Peter Erskine’s Infinity Drummers

DOUBLE DRUMMERS #8. Steve Bohannon & Alen Estes (with Chino Valdes). Check out the sound of these two identical Ludwig drumsets (Steve's kit seems to be better-positioned, mic-wise). You all know Alan Estes from his magnificent percussion playing on countless recordings and film scores over the years, including the fabulous mallet work on John Williams' "Catch Me If You Can" soundtrack ... but check out his drumming here: so bright and intelligent. Meanwhile, Steve Bohannon literally raises the roof on this outdoor venue (is that possible?). Quoting myself a few posts back: this is the performance that Joe Zawinul witnessed, describing Steve as "the most exciting drummer I ever heard." If a volcano could play the drums, this is what it would sound like. The writing and drumming shows just how brilliant this time signature can be. This rhythm section is like a Popeil kitchen tool: they slice and dice 9 in as many ways as you can count.

Infinity Drummers. Day #138. Ronnie Bedford. New York stalwart drummer born in 1931. Ended up in Wyoming, but played on some Johnny Richards recordings in his prime, and his drumming is simply terrific here. Percussionist Warren Smith, who would later find acclaim as part of M'Boom as well as Tony Williams' percussion group, is playing timpani and conga drums. Fascinating to hear a non-Kenton band play Johnny Richards' writing. Whatever power might be missing seems to be made up for in precision; not meant as a disparagement either way. I'll take Johnny Richards however I can get him, and the "My Fair Lady - My Way" is glorious. Other featured players include Ray Starling on mellophonium, Chet Amsterdam on bass, Johnny Knapp on piano, Jiggs Wigham and Bill Watrous on trombones and Burt Collins on trumpet. The entire album is a great listen, and the Mosaic box set of several records is a great treat. Curiously, I could not find any tracks from this album online so I made my own YouTube video just so I could share Ronnie Bedford's drumming with all of you. He deserves the listen, and our thanks.

DOUBLE DRUMMERS #9. Freddie Waits & Roy McCurdy. Joe Zawinul. The Rise and Fall of the Third Stream. "Baptismal." Freddie and Roy play as one. This is a VERY cool album, VERY recommended.

Infinity Drummers. Day #139. Irv Cottler. Having just listened to Alvin Stoller the other day, let's groove now on Sinatra's other drummer-du-jour on many a recording, Irv Cottler. Where Alvin's playing has a spark, Irv's drumming plows a wide and deep groove with a pocket that just swings like crazy. It's DEEP. With Billy May's arranging and a band made up of the best in the west, it's hard to resist the call to "Come Dance With Me."

Infinity Drummers. Day #140. Larry Atamanuik. Larry recorded albums #2 & 3 with Seatrain, a terrific early 70s band that featured violin virtuoso Richard Greene (who I got to play with in a band some 10 years later that Buell Neidlinger created, "Buellgrass," with Marty Krystall, Andy Statman and guest artists Jerry Peters and Peter Ivers). Larry went on to work with Alison Krauss and Union Station, et al. Excellent drummer, this was a great band. Richard became an "A List" violinist in the LA studio scene. One thing I just noticed about this (first) tune "Gramercy" is that it utilizes the chord progression/riff from "All Blues." I dug this record a lot as a 17-year-old college freshman. Really solid playing. Enjoy!

Infinity Drummers. Day #141. Jon Christensen. Jon (pronounced more like "yoon" versus "john" in Norway) opened all of our eyes, ears and hearts with his drumming as part of the Keith Jarrett Quartet (Jon, Palle Danielsson and Jan Garbarek had all been members of Bobo Stenson's Quartet prior to Keith's breaking up of his USA band and formation of this band). Highly influential, often imitated but always unequaled. Jon defined the "ECM" sound (which he described to a journalist as — and I'm paraphrasing here — being no big deal or secret, consisting of nothing more than an excellently-tuned piano plus some nice reverb in a good room). "Tone," in other words. But Jon always seemed to have an unerring instinct for making the right drumming choices. And now would be an awfully good time to listen to "Questar."

Infinity Drummers. Day #142. Isaac "Red" Holt. "Plum Puddin," from the Ramsey Lewis Trio album "More Sounds of Christmas." Hailing originally from Mississippi, Red Holt started playing the drums in Chicago where he eventually joined forces with Ramsey Lewis and bassist Eldee Young. Holt and Young eventually formed their own group and found success as Young-Holt Unlimited. This recording came out in 1964 and, despite how out of tune the piano is, it's a most-enjoyable holiday recording. If you have the time and inclination, allow the YouTube playlist to serenade you with all of Side B. Meanwhile, "Plum Puddin" is a nice mash-up of 2nd-line, calypso, Chicago swing, plus a dash of Vernell Fournier. This is exactly what is was like to grow up listening to music in the mid-60's ... fun.

Infinity Drummers. Day #143. Christmas Day. The Singers Unlimited. Because sometimes the best drummer is no drummer at all. MERRY CHRISTMAS

Infinity Drummers. Day #144. Alphonse Mouzon. The first Weather Report album. Hard to believe that it was recorded almost fifty years ago (in February and March of 1971). Sometimes, when great things happen, the right people are in the right place at the right time. Alphonse Mouzon was the perfect foil for mssrs. Zawinul, Shorter and Vitous, and “Umbrellas” served notice to the world of music that something new had come along (for that matter, so did “Seventh Arrow” and “Orange Lady”). Airto’s percussion is the perfect frosting on this revolutionary cake. Weather Report: a piano, an electric piano ... a ring modulator ... a bass ... a wah-wah pedal ... a soprano sax ... a 4-piece Ludwig drumkit ... a bag of toys ... And a whole lot of attitude x 5. Playing as 1. (I mean, dig the tempo changes in Umbrellas.) Appropriate, Day #144 being the day after Christmas, because this music is the gift that keeps on giving. Here’s a link to the entire first album. Enjoy.

Inifnity Drummers. Day #145. Hal Blaine. "We've Only Just Begun" This is, simply, a perfect drum track. I know, there are literally a thousand other songs I could have picked: God Only Knows, Wouldn't It Be Nice, Good Vibrations, (They Long To Be) Close To You ... even Secret Agent Man! (I do recommend you listen again to "Close To You" to admire Blaine's restraint, focus and ingenuity in his use of the bass drum. Not to mention the hi-hat. And those toms ...) Hal recorded more tunes than I can count. Much has been written about the man. I'll add this small anecdote: speaking to him at a NAMM show, I asked, "Hal, what in the world is that drum fill intro to Hawaii Five-O?" He replied, "You should have asked Johnny Guerin..." "We've Only Just Begun" Stay safe, folks.

Infinity Drummers. Day #146. John “JR” Robinson. So, the thing to remember with many of these drummers and recordings is that the recording medium was tape, NOT a computer. The feel that you experience is not the result of any algorithm or producer’s timing adjustments. That singularity of focus, the architecture and arc of the performance, the sound, EVERYTHING is a result of a unique set of chops and technique that only very few possess. There’s a reason JR has been an integral part of so many recordings. The late bassist Buell Neidlinger once offered the following observation to me: “I just came from an orchestra date with drums. Do you know what makes JR such a great studio musician? He builds his part, take after take, without adding anything unnecessary ... he sculpts and refines the drum part until it’s perfect, and that always seems to coincide with when the rest of the band has gotten their parts together, too.” Or something to that effect. Praise from Buell was incredibly rare. Too many songs to choose from, so I’m going with the one that really impressed me way back when. 80s pop ballad. A salute and thanks to JR for all of the music!

Infinity Drummers. Day #147. Steve Houghton. F.M. "Lab '75" I was recently asked to pen some words of remembrance about Lyle Mays for a website's that's been rewritten in his honor (lylemays.com) ... here's a bit of it that concerns this particular recording: "I first became aware of Lyle by way of the “Lab ‘75” album that he composed, arranged and pretty much produced all by himself, supported by a young and fearless band that followed him to the edges of college jazz band impossibility (kudos to Leon Breeden, the director of Jazz Studies at North Texas State University, for knowing a bona fide genius when he saw one). I had just left the Kenton band after 3 years and five albums and this recording totally kicked anything I had done or experienced in the pants. Lyle’s introduction to the musical world at large was a stunning one. Fresh. Innovative. Original. Proficient beyond reasonable expectation. And so on." Please visit the lylemays.com site for the full story as written by many contributors. Meanwhile, we have Steve Houghton's performance here to consider, listen to and enjoy. Keep in mind this is a college student ...! And check out Marc Johnson being the funky dude on the electric bass! This is great on many levels, not the least of which is Houghton's precocious drumming skills. AND Leon Breeden's legacy. And, of course, the genius of the late and great Lyle Mays. Mention should be made, of course, that Steve went on to become one of the foremost drumming educators, first in Los Angeles and then at my alma mater, Indiana University.

Infinity Drummers. Day #148. Ira "Buddy" Williams. One of New York's finest. Or, as his Wikipedia page says: "Not to be confused with the Australian country musician Buddy Williams (country musician)." Ha! Buddy has long been one of the most reliable, rock solid and funky drummers on the scene, and one listen to this "live" version of "Love and Happiness" will tell you why. Recorded in front of an invited audience, the band includes Hamish Stuart singing, with Don Grolnick, Hiram Bullock, and Buddy's frequent partner in time Marcus Miller. There are a couple of video versions of this performance on YouTube, but one of them had a skip in the beat and the other was edited down in length (and the List is trying to avoid visuals for the most part ... that said, the full concert video has some great shots of Hiram dancing, total love and happiness) ... chances are pretty good that this linked version will take you to "Smile" after you finish grooving on "Love and Happiness," and I can recommend you stick around for the ride. A big shout out to David Sanborn! LOVE AND HAPPINESS, Y'ALL. Beat supplied by the one and only Buddy Williams. Not to be confused with that other Buddy Williams.

Infinity Drummers. Day #149. Roger "Kemp" Biwandu. I'm not sure how well known this album might be, but hearing this for the first time back in 2004 blew my mind (the CD was a gift from Roger, given to me while I was on tour with Diana Krall in France). The CD quickly became the car favorite when I would drive my daughter Maya to school. Roger and Etienne both played with Joe Zawinul in his Syndicate band. Plenty of terrific tracks, this is the first on the record. (Roger's roots are from Zaire/Congo ... but he was born on December 25th, 1972 in a taxi in Bordeaux.) The groove here is perfect, and is a fitting way to wish 2020 "bon voyage" and a great way to get ready to say "bonjour" to 2021. Everyone stay safe, and we'll meet again — same bat time and same bat channel — for Day #150 of the Infinity Drummers List. And thank you all for your kind attention! p.s. meanwhile, check out the bass playing at 2:32 ... mon dieu!

DOUBLE DRUMMERS #10. Teo Lima & Alex Acuña. "Celebrate the Night." Kenia. While not 2 drumsets, technically, most of the tom fills you'll hear were played by Alex during the basic tracking while Teo played the drumset (including those delicious double rim clicks). John Peña plays bass. The synchronization of Alex and Teo achieves a level of synchronicity that even Carl Jung would approve and dance the samba to ... Enjoy this music and dance 2020 away. P.S. great album ...

Infinity Drummers. Day #150. January 1, 2021. Warren "Baby" Dodds. I can't think of a better way to start this new year than by listening to Baby Dodds, and this is a particularly romping recording. For the uninitiated, the following paragraph from Wikipedia may prove illuminating: "Dodds continues to be admired for the creativity of his playing. He believed in playing something different for every chorus of every tune. Most of his contemporaries played a short buzz or press roll on the backbeats (the 2nd and 4th beats), but Dodds played a long roll that lasted till the following beat, which created a smoother time feel that he later developed into the jazz ride pattern most commonly used ever since. Dodds was most well known, however, for what he called his "shimmy beat", which he first used in 1918 at Jack Sheehan's in New Orleans. He described it in his autobiography: "One night a French soldier came in. When he heard the music he couldn't dance to it, but he just started to shake all over. That's the way it affected me. I saw him do it and I did it, too". Dodds' unique shimmy beat caught Louis Armstrong's eye as well, who said: "To watch him play, especially when he beat on the rim of his bass in a hot chorus, he sort of shimmied when he beat with his sticks. Oh! Boy that alone was in my estimation the whole worth of admission". Besides his unique drumming style, something important to Dodds was paying attention to the musicians in the outfit and fitting his drumming into the style the band was playing. He tried to get to know each member in the outfit and learn about how each person played his or her instrument. Throughout his autobiography, Dodds talks about listening to the different band members and using his role as a drummer to help the band come together: "It was my job to study each musician and give a different background for each instrument. When a man is playing it's up to the drummer to give him something to make him feel the music and make him work. That's the drummer's job". HAPPY NEW YEAR, EVERYONE. And shimmy on.

Infinity Drummers. Day #151. Johnny Rae. I had every intention of posting the YouTube link to the Cal Tjader track "Soul Sauce," as that was a record I listened to plenty when I was a kid, but I just came across this gem of Johnny Rae's drumming on this Stan Getz collaboration with Gary McFarland. I am a HUGE McFarland fan, and this nugget sparkles like a golden four leaf clover. You get the idea. Here's to the new year with an old bossa nova. With more on the way / Three cheers, Johnny Rae / And the Area, Bay.

Infinity Drummers. Day #152. James Charles Otey, Jr. "Happy Just To Be Like I Am" From Taj Mahal.

Drummer Jimmy Otey, Jr. was from Tennessee. It all comes from a joyous place. This was my go-to listen-to song some 49 years ago. And here it is now, from me to you.

Infinity Drummers. Day #153. Sidney "Big Sid" Catlett. Hot House. with Charlie Parker & Dizzy Gillespie. 1945. A magnificent drummer, as conversant in bebop as he was in all antecedent jazz styles, with technique and panache to spare. Treat yourself to some of the YouTube videos featuring his playing. That's another Sid doing the announcing on this recording (Symphony Sid). Enjoy and Happy New Year.

Infinity Drummers. Day #154. Sandy McKee. "Valdez in the Country" Cold Sweat. "First Taste of Sin" album. This was Sandy's 2nd album with the band (and the band's 3rd) ... Donny Hathaway wrote the tune and produced record. If Tower of Power asked "What Is Hip?," one could reasonably point to this and say, "This is hip." Copied and pasted from a website named Rain City Drummer: <> I saw a photo, and, yeah: his hi-hat cymbals were positioned lower than his snare drum, and he played them with his right arm and hand underneath the left. Unorthodox, indeed. Great groove on this tune, though, and I learned a lot from listening to it way back when. It was hip.

Infinity Drummers. Day #155. Chuck Lampkin. "Gillespiana" Composed by Lalo Schifrin. Recorded and released in 1960. Dizzy Gillespie with the following band: John Frosk, Ernie Royal, Clark Terry, Joe Wilder - trumpet; Urbie Green, Frank Rehak, Britt Woodman - trombone; Paul Faulise - bass trombone; Jim Buffington, Al Richman, Julius Watkins - French horn;Don Butterfield - tuba; Leo Wright - alto saxophone, flute; Lalo Schifrin - piano, arranger; Art Davis - bass; Chuck Lampkin - drums; Candido Camero - conga; Jack Del Rio - bongos; Willie Rodriguez - timbales. Great drumming throughout the album, which features wonderful playing by all of the musicians including recently-deceased Candido Camero on congas. Chuck Lampkin. Wow. Within 10 years, "When earning a living as a jazz musician became a challenge, Lampkin turned his attention to television. On November 2, 1970, on WIBV TV in Buffalo, New York, he became one of the first black men to present the nightly news in North America." (Wikipedia) He also played with Ahmad Jamal and Eddie "Lockjaw" Davis. Do yourself a favor and listen to all of "Gillespiana," especially the rousing finale, "Toccata." Born (sharing my birthday of June 5) in 1934, Chuck Lampkin passed away in 2003.

Infinity Drummers. Day #470.

Sean Dobbins

"Lester Left Town"

Blue Horizons / Sean Dobbins and The Modern Jazz Messengers

Continuing with our look at drummers who are also educators, today's List(ing) features Detroit-born Sean Dobbins who now teaches at the Jacobs School of Music at Indiana University in Bloomington, Indiana (my alma mater, as well as the former school of such musical colleagues as Randy Sandke, Randy Brecker, Michael Brecker, Jerry Hey, Larry Williams, Larry Hall, David Derge, Kenny Aronoff, Jeff Hamilton, John Clayton, et al). Other jazz faculty at the IU Jacobs School of Music include Chair Thomas Walsh (saxophone), Luke Gillespie (piano), Wayne Wallace (trombone). (The timing of this post is a bit poignant as it occurs during the JEN Conference now taking place in Dallas, an anual gathering where seeing the late David Baker was always a highlight.)

The School's website bio of Sean tells us, << "Drummer Sean Dobbins is associate professor of music in jazz studies at the Indiana University Jacobs School of Music.

Dobbins got his start as a sought-after Detroit-area jazz sideman at a young age, when he would regularly play with Blue Note artist Louis Smith. Dobbin’s sound can best be described as hard-driving, solid rhythm with refreshing melodic sensibility. Some of his influences include Art Blakey, Jeff Hamilton, Sonny Payne, Ed Thigpen, and Detroit-area greats Gerald Cleaver and Elvin Jones.

Dobbins has received numerous awards and accolades throughout his career, including a Woody Herman Jazz Award, for outstanding musicianship, and a Louis Armstrong Scholarship.

He has performed with many great musicians, including Mose Allison, David Baker, Johnny Basset, Benny Golson, Marion Hayden, Randy Johnston, Frank Morgan, and Lonnie Smith.

Most recently serving as director of jazz studies at Oakland University and jazz program director at Community Music School–Detroit, Dobbins also served on the faculty at the University of Michigan and Wayne State University. >>

One listen (and glance at the album cover/name) tells us that Sean greatly admires and reveres the late Art Blakey, and his performance here of Wayne Shorter's "Lester Left Town" does all involved great honor.

The musicians on this track are Dean Moore II on alto saxophone, Marion Hayden on bass, Robert Pipho on marimba, Steve Richko on piano and Sean playing the drums. Enjoy.

Infinity Drummers. Day #156. Raymond Pounds. Stevie Wonder. Songs in the Key of Life. "I Wish" Boy, do I.

Infinity Drummers. Day #471.

Kim Plainfield

"Boat People"

Night and Day / Kim Plainfield + Lincoln Goines (2002)

Kim Plainfield was a great drummer and educator, a true evangelist when it came to the joy of drumming. He taught at The Drummers Collective (now known as The Collective School of Music New York) and was a professor at Berklee College before passing away in 2017 at the age of 63.

He partnered often with bassist Lincoln Goines, and their partnership could not be on better display than on this track. The synergy is galvanizing, and Kim's drumming throughout is fabulous. He was an incredibly effective teacher who could PLAY.

His Wikipedia bio reads, << "Born in the San Francisco Bay area, Plainfield moved from there to New York City in 1977, where he started his musical career with numerous show and studio recordings.

From 2002 on, Plainfield was an Associate Professor of Drums and Percussion at Berklee College of Music. Several times a year he held workshops and lessons in Europe, e.g. in Switzerland and the Czech Republic." >>

He appeared on many recordings, and he authored an excellent drum book titled "Advanced Concepts - A Comprehensive Method for Developing Technique, Contemporary Styles and Rhythmical Concepts."

Kim died too young and he is missed.

Infinity Drummers. Day #157. Adam Nussbaum. "Why'd You Do It?" from SHINOLA w/ John Scofield and Steve Swallow. Speaking of NOLA ... it was one year ago at the JEN Conference in New Orleans where I was listening to Adam playing with Gene Perla, Dave Liebman and Adam Niewood in their tribute to the Elvin Jones "Lighthouse" album quartet ... and the lesson I took away from that great concert was: the reason Adam was so able to evoke Elvin was because he wasn't *trying* to play like him ... he was simply PLAYING THE MUSIC. And that's something that Adam Nussbaum has always done, and beautifully, too. Simply one of my favorite musicians and human beings, as are mssrs. Scofield and Swallow. Adam is also a great jazz educator, and so today is as good a day as any to honor him while the JEN Conference wails on-line. Friday, January 8, 2021. 13 more days, folks. 13 more days. Everyone stay safe.

Infinity Drummers. Day #158.Gene Krupa. "Green Eyes" This song has it all, including Gene Krupa in duet with Roy Eldridge and Anita O'Day singing a bit of the melody at the end. The band sounds terrific and we can appreciate the supportive and less-showy Krupa here. I love the feel, and my favorite Krupa recordings always included Roy Edlridge and Anita O'Day (though the trio recordings with Charlie Ventura are also worth checking out, as are any and all of the classic Krupa sides).

Infinity Drummers. Day # 159. Lawrence "Yogi" Horton "If Only For One Night" Luther Vandross.

We lost Yogi Horton in 1987 at the tender age of 33. He was a marvelous drummer (with the most distinctive count-off I've ever heard). This is a sublime track.

Infinity Drummers. Day #160. Donald Simmons. "Move On Up" Curtis Mayfield. Standing outside the hotel in Saskatchewan on a cold snowy morning, waiting for our ride to the airport. This is playing softly through those speakers that provide background music, and I'm like, "Wow ... what IS this?!" Bassist Edwin Livingston hips me to the fact that it's Curtis Mayfield. I'll admit, I'm also not hip to the work of Donald Simmons other than this. And this is great. Hip percussion, too. The whole thing is cool. If anyone knows more about this, feel free to chime in (this was Curtis Mayfield's first album, right?). Otherwise, just sit back and enjoy the music.

Infinity Drummers. Day #161. Randy Jones. Eli's Comin' M.F. Horn w/ Maynard Ferguson. Born in 1944 in Berkshire, UK, Randy first toured Europe as a member of a rock group before joining Maynard Ferguson's "British" big band in 1969. He proved himself to be both a terrific drummer for Maynard as well as for smaller ensembles, backing vocalists before becoming the final drummer with Dave Brubeck (from 1980 until Dave Brubeck's passing in 2012). I chose this tune as it was the track that introduced Randy to most of us in 1970. I met Randy in early 1973 backstage at the Wichita Jazz Festival (Maynard's band was sharing the bill with the Kenton orchestra), and I paid him enthusiastic due respect and he was gracious ... but then signaled that our brief chat was over, explaining that he and some of the other guys in the band were going to go out and "get pissed." Which, in Brit-speak, means to get high or drunk. To my 18-year-old ears, getting pissed meant getting angry. And so I asked him in all sincerity, "Wait ... why would you want to do that?" He looked at me like you might guess he would: like I was either a complete moron or a do-gooder the likes of which should not have been on the road in the first place. Pissed or not, he sure sounded great that night, and he always played beautifully. The last time I saw him was in Madarao, Japan at the 1985 jazz festival there, where we played together in a "drum battle" along with Ralph Peterson and Jeff "Tain" Watts ... which is another story for another time! Randy passed away in 2016. be sure to check out more of his recordings and videos with Maynard as well as Dave Brubeck.

Infinity Drummers. Day #162. Richie Morales. Sky King. If you're a fan of the über-sophisto-funk grooviness of such bands as Vulfpeck or Knower, Sky King may prove to be revelation if you're not already familiar with the band. This album, released in 1975, was both ahead of its time as well as a product of its time. Led by Chris Brubeck (and not to be confused with other bands or acts that have since appropriated the name), here was a rock band that featured Jerry Bergonzi on tenor sax! But Richie's drumming was most certainly the "secret sauce" of the band. It was not too many years after this album's release that Richie became the drummer for the Brecker Brothers. He has since enjoyed a multi-faceted career in New York, touring the world with the likes of Mike Stern and doing a teaching gig at Purchase SUNY. I met Richie back in the autumn of 1971 when we did a two drum jam in one of the women's dorms at the University of Michigan. Alan Pasqua, Peter Bankoff and I would drive from Bloomington, Indiana to Ann Arbor on weekends just for the pleasure of the jam. Been quite a few years since our paths have crossed. Other members of the band included Chris Coan, Peter Madcat Ruth, David Ross Mason, Rick Jacobi ... the funk guitar playing is outstanding! I'll admit: the album's energy wears me out after a few tunes nowadays ... must be my old age.

Infinity Drummers. Day #163. Danny D'Imperio. Maynard Ferguson. "La Fiesta." Danny's drumming electrified Maynard's band on the road and in the studio. I was lucky enough to witness his driving of the MF juggernaut on many a gig while I was on tour with the Kenton band. The team of Danny, Rick Petrone on bass and the late Allan Zavod on keyboards was one rocking, swinging and exciting rhythm section. Combined with Maynard's band at the time, as well as having the boss leading the charge ... well, they took no prisoners. This performance of Chick Corea's "La Fiesta" makes the case. Danny is also an irascible but lovable character. If you'd like to see his photo in the dictionary, you can try by looking up the word "opinionated." Ha! Terrific drummer, he was a perfect fit for Maynard's early 70s / US band.

Infinity Drummers. Day #164. Robertinho Silva. "Ponta de Areia" (composed by Milton Nascimento). Wayne Shorter's Native Dancer album. Robertinho's drumming is the gift that keeps on giving. Ponta de Areia. Beauty and the Beast. Ana Maria. Or Brazian Sugar from George Duke's Brazilian Affair album. But I concentrate on Ponta de Areia, because his phrasing is so circular and yet the circle never completes even when it comes 'round and 'round again and again ... whether by happenstance or design, the drumming on this miracle of a song is, well, a miracle. Blame it on the bossa-nova if you must. But, thank you Wayne, thank you Milton, thank you Robertinho.

Infinity Drummers. Day #165. Paulinho Magalhaes Who often went by "Paulinho"

I first heard him on a Bola Sete album recorded at the Monterey Jazz Festival. Dom Um Romao on percussion here. Because every infinity drummers list needs a Walter Wanderly album on it.

Infinity Drummers. Day #166. Dom Um Romao. "The Salvation Army." Speaking of Dom Um Romao ... brilliant whirling dervish of a percussionist who gave Weather Report so much of its mojo. In fact, he added so much to every piece of music he was party to, whether Sergio Mendes, Walter Wanderly, or any number of recording projects including this album ("Spirit of the Times") that he made for the Muse label. "The Salvation Army" features guitarist Joe Beck and a baião beat that just won't quit. This album was my musical comfort food go-to after I left the road (and Kenton band) in 1975 and tried to figure out what I might do next in life. Ended up buying a Volvo, drove myself from New Jersey to Bloomington, Indiana non-stop (munching on garlic dill pickles to help keep me awake between gas stops), parked myself in a motel and registered as a 21-year old sophomore at Indiana University where I began to learn how to really play the triangle and temple blocks while studying Japanese culture. Professors Gaber and Iwamoto. It was a very good year. Dom Um was "there" with me.

Infinity Drummers. Day #167. Gregg Field. Sinatra DUETS album. "They Can't That Away From Me" I had the pleasure of getting to know Gregg first at a Kenton summer camp on the campus of Sacramento State University (other students there that summer included Carlos Vega and Chad Wackerman) in 1972. Since then he has traveled the world as the drummer for both Count Basie as well as Frank Sinatra, all culminating in his making the move from behind the drums to the other side of the glass as a multiple Grammy-winning producer, as well as serving as the Chair of the USC Thornton (School of Music) Board of Councilors. Meanwhile, he made this record...

The Duets recordings are classic, historic, swinging and just plain great-sounding tracks. Wonderful charts by the late great Patrick Williams. Chuck Berghofer playing the bass. And Gregg swinging the band along beautifully. This is a textbook example of a perfectly-played big band track. Do I score any irony points for choosing this title just days before the inauguration of our next President? Just asking ...

Infinity Drummers. Day #168. James Bradley Jr. "Feels So Good" Chuck Mangione. James was an L.A.-based child prodigy who ended up being the drummer on one of the biggest jazz hits to ever hit the airwaves. I remember Jaco saying something derisive about the tune or Chuck, and Zawinul quickly upbraided/corrected Jaco, telling him that every fan of "Feels So Good" was someone who might very well discover Weather Report thanks to Chuck Mangione. Featuring guitarist Grant Geissman, bassist Charles Meeks, the late Chris Vadala on tenor sax and composer Chuck Mangione playing both Fender Rhodes and Flugelhorn. The tune was so popular that it naturally incurred some jazz wrath, but if you actually listen to the playing, everyone is terrific — and, for the purposes of the Inifnity Drummers list, let's salute James Bradley's excellent drumming here. It does feel so good.

James lives in Sweden now, I believe.

Infinity Drummers. Day #169. Jay Burrid Mitthauer. Chase. "Get It On" Chase was a mind-blowing group and idea: a legendary lead trumpeter from the world of big bands assembled a high-powered combination of jazz and rock players where the dazzle of the arrangements nearly matched everyone's earnest energy. Put another way: this was not easy music to play. However, Jay Burrid straddled the jazz-rock fence beautifully and helped bring Bill Chase's vision to life. "Invitation to a River" showcases the band's hybrid chops, but no tune is more fun than "Get It On." Hard to imagine that this was recorded 50 years ago. Jay lives in Texas now. So let's all "get it on in the morning now" ... and, hey America, it's Inauguration Day!

Infinity Drummers. Day #170. Pete La Roca. "A Night in Tunisia" Sonny Rollins. Live from the Village Vanguard (afternoon set). Born Peter Sims in 1938, he learned percussion at the High School of Music and Art in New York. He adopted the name La Roca early in his musical career when he played timbales for six years in Latin bands. In 1957 Max Roach became aware of him while jamming at Birdland and recommended him to Sonny Rollins. As drummer of Rollins' trio on the afternoon set at the Village Vanguard on November 3, 1958, he became part of the classic record A Night at the Village Vanguard (originally only one of five recorded tracks with La Roca found their way on the album ... Elvin Jones played the evening set). His first solo album on Blue Note is a revelation. And so is this version of A Night in Tunisia ... or as Eddie Gomez once reminded some bandmates (who liked to play long solos) just before the tune got counted off: "Remember, fellas, it's A Night in Tunisia. Not a week."

Infinity Drummers. Day #173. Butch Miles. The Count Basie Big Band. "Orange Sherbert." Sammy Nestico. This track is from a studio recording that the Basie band made in 1975. I first had the pleasure of meeting and hearing Butch "live" at a college jazz festival in Michigan where the Interlochen Arts Academy "Studio Orchestra" was making a guest appearance. I was 16 (this was late 1970 or early '71), so that would have made Butch 26 years old. I'm pretty sure that he was a "ringer" for the college band because he had "professional" written all over him and he sure sounded like it, too. In fact, Butch has always sounded at the top of his game. He's a swinger and he understands the tradition. But don't take my word for it ... from Count Basie's autobiography (published in 1985): “Butch came to us from Mel Torme’s outfit. He was a real crowd pleaser, like Buddy Rich and Sonny Payne, and he picked up on things very nicely, and he was also interested in sticking around for a while, which he did, for about four years.” Butch was with the Count Basie Orchestra from 1975 to 1979, and he returned for ten more years from 1997 to 2007. Butch has been teaching for the past few years at the School of Music at Texas State University-San Marcos (the Mexican food there is really great ... take my word for it). He has been a regular at several of the jazz festivals in southern California for many a year and it is always a great pleasure to see and hear him. I am proud to call him my friend. This is also a good moment to listen to another gem from Sammy Nestico who just passed away. And just like the title, this "Orange Sherbert" is refreshing and delicious.

Infinity Drummers. Day #174. MOKHTAR SAMBA. "Yele Congo." (the band) Ultramarine (the album) E Si Mala Ultramarine was a great fusion band based in Paris in the 80's and 90's, mixing influences from jazz and world music (not to be confused with the UK-based band of the same name). Four continents were represented, since the musicians originated from Cameroon, Martinique, Vietnam, Senegal and France. [Ultramarine made a few albums in the 80's and 90's on the label Musidisc which no longer exists. Dé and the award-winning E si mala are especially worth mentioning.] Lineup: Etienne Mbappé - bass, Mario Canonge - keyboards, Nguyen Le - guitar Pierre-Olivier Govin - sax and Mokhtar Samba.

I first met Mokhtar in 1989 when we shared the drum chair for the National Jazz Orchestra in Paris. This was also when I first encountered Nguyen and began telling anyone and everyone about him. Shortly afterwards I got hip to a couple of the Ultramarine albums. I loved the musical community of Paris and still do. Incredible musicians and Mokhtar is an essential ingredient of this cassoulet. Whether he's syncopating or hitting it on 2 + 4, Mokhtar Samba always provides the right beat and the right feel at the right time. This is a fun tune. Enjoy. p.s. I am also a huge Etienne Mbappé fan. And Nguyen is simply the best.

Infinity Drummers. Day #175. Joey Baron "A Change is Gonna Come." Just Listen (w/ Bill Frisell). The first time I heard Joey play was in 1979 at a jazz club in the San Fernando Valley where he was backing Moacir Santos, and he was nailing the music — the sound, the feel ... everything. And then we met up a few years later in New York while he was working with the Manhattan Transfer. Professional guy, taking care of business. And then, BOOM. Joey became his ultimate self, playing any and all music with abandon and joyful purity. His earlier disciplines allowed him to transcend the rules, so that hearing Joey play was and always remains an adventure. He's a free spirit, and he became the "free guy" for our generation. He set the pace and example for touring by traveling *beyond* light on the road, eschewing a checked suitcase, his own cymbals, even his own stickbag. (I saw him play not too long ago at the Hollywood Bowl with Joe Lovano, and he made those cymbals sing and swing and dance like he'd owned them his entire life ... I found out that they, along with the kit, were all rented.) Being so impressed by his monastic tendencies, I made mention of this to Lee Konitz while the two of us were sharing a breakfast during a North Sea Jazz Festival: "So, Joey's playing drums with you?" "Yeah." "You know, Lee, Joey's my hero because when he tours he doesn't bring anything on the road with him..." "Oh yeah? ... He brought his girlfriend." Check out this duo performance with Bill Frisell. What do you hear? Freedom. Focus. Discipline. Tone. And no fear.

Infinity Drummers. Day #176. Manu Katché. "In Your Eyes" Peter Gabriel. So. I'll never forget sitting in a hotel bar during the Fall of 1978, after one of the Weather Report concerts in Europe, and Joe Zawinul and I were having a beer and watching the television. A concert by Peter Gabriel's band was being broadcast, and Zawinul was totally immersed into the optics and the music of the band. "These people are onto something really hip," he told me. Obviously! Tony Levin and Jerry Marotta were in the band. Everything about what they were doing was hip. The only two bands that Joe really give it up for, as far as I ever witnessed, were Peter Gabriel and Earth, Wind & Fire. It would be a few years later, while touring Europe again with Joe — this time on the ill-fated "Weather Update" tour — that I had my trusty cassette tape of Peter Gabriel's "So" for sonic company and spiritual comfort food. This album would introduce me to the voice of Kate Bush, as well as to the drumming of Manu Katché. Another product of the Parisian music scene. Since that time, every drummer I know has always enjoyed seeing and hearing Manu play, my last opportunity being at one of the legendary Yamaha Groove Nights ... the drums sounded great but the way he would play that multitude of splash cymbals really did it for me. He was the first drummer I heard to treat cymbals like drums ... and I mean that in a good way. The man's got a beat. Meanwhile, I like this description of the tune @ wikipedia: "In Your Eyes" has been described as Gabriel's greatest love song. Inspired by the Sagrada Família and its architect Antoni Gaudí, Gabriel sings over a drumbeat of only feeling complete in the eyes of his lover. The track's powerful atmosphere is created through the singing of Senegalese musician Youssou N'Dour, who sings in his native language." Wikipedia doesn't give a shout-out to Manu, but the Infinity Drummers list is doing that now. So ...? Dig.

Infinity Drummers. Day #177. Barry Altschul. "Four Winds" Conference of the Birds (Dave Holland) My first exposure to the free drumming brilliance and sensitivities of Barry Altschul was on the Chick Corea album "The Song of Singing." The first track, "Toy Room," is a bon mot of piano trio playing. That trio, with Dave Holland, was 3/4 of the more outgoing venture Circle, a quartet that featured avant-gardist Anthony Braxton. My next listen to Barry Altschul was on the epochal "Conference of the Birds" album of Dave Holland's on ECM, with Braxton and saxophonist Sam Rivers. "Four Winds" is the first track on that album (I realize how important those first tracks on albums were to me in terms of catching my ear or earning my trust). Holland and Altschul were a terrific team. Barry's career began before I got hip to him, of course, making several recordings with Paul Bley. He continued his association with Braxton for several years and was a fixture on both the New York and European jazz scenes. Born in 1943, he's still playing. A highly original and influential drummer.

Infinity Drummers. Day #178. Masahiko Togashi. "Action" Voices. Masahiko Togashi Trio w/ Steve Lacy and Jean-Jacques Avenel. Masahiko Togashi played with such Japanese jazz superstars as Toshiko Akiyoshi and Sadao Watanabe. He lost the use of his legs in 1969, and designed a drum set that he could play while seated in his wheelchair. I used to see his photo over and over again in Japanese jazz magazines, but only recently discovered his drumming. This guy was amazing. In some ways, to my ears, he comes closer to what Elvin was doing than most any other idolizer or adherent of the Jones drumming mystique. Don't ask me how, but please enjoy this track with Steve Lacy. Masahiko Togashi was born in 1940 ... he died in 2007. This album was recorded "live" in Tokyo in 1988.

Infinity Drummers. Day #179. Carl Allen. Hub-Tones. Freddie Hubbard & Woody Shaw, "Double Take." Carl, born in 1961, made this recording in 1985, when he was all of 24 years of age. He's brilliant on this as he is on any project he takes part in. About the album (from Wikipedia): << Double Take is an album by trumpeters Freddie Hubbard and Woody Shaw recorded in November 1985 and released on the Blue Note label. It features performances by Hubbard, Cecil McBee, Carl Allen, Mulgrew Miller and Kenny Garrett. The album was Hubbard's first for Blue Note since recording The Night of the Cookers (1965) twenty years previously. >> So, an important album, AND DIG THE BAND. Carl has distinguished himself as both a drummer and educator. In addition to the time he spent as Artistic Director of Jazz Studies at the Juilliard School, he has traveled far and wide in order to pay it forward. This would include several appearances at the Thornton School of Music at USC, most recently by way of zoom. He is a favorite at our school, and with so many jazz artists and audiences. Ladies and gentlemen, I introduce the gentleman Carl Allen to the Infinity Drummers List for your Saturday listening pleasure (check out the entire album when you can ... they also did a worthy follow-up album two years later).

Infinity Drummers. Day #180. Jake Hann. "Sig Ep" Woody Herman-1963. Recorded in October of 1962 at Capitol Studios in Hollywood, "Sig Ep" (short for Sigma Phi Epsilon ... and reminiscent of "Doxy") is as good a track as any to showcase the incredibly swinging and exciting drumming of Jake Hanna with Woody Herman. Listen to the snare drum set-ups for the band hits ... they're just incredible. Jake was also one of the funniest men you could hope to meet. Famous for his one-liners (among other things), he once said of a well-known narcissist (no, not THAT one), "This guy's so in enamored of himself, he holds his own hand when he walks down Lover's Lane," or, "This guy loves himself so much, he talks about himself behind his own back." And so on. Let the stories commence, dear Infinity Drummers List followers! Meanwhile, Happy Sunday, everyone: dig Jake Hanna, wear your masks, get yourselves vaccinated and, oh yeah, allow others who want to get themselves vaccinated get vaccinated. Sheesh.

Infinity Drummers. Day #181. Tony Oxley. "Taunton 1991" The Infinity Drummers list has resisted the inclusion of video-only content, as I wanted this collection or presentation to revolve around albums that made an impression upon me ... it has always been a subjective exercise as well. But rules or norms exist so that exceptions may break them, and drummer Tony Oxley has broken many a norm in his day. Born in 1938, he remains one of the most modern drummers these ears have heard. He's so modern because he is so "free." The video here irrefutably shows his command of time and space as well as his sticks ... he is equal parts dancer and drummer, painter and composer. I find this endlessly fascinating, I hope you'll enjoy the following two minutes and forty three seconds.

Infinity Drummers. Day #182. Jeff Hamilton. "It Could Happen To You" Great American Songs It Could Happen to be ANY song that Jeff has recorded and it would qualify for this or any other list of great drumming performances. Just like one of his heroes, Mel Lewis, Jeff seems to always play that which must be played — he makes perfect choices and plays them to perfection. His brush AND stick playing can't be beat ... and his bass drum pedal foot is also one for the records (pun intended). I've told this story before but it bears repeating: just after moving to Los Angeles while still being the relatively new drummer in Weather Report, I attended a January ('79) NAMM show which was held in Anaheim, not in the Convention Center but at the Disneyland Hotel. I had gotten word that Jaco and I might jam at the acoustic amp booth at the end of the day and was tasked to find a drum set for the occasion. So, I'm traipsing up and down various show aisles trying to find a Slingerland drum set I could borrow ... and while I'm wandering around, I hear some incredible-swinging music and so I follow the sound. There is Jeff Hamilton playing nothing but a snare drum with brushes, accompanying Tommy Gumina who's playing accordion ... not sure who else was playing, I think they were at the Polytone amp booth ... In any event, Jeff was no stranger to me as we had gone to Indiana University together back in the day ... but there I was, spellbound by how effortless and good his playing was, and I said to myself, "I want to be able to do that when I grow up." Still trying to figure out how to do "that," but I can sure dig on listening to Jeff. He's also a joy to watch play. But we're back to albums for the moment ... enjoy. Tamir Hendelman is playing the piano and Christoph Luty is playing the bass. Editor's note: two pictures of oneself on one album cover is a first for the Infinity Drummers list ... just saying. 😉

Infinity Drummers. Day #183.Horacee Arnold "Tribe" from his first solo album on CBS, "Tribe," recorded and released 1973, George Mraz, Ralph MacDonald, Joe Farrell, Billy Harper, Ralph Towner and David Friedman. Produced by John Hammond, engineered by Stanley Tonkel. A classic lineup, an incredible prescient release. I'll admit, hearing this is a new and wonderful adventure. I knew Horacee's 2nd album first, but "Tribe" can rightly be called a masterpiece. Everything clicks. Horace's playing credits are a who's who of jazz. Born in 1937, he began his drumming career in 1957 as part of David Baker's big band. He did a lot of touring as well as playing in New York City, eventually going on to teach at the William Paterson College. I got to know Horacee during my New York years by way of our mutual Yamaha Drums association as I recall. You're hearing his Gretsch kit here. And that CBS sound. Horacee is a true gentleman of the drums, and as I'm now realizing, a true pioneer as well. And listen to this next, please! I promise you will dig it: https://youtu.be/c87wefpoQ64