Peter Erskine’s Infinity Drummers

Infinity Drummers. Day #335.

Marcus Gilmore

"Armando's Rhumba"

Antidote / Chick Corea, The Spanish Heart Band

Born in 1986, Marcus Gilmore got his first drum set at the age of ten. His grandfather give him the drum set as a gift. His grandfather is Roy Haynes.

The gift that keeps on giving.

Who doesn't love musical dynasties? And one of the beauties of this dynasty is that both Roy and Marcus recorded and toured with Chick Corea (RIP). And both Roy and Marcus play in such a way that your bottom is moving to the beat while your head is spinning with gratified excitement that every rhythmic acrobatic move lands on its feet. If I were an Olympic judge, I'd give them both a "10" every time (and, if I were an Olympic judge, I'd also allow and insist that Sha'Carri Richardson be allowed to compete this summer ... but that's another matter).

Marcus cites Tony WIlliams, Elvin Jones and Milford Graves as influences. He's very clearly his own drummer, but his mention and honoring of Milford Graves makes total sense ... this influence in particular seems to be a bit of the secret sauce in Marcus Gilmore's sound and approach. Of this he remarked, "A lot of Milford’s playing deals with rhythm, but not in a very metric way—it’s non-metric, a lot of waves. It’s still melodic, even more so because it’s very linguistic. Milford doesn’t even really play snares. He keeps the snares off. His drumming sounds very melodic and very lyrical. It sounds like a language."

So, here then, enjoy some snares-off drumming, with this most excellent ensemble — Chick Corea : Piano - Niño Josele : Guitar

- Carlitos Del Puerto : Bass guitar - Jorge Pardo : Flute, saxophone - Michael Rodriguez : Trumpet - Steve Davis : Trombone - Marcus Gilmore : Drums - Luisito Quintero : Percussion — and dig the drums and percussion trades near the end of the rhumba.

And God Bless Roy Haynes.

Infinity Drummer. Day #336. July 4, 2021.

Buddy Harman

"S'Wonderful"

After the Riot at Newport / The Nashville All Stars

Sixty one years ago today.

After the Riot at Newport is an album by The Nashville All-Stars, which was recorded live after the cancellation of their appearance at the 1960 Newport Jazz Festival.

This group of Nashville session players played a mixture of pop and jazz standards. The all-star lineup featured guitar legends Hank Garland and Chet Atkins, saxophonist Boots Randolph, pianist/violinist Brenton Banks, pianist Floyd Cramer, bassist Bob Moore, drummer Buddy Harman, and vibes prodigy Gary Burton, who was only 17 years old at the time (!).

Even though the players were playing country music day-in and day-out in Nashville sessions, they had a deep love of jazz and played often at the Carousel Club on Printer's Alley in Nashville. When their much-anticipated festival performance was canceled due to an unruly crowd, the group documented their performance anyway, recording on the back porch of a mansion RCA had rented during the festival (depicted by the drawing on the cover. Other groups since have taken the name Nashville All-Stars.

Allmusic critic Thom Owens called the album "a surprisingly jazzy effort, highllighted by some excellent leads by Atkins, yet it is a bit too down-home for jazzbos, and a bit too polished for country fans. Nevertheless, fans of pure musicianship will find plenty to treasure on the album."

Murrey Mizell "Buddy" Harman, Jr. (December 23, 1928 – August 21, 2008) was a country music session musician. (That sentence is an understatement.) Born in Nashville, Tennessee, Harman played drums on over 18,000 sessions for artists such as Elvis Presley, Jerry Lee Lewis, Dolly Parton, Brenda Lee, Tammy Wynette, Loretta Lynn, Roy Orbison, Connie Francis, Chet Atkins, Marty Robbins, Ray Price, Roger Miller, Johnny Cash, Willie Nelson, Waylon Jennings, George Jones, Kenny Rogers, Barbara Mandrell, Eddy Arnold, Perry Como, Merle Haggard, Reba McEntire and many more. Harman was the first regular drummer on the Grand Ole Opry. Some of Harman's awards include "Drummer of the Year" in 1981 from the Academy of Country Music and "Super Picker" Award for drums on the most No. 1 recordings from the Nashville NARAS chapter in 1975 and 1976.

As documented here, the man could swing and certainly knew how to play in a jazz combo just as well as in a "country" band. I would submit, then, that as long as it swings, some labels make just as much sense as some borders.

Don't build that wall.

And have a happy 4th, everyone.

Hank Garland – guitar

Chet Atkins – guitar

Boots Randolph – alto and tenor saxophone

Brenton Banks – piano, violin

Floyd Cramer – piano

Gary Burton – vibraphone

Bob Moore – double bass

Buddy Harman – drums

Infinity Drummers. Day #337.

Richard "Pistol" Allen "Heat Wave"

Martha and the Vandellas

Lead vocals – Martha Reeves

Background vocals – Rosalind Ashford and Annette Beard

Produced by Brian Holland and Lamont Dozier

Written by Brian Holland, Lamont Dozier and Edward Holland, Jr.

Instrumentation by the Funk Brothers:

Richard "Pistol" Allen – drums

James Jamerson – double bass

Joe Hunter – piano

Robert White – guitar

Eddie Willis – guitar

Andrew "Mike" Terry – baritone saxophone solo

(from Wikipedia): Howard Richard "Pistol" Allen (August 13, 1932, Memphis – June 30, 2002, Detroit) was the session drummer for Motown Records' in-house Funk Brothers band on most of Holland-Dozier and Holland's hit productions of the 1960s. Hits for which Allen played the drums include "Heat Wave" by Martha and the Vandellas, "Signed, Sealed, Delivered I'm Yours" by Stevie Wonder, "The Way You Do the Things You Do" by The Temptations, "Where Did Our Love Go" and "Baby Love" by The Supremes, "How Sweet It Is (To Be Loved by You)" and "I Heard It Through the Grapevine" by Marvin Gaye, and "Reach Out I'll Be There" by the Four Tops.

Allen's influences included Max Roach, Buddy Rich, and fellow Funk Brother Benny Benjamin. Although he appeared in Standing in the Shadows of Motown, the 2002 documentary about the Funk Brothers, Allen died of cancer in June 2002 in Detroit, Michigan at the age of 69, a little over four months before the completed film was released. Allen was inducted into the Michigan Rock and Roll Legends online Hall of Fame in 2010 as a member of the Funk Brothers.

"Heat Wave" was recorded on June 20, 1963 and released less than a month later on July 9. It was one of many songs written and produced by the Holland–Dozier–Holland songwriting and producing team. It was the second hit collaboration between Martha and the Vandellas and the team. The lyrics of "Heat Wave" feature the song's narrator singing about a guy who has her heart "burning with desire" and "going insane" over the feeling of his love, and asking, "is this the way love's supposed to be?" The song is often referred to as "(Love Is Like a) Heat Wave", but the title on the label of the original 1963 single was just "Heat Wave".

Produced and composed with a gospel backbeat, jazz overtones and, doo-wop call and responsive vocals, "Heat Wave" was one of the first songs to exemplify the style of music later termed as the "Motown Sound". The single was a breakthrough hit, peaking at number 4 on the Billboard Hot 100, and at number 1 on the Billboard R&B Singles Chart. It also garnered the group's only Grammy Award nomination for Best Rhythm and Blues Recording for 1964, making the Vandellas the first Motown group ever to receive a Grammy Award nomination.

Some versions of the song have a radio edit that cuts out the repetition of the ending of the instrumental portion of the song, which is in one key, featuring the repeated saxophone and piano portion. In a version issued on the compilation Gold, the instrumental is extended as well as the ending portion, which includes Reeves singing more ad-libs while her group mates continue to sing the word "burning" repeatedly (the link below).

(from your Infinity host): this was the first Motown song I remember hearing, and it was thanks to my older brother Fred bringing the 45 single home and playing it on our family record player. Everything about the song is infectious (in a good way): the sound of the drums, the swing of the beat that's anchored by Allen's 2 + 4 backbeats on the snare (and, oh my, that 12" tom!) ... and a hit song that starts on the supertonic chord ... the singing, of course, plus that baritone sax solo ... the Motown sound ... all of that blew this 9-year-old kid's mind. I haven't stopped smiling since.

Infinity Drummers. Day #338.

Benny Benjamin "Uptight (Everything's Alright)"

Stevie Wonder (1965)

With Richard "Pistol" Allen occupying Day #337 on the Infinity list, you KNOW that the legendary Funk Brother in drumming arms Benny Benjamin HAS to be next, and what a next song to dig! Stevie Wonder's "Uptight" ... the drumbeat is joyous and hypnotic. Johnny Trudell, another legendary Detroit musician who we just lost (RIP), told me that they had to play this tune over and over and over again until the producers were satisfied. The endurance of the trumpets ... LEGEND! The trumpet playing is amazing here. Not to mention the freshness that both the rhythm section AND Stevie Wonder bring to this final take ... the studio "magic" here is all human and all analog. REAL.

(from wikipedia): << William "Benny" Benjamin (July 15, 1925 – April 20, 1969), was an American musician, most notable as the primary drummer for the Motown studio band known as The Funk Brothers. He was a native of Birmingham, Alabama.

Benjamin originally learned to play drums in the style of the big band jazz groups in the 1940s. In 1958, Benjamin was Motown's first studio drummer, where he was noted for his dynamic style. Several Motown record producers, including Berry Gordy, refused to work on any recording sessions unless Benjamin was the drummer and James Jamerson was the bassist. The Beatles singled out Benjamin's drumming style upon meeting Gordy in the UK. Among the Motown songs Benjamin performed the drum tracks for are early hits such as "Money (That's What I Want)" by Barrett Strong, "Shop Around" by The Miracles and "Do You Love Me" by The Contours; as well as later hits such as "Get Ready" and "My Girl" by The Temptations, "Uptight (Everything's Alright)" by Stevie Wonder, "I Heard It Through the Grapevine" by Gladys Knight & the Pips, and "Going to a Go-Go" by The Miracles.

Benjamin was influenced by the work of Buddy Rich and Tito Puente. By the late 1960s, Benjamin struggled with drug and alcohol addiction, and fellow Funk Brothers Uriel Jones and Richard "Pistol" Allen increasingly recorded more of the drum tracks for the studio's releases. Benjamin died on April 20, 1969, of a stroke at age 43. Benjamin was inducted into the "Sidemen" category of the Rock and Roll Hall of Fame in 2003. UPTIGHT

Stevie Wonder – vocals, keyboards

James Jamerson – bass

Benny Benjamin – drums

The Funk Brothers – additional instrumentation

The Andantes – background vocals

"Uptight (Everything's Alright)" is a 1965 hit single recorded by Stevie Wonder for the Tamla (Motown) label. One of his most popular early singles, "Uptight (Everything's Alright)" was the first hit single Wonder co-wrote.

A notable success, "Uptight (Everything's Alright)" peaked at number 3 on the Billboard Pop Singles chart in early 1966, at the same time reaching the top of the Billboard R&B Singles chart for five weeks. Billboard ranked it as the 59th biggest American hit of 1966. An accompanying album, Up-Tight (1966), was rushed into production to capitalize on the single's success. It also garnered Wonder his first two career Grammy Award nominations for Best R&B Song and Best R&B Performance.

The single was a watershed in Wonder's career for several reasons. Aside from the US number-one "Fingertips" (1963), only two of Wonder's singles, "Workout, Stevie, Workout" (1963) and "Hey Harmonica Man" (1964) had both peaked inside of the top forty of the US Billboard Hot 100 chart, peaking at #33 and #29 on that chart respectively. And despite receiving a modicum of chart success, the then 15-year-old Wonder was in danger of being let go. In addition, Wonder's voice had begun to change, and Motown CEO Berry Gordy was worried that he would no longer be a commercially viable artist.

As it turned out, however, producer Clarence Paul found it easier to work with Wonder's now-mature tenor voice, and Sylvia Moy and Henry Cosby set about writing a new song for the artist, based upon an instrumental riff Wonder had devised. Nelson George, in Where Did Our Love Go? The Rise and Fall of the Motown Sound, recorded that Wonder had also sought something based on the driving beat of the Rolling Stones' "(I Can't Get No) Satisfaction", after playing several dates with the Stones on tour and being impressed with the British band. As Wonder presented his ideas, finished or not, "he went through everything," remembered Moy. "I asked, 'Are you sure you don't have anything else?' He started singing and playing 'Everything is alright, uptight.' That was as much as he had. I said, 'That's it. Let's work with that.'" The resulting song, "Uptight (Everything's Alright)", features lyrics which depict a poor young man's appreciation for a rich girl's seeing beyond his poverty to his true worth.

On the day of the recording, Moy had completed the lyrics, but didn't have them in Braille for Wonder to read, and so sang the song to him as he was recording it. She sang a line ahead of him, and he simply repeated the lines as he heard them. In 2008, Moy commented that "he never missed a beat" during the recording. >>

I include all of the above wikipedia commentary because it hits upon something I witnessed during a gala tribute to Ella Fitzgerald that the late Phil Ramone produced along with Gregg Field. Stevie Wonder was a surprise guest vocalist. The song he sang was "Too Close For Comfort." The arrangement was a real swinger (and I had Shelly Berg, Bob Hurst as well as Wayne Bergeron to play with) ... the only thing was that Stevie Wonder did not know the lyrics. Gregg later told me that he was feeding the lyrics to Stevie by way of Stevie's in-ear monitors ... and, man, when you hear Stevie Wonder singing this, you'd never know that it wasn't coming straight out of the man's heart.

Okay, so ... a *little* bit of studio magic.

Also, the mention of Buddy Rich being an influence on Benny Benjamin is interesting. My FAVORITE Buddy Rich "rock" song (okay, R&B) is his playing on the Oliver Nelson-arranged "Uptight" on his Swingin' New Big Band album (link below).

But back to Benny Benjamin. The Funk Brothers made life better for all of us. Talk about magic.

Infinity Drummers. Day #339. Herman Matthews "So I Got To Groove” Rhythm & Business / Tower of Power (1997) Bona fide T.O.P. family member as well as the first-call sub for David Garibaldi, Herman's beat is the truth, the whole truth, and nothing but the truth. His Facebook posts have been like going to school for me, I always feel like I've learned something new every time I hear and watch him play. On top of that, the man is apparently pretty talented in the kitchen, too. His recipes for breakfast, lunch, dinner or the rhythm section all contain the best ingredients. Here's the biography from his own website: << Dubbed “The Groove Guy” and often called “The Hermanator” Matthews moved to Los Angeles from Houston, Texas with one thing in mind… to work! He has had the great fortune of working with such artists as Kenny Loggins, Richard Marx, Tower Of Power, The Isley Bros., Kirk Whalum, George Duke, Bob James, Timothy B. Schmit, Tom Jones, Hugh Laurie, Greg Adams & East Bay Soul, Patty Austin, Chris Botti, James Ingram, Boney James, Steven Stills, Edger Winter, Luther Vandross, Celine Dion, Patty Austin, James Ingram, Sheryl Crow, “Baby Face” Edmonds, Chaka Chan, Carol King, SHeDAISY, Barry Goldberg, Ronnie Millsap, Fee Waybill, Bill Champlain, Maxi Priest, Debbie Gibson, Diane Reeves, Kenny G., John Farnham, Nia, Snuffy Walden, Sarah Nimetz, Greg Adams & East Bay Soul, Dan Aykroid & Jim Belushi, Michael Bolton, Expose, Angie and Debbie Winans, Rebekah, Meredith Brooks, Kina, Tiffany, Eric Burdon, Teresa James & The Rhythm Tramps… During the early 90’s he was a member of the house band “Into The Night Starring Rick Dees.” Herman was a member of the Soul/Funk Horn band Tower Of Power from 1994 to 1998. He has recorded two CDs “Souled Out” and “Rhythm & Business,” co-writing and singing the title track of Rhythm & Business. He’s been the first call subbing for David Garibaldi touring with the band in 2015 and in 2017. Matthews was literally touring non-stop in the year 2017, juggling between touring acts Timothy B. Schmit, Kenny Loggins, Tower Of Power and Richard Marx. Drummer extraordinaire Peter Erskine (Weather Report, Steps Ahead) put it simply, “Herman Matthews is the most powerfully funky drummer I’ve ever heard. Count me as one his biggest fans.” Legendary drummer James Gadson (Bill Withers, Charles Wright’s Watts 103rd Street Rhythm Band) says “Herman Matthews is simply the Truth.” With many recording credits to his name, Herman’s debut CD “Home At Last” takes him back to his roots of the Blues, Soul and Louisiana 2nd line, hi-lighting his writing, singing and producing skills and was featured in the Fox crime drama “K-Ville” starring Anthony Anderson and Cole Hauser. "I’ve been lucky fortunate and blessed," says Matthews, "I’m just a drummer from Texas being the best that I can be, working on the never ending groove and having a great time doing it!" >> There you go. Of particular note: the insane groove between Herman and the late, great, one and only Francis "Rocco" Prestia. Wow. from Herman's solo album: https://youtu.be/3ieohKxXSBE

Infinity Drummers. Day #340.

Bill Stewart

"Wee"

En Route / John Scofield Trio Live

Brilliant drummer. John Scofield. Steve Swallow.

Three musicians who are always at the peak of their game.

Dig the trades near the end of the tune.

This is one of my favorite recordings.

Infinity Drummers. Day #341.

Ronnie Verrell

"Rhapsody for Drums"

Ted Heath Orchestra

Recorded at Ted Heath's 89th London Palladium Sunday Concert 12th April 1953

My dad was a fan of the Ted Heath Orchestra and we had several LPs, but I just discovered this incredible track, "Rhapsody for Drums."

Many of you might know Ronnie Verrell as "Animal" on The Muppets TV program. Take it away, Wikipedia: << Ronald Thomas Verrell (21 February 1926 – 22 February 2002) was an English jazz drummer. He played in two of the United Kingdom's "most famous" big bands, the Ted Heath Orchestra and the Syd Lawrence Orchestra. Verrell also worked extensively in television, including as a drummer in Jack Parnell's ATV Orchestra and Sunday Night at the London Palladium. He also provided the drumming for The Muppet Show's Animal, and was a "Skinnerette" on The Frank Skinner Show.

The Scotsman called Verrell a "driving band drummer" and an "exciting soloist". The Daily Telegraph said Verrell had a "rare combination of craftsmanship and bravura showmanship" and called him "Britain's best-known big band drummer for half a century".

Ronnie Verrell was born on 21 February 1926 in Rochester, Kent in England. Initially he showed little interest in music until he saw the Benny Goodman Quartet perform in a film, "Hollywood Hotel" in 1938. Verrell was so impressed by what he saw, he stayed to watch the film a second time. He wanted to be a drummer and taught himself how to play after only one lesson. In 1940, after the outbreak of World War II, the 14-year-old Verrell was evacuated to Porthcawl in South Wales, where he made his first public appearances drumming with local bands in the area. He returned to Kent in 1943 and worked professionally for a while with the Claude Giddins band, before being conscripted to work as a Bevin Boy in the coal mines for the remainder of the war.

In the mid-1940s Verrell began performing with Scottish saxophonist Tommy Whittle and Belgian trumpeter Johnny Claes. Then between 1947 and 1951 he played with several big bands, including those led by Carl Barriteau and Cyril Stapleton. In September 1951 Verrell joined the Ted Heath Orchestra and remained with the band until Heath's retirement in 1964. At the time Heath's band was the leading British big band, and they performed at many concerts, including Sunday-night swing sessions at the London Palladium. They toured America in 1956 and were the first British big band to break into the US big band arena. Verrell played on many Heath hits, including "The Champ", "Hot Toddy" and "Swingin' Shepherd Blues". One of his best known drum solos with the orchestra was the "Hawaiian War Chant".

After leaving Heath's band Verrell focused on session work and backed many popular artists, including Winifred Atwell, Jack Jones, Tony Bennett, Tom Jones, Shirley Bassey, Jonathan King, Petula Clark and Strawbs. Verrell also joined Jack Parnell's house band at ATV, playing with them for ten years. In 1980 Verrell joined Syd Lawrence's band and stayed with them for almost 20 years.

Verrell also performed in several television shows, including The Muppet Show where he played drums for the show's manic puppet drummer, Animal. When American drummer Buddy Rich, one of Verrell's heroes, guested on the show, Verrell (as Animal) had a drumming duel with Rich, and won after Animal smashed a snare drum over Rich's head. >>

I encourage you to go down the YouTube Rabbit Hole where there's plenty of Ronnie Verrell to listen to and enjoy. Whichever side of the Atlantic you're on, we can all agree that Ronnie Verrell was one great drummer.

Infinity Drummers. Day #342. Bill Richmond The Dave Pell Octet Plays Rodgers & Hart Bill Richmond is a fascinating case study of someone who did something extremely well but decided that they wanted to do something else. In this case, he transitioned from being a drummer to being a writer, with most of his output being in the form of comedy (and much of that in the service and company of Jerry Lewis, who was a bit of a drummer himself). Bill Richmond's discography is nothing to sneeze at, including a number of fine albums with Dave Pell ... West Coast jazz at its finest. I'm going to allow Wikipedia to fill in the blanks ... << William E. Richmond (December 19, 1921 – June 4, 2016) was an American film and television comedy writer and producer, as well as a musician, actor and composer. He co-wrote the screenplays to numerous popular films that starred Jerry Lewis. These films included The Nutty Professor, The Errand Boy and The Ladies Man. He also made cameo appearances in some of Lewis' films as well, such as a piano player in The Patsy. Later in his career, he wrote and/or produced for numerous television shows, including Laugh-in, Walt Disney's Wonderful World of Color, The Carol Burnett Show, I Dream of Jeannie, Welcome Back Kotter, Three's Company, The John Larroquette Show, Wizards and Warriors, All in the Family, Blossom and Kate & Allie. He won three Emmy Awards for his writing work (shared) on The Carol Burnett Show for the years 1974, 1975 and 1978. Born in Kentucky, Richmond grew up in Rockford, Illinois. Following military service as a Marine Corps fighter pilot in World War II, Bill decided to pursue his dream of being a jazz musician by moving to Los Angeles. He became a journeyman drummer, working through the latter 1940s and the 1950s for the likes of Frank Sinatra, Peggy Lee, Harry James, Les Brown and Nelson Riddle. By the late 1950s, tiring of the grind, Richmond was looking to retire from music and try something new. It was at this point that Jerry Lewis asked him to join his band; Bill wasn't eager to take on another long-term drumming gig, but he realized that this could be a golden opportunity to try his hand at comedy writing. Already well known backstage for his wit, Richmond began pitching gag ideas to Lewis, who quickly moved him out from behind the drum kit and into the writers' room. His first project for Lewis was The Ladies Man, and his co-screenwriter was Mel Brooks. However, Brooks and Lewis soon had a clash of temperament and Brooks quit the film, leaving Richmond to collaborate alone with Jerry on the screenplay. He worked with Lewis on several more films in the Sixties, along with writing for two of Jerry's network television series. The pair reunited to co-script Cracking Up in 1983. Richmond has appeared in small roles as an actor in several films and television shows, most notably a silent role as "Stan Laurel" in The Bellboy, a part which he reprised in a short filmed message which Jerry privately made for the real Laurel that year. Richmond died on June 4, 2016, in Calabasas, California, at the age of 94. >> He also played the drums on Frank Sinatra's "Sings for Only the Lonely" album ... that alone is notable! To a life well-lived, then, the Infinity List salutes Bill Richmond, drummer and man about town. (New York Times obituary): https://www.nytimes.com/2016/06/23/arts/television/bill-richmond-longtime-colleague-of-jerry-lewis-dies-at-94.html

Infinity Drummers. Day #343.

Gregg Bissonette

"Just Like Paradise"

Skyscraper

David Lee Roth w/ Steve Vai, Billy Sheehan & Gregg Bissonette

One hallmark of a great drummer is the measure of their versatility. University of North Texas-trained, big band-steeped and rock-authentic Gregg Bissonette is not only a great drummer ... he's an excellent educator, plus one of the nicest people you'll ever meet. On top of that, HE'S the drummer that Ringo Starr chose to back him up on his tours (add Maynard Ferguson and Toto to his resumé, among many others).

Speaking of versatility ... Gregg's other gig is doing character voice-acting for Disney. Every time you hear Winnie the Pooh in one of his (Pooh's) more recent appearances, that's Gregg. I'm hoping that Gregg or one of his buddies will chime in here with more info on this. But suffice to say: the Infinity List was created to highlight great drummers and characters like Gregg Bissonette.

This was a great band that David Lee Roth put together. I'm no rock music scholar, but I like what I'm hearing on this track with the nod to John Bonham at the beginning of the tune before things turn really 80s.

Have a great day, y'all.

Infinity Drummers. Day #344. Charlie Watts "Ruby Tuesday” Flowers / The Rolling Stones For those of you who follow the Infinity Drummers list, it should be apparent by now that there's a level of randomness at work here. Why else feature "Ruby Tuesday" on a Monday? Repeating Sunday's qualifying remark that I'm no rock historian, I think the following is correct: "Ruby Tuesday" first appeared on the Rolling Stones' Between the Buttons album and was later reissued as part of Flowers. Recorded in 1966, the wafting influences of baroque and psychedelic elements are joyfully apparent. I admit: I was always one of those Beatles persons versus a Stones person, but this track really has a thing. As a drummer, I can tell you that those 16th notes that Charlie Watts plays are as perfectly-played and placed as any 16th notes I've ever heard. This, for me, is the beauty of Charlie Watts' drumming: it's as basic as it can be but it reveals the man's life-long love of jazz and the TRADITION of how to play a drum. He's never forgotten that the drumset is a jazz instrument first. And he's still rocking. On a 4-piece Gretsch kit. (The back cover of Between the Buttons is dominated by a six-panel cartoon accompanied by a rhythmic poem drawn by drummer Charlie Watts. When Watts asked Oldham what the title of the album would be, he told him it was "between the buttons", a term meaning "undecided". Watts gave the phrase to the title of his cartoon which in turn became the title of the album. So, the man's an artist in more than one sense of the word, too.) Better late than never, the Infinity List salutes the one and only Charlie Watts. Have a nice Ruby Tuesday, y'all ... even if it is a Monday. http://tralfaz-archives.com/coverart/R/Rstones/rstones_buttons.htm

Infinity Drummers. Day #345.

Ian Wallace

Sailors Tale

Islands / King Crimson (1971)

Robert Fripp guitar & Mellotron, Mel Collins saxes, Boz Burrell Bass, Ian Wallace drums. Ian Wallace: 29 September 1946 – 22 February 2007 (RIP)

I can't think of too many rock albums from the early 70s that capture the sheets-of-sound zeitgeist from the 60s, music that undoubtedly informed Fripp & Collins & Burrell & Wallace. The arc of the tune tells the story perfectly, no doubt ... I'm not enough of a King Crimson aficionado to know the narrative, but I love the shape that Ian brings to this, showing incredible jazz insincts for a "rocker" ... a nice touch, too.

Ian loved jazz as much as all of us loved him (by "us," I mean every drummer, every musician, every musician's spouse or partner or kids, every music industry person, and every fan). Ian played with: King Crimson; Yes (one gig!); (wikipedia) << Bob Dylan; Ry Cooder; Don Henley, et al ... Ian's studio and live credits include El Rayo-X with David Lindley, Bonnie Raitt, Joe Walsh, Johnny Hallyday, Keith Emerson, Roy Orbison, Jackson Browne, the Traveling Wilburys, Eric Clapton, Jon Anderson, Alvin Lee, Crosby, Stills and Nash, the Quireboys, Brian Eno, Larry Coryell, Stevie Nicks, Lindsey Buckingham, Steve Marriott, Al Kooper, Tim Buckley, Lonnie Mack, Procol Harum (1993 tour), and Warren Zevon.

After a long and fruitful career in Los Angeles, Ian moved to Nashville. He formed the Crimson Jazz Trio with Tim Landers on bass and Jody Nardone on piano, which released King Crimson Songbook Volume One in November 2005 and King Crimson Songbook Volume Two in early 2009 (a posthomous release). Terrific jazz versions of already jazzy tunes. A double treat.

On 10 August 2006, Ian was diagnosed with esophageal cancer. He chronicled his illness in his online blog in the hope his story would encourage others with similar symptoms to pursue treatment. He died, aged 60, with his wife, Marjorie Pomeroy, at his side. >>

Ian was a great drummer and a great friend. He died too young. To a life well-lived ... Ian Wallace, a man who loved a joke well-told, a song well-sung, and a beat well-played.

Infinity Drummers. Day #346.

Eric Harland

"Part 5, Ruminations"

Passin' Thru / Charles Lloyd New Quartet

Born in 1976, Eric Harland is another outstanding alumnus of the High School for the Performing and Visual Arts in Houston. He moved to New York City at the urging of Wynton Marsalis who heard him during a workshop in Texas, and the rest is, as they say, history. His jazz cred is impeccable ... as is his time, his touch, and his overall creative sense.

I've heard him swing and color the music of Charles Lloyd on more than one occasion, and it's always a treat, inspiration and education to hear him play. I simply love Eric Harland's drumming, and if you haven't heard him yet, I promise that you will, too.

The band here is Charles Lloyd (tenor sax), Jason Moran (piano), Reuben Rogers (bass) and Eric Harland (drums)

Infinity Drummers. Day #347.

James Stroud

“Mr. Big Stuff”

Jean Knight / Mr. Big Stuff

This tune was such a hoot when it came out, I even bought the 45 but never bothered to give a second thought as to who might have been playing the drums. I just took it on faith that it was some funky drummer…

Indeed.

James Stroud.

I turn to Wikipedia for the biographical data: << James Stroud (born July 4, 1949) is an American musician and record producer who works in pop, rock, R&B, soul, disco, and country music. He played with the Malaco Rhythm Section for Malaco Records. In the 1990s, he was the president of Giant Records (a subsidiary of Warner Bros. Records) and held several credits as a session drummer. He later worked for DreamWorks Records Nashville and in 2008 founded his own label, Stroudavarious Records.

Stroud was born in Shreveport, Louisiana, United States, one of five children. He began playing drums at local bar bands in Texas and Louisiana. Stroud worked with musicians such as Paul Davis in the 1960s. He and Davis also took on songwriting duties for Jackson, Mississippi-based Malaco Records. He played with and produced many acts throughout the 1960s and 1970s. While involved at Malaco, he worked with R&B artists, including Dorothy Moore, King Floyd, Frederick Knight, Jackie Moore, The Controllers, Fern Kinney, and Anita Ward. He co-produced and played on Dorothy Moore's "Misty Blue", which was a major US and UK hit, going on to sell over four million copies.

He was also a session musician working with the band, Sparks which he provided guitar, drums and keyboards. He also started playing drums and synthesizer with Paul Davis, taking influences from rock and R&B artists. In the early-1980s, he began playing for Eddie Rabbitt. From there, Stroud had become a prolific session drummer in Nashville, Tennessee, backing Ronnie Milsap, K.T. Oslin and others. He was also a member of the Marshall Tucker Band. He is noted for discovering Taylor Swift.

In the late-1980s, Stroud founded The Writers' Group, a publishing company. He also took up producing, and in 1989 was named by the Academy of Country Music as Producer of the Year. When Warner Bros. Records founded the Giant Records branch, Stroud became president of the new label and produced several of its acts, including Carlene Carter, Dennis Robbins, Tracy Lawrence, Daryle Singletary and Clay Walker. At the same time, he produced acts not signed to the label. Between 1993 and 1994, twenty-one singles produced by Stroud reached the top of the country charts.

After Giant Records closed in 2000, Stroud moved to DreamWorks Records Nashville, where he worked as a producer for several artists including Darryl Worley. After the label closed down in 2005, Stroud joined Universal Music Group (DreamWorks' parent company) and served as co-CEO alongside Luke Lewis until 2007. In July 2008 he founded a new label, Stroudavarious Records, to which he signed Worley as the flagship artist. >>

And, about the album and tune, Wikipedia tells us, << Mr. Big Stuff" is a song by American singer Jean Knight. It was recorded in 1970 at Malaco Studio in Jackson, Mississippi at the same session as "Groove Me" by King Floyd. Knight's single was released by Stax Records because of the persistence of Stax publisher Tim Whitsett; "Groove Me" by King Floyd, which Whitsett strongly urged Malaco to release, also became a hit. Both songs are defined by two bar, off-beat bass lines and tight arrangements by Wardell Quezergue.

Released on Knight's 1971 debut album of the same title, it became a huge crossover hit. The song spent five weeks at No. 1 on the Billboard Soul Singles chart and peaked at No. 2 on the Billboard Hot 100 Singles chart, behind "How Can You Mend a Broken Heart" by The Bee Gees. Billboard ranked it as the No. 18 song for 1971. The song went double platinum and was the No. 1 Soul Single of the year.

Knight performed the song on Soul Train on December 11, 1971 during its first season. "Mr. Big Stuff" became one of Stax Records' more popular and recognizable hits. It was featured in the 2007 mini-series The Bronx Is Burning. It was nominated for Best Female R&B Vocal Performance at the 1972 Grammy Awards.

This song is told in anger from the narrator, telling an egotistical man, nicknamed as Mr. Big Stuff, who owns rich cars and fancy clothes, and breaks other girl's hearts, to act maturely to the narrator, demanding that he return his love for him. This song also features a backup female chorus intoning "Oh Yeah", once in the song's Intro, twice in the first verse, and twice in the third verse.

No credits are listed for the Malaco studio musicians on the record. According to Rob Bowman's liner notes from the 1999 box set The Last Soul Company: Malaco, A Thirty Year Retrospective, the musicians for this session included:

Vernie Robbins – bass

James Stroud – drums

Wardell Quezergue – organ

Jerry Puckett – guitar

Jimmy Honeycutt - saxophone

Bob Cheesman - trumpet

During this time at Malaco, horn lines were typically played by saxophonist Hugh Garraway and trumpeter Peary Lomax. >>

The YouTube posting credits the following.

Producer: Wardell Quezerque

Vocals: Jean Knight

Bass Guitar: Vernie Robbins

Drums: James Stroud

Organ: Wardell Quezergue

Jerry Puckett

Saxophone: Jimmy Honeycutt

Back to my point of view: the drumming is so tight and disciplined, yet the pocket stays completely relaxed. A wonderment, actually. And that drum fill at 1:30 is PERFECT. Plus, I never would have guessed that this drummer also helped to discover Taylor Swift and played on so many country albums … just goes to show *something.* One thing I *can* say for certain is that the drum track feels completely honest, natural and real. And that’s saying something. And that’s some big stuff right there. So … who do you think you are?

Infinity Drummers. Day #348.

Barry "Frosty" Smith

Tell Me How Do You Feel; (Don't Want No) Woman; My Friends; Frosty's; Think I'll Go Back

Lee Michaels (1969)

This one should bring back memories for many of you. For me, it's my sophomore year of high school at the Interlochen Arts Academy, located in the far north of Michigan. A boarding school, where I'm surrounded not only by other kids who are each discovering new frontiers musically, but surrounded by a lot of snow. Which meant plenty of opportunity to listen to LPs in one dorm room or another. And while this album did not make its way into my personal collection, it was way popular on the playlist that a couple of my classmates would deejay nightly before "lights out."

Frosty. He was an enigma, and he was mighty popular in my dorm that year. My being a bit of a jazz elitist prevented me from hearing and recognizing not only how powerful, funky and rocking the performances are on this 2-person / 5-song medley, but only now do I hear, revisiting this 50+ years later, that Frosty did a fine Art Blakey in the midst of everything else going on. When it comes to rock drumming, much has been spoken or written about, say, Ginger Baker or Charlie Watts and their love of jazz. But I submit that Barry "Frosty" Smith exhibits as much jazz in his drumming, especially during his solos, than many of the other/more celebrated names that have become the default backbone to any discussion of jazz and rock drumming.

From what I understand, Barry Smith was a much-loved figure on the Austin, Texas music scene, where he moved from California in the early 1980s. He passed away at the age of 71 in 2017.

Please take the time to listen to this whole LP side. It's fun, it's a time machine ride, and it's a testament to a drummer who really made an impact on many musicians — including a whole dormitory wing's worth of buckskin-boot-leather-fringe-jacket-thrift-store-hat wearing teenagers who wanted nothing more than to grow up and be set loose in a recording studio some day. "Frosty" was the light.

Infinity Drummers. Day #349.

John Barbata

"Happy Together"

The Turtles

1967. 7th grade. This song, and that girl I had the crush on ... wow, just realizing that the TV show "pen15" is all about this very same time of life for its main characters (co-created by and starring Maya Erskine) ... but, like I was saying, 1967 ... which was very different from the year 2000! This song played effectively to young minds and hearts.

Historically ... In spring 1966, The Turtles were looking for a new drummer and Gene Clark of the Byrds recommended Barbata. After an audition with Howard Kaylan, Mark Volman, and Al Nichol, Barbata had the gig. The first song Barbata recorded with the Turtles was "Happy Together" and on March 25, 1967, "Happy Together" went to No. 1 on the charts and stayed there for three weeks. John Barbata credited himself for creating "those drum parts that helped make it [the record] magical." One of his trademarks was to incorporate stick twirling into his performances, along with Dino Danelli of The Rascals and Carmine Appice of Vanilla Fudge.

The Turtles were invited to play on the Ed Sullivan Show (May 14, 1967), The Smothers Brothers Comedy Hour, Hollywood Palace, American Bandstand, Where the Action Is, and The Johnny Carson Show. The group went on to have many other hits with Barbata, including "She'd Rather Be with Me", "You Showed Me", "She's My Girl", and "Elenore". Barbata also appeared on The Dating Game show.

More about John in a minute. Meanwhile, here's more than you might want to know about the tune (thanks again to Wikipedia): << "Happy Together" was originally published in the key of E minor,[42] but Wadhams and music teacher Emily Langerholc observed that the Turtles' recording is in F♯ minor during the verses and F♯ major on the chorus. The song is in common time with a tempo of 120 beats per minute. It starts with an electric guitar, followed by drums and electric bass, then Kaylan starts to sing the first two verses, reinforced by another guitar and reverberated vocal harmonies in the second verse,[12] before the chorus begins (consisting of double-tracked lead vocals are backed by four part "ah" singing and trumpets). The switch of minor key verses to the major key chorus is called by Langerholc as "one of the most effective minor to major switcharoos of all time", citing that the change is preceded by a C chord (V) at the end of the verse and is in Common Tone Modulation. This structure accompanies Kaylan in the third verse, the second chorus, the first repeat of the third verse (harmonizing with Volman), the "baa, baa" chorus and the outro: the second repeat of the third with the coda, that consists of another "baa, baa" section with the joining of the orchestra and the band, before the reverb fades the song. Langerholc stated that the outro (F♯ minor key verse with the F♯ major key coda) is possibly a Picardy Third.

Many listeners (like Langerholc) thought that the lyrics of "Happy Together" were about a couple in love with each other due to its cheery chorus and the title, but, according to historian James E. Perone, a closer reading in the lyrics ("imagine me and you", "if i should call you") reveals that the love expressed by the narrator is not reciprocated by the other person, with Perone stating that the relationship "is only in dreams, wishes, desires and the mind of the singer". O'Rourke felt that the song "stretches the contrast between the loneliness of being apart and the thrill of being together to bipolar extremes". Joe Viglione compared "Happy Together"'s lyrics to Tommy James's hit "Mirage", but while "Mirage" was about an ex-girlfriend, "the Turtles never even get to first base in their laments". O'Rourke observed that is the listener's option to determine if in the final line "We're happy together", the narrator conquered his beloved, "or if he’s just retreated into his fantasy world for good". >>

WHEW

I had to copy-and-paste all of that just so you could all enjoy the "one of the most effective minor to major switcharoos of all time" quote ... context matters!

John Barbata is originally from New Jersey but became a staple of California's rock ethos and sound. He's written a book about his life as a drummer, titled "Johny Barbata, The Legendary Life of a Rock Star Drummer." I'll post the link to his facebook page below.

The perfect song for the weekend. Here's hoping that all of you are so happy together ... and, to bring it back to jazz and as Duke Ellington would say: I love you madly.

Infinity Drummers. Day #350.

Mitch Mitchell "Wait Until Tomorrow"

Axis: Bold As Love / Jimi Hendrix Experience

1967 again.

The prescience of this album, this phenomenon, is staggering. It has everything: Hendrix's guitar playing, the lyrics, the sound, the bass and drums of Noel Redding and Mitch Mitchell ... well, let's focus on Mitch Mitchell. He pretty much defined, created, and amalgamated all that was good about drumming and planted it into this Garden of Eden trio — innovation, pocket, excitement, rock-solid suspense ... I mean, every track is like watching a movie or reading a terrific short story. Is that a Ludwig Supraphonic or a Premier Hi-Fi snare? Eddie Kramer did a remarkable job recording the entire album, especially the drums.

This is the Experience's 2nd album and, to my ears, the Experience was benefitting from experience ... but what do I know? To be honest, there have been a number of drummers I've held off on listing because I don't feel as qualified as some of my peers who have truly made a study of all of this ... part of the joy of the List for me has been my skipping around rather willy-nilly, highlighting recordings that have brought me joy as well as putting the spotlight on some players who have not enjoyed as much public notice as their drumming contributions deserve (all of this being subjective). But I feel that Mitch Mitchell is uncontestably important and hip. This is not news. The news for me was getting a nudge in the Facebook ribs by Tim Weston this morning and my taking the time to listen to Hendrix's AXIS: Bold as Love album by dawn's early light. And I asked my wife, "How have I not been listening to this my entire life?"

So, sharing all of that now. Thank you, Mitch Mitchell. Thank you, Jimi Hendrix and Noel Redding and Eddie Kramer, et al ... I will post 2 links below in case you want to learn more about the recording of the album and its release (fascinating story), plus another track where Mitch Mitchell is playing incredible BRUSH stuff (in a power rock guitar trio, pardon that quaint phrase).

Why Wait Until Tomorrow? (not being rhetorical) ... the x-stick beat combined with the snare fills and the irrepressible bounce of Mitch Mitchell's beat. And Hendrix is unbelievable.

I got to meet Mitch in a MARS music store ... he was the nicest man.

Why Wait Until Tomorrow? Don't. The time is now. And the best part is: I feel like a kid again.

Infinity Drummers. Day #351.

Kendrick Scott

"Let's Face the Music and Dance"

Form / Danny Grissett

Danny Grissett, piano & leader; Seamus Blake, tenor saxophone; Vicente Archer, bass; Kendrick Scott, drums.

One of the more telling ways to know a drummer, or, shall we say, to *get* to know a drummer, is by hearing their playing on a project that is not of their own doing ... a "sideman" (or "sideperson"), in other words. Indeed, this is how I got to know the playing of many of drummers represented on this list. But, back to the "telling" part: it's a bit like how we discover the true nature of ourselves when things *don't* go as planned ... or why some of our favorite jazz albums were the ones that were recorded in an afternoon or evening or two at most. Like a snapshot, only better than a "Kodak moment" ... I'm talking Polaroid. Panic or plenty cool ... and Polaroid

So, my apologies for not representing the great Kendrick Scott here by way of his excellent Oracle projects, but I find his playing explosively delightful on this somber-then-exuberant telling of Irving Berlin's "Let's Face the Music and Dance." Kudos to pianist and arranger and conceptualist Danny Grissett (an excellent pianist who first made his marks in southern California before going to New York and, now, Europe. Thanks to Jeffrey Levenson for introducing me to Danny by way of the JAM music conservatory in Vienna ... more on that in another post). Everyone sounds great here, and this is another of those Criss Cross Jazz records that are as revealing as they are enjoyable to listen to. The calm becomes the most pleasant storm on this take.

Kendrick is another great drummer from Houston, Texas (the List highlighted fellow Houstonian Eric Harland a few days ago). I recommend that you visit Kendrick's website for an informative introduction and tour of his music including his latest and stunning work, "A Wall Becomes A Bridge." (kendrickscott.com)

Meanwhile: let's face the music and dance.

Infinity Drummers. Day #352.

Ari Hoenig

"Animal Crackers"

Animal Crackers, Kenny Werner Trio

Kenny Werner, piano; Johannes Weidenmueller, bass; Ari Hoenig, drums.

Ari's drumming is always adventurous, rewarding, eye and ear-opening and even, dare I say, soul-opening. Combined with 2 other geniuses of improvisatory music — Johannes Weidenmueller and Kenny Werner — well, this is just about as good as it gets, folks.

And these masterful musicians not only make it sound easy, they make their mastery seem "effortless."

Good trios need 3 good musicians. Great trios require that something extra: a symbiosis, a heart, an intent that conveys the minds of all three players while delivering the sound of ONE mind. This is a great trio.

Ari is an inspiration. He was born in 1973.

I have a Kenny Werner story: one night, while on tour with Johannes and Dave Liebman (or it might have been Benjamin Koppel), Kenny and I were discussing "kryptonite" songs where I confessed that mine was "There'll Never Be Another You." Not sure why that song bedeviled me, but it did and I told him so. Not long after our chat, we mounted the stage at the Duc des Lombards in Paris for our first show of the evening — many musicians were in the audience, as I recall — and, instead of calling whatever our usual first tune of the night was, Kenny says, "Good evening, bon soir ladies and gentlemen, welcome to the first set. We'd like to begin the concert with an old standard, "There'll Never Be Another You," and then, smiling as he sits down on the piano bench, he locked eyes with me and simply said, "Deal with it."

It was so much fun to play that song with him that night, and Kenny got me over that hump of the tune. Among other things, Kenny is real good at making the fear go away.

This trio on this recording is fearless and flawless. Like I said, it is a great trio. Lots to listen to and learn. Happy Tuesday, everyone.

Infinity Drummers. Day #353.

Jerry Granelli

“Mr. Lucky”

The Latin Side of Vince Guaraldi

The world lost drummer and mentor Jerry Granelli yesterday. He was 80 years old. Most of us came to know his drumming by way of the Charlie Brown Christmas Special album (I did not choose one of those tracks, less out of not wanting to celebrate Christmas in July, but because there’s long been a lack of clarity as to who played what on the television and album versions of the music, occurring at around the same time that Jerry was transitioning out of the Vince Guaraldi Trio while Colin Bailey was doing more and more of the work, etc.). Indisputably, here is Jerry Granelli playing the “latin side of Vince Guaraldi.”

Jerry’s legacy lives on in countless musicians who received guidance and inspiration from him, both in the Seattle area as well as in Halifax, Nova Scotia where he lived from the 1990s until his death on July 20, 2021.

RIP, Jerry Granelli, and thank you for the music.

Infinity Drummers. Day #354.

Keith Carlock

"Running Out Of Time"

Toto XIV

Born in 1971 and hailing from Mississippi (hail, yes); educated at North Texas State University (now known as the University of North Texas); studied with Ed Soph; inducted into the Mississippi Musicians Hall of Fame. And did I mention that he's played with Wayne Krantz, Steely Dan, James Taylor, Donald Fagen, Walter Becker, Tal Wilkenfeld, John Mayer, Sting, and Chris Botti ... and Toto, too?

Having attended that other same university as Keith, the School of Fagen & Becker ... well, I finished my freshman year and enjoyed the summer session, but Keith went on to not only finish the undergrad currculum there, he also achieved his masters and doctorate degrees in Danology (bear with me, folks, this is all being written pre-coffee). What I'm trying to say is that, where other drummers — all of them good — came and went in that band (post-Jeff), Keith was able to come up with enough of the idiosyncratic mojo that Fagen and Becker were hungry to hear while still providing a backbeat and solid groove that leaves no stone unturned (and the only question asked: "Hey, how does he do that?").

The first time I heard Keith play in-person, I told him, "You are the best thing to happen to drumming in a long time."

Dig him on this Toto track. And everyone stay safe out there. And get vaccinated, dammit.

Infinity Drummers. Day #355.

Ronnie Zito

"I Feel Pretty"

My Kind of Broadway / Woody Herman and his Swinging Herd

The Infinity Drummers list has featured several Woody Herman alumni, including Dave Tough, Tiny Kahn, Sonny Igoe, Don Lamond, Jake Hanna, Mel Lewis, John von Ohlen, Ed Soph, Morris Jennings, Joe LaBarbera, Danny D'Imperio, Jeff Hamilton, Steve Houghton, John Riley and Dave Ratajczak. Wow, that's a list RIGHT THERE. (Let me know if I missed anyone, on or off the List!)

No listing of Woody Herman's drummers would be complete without Ronnie Zito. Before I present a biography that appears on the AllMusic website, I'll offer this brief introduction to the track: everything about this is SO WOODY HERMAN-ish. Above all, it swings like crazy. It takes an experienced, savvy and downright brilliant drummer to catch the figures and hits in this chart (by Don Rader) like Ronnie Zito does. Listen and I bet you'll agree: it's pretty amazing. Plus total fun. And incredibly great.

The bio: << Ronald Zito is best known as the exclusive drummer of singer Bobby Darin for four years, a connection which certainly didn't hinder his efforts to become a first-call session drummer. But he also had a career as a jazz musician and worked with some heavy players in this field including tenor saxophonist J.R. Monterose and bandleader Woody Herman. Zito came from a musical family which includes his brother Torrie Zito, a composer [and arranger]. His early musical experiences were in their family band. Jazz enthralled him, and at the eye of this hurricane of interest were the master drummers Elvin Jones, Art Blakey, Philly Joe Jones, and Billy Higgins, and it was absorbing the mastery of touch and detail that helped Zito become such a tasteful drummer in every setting. Indeed, Zito's work behind Darin on the '60s release Darin at the Copa compares favorably with the standard set by Jones on his recordings with Johnny Hartman. Zito was still a teenager when he gigged with Monterose, a hard-driving and influential hard bop tenor saxophonist who later played with Charles Mingus. Catching the Darin gig shortly thereafter was a lucky break for a man just entering his twenties, as well. Zito continued playing jazz during this period, especially as a member of trombonist Frank Rosolino's combo in 1961. He jumped ship to another vocalist in 1962, going on tour with the sultry and talented composer and singer Peggy Lee. He was based out of Brooklyn through the '60s, drumming behind the Herman big band for two years beginning in 1965. During this time he began to build a reputation as a studio drummer among an elite group of artists. His recording credits in the ensuing decades reveal an extremely wide range of abilities. He has collaborated with some of the best classical artists when they take on pop or swing projects, including the Canadian Brass and flautist James Galway. Zito has recorded in the '70s and '80s with memorable pop vocalists such as Cher, Roberta Flack, K.T. Sullivan, and Eartha Kitt. He also seems in demand in the musical world inhabited by the likes of Barry Manilow and Tony Mottola and by projects such as Rosie O'Donnell's Rosie Christmas. He met the comedian during the filming of A League of Our Own, for which conductor Hans Zimmer tapped Zito to play on the soundtrack. He also plays on Broadway and was part of the pit band for the show Chicago. Of course, he always keeps his arms limber enough for swinging, continuing to play jazz in the combos of organist Jimmy McGriff and trumpeters Marvin Stamm and Ruby Braff. >>

The personnel on this recording:

Leader/Clarint-Woody Herman

Tenor Saxes-Andy McGhee, Gary Klein and Raoul Romero

Baritone Sax-Tom Anastas

Trumpets-Gerald Lamy, Bill Chase, Dusko Goykovich, Don Rader, Bobby Shew, Larry Ford and Billy Hunt

Trombones-Henry Southall, Phil Wilson and Bob Stroup

Piano-Nat Pierce

Bass-Chuck Andrus

Drums-Ronnie Zito

Infinity Drummers. Day #356.

Cliff Almond

Why Not!

Once More Once / Michel Camilo

A bravura performance that’s totally in-the-pocket-feel-good while, at the same time, astonishingly well-played. And fun to listen to.

Bravo, Cliff!

Everyone have a great weekend and see you tomorrow.

Infinity Drummers. Day #357.

Kenny Wolleson

"Surfer Girl"

Guitar in the Space Age! / Bill Frisell

Bill Frisell - electric guitar

Greg Leisz - pedal steel, electric guitar

Tony Scherr - bass, acoustic guitar

Kenny Wollesen - drums, percussion, vibes

Today is the perfect day for this track, this album, this band and this drummer. Bill Frisell is a uniquely magical musician, and it takes a particular drummer to set the stage for that magic. For lack of a better musical descriptive, I'll offer the two Wollesen-esque qualities that I hear in Kenny's drumming: innocence and trust. Trust comes from faith, from discipline, and from having experienced it at a formative stage in one's life. Reading Kenny's bio, I was surprised and pleased to learn that he learned from the brilliant mind and gentle heart of trumpeter Ray Brown, who I first met when I joined the Kenton band 49 years ago this month. Per Wikipedia, "(Wollesen) spent quality classroom time with flugelhornist and arranger Ray Brown at Cabrillo College. He also arranged and studied vibraphone at Cabrillo." So, a good mentor plus good musical training do a good drummer make.

Kenny has a discography that’s enviable in both quality and quantity. I'm no Wollesen expert, but I like everything that I hear. And while Frisell's musical arc is eclectic, there is (to my ear) an unmistakeable nod to guitarist Gabor Szabo in his music. And again, to my ears, Kenny has the same qualities that Gabor's best drummers had: a trust in the music and that it would get to where it was going without too much unnecessary nudging, cajoling or bludgeoning. The man understands the value and effectiveness of simplicity.

I was hoping to go a full year without having used the word "eclectic." Oh well.

Despite the nuclear imagery on the album's front cover art, this music manages to make us feel that we're listening to something from a gentler and simpler time. Have a great Sunday, everyone.

p.s. and, yes, of course ... sunflowers!

Infinity Drummers. Day #358. Frank Butler  "The Sermon" The Newborn Touch / Phineas Newborn, Jr. Trio Phineas Newborn, Jr. - piano; Leroy Vinnegar - bass; Frank Butler - drums If we listened to this track for no other reason than the heart-stopping stick-on-stick drum break that occurs around the 16 or 17 second mark, that alone would be reason enough to stop the presses, close off the streets and all of us go out and march in celebration and solidarity proclaiming Frank Butler's genius. Lucky for us we have the entire cut to listen to. Frank Butler's discography is a fine rabbit hole to explore. The Wikipedia page dedicated to him lists his records, and has this to say about him biographically:  <> And check him out on the boxed set of Miles Davis' Seven Steps to Heaven recording … Butler died in Ventura, California after a short battle with lung cancer at the age of 56. Wikipedia is right: Frank Butler should be better known. ADDENDUM ... LISTEN TO THESE TRADES: https://youtu.be/HTh-mLkxblk

Infinity Drummers. Day #359.

Dafnis Prieto

"Una Vez Mas"

Back to the Sunset / Dafnis Prieto Big Band

Quoting from the downbeat magazine review of the album, "The release marks the debut of the Dafnis Prieto Big Band, a project we started hearing about early in 2017, when Prieto began a fund-raising campaign to support organizing, rehearsing and recording this 17-piece, heroic big band. The DPBB had its world premiere last August. After three days of rehearsal, it delivered a rave-filled, three-night stand at Jazz Standard in New York City, then immediately went into the studio to lay it all down for history. The result is a big, beautiful, bodacious tribute to Prieto’s heroes and one of the best recordings of the year.

Prieto has assembled an all-star Latin jazz lineup here. The trumpet section of Mike Rodríguez, Nathan Eklund, Alex Sipiagin and Josh Deutsch; the saxophone section of Román Filiú, Michael Thomas, Peter Apfelbaum, Joel Frahm and Chris Cheek; the trombones of Tim Albright, Alan Ferber, Jacob Garchik and Jeff Nelson; and the rhythm section of Manuel Valera, Ricky Rodriguez, Roberto Quintero and Prieto deserve to be called out individually, because they played amazingly as a group.

The set kicks off with “Una Vez Más”—a bold tip of the hat to Tito Puente, Eddie Palmieri and trumpeter Brian Lynch. It just pounds with bravura. Guest soloing here, Lynch blows with power and poise, matching the force of the band. Lynch’s solo is followed by a rhythm explosion between Prieto and Quintero on percussion."

Thanks to writer Frank Alkyer for that, 'though I hear so much of "Manteca" in the writing and heart of this tune that omission of its mention is puzzling (also, pianist Manuel Valera's solo) . At any rate, credit where credit is due: to all of the musicians and especially to Dafnis, a triple-threat talent (drummer, writer and bandleader). To focus on the drumming: yes, superb throughout ... but the solo/trades are truly Olympian.

I give it a "10." Gold medal playing, Dafnis. Bravo.

Infinity Drummers. Day #360.

Vince Wilburn Jr.

“MD1 / Something’s On Your Mind / MD2”

You’re Under Arrest / Miles Davis

This album marked the end of Miles Davis’ 30-year association with Columbia Records. It also marked the 2nd album that Miles’ nephew Vince Wilburn Jr. made with his uncle. He shares the album’s drumming duties with Al Foster. And while nepotism may have provided a window of opportunity for Vince (on “The Man With the Horn, “ where he played on “Shout” plus the title track, his first album with Miles) … well, anyone familiar with Miles Davis knows that he did not suffer fools gladly, musically or otherwise. Vince proved to be not only a credible member of the band both in-person and in the studio, but he’s been a tireless advocate and legacy-keeper on behalf of Miles Davis since his passing in 1991.

So, anyway, I think the general perception is that Miles did his nephew Vince a favor … and I’m sure that Miles was a good uncle in that way. But I am certain that Vince did Miles and ALL OF US a very big favor by anchoring the drums in this band while providing the steadying hand and presence that family brings with it. Vince was in the right place at the right time. Right on, Vince.

While Mile’s cover of “Human Nature” is the better-known track on this album, I like the 3-tune medley “MD1 / Something’s On Your Mind / MD2” because the soloing seems more interesting and, for whatever production layers there are going on in the song, a band vibe is evident (lots of cool stuff going on in “Katia” as well). Check this album out. I missed it when it came out … Miles moved on while I was stuck hearing him down on Memory Lane, one place he was definitively not interested in visiting. (That’s Al Foster on “Time After Time.”)

I was fortunate to see and hear Vince with Miles and John Scofield in Tokyo, Japan in 1985. It was a great show. And I’m proud to call Vince my friend.

Everyone stay safe.

Infinity Drummers. Day #361.

Chuck Flores

"The Lamp Is Low"

Bud Shank Quartet Flute, Alto Saxophone: Bud Shank

Piano: Claude Williamson

Double Bass: Don Prell

Drums: Chuck Flores

West Coast Jazz at its finest

Album cover and all,

Chuck Flores, O.C. drummer,

Played big bands and small.

Charles Walter "Chuck" Flores (January 5, 1935 - November 24, 2016). One of the relatively small number of musicians associated with West Coast jazz who were actually from the West Coast, Flores was born in Orange, California, and grew up in Santa Ana. He is best known for the work he did with saxophonist Bud Shank in the 1950s, and for his stint with Woody Herman, but also performed and recorded with such musicians as Carmen McRae, Art Pepper, Maynard Ferguson, Al Cohn, and Shelly Manne, who had been his drum teacher. Manne and others considered Flores an underrated drummer.

In later years, Flores became a highly sought after and renowned educator whose students included Danny Seraphine, Chad Wackerman, John Wackerman, Brooks Wackerman, et al. Flores was a longtime faculty member at Musicians Institute in Los Angeles. (Wikipedia)

Dig the tempo once the tune kicks in after the Ravel intro ... smoking, yet relaxed. Like I said, West Coast Jazz at its finest.

Nice drum solo and fills, too.

And, like I said: dig.

Infinity Drummers. Day #362.

Rubinho Barsotti

"Pavana para Una Infanta Difunta (Ravel)"

from Opus Pop No. 1 / Zimbo Trio (1972)

Day #361 of the Infinity Drummers list featured Chuck Flores playing "The Lamp Is Low" with saxophonist Bud Shank. That song is based on Maurice Ravel's "Pavane pour une infante défunte" (in English: Pavane for a Dead Princess), which already existed in multiple formats (piano, orchestra) ... composed by Ravel while he was a student of Gabriel Fauré at the Conservatoire de Paris.

In any event, listening to the Bud Shank version of the tune brought back a memory from when I was visiting my sister Lois in Caracas, Venezuela during the spring of 1975 after I had gotten off the road (Kenton band). I found an album (sans the fetching cover) of the Zimbo Trio, the setting of the group being pop-ish / Bossa arrangements of classical themes. The only version of the tune that I can find on-line is part of the entire album, so ... if you have the time to sit and listen to it all, you'll hear what I was hearing in the spring afternoons in the mountains outside of Caracas! But, if time is short, please go to 5 minutes and 50 seconds to hear this one tune specifically. It is worth the scroll. (and the entire album wears out its welcome by tune #4 ...)

The Zimbo Trio was established in 1964 in São Paulo, and was originally comprised of Amilton Godoy (piano), Luís Chaves (bass) and Rubinho Barsotti (drums). Listening to the album, this 3rd track caught my ear and I remember repositioning the turntable tonearm and cartridge needle at the beginning of this track over and over again. The tension-and-release devices of both the drums and the bass (the bass playing strikes me as really being the star of the show here, no disrespect to Senhor Barsotti) represent a masterclass in how to play any tune in the Brazilian style, whether classique de la Musique Francais or Tin Pan Alley.

Those were long and enjoyable afternoons, especially after having been on the road non-stop for almost three years. Rediscovering that album now after everything else stopping in its tracks is interesting to experience for me. I hope you'll enjoy my sharing the musical moment with you, wherever you are.

Infinity Drummers. Day #363. Aaron Serfaty "Aguas de Março" (The Waters of March) In the Game / Aaron Serfaty (2016) Speaking of Caracas, and speaking of great drummers, and speaking of Música brasileira ... ladies and gentlemen, I introduce to you Professor Aaron Serfaty. Probably the most-loved of any of the very-much-loved faculty at the Thornton School of Music at USC, Aaron inspires us all with his tireless energy and passion for all things drums, percussion and music. As the business card says: "Plays All Styles” This album is a bit of a miracle, in that Aaron made it without realizing that he was making it. The brainchild of his Venezuelan BFF Otmaro Ruiz and drummer/engineer Jimmy Branly, the tracks for the album were recorded under various guises, excuses and favors for which Aaron was more than happy to agree to (not realizing that he was, in fact, making what would become his own first solo album!) ... presented to him as a gift, it was a pretty remarkable moment, even better than someone jumping out of a cake and yelling SURPRISE! In Aaron's words, ""In The Game," produced by my compadre Otmaro Ruiz. Not only is this my first album, but it is also my first time on the GRAMMY ballot. I am very happy and proud to say that “In The Game” is an official entry in the Best Jazz Instrumental Album category. But, more than that, the hard work that all of my super talented friends put into this labor of love has also put us on the ballot in the following categories: Best Improvised Jazz Solo: Greg Johnson for "Aguas de Março" and “What Is This Thing Called Love,” Otmaro Ruiz for “In The Game” and “Stolen Moments,” and me for "What Is This Thing Called Love,” ”Mambo Inn” and ”Stolen Moments.” Best Arrangement, Instrumental: Otmaro Ruiz for "Mambo Inn" and "Stolen Moments.” Best Arrangement, Instruments and Vocals: Otmaro Ruiz for "Aguas de Março" (Catina DeLuna, vocals) and for "Don't Let Me Be Lonely Tonight" (Kathleen Grace, vocals)…" The entire album is worth your time and ears, but I'm choosing this Jobim classic because 1). the arrangement by Otmaro is brilliant, 2). the singing by Catina DeLuna is wonderful, 3). the drumming is great and not just because a cool bossa or samba beat is being played ... the genius of this track is how the song sneaks up on you and blossoms into the flower that it is. That's part of the beauty and sneakiness of simplicity. I'm going to link "Mambo Inn" just below because the drumming there is tour-de-force, really great, and anything but simple. Some "latin" yin-and-yang for y’all. ¡Saludos, Aaron Serfaty! MAMBO INN https://youtu.be/VIfrpQwDp5A

Infinity Drummers. Day #364.

George Marsh

"Hadron Collider"

Telepathy / Duo Electro-Acostic Improvisations

Denny Zeitlin / George Marsh

This one's a goody, folks. Brand new, too.

I've long been an admirer of George Marsh, a drummer who has taught and practiced the art of the road-less-traveled when it comes to music and the movement made when making music. His is an important voice ... long a staple on the San Francisco drumming scene, it's good to hear him sounding so good here.

Dr. Zeitlin has been on my radar for many years longer, as my father used to point him out to me in the 60s as the perfect example of someone being a medical doctor as well as a jazz musician (Denny is a psychiatrist, as was my father). If he's as good a physician as he is a musician, then it's safe to say that his patients are pretty hip to a good thing (sorry). From an interview in the San Francisco Chronicle: << In comparing his two careers, Zeitlin has said it would be a mistake to think that psychiatry served merely to support his passion for music, when in fact he has a passion for both. "In each setting, communication is utterly paramount. There has to be a depth of empathy that allows you to really inhabit the other person's world. It comes out as a collaborative journey in both settings." >>

I should simply allow the music to speak for itself (and who cannot love a song titled "Hadron Collider"?) ... but here's some biographical info on George Marsh. From George's website: "At fifteen George Marsh became a professional drummer in Belleville, Illinois. His early experiences included work with Sam Andria, Jimmy Williams, and Barbara Streisand (before she became a super star). He studied percussion with Tom Siwe and Jack McKenzie at Champagne-Urbana, and later played with the Lyric Opera, The Chicago Contemporary Chamber Players and many great Chicago jazz musicians. Since 1968, he has lived in the San Francisco area where he has performed and recorded with musicians such as: David Grisman Quintet/Sextet, Jerry Garcia, John Abercrombie, Mose Allison, Joe Henderson, Harold Land, Denny Zeitlin, Terry Riley, William Allaudin Mathieu, Pauline Oliveros, Kronos Quartet, Mel Martin, etc. If you were around in 1970, perhaps you caught him with Chuck Berry, Loading Zone or The Jerry Hahn Brotherhood at the Fillmore West and East.

George has written percussion music for such films as Never Cry Wolf and The Black Stallion. He premiered a suite of his pieces for chamber ensemble in the fall of 2002 at the Lincoln Center in New York ... He is currently playing and composing for the David Grisman Quintet and Timeless Pulse (and) touring with the David Grisman Quintet.

George has taught drumming and rhythm theory at the University of California at Santa Cruz since 1982 and also teaches at Sonoma State University and at his private studio in Santa Rosa California. Inner Drumming is Marsh’s first drum instruction book, a highly praised and unique manual for drummers."

From two master improvisers, composers, mentors and players.

Infinity Drummers. Day #365.

Timi Donald

"I Want To See The Bright Lights Tonight" (1975)

Richard and Linda Thompson

Heard this for the first time a couple of days ago in the car ... another great track by a drummer whose name is new to me. The fun of the Infinity Drummers list is its infinity. The fun of this tune is its tempo. And the production ... great brass band ... great vocals ... great mix ... and a great drum track.

(lyrics)

I'm so tired of working every day

Now the weekend's come I'm gonna throw my troubles away

If you've got the cab fare, mister you'll do all right

I want to see the bright lights tonight

Meet me at the station don't be late

I need to spend some money and it just won't wait

Take me to the dance and hold me tight

I want to see the bright lights tonight

There's crazy people running all over town

There's a silver band just marching up and down

And the big boys are all spoiling for a fight

I want to see the bright lights tonight

Meet me at the station don't be late

I need to spend some money and it just won't wait

Take me to the dance and hold me tight

I want to see the bright lights tonight

A couple of drunken knights rolling on the floor

Is just the kind of mess I'm looking for

I'm gonna dream 'till Monday comes in sight

I want to see the bright lights tonight

Meet me at the station don't be late

I need to spend some money and it just won't wait

Take me to the dance and hold me tight

I want to see the bright lights tonight

Richard Thompson – guitar, vocals,

Linda Thompson – vocals

Timi Donald – drums

Pat Donaldson – bass guitar

The CWS (Manchester) Silver Band

Dave Mattacks ... tell us more!

Everyone ready for year #2 of the List?

Infinity Drummers. Day #366. Bill The Soldier's Tale Suite: THE ROYAL MARCH Stravinsky Conducts Stravinsky 1961 This list began one year ago (August 4, 2020) ... and I cannot imagine a more fitting Infinity Drummers' Eve listening than this recording: from Stravinsky Conducts Stravinsky 1961, The Soldier's Tale Suite (L'Histoire du Soldat), "The Royal March," as drummed by William Kraft . Okay, the first hearing of something often spoils and prejudices the listener into have a lifelong preference for THAT thing over any others ... and, mea culpa, I please guilty, THIS is my favorite Histoire, and I heard it as soon as the album came out (way back when). Plus, it simply SWINGS more than other version, in my opinion ... and I've listened to a lot of them, if not THE lot of them. I had the pleasure of spending an evening with Bill at his home not too long ago, seated poolside and sipping on margaritas while he politely answered my every question about his career ... and, well, once I brought up THIS recording of Histoire, Bill was off to the races down memory lane. "Oh yeah ... we recorded that on a Tuesday at the American Legion Hall in Hollywood." "You recorded that on a TUESDAY? Bill, this is almost 60 years later, how can you remember that you recorded Histoire on a TUESDAY?" "Easy ... I was supposed to have a meeting with Stravinsky on the Sunday before the session. I drove all of the way out to his place in Brentwood, and the damn guy was TAKING A NAP!" (I think Bill was still somewhat miffed by this ...) Changing the subject here ... raise your hand if you know someone who has edited the percussion part to "Histoire" and claimed for it to have been personally approved by Igor ... (I've known a few). Bill never laid claim to that. He only confessed that he was STILL pissed that Stravinsky was napping during their appointed meeting and his drive to Brentwood was for naught. (Bill or one of his students: if you're reading this, I hope I have reported the story faithfully). What I *can* tell you with complete assuredness is that THIS Histoire is a damned good one and worthy of repeat listenings. For those of you who are not familiar with Bill Kraft : he was the timpanist for many years with the Los Angeles Philharmonic, and then became its composers-in-residence. A remarkable man and musician. And drummer ... one with an impressive memory! Percussion: William Kraft Violin: Israel Baker Bass: Richard Kelly Clarinet: Roy d'Antonio Bassoon: Donald Christlieb Trumpet: Charles Brady Trombone: Robert Marsteller

Infinity Drummers List. Day #367.

Alan Dawson

"Don't Get Around Much Anymore"

Love Me Tender / Junko Mine

A remarkable drummer with hands and feet and mind and heart to aspire to ... Alan Dawson taught and inspired more drummers to play than any other mentor I can think of. We all owe him a huge debt of gratitude.

He is heard here in the company of Junko Mine - Vocal

Hank Jones - Piano

Ray Brown - Bass

Alan Dawson - Drums

Sam Most - Flute,Tenor Saxophone

Recorded: 1985

(tracks 1 - 5)

Bonus, Mickey Roker plays on the remaining cuts. Which brings us full circle as Mr. Roker was drummer #1 on the list.

Tracks 06-10

Junko Mine - Vocal

Gene Harris - Piano

Ray Brown - Bass

Mickey Rocker - Drums

Recorded: 1986

Tracklist: 1 Don't Get Around Much Anymore (Duke Ellington / Bob Russell) 0:00:02

2 When You Wish Upon a Star ( Leigh Harline / Ned Washington) 0:03:33

3 I'm Gonna Sit Right Down and Write Myself a Letter (Fred E. Ahlert / Joe Young) 0:07:41

4 Love Me Tender (Elvis Presley / Vera Matson) 0:11:48

5 Almost Like Being In Love (Frederick Loewe / Alan Jay Lerner) 0:13:41

6 Meditation (Meditação) (Antonio Carlos Jobim / Norman Gimbel) 0:16:56

7 Take the "A" Train (Billy Strayhorn / Joya Sherrill) 0:20:16

8 I've Got the Blues 0:24:31

9 Misty (Erroll Garner/Johnny Burke) 0:29:07

10 Tenderly (Walter Gross / Jack Lawrence) 0:31:04

The King label albums were always done in "record" time (meaning = fast). Nothin' hurried in Hank Jones' rhapsodic playing, however, and it's nothing but pure pleasure to hear Mr. Dawson swinging so nicely.

Infinity Drummers. Day #368. Simon Phillips “Endeavor" Move / Hiromi The Trio Project w/ Anthony Jackson & Simon Phillips  This tracks showcases some of the many incredible attributes one associates with Simon: astonishing technique, technique that's used in the service of playing in the pocket, adding color or for the "wow" factor ... and when Simon goes for the "wow," as he does here, it's really great. Oh yes, continuing the list of attributes: SOUND, and a command of the most-complicated rhythmic structures tossed his way, plus his ability to juggle all of this while responding to the group improvisational sense. He's got the gig! And Simon has enjoyed plenty of the best gigs (including Jeff Beck, Stanley Clarke, the Who and Toto, and his own band, Protocol). He first heard me while I was on the road with Stan Kenton and touring in the UK in 1973 ... I first heard him while he was touring with Jeff Beck in Spain, in a bull ring of all places. 1979, as I recall. Weather Report had played its set and now it was the Beck band's turn ... Zawinul and I are listening to them backstage, high above the bull ring/up in the stands, when Simon unleashes a barrage of double bass drum playing that still electrifies my memory. Joe turned to me and asked," Hey ... why can't YOU do that?” Better left to Simon! A delightful man who is not only supremely talented at the kit, but is also an expert audio engineer, gardener, chef AND race car driver (I think I have all fo that correct). Not only a remarkable bloke but a good friend. And I have him to thank for that final conversational push to join the Tama family. And I like this Hiromi track. Enjoy. And BRAVO, Simon, for all of your endeavors. this track is cool, too https://youtu.be/1xKmLRPX9Z8

Infinity Drummers. Day #369.

Gerry Brown

"Funky Row"

Still Can't Say Enough / John Lee & Gerry Brown (1976)

Gerry Brown is a Philadelphia great, paired with yet another Philadelphia great — bassist John Lee — and they are joined here by yet 2 more Philadelphia greats, Mike and Randy Brecker. We're talking Tastykakes / Pork Roll / Scrapple / Hoagie / Cheesesteak good, folks.

Born in 1951, Gerry's jobbing pedigree includes stints with Lionel Hampton, Charlie Mariano, Larry Coryell, Diana Ross, Chick Corea and Stevie Wonder. His drumming is as charismatic as it is soulful, and your day is always better after you've heard or watched him play. Kudos to Gerry's life-long rhythm teammate John Lee who sounds super funky here. And the Breckers? Like I said: we're talking Tastykakes / Pork Roll / Scrapple / Hoagie / Cheesesteak good. And you can take that jawn to the bank (shoutout to Philly brother Christian McBride).

Stay funky and stay safe, y'all. And thank you, Gerry, for a lifetime of great drumming and friendship.

Infinity Drummers. Day #370.

Billy Lewis Brooks

"Fried Bananas"

Montreux Summit, vol. 1 / CBS Jazz All-Stars (1977)

Dexter Gordon (ts)

Woody Shaw (tp)

Slide Hampton (tb)

George Duke (p)

Gordon Johnson (b)

Billy Brooks (d)

Billy Brooks was born in 1943. He moved to Europe in 1964, and has played with Jimmy Woode, Slide Hampton, Tete Montoliu, Benny Bailey, Nathan Davis, Duško Gojković and Philip Catherine.

Our paths crossed — well, it felt more like I got sideswiped at the time, to be honest — at the Montreux Jazz Festival in 1977 when CBS Records organized an impressively expansive (and expensive) jam session, much of it framed in fantastic fusion set-pieces put together by Bob James. The list of participants in this concert reads like a who's who of jazz: Maynard Ferguson, Hubert Laws, Bob James, George Duke, Billy Cobham, Steve Khan, Eric Gale, Stan Getz, Woody Shaw, Alphonso Johnson, Dexter Gordon, Benny Golson and many more. As I wrote in my book No Beethoven, "I was thrilled to get to play with Bob during the Montreux Summit project in the summer of 1977 while I was a sideman on Maynard’s band. (Maynard had brought over some of his band to play the theme from Rocky with him and, as it turned out, CBS superstar drummer Billy Cobham didn’t want to play every number that long evening.) The tune was Wayne Shorter’s “Infant Eyes.” I also ended up playing on a jam with flautist Thijs van Leer from the Dutch group Focus (which reminds me of one of Jaco's funnier lines, making an observation about anyone whose intelligence he doubted: "This guy is so stupid, he thinks Hertz Van Rental is the bass player for Focus.")

Back to the story ... at some point during the massive rehearsals process, I was asked to play with Dexter Gordon, Woody Shaw, Slide Hampton, George Duke along with my Maynard Ferguson rhythm mate Gordon Johnson. Be still my beating heart! I can't remember how that running down of the tune actually sounded, but (in my defense?!) it was not the easiest thing playing bebop on Billy's massive Fibes kit. In any event, I found out in a somewhat ignominious manner that Billy Brooks was coming to the rescue and, at the show, a small kit was set up on the stage that had no room for anything else and Billy played and I was consigned to somehow feeling humiliated as well as disappointed. Now, looking back, I TOTALLY GET IT and Billy Brooks sounds great here and whoever made that call, it was a good decision and it makes sense. The great guitarist and dear friend Steve Khan commiserated with me and my bruised ego in what must have been an insufferable amount of my feeling sorry for myself, my fearing "that" lack of validation and also missing out on the fun. Thanks for the patient ear and the pat on the back, Steve.

Back to the drummer and subject at hand: the best jazz is the music that's made in the moment. Billy stepped onto the stage and into this gala musical event and played "Fried Bananas" like he owned it. The band is great and I'm so proud of my buddy Gordon Johnson.

And, if there's a moral to this story, I offer the following: it's never a bad thing to have your rear-end kicked ... much like the proverbial satori-inspiring slap to the side of the head, there's always something to learn, something to surrender and something to grow by. So, let's check out Billy Brooks' swinging of this mighty band playing Dexter Gordon's "Fried Bananas." It's a most worthy addition to the Dexter Gordon/Woody Shaw canon.

Here's Infant Eyes, with Stan Getz, Bob James and Gordon Johnson

https://youtu.be/-o8WmwHJTlE

More drama to recount (again, from my book): Having been brought to Montreux, Switzerland to accompany Maynard Ferguson on his hit feature “Gonna Fly Now” (the theme from Rocky; Maynard was popular enough to demand and get this accommodation from CBS), bass player Gordon Johnson and myself wound up playing on a couple of other tunes during the marathon concert, including Wayne Shorter’s “Infant Eyes.” Not particularly fun to play brushes on Billy Cobham’s gargantuan clear plastic Fibes drumset, but I do my best to play pretty. It’s a beautiful song, and Stan Getz and Bob James both play wonderfully on the tune. Afterwards, Stan sees me backstage with a young woman seated on my lap and he says, “You’re not fooling anyone; you’re a fag.” As my brother had just come out of the closet, I wasn’t sure whether to panic because I might be gay or because I played brushes for the entire tune and, damn it, I should have switched over to sticks! I confessed/ratted this story to Stan’s daughter, Beverly, when she was touring as a vocalist with Buddy Rich’s band, and we were conversing at some gig. Bev later told me she confronted her father with this, chastising him for saying that to me, and he replied, “Hey, tell him I only talk that way to people I like!”

Infinity Drummers. Day #371.

Johnny Vidacovich

"If My Shoes Hold Out"

Graciously / Alvin "Red" Tyler

Tenor Saxophone: Alvin "Red" Tyler

Trumpet, Flugelhorn, Tambourine: Clyde Kerr, Jr.

Guitar: Steve Masakowski

Piano: David Torkanowsky

Upright Bass: James Singleton

Drums: Johnny Vidacovich

Born in 1949, John Joseph Vidacovich Jr. is the drumming gift that keeps on giving. New Orleans is his home. His beat is as authentic as it is innovative ... remarkable how his playing is so true to the source while it keeps breaking new ground. I guess you could say that this is what real jazz drumming is about.

"real jazz drumming" ... did I just say that? (Hey, who am I to judge?)

Let's paraphrase United States Supreme Court Justice Potter Stewart who opined in 1964, "I shall not today attempt further to define the kinds of material I understand to be embraced within that shorthand description ["real jazz drumming"] ... and perhaps I could never succeed in intelligibly doing so. But I know it when I hear it ..."

Have a great Sunday, y'all, and thank you Johnny Vicadovich for your drumming.

p.s. nice band

Infinity Drummers. Day #372.

Enrique Plá

ILYA

Irakere (1978)

Bass – Carlos del Puerto; Drums – Enrique Plá; Electric Guitar – Carlos Emilio Morales; Percussions – Armando Cuervo, Jorge Alfonso, Oscar Valdés; Keyboards – Chucho Valdés; Saxes – Carlos Averhoff, Paquito D'Rivera; Trumpet, Fluegelhorn & Trombone – Arturo Sandoval; Trumpet – Jorge Varona.

This recording captures the excitement that surrounded and emanated from group phenom IRAKERE in the late 1970s. Every member of the band was a standout musician. And while legendary Chucho Valdes was the brains behind the writing, maestro Enrique Plá was the heart and motor of the group.

I'm no historian, but the timeline seems pretty clear: IRAKERE not only broke the mold, they literally broke the chains that were keeping so much of the Cuban contemporary music scene a best-kept secret. After Irakere, we have all been able to enjoy so much good Cuban music all over the world (and getting to hear them play live during Havana Jam in 1979 was a thrill I'll never forget).

From his Pearl Drums website bio: << Enrique Plá is a man of few words but of a very musical ear. Since he was just a kid, he picked up on the melodies produced from his sister’s piano, and very soon earned the nickname "little drummer boy," because he would improvise on that instrument for hours on end. He invented his own unique drum to begin his journey through the world of music, that of Cuban percussion.

After stints with different bands in his home province of Santa Clara, he made it into the Orquesta Cubana De Música Moderna (1967-71) and the Orquesta Sinfónica Nacional de Cuba between 1968-1971. Later when the band Irakare was founded (1974), Pla was the drummer, with the rich polyrhythmic sound of Cuban percussion instrumentation and mixed it with sonorities typical of jazz and rock. Along with other percussionists in the group, he made the batá and arará drums give a new expression to Latin jazz. >>

¡Escuchar! and enjoy ...

Infinity Drummers. Day #373.

Jerry McKenzie

“Bernie’s Tune”

Kenton Live from the Las Vegas Tropicana

Recorded in early 1959 in the Blue Room of the Tropicana Hotel and Casino in Las Vegas, with the “other” Jerry McKenzie playing the drums (not “Detroit” Jerry a/k/a Jerry Lestock McKenzie who recorded many of the Kenton band’s most iconic and important albums in the early 1960s). “This” Jerry McKenzie played with both Stan’s band and with Les Brown and his Band of Renown … excellent drummer. He played a number of the Bob Hope USO shows with Les Brown and a who’s who of entertainers (including Joey Heatherton). If any readers have memories or anecdotes to share about Jerry, please do so. I know him pretty much from this recording.

This Gene Roland chart is a swinger, and McKenzie’s playing is crisp and exciting. He kicks the band beautifully here. What a snare drum. And what a band!

Stan Kenton – piano, conductor

Joe Burnett, Bud Brisbois, Frank Huggins, Roger Middleton, Jack Sheldon – trumpet

Jim Amlotte, Kent Larsen, Archie Le Coque, – trombone

Bob Olson, Bill Smiley – bass trombone

Lennie Niehaus – alto saxophone

Richie Kamuca, Bill Trujillo – tenor saxophone

Billy Root, Sture Swenson – baritone saxophone

Red Kelly – bass, vocals

Jerry McKenzie – drums

Gene Roland, arranger

Infinity Drummers. Day #374.

Bill Bruford

"Roundabout"

Fragile / Yes (1971)

Memories of springtime 1972 on the campus of Indiana University in Bloomington, Indiana. Blossoming flowers and trees, plus students sunbathing in temperatures that would raise eyebrows and goosebumps in California. This tune seemed to be everywhere, at least everywhere there was a radio playing. Good times.

Recorded on this date FIFTY YEARS AGO.

Prog rock that has stood the test of time.

Bruford is not only a great drummer, but a tremendous wit, raconteur and intellectual. And a really nice man.

I have an incredible amount of admiration for him. And it's about darned time that the list featured him as well as this tune. Plenty of other great Bruford tracks out there, feel free to post your favorite below.

Roundabout!

Infinity Drummers. Day #375.

Carl Palmer

"Lucky Man"

Emerson Lake & Palmer (1970)

Lots of fascinating history concerning the group Emerson Lake & Palmer as well as each of its members. Briefly, keyboardist keith Emerson had been a member of the group Nice, while Greg Lake was part of King Crimson ... they met, they decided to form their own band, and after a series of tryouts with different drummers, they found Ian Palmer who was playing with the group Atomic Rooster. Boom.

The band was well known for their take on the classics as well as jazz, all mixed-in or up with rock and folk elements and this somehow became one of the prototypes for Progressive Rock. I chose this tune, probably one of the more intimate of their songs (composed by Greg lake when he was 12, on his first guitar), because it shows Carl Palmer's apparent jazz influences and sensibilities. It's basically a jazzy sort of jam, with a fairly ridiculous Moog solo (by Emerson's own admission) at the end ... all of which proved to be groundbreaking as well as prescient.

Carl has incredible chops. Some of you might remember that, during his extended drum solo in a concert, he would remove the t-shirt he was wearing while he was still playing. (I removed my t-shirt backstage with Weather Report and finished some shows bare-chested, one of which was filmed by the WDR and represents the band's video representation from that first European tour of the quartet ... and all I can think now is, "what was I thinking?" Apparently, Carl keeps his shirt on nowadays, too.)

I got to meet Carl after one of the their concerts in Madison Square Garden, one of the few shows they did with a complete symphonic orchestra (before that tour's budget fell out). My Interlochen high school buddy (violinist) Amy Teare was playing in the orchestra and she got me the ticket and took me to meet Carl afterwards. Nice man, especially as he had just finished a grueling performance. But, like I said, incredible chops ... and with incredible chops (as many an "old-timer" has shown us), you can do incredible things with incredible ease compared to someone without the training and/or practice time. Carl has the chops, and he's a pioneer to boot. And that talent runs deep in his family ... nephew Ian Palmer is another excellent drummer and musical force (and has piloted Virgin Airways flights across the Atlantic!).

Anyway, enjoy this song and Carl Palmer's excellent drumming.

Infinity Drummers. Day # 376.

Jeff Ballard

"Cloud Candy"

Past, Present & Futures / The Chick Corea New Trio (2001)

Chick Corea (piano, composer); Avashai Cohen, bass; Jeff Ballard, drums

2 seconds into this tune and you can tell the kind of drummer Jeff Ballard is = great = simply by the tone he gets from the instrument. This might seem either nonsensical or controversial or perhaps simply wrong, but I'll say it anyway: Tone = Time.

I'm reminding myself of the characters in Act One of Ionesco's play "Rhinoceros." (bear with me)

<< LOGICIAN [to the Old Gentleman]: Here is an example of a syllogism. The cat has four paws. Isidore and Fricot both have four paws. Therefore Isidore and Fricot are cats.

OLD GENTLEMAN [to the Logician]: My dog has got four paws.

LOGICIAN [to the Old Gentleman]: Then it's a cat.

BERENGER [to Jean]: I've barely got the strength to go on living. Maybe I don't even want to.

OLD GENTLEMAN [to the Logician, after deep reflection]: So then logically speaking, my dog must be a cat?

LOGICIAN [to the Old Gentleman]: Logically, yes. But the contrary is also true.

BERENGER [to Jean]: Solitude seems to oppress me. And so does the company of other people.

JEAN [to Berenger]: You contradict yourself What oppresses you - solitude, or the company of others? You consider yourself a thinker, yet you're devoid of logic.

OLD GENTLEMAN [to the Logician]: Logic is a very beautiful thing.

LOGICIAN [to the Old Gentleman]: As long as it is not abused.

BERENGER [to Jean]: Life is an abnormal business.

JEAN: On the contrary. Nothing could be more natural, and the proof is that people go On living.

BERENGER: There are more dead people than living. And their numbers are increasing. The living are getting rarer.

JEAN: The dead don't exist, there's no getting away from that! Ah! Ah ...! [He gives a huge laugh.] Yet you're oppressed by them, too? How can you be oppressed by something that doesn't exist?

BERENGER: I sometimes wonder if I exist myself

JEAN: You don't exist, my dear Berenger, because you don't think. Start thinking, then you will.

LOGICIAN [to the Old Gentleman]: Another syllogism. All cats die. Socrates is dead. Therefore Socrates is a cat.

OLD GENTLEMAN: And he's got four paws. That's true. I've got a cat named Socrates.

LOGICIAN: There you are, you see

JEAN [to Berenger]: Fundamentally you're just a bluffer. And a liar. You say that life doesn't interest you. And yet there's somebody who does.

BERENGER: Who?

JEAN: Your little friend from the office who just went past. You're very fond of her!

OLD GENTLEMAN [to the Logician]: So Socrates was a cat, was he?

LOGICIAN: Logic has just revealed the fact to us.

JEAN [to Berenger]: You didn't want her to see you in your present state. [BERENGER makes a gesture.] That proves you're not indifferent to everything. But how can you expect Daisy to be attracted to a drunkard?

LOGICIAN [to the Old Gentleman]. Let's get back to our cats.

OLD GENTLEMAN [to the Logician]: I'm all ears. >>

There, you see? Tone = Time!

Not sure if I've come close, but Jeff's playing is a slippery thing to describe because it sounds so good and he seems to defy the rules, and in that freedom he is plenty expressive, supportive and quite simply a very valuable drummer to have in any rhythm section. Chick Corea thought so. The trio sounds great here.

Therefore, they are all great-sounding cats.

Cloud Candy. Enjoy. (posting this ahead of time, I've an early morning tomorrow)

Infinity Drummers. Day #377.

Rashied Ali

"Mars"

Interstellar Space (recorded Feb. 22, 1967)

John Coltrane & Rashied Ali

Not so long ago, the news was buzzing about someone paying the sum of 28 million dollars to travel to the outer fringes of space. The Infinity List is pleased to offer an even better trip that will actually take the listener deep into space, and at no cost ... other than ten-and-a-half minutes of time.

I'll admit: I missed out on much of what Rashied Ali was doing at the time, that is, with John Coltrane (and others, including Alice Coltrane) because I had developed a sense of loyalty to Elvin Jones (I was, like, 12 years old), and simply wanted that quartet to stay and play where it was like that forever. John Coltrane had other ideas, of course, and this track (plus the other recording titled "Saturn" that I will post below) offers mind-blowing evidence of the creative, spiritual and metaphysical arc that John Coltrane was traveling on. It's still going to take me a lot of listens to absorb everything that is going on, but the purity and flow of the energy are something to marvel at and things of beauty. And those are always things to look forward to.

Or, as Sun Ra said, "Space is the place."

Infinity Drummers. Day #378.

Wolfgang Haffner

"Leo"

Heart of the Matter / Wolfgang Haffner featuring Chuck Loeb

Fascinating coincidence of dates here, with Chuck Loeb having been born on December 7, 1955 and Wolfgang Haffner's birthdate being December 7, 1965. And this album is one of many fascinating confluences between Chuck and Wolfgang who collaborated on many projects (most notably their band Metro, with Mitch Forman) until Chuck's untimely passing in 2017.

Wolfgang's discography is varied and deep, and he is one of those drummers who always sounds great no matter what he is playing. This album, like others on Siggi Loch's ACT label, sounds great, too.

From ACT's website page dedicated to Wolfgnag: << German commentators unhesitatingly – and understandably – reach for the superlatives when they describe Wolfgang Haffner. He is the country’s "best drummer" (Die Welt), also the "coolest" (ARD ttt), and the "most important drummer of his generation" (Süddeutsche Zeitung). Haffner was born in 1965 and his career started to take shape from an early age. At 18, Albert Mangelsdorff recruited him as a member of his band. As a result he got to play not only with the top flight of German jazz musicians from all generations – from Klaus Doldinger to Till Brönner to Michael Wollny – but he has also been one of the very few Germans to have known international success: US stars like Pat Metheny, Randy and Michael Brecker, Chuck Loeb and John Abercrombie have come to place their trust in his infallible sense of forward propulsion and in the inspiration that his creativity brings, just as top Scandinavians such as Nils Landgren and Lars Danielsson have as well. Because of his extremely powerful and dynamic playing, Haffner is also one of the most sought-after sidemen for rock and pop stars like Chaka Khan, the Fantastic Four, and even Nightmares on Wax.>>

even Nightmares on Wax!

I hope you'll enjoy this Sunday listen of "Leo."

Bravo, Wolfgang, and all the best.

Inifnity Drummers. Day #379. Clarence Penn “Absalom" Art of the Invisible / Adam Rogers Adam Rogers, guitar Edward Simon, piano; Scott Colley, bass; Clarence Penn, drums. A fellow Interlochen Arts Academy alum (though he's much younger than me, having been born in 1968, just a few months before I began attending the fabled high school in northern Michigan), Clarence's resumé reads like a who's who of jazz. A protogé of Ellis Marsalis (and a graduate of the Betty Carter School of Drumming as well), Clarence is as delightful on the drums as he is off the instrument. It is always a pleasure to not only hear him and see him in action, but to share a breakfast, lunch or dinner on the road somewhere ... well, the last time I saw him was the last time I was in Italy, in Perugia, at lunch, two years ago. From his website: “When people hear my name, I want them to think, ‘I don’t know what band he’s playing with tonight or what he’ll be doing, but it’s going to be good, it’s going to be musical.’” You can count on that. I'm linking another tune from this same album because it's so great. Bravo Adam, Edward, Scott, and Clarence. P.S. Meanwhile, I really like this tune "Absalom" "Invisible" https://youtu.be/J0EVTMdir5w

Infinity Drummers. Day #380.

Otis "Candy" Finch

Love Letters

Hustlin' / Stanley Turrentine

Stanley Turrentine – tenor saxophone

Shirley Scott – organ

Kenny Burrell – guitar

Bob Cranshaw – bass

Otis Finch – drums This album (the *entire* album) was recorded on a Friday, January 24, 1964 at Rudy Van Gelder's studio. Stanley Turrentine and Shirley Scott were married at the time. The rest of the band is superb, including Otis Finch. I knew his name from a Dizzy Gillespie album, but there's a treasure trove of recordings he made with Mr. and Mrs. Turrentine among others ...

from the Notorious Jazz website, << "Otis “Candy” Finch Jr. was born on September 5, 1933 in Detroit, Michigan. He is presumed to be the son of saxophonist Otis Finch Sr. , who performed with John Lee Hooker and the Boogie Ramblers. Learning to play drums as a child he went on to perform and record in the 1960s in trio and quartet settings with among others Shirley Scott, Stanley Turrentine during the Blue Note years, and with John Patton, Grant Green, Bobby Hutcherson, Billy Mitchell and Dave Burns. With Turrentine he recorded from 1962 and 1964 at Blue Note with Bob Cranshaw, Blue Mitchell, Curtis Fuller, Herbie Hancock, Herbie Lewis and Les McCann. In 1967 he accompanied Dizzy Gillespie on the Impulse! album Swing Low, Sweet Cadillac. The following year he joined Dizzy’s Reunion Big Band and performed with them at the Berlin Jazz Festival. He is a modern style swing drummer and was active in the 1960s and 1970s. Bebop and swing drummer Candy Finch passed away on July 13, 1982 in Seattle, Washington. He was never recorded as a leader." >>

He was a "modern style drummer," indeed, and a real swinger, as heard here on "Love Letters." I will post a link to another more up-tempo track ("Just in Time") that features some trades, etc., but this is such a great track with perfect playing by everyone — kudos to Kenny Burrell and Bob Cranshaw — and to Otis "Candy" Finch Jr., who may never have recorded as a bandleader, but who helped make plenty of bandleaders sound and look good.

Buddy Rich may have said it best: "What makes a jazz drummer is (their) ability to take any group, whether it's a small group or a big band, and hold those cats together and get something swinging, whatever tempo: up, down, medium. The function of a jazz drummer is to instill in the other players a force which, in turn, makes the jazz players play better." (Buddy, revealing his affinity for the philosophy of drumming as expounded by Papa Jo Jones in a downbeat magazine interview.)

Bingo.

Ladie and gentlemen: Otis "Candy" Finch Jr. "Just in Time" https://youtu.be/LUKmpIBWcm0

Infinity Drummers. Day #381.

Mousey Alexander

"Air Mail Special"

Benny Goodman / "Jam Session" (Japan, 1957)

Benny Goodman On Clarinet. Hank Jones On Piano. Israel Crosby On Bass. Mousey Alexander On Drums. Mel Davis On Trumpet. Rex Peer On Trombone. Budd Johnson On Saxophone.

This film clip is titled "Jam Session" ... if you can find more of the concert, you'll be treated to George Kawaguchi's drumming along with a coterie of Japanese jazz all-stars. But dig, for now, Hank Jones' sublime playing and Mousey Alexander's incessant swing. (The video is out of sync with the sound, but you'll get the idea ... ). And, of course, Benny Goodman.

A page out of the past. With tapping toes to boot.

I love Japan.

Born in Gary, Indiana, (June 19, 1922 – October 9, 1988) Elmer "Mousey" Alexander studied at the Roy C. Knapp School of Percussion in Chicago. In the late 1940s, Alexander began to work with Jimmy McPartland in Chicago, and in 1952 he began playing in the band of pianist Marian McPartland. In the middle of the 1950s he played and recorded with the Sauter-Finegan Orchestra and guitarist Johnny Smith. In 1956 he accompanied Benny Goodman on a tour of the Far East. Later in the 1950s he worked often with Bud Freeman and Eddie Condon. He also played with Charlie Ventura, Red Norvo, Clark Terry, Zoot Sims, Ralph Sutton, Sy Oliver, and Doc Severinsen. He freelanced during the 1960s with several bands. In the 1970s he recorded for jazz producer Harry Lim and the Famous Door record label. Alexander suffered a stroke in 1980. After a period of recovery, he continued playing jazz until his death in 1988.

I love jazz.

p.s. for those who might not know, Hank Jones was the brother of Thad and Elvin.

Infinity Drummers. Day #382.

Nick Fatool

"Star Burst"

Glen Gray and the Casa Loma Orchestra

(salute to Gene Krupa, featuring Nick Fatool and Conrad Gozzo — 1960)

I knew his name and image from the original Avedis Zildjian Cymbal Setups of Famous Drummers book (link below), but am only now realizing now how many times I've heard and enjoyed his drumming over the years ... I mean, check out the discography herein!

But first, some biographical data (courtesy of Wikipedia): Nick Fatool first played professionally in Providence, Rhode Island, which he followed with time in Joe Haymes's band in 1937 and Don Beston's in Dallas soon after. In 1939 he played with Bobby Hackett briefly, and then became a member of the Benny Goodman Orchestra. He became one of the most visible drummers of the 1940s, playing with Artie Shaw (1940–41), Alvino Rey (1942–43), Claude Thornhill, Les Brown, and Jan Savitt. In 1943 he moved to Los Angeles and took work as a session musician, recording profusely. Credits include Harry James, Erroll Garner (1946), Louis Armstrong (1949, 1951), Jess Stacy, Tommy Dorsey, Matty Matlock, John Scott Trotter and Glen Gray. He began an association with Bob Crosby, playing with him regularly between 1949 and 1951 and occasionally with Crosby's Bobcats into the 1970s.

Between January 7, 1944 and April 23, 1958, Fatool played on sessions for the following Capitol Records artists: Andy Griffith, Andy Russell, Betty Hutton, Billy May, Charles LaVere, Dave Barbour, Dave Matthews, Dean Martin, Ella Mae Morse, Frank Sinatra, Freddie Slack, Gordon MacRae, Jack Teagarden, Jeanne Gayle, Jerry Colonna, Jesse Price, Jo Stafford, Joe "Fingers" Carr, Johnny Mercer, Johnny Standley, Maggie Jackson, Margaret Whiting, Marvin Ash, Nat King Cole, Paul Weston, Peggy Lee, Pete Kelly, Ray Anthony, Ray Turner, Red Nichols, Robert Mitchum, Tennessee Ernie Ford, The Andrews Sisters, The Capitol Jazzmen, The Dinning Sisters, The Pied Pipers, The Starlighters, and Wingy Manone. Fatool was an important member of Buddy Cole and his Trio which worked with Bing Crosby from 1954-1960.

In the 1950s and 1960s Fatool found much work on the Dixieland jazz revival circuit, playing with Pete Fountain from 1962–1965 and the Dukes of Dixieland. His only session as a bandleader was as the head of a septet in 1987, leading Eddie Miller, Johnny Mince, Ernie Carson, and others.

Here is that discography:

For You, for Me, Forever, Artie Shaw (Musicraft, 1946)

Sweet and Hot, Ella Fitzgerald (Decca, 1953)

Jam Session: Coast to Coast, Eddie Condon (1953)

Never Before...Never Again, Joe Venuti (1954)

A Musical Autobiography, Bing Crosby (Decca, 1954)

Irving Berlin's White Christmas, Rosemary Clooney (Columbia, 1954)

Coast Concert, Bobby Hackett (Capitol, 1955)

Pete Kelly's Blues, Ray Heindorf (1955)

Mellow Guitar, George Van Eps (1956)

Hoagy Sings Carmichael, Hoagy Carmichael (Pacific Jazz, 1956)

Casa Loma in Hi-Fi, Glen Gray and the Casa Loma Orchestra (Capitol, 1956)

Dream Street, Peggy Lee (Decca, 1957)

And They Called It Dixieland, Matty Matlock (1958)

Ragtime Classics, Wally Rose (1959)

South Rampart Street Parade, Pete Fountain (Coral, 1963)

Standing Room Only, Pete Fountain (Coral, 1965)

That Man, Robert Mitchum, Sings, Robert Mitchum (1967)

Portrait of Eddie, Eddie Miller (1971)

California Doings, Dick Cary (Famous Door, 1981)

California Session, Bud Freeman (1982)

The Banjo Kings (1986)

The Genius of the Electric Guitar, Charlie Christian (1987)

Starring Fred Astaire, Fred Astaire (Columbia, 1989)

On the Trail, Frankie Laine (1990)

1939–1940, Lionel Hampton (Chronological Classics, 1991)

1938–1939, Ziggy Elman (Chronological Classics 1996)

Born in Massachusetts in 1915, Fatool died in Los Angeles, California, at the age of 85.

Infinity Drummers. Day #383. John Blackwell "The Everlasting Now” Prince  I remember (who could forget?) Prince's 'live' performance of this tune on Jay Leno's Tonight Show in 2002. Incredible band. Prince is credited playing all of the instruments on this studio version aside from the horns and the drums, credited to "John Blackwell, the Magnificent.” Indeed. It was always a joy to see John at various trade shows, particularly during the winter NAMM shows held in Anaheim. And it was particularly sweet when he landed the gig with Prince. [In 2000, Prince recruited Blackwell for his New Power Generation band. Blackwell played on multiple Prince-associated LPs, including 2003 instrumental album, N.E.W.S.] And it was heartbreakingly sad to have lost John in 2017, 43 years old and far too young. Prince protégé Sheila E. called Blackwell her “beautiful friend” and an “amazing man.”  He lives on. His drumming here (and on the Tonight Show clip, which I'll link below), are as life-affirming as can be, and funky as heaven to boot. We hear you, John. We hear you. (Jay Leno Tonight Show version: https://youtu.be/o07Q25LXg4Q )

Infinity Drummers. Day #384.

Eddie Locke

Then and Now (entire album)

Coleman Hawkins

Recorded September 9 & 11, 1962 at Rudy Van Gelder's studio in Englewood Cliffs, New Jersey. This youtube link plays the entire Impulse album as recorded by Coleman Hawkins – tenor saxophone, Tommy Flanagan – piano, Major Holley – bass, and Eddie Locke – drums.

from Wikipedia: Eddie Locke (August 2, 1930 – September 7, 2009) was a part of the fertile and vibrant Detroit jazz scene during the 1940s and 1950s, which brought forth many great musicians including the Jones brothers (Hank, Thad, and Elvin), Kenny Burrell, Lucky Thompson, Tommy Flanagan, Barry Harris, and so many others. He eventually formed a variety act with drummer Oliver Jackson called Bop & Locke which played the Apollo Theater. He moved to New York City in 1954, and worked there with Dick Wellstood, Tony Parenti, Red Allen, Willie "The Lion" Smith, and Teddy Wilson amongst others. During this time he came under the tutelage of the great Jo Jones, and eventually became known as a driving and swinging drummer who kept solid time and supported the soloist. During the late 1950s he formed two of his most fruitful musical relationships, one with Roy Eldridge, and the other with Coleman Hawkins. His recording debut came with Eldridge in 1959 on "On The Town". He later became a member of the Coleman Hawkins Quartet in the 1960s along with pianist Tommy Flanagan and bassist Major Holley. That group made many fine records including the exquisite album "Today and Now.". Throughout the 1970s, he played with Roy Eldridge at Jimmy Ryan's in Manhattan, and wound out his career freelancing, as well as teaching youngsters at the Trevor Day School on Manhattan's upper west side.

Eddie died on Monday morning, September 7, 2009, in Ramsey, New Jersey.

Locke appears in the photograph A Great Day in Harlem- first row standing, third from the left. (not including the leg sticking into the frame)

Track listing

"Go Li'l Liza" (Traditional) – 6:25

"Quintessence" (Quincy Jones) – 4:46

"Don't Love Me" (Bill Katz, Pauline Rivelli, Ruth Roberts) – 4:40

"Love Song from "Apache"" (Johnny Mercer, David Raksin) – 4:14

"Put on Your Old Grey Bonnett" (Stanley Murphy, Percy Wenrich) – 9:51

"Swingin' Scotch" (Coleman Hawkins) – 5:32

"Don't Sit Under the Apple Tree (With Anyone Else but Me)" (Sam H. Stept, Lew Brown, Charles Tobias) – 4:33

Recorded on September 9, 1962 (1-4) and 11, 1962 (5-7).

All of THAT said: this album will make your day, today and now, and any other time you give it a spin. Bravo, gentlemen.

P.S. I just remembered one of my favorite comedy bits when I was a kid. Pat Paulsen was on TV doing a routine about camping and the essentials needed in order for one to enjoy a successful foray out in the wilderness ... (picture the TV set/stage with fake trees, etc.) ... "well, you'll need your tent ... and then you'll need your Coleman lantern ... and, of course, you'll also need your Coleman Hawkins" ...

and he *might* have been holding up this album as part of the gag.

Enjoy your weekend.