton fan?!

The view of this concert is a revelatory treat, I will post the link below.

Here is "Star Eyes"

nfinity Drummers. Day #255.

João Palma

"Mas Que Nada"

Sergio Mendes and Brasil '66

For all of the great recordings to have come out of (or been inspired by) Brazil, this one song probably influenced and informed more drummers of my generation than any other.

Recorded in 1966, this composition by Jorge Ben became a huge hit. The musicians and singers were:

Sérgio Mendes – piano, backing vocals, keyboards, arrangements

Lani Hall – lead vocals

Bibi Vogel – backing vocals

Bob Matthews – bass, backing vocals

Jose Soares – percussion, backing vocals

Joao Palma – drums

I don't know about you, but every time I hear this I have the best memories. And ... what a great album cover!

Infinity Drummers. Day #256.

Milton Banana

"Milton Banana" (complete album / 1971)

Listening to Milton Banana is

1. something you've already done if you've listened to the Getz/Gilberto album (and who hasn't?)

and

2. a revelation

Born Antônio de Souza on 23 April 1935, he died on 22 May 1998. He was self taught. Milton Banana is best known for the Getz/Gilberto recording as well as for the work he did with his trio, and is considered to be one of the fathers of Bossa-nova drumming. His nom de plume is absolutely Carmen Miranda.

I urge you to check out some of the albums he recorded in the 1960s ... but I could not resist listing this one. Scroll down on the YouTube page for the following text with song time/links.

0:00 - De Noite na Cama

2:31 - Mas Que Doidice

5:05 - Como Dizia o Poeta

8:04 - De Pilantra e de Poeta

10:20 - Você Não Entende Nada

13:25 - Tarde Em Itapoã

16:03 - Eu Não Queria

18:21 - Até Eu

20:50 - Garota da Minha Cidade

22:27 - Mudei de Idéia

25:34 - Tudo Azul N’américa do Sul

28:07 - Menina da Ladeira

Infinity Drummers. Day #258.

Danny Barcelona.

"I Want A Big Butter And Egg Man"

Louis Armstrong / Satchmo Plays King Oliver Having caught glimpses of Danny Barcelona over the years of playing the drums with Louis Armstrong on television, I've been enjoying a number of clips that YouTube offers of Louis Armstrong in concert around the world (posted in the Comments section below). And Louis Armstrong was indeed one of America's greatest ambassadors of good will.

I'm going to quote liberally here from Wikipedia: << Danny Barcelona (July 23, 1929 – April 1, 2007) was an American jazz drummer best known for his years with Louis Armstrong's All-Stars. He was a Filipino-American born in Waipahu, a community of Honolulu, Hawaii. He was also frequently introduced to audiences by Louis Armstrong as The Little Filipino Boy. Armstrong usually followed up by calling himself the little Arabian boy. At the age of 18 and in his final year in high school, Barcelona was already playing music with trombonist, singer, and bandleader Trummy Young. Barcelona was a self-taught percussionist. Young and Barcelona met in the mid-1940s. Danny Barcelona was introduced to Louis Armstrong by Young in 1956 and became Armstrong's drummer for 15 years. A native Hawaiian, Barcelona had joined Young's Hawaii All-Stars in the early 1950s, later assuming leadership of the band – a sextet known as the Hawaiian Dixieland All-Stars – when Young left to join Louis Armstrong's combo in 1952. Barcelona toured around the Hawaiian Islands, Japan and the rest of the Far East. In the fall of 1957, Barcelona moved to New York City. Barcelona, again through Trummy Young's recommendation, formally joined Armstrong's All-Stars band in February 1958 to replace retiring drummer Barrett Deems. Barcelona appears on more than 130 of Armstrong's recordings. Barcelona was only 27 years old when he was introduced by Young to Armstrong. Barcelona's recording career with Armstrong included the jazz music hits "Hello, Dolly!" (1964) and "What a Wonderful World" (1968). With Armstrong and Young, Barcelona traveled the world, including trips to Denmark, Germany and Rhodesia, Africa. Barcelona's drumming style was described by T. Dennis Brown in The New Grove Dictionary of Jazz as being "characterized by extensive use of the ride cymbal, crisp, clean fills and breaks, and solos that exploit asymmetrical phrasing". After Armstrong's illness in 1971 and his death on July 6 of that year, Barcelona returned to Hawaii and became a longtime performer at the Hilton Hawaiian Village Hotel. Barcelona's contemporary players in the jazz scene there included Gabe Baltazar, He also worked for many years at Harry's Music Store and the Easy Music Center. In 1979, Barcelona returned to the mainland and settled with his family in Monterey Park, California. Barcelona died at Monterey Park on Sunday, April 1, 2007, due to complications from cancer at the age of 77. >>

ALLMUSIC offers this synopsis about the album linked here: << In October 1959, more than four years since his last tribute album (Satch Plays Fats), Louis Armstrong gathered his All-Stars for a session paying homage to King Oliver -- his earliest musical hero and the man who enabled two of his breakout gigs (first in 1918, when he took over Oliver's spot in Kid Ory's band, and later, in 1922, when Oliver summoned him to Chicago to join his own group). Armstrong selected all the material, which ranges from songs with a direct King Oliver connection -- either written by him or played by him -- to a few of Armstrong's period favorites that, he admitted with a sly smile, "Joe [Oliver] might have played." The sextet, including veterans Peanuts Hucko on clarinet and Trummy Young on trombone, relaxes into a perfect New Orleans groove, allowing Armstrong to stretch out to especially good effect .... Armstrong clearly enjoys taking vocals on songs like "I Want a Big Butter and Egg Man" ..."

Danny Barcelona is heard here not only providing a wonderful beat for the All-Stars to play upon, but some solo exchanges where he ventures into double-time with an exquisite edge on the tempo. A tribute to Jimmy Rushing? (ha) ... Personally, I like the tension-and-release of it all. And, my, don't those Ludwig drums sound fine.

A shout out to all of our swinging friends on the Hawaiian islands.

Infinity Drummers. Day #259.

Juquinha

(a/k/a João Baptista Stockler Pimentel)

Canção do Amor Demais (Elizete Cardoso)

[complete album - 1958]

The name is new to me, but, wow ... I grew up listening to his drumming on the Black Orpheus soundtrack LP. I'll be honest: I found this recording quite by happy accident this evening.

From one website: << (Juquinha) Brazilian drummer who worked with João Gilberto, Eumir Deodato, Roberto Menescal, Sylvia Telles, Lucio Alves. He also recorded as percussionist with José Mauro. Born in 1930 in Rio de Janeiro, Brazil. Died December 16, 2009 in Rio de Janeiro, Brazil.

One of the first bossa nova drummers, he performed in such legendary albums as Canção do Amor Demais (Elizeth Cardoso) and Chega de Saudade, the debut solo LP of João Gilberto, on which he played alongside three other great percussionists: Milton Banana, Rubens Bassini and Guarany. Both were recorded in 1958. Juquinha was also the drummer in the original soundtracks of both the Orfeu da Conceição stage play and the Orfeu do Carnaval (Black Orpheus) movie, as well as in all tracks of Eumir Deodato's debut album as a leader, Inútil Paisagem. >>

Happy Sunday wherever you are in the world. And obrigado, Juquinha.

Infinity Drummers. Day #260.

Paul Humphrey.

"Uncle Willie's Dream"

America, Wake Up (1974)

Timely.

Engineered by yesterday's birthday celebrant Al Schmitt and produced by Tommy LiPuma. An excellent band including Joe Sample, Wilton Felder and Motown session player Bill Upchurch, et al

Bass – Bill Upchurch

Engineer – Al Schmitt

Guest, Bass, Reeds – Wilton Felder

Guest, Guitar – Arthur Adams

Guest, Keyboards – Joe Sample

Guest, Reeds – Jerome Richardson

Guitar – Al Vescovo, George Walker

Keyboards – Harold Land Jr.

Leader, Drums – Paul Humphrey

Producer – Tommy LiPuma

Reeds – Charles Owens

Written-By – Paul Humphrey

Recorded at Sunset Sound in 1973. Paul Humphrey always delivered a solid performance, whether for Steely Dan, Marvin Gaye, Frank Zappa or Lawrence Welk (a gig he held for 6 years, from 1976 to 1982)! Born in 1935, he passed away in 2014.

Infinity Drummers. Day #261.

Dick Berk

"I'm Getting Sentimental Over You"

Blue Mitchell / Stablemates (1977)

Dick Berk was a mainstay straight-ahead drummer who was very much on the scene in Los Angeles when I moved here in the late 1970s. He seemed to be as present on bandstands as he was in jazz club audiences (or, as I saw on one website, "the hang was non-negotiable"). It had to swing, too, of course. And swing he did (check out the Ray Brown/Milt Jackson side recorded at Shelly's Manne Hole in 1968) and swing he does here with John Heard, Victor Feldman, Dick Spencer and Blue Mitchell on this album that was cut for a Japanese record company (the revived CANDID label).

If you ever watched the Martin Scorcese films "Raging Bull" or "New York, New York," then you've seen and heard Dick Berk.

Among his many other credits, he played with Charles Mingus and was Billie Holiday's final drummer. Born in 1939, he passed away in 2014.

Infinity Drummers. Day #262.

Portinho.

"Liberty City"

w/ Klaus Mueller and Lincoln Goines

Portinho afficianado and cognoscente Tom Cohen inspired this selection even though this particular video was not included in his email that contained many wonderful selections. I love being able to watch Portinho at play and at work here, plus I have a fondness for the tune. And though I do not normally recommend Jaco cover tunes — and, despite a mild time mix-up near the end of the solo vamp — this is a version that I know Jaco would have approved of, because it swings and it is fun.

Portinho has an extraordinary ability to play straight 8th notes and they sound like magic. I don't know how he does it but I am glad that he does. Klaus Mueller's playing is new to me, he can also be heard to great advantage on recordings by Canadian bassist Brandi Disterheft. Lincoln Goines is a good friend and MVP in any rhythm section.

Infinity Drummers. Day #263.

Alex Cline

"Arroyo Taiko"

Sparks Fly Upward

(1998, Cryptogramophone)

Alex, twin brother of Nels Cline, is one of the more remarkable musicians I have come to know (one of the others being, of course, his twin brother Nels). Not just a remarkable musician but a remarkable human being: a man whose thirst for poetry, justice and a good-sounding drum — in addition to the well-written word — has always served to inspire me to be and do better.

Honored by his trust, along with that of Jeff Gauthier, to produce this and another recording of his mighty and modern ensemble, I choose this solo improvisation to present today because it just sounds so darned good. Much credit to engineer Rich Breen. I have a photo somewhere of the gigantic drumset Alex brought into the studio for this recording, and once Rich was done mic'ing up the kit, I quoted the Jake Hanna quip about there being more mikes on the drums than in an Irish bar on St. Patrick's Day.

Can I have a rimshot, please?

Infinity Drummers. Day #264.

Ronnie Stephenson

"Swinging On A Star"

Victor Feldman Trio, with Rick Laird on bass

Here's a gem from 1965 that features all three of these legendary musicians: the multi-talented multi-instrumentalist Victor Feldman, bassist Rick Laird (who went on to play with drummers Buddy Rich and Bill Cobham), and the brilliant Ronnie Stephenson. As the house drummer at Ronnie Scott's jazz club, the drummer Ronnie played with the "who's who" of jazz in the 1960s. He also recorded the "Drum Spectacular" LP with Kenny Clare, played on some James Bond film scores AND drummed for the likes of Tom Jones, Englebert Humperdink and Shirley Bassey.

Until viewing this video, I was unaware that Ronnie played matched grip ... and he does it flawlessly. This is really impressive stuff! And enjoyable. I hope that everyone can find their star to swing on ...

Infinity Drummers. Day #265.

John Williams, Sr.

"War Dance of the Wooden Indians"

Raymond Scott Quintette

The father of the Hollywood triumvirate of film composer John Williams, drummer Jerry Williams and timpanist Don Williams, Johnny Williams (Sr.) << played drums in the New York-based CBS Radio orchestra in the early 1930s, and achieved stardom as drummer for the Raymond Scott Quintette from 1936 to 1939. (Despite the name, the band was a sextet.) Formed by Scott from the ranks of the CBS orchestra, the Quintette was an overnight sensation at the end of 1936, thanks to Scott's eccentric approach to jazz and idiosyncratic titles like the piece featured here. (from wikipedia) In addition to the standard jazz drum and cymbal setup, Williams used a lot of cowbell, wood block, and tuned percussion. He had a flawless sense of timing, and was able to execute faithfully the abrupt tempo shifts of Scott's dynamic arrangements. Existing film clips of the Quintette show Williams displaying a high degree of showmanship ... Scott was a notorious perfectionist, demanding retake after retake in the studio. About this process, Williams told historian Michèle Wood, "All he ever had was machines, only we had names." >>

The entire band is impressive here, as are the tap dancers (the Condos Brothers). Check out the Wikipedia page for Johnny Williams, drummer. And while you're at it, check out the Raymond Scott link posted below this ... see if you can identify the drummer on THAT! (no peeking)

FOUR CHEERS for the Williams drumming and musical dynasty.

Infinity Drummers. Day #266.

Michael Carvin

"K.C. Line"

Julius Hemphill w/ Abdul Wadud

from Julius Hemphill (1938 - 1995): The Boyé Multi-National Crusade for Harmony (Box Set)

Michael Carvin has been on the scene as both a player and mentor for many years, and can count plenty of albums — as well as important drummers who have been his students — to his credit. A master technician as well as swinger, he displays unerring instincts here in the art of group improvisation.

Kudos to Marty Ehrlich for his role in bringing the Julius Hemphill archives to the light of (to)day.

Happy Sunday, everyone.

Infinity Drummers. Day #267.

Bobby Rosengarden

"Glitter And Be Gay"

from Candide (Leonard Bernstein)

My favorite bit of television during summers in high school would be watching the Dick Cavett Show, not only for the many musical guests he would host, but for the band that was led by percussionist/drummer Bobby Rosengarden. Many of New York's finest are seen and heard in this clip taken from the final broadcast of the ABC late-night series (January 1, 1975).

You may recognize the theme from Leonard Bernstein's Candide (in particular, how that part of the song is used in the famous symphonic "Overture" from the show). Tommy Newsom did this arrangement, and it seems that Bobby Rosengarden's Slingerland bass drum is functioning as both a surdo and a "kick" drum. Masterful playing. Martin Cohen's Latin Percussion cuica and samba whistle are both played and shown to great effect here during this rollicking big band escola de samba romp. That's George Duvivier playing the electric bass.

Ain't nothin' like a real band when it comes to music and entertainment.

Infinity Drummers. Day #268.

Larry Bunker

"Interludium"

Jazz Suite on the Mass Texts

Paul Horn / Produced by Al Schmitt

Larry Bunker could do it all: timpani, vibes, big band drumming, small group drumming, albums, film dates, instrument design ... this particular album features drumming that dances nimbly like the best small-group players while handling the responsibility of kicking a big band of sorts (including a choir!). This is a visionary work by Lalo Schifrin as realized by Paul Horn and the extraordinary group of musicians listed below, produced by Al Schmitt.

Paul Horn - alto saxophone, flute, alto flute, clarinet

Conte Candoli, Al Porcino - trumpet

Frank Rosolino - trombone

Dick Leith - bass trombone

Vincent DeRosa - French horn

Red Callender - tuba

Dorothy Remsen, Ann Stockton - harp

Lynn Blessing - vibraphone

Mike Lang - piano

Bill Plummer - bass

Larry Bunker - drums

Frank Flynn, Milt Holland, Emil Richards, Ken Watson - percussion

Betty Allen, Evangeline Carmichael, William Cole, Loulie Jean Norman, Marilyn Powell, Vern Rowe, Sara Jane Tallman, Marie Vernon - choir

Lalo Schifrin - arranger, conductor

Infinity Drummers. Day #269.

Barrett Deems.

"Now You Has Jazz"

(from the film) High Society

Bing Crosby, with

Louis Armstrong - Trumpet

Edmond Hall - Clarinet

Trummy Young - Trombone

Billy Kyle - Piano

Arvell Shaw - Bass

Barrett Deems - Drums

Okay ... a "lip-synched" performance here (and very well done for the most part, but the energetic rimshots heard after the drum break don't match Barrett's half-hearted portrayal in the "who-knows-what-number-take-that-might-have-been?" moment). No matter. Barrett was an incredible drummer and showman when he wanted to be. Please see the link below for a drum solo that's the equivalent of 3 Starbucks espressos. Which, come to think of it, was the kind of energy Barrett always seemed to share and possess. No trip to Chicago seemed complete without seeing Barrett back in the day.

From Brad Allen's website: << Barrett Deems was billed as the “World’s Fastest Drummer.” After playing a show with the great Buddy Rich in about 1948, Deems was said to have played even faster than Rich.

Barrett was an American drummer born in Springfield, IL, and began playing professionally in Chicago in the 1920’s. He worked as a bandleader and also performed with several well-known jazz artists. These include Jimmy Dorsey, Red Norvo, Jack Teagarden, and The Dukes Of Dixieland, and Benny Goodman.

It also includes Louie Armstrong. Barrett Deems joined Louie Armstrong’s All-Stars in 1953. He spent 8 years with Armstrong, touring all over the world. Deems appears in many T.V. films about Armstrong’s career. In addition the movie High Society that came out in 1956, features Deems with Louie Armstrong, along with Bing Crosby and Frank Sinatra. >>

Infinity Drummers. Day #270.

Keith Copeland

"The Theme"

BeBopBeBopBeBopBeBop / Paul Bley Trio

The drummer as swinger. The drummer as melodist. The drummer as accompanist and the drummer as soloist ... Keith Copeland does it all here, in the fine company of the great Bob Cranshaw and the iconoclastic Paul Bley.

The drum sound on this recording is a bit of a time capsule and does not do Keith or anyone else any favors, but he makes the best of it and I love how fearlessly he plays the melody of the iconic "The Theme." And his 4s (trades) are awesome by any measure.

Keith's father was trumpeter Ray Copeland. Keith played with Sam Jones, Billy Taylor, Johnny Griffin, George Russell, and Hank Jones. He also led his own European-based groups. Copeland taught at The New School University in New York City, Rutgers, and Berklee College of Music before moving to Germany in 1992 and teaching in the Hochschule system. He passed away in 2015.

I will also post a link to a terrific album he made with Sam Jones and Kenny Barron below ...

Infinity Drummers. Day #271.

Andre Ceccarelli

"Passepied nouveau"

Monsieur Claude (A Travel with Claude Debussy)

Enrico Pieranunzi Trio

Claude Debussy's "Passepied" is named and fashioned after "a dance like a quick minuet," given a lovely jazz treatment by mssrs Imbert, Ceccarelli and signore Pieranunzi. It takes a drummer with unerring rhythmic confidence and the ultimate musical touch to bring such an enterprise to life ... and, like anything else the man plays, André "Dédé" Ceccarelli does the job here with panache and a very palpable sense of "joie."

He has worked with a who's who of French jazz musicians as well as American singer Dee Dee Bridgewater. And the man has worked with one of Jaco's greatest heroes ... asked by a French journalist what his goal in music and life was, Jaco answered that he wanted "to be the Charles Aznavour of the bass."

Three cheers for Ceccarelli!

Infinity Drummers. Day #272.

Antonio Sanchez

"Broadband"

Michael Brecker Quindectet / Wide Angles

Happy May the 1st and Happy The-Day-After-International-Jazz-Day to everyone. The featured drummer being broadcast from the New York studios of Jazz Day was the one and only Antonio Sanchez. He is truly a renaissance man of the highest musical and drumming order.

This album was recognized as the Best Large Jazz Ensemble recording and awarded a Grammy in 2004. Michael Brecker's vision, composing genius and playing mastery is on potent display here, and Antonio does not miss a beat. Dig how he builds the groove from an Eddie Harris subversive funky cross-stick kind of thing to multiple explosions of double-time expression, all the while maintaining perfect control of the tempo and temperature of the piece. Antonio's skills are at the top of the drumming game. Plus he's a film and television series composer to boot!

Born in Mexico City, his career includes a longstanding association with Pat Metheny. Antonio is also a solo artist — he and his wife Thana Alexa have their own group, too.

Bravo, Antonio. And Happy Jazz Day, EVERY day!

Let's credit the players heard here:

Michael Brecker – tenor saxophone, arranger

John Patitucci – bass

Adam Rogers – guitar

Antonio Sánchez – drums

Robin Eubanks – trombone

Alex Sipiagin – trumpet

Charles Pillow – English horn, oboe

Peter Gordon – French horn

Steve Wilson – alto flute

Iain Dixon – bass clarinet

Joyce Hammann – violin

Mark Feldman – violin, concert master

Lois Martin – viola

Erik Friedlander – cello

Daniel Sadownick – percussion

Gil Goldstein – arranger, conductor, producer, orchestrator

Infinity Drummers. Day #273.

Charlie Persip

"Hey Pete"

Dizzy Gillespie / Dizzy in Greece

(recorded in New York, NY, May, 1956)

Charles Persip (who changed the spelling of his name to Charli in the 1980s) played the drums for jazz's best, including Dizzy Gillespie (for five years, 1953-58).

I first heard him on two albums that were of incredible importance to me as a young drummer: "Gretsch NIght at Birdland" (volume 1) and "Son of Drum Suite" (composed by Al Cohn and recorded in Webster Hall, a big band that included French horns with 5 drummers at the helm: Jimmy Cobb, Don Lamond, Mel Lewis, Louis Hayes (or Gus Johnson) and Charlie Persip. But you can hear him here on this now, or on any number of classic jazz albums! (also, please check the Comments section below for a couple of links ...)

From Wikipedia: << After playing with Tadd Dameron in 1953, he gained recognition as a jazz drummer as he toured and recorded with Dizzy Gillespie's big and small bands between 1953 and 1958. He then joined Harry "Sweets" Edison's quintet and later the Harry James Orchestra before forming his own group, the Jazz Statesmen, with Roland Alexander, Freddie Hubbard, and Ron Carter in 1960. Around this time, Persip also recorded with other jazz musicians, including Lee Morgan, Melba Liston, Kenny Dorham, Zoot Sims, Red Garland, Gil Evans, Don Ellis, Eric Dolphy, Rahsaan Roland Kirk, Gene Ammons and the singer Dinah Washington. Persip was also the drummer on the "Eternal Triangle" recording, Sonny Side Up (Verve, 1957), featuring Sonny Rollins and Sonny Stitt. From 1960 to 1973 he toured as a drummer and conductor with Billy Eckstine.

Along with his performing activities, Persip earned a reputation as an educator. From 1974, he was an instructor of drums and music for Jazzmobile, Inc. in New York City. As of 2008, he was Associate Professor at the New School for Jazz and Contemporary Music in Manhattan.

Persip led Supersound, his jazz big band that was started in the mid-1980s as Superband. Supersound’s first album was recorded on the Stash label, and was titled Charli Persip and Superband. The group’s second album, Superband II, and third album, No Dummies Allowed, were recorded on the Soul Note label. Their fourth album was Intrinsic Evolution.

Charli Persip died August 23, 2020 at Mount Sinai Morningside in New York City at the age of 91. >>

Infinity Drummers. Day #274.

Carmine Appice

You Keep Me Hangin' On

Vanilla Fudge (1967)

While many folks might have become familiar with this song thanks to its being part of the soundtrack and denouement moment in Quintin Tarantino's "Once Upon A Time In Hollywood,", it existed first as a hit single for The Supremes in 1966. The band Vanilla Fudge —comprised of vocalist and organist Mark Stein, bassist and vocalist Tim Bogert, lead guitarist/vocalist Vince Martell, and drummer and vocalist Carmine Appice — covered the tune the following year.

I'm no rock drumming expert or historian, but I do recognize the double bass drum break that Carmine plays as being iconic, and his drumming on the tune throughout is perfect.

The genius of a rock band taking on a Motown hit and crafting it to a psychedelic sensibility ... was it appropriation or merely appreciation? That was a two-way street (think "For Once In My Life"), and the songs' writers (and publishers!) must have been glad to see new life breathed into their compositions.

In any event, this was the song I tried out ON KEYS, playing a borrowed Farfisa organ (that had a grey and white keyboard, as I recall), for a local rock band when I was in junior high school. I didn't get the gig. Years later, the crew for Weather Report set up a mic on a large boom stand during a soundcheck so that I could join the singing of the soccer chant heard on "Pursuit of the Woman in the Feathered Hat" in concert on the 1978 tour. We ran that part of the tune down ... less than a minute in, Jaco waved his arms for all of us to stop, and then he signaled for the crew to remove that microphone and boom stand, saying to me, "Hey Pete, guess what ... you're FIRED."

Carmine did it better!

Infinity Drummers. Day #305.

Eliot Zigmund.

"You Must Believe in Spring"

Bill Evans Trio

This album was recorded at Capitol Studios in August, 1977, but was not released until after Bill Evans' death (in 1980, the album came out in 1981). It marked the final recording session that Eddie Gomez did with Bill Evans. According to wikipedia, "Gomez and Zigmund left Evans in 1978. Evans then asked Philly Joe Jones to fill in. Several bassists were tried, with Michael Moore staying the longest. Evans finally settled on Marc Johnson on bass and Joe LaBarbera on drums. This trio would be Evans's last." So, in the chronology of things, Eliot bridged the trio gap between Marty Morell and Philly Joe/Joe La Barbera ... he joined the trio in 1975.

This title track reveals the magical yet tricky combination of sensitivity and muscularity that are the hallmarks of any good piano trio drummer (and you can be certain that Bill Evans demanded only the best). I heard Eliot play in concert with Bill and Eddie in 1976, and it was, in a word, excellent.

Eliot's biography: Born in 1945, Zigmund studied at Mannes School of Music and City College of New York, where he graduated in 1969. After moving to California, he found work in the 1970s playing with Ron McClure, Steve Swallow, Art Lande, Mike Nock, Mel Martin, and Vince Guaraldi. He moved back to New York City in 1974, where he played with Bill Evans from 1975 to 1978. He also played with Eddie Gomez, Bennie Wallace, Richard Beirach, Jim Hall, Chet Baker, Stan Getz, Fred Hersch, and Red Mitchell before the end of the 1970s. He played with Don Friedman from 1979 to 1984, and then joined a trio with Michel Petrucciani until the late 1980s. After this he worked both as a leader in small ensembles and as a sideman with Gary Peacock, Eiji Nakayama, and Stefan Karlsson. Zigmund has also done work as a session player for Neil Sedaka, Dionne Warwick, and The Pointer Sisters, among others. A resident of Teaneck, New Jersey, Zigmund has taught at William Paterson College and New York University."

So, as summer is soon upon us, please remember "you must believe in spring."

Infinity Drummers. Day #275.

Aldo Romano

"More"

Inner Smile (2011)

Enrico Rava - trumpet

Baptiste Trotignon - piano

Thomas Bramerie -bass

Aldo Romano - drums

from wikipedia: (born 1941 in Italy) Romano moved to France as a child and by the 1950s he was playing guitar and drums professionally in Paris, but he first gained attention when he started working with Don Cherry in 1963. He recorded with Steve Lacy and would go on to tour with Dexter Gordon among others. In the 1970s, he moved into rock-influenced forms of jazz fusion and in 1978 made his first album as a leader. In the 1980s, he returned to his earlier style for several albums. Although he has lived most of his life in France, he has retained an affection for Italy and has set up a quartet of Italian jazz musicians. Romano also played a role in starting the career of French-born Italian-French pianist Michel Petrucciani. In 2004 he won the Jazzpar Prize.

from peter: Aldo is not only a great drummer, but is also a man who possesses an exquisite sense of sartorial esthetics and sensibilities. Stripped of alliterative assonance: I always felt like a slob whenever I'd run into Aldo while touring in Europe. He's got style. Plus a great history with many jazz greats, including our mutual friend John Abercrombie.

Here's "More" ...

Infinity Drummers. Day #306. Frank Rullo "Dancing Tambourine” Let's Dance / David Carroll & His Orchestra (1958) Frank Rullo was a fixture on the Chicago music scene and, by discographical accounts, was a very busy drummer. I knew his playing by way of the dueling drum duet he played with legendary all-around percussionist Bobby Christian on Dick Schory's New Percussion Ensemble "Music For Bang, Baaroom And Harp" (a recording that is recounted by engineer Bruce Swedien in his book "Make Mine Music"). But little did I realize or know that I had an earlier and more formative encounter with the drumming of Frank Rullo by way of this David Carroll album that was part of my father's record collection. Please see the link immediately below this for a short slideshow I just made ... some of the photos are of me in slightly later years, but you'll get the idea of how I got my start, many thanks to my parents as well as sisters, particularly Lois who can be heard attempting to get me to play something one way ... well, listen for it about one minute in, it's cute. Warning: this is pretty corny. Hey ... I was FOUR. The drum duel between Frank Rullo and Bobby Christian I mention above ... recorded in Chicago’s Orchestra Hall! https://youtu.be/dgQsUpI02UY Speaking of Frank Rullo with Dick Schory:https://www.youtube.com/watch?v=0lQ0BoQSCxI&t=60ss

Infinity Drummers. Day #276.

Allan Schwartzberg

"East River"

The Brecker Brothers

Heavy Metal BeBop

Allan Schwartzberg, born in 1942, is the drummer who launched a thousand hits (and dance moves). A remarkable feat on its own, all the more so considering that he was once the house drummer at the Half Note club in New York City. His resumé reads like the history of modern music. Jazz, rock, jingles, pop, disco, TV and film. And the Brecker Brothers ...!

While Terry Bozzio does the lion's share of drumming on "Heavy Metal BeBop," that's Allan on "East River," an epic production of Titanic proportions. Needless to say, the playing by Randy and Mike Brecker on this is ridiculously great.

I was going to highlight Allan's drumming on the Gloria Gaynor hit cover of "Never Can Say Goodbye" ... I'll post the link to that below. It's disco drumming, perfectly done. Remember, folks: this was all played in real time, recorded onto tape, by musicians who showed up and did the work. I can't dance but I can sure admire great musicianship. And, oh yeah, that's Allan playing on Maynard Ferguson's cover of the theme from Rocky, "Gonna Fly Now." That one tune alone helped propel and fuel the MF band's touring success the entire time I worked for Maynard.

The Infinity Drummers List salutes Allan Schwartzberg.

Infinity Drummers. Day # 277.

Alison Miller

Zev - The Phoenix

Glitter Wolf



Alison Miller is a wonderful drummer, composer and bandleader. And, judging from this recording, the owner of the best-sounding bass drum I've heard in ages. Boom Tic Boom, indeed.



Drummer/bandleaders hold a special place in my heart. Their vision extends far beyond the edge of their mounted tom or crash cymbal. And drummer/bandleaders who prove themselves to be worthy role models as well as advocates and educators deserve hearty applause and thanks. I'm giving Alison a standing ovation.



The musicians heard on this recording are: drummer and composer Allison Miller, featuring violinist Jenny Scheinman, cornetist Kirk Knuffke, clarinetist Ben Goldberg, bassist Todd Sickafoose and pianist Myra Melford.



"Glitter Wolf" was released on February 1, 2019.

Infinity Drummers. Day #278.

Dave Mattacks

"Whenever You're Ready"

Mary Chapin Carpenter

*time *sex *love



The album title is short for: "Time Is the Great Gift; Sex Is the Great Equalizer; Love Is the Great Mystery." The Infinity Drummers listing of Dave Mattacks is overdue, but some things in life are worth the wait. The perfection of his backbeat pocket snare sound, with the delicious amount of swing that permeates every fill, gives the song an irresistibly-attractive feel-goodness that's the sonic equivalent of comfort food, making this the buttermilk pancakes/meatloaf and mashed potatoes song of the week. Not sure if Mary Chapin would find my description agreeable, but I know she loves this beat. Me, too.



And I submit that this is the rock / folk / country kind of beat that is best played by the drummer who is informed by the tradition of the instrument, and Dave Mattacks is every bit as much a fan and cognoscente of jazz drumming as anyone else I know. Given his track record and prowess in the worlds of rock and folk and country and pop, this pedigree makes him as much fun to listen to as it does to run into him on-line or in-person ('though when's the last time any of us had *that* pleasure?). Perhaps my affinity for this track has to do with the fact that I have worked with Mary Chapin Carpenter in the studio and on the road, and I'm crazy about her and her music.



More about Dave: he's another one of those Brits who were jazzers before they were something else. His credentials are world class, including Fairport Convention, Elton John, Brian Eno and Paul McCartney.



And Mary Chapin Carpenter.

"Whenever You're Ready"

Infinity Drummers. Day #309.

Horacio El Negro Hernandez

"Free Latin"

ITALUBA

Horacio El Negro Hernandez is a miracle.

We first met when he was on tour with Gonzalo Rubalcalba, in Helsinki, Finland of all places ... actually, on an island in the harbor of Helsinki, where the "SeaJazz" festival was taking place in 1986. I was there with Joe Zawinul as part of the short-lived group Weather Update. "El Negro" and I became immediate friends on the festival grounds. As a parting gift, I gave him a spare 16" Zildjian crash cymbal (remembering the scarcity of new musical gear on the island of Cuba) ... a small gesture, which he repaid handsomely and generously summer after summer by bringing a box of Cuban cigars with him to Europe, where we would sooner or later cross paths (usually in an airport corridor) and he would reach into his carry-on bag and produce the intoxicating contraband (I finally had to ask him to stop, because I was not so much of a connoisseur).

Speaking of intoxicating: we've been known to have a few drinks together.

Older and wiser now. But his drumming sounds better than ever to these ears, and from the embarrassment of his recorded riches, here is the first track from his first album with his first band that's still going strong, Italuba.

As Jaco used to say before playing some recorded music for a small audience (usually in my hotel room, the music being something he played on!): "Fasten your safety belts."

Infinity Drummers. Day #310.

David Derge

"Common Ground"

Nights in Brazil / Judy Roberts

Professor George Gaber knew a good thing when he heard it. I'll never forget his emerging from David Derge's pre-recital jury at Indiana University, where David had just finished playing the Herbie Hancock tune "Actual Proof" (NOT your usual college drumming fare back in those days), and Gaber saw a bunch of us in the hallway ... he widened his eyes yet managed to say with a twinkle, "The kid can PLAY!"

David was the first percussionist to graduate as a jazz major at IU, if memory serves correct (I'm going back 45 years). Derge's credits include David Benoit, The Rippingtons, Shawn Colvin, Richard Thompson, The Brian Setzer Orchestra, Orquesta Yambo and Clare Fischer, et al. But he first made his mark professionally with Judy Roberts and her band in Chicago.

When I think of Chicago, I think of Judy Roberts (okay, and deep dish pizza, too). Since my Kenton days in the early 70s, going to see and hear (and sit in with) Judy's band after a gig was THE thing to do in the Windy City. As I wrote to David tonight, Judy was always so generous with her talent and her energy.

Another thing I'll never forget was David playing with her at a NAMM show in Atlanta in the early 80s, killing it on an up-tempo samba with a shaker in one hand, sticks in the other ... This is a cooler version of their Brazilian synergy, and I really like this take on the Ivan Lins classic "Common Ground." And while the Inifnity List celebrates the infinite variety and quality of drummers, we interrupt our regular programming to let you know that Judy is suffering from a rare form of blood cancer. She's in Phoenix now receiving care ... she and her husband could use whatever support possible, I will post a link to their GoFundMe page below ... begging your pardon for this indulgence. We now return to our music in progress: Common Ground featuring the piano and voice of Judy Roberts, her band, with drumming by David Derge.

Infinity Drummers. Day #279.

Jay Bellerose.

"Yes We Can Can"

Our New Orleans (2005) / Allen Toussaint



Shortly after Hurrican Katrina and the disastrous flooding that devastated so much of New Orleans, an album was released on Nonesuch with the aim of raising money as well as raising awareness and lifting hearts through song. The first cut on the album is composer Allen Toussaint's version of his song "Yes We Can Can." And I have been using this track for years as an example of the genius playing of a New Orleans drummer with a perfectly-vertical drum beat that swings like crazy, because it allows the rest of the song to swing without the drums *trying* to swing. Been teaching my students about this New Orleans drummer. Who I just realized TODAY is from Maine. And his name is Jay Bellerose.



Now, of course I know Jay and I'm a huge fan of his drumming but I did not know that THIS is HIM. And this track is the perfect follow-up to the Dave Mattacks song that was posted today (May 7), because where Dave's drumming has that delicious amount of swing to it, Jay's drumming both invites and dares the rest of the world to swing to his beat because it ain't going nowhere except straight up and down to your feet.



Well, just another example of the genius that is Jay Bellerose. As well as maestro Toussaint (RIP). The Beatles sang that "Tomorrow Never Knows," but I know(s) that tomorrow's Infinity Drummer is going to put a big smile on a lot of people's faces. Check out some of his other work while you're at it. Jay Bellerose. My Maine man.