Peter Erskine’s Infinity Drummers

Infinity Drummers. Day #280.

Ron E. Beck

"Ain't Nothin' Stoppin' Us Now"

Tower of Power / Ain't Nothin' Stoppin' Us Now

Whenever David Garibaldi goes shopping for footwear, I'm certain that he can easily find what he's looking for in terms of style and fit. But to be the drummer who has to fill David Garibaldi's shoes?

As far as I know, Ronnie Beck (now Ron E. Beck) was the first drummer tasked with that responsibility back in 1976 or so ... at least, that's when this album was released. And, just like Cinderella, that funky glass slipper fit real good on Ron, as the title track demonstrates from this Tower of Power album.

The drumming might seem deceptively simple. Indeed, much of its strength is in the focus and construction of the part (I'm getting analytical here, hey I *know* it feels good and I ought to just leave it at that) ... but, check out some of the very sophisticated stuff that Ron is doing with the hi-hat throughout the tune, and the way he plays in lockstep with Francis Rocco Prestia, whether they're driving down the 8th-note highway or navigating those occasional syncopated 16th-note turns (I never metaphor I didn't like).

Happy Mother's Day and enjoy this mother of a track.

Infinity Drummers. Day #311.

Jamal Thomas

"Advanced Funk"

School's In / Maceo Parker



We just need some flat out funk right now, and it does not get much better or funkier than this. Plus it features my buddy from the Maynard Ferguson band Ron Tooley on trumpet. recorded in Bonn, germany in 2005, Jamal Thomas' funk SWINGS.



Glad we got this ... looks like Jamal has moved on to singing as of late ... according to his website: "When you ask the multi-talented drummer/producer and composer of some of the world's greatest Funk & R’n’B formations why he’s turned his attention to singing… He will lay it down as such: 'To uplift this planet through music and lyrics to let love rule.' After 30 years of performing world wide with artists like Maceo Parker ... Jamal Thomas has seen the limelight long enough to know where the soul of music is born. And to give rhythm a voice just made sense. The Jamal Thomas Band is a jazz-influenced European funk group, combined with the R’n'B experience of the famous US Drummer from Macon, Georgia. It delivers a sensational mixture of old-school funk and new-school soul excitement and raw energy to groove you through the seat of your soul!"



There you go! School's in. Advanced Funk.

Infinity Drummers. Day #281.

Ben Riley

"Easy Street"

Underground / Thelonious Monk

Thelonious Monk, piano; Larry Gales, bass; Ben Riley, drums.

Released in 1968, "Underground" won a Grammy Award for Best Album Cover (!). "Easy Street" was recorded on the 3rd day of tracking and it features the rhythm section of Monk's quartet. Like all of Monk's albums, unpacking each tune is an exercise in revelation, joy, discovery, swing, and pure unadulterated pleasure. The more aware I become of Monk, the more in awe I am.

There's no better way to start the day (or a new week) than by listening to some Monk with Ben Riley. Please see the Comments section below for a link to a 1966 concert in Oslo also.

Benjamin Alexander Riley Jr., born on July 17, 1933, passed away on November 18, 2017 at the age of 84.

Infinity Drummers. Day #282.

Louis Cole

"Overtime"

Knower

Louis is a graduate of the Thornton School of Music's Jazz Studies program at USC. And, even though he studied with me, I cannot begin to take any credit for the mind-blowing drumming and music that he has come up with ... I'll be proud and content to say that I was part of the eco-system. Louis credits Professors Aaron Serfaty and the late Ndugu Chancler for much of his drumming prowess as well as vocabulary.

His partner in time is vocalist Genevieve Artadi. They have been making music together since 2009. Louis' projects bring many different musicians into his orbit. This video features Genevieve, bassist Sam Wilkes and keyboard player Rai Thistlethwayte ... and Louis' mean right foot.

This is lots of fun. Enjoy.

Infinity Drummers. Day #283.

Herlin Riley

"Rush Hour"

Perpetual Optimism



A native of New Orleans and born in 1957, Herlin started playing the drums when he was three. He played trumpet through high school, but went back to the drums in college. After graduating, he spent three years as a member of Ahmad Jamal's band. He has since worked for years with Wynton Marsalis as a member of the Jazz at Lincoln Center Orchestra and Marsalis's small groups. Riley is a bandleader in his own right, as heard here on his latest release.



Herlin Riley is a musical treasure as both a drummer and educator. He pays it forward and we are all the better for it. Do yourselves a favor and check out some of the YouTube videos of him playing the tambourine. Meanwhile, his drumming is totally tipping, ripping and popping on this tune.



Herlin Riley: drums and vocals; Emmett Cohen: piano; Russell Hall: bass; Godwin Louis: alto saxophone; Bruce Harris: trumpet.

Infinity Drummers. Day #284.

Rocky White.

"Do Nothin' Till You Hear From Me"

Digital Duke / The Duke Ellington Orchestra

Produced by Michael Abene

I first got to know Rocky White's name by way of those 1/4 page ads that Premier Drums used to run in music magazines back during the '70s. And I dug on the image of this young drummer with the sunglasses and an Afro playing in Duke's band. But it was only upon searching for a suitable recording to represent him here that I stumbled upon this album that was sitting out in the open for the longest time, the Grammy Award-winning "Digital Duke" CD on GRP.

A TALE OF TWO DRUMMERS

First, let's learn more about Rocky ... Quinten "Rocky" White was in his early 20s when he joined the Duke Ellington Orchestra. Born in 1952 near San Marcos, Texas. When White was a child, the family moved to Houston. White graduated from San Jacinto High School, where he began playing drums. He also attended Texas Southern University and played in the school jazz band. In 1970, White married Erma Green, whom he had met at San Jacinto.

At TSU, White met Barrie Hall, who in 1973 joined the Ellington orchestra. About a month later, Ellington told Hall he needed another drummer and asked Hall if he knew of one. Barrie told Ellington about Rocky, who joined the orchestra in the summer of 1973. He was one of the last musicians that Ellington hired before he died in 1974. White performed with the orchestra on the recordings Third Sacred Concert with Duke Ellington, Take the Holiday Train, Hot and Bothered, Digital Duke and Sophisticated Ladies the Cast Album. After Ellington died, White played in the orchestra under Ellington's son, Mercer Ellington, who died in 1996, and after that under Mercer's son Paul. White's final appearance with the orchestra was a performance of sacred music in 2007 at Williams Trace Baptist Church . Rocky White passed away in 2008.

* * * * *

Okay, so the first track I listen to is "Perdido," and I'm mighty impressed by the sound that Rocky is getting from his drums, and he seems to be playing well beyond his years, somehow. Turns out it was Louie Bellson (who guests on 4 of the album's tracks)! Back to the drawing board, I find this delightful version of "Do Nothin' Till You Hear From Me." I will list the personnel below, but am hoping that Mike Abene might be able to tell us more about these sessions (I hear Roland Hanna, Britt Woodman, and Barrie Lee Hall ... Also Clark Terry? or Lew Soloff?). Meanwhile, let's pay tribute here to Rocky White, the final drummer that Duke hired. (Rocky can be heard on with Duke on the Third Sacred Concert album.) Do Nothin' Till You Hear From Me, you hear?

Released on: 1987-01-01

Producer: Michael Abene

Producer, Conductor: Mercer Ellington

Alto Saxophone: Norris Turney

Alto Saxophone, Clarinet: Jerry Dodgion

Baritone Saxophone, Clarinet, Basset Clarinet: Charles Owens

Bass: Hassan Shakur

Bass Trombone: Chuck Connors

Drums: Rocky White

Piano: Roland Hanna

Tenor Saxophone, Clarinet: Eddie Daniels

Tenor Saxophone, Clarinet: Herman Riley

Trombone: Al Grey

Trumpet, Flugelhorn: Lew Soloff

Trumpet, Flugelhorn: Ron Tooley

Trombone: Britt Woodman

Trumpet: Barry Lee Hall

Trumpet: Clark Terry

Composer: Duke Ellington

Infinity Drummers. Day #285.

Jim Strassburg

"High On You"

Sly Stone

Yesterday I explained that Infinity Drummer #284, Rocky White, came to my attention by way of the frequent ads that the Premier Drum company would run in music magazines. The same for Jimmy Strassburg, whose drumming I did not know but whose visage had become familiar ... the photo (which will appear in the Comments below) does not exude any specific energy I could detect aside from reminding me a little bit of that Billy Crystal crack about "white man overbite" that occurs when some people try to dance.

Well, COLOR ME completely wrong about Jim Strassburg. When you listen to this Sly Stone track, I promise that you will have your mind blown. He is totally at home being funky. And the bass playing by Bobby Vega...? When I listened to this earlier today (for the first time), all I could say was "Holy F*ck."

Not So Modern Drummer magazine's website posted the following back in 2017: << I got this email from Jimmy Strassburg, great drummer who played with Sly Stone, Bill Champlin and some of my other musical heroes:

"I endorsed Premier drums in the middle 70's and used them w/SLY STONE on his Epic recording "High On You". 1962 studied with George Lawrence Stone for a few lessons, then Alan Dawson, then went back to NYC, studying with Sonny Igoe. Playing with everybody. Played with Gato Barbieri, Enrico Rava, Charlie Hayden, at Janis Joplin's last gig ever at Harvard Bowl 1970. Played in Gas Mask NYC horn band produced by Teo Macero, Miles' producer. Was roommate w/Michael Brecker playing in Mexico City 1969 for 6 months. Recorded with GREAT DON ELLIOT, for Quincy Jones hot rock record, was in the horn group Gotham, first mixed race group ever signed to Motown, featuring Pee Wee Ellis, James Brown's band leader. Also guitar master Lincoln Chamberland, who also played for Quincy, Hot Rock. Recorded for Martha Reeves, Esther Phillips, Vickers Sue Robinson, also played and recorded w/David Liebman, and toured with the Ellis Liebman band , Jeff Berlin, Tony Saunders, Chris Hayes, later guitar for Huey Lewis. Also I played with Sons of Champlin, (Bill Champlin who later played with Chicago). Recorded 2 Albums w/Sly and the family stone. Also recorded W/ Billy Preston and countless others. Mighty Joe young, the Orchids, Billy Vera, Edwin Birdsong. Also drum author Jim Payne was one of my students as was Kevin Hayes with Robert Cray for 20 years. Very best again, Jimmy." >>

Nice and modest guy and a helluva drummer. More listening links below. And, needless to say, this Sly track is a revelation.

Infinity Drummers. Day #286.

Josef "Joe" Blocker

"Karma"

Celebration / Karma

The Infinity Drummers list will be grateful for any information regarding the history and/or whereabouts of Josef Blocker. (Vince Wilburn Jr.) His playing bears an uncanny resemblance to Ndugu Chancler's ... definitely part of the same musical zeitgeist of the funk jazz fusion that was taking place in Los Angeles during the mid 1970s. I remember listening to this album somewhere during and between my journey from Maynard Ferguson's band to Weather Report ... and I remember playing the bossa-nova clave beat on the bell of my ride cymbal at a January 1979 NAMM jam with Jaco and looking up and seeing Joe Blocker checking us out ... certain that he was busting me for copping his beat. In any event, powerfully great drumming on this track as well as on the original Funk De Mambo from the same album.

from wikipedia: Karma was an American soul/funk/jazz band, which recorded two albums for the A&M Records imprint Horizon Records in the 1970s. Its members included Ernie Watts, trombonist George Bohanon, trumpeter Oscar Brashear, keyboardist Reggie Andrews, bassist Curtis Robertson Jr and drummer Joe Blocker. After recording two albums, the group disbanded in 1978.

A link to the entire first album "Celebration" will follow in the Comments ... do yourself a favor and listen to the whole thing, but especially the first track "Funk De Mambo" ... it's wicked good and Ernie Watts sounds especially compellingly hip here.

Infinity Drummers. Day #287.

Ricky Wellman

Go Go Swing~ (from Live - D.C. Bumpin' Y'All)

Chuck Brown & The Soul Searchers

Speaking of (19)87. RICKY WELLMAN. GO GO.

Heard here with the Godfather of Go Go, Chuck Brown.

Ricky "Sugarfoot" Wellman (born Ricardo Dalvert Wellman on April 13, 1955 ln Bethesda, Maryland) was a longtime drummer for Chuck Brown & the Soul Searchers. He died of pancreatic cancer on November 23, 2013 at the age of 58.

Ricky toured with Miles Davis and was an integral part of that band's sound in the late 80's as well. I chose this track with Chuck Brown because Ricky's drumming is not only so great and so non-stop, but it's also mixed so prominently. The power of the groove, and that backbeat ... awesome. And hearing Chuck Brown sing these swing tunes is a super fun(ky) way to start a Sunday. Hey, whatever day you hear this will be a good day.

And stay safe wherever you are. Big shoutout to the late Ricky Wellman.

Infinity Drummers. Day #288.

Michael Baker.

His April Touch / Billy Childs

(full album)

This is a wonderful album, and Michael Baker sounds wonderful playing Billy's music on this album.

Michael Baker has done it all, touring the world with Whitney Houston, Joe Zawinul ... well, here's a list of some of the people he's worked with: Whitney Houston, Michael Jackson, Aretha Franklin, Sting, Christina Aguilera, James Taylor, Elton John, Shaggy, Usher, Wycliff, Ashante, Mary J., Celine Dion, Ricky Martin, Brandy, Duncan Sheik, Candy Dulfer, Aaliyah, Luther Vandross, Ray Charles; Herbie Hancock, Al Jarreau, Branford Marsalis, The Zawinul Syndicate, Wayne Shorter, Jimmy Smith, Kenny Burrell, Stanley Turrentine, Billy Childs, Freddie Hubbard, Dianne Reeves, Clark Terry, The Ellington Orchestra and many others. Whew.

We've crossed paths in LA as well as in some far-flung places, and it has always been a pleasure to see and hear Mike in action.

I promise that you will enjoy his company and the company of the music on this album — a window that provides a glimpse into the genius that is Billy Childs. And one thing about geniuses: they usually know which drummer to call.

Ladies and gentlemen: Michael Baker on the drums.

Acoustic Bass – Tony Dumas

Drums – Mike Baker

Electric Bass – Jimmy Johnson

Piano – Billy Childs

Producer – Andy Narell, Billy Childs

Tenor Saxophone, Soprano Saxophone, Alto Saxophone, Flute – Bob Sheppard

Trombone – Bruce Fowler

Trumpet – Walt Fowler

Infinity Drummers. Day #289.

Larrie Londin

Don't Stop Believin'

* no, not the Journey/Sopranos tune *

OLIVIA NEWTON-JOHN

Larrie Londin was the stage name for Ralph Gallant, born October 15, 1943, who died far too young on August 24, 1992. Larrie was one of the most-loved drummers on the scene as many of us were coming of age during those halcyon drum-company-sponsored-clinic days in the 80s. Indeed, Larrie and his wife Debbie Gallant established D.O.G. Percussion (named for Debbie's initials), Nashville's first dedicated drum shop, and they invited many of us there to play. Quoting from wikipeda, "Always promoting innovation in the session business, Londin mentored younger musicians and proposed the first cartage services for Nashville session players. One notable drummer whom Londin mentored was Eddie Bayers, now a top Nashville session drummer in his own right."

I don't need to quote wikipedia to tell you what a nice man Larrie was, and his discography speaks for itself. Plus, Larrie must be one of the very few musicians who could claim both Motown and Nashville as his home.

So, of all of the music he recorded, why this tune?

1). Today is a perfectly fine day to listen to an Olivia Newton-John tune.

2). His drumming here is, simply, perfect (from a drummer point of view: going from that half-time feel - to - the double-time groove and maintaining that pocket is harder to do than it might sound. And that's the point, he makes it sound easy).

3). dig the sly fills near the end

I have very fond memories of my visit to D.O.G. Percussion, and would like to take this opportunity to say hello to Larrie and Debbie's son Sean Gallant-Londin.

Everyone stay safe out there.

Infinity Drummers. Day #290.Nick Martinis

"It Could Happen To You"

Pete Jolly Trio w Chuck Berghofer

It couldn't happen with a more swinging bass player than Chuck Berghofer. Chuck talks about Pete Jolly a lot, and so he talks about Nick Martinis a lot ... this trio remains a special group for Chuck, and this one listen will tell you why: the band tips, it is light on its feet, and the music is intelligent, witty and urbane. I really like the way Nick Martinis plays here. But on a more basic level: any drummer who's a friend of Chuck's is a friend of mine.

Bassist Ralph Peña's Facebook page provides a nice history: <>

Or you can dig him here with Nick Martinis. Yes, It could happen to you.

Infinity Drummers. Day #291.

Bill Maxwell "More Than A Feeling"

Koinonia

Bill Maxwell hails from Oklahoma but has made Los Angeles his home in 1972 when he moved here as part of Andraé Crouch and the Disciples. The original founding members of Koinonia (the name taken from a Greek word used in the Bible to denote “intimate fellowship”) in 1980 were: bassist Abraham Laboriel, Weather Report veteran Alex Acuna on drums and percussion, wind player John Phillips, noted session-guitarist Dean Parks, and three members of Andraé Crouch's band: guitarist Hadley Hockensmith, Harlan Rogers on keyboards, and Bill Maxwell.

Bill has made notable contributions to many albums, films and television shows as a drummer, percussionists and musical director. And how many drummers do you know with this fat of a back beat who have also been inducted into the Oklahoma Jazz Hall of Fame? This is the first track on their first album. I got a hold of this after I moved from LA to New York in the early 80s, and I'll admit that it made me nostalgic for the Golden State.

Enjoy this quintessential LA groove played by some of the best.

Another link below of a later Koinonia album produced by Jerry Hey!

Infinity Drummers. Day #292.

Sonny Igoe.

Bird Flies With The Herd

We're in for a real treat today, folks. Charlie Parker with Woody Herman's Thunderin' Herd (1951), driven by the great Sonny Igoe on drums.

This YouTube clip contains 2 tunes, one titled "The Goof and I" written by Al Cohn, and "Leo the Lion" composed and arranged by Tiny Kahn (who was a great drummer, already featured on the Infinity list). Sonny’s playing here is a masterclass in big band drumming, infused with the primal energy of 1951 bop.

Here are the musicians: Roy Caton, Don Fagerquist, Johnny Macombe, Doug Mettome (trumpet), Jerry Dorn, Urbie Green, Fred Lewis (trombone), Charlie Parker (alto sax), Woody Herman (clarinet, conduct), Dick Hafer, Bill Perkins, Kenny Pinson (tenor sax), Sam Staff (baritone sax), Dave McKenna (piano), Lawrence "Red" Wooten (bass), Sonny Igoe (drums)

I first got to know Sonny by way of some ads in downbeat magazine, and then got to meet him while I was a young whippersnapper on the Kenton band, and I gotta tell you: Sonny Igoe was one of the most gracious and encouraging men I've ever known. He emitted pure enthusiasm and really knew how to make someone feel good about themselves ... which is one of the reasons he was such a beloved and effective teacher.

He got his start winning a Gene Krupa drumming contest. Hey, and he's the father of Tommy Igoe, who followed in his father's footsteps, becoming a great drummer and educator (also known for his associations with The Lion King and the Birdland Big Band).

A native and longtime resident of north Jersey, Sonny played in the bands of Benny Goodman, Woody Herman, Neal Hefti and many more, plus he was a house drummer in the NBC and CBS television orchestras in New York, where he could be heard on the Ed Sullivan and Jackie Gleason shows.

And awa-a-a-a-y we go!

Infinity Drummers. Day #293.

Jan Hammer

“Country and Eastern Music”

Jerry Goodman & Jan Hammer / Like Children



Getting to know Jan Hammer’s playing (acoustic piano, Fender Rhodes and Moog Synthesizer) by way of the recordings he made with The Mahavishnu Orchestra as well as with Elvin Jones (the excellent “Merry Go Round” album on Blue Note), this album came as a surprise in 1974 ... here’s Jan Hammer not only playing a multitude of keyboards (in various guises and roles), but the drums, too. And a slammin’-looking set of yellow Gretsch drums at that.



This first track from the album also features his writing and producing skills (and vocals?) ... it’s not hard to see and hear why he would eventually become the musical voice of the TV hit show Miami Vice (someone correct me if I'm wrong here, but Jan must have been one of the first TV composers to score and produce everything by himself in his own/home studio).



The drumming here is powerful and right on the nose, but with a refreshingly subversive feel to it. The tune has an almost Bulgarian or Hungarian (Bartok) thing to it — assuming that to more accurately be a Czech thing.



Question: is it true that Jan and Miroslav (Vitous) were the inspirations behind the “wild and crazy guys” bit that Steve Martin and Dan Akroyd used to do?



Shoutout to my former Interlochen classmate Lewis Saul for suggesting the album, with apologies for not highlighting the tune he likes the most on it ...!

Infinity Drummers. Day #294.

Ollie E. Brown

"Honey I'm Rich"

Raydio

It's safe to say that Ollie Brown has been part of the soundtrack of our lives much more than many of us might realize ... from albums with the Blackbyrds to the movie "Breakin'" and its hit single "There's No Stopping Us," plus his work with Quincy Jones (Michael Jackson's "Bad"), Billy Preston and Minnie Ripperton, among others. A busy drummer who knew better than to play too busy!

Ollie's wikipedia page says that he's involved with real estate now. By coincidence, I chose this song because the drumming is so cool on it. And while "Jack and Jill" was the hit tune on the Raydio album check out "Is This A Love Thing" because it's a ride in the Time Machine and it's also hilarious (in a fun way). I'll supply a couple of links below (*that* reminds me of the Toto song: "You supply the night, baby, I'll supply the love") ... good songs and good times, good drum beats make the world go 'round. Ollie Brown: thank you for the music!

Shoutout to Ollie's partner in time, bassist Jerry Knight (who died far too young). I got to play one day in the studio with Jerry back in late 1978 on a Michel Colombier album, and wow, he was great. Enjoy him and Ollie here ...

Infinity Drummers. Day #295.

Jimmie Young.

"All Over"

Phoebe Snow / Second Childhood

This track features the sweet playing of Don Grolnick, Will Lee, Ralph MacDonald and drummer Jimmie Young. The perfect horn arrangement was written by Patrick Williams, with all of it wonderfully produced by Phil Ramone. And, oh, those vocals by Phoebe Snow! This track has become my new obsession. A shoutout to Steve Khan for bringing it to my attention.

Jimmie navigates the alternating triple and duple meter-scheme sumptuously, while Don's touch on the Rhodes is heavenly. Ralph MacDonald's percussion is in perfect sync with Jimmie's (perfectly-recorded) tom backbeats. This might be one of my favorite Will Lee tracks ... the double-stops and subsequent harmonic outlining all form exquisite counterpoint to Phoebe Snow's singing. If you're already a fan, enjoy this reminder ... and if you're new to Phoebe Snow, then WELCOME. (She was my dad's favorite singer.)

I found this bit of autobiographical background on-line from Jimmie: "Arrived in NYC in 1959 drumming with Jazz Pianist Marian McPartland. First album recorded then with the Dixieland Band "The Salt City Six". Played in many of the "weekend big bands" finally joining the Kai Winding 4 Trombone Jazz group. Then a stint with vocalist Nancy Wilson opening for Lenny Bruce. Became the drummer for Broadway Show "Hair" from 1969-71. Records came after that show. The Main Ingredient's "Everybody Plays the Fool", Barry Manilow's "Mandy", Starland Vocal Band's "Afternoon Delight" Ashford and Simpson's "Found a Cure", The Village People's "In The Navy", Chic's "Yowsa Yowsa!", "Star Wars", and Frank Sinatra's New York, NY to name a few. . Then music for many TV shows, commercials and more Broadway shows followed. It's been a great career and now I'm learning to compose and arrange some new material to be presented in the near future. A new exciting direction to explore! It's still fun! Playing drums and creating Music!!!"

And, yes, that is Jimmie on "Afternoon Delight" ... the mid-70's were pretty great when it came to music.

Infinity Drummers. Day #296.

Gregory Coleman

"Amen, Brother"

Color Him Father

(from wikipedia) Gregory S. "GC" Coleman (25 September 1944 – 5 February 2006) was a member of The Winstons and the drummer of the Amen break, a famous drum solo taken from the recording "Amen, Brother" made in 1969 by The Winstons. This solo is the most frequently sampled drum loops in modern music and is used in genres from hip hop to drum and bass and beyond. Apart from sales of the original recording, Coleman never received any royalties from the widespread use of the sample. [Coleman died in Atlanta, Georgia, in February 2006. He was said to be homeless at the time.]

* I'm learning all of this just now ... *

The Winstons were a 1960s funk and soul music group, based in Washington, D.C.. They are known for their 1969 recording of an EP featuring a song entitled "Color Him Father" on the A-side, and a song entitled "Amen, Brother" on the B-side. Half-way into "Amen, Brother", there is a drum solo (performed by G.C. Coleman) which would cause The Winston's EP to become one of the most widely-sampled records in the history of electronic music. Sampled audio clips of the drum solo became known as the Amen Break, which has been used in thousands of tracks in a large number of musical genres, including drum and bass, hip hop, jungle, big beat, industrial and electronica.

The "Color Him Father" record sold over one million copies, and received a gold record awarded by the Recording Industry Association of America on 24 July 1969.

The "Amen Break" is a six-second drum sample (starts at 1:26) from the B-side of this chart-topping single from 1969. This sample was used extensively in early hiphop and sample-based music, and became the basis for drum-and-bass music ...

The Winstons line-up included:

Gregory C. Coleman (vocals, drums)

Ray Maritano (vocals, alto saxophone)

Quincy Mattison (vocals, lead guitar)

Sonny Pekerol (vocals, bass guitar)

Richard Lewis Spencer (lead vocals, tenor saxophone)

Phil Tolotta (second lead, organ)

Infinity Drummers. Day #297.

Dave Tough

“Amen”

Woody Herman & his First Herd, 8/6/1944

The drumming is so good here, I will simply say “Amen” and let the music speak for itself. But for those wishing to know a bit more about the man, here is the Wikipedia page text devoted to Dave Tough.

<< Dave Tough (April 26, 1907 – December 9, 1948) was an American jazz drummer associated with Dixieland and swing jazz in the 1930s and 1940s.

Born in Oak Park, Illinois, Tough was a friend of Bud Freeman, who was part of a group of musicians known as the Austin High School Gang in Chicago. In 1925, he became a professional musician, playing with Jack Gardner, Art Kassel, Sig Meyers, and Husk O'Hare's Wolverines. After two years in Europe, he returned home and played with Benny Goodman and Red Nichols.

He left music for three years until 1935, then joined the big bands of Tommy Dorsey, Red Norvo, Bunny Berigan, and Benny Goodman. He played Dixieland jazz with Bud Freeman, Jack Teagarden, Eddie Condon, Mezz Mezzrow, and Joe Marsala. In the 1940s, he played with the big bands of Charlie Spivak and Claude Thornhill, in Artie Shaw's Symphonic Swing Orchestra (1941) and the subsequent naval band led by Shaw (1942-1944), then joined Woody Herman's big band (1945). He subsequently worked with Eddie Condon, Jerry Gray, Muggsy Spanier, Will Bradley and Jazz at the Philharmonic.

Tough struggled with epilepsy throughout his life. He died at the age of 41 after falling down and hitting his head on the street in Newark, New Jersey.

"...(Woody) Herman told (Ed) Soph that Dave Tough was an epileptic. This condition wasn't fully understood in the twenties and thirties. In many instances it was considered a mental deficency. As a recommended aid in reducing the epileptic attacks, Tough drank... ...One cold icy evening in the winter of 1948, Dave Tough was out walking on leave from a stay at a Veterans Hospital. He had an epileptic attack, fell hitting his head on the sidewalk and was dead."

He was played by Shelly Manne in the 1959 Paramount Pictures biopic The Five Pennies, a biography of Red Nichols starring Danny Kaye, Barbara Bel Geddes, and Louis Armstrong. >>

My introduction to him was by way of the old black-white Zildjian “Cymbal Set-Ups of Famous Drummers” book, where Dave Tough and a few others were immortalized with the words, “Never to be forgotten ...” Listening to this (and other tracks) makes me realize what a truly great, innovative and powerful drummer he was. Gone way too soon. And never to be forgotten.

Amen.

Infinity Drummers. Day #298. Dwight Burns "Tighten Up” Archie Bell & the Drells I don't know about y'all, but I am learning a lot from this list. And yesterday I learned about Dwight Burns whose drumming got a lot of us to tighten up in the 60s. Please refer to the 2 links below in the Comments section to learn more about Dwight Burns and what he plays here. Fascinating to discover the story behind the beat. Meanwhile, listen to this and TIGHTEN UP. LINKS: Here's an interview with Dwight Burns, conducted by J-Zone: https://daily.redbullmusicacademy.com/2016/12/dwight-burns-j-zone-interview. And here's an article written by Billy Lee Lewis for Drum! magazine ... it includes a transcription and discussion of the "Tighten Up" drum break and beat. https://drummagazine.com/22-essential-soul-beats-for-drummers/

Infinity Drummers. Day #299. Chuck Carter "Grazing in the Grass" Hugh Masekela Hearing this should bring back fond memories for anyone who was around in the mid-to-late 60s. I look back in wonder at how many "international" hits we used to hear on the radio during the 1960s, as if American culture was doing its best to realize the Kennedy-era dreams (and, I'm venturing, the post WW2 linguistic dreams of Esperanto and the promise of the UN, the Peace Corps, etc.) of a more common and shared humanity ... I'm no sociologist, but think about the number of songs we were all listening to back in those days, like "Sukiyaki" from Japan ("Ue o Muite Arukō"), the French-language (Belgian) song "Dominique" sung by Jeanne-Paule Marie Deckers (otherwise known as "The Singing Nun, or Sœur Sourire), "Nel blu, dipinto di blu" popularly known as "Volare" from Italy (1958), and Miriam Makeba's "Pata Pata" ... which brings us to Hugh Masekela's "Grazing in the Grass" ... and all to say, the openness of American ears was remarkable and symbolic of something. So, when I heard the opening cowbell beat and Soweto-inspired piano and guitar rhythms, I assumed (and continued to do so until yesterday!) that this epochal hit tune was recorded in South Africa. Here is the genealogy of the song, as documented by wikipedia: << "Grazing in the Grass" is an instrumental composed by Philemon Hou and first recorded by the South African trumpeter Hugh Masekela. Released in the United States as a single in 1968, it reached number one on the Billboard Hot 100 chart, "Grazing in the Grass" was inspired by an earlier novelty recording, "Mr. Bull Dog No. 5", which Masekela had heard in Zambia, that started with a cowbell. When Masekela was recording his debut album, the running order was short by three minutes and his record company suggested he record the tune. Philemon Hou, an actor and singer who was present in the studio, came up with a new melody while the backing track was already being recorded. The session was held at Gold Star Studios in Hollywood. Personnel * Hugh Masekela – trumpet * Bruce Langhorne – guitar * Al Abreu – alto sax * William Henderson – piano * Henry Franklin – bass * Chuck Carter – drums, cowbell >> Almost right. Further unpeeling of the onion reveals that the actual name of the "novelty tune" is "Mr. Bull Dog No. 4" and the resemblance of the one song to the other is, shall we say, coincident. Which brings me to another layer of discovery. High Masekela and his band made a live recording at the Whiskey A Go Go in Hollywood, and that album contains a tune titled "Coincidence" (link below) that has harmonic twists that I promise will surprise you. All to say that there was a LOT more to Mr. Masekela than "Grazing in the Grass." Which is NOT to take anything away from this tune. if nothing else, it helped to put Hugh Masekela on the map of music ... but more than that, for me, is the floating almost legato quality of the cowbell ostinato ... Chuck Carter's phrasing is magically great to my ears. Here is what I was able to find out about Chuck Carter: << Charles Cornelius “Chuck” Carter Jr. was born in St. Louis on December 7, 1939. He departed this life on January 6, 2006. Carter was educated at Marshall Elementary School and Sumner High School. In a 2002 interview with the Philadelphia New Observer, Carter remembered his days growing up as a working musician in St. Louis. “I was in high school with Tina Turner. We were in the same room, same class and same age. Towards the end of our senior year, Tina started working over in East St. Louis with Ike Turner. We used to have a jam session over there at The Vets every Sunday for a long time. Just before I left St. Louis I was working at the Dark Side with Quartet Tres Bien,” Carter said. After leaving St. Louis, Carter went on to work with legendary musicians such as Cecil Bernard, Harry Franklin and Hugh Masekela for the “Whiskey A-Go-Go” experience in Los Angeles which can still be heard on the CD, “Live and Well At the Whiskey A-Go-Go”. His career as a jazz drummer spanned over four decades. His skills have been employed by Ben Webster, Bobby Hutcherson, Sonny Criss, Hank Crawford, Freddie Hubbard, Eddie Harris, Errol Garner and others. >> And check out the Whiskey A Go Go album. GREAT MUSIC. https://youtu.be/qiq2SnT2HKg Hugh Masekela is Alive and Well at the Whiskey A Go Go “Coincidence”

Infinity Drummers. Day #300.

Terry Snyder

"Whatchamacallit"

Exploring New Sounds in Stereo / Esquivel and His Orchestra

Imagine a 6-year-old boy learning how to operate his father's Bell & Howell 1/4" tape cartridge machine (invented by RCA ... think = really large cassette) and utilizing its relatively fool-proof loading mechanism to play this album, simultaneously enjoying it and looking at the cover image while trying to make sense of the sounds (not to mention the aesthetics!) ... and, for all of these many years after, thinking back on it and assuming the recording to have taken place in Hollywood because, well, Esquivel *did* make recordings for RCA in Hollywood, and this sounds, for lack of a better term, quite Californian.

Big props to Gio Washington-Wright for providing the following list of musicians to me. Guess what? The album was recorded in New York's Webster Hall, and check out the players!

JUAN GARCÍA ESQUIVEL, piano, arranger, conductor.

Saxophones: Bernard Kaufman, George Berg, Stanley Webb and Romeo Penque

Trombones: Chauncey Welsch, Frank Rehak, Richard Hixson, Thomas Mitchell, and Urbie Green

Trumpets: Al DeRisi, Bernie Glow, Ernie Royal, Jimmy Maxwell, Jimmy Nottingham, Stanley Fishelson, Doc Severinsen and Maynard Ferguson

Bass: George Duvivier, Jack Lesberg, Milt Hinton

Bongos: Johnny Pacheco

Timbales: Mario Alvares (replaced by Tony Molina on A2)

Drums: Terry Snyder (replaced by Robert Rosengarden on B1, B3 & B5)

Flute: Harold Bennett, Julius Baker

Guitar: Al Caiola, Ernest Ardi

Marimba: Pete Terrace

Percussion: Harry Breuer

Congas, Percussion [Jaw Bones]: Carlos “Patato” Valdés (on B1, B3 & B5 only) and John Rodríguez

Vocal solos: Muzzy Marcellino

Vocal group: Alicia Adams, Betty Jane Baker, Charles Parlato, and John B. Drake

Vocal Chorus: Dick Williams (on A2), Dotti Evans (on B1, B3 & B5), Edwin Lindstrom (on B1, B3 & B5), Elise Bretton, Eugene Steck, James Stover, and Jerry Duane

Recorded at Webster Hall, New York, November 24, 25 & 28, and December 3 & 10, 1958.

ETC.

TERRY SNYDER!

The drummer on all of those Enoch Light-produced "Persuasive Percussion" albums ... the drummer on just about every Perry Como song ... the drummer on a lot of things! I will include a video link below, it seems that Terry Snyder was a lefty ... which didn't hurt his chops at all (check out "My Blue Heaven" from this same album, EXCELLENT snare drum playing). I chose "Whatchamacallit" because it is a perfect way to introduce a neophyte listener to Esquivel's musical universe and general wackiness ... or "Space Age Pop Music," as the genre has been named. (I think Bachelor Stereo or something like that also works).

Have a great holiday weekend, y'all, and stay safe.

And, happy hunting down this rabbit hole.

Infinity Drummers. Day #301.

Tom Romersa

"Mombasa After Midnight"

African Jazz / Les Baxter

This was another one of the first albums I remember listening to (in addition to LPs or RCA cartridges of Specs Powell, Art Blakey, Henry Mancini, The Duke of Iron, Martin Denny and Esquivel, et al) as a kid. And while this is not my favorite (or most representative) track from "African Jazz," it definitely reflects the vibe of the whole thing plus you can clearly hear the drumming of Tom Romersa, who is otherwise playing bongos on much of the album.

Here's the personnel listing for this tune:

Manny Klein, trumpet; Milt Bernhart, trombone; Harry Klee, Jules Kinsler, flute, clarinet & alto sax; Plas Johnson, tenor sax & flute; Champ Webb, tenor sax & oboe; Johnny Williams, piano; José Gamboa, guitar; Ann Mason, harp; Tony Reyes, bass; Larry Bunker, vibes, accordion & percussion; Tom Romersa, drums & bongos; Chico Guerrero, timbales; Tito Rivera, bongos & conga; Carlos Vidal, conga. Arrangements: Les Baxter and Willard Jones.

Recorded at Capitol Tower Studios, Hollywood, August 20, 1958

Note the pianist's name!

I don't know too much about Tom Romersa aside from the fact that he worked with Benny Goodman and Jerry Fielding, among others (recordings with Ella Fitzgerald, Conrad Gozzo, etc.).

The first cut on the LP is "Congo Train," a bubbly confection that also made an appearance on a Martin Denny album. The marimba solo on the "African Jazz" album was played by Larry Bunker. Here's a Larry Bunker story: one evening I found myself in Capitol Studio "A" working alongside Larry Bunker, and on a break I went up and asked him what he could tell me about Les Baxter. His reply: "What can I tell you about Les Baxter? He was a c*cks*cker, THAT'S what I can tell you about Les Baxter!"

Not the reply I was expecting.

Larry went on to explain that the cause of his fury was something that went down on the "Congo Train" session, where Les Baxter gave Larry a chance to play a marimba solo on the tune, but then had Larry play the solo in the key of B, so = five sharps ... and you *can* hear one note in the solo that was probably not to Larry's liking, but there he was 40+ years later and still bugged about it! (And I asked him about it in the very same room where it all went down.) And this reminds me of a Bill story he once told me about Stravinsky (no expletives), but I'll save that for another time. And this album cover ... maybe that's a discussion for another time as well. CONGO TRAIN https://youtu.be/8rOYr_QSm5k Jules Kinsler, flute; Gene Cipriano, oboe; Plas Johnson, tenor sax & flute; Johnny Williams, piano; Larry Bunker, vibes, xylophone & marimba; Allan Reuss, guitar; Tony Reyes, bass; Milt Holland, drums & conga; Chico Guerrero, timbales; Alvin Stoller, bongos. Arrangements: Les Baxter.

Recorded at Capitol Tower Studios, Hollywood, August 27, 1958

Infinity Drummers. Day #302. Memorial Day 2021 Moe Purtill "American Patrol” Glenn Miller Orchestra. Well ... you learn something new every day. I've merrily gone along for most of my life assuming that Ray McKinely was the drummer on "American Patrol," but, lo and behold, that drummer is Moe Purtill. Thank you, Wikipedia and YouTube. << Maurice "Moe" Purtill, also listed as Moe Purtill (May 4, 1916 – March 9, 1994), was an American swing jazz drummer, best known as drummer for (the) Glenn Miller Orchestra. Born in Huntington, New York, Purtill dropped out of high school and started his career as a freelance drummer in New York studios. At the age of 20, he was with the band of Red Norvo at the beginning of 1936. Later he joined Mildred Bailey. He played briefly with Miller in 1937, then worked with Tommy Dorsey in 1938-39 before picking up with Miller again from 1939-1942, when Miller had the bulk of his hits. After the breakup of Miller's band in 1942, Purtill played with Kay Kyser until 1944, then joined the U.S. Navy. After his discharge, he played briefly in 1946 with the reformed Glenn Miller Orchestra directed by Tex Beneke.Purtill went on to record various projects. He participated in a few Miller reunions, although he did not like to discuss his time in the band. He was good friends with Buddy Rich. Purtill lived in New York City until the early 1970s when he moved to Sarasota, Florida. Moe Purtill retired in 1978. He died at Valley Hospital in Ridgewood, New Jersey. Moe Purtill appeared in the following movies in 1941 and 1942: Sun Valley Serenade (1941) Orchestra Wives (1942) >> Dig the sound of the bass drum! And his snare break near the end of the tune is as good as they come ('though not as syncopated as Shadow Wilson's famous fill with the Basie band on "Queer Street" ... THAT fill was the game changer). Thank you for your service, Moe, and for your fine sense of swing. I'll assume that THIS is Ray McKinley (1944) ... excellent drumming here https://youtu.be/h0dtkNJJsf4

"Honeysuckle Rose"

Ella at Juan-les-Pins / Ella Fitzgerald Ella at Juan-les-Pins is a 1964 live album by Ella Fitzgerald, accompanied by a quartet led by Roy Eldridge on trumpet with the pianist Tommy Flanagan, Gus Johnson on drums and Bill Yancey on bass. This "Honeysuckle Rose" is a buoyantly-swinging flower of a tune.

Gus Johnson was born on November 15, 193 in Tyler, Texas, where he learned to play the drums. He moved to Kansas City where he ultimately joined forces with Jay McShann before being drafted to serve in the U.S. military in 1943. After his return from the service, he played with Count Basie and did a lot of recording work in New York. He also traveled with Ella Fitzgerald, as this performance from France attests. (You can also find a terrific clip of Ella with Duke Ellington's Orchestra where Gus Johnson is the drummer, I'll post the link below). Gus Johnson passed away in 2000. He was a wonderful drummer. He can also be heard on the iconic "Drum Suite" and "Son of Drum Suite" albums on RCA. Here's one link, there are others out there as well ... https://youtu.be/DuXZ7FUmhqs

Infinity Drummers. Day #304.

Sonship (Woody “Sonship” Theus)

"Fly With The Wind"

The Greeting (McCoy Tyner “live”)

Born on June 21, 1952, Sonship was an iconic presence on the Los Angeles jazz scene as well as on the world stage. The first mental image one would get at the mention of his name was the unique manner in which he set up his drums, in particular the cymbals. Gerry Gibbs wrote an eloquent obituary after Sonship's passing in 2011, I will paste much of it below. Thanks also to Gerry for recommending this track. I was familiar with the original studio recording of the tune with Bill Cobham ... the energy of this live performance is breathtaking in every sense of the word.

from moderndrummer.com: << Woody “Sonship” Theus, whose credits include work with McCoy Tyner, Charles Lloyd, John McLaughlin, Woody Shaw, Freddie Hubbard, Michal Urbaniak, and Pharoah Sanders, passed away this past March 18, at age fifty-eight. Among the pallbearers at his funeral were the world-renowned drummers Ndugu Chancler and James Gadson.

Theus took on the name Sonship upon hearing John Coltrane’s classic Sun Ship album at sixteen years old. He made the adjustment in spelling in order to honor Jesus, the Son of God.

Theus was born in Los Angeles on the first day of summer in 1952. By the time he was twelve, he had played the flute, violin, trumpet, and piano before deciding that the drums were his true calling. At sixteen Sonship recorded an album and began a long-running house gig at an L.A. jazz club with pianist Larry Nash, a schoolmate. While still in school, Theus began getting calls to play with jazz artists like saxophonist John Klemmer. Another sax great, Charles Lloyd, called Theus’s mother and told her that as soon as the young drummer graduated, he wanted to take him on the road. Sure enough, once Sonship was done with school, he joined Lloyd, playing with him on and off for eleven years.

Among the qualities that made Theus unique was his unrelenting energy. He insisted that his intensity and volume—a classic image shows him stretching to play his high-mounted China cymbals—had nothing to do with insensitivity or an attempt to overwhelm the music. Rather, he made a literal connection between his aggressive approach and Psalm 150 of the Bible, which states that God likes to be praised with “high-sounding cymbals.”

Theus was also known for his unique drumkits. One set featured a three-dimensional replica of the solar system hanging from each drum, while another had fishnet and fake fish dangling from it—both paying homage to God’s creation of the world. Sonship also gravitated toward unusual sounds. I remember seeing him once with four large rack toms, all tuned similarly low and timpani-like. At another point he used a stand-up set without a seat, which can be seen in the liner notes to trumpeter Eddie Henderson’s Heritage album. And as far back as high school, he was known to paint his cymbals various hues. Regardless of the colors, sizes, or configurations of his drums, Sonship always had a very open, tribal-like tone.

Befitting his unusual approach to sound and technique, Theus was known to carry himself through life in idiosyncratic ways. One bandleader asked him several times to play more softly because he couldn’t hear himself. At the end of the set Sonship told the leader, “I will go outside and ask God what He thinks.” When he returned to the stage playing as loudly as ever, the drummer explained, “I asked God whether I should play quieter…and He said no.” >>

Infinity Drummers. Day #307.

Hank Jaramillo

"Subways Are For Sleeping" (Overture)

The show "Subways Are For Sleeping" opened on Dec 27, 1961 and ended its run at the St. James Theatre on Jun 23, 1962. To the best of my memory and calculations, I was still 7 years old when my parents drove me up to New York from Linwood, New Jersey (a 2+ hour trip) to see this, my first Broadway show, in person. In addition to having a serious boy crush on actress Phyllis Newman (who appeared in almost the entire play clad only in a bath towel), this was a defining moment of sorts for me in regards to music. Looking down into the orchestra pit before the show began, and then again during intermission, sealed the deal for me: I knew with absolute certainty that I wanted to be a professional musician.

The drummer on that show? Well, it took some detective work to discover that it was Broadway veteran Hank Jamarillo — only, he was not a veteran at this stage of the game! Still, as you can hear on the "Overture" from the musical, he plays with total mastery and confidence. And dig that poppin' snare drum!

I am guessing that the recording was made at Columbia's 30th Street Studio. I cannot guess who the fabulous trumpet player is, but I can salute everyone in the orchestra as being great, and thank them here and now for inspiring me to take up musical arms.

Thanks to Gio Washington-Wright and Joe Soldo for the ID assist, and to Pat Petrillo for offering these comments about Hank (some of you might have been familiar with Hank by way of a column he used to write for Modern Drummer magazine, or his teachings at the Drummers Collective): "HANK! Yes I studied with him around the same time I studied with you (early 80s) ... Man, he really took me under his wing, so kind and giving... told me he wanted me to sub for him on A Chorus Line, and I just had to dive in! No choice ...He had more faith in me than I had, that’s for sure. So relaxed and unassuming, but absolutely an amazing drummer with great feel and execution. Consistent, reliable time, and his playing was always expressive and groovin. He was creative in his teaching and went the extra mile for his students. He would actually bring in his REEL TO REEL to the Collective, where we had lessons, and on it he had tons of jingles, and various sessions he had played on, plus he had all the charts, so he would have me sight read them every lesson! But he always treated me and all his students like professionals... put us “in his chair” literally and figuratively, to gain experience. So supportive. Last I spoke to him was about 10 years ago I called the last number I had and he was in upstate NY. I’ll try to track him down! Another side note ... Hank was what they used to call “a walker” in BWay, a “permanent sub”, because the theatre had to employ a certain amount of musicians for each show no matter what ... pretty amazing! Dorian McGhee was the full time guy ... Anyway, thanks for shining a light on Hank!"

And there you have it, and here you have the Overture to "Subways Are For Sleeping." Pardon the indulgent walk down Memory Lane. A salute to New York's finest: its musicians!

Infinity Drummers. Day #308.

Frank Capp "I'm Shoutin' Again

In A Hefti Bag / The Frank Capp Juggernaut

Frank Capp was an LA institution and living legend, known in equal measures for being part of the Kenton band legacy, a member of the MGM orchestra, the Wrecking Crew (playing drums as well as percussion — that's his tambourine playing on many a hit record), a bandleader as well as a contractor. We crossed paths here and we crossed paths there, but I really got to know him thanks to Bill Selditz, Jeff Hamilton and Joe La Barbera and the occasional Drummers' Lunch meetings they would organize. Breaking bread while busting chops! Lots of laughs, lots of Crab Louie salads, and all of a sudden Frank and I are acting like buddies. I am really grateful for having been blessed by his friendship and trust during what turned out to be the twilight of his time with us.

This list has provided me with the inspiration to not only look back, but to dig deeper than I might otherwise have, to educate myself and to celebrate these treasures of musical lives well-lived. Let's turn to good old Wikipedia for some biographical background on Frank: << Francis Cappuccio (August 20, 1931 – September 12, 2017), known professionally as Frank Capp, was an American jazz drummer. Capp also played on numerous rock and roll sessions and is considered to be a member of The Wrecking Crew. Capp was born Francis Cappuccio August 20, 1931, in Worcester, Massachusetts. He began playing with Stan Kenton in 1951 ... Later he joined Neal Hefti's group. He often accompanied Peggy Lee on her road dates and subsequently went to Los Angeles where he joined Billy May and recorded with The Wrecking Crew. He played with Ella Fitzgerald, Harry James, Charlie Barnet, Stan Getz, Art Pepper, and Dave Pell. He recorded often with André Previn's trio (1957-1964), and also made records with Benny Goodman (1958), Terry Gibbs, and Turk Murphy. Capp worked steadily on television shows and in the film studios in the 1960s, and (starting in the 1970s) recorded extensively in a variety of settings for the Concord label. Together with Nat Pierce he founded the Capp-Pierce Juggernaut big band in 1975. In 2016, Capp wrote and published his autobiography Drumming Up Business: My Life in Music. >>

This track was recorded in 1995, and the musicians include: Alto Saxophone: LannyMorgan, Marshall Royal; Tenor Saxophone: Pete Christlieb, Rickey Woodard, Woodard; Baritone Saxophone: Jack Nimitz; Trombone – Alan Kaplan, Andy Martin, Thurman Green; Trumpet: Bill Berry Bob Summers, Frank Szabo, Snooky Young; Bass: Chuck Berghofer; Guitar: Dennis Budimir; Piano: Gerry Wiggins; John Burk, producer. (Frank played drums and produced as well on this album). The tune was first recorded by Count Basie and his Orchestra in 1962 and can be heard on the album "On My Way & Shoutin' Again!"

THIS is an excellent performance and recording, and it highlights Frank's terrific drumming and abilities to swing a big band ... from the same man who appeared on two tracks (A Cello and Modern Opus) on the iconic Kenton/Graettinger opus City of Glass album! A shoutout to Chuck Berghofer and Pete Christlieb, and in memory of Frank Capp. Have a wonderful Sunday, everyone!

Infinity Drummers. Day #312.

Dan Weiss

"Lester Left Town"

Bastion of Sanity / David Binney

Dan Weiss is such an interesting drummer that the potpourri of representative material on-line gave me pause ... how best to share and show what he can do? As the Infinity List often does, "let's start at the beginning." This once-upon-a-time starts at the first album listed in his discography, an excellent outing with saxophonist David Binney. This is a swinger, a non-stop romp that metrically modulates where no man has gone before — at least when it comes to this Blakey band classic, composed by Wayne Shorter.

Dan studied with John Riley. John taught him well. Born in 1977, Dan << was raised in New Jersey. He moved to New York City to attend Manhattan School of Music. He majored in jazz percussion with a minor in classical composition. Weiss has also studied tabla with guru Pandit Samir Chatterjee. Weiss's intense study of jazz, classical Indian, contemporary classical, West African, and metal creates a sound that transcends conventional style or genre. His compositional trademarks are angular yet emotive melodies; long rhythmic cycles native to many non-western music, complex through-composed drum parts, and melodic shapes that draw directly from the raga system found in Indian classical music. As a leader, Weiss has released several albums under his own name and with his piano trio. He is also the leader of Starebaby, a group that blends heavy metal and electronic music with improvised elements of jazz. As a sideman, he has toured with Lee Konitz, Chris Potter, Kenny Werner, Rudresh Mahanthappa, David Binney, and many others. He has been a Rising Star winner in the 60th and 61st Annual Downbeat Critic Polls and has been called one of "Five Jazz Drummers to Watch" by The New York Times. >>

As Infinity List follower Jeffrey Johnson likes to say: "Boom."

With all of the above being "true," that makes the amount of swing on this track all the more remarkable. It's simply great drumming. Thanks to wikipedia for the biographical data. Bravo, Dan.

Infinity Drummers. Day #313.

Bobby Morris "Jump, Jive An' Wail"

Louis Prima / The Wildest

We lost Bobby Morris this year at the age of 93. His life story, as captured in his recently-published book "My Las Vegas," does Horatio Alger double down better by not only chronicling his rags-to-(Buddy) Riches story but also providing a cinematic snapshot of that Vegas time and era when live music reigned supreme there. All of that plus he played a mean shuffle.

I didn't know his name at the time but I listened to his drumming a lot as a kid because my dad had both the "Wildest" and "Call of the Wildest" LPs ... as I recall, he really liked Louis Prima's wife and vocal/entertainment partner Keely Smith (who didn't?). If you've never seen their act, do yourself a favor and check them out on YouTube. They were wild.

I also recommend the Bobby Morris book. From publisher Hudson Music's page about it: << "My Las Vegas" is the incredible life story of Bobby Morris, who arrived in the U.S. from Poland at age ten, where he shined shoes and dreamed of being a drummer, and rose to become a music legend both behind the drums and in the Vegas entertainment industry. Leaving home as a teenager during the height of the Great Depression, Morris witnessed the birth of bebop coming from Harlem, and is himself credited with laying down some of the very first beats of rock n roll. Hearing about a little town out west called Las Vegas, Morris arrived there in 1950 and proceeded to carve out a niche for himself in the music and entertainment management worlds, ascending to accompanist to the greatest stars of all time: Judy Garland, Barbra Streisand, Bobby Darin, Frank Sinatra, Eddie Fisher and dozens of others. Achieving fame as the drummer for Louis Prima’s Witnesses during a golden age in Vegas, Morris eventually became the conductor and friend of Elvis Presley. He rubbed elbows with American presidents, playing the Kennedy Inauguration and befriending a young actor named Ronald Reagan. Also an important figure on the business side of the industry, Morris ran the successful Bobby Morris Agency, Inc. from his own building in downtown Las Vegas and was involved in management, booking and entertainment direction of many of the major hotels and venues on the Strip. This, his autobiography, is the inspiring and nearly unbelievable story of one man achieving his dreams and rubbing elbows with the greatest personalities of the twentieth century in the process. Also included are Bobby’s tips on success in the music business, preparing for an audition, business negotiations and more. >> If nothing else, his discussion of Vegas "relief bands" makes for fascinating reading. Over his music career he was the backing drummer to the stars, as the beat of the city’s relief bands that were called in to perform for major headliners. The gigs paid well and helped Morris become ingrained in the Vegas entertainment scene. “I was with a relief band where you play a show every night ... this required some of the best musicians in town,” Morris said in 2019. “So I played for every major star that worked Las Vegas at the time and we would come in and do their show.”

Listen now ... it's 1956 ... swing and rock n' roll have bopped into town and landed at Las Vegas' Sahara Hotel and Casino, Louis Prima and bandleader Sam Butera both originally hailing from Louisiana ... Keely Smith ... Bobby Morris ... it's all quite a roll of the dice, isn't it?

Louis Prima - vocals, trumpet

Keely Smith - vocals

Sam Butera - tenor saxophone

Jack Marshall - guitar

James Blount, Jr. - trombone

Willie McCumber - piano

Amato Rodrigues - bass

Bobby Morris - drums

Infinity Drummers. Day #314.

Denny Seiwell

"Uncle Albert / Admiral Halsey"

RAM / Paul McCartney

50 years (give or take a few weeks) since this album's release. Wow. Time flies.

It wasn't too many years before (circa 1967 or '68) when Marvin Stamm told me that he'd give his "right arm to record with The Beatles." I'm glad that it took only his talent and not an appendage for this musical union to occur with Paul McCartney, with New York studio veteran Denny Seiwell holding it all together. This tune, rather this medley of tunes, is a maze and masterpiece of changing tempos and moods, all navigated beautifully by Denny and the rest of the band.

Denny is one of those drummers who knows how to bring his jazz sensibilities to rock, as well as his rock sensibilities to jazz. I first enjoyed his drumming on the J.J. Johnson and Kai Winding CTI album "Betwixt and Between," where Denny is part of a bi-coastal rhythm section along with fellow east coaster Joe Beck plus west coast stalwarts Chuck Domanico and Roger Kellaway. Please look for that album link below. Listening to it now brings back good memories of 1969!

After his UK stint with Sir Paul and the "Wings" family, Denny made LA his home where's he kept busy in the studios (albums and film work), and where he's now returned to his jazz roots fronting an excellent trio with guitarist John Chiodini and organist Joe Bagg. Denny Seiwell, born July 10, 1943 and still drumming strong. J&K "Betwixt and Between" (the entire CTI album) https://youtu.be/MZRkIQPAQWk

Infinity Drummers. Day #315.

Danny Yamamoto

"Winds of Change"

Odori / Hiroshima



Danny Yamamoto was a founding member of the band Hiroshima (1974). A graduate of Dorsey High School in Los Angeles, he played there in a trio with Larry Klein and Billy Childs. He was also a student of Freddy Gruber. He has a lovely touch on the instrument, apparent during a backyard party and jam session my wife and I attended yesterday. For all of the times we must have crossed paths on tours or in venues, it took a wedding reception for us to finally meet and chat (if just for a moment).



It's hard to overstate the importance of a band like Hiroshima. Hiroshima was given the Visionary Award by East West Players, the oldest Asian Pacific American theatre company in the United States, for the band's "Impact on the Asian Pacific American (APA) community through their artistic excellence and support of the Asian Pacific American performing arts." And, speaking of honors, this song was nominated for a Grammy award.



A bit more background on the group: Dan Kuramoto, Hiroshima's leader, is from East Los Angeles. He attended Cal State University, Long Beach, then led its Asian-American studies department. Through playing in a band on weekends he met June Kuramoto, a native of Japan who grew up in Los Angeles and played koto. Kuramoto admired both Earth, Wind, and Fire for the way it combined jazz and R&B, and Santana for his identification with Latinos. He wanted to create a band that would represent Asian Americans. Original members of the band included: Dan Kuramoto, flute; June Kuramoto, koto; Johnny Mori, taiko & percussion; Peter Hata, guitar; Dave Iwataki, keyboards; Dean Cortex on bass and Danny on drums, percussion, PROGRAMMING and producing ...



The album cover captures the vibe of the band and its raison d'être nicely. And while we're at it: Stop Asian Hate.



I'm looking forward to crossing paths once more with Danny, perhaps we can then swap some Freddy Gruber stories.

Infinity Drummers. Day #316.

Roy Brooks

"Homestretch"

Beat (1963)

Roy Brooks. Detroit's own. Born on March 9, 1938, died on November 15, 2005. Dig this résumé: Yusef Lateef, Barry Harris ... the Four Tops ... He played with Horace Silver from 1959 to 1964 ... in 1963 he released (this) his first album as a leader. Following this he freelanced in New York City through the 1960s and early 1970s, playing with Lateef again (1967–70), Sonny Stitt, Lee Morgan, Dexter Gordon, Chet Baker, Junior Cook, Blue Mitchell, Charles McPherson, Pharoah Sanders (1970), Wes Montgomery, Dollar Brand, Jackie McLean, James Moody (1970–72), Charles Mingus (1972–73), and Milt Jackson. His 1970 album "The Free Slave" featured Cecil McBee and Woody Shaw. Later ithat year he joined Max Roach's ensemble M'Boom. He eventually returned to Detroit (in 1975), dealing with mental health issues until his passing.

A new double CD has just come out, titled "Understanding," with an absolutely smoking version of Woody Shaw's "Zoltan" ... live/unreleased material recorded at Baltimore's Left Band Jazz Society in 1970. Look for it! (Zev Feldman is one of the producers, I got an advance listen. In a word: wow.)

Meanwhile, this up-tempo rendering of Joe Henderson's "Homestretch" is sure to bring a smile to your face. Brooks' solo traverses Max Roach and Art Blakey territory yet he remains on his own terra firma. All to say: it's a thrilling ride AND an education. A salute to Roy Brooks' drumming excellence. Hugh Lawson - piano

Eugene Taylor - bass

Roy Brooks - drums

George Bohanon - trombone

Junior Cook - tenor saxopbone

Blue Mitchell - trumpet

Infinity Drummers. Day #317.

Frank Hernández

"Limón Limonero"

Onde Nueva Vocal / Aldemaro Romero

This is a good example and sampling of "Onda Nueva," the musical brainchild of Venezuelan pianist, arranger, composer and musical force Aldemaro Romero. This "New Wave" (Onda Nueva) genre was derived from the Venezuelan joropo and the Bossa Nova from Brazil. Romero, who worked in New York as a staff arranger for RCA (check out his "Dinner in Caracas" series of albums), also founded the Caracas Philharmonic Orchestra in 1979 and was its first conductor.

The singers heard on this recording were known as Los Cuñaos. My Venezuelan compadre y hermano Aaron Serfaty surmises that it's Michael Berti on bass. And you will hear Frank Hernández on most any Onda Nueva recording. The hybrid nature of the beat makes it a rather specialized rhythm to not only play on the drumset but to make the music dance, sparkle and flow ... Señor Hernández's drumming is delightful. Born on September 26, 1934 in Villa De Cura, Estado Aragua, Venezuela, he passed away on June 16, 2009 in Caracas. Onda Nueva was a thing in the 70s ... I first heard it in Caracas in 1975.

If you google search Frank or Aldemaro, you will be entertained by "el agujero del conejo." (I googled that translation of "rabbit hole.") Hasta mañana, everybody.

Infinity Drummers. Day #318.

Gary Novak

"CTA"

Paint The World / Chick Corea Elektric Band II

The first time I heard Gary play was at a recording session where I was working ... he had stopped by to say hello. I invited him to sit at my drums after the session was over, and when he played the instrument it was obvious in about two seconds' time that he had "it": the touch, the command of time, and that ineffable sense of ownership. Shortly thereafter he became the drummer for Lee Ritenour, and I believe that Chick Corea's band was next.

Aside from the challenge of following Dave Weckl in Chick's band, the tune CTA in this setting presents its own set of demands that this excellent coterie of players — Eric Marienthal, Mike Miller, Jimmy Earl and Gary — weave and bob through like champion boxers. Composed by Jimmy Heath and first recorded, I believe, by Red Garland on his "Dig It!" album in the late 1950s, CTA is be-bop at its best. To elektrify a jazz classic is not without risk. Put more simply, it can sound really dumb if not done well. But everyone here captures the spirit of the tune, and Gary keeps the whole thing bubbling and in the pocket at the same time — again, not an easy thing to do — changing the backbeats up just enough to keep things interesting.

Gary continues to play at the highest level of the instrument. Our crossing of paths in the studio now seems to happen when we share drumming duties on various film projects: he gets called in for the modern stuff while I'm the old-timer. Dig this.

Infinity Drummers.

Day #319

Bernie Dresel

"Bach 2 Part Invention In D Minor"

Swingin' for the Fences / Gordon Goodwin's Big Phat Band

Today's Infinity Drummer listing takes a nod from the leader of the Big Phat Band, Gordon Goodwin, who posted a link to this track following the heartbreaking news that bassist Dave Stone passed away. Bernie and Dave sound wonderful individually, wonderful together and wonderful as the rhythm engine for this bravura arrangement and performance by all involved ... with kudos to Eddie Daniels and Wayne Bergeron.

So, apologies for the piggybacking, but sometimes it's impossible to separate a great bassist from a drummer just like it's impossible to separate a great drummer from a bassist. We've all heard Dave and Bernie, together and apart, on more film and television and album recordings than we might imagine. They represent that special breed of musician who can play anything asked of them.

Enough words, let's listen to the music.

Bravo, Bernie.

RIP, Dave Stone.

Infinity Drummers. Day #320.

Joe Porcaro

“Maharimba”

Journey To Bliss

Emil Richards & the Microtonal Blues Band

Joe Porcaro (April 29, 1930 – July 6, 2020) was not only the father to sons Jeff (1954–1992), Mike (1955–2015), Steve (b. 1957) and daughter Joleen ... Joe was the pedagogical and spiritual father to every young(er) musician on the Los Angeles music scene. If I may quote from my book "No Beethoven" for this personal observation: "During my first soundstage film scoring date, which was for Pat Williams and the movie Used Cars, Joe was the first person to come over to where the drums were set up and welcome me to the scene. He would often look over with an approving and reassuring glance during this and any other film date we happened to work on together. I haven’t done that many film dates to be sure, especially in comparison to some of my L.A. Musicians Local 47 colleagues, but I treasure all of the work memories, and none more so than Joe’s beatific smiling face."

That smile!

The first time I remember hearing Joe play was on the Emil Richards Microtonal Blue Band album made back in 1968. Please look for the link to the complete album in the Comments section below ... meanwhile, here is the cleverly-titled (and cleverly subdivided in 7) "Maharimba." It swings.

Please also look below for a link to the album Joe made with Mike Mainieri, "Blues on the Other Side," recorded one afternoon at Rudy Van Gelder's studio. Also: please consider donating to the Joe Porcaro Memorial Scholarship Fund, that link can be found in the Comments section below ... thank you.

Now, here's the Microtonal Blues Band.

Released on: 1968-01-01

Producer: Bob Thiele

Marimba, Percussion: Emil Richards

Drums: Joe Porcaro

Keyboards: Dave Mackay

Bass: Ray Neapolitan

Guitar: Tommy Tedesco

Guitar: Dennis Budimir

Percussion: Mark Stevens

Percussion: Mike Craden

Composer: Emil Richards Entire album link: https://youtu.be/xYYpCbW8Yj4

Mike Mainieri (first solo album) “Blues on the Other Side” (entire album link)

https://youtu.be/iD2Iu6F2LQc

The Mike Mainieri Quartet ‎– Blues On The Other Side

Label:Argo ‎– LP-706

Tracklist: A1 Blues On The Other Side 0:00:01

A2 If I Were A Bell 0:03:48

A3 Tenderly 0:09:15

B1 B. R. Blues 0:15:32

B2 When I Fall In Love 0:20:34

B3 Waltzin' In And Out 0:26:01

Vibraphone – Mike Mainieri

Piano – Bruce Martin

Bass – Julie Ruggiero

Drums – Joseph Porcaro

Supervised By – Esmond Edwards

Recorded May 9, 1962 at Rudy Van Gelder's Studio, Englewood Cliffs, N.J.

Infinity Drummers. Day #321.

Carl Lott

"California Soul"

The Gerald Wilson Orchestra / California Soul

96.5 MHz on the FM dial. Broadcasting from Philadelphia. WHAT-FM, which eventually became WWDB, was the primary source for hearing new jazz releases on the radio when I was growing up (and before I left home to go to the Interlochen Arts Academy for high school). Among the albums that were inviting these young ears of mine to "come west, young man" was "California Soul" by Gerald Wilson's big band. This gem of a track is California soul personified ... stirring brass, woodwinds that evoke the Aztecs and a rhythm section that is funky ... all of this, plus Bobby Hutcherson! Gerald Wilson had not only incredible arranging gifts, but an ear for capturing LIFE.

And, well, you need a great drummer to bring all of that together.

Infinity List followers, please say hello to Carl Lott. One of several drummers who graced the drum chair in Gerald's bands, Carl appears on albums made in the late 1960s. He is originally from Houston, Texas, and can be heard on recordings by Hank Crawford, Bobby Bryant, Arnott Cobb and Lou Rawls. I'm sorry that I do not know too much more about the man, but his drumming tells me that I like him a lot ... indeed, since 1968. Thank you, radio. And thank you Gerald Wilson for a lifetime of music, for a lifetime of California soul.

Infinity Drummers. Day #322.

Gerry Gibbs

"Sightseeing"

Gerry Gibbs & Thrasher People / Weather or Not

Happy Father's Day. One man who honors his father every day in every way is Gerry Gibbs, son of the indefatigable Terry Gibbs (whose legendary big band recordings with Mel Lewis pretty much kicked off the Top 10 of the Infinity List). Gerry not only shows fealty to his dad by being the proverbial good son, but he's carried on his dad's legacy all while pushing the boundaries of contemporary music (as well as the art of social media). Gerry's love for his "Pops" is matched by his love for music and for people in general (especially his jazz elders). And the kid's got hands!

Gerry is not only a supremely gifted and talented drummer, but a tremendous pianist and composer, plus that hardest-of-things to pull off: a bandleader and entrepreneur. He's not afraid to make things happen. Check out his "Thrasher" recordings with Ron Carter and Kenny Barron. And definitely check out this take here on Wayne Shorter's "Sightseeing" from the Weather Report canon. (I'm really enjoying the woodblock cameos.) Great playing by the band, kudos to pianist Alex Collins and bassist Hans Glawischnig.

Happy Father's Day, Gerry and Terry. And Happy Infinity Drummers Day to Everyone.

Infinity Drummers. Day #323.

George Morland

"Work To Do"

Brother, Brother, Brother / The Isley Brothers (1972)

According to Wikipedia, "Lyrically, the song explicates a troubled situation between a man and his girlfriend/wife, concerning the lack of quality time spent with each other. The man pleads that as much as he cannot wait to get home and spend time with her, he has a more pressing obligation/commitment to attend to work."

Here are the lyrics, you can judge for yourself ... but while you're at it, check out this perfect drumming by George Morland. Funky, in the pocket, but exciting as can be. By the way, I looked up the word "kinetic" on Wikipedia ... it played me this track.

I'm taking care of business, woman can't you see

I've gotta make it for you and gotta make it for me

Sometimes it seems girl I'm neglecting you

Well I'd love to spend more time

I got so many things to do

Oh, I, I got work to do

I got work baby

I got a job baby

I got work to do

Said I got work to do

Oh, I'm out here trying to make it

Woman can't you see

It takes a lot of money to make it

Let's talk truthfully

So keep your love light burnin'

Oh, you've gotta have a little faith

You might as well get used to me

Coming home a little late

Oh, I, I got work to do

I got a job baby

I got work to do

I got work to do

I'm taking care of business woman can't you see

I gotta make it for you, I gotta make it for me

Don't wanna make you feel I'm neglecting you

I'd love to spend more time, oh

But I got so many things to do

Oh, I, I got work to do

I got work baby

I got a job baby

I got work to do, everybody's got work to do

Oh so much work baby, I got work ...

And, oh yeah ... so the beginning of this is more than reminiscent of Marvin Gaye's "What's Going On" ... then again, this tune was covered by a lot of bands (including an excellent version by the Average White Band) ... the Doobie Brothers' "I'm Here To Love You" is uncomfortably similar-sounding to me all of a sudden.

The world is one big happy playground. And ... it's your thing!

Infinity Drummers. Day #324.

Greg Webster (Sr.)

"Pain"

The Ohio Players

Greg Webster was the original drummer for The Ohio Players (beginning during their formative days as The Ohio Untouchables). He was born in Hamilton, Ohio in January, 1938. This was the second album by the band, recorded In 1971 and released In early 1972. Dayton had the funk! (and this is pretty "jazzy" for a hardcore funk album).

Otherwise wishing you all a pain-free day.

Infinity Drummers. Day #325.

Liberty Devitto

"Just The Way You Are"

Billy Joel / The Stranger

Any way you slice it, this is one of the great recordings of all time. Terrific song. Sublime production. Phil Woods. And a drum track that's both perfect in its simplicity and groundbreaking in its ingenuity. How many pop classics can you think of that have the bass drum on beats 2 + 4? The tom on the "and" of 4 (I'm counting slow here, folks) anchors everything so elegantly. Okay ... Grady Tate did a similar thing on Roberta Flack's "Killing Me Softly With His Song," but Liberty brought it mainstream, inflected with his good energy. I'm guessing with some confidence that producer Phil Ramone helped to shape everyone's performances ... but kudos to Billy Joel for insisting on using his band for the album versus "studio musicians." Whatever happened down the road (and that's what happens with most bands, not sure why ... relationships like marriages, I suppose, so that "until death do us part" aspect is not always honored ...), this recording has stood the test of time and the song has brought a lot of joy to a lot of people. And isn't that what's it's all about?

Bravo, Liberty, and thank you for all of the music and good vibes over the years. We love you just the way you are.

Infinity Drummers. Day #326.

Eddie Gladden.

"Ltd"

Manhattan Symphonie / Dexter Gordon

Dexter Gordon, tenor sax; George Cables, piano; Rufus Reid, bass; Eddie Gladden, drums.

I was lucky enough to hear this band play in-person several times while I was touring with Maynard Ferguson. Dexter had a beautiful quartet with beautiful people. "Ltd" is a blues, and it's beautiful music. (Okay, it's not the world's most beautiful drum sound, but it was the late 70s ...).

I was even more lucky to get to work with George Cables on several albums (including his "Cables Vision") and tours, plus play with Rufus as part of the Tim Hagans collaboration with the Norrbotten Big Band and a bevy of stars on "The Avatar Sessions."

But there's something about Dexter Gordon and this band. It was perfect. It was the right band at the right time. And this is definitely a swinger.

Eddie Gladden was born on December 6, 1937 and died on September 30, 2003.

Infinity Drummers. Day #328.

Will Kennedy

"Capetown"

Blue Hats / Yellowjackets

Happy Saturday. Day #328. [I hope, for those who are following these postings, it's apparent that the Infinity list has been saving some of the best for last ... well, saving the best for "later," as "infinity" and "last" are incompatible!] It's not every day that a drummer can unleash a new beat on the world ... but thanks to an untethered imagination, coupled with brilliant musicality and incredible technique — and a lefty-playing-on-a-righty kit orientation that he's taken full advantage of and then some — Will Kennedy's drumming is the gift that keeps on giving.

The band has enjoyed a few different players in its lineup over the years, and I've enjoyed every lineup I've heard ... but this particular quartet is a personal favorite. "Capetown" shows why: a melody that's friendly to the ear while its rhythmic foundation alternates between the familiar and the exotic (starting with that snare drum syncopation and accent!) ... Russell Ferrante's compositions are always a delight, and the collaboration with Jimmy Haslip gave every chord, bass note and passing tone a unique richness: beautifully-voiced chords that land on beats you might not expect. Bob Mintzer completes the musical picture, as he does in every and any setting, but this has proven to be a remarkably good home for his horn (plus his pen and his EWI). A great band is more than the mere sum of its parts.

Jimmy Haslip told me my favorite Yellowjackets story: one year they were Grammy nominees alongside Joe Zawinul, who boasted to them across the room at a pre-Awards reception, "I'm going to kick you all's asses tomorrow!" That next night, following the presentation of the Grammy in their category for which neither Joe or the 'Jackets (but Pat Metheny) won, Jimmy asked Joe (again, loudly and across whatever room they were in), "Hey Joe ... WHAT HAPPENED?" to which Zawinul replied in a magnanimous manner with open arms, "Hey ... we are ALL winners here tonight ..." A good and quick recovery.

I am proud to be a professor-colleague to Russ, Bob and Will at the Thornton School of Music at USC. I'm also proud to have played for a short while with the Yellowjackets. But, like I said ... this lineup is my favorite.

Enjoy "Capetown." And while I'm discussing it, please note how Will keeps things bubbling and interesting without ever losing focus or the groove. He is a master at improvising within the "fusion" rhythm section arena ... exciting without blowing his cool.

Infinity Drummers. Day #329.

Chico Batera

"So Nice" (Summer Samba)

In The Brazilian Bag / Sergio Mendes Trio (US release)

Músicos:

The Sérgio Mendes Trio

- Sérgio Mendes: piano

- Sebastião “Tião” Neto: baixo

- Chico Batera: bateria

with

Bud Shank - saxofone alto e flauta

Wanda Sá - vocal (Wanda de Sah)

This was one of the first albums of Brazilian music that appeared on our family's record player (the other being the soundtrack to Black Orpheus ... I'm pretty certain that I have my sisters Lois and Nancy to thank for so many hip LPs making their way into our house when I was a kid). So, I have a particular affinity, affection and respect for Chico Batera, who was (as far as I know) the original drummer in Sergio's band Brasil '65. Check out the album "In Person at El Matador" to get a sense of the Brazilian zeitgeist as the waves of samba and bossa-nova lightly pounded upon American shores, ears and hearts (link below, wonderful live recording by Wally Heider).

And what song could be a better fit for today than "Summer Samba"?

Chico Batera was born Francisco José Tavares de Souza in 1943 in Rio de Janeiro.

Infinity Drummers. Day #330.

Willie Ornelas

"We'll Sing in the Sunshine"

Helen Reddy (We'll Sing in the Sunshine)

Another perfect song for summer, perfectly played AND SUNG. Now, I'm a fan of the original recording by Gale Garnett because it was on the radio when I was a kid and it was "there" as I was growing up, but I have to be honest: doing a side-by-side listen just now, this Helen Reddy cover is an improvement. The arrangement is clever, the singing is spot-on in terms of delivery and pitch (!), and the tune got itself a beat for the first time, thanks to the arranging/producing of Nick DeCaro and the drumming of Willie Ornelas.

This is the kind of drumming the Infinity List has a soft spot for: the kind of drumming that makes the song better than it might otherwise have been. Thank you, Willie.

And please: tell us about the session: these were the halcyon days of recording and you were right there in the middle of it all. We salute you and we thank you for your musical service.

Now, let's all sing in the sunshine, and let's laugh every day.

(Kudos to Helen Reddy.)

Infinity Drummers. Day #331.

Al Harewood

"Mojo"

That's It! / Booker Ervin

Booker Ervin - tenor saxophone

Horace Parlan - piano

George Tucker - bass

Al Harewood - drums

Recorded at Nola Penthouse Studios in New York City on January 6, 1961

Shades of Joe Henderson's "Inner Urge" (which was recorded almost four years later), this is the first cut on Booker Ervin's LP "That's It!"

Al Harewood was a jazz drummer and teacher who was born in Brooklyn. Harewood worked with the J.J. Johnson/Kai Winding group, the Art Farmer/Gigi Grice band, David Amram, Betty Carter, and the Curtis Fuller-Benny Golson Sextet. He played on albums under the leadership of Lou Donaldson, Horace Parlan, Ike Quebec, Dexter Gordon and Grant Green and had a long association with saxophonist Stanley Turrentine from 1959 onwards.

His discography is formidable:

With Ahmed Abdul-Malik

Jazz Sahara (Riverside, 1958)

East Meets West (RCA Victor, 1960)

With Benny Carter

Cookin' at Carlos I (MusicMasters 1988 [1990])

With Betty Carter

Finally, Betty Carter (Roulette, 1969)

Round Midnight (Roulette, 1969)

With Lou Donaldson

Sonny Side Up (Blue Note, 1960)

Midnight Sun (Blue Note, 1960)

Lush Life (Blue Note, 1967)

With Booker Ervin

That's It! (Candid, 1961)

With Curtis Fuller

Two Bones (Blue Note, 1958)

Blues-ette (Savoy, 1959)

Blues-ette Part II (Savoy, 1993)

With Benny Golson

Gone with Golson (New Jazz, 1959)

With Dexter Gordon

Doin' Allright (Blue Note, 1961)

With Grant Green

Grantstand (Blue Note, 1961)

Remembering (Blue Note, 1961)

Idle Moments (Blue Note, 1964)

With Dodo Greene

My Hour of Need (Blue Note, 1962)

With Bobby Hutcherson

The Kicker (Blue Note, 1963 – released 1999)

With Dick Katz

In High Profile (Bee Hive, 1984)

With Horace Parlan

Movin' & Groovin' (Blue Note, 1960)

Us Three (Blue Note, 1960)

Speakin' My Piece (Blue Note, 1960)

Headin' South (Blue Note, 1960)

On the Spur of the Moment (Blue Note, 1961)

Up & Down (Blue Note, 1961)

Frank-ly Speaking (SteepleChase, 1977)

with Ike Quebec

Heavy Soul (Blue Note, 1961)

It Might as Well Be Spring (Blue Note, 1961)

With Dizzy Reece

Comin' On! (Blue Note, 1960)

With Buddy Tate and Al Grey

Just Jazz (Uptown, 1984)

With Stanley Turrentine

Look Out! (Blue Note, 1960)

Comin' Your Way (Blue Note, 1961)

Up at "Minton's" (Blue Note, 1961)

Jubilee Shout!!! (Blue Note, 1961–62)

Never Let Me Go (Blue Note, 1963)

A Chip Off the Old Block (Blue Note, 1963)

With Kai Winding

K + J.J. (Bethlehem, 1955) with J. J. Johnson

Rainy Day (Verve, 1965)

Born June 3, 1923, he died on March 13, 2014 at the age of 90.

Infinity Drummers. Day #332.

Andrea Centazzo

stolen moment 1

Stolen Moment, w/ Marilyn Crispell

Andrea might just be my favorite Italian export ... I put him right up there with spaghetti carbonara. A brilliant improvisor whose quest for sound and tone has led him from the Italian avant-garde and fusion music paths to zen roads less traveled. He has embraced the sonics of metal and skin while fearlessly exploring electronica, always traversing between the acoustic and synthesized worlds with as much ease as he composes: he is prolific being in the moment as well as with prepared music. I have long admired him and consider Centazzo an inspiration.

This duet with the wonderful Marilyn Crispell is enlightening and rewarding to listen to ... and, just like a great book or film, it has an ending that's both perfectly simple yet ingeniously executed. How'd they do that?

Serious listening going on here by both musicians.

Bio and resumé-wise, someone wrote up the following about Andrea: << During his artistic career that spans over 40 years, composer, conductor, percussionist multimedia artist and filmmaker Andrea Centazzo has given more than 2000 concerts and live performances in Europe and the United States, as well as appeared and performed on numerous radio and television broadcasts worldwide. He has recorded over 200 LP's, CD's and DVD's, and he has authored 500 compositions (ranging from opera and symphony to solo works) and eight musicology books. He's the director of numerous video films.

He has performed at festivals, concert seasons and theaters as soloist and conductor of his compositions conducting the American Youth Symphonic Orchestra, the LA Contemporary Orchestra, the Mitteleuropa Orchestra, the ER Youth Symphonic Orchestra and many Ensembles. He also directed and staged his operas as well theatrical plays of other US authors. His opera TINA was highly acclaimed in Italy as well in California.

Holding a PHD in Ancient Music from the prestigious University of Bologna, he did teach in Europe as well in USA from Universities to Jazz schools.

He has performed and recorded, co-leading, with some of the greatest avant-garde soloists and composers, including John Zorn, Derek Bailey, Sylvano Bussotti, Steve Lacy, Don Cherry, Evan Parker, Fred Frith, Lester Bowie, Tony Oxley, Tom Cora, Alvin Curran, Henry Kaiser, Teo Jöergesmann, Albert Mangelsdorf, Gianluigi Trovesi, Anthony Coleman, Toshinori Kondo, Elliott Sharp, Don Preston just to name few. Centazzo has received a number of prestigious music, film and video Awards (Italian Critic's Choice Award, Italy, Downbeat Magazine Poll, USA, International Video Festival Tokyo, Japan, Prix Arcanal of French Culture, France, Jazz Forum Critic's Poll, USA, Bruce Chatwin Award, Italy, Dramalogue Award, USA).

His 30th ICTUS Anniversary Box Set was nominated Box Set of 2006 by the Journalists of the American Jazz Critics Association.

For 20+ years now, Centazzo has been working to create multi-media experiences, combining live music with video images, blending traditional instrumentation with the latest music digital technology. His two multimedia solo projects MANDALA (inspired by the Buddhist Universe) and ETERNAL TRAVELER (inspired by Leonardo Da Vinci) got an enthusiastic welcome from audiences and critics both in USA and Europe, appearing in TV broadcasts at CBS, KPFK, Rai and several international magazines.

Lately finding a new source of inspiration in Science and Technology Centazzo wrote and directed 2 worldwide acclaimed multimedia shows: EINSTEIN'S COSMIC MESSENGERS (with astrophysicist Michele Vallisneri inspired by the

Gravitational Waves) and R-Evolution (inspired by the life and work of Charles Darwin).

In 2006 Centazzo re-established his famous ICTUS Records label, born in 1976 as one of the most prominent catalogues of new contemporary classical, avant-garde, jazz music and experimental film.

Born and raised in Italy, but naturalized American in 1996, since 1992 he lived and worked in Los Angeles, traveling extensively in Asia and Europe. Now he's a resident in Long Beach, CA. >>

Like pasta ... best-served while fresh, so ... dig in, folks.

Infinity Drummers. Day #333.

Stanton Moore

"Southern Nights"

With You In Mind / The Songs of Allen Toussaint

The tempo of this song classic is unexpected and deliciously slow. The intro, played by Stanton using brushes while accompanying Wendell Pierce's spoken narrative, is pure musical poetry. And, in addition to being such a great trumpeter, Nicholas Payton is one fine organist to boot. These are all total musicians.

Stanton has not only been a champion of New Orleans drumming. He manages, somehow, to honor tradition while doing that Star Trek thing: "To boldly go where no man has gone before." He shows us where we're going by reminding us of where we've been.

A great drummer. A great teacher. A great guy. Stanton Moore. and check this out ... plus, the drum break at 5 minutes in is ONE OF THE ALL TIME GREATEST DRUM BREAKS EVER. (don't cheat and fast forward, let it hit you as God and nature intended) https://youtu.be/V1XJAdvPCno

Infinity Drummers. Day #334.

Terry Clarke "Tangerine"

Singers Unlimited with Rob McConnell and the Boss Brass

Featuring the insanely-wonderful Singers Unlimited with the fabulous "Boss Brass" big band of Rob McConnell, this recording captures the peak of that moment in time when Toronto's music scene compelled many of our ears to turn northward. And holding it all together: Terry Clarke. Born in 1944 in Vancouver, Terry moved to San Francisco in 1965, and then relocated in Toronto in 1970 (after touring stints with John Handy as well as The Fifth Dimension). Quoting from the wikipedia page dedicated to him, << he began a longstanding association with Rob McConnell's group, Boss Brass; he also played with Ed Bickert, Ruby Braff, Jim Galloway, Sonny Greenwich, Jay McShann, Emily Remler, and Frank Rosolino. In 1976, he toured with Jim Hall for the first time and in 1981 did an international tour with Oscar Peterson.

He relocated to New York City in 1985, where he played or recorded with Toshiko Akiyoshi, Eddie Daniels, Oliver Jones, Roger Kellaway, Helen Merrill, Ken Peplowski, and Joe Roccisano, among others. He played with the Free Trade ensemble in 1994, a quintet composed of Clarke, Ralph Bowen, Neil Swainson, Renee Rosnes, and Peter Leitch.

Clarke returned to Toronto in 1999, where he joined The Rob McConnell Tentet. Clarke's 2009 debut album It's About Time won a Juno Award for Traditional Jazz Album of the Year.

Clarke was appointed a Member of the Order of Canada in 2002. >>

Terry Clarke has always been one of those drummers who always sounds great and plays perfectly in each setting. Check him out on the stellar "Feel Free" track (link posted below) with his long-time rhythm section mate Don Thompson, plus Joe Lovano and Jim Hall (Greg Osby is also featured on this terrific album). Meanwhile: TANGERINE, Baby!

"Tangerine"

Victor Schertzinger, composer.

Johnny Mercer, lyrics.

Vocal arranger: Gene Puerling.

Big band arranger: Rob McConnell.

Vocals: Bonnie Herman, Don Shelton, Gene Puerling, Len Dresslar.

Horns: Brad Warnaar & George Stimpson.

Saxophones: Moe Koffman, Jerry Toth, Eugene Amaro, Rick Wilkins, Gary Morgan.

Trumpets: Arnie Chycoski, Erich Traugott, Bruce Cassidy, Guido Basso, Sam Noto.

Trombones: Bob Livingston, Ian McDougall, Dave McMurdo, Ron Hughes.

Rhythm: Ed Bickert (guitar), Jimmy Dale (piano), Don Thompson (bass), Terry Clarke (drums), Marty Morell (percussion). AND ... recorded live at the Montreal Jazz Festival ... the Jim Hall - John Abercrombie connection is fascinating to note here. Complex music in a simply wonderful performance: https://youtu.be/MS4Z72zmNLE