Peter Erskine’s Infinity Drummers

Infinity Drummers. Day #184. Dennis Chambers "Tell You What." Loud Jazz with John Scofield, Gary Grainger, Rob Airies and guest George Duke. So ... I began working on tonight's (tomorrow's) Infinity Drummers list entry this afternoon, and landed on this tune for the obvious reason (to me), that this was the first Dennis album I heard (even though I was already a dedicated fan of his drumming and entire persona because, well, you see and hear Dennis play live and he's just THE most charismatic being to ever drive a band behind a kit. Think Mike Tyson meets Fred Astaire meets Shirley Temple). So ... I finished lining that track up and then I go to my studio to deal with a dozen ArtistWorks videos that need replying to ... I watch them, I make my notes, I begin recording my pedagogical responses, and so on. Get to the 12th video and my damn Apple Watch starts vibrating, "INCOMING." Ignore it. Shit. I can't. I glance. Dennis Chambers. Unbelievable. I answer while recording, showing my Apple Watch face to this drum student (well, to one of my cameras) ... it's Dennis. He tells me that he's calling because he was listening to ME ("Bass Desires" from the Bass desires album). Hello, Funk & Wagners? I'll take "Synchronicity" for $50 dollars, Alex. Great phone call. Can't remember laughing quite so much in a long time. Meanwhile, "Tell You What" from John Scofield's game-changer album, "Loud Jazz." Dennis not only redefines the funk, he redefines what a cymbal bell can be. Not to mention a snare drum. And the bass drum. Oh yeah, a story. IAJE (Jazz Educators conference) being held in Long Beach, California. The Convention Center ballroom, standing room-only crowd listening to Mike Stern with Randy Brecker and others, we can't get in so my wife and I are hanging outside in the hallway adjacent to the stage. We can hear the band in that low-frequency/loud kind of way. Loud. I'm talking to someone. Hallway filled with students, young musicians. All of a sudden, they all part, with half going to one wall and the other half going to the other wall. The seas have parted to make way for Dave Liebman walking toward me and my wife. I meekly offer, "Hi Dave." He counters: "Is that Dennis?" "Yeah." "What size bass drum is he playing ... twenty-nine THOUSAND?" Ladies and Gentleman: the ONE and ONLY DENNIS CHAMBERS.

Infinity Drummers. Day #185. Ricky Fataar."Valley of Pain." Bonnie Raitt. Silver Lining. Released in 2002, I first heard this at the end of one of Harry Shearer's "Le Show" episodes that was focused on the flooding of New Orleans at the time of Hurricane Katrina ... it proved a powerful coda to that program and it made me want to find the recording, so I looked up the playlist and then got this song. Not too long after, I was asked (on-line) if there was one song that I wish I had played the drums on. And I chose this one. Ricky Fataar was born in South Africa in 1952. He is, among other things, known for his stints with The Rutles, The Beach Boys, Boz Scaggs and Bonnie Raitt. I know him from this one song. I think that it's simply a perfect drum track. And Bonnie Raitt is simply stunning on this song.

Infinity Drummers. Day #186. Vinnie Colaiuta. Bill Meyers. Images. "AM-PM" I've gotten into the routine of posting the Infinity Drummer of the day the day (evening) BEFORE ... well, today (Friday) is the birthday of Vinnie Colaiuta. Happy Birthday, Vinnie. And welcome to the list! I got hold of this direct-to-2-track recording shortly after it came out in 1986, when I was planning to make my move back to Los Angeles after a 5 year hiatus in New York City. I'll be honest: the drumming on this disc did not touch my heart so much as strike fear into it. "Good Lord," I thought ... "if this is the level that these guys are playing at in LA, I'd better get my act together ..." or something along those lines. The truth is that no one and none of us drummers could ever come close to what Vinnie Colaiuta is capable of doing. And, it's weird, because he's not the first drummer I added to the Infinity list ... but I firmly believe that Vinnie possesses abilities that the rest of us will always be chasing after. We met when I was touring with Stan Kenton. I think he was a fan way back when. I have a cassette tape somewhere, my last night with Stan's band. Vinnie was a student at Berklee. The gig was in Boston. I asked Vinnie to man my Sony tape deck in the audience. His running commentary was pretty hilarious as I recall. Since that time, he went on to become a most singular standard bearer for what is possible on the drums ... what's possible if your name happens to be Vinnie Colauita.

Infinity Drummers. Day #187. Ignacio Berroa. "Supernova 2" (from Supernova) Gonzalo Rubalcalba. With Carlos Henriquez on bass. I don't know about you, but I marvel at how natural and easy Ignacio is making all of this feel and sound. Trust me, there is nothing easy about playing something like this. Born in 1953, Ignacio left his native Cuba as part of the Mariel Boatlift in 1980 AND JOINED DIZZY GILLESPIE'S BAND THE FOLLOWING YEAR. Yes, I broke the infinity List Styles Rule and typed the 2nd half of that sentence in ALL UPPERCASE LETTERS. Why? Because that's AMAZING, that's why. Ignacio's drumming brings a smile to my heart and a dance to my step.

Infinity Drummers. Day #188. Rolf Ahrens "A Swingin' Safari" Bert Kaempfert March 19, 2009. He was the drummer for Bert Kaempfert during most of his career. Bert Kaempfert was the easy-listening guy responsible for dozens of ear-worm hits in the early 60s, most all of them recorded in Hamburg, Germany. The albums featured light-hearted melodies, rendered by a big band often adorned with a string section and a choir, in addition to both an acoustic bass and an electric bass guitar played with a pick.

I was looking for a recording today of Guy Warren of Ghana, and chanced upon the "original recording of That Happy Feeling" (Eyi Wala Dong) recorded in 1956, and came upon the Bert Kaempfert hit version of the same tune. Well, here's an entire album of what could well be termed cultural appropriation ... with a safari hat/pith helmet on a saucy model to boot.

But this should not take away from the formidable contributions of Rolf Ahrens. I only learned his name today but I can't count the number of times I heard his booming bass drum and swinging beat on the radio as well as in elevators, hotel lobbies and dentist's offices over the years! I found this quote: "the mood during a recording session with Bert was always one of harmony and pleasure. There never was a harsh word or any argument whatsoever. Bert was always calm and very much at ease in the studio...”

I'm pretty sure you'll have one of those, "Oh wow, THAT song" moments ... and you really should look up "That Happy Feeling" (both versions, it's an education). Meanwhile, check out the sound of that bass drum.

Infinity Drummers. Day #189. Victor Lewis. "The Moontrane" (1977). Dexter Gordon "Sophisticated Giant" I can't think of a more intimidating gig than being tasked to play the drums on this iconic tune that Elvin just flat out owned. The key, I would subscribe, is to play it like Victor Lewis does here. Not that this was his first time, having recorded it with the composer Woody Shaw on "The Moontrane" in 1974 (Muse) — check it out, it's an excellent version. But the Inifnity Drummers list wants to showcase this (small) big band version of the tune, arranged by Slide Hampton, because this example showcases the versatility and sheer dependability of Victor Lewis, a favorite drummer of more musicians than you can shake a stick at. With Victor on the bandstand, you always know that things are going to swing and that the music is going to be great. Shout out to pianist George Cables and bassist Rufus Reid, two of the masters!

Infinity Drummers. Day #190. Bruno Carr. "Philly Dog" Herbie Mann. Live at the Whiskey A Go Go (1968). Bruno Carr's played with Ray Charles and Aretha Franklin, and his drumming can be heard on albums by Curtis Amy, Lou Donaldson and Walter Davis, Jr.. He is best-known, however, for the discography he amassed with flutist Herbie Mann. This time-capsule gem features a young Miroslav Vitous on electric bass, the late Steve Marcus on tenor sax, the late guitarist Sonny Sharrock and vibraphonist Roy Ayers. Bruno's playing here perfectly captures the Purdie zeitgeist that was in the air at the time. It's funky in an electric/on-the-edge-of-your-seat kind of way. I only knew Bruno Carr as being among the first of the Yamaha drummers (Bruno and Ndugu Chancler and Peter Donald were among the earliest drummer/artists being featured in their ads as I recall. I also seem to recall that, before Yamaha, Bruno was playing Sonor drums. I'm sorry that I never had the chance to meet him. He was born on February 9, 1928, and passed away on October 25, 1993. The Infinity Drummers list regrets missing his birthdate by a day, but better late than never. Steve Marcus' and Sonny Sharrock's solos are pretty far out. Enjoy the trip.

Infinity Drummers. Day #191. Dave Ratajczak. "If I Only Had A Brain" Almost Grown (released in 2015) The world of drumming lost Dave Ratajczak to cancer in October of 2014. He was the drummer for many Broadway shows, numerous big bands and small groups in New York City as well as a veteran of the Woody Herman big band. He was also one of the most-beloved players by his colleagues and peers. There's a short film that stars Dave, "The Drummer," one of best movies, short or otherwise, that deals with music. I'll post the link for it in the comments below, it is VERY worth the watch. And if you stick around on YouTube after listening to this, the algorithm will most likely treat you to a finely swinging version of "The Sunny Side of the Street." A salute to Dave Ratajczak — a lovely man and drummer — gone far too soon.

Infinity Drummers. Day #191. Armando Anthony "Chick" Corea June 12, 1941 – February 9, 2021 "Confirmation" duet with Michael Brecker (Three Quartets) Chick once wrote to me, telling me about his drumming days, ending with the somewhat cryptic and off-handed comment, "Unfortunately, the piano career took off instead." The amount of talent in this man was only matched by the amount of joy he took in expressing and sharing it ... and we are all the better for it. RIP, Chick.

Infinity Drummers. Day #192. Milford Graves (RIP) Portrait of Linda in Three Colors, All Black Sonny Sharrock, "Black Woman" (1969) I'll be honest. I bought this album when it came out, and I was not quite sure or able what to make of it. Fifty-plus years later, its sound is still as jarring as when I first encountered it. And that makes it timeless in a very real sense, doesn't it? And maybe it's just because the news has built itself up into such a non-stop-emotional levee-breaking series of our senses being flooded by Facebook and Twitter obituaries that, yes, on this day of yet another icon's passing — avant-gardist and poet of percussion Milford Graves — that the Infinity Drummers list passes on the opportunity to post a link to Albert Ayler's "Ghosts" and, instead, directs your attention here. To hear. Because it is raw, and rough, and revelatory, and there is nothing comforting and, yet, you may just find comfort in the end, and this might be at the heart of the genius of Milford Graves. Because enlightenment almost always involves a slap to the side of the head.

Well ... here's one for you. Black Woman. 1969. Sonny Sharrock - guitar; Dave Burrell - piano; Norris Jones - bass; Milford Graves - drums; Linda Sharrock - voice; Teddy Daniel - trumpet; Richard Pierce - bass.

Infinity Drummers. Day #193. Dave Weckl. "Rumble" Chick Corea Elektric Band. This Valentine's Day, the Infinity Drummers list is sending love and chocolates and flowers to Dave Weckl, John Patitucci and Chick Corea (in memoriam) as one way to say "Thank you" for so much invigorating, pioneering and impeccably-performed music. The photo on the album might say "1986" but, listen to this ... this is timelessly-modern music. Dave and John came out of the gate roaring and Chick had the foresight and wherewithal to harness and feature their talents like no one else could. The Elektric Band would go on to include such players as Frank Gambale, Eric Marienthal, Gary Novak and others, but it's the core trio (a/k/a the "Akoustic Band" ... okay, I'll konfess, I was never a fan of the "k" thing) that proved the be the mighty engine for this music machine. Gentlemen: we cannot know your sense of loss or pain, but I hope that you will know how much we appreciate the joy and excitement you brought to countless listeners around the world. And Dave Weckl changed drumming ... like I said, listen to this.

Infinity Drummers. Day #194. Michael Shrieve Jingo Santana (1969) Nigerian percussionist Babatunde Olatunji recorded his album “Drums of Passion” in 1959. The song Jin-Go-Lo-Ba was the most popular tune on the disc if the number of cover recordings are any guide (Olatunji’s album was very popular in its own right, selling 5 million copies). Carlos Santana included the song on his band’s premier album, where Michael Shrieve’s drumming was introduced to the world (along with that indelible and incredible drum performance of his at Woodstock). The translation of Yoruba groove to Ludwig drum set is just one of many remarkable things about this recording, including Michael’s contribution to the phenomenon that was and remains Santana. Michael Shrieve remains an explorer and exponent of the timeless beat that is Africa, that which informs all of drumming, that which brought us the drum.

Infinity Drummers. Day #195. Ralph Peterson. "Trials of Trust and Treachery" Subliminal Seduction (2009) w/ Jeremy Pelt, Jimmy Greene, Orrin Evans, Eric Revis. There are not too many drummers who can claim to have played in Art Blakey's band, but Ralph Peterson can. He joined Blakey as the band's second drummer in 1983. Ralph has been playing and paying it forward ever since, dedicating himself to advancing the art of drumming while paying tribute and homage to Art Blakey and Elvin Jones, among others. Meanwhile, he has played with everybody. Ralph is from Pleasantville, New Jersey, just down the road from where I grew up. His father was the Chief of Police there, and our fathers knew one another. Harvey Mason is from Atlantic City. And Art Blakey spent several years living in Northfield (the town between Pleasantville and Linwood, where I grew up). So, lots of great drum mojo in the Garden State's southern/nether regions! The last time I played with Ralph was in Madarao, Japan, back in 1985, where he and I, Randy Jones and Jeff Watts all took part in a "drum battle." On the drive from the lodge where the musicians were staying to the stage at the bottom of the ski resort hill, Tain enterTAINed us all by narrating the drum battle-to-be in the voice of Howard Cosell. It was hilarious. Ralph played brilliantly then as he does here and always has. Ralph has been teaching at Berklee. Word is that he is in hospice care now. Cancer. Everyone please say your prayers and send your love to Ralph, and honor him by listening to this tremendous music he made with this great band.

Infinity Drummers. Day #196. David Albert "Panama" Francis. "What A Difference A Day Makes" Dinah Washington (1959). Panama Francis (December 21, 1918 – November 13, 2001) was a jazz drummer who played on a prodigious number of hit songs (including Bobby Darin's "Splish Splash", the Four Seasons' "Big Girls Don't Cry", the Platters' "The Great Pretender" and "Smoke Gets in Your Eyes", and Jackie Wilson's "Reet Petite"). It would not be unkind or inaccurate to think of him as the New York Earl Palmer, meaning one of the first to cross over to the worlds of rhythm & blues and pop from jazz. In other words, a drummer who could do it all. What's amazing to me about "What A Difference A Day Makes" is that it also features a young Joe Zawinul on piano, and the arrangement by Belford Hendricks quotes from Richard Strauss, completing the Viennese connection (to my ears ... I always found the string part haunting as a child, and this song was played a lot on the radio back then ... plus, it won a Grammy). Panama Francis supplied the beat: steady, perfect, swinging, powerful yet quiet and quiet yet powerful.

Infinity Drummers. Day #197. Roy Burns Benny Goodman, 1958. with Red Norvo, Teddy Wilson, Arvell Shaw, Harry James, Ella Fitzgerald and Jo Stafford. Breaking with the Infinity Drummers list predilection for audio-only links, this video is so outstanding on so many levels that it redefines what "what a band" means. Also, it's not so easy to find albums where Roy Burns is playing, I'm finding only video links ... so any suggested listening links will be gratefully accepted here. Meanwhile ... Many of us knew Roy by way of his association with Aquarian Drum Heads. He was a fixture at music industry and educational events for as long as I can remember. In fact, the very first drum clinic I ever attended was a one-man show by Roy back in the mid-60s at an area high school in south Jersey (Holy Spirit High School) ... the Rogers drum set arrived at the last moment, so most of the clinic consisted of Roy unpacking the drums and tuning them, setting them up, calmly speaking to the packed auditorium while doing so, and you know what? It was a great clinic. He played, of course, and he played a great solo. He's seen and heard in more of a supportive role here, but he swings the music as effortlessly as he tuned that Dyna-Sonic snare drum way back when. And this video is a welcome reminder of how great television could be when it set its mind to doing so.

Infinity Drummers. Day #198. Dave Black. "Gonna Tan Your Hide" Duke Ellington Orchestra. Hi-Fi Drums (1957 or 1958). I only grew to know about Dave Black by way of the internet ... and I'm sure glad I discovered the drumming that he does here. According to the Wikipedia page dedicated to him: << David Black (January 23, 1928 in Philadelphia - December 4, 2006) was an American jazz drummer who is most notable for his work with Duke Ellington from 1953 to 1955. Prior to that, Black had been the drummer in the house band at the Philadelphia Blue Note Jazz Club where he played with the likes of Charlie Parker, Buddy DeFranco and Zoot Sims. In 1955 Black contracted polio and left the Duke Ellington Orchestra. After recovering, he moved to the San Francisco Bay Area and partnered with Bob Scobey until the latter's death in 1963. Dave Black continued to perform with Bay Area and various international jazz musicians until his death in 2006. >> So, I'm guessing that this recording took place between the years of 1953 and 1955 and was released later. Two bass drums. Influenced and overshadowed by Louis Bellson, no doubt, but the man made his mark, and I thank you for joining the Infinity Drummers list salute to Dave Black by listening to his work now. Anecdotes and remembrances welcome.

Infinity Drummers. Day #199. Martin Drew. "Street Life" w/ Monty Alexander & Ray Brown (Summerwind). I was looking for the recording of "Funjii Mama" that Martin did with Monty and Ray — I have it on my Spotify playlist, but am not having luck finding it on YouTube. So, as luck would have it, I came across this gem of a funky swinger, "Street Life." Martin Drew swung like crazy, folks. And the drumming you hear here is not easy to do at all ... and, in fact, it's utter perfection the way he's playing with Ray and Monty, changing up the feels and keeping it all dancing like he does. Martin played with Oscar Peterson from 1974 to 2007. Born in 1944, he passed away in 2010. Many of you probably crossed paths with Martin at Ronnie Scott's in London or at jazz festivals and concerts around the world. I remember him as being incredibly friendly. If you can find the Funjii Mama track, check it out. Martin plays one of the best calypso beats this side of Trinidad. And, like I said: a real swinger.

Infinity Drummers. Day #200. Paul Wertico. "The First Circle" The Pat Metheny Group (ECM) 1984. Paul not only survived but thrived in the hot seat of being Pat's drummer of choice for 18 years. This song, this album, and every other recording the band made, not to mention the touring, are the very definition of "epic." When Pat abandoned the mojo of his Miami rhythm machine for the Chicago-based team of Steven Rodby and Paul Wertico, we were all curious as to how the Group would sound (and, I'll admit, a lot of us felt bad for Danny ... and that puts additional pressure on "the next guy"). Pat and Lyle & company surpassed everyone's dreams and wildest expectations over and over again, and it's impossible to overstate the importance of the chemistry and discipline that made it all possible. I mean ... listen to this. It really is a miracle of a recording. And no one should underestimate the skill of the drummer here, Paul Wertico. His cymbal playing alone is the very definition of "intention." The Group was an inspired band. And did I say miracle? "Magic" would be a better word. (Plus a shout out to Pedro Aznar for the vocalise that would launch a thousand ships. Three cheers for Rodby. With fond remembrance of Lyle, too.)

Infinity Drummers. Day #203. Robby Ameen. "Isabel" Rubén Blades y Seis del Solar. Havana, Cuba. 1979. Backstage at Teatro Karl Marx. "Havana Jam," the brainchild of Bruce Lundvall at CBS Records, meant to break down the walls of geopolitical division by the power of CBS jazz and pop artists doing their thing in Cuba — along with a coterie of Fania label artists, the haven of Nuroyican musicians and bands — is in full swing on-stage. Weather Report opened the multi-night festival. A powerful if puzzling mix of ambassadors. While most every musician of note is discovering the mojo of the home-grown mojito being served in the backstage bar, I run into Ruben Blades in a hallway and surprise him by telling him I am a fan (having heard him on a Fania album), and we bond instantly. I ask him if he'd like a drink. He tells me in no uncertain terms, "No," because "salsa audiences demand the very best from their singers" ... not sure that the rest of his compadres got that message, but Ruben showed absolute discipline and dedication to the craft of bringing song to la gente.

Ever since that time, whenever we would cross paths, our youthful if fleeting friendship would renew itself with surprising strength and depth. Ruben is one very sincere human being. And, when he decided to bring his music and the music of his people to an even greater audience, he found the one drummer he could entrust this all-important crossover to: Robby Ameen. THE expert salsa drummer. Lebanese, by the way. If the United Nations ever needed a mascot, I'd nominate Robby Ameen. He drips groove and he embodies every hope that was poured into Esperanto, only musically so. Ruben is also a smart man. I found this song from this album, there are other gems on it (and their first album as well) if you can find them ... go ahead, pour yourself a mojito while you're at it.

Infinity Drummers. Day #204. Steve Schaeffer. "Inflexion A" Russell Ferrante Trio with Steve Schaeffer & Michael Valerio (INFLEXION). I first met Steve in the early 1970s at Donte's jazz club in North Hollywood when I played there with Stan Kenton. He was drumming with Herb Alpert at the time. Little did I know about his New York City drumming background or the fact that he toured with Sarah Vaughn for over 2 years with Chick Corea in the rhythm section, and he played in the Brecker Brothers' band DREAMS ... Steve could do it all (and he can still do it all). I remember Michael Brecker telling me during the Steps days how great Steve's jazz drumming was: "He can sound just like Elvin." Meanwhile, Steve became THE number-one studio drummer and percussionist in Los Angeles and he possesses a snare drum sound, touch and a roll that I dream about. Back in the day when I was first living in L.A. and doing the very odd studio recording job now and then, I ran into Steve at the Musician's Union in Hollywood. I had happened to work on a television show that was his account, subbing for him, and when I heard the show on the TV, I was dismayed by how lousy my drums and drumming sounded especially compared to his playing on the show's main theme. And so I asked him, "what am I doing wrong?" And he could have easily dismissed me and the question but, instead, sat down with me and talked me through some of the art of recording and playing to the microphone. Incredibly gracious thing to do. I still think on his advice and I pass it along to my students now. So, all of this brings me to Russell Ferrante's new trio recording. It's magical. Beautiful playing by everyone. Pay attention to the drumming that Steve is doing while accompanying the solos: that kind of interactive composing-on-the-spot can so easily go so wrong, but Steve plays with a magisterial maturity and confidence, and all of his choices seem perfect. Special mention to Mike Valerio's (literally) pitch-perfect playing, and Russell's gorgeous composition and touch. Just a wonderful sensibility all around. Proud to call Steve my friend. Welcome to the Infinity List, pal.

Infinity Drummers. Day #201. Jimmy Manone. "Junior Saw It Happen" Jeff Sturges and UNIVERSE. I don't know too much about Jimmy Manone aside from having heard him on this album back when it came out in 1971. Jeff Sturges was the music director for Tom Jones around the same time (Jeff was a North Texas graduate). Small world, my wife Mutsy worked with Jeff and Tom Jones and many of these same musicians on a tour that Tom Jones did in Japan. Check out the band: *Trumpets: Bobby Shew (lead), Tommy Porrello, Jon Murakami, Rich Cooper, Derek Watkins; *Trombones: Jim Trimble (lead), Bill Booth, Dan Trinter, Stan Nishamura (bass trombone); *Saxes: Archie Wheeler, Burt Esterman, Don Menza, John Phillips, Gary Freyman. *French Horns: Art Maebe, Dick Perissi, Aubrey Bouck, Ralph Pollock; *Guitar: Dean Parks; *Bass: Dennis Kelly, Don Baldwin; *Organ, Electric Piano: Hal Stesch; *Percussion: Roger Rampton; *Congas, Bongos: Mike Lewis; *Drums: Jimmy Manone. Dean Parks is tearing it up on this track. Jimmy Manone was the grandson of jazz trumpeter Wingy Manone. Helluva player. This album was recorded in Las Vegas. Aside from listening to it, that's all you need to know. Great writing and playing. Enjoy!

Infinity Drummers. Day #202. George "Funky" Brown. "Let The Music Take Your Mind" Kool and the Gang (1970). This post should be all about George "Funky" Brown and this Kool and the Gang hit, but allow me to provide some personal perspective on the tune. It was the summer of 1971 and I started my gig the as house drummer for the band at the legendary Club Harlem in Atlantic City. The club was 37 years old at that point in time; I had just turned 17. My mom had to drop me off and pick me up in front of the club for a couple of weeks until I got my driver’s license. And my Ford Pinto. The Club Harlem was located on Kentucky Avenue. Atlantic City has changed a lot since 1972, and while Kentucky Avenue is still there, the Club Harlem no longer exists. But it was home in its heyday to such legendary visiting black artists and entertainers as Sammy Davis, Jr., James Brown, Sam Cooke, Ella Fitzgerald, Stevie Wonder, Sarah Vaughan, Ray Charles, Redd Foxx, and many others. Acts would usually come there for a one-week stint. The Club Harlem had a show room in the back that could seat 900 people. It also had a bar in the front where organ trios would play in-between the shows in the main room. I got to hear such jazz greats as Lonnie Smith and Jimmy McGriff during my breaks. It was here in the front lounge where I heard one band after another play this tune that summer. (The really fun part about the Club Harlem was that there was a breakfast show that started at 5 a.m. on Sundays. All of the celebrities appearing in Atlantic City on any given weekend would come to the Harlem’s breakfast show after the other nightclubs closed for the evening. The club served scrambled eggs, Bloody Marys or Screwdrivers, and we played a final set. And then the organ band in the front of the club would play their last set. All the while, aromas from the various soul food eateries and the “head” and incense shops on the street mingled with the perfume of the nearby Atlantic Ocean. But, man, the first time I drove home on a Sunday morning from my first Saturday night gig at the club, people were already mowing their lawns!) I ended up going to Bloomington, Indiana for my first year in college right after this gig ended, and I met Alan Pasqua and we started a funk band ("Dynamite") with his roommate and my old buddy Peter Bankoff from the Interlochen Arts Academy. And I found the Kool and the Gang album that featured this tune (I didn't know the name of the band or the tune ... I think I went into record stores and hummed a few bars, as the old story goes ... Eureka) and we learned it and played it. At Bloomington, Indiana sorority dances. We were never hired or brought back to those sorority houses again. But we were, well, we thought we were funky). So, back to George "Funky" Brown. FUNKY, with a capital F - U - N - K - Y. This was my summer of '71 soundtrack and I didn't even know what it was, but I sure loved hearing the various organ bands play it night after hot sweltering summer night in that front lounge of the Club Harlem. Remind me to tell you my Three Degrees story one of these days. This is the Extended Version of the tune that appeared on the LP ...

Infinity Drummers. Day #205. Bobby Economou. "Kuru/Speak Like A Child" Jaco Pastorius. Jaco's debut album was not only a tour de force that captured so much of his brilliance, but it also featured a who's who of drumming talent, including Narada Michael Walden, Lenny White, the late Don Alias on congas, producer Bobby Colomby, and Bobby Economou. Nice company ... and Economou more than holds his own here! (Bobby followed me on Maynard's band, and could also be heard with Blood, Sweat & Tears after that.) This medley has more twists and turns than an Alpine race course but Bobby handles them deftly while managing to speak like a drummer in several spots. This record changed the lives of just about everyone who heard it, myself included. Thrilling stuff. Enjoy. Drums: Bobby Economou; Composer: H. Hancock; Arranger: Jaco; Bongos, Congas: Don Alias; Piano: Herbie Hancock; Violin: David Nadian; Violin: Harry Lookofsky; Violin: Joe Malin; Violin: Harry Cykman; Violin: Harold Kohon; Viola: Stewart Clarke; Viola: Manny Vardi; Viola: Julian Barber; Cello: Charles McCracken; Cello: Kermit Moore; Cello: Beverly Laurdsen; Producer: Bobby Colomby for Colomby Productions

Infinity Drummers. Day #206. Tommy Snyder. モンキー・マジック "Monkey Magic" Godiego. Godiego (ゴダイゴ) (pronounced Go-Dai-Go) are a Japanese rock band, consisting of keyboardist and composer Mickie Yoshino, vocalist Yukihide Takekawa, guitarist Takami Asano (RIP) and Yoji Yoshizawa, bassist Steve Fox, and drummer Tommy Snyder. Over their 40-year career, Godiego released 27 singles and 55 albums in Japan, with lyrics written variably in English by longtime collaborator lyricist Yoko Narahashi. They are perhaps best known for performing the song "Monkey Magic" for the 1978 television series Saiyūki which was brought over to the United Kingdom as Monkey. They were the first rock band to play in the People's Republic of China and Nepal. Okay ... my connection to this Japanese pop band. I met drummer Tommy Snyder during one of my courtship visits to Mutsy in Japan ... he was married to one of her friends who lived-in Yokohama and I remember a delightful afternoon talking drums with Tommy by the sea. We've been friends for over 35 years since and our paths have crossed regardless of the personal connection that initiated our getting to know one another. Tommy has been an incredible ambassador for both Roland V-Drums and Tama Drums, and we've dined in Paris as well as in Roppongi. I'm no expert when it comes to gaijin drummers in Japan, but I believe that Tommy's 40+ year career with Godiego qualifies him for some measure of distinction. He tells me that the surviving band members are baking the multitrack tapes in preparation for mastering a new release to commemorate the 45th anniversary of Godiego. On top of that, Tommy has just become a grandfather. The Infinity Drummers List sends its congratulations to Tommy and so let's all celebrate by listening to "Monkey Magic." Great pocket and good fun. Monkey Magic on Magic Monkey ... you dig?

Infinity Drummers. Day #207. Adam Deitch "Just Don't Want To Be Lonely" Überjam Deux. John Scofield. Take a mom and dad who are both talented drummers. Add a bandleader who always seems to know how to find the best musicians. And you end up with Adam Deitch in John Scofield's band, a/k/a Überjam. Adam's drumming is solid as the earth and fresh as the wind, plus funky as the summer day is long. He is a joy to listen to. I was going to link to the first track on the first Überjam album, but this song from Überjam Deux is just too irresistible. Pull up a chair and listen but I promise you'll be up and dancing before you know it. A big shout-out to John Scofield. One note and you know it's him. And he writes the best tunes, too.

Infinity Drummers. Day #208. Ricky Lawson. "Matinee Idol" Yellowjackets, with Robben Ford, Russell Ferrante, Jimmy Haslip. This album was my introduction to the drumming brilliance that was Ricky Lawson. And, since this was the first track on that album, I'm happy to DJ this song to all of you. It's representative, because the drumming is perfect ... and that was the hallmark of any Ricky Lawson performance: perfection. It was just RIGHT and FUNKY and PERFECTLY BALANCED and EVERYTHING a drum performance should be, recorded or otherwise. I'm grateful that there's so much wax documenting Ricky's drumming. Pocket. Excitement. Groove. Look up the definition of "drumming" and I'm pretty sure that you'll see a picture of Ricky Lawson. Will Kennedy followed, and he *will* be making his Infinity Drummers list appearance at some point soon ... y'all understand, I gotta save some of the best for last.

Infinity Drummers. Day #209.Connie Kay. "Take Ten" Paul Desmond (1963). Paraphrasing Wikipedia: << Conrad Henry Kirnon (April 27, 1927 – November 30, 1994) known professionally as Connie Kay, was an American jazz and R&B drummer who was a member of the Modern Jazz Quartet. Self-taught on drums, he began performing in Los Angeles in the mid-1940s. he can be heard on recordings of Dexter Gordon and Wardell Gray, Lester Young's quintet (from 1949 to 1955) and with Stan Getz, Coleman Hawkins, Charlie Parker, and Miles Davis. Kay did R&B sessions for Atlantic Records in the early to mid-1950s, and he was featured on hit records such as Shake, Rattle and Roll by Big Joe Turner and Ruth Brown's (Mama) He Treats Your Daughter Mean. Kay joined the Modern Jazz Quartet in 1955, replacing original drummer Kenny Clarke. He remained through the group's dissolution in 1974 and occasional reunions into the 1990s. In addition to his MJQ compatriots, he had an enduring partnership with cool jazz altoist Paul Desmond through the first half of the 1960s. He also played drums on Van Morrison's "Astral Weeks." Kay was known for incorporating percussion instruments alongside his drum kit, such as timpani, small cymbals, triangle, bell tree, and darbukas (clay drums). In 1989, Kay received an honorary doctorate of music from Berklee College of Music. >> Connie Kay shines on this entire album, with the first track being an homage to Paul Desmond's best-known foray into 5/4, "Take Five." Playing with the snare wires turned "off," Kay alternates taps between the snare and a similarly-tuned small tom, giving the beat an oscillating feel. He keeps it simple with admirable focus and restraint, and yet manages to make it seem very spontaneous and free. It swings but it also 5/4s really well if that makes any sense. Check out his work with the Modern Jazz Quartet. Meanwhile, "Take Ten."

Infinity Drummers. Day #210. Jaco Pastorius. "8:30" "Mr. Gone" was my Weather Report initiation, and I did some drum, percussion, and vocal overdubs on the album as well as played on “Pinocchio.” But this did not fully prepare me for the real experience of being in the studio with Weather Report. A lucky accident while mixing the “live” tapes for the 8:30 album provided the opportunity: one of the engineers erased all 24 channels at a crucial edit point of one song, which ruined the piece and left us with too little material for a double album. So it was decided that we would go into Devonshire studio to record additional material. I learned one of the secrets of WR’s success: their operating rule was to always have some sort of a tape recorder “on” and recording all of the time whenever anyone was in the studio — meaning whenever the band was in the building; this was in order to capture any spontaneous bit of playing or musical exploration. So, a stream of musical consciousness was encouraged (as opposed to an engineer slating the tune, "Okay…we’re rolling! ‘Weather Report, free jam,’ take 2…”). This also encouraged and necessitated the creative use of editing, and that was how some memorable musical pictures were created. In fact, the title track to that album, “8:30,” was initially captured on a cassette tape that was left running while Joe and Jaco started fooling around in the studio — Jaco on my drums! I walked by the control room and heard them playing, and I rushed to the kitchenette and summoned the engineer to come and turn on one of the proper/multi-track tape machines. If you listen to that cut, you’ll hear it go from black and white to full and glorious color; that’s about when the real tape machine got turned on — my contribution to musical history! (from No Beethoven) Jaco's best-known drumming is on "Teen Town," but this is a terrific track in duet with Joe, and became how the band started off a tour's worth of concerts: with Jaco playing on my drums — quick black-out with the lights, I jumped onto the kit and he assumed the position with his bass between those two acoustic 360 amps, lights up and it was on with the show (playing Wayne Shorter's "Sightseeing"). The good ol' days. So here's 50% of the band, 100% Jaco's "Florida beat." Oh, and the short wave radio stuff at the beginning was captured by Jaco at some guy's house, Jaco went there to record some dial-surfing of radio broadcasts from around the globe. That opening was his idea. Enjoy and stay safe.

Infinity Drummers. Day #211. Peter Erskine. "Sightseeing" Weather Report "8:30" Okay … since I posted “8:30” yesterday, I might as well add Wayne Shorter’s “Sightseeing” (and my own drumming) to the Infinity Drummers list. Please pardon the immodesty. It does make a good follow-up to “8:30” as that is how Weather Report opened its concerts for an entire year. Here’s the story on how that track came to be …The post-production (editing and mixing) process for the “live” double album was laborious and time-consuming, and Joe was running through engineers one after the other. Al Schmitt's brother Russell was brought in at one point to assist with editing. Joe was struggling to find the perfect edit for one of the live tunes, and was having Russell cut the 2-inch multi-track tape, and, of course, when that edit didn’t seem to work, he directed him to make another cut … much like someone in front of a mirror trying to even up their sideburns … luckily, Russell labeled each piece of tape and hung them carefully in the studio, eventually festooning the control room with dozens of pieces of 2-inch tape. After diligently following Joe’s directions, Russell played back the final cut. Whereupon Joe just said, “You know what? Fuck it. Put it all back together the way it was …” and exited the room. I looked at Russell. He just shrugged his shoulders and began reassembling the tape without complaint. Amazing guy. They finally figured out an edit. This was for the “live” version of “Mr. Gone.” Anyway, since Weather Report shared the same management as Earth, Wind & Fire, they recommended some guy who had been working with Maurice White. I forget his name (he ended up only working on this album for less than a day), but I recall that he had longish-dark hair that he swept back a few times while shaking his head, kind of like a bored fashion model might do. My impression was that he seemed impressed with himself. Anyway, the plan on this particular morning with this new engineer was to take care of one housekeeping item, involving the live version of “Mr. Gone”, one half of which was recorded in Berkeley and the other half which was recorded in Arizona (the album’s live cuts were recorded in a total of 4 places: Long Beach, Santa Monica, Berkeley and Phoenix) — the “right side” of the edit (done previously with Russell) had a synthesizer chord that was not on the left side — Joe wanted to erase (that) one bit of synth and then move onto some other mixing work. The MCI 24-track tape machine had been serviced that morning as it was every morning by the maintenance person at Devonshire, and was sitting there in “ready” mode. There was not too much banter between Joe and the engineer, Zawinul merely pointed to the place on the tape counter as we listened back to where that channel should be recorded over for a couple of seconds’ duration. Joe is pacing in front of the mixing board near the playback speakers and I’m standing at the far end of the mixing board to the engineer’s left. We’re listening. The tape gets to that spot, the engineer hits the RECORD button, and the room goes silent as the entire MCI tape machine lights up like a Christmas tree. I see the engineer blanch and lose all sense of composure as he lunges to stop the damage in process, but it’s too late. All 24 tracks are erased just before and after the crucial edit point. The tune is lost. Silence. I break it with a, “Hey, Joe…” and he’s pacing and he says, “Yeah?” “Um, I think something just happened that wasn’t supposed to …” “Oh yeah? Like what?” I turn to the engineer, point and say, “You tell him.” And the guy did, and then just sat there. I expected Zawinul to be furious. He stayed quiet. He was thinking. Finally, “Okay. We think of something.” That something became the recording of an LP side’s worth of music, and that included “8:30” (the improvised jam between Joe and Jaco playing my drums), “Brown Street” (also an improvised jam recorded on Joe’s Nakamichi cassette deck in his living room, and then transferred to multitrack tape where we overdubbed most everything to make it sound better. The phasing effect you hear on Wayne’s saxophone is merely the doubling of him, he learned his solo(s) and recreated everything. “The Orphan” was something Joe improvised (again, at home, I think) and he then had a children’s choir come into the studio to add their voices. An incredible piece of music. And, finally, “Sightseeing.” We ran this tune down slowly, as Wayne’s chart involved a lot of mixed accidentals and very dense chord voicings, penned exquisitely if a bit ornately by Wayne’s own hand. In other words, the keyboard part was a real challenge for Joe to read. And so we learned the tune as a ballad, and Wayne offered no specific direction in terms of tempo or feel. We ultimately wound up playing it as an up-tempo 4/4 thing. Oh yeah, the tune was part of a many-page manuscript, and I remember Joe and Jaco landing on the melody we now know as the tune and saying, “Hey Wayne, this is hip, let’s concentrate on this for now,” and the band got into this “Nefertiti”-repeating kind of thing, only with more energy. One very long take and that was it. Edit time. The tune needs something else … an interlude. I come up with a beat that I imagined might have been concocted by Ishmael Wilburn and Skip Hadden plus Ndugu meeting Eric Gravatt. It had attitude. We jam on that and record it, and it gets cut into the tune. Some of these sounds include Jaco playing on some of my Zildjian crotales (hand muffling them, cool effect) as well as on the didgeridoo he picked up a few months earlier during our tour of Australia. Zawinul came up with everything else ethereal-sounding. I have a digitized cassette of the original ending which was just the drums swinging out the tune on their own … it didn’t make the album, but it’s pretty cool. In any event, this was — and remains — my personal favorite track from all of the recordings I was fortunate enough to make with the band. And here, for your listening and dancing pleasure, is “Sightseeing.”

Infinity Drummers. Day #212. Terreon Gully Donna Lee John Beasley / “MONK’estra This album has been nominated for a Grammy Award this year, and for good reason. Like the other 2 MONK’estra albums, these records not only highlight John Beasley’s formidable skills as a bandleader, arranger and, most significantly, pianist, but they also show off the extreme drumming talents of Terreon Gully. I’ve subbed for Terreon a few times on John’s MONK’estra band, and while I “got” most of it, there were a couple of stylistic things that always remained out of reach for me. Terreon has ears like tomorrow, yet he understands the tradition. He’s an example of that new generation of players who are upending much of what we thought we knew about the drums. He drives the MONK’estra bus beautifully, and John Beasley gives him the freedom to go off-road every now and then. Check out “Monk’s Mood” on one of the other MONK’eastra albums, you’ll hear what I mean: total support of the band, honoring the tradition while being modern, free, and centered. And, here: totally inventive, in-the-pocket, and “all present and accounted for.” Congratulations, John Beasley and Terreon Gully. With a shout out to Benjamin J. Shepherd — every drummer’s best friend — on the bass.

Infinity Drummers. Day #213. Marvin "Smitty" Smith "Homecoming" The Dave Holland Quintet (Seeds of Time / ECM / 1985) One of the thrills of being on the road in the mid-1980s was the likelihood that you'd cross paths musically with the Dave Holland Quintet. And the real kick in the pants was the combination of Dave with Marvin "Smitty" Smith. Marvin has always had the uncanny ability to unleash tremendous power while still keeping the music dancing ... steady but unpredictable ... modern yet dripping with tradition. Marvin calls 'em like he sees 'em and he plays that way, too, and that's why he's been a first-call choice for pioneering artists like Dave Holland and Billy Childs for years (I'll be honest, I was trying to find a YouTube link for Billy's "American Landscape," a breathtaking performance ... couldn't find it). This Dave Holland track features Steve Coleman, Julian Priester, Kenny Wheeler, Dave and Smitty — whadda band — and it captures what I remember seeing and hearing Dave's band do: swing and be modern. Oh yeah ... I also remember a vigorous conversation at some jazz festival between Dave's band and whatever band I was with (Bass Desires? or John Abercrombie?), Finale versus Sibelius (or was it Performer versus whatever other program was being used at the time?) ... in any event, we all caught ourselves talking about computer stuff and NOT talking about the things that musicians USED to talk about when they ran into each other. Not sure if we were merely a product of our times or ahead of our time ... but here we are. And we all had a good laugh about it. Bravo and thanks for so much great drumming over the years, Marvin.

Infinity Drummers. Day #214. Chad Wackerman "A New Day" Dreams, Nightmares and Improvisations w/ Allan Holdsworth and Jimmy Johnson The Class of 1972 ... when Chad Wackerman was all of 12 years old. He was a Kenton Summer Camper along with Carlos Vega and Gregg Field, among others. I was privileged enough to meet and befriend him and his family at that camp, and it has been a joy to watch and hear the music that he and his über-talented brothers John and Brooks have created over the years. Speaking of brothers, bassist Jimmy Johnson is the brother of my buddy Gordon Johnson who was my rhythm section mate for 2 years on Maynard Ferguson's band. Fascinating how many roads lead to or from "the road" (life as we knew it on those bands). Chad's musical circles were more along the lines of Frank Zappa and Allan Holdsworth ... wait, I forgot Bill Watrous' Wild Life Refuge big band! And James Taylor ... speaking of roads, Chad's drumming career has been all over the map in the best sense: he's a master of many styles and he has always sounded great. Even when he was playing in that band on the Tomorrowland stage at Disneyland (with Jim Cox, et al) back in 1979! This recording of Chad's marks the final recorded appearance of Allan Holdsworth.

Infinity Drummers. Day #215. Kenny Clarke. "Boplicity" Birth of the Cool Miles Davis (1949) Miles Davis – trumpet; J. J. Johnson – trombone; Sandy Siegelstein – French horn; Bill Barber – tuba;l Lee Konitz – alto saxophone; Gerry Mulligan – baritone saxophone; John Lewis – piano; Nelson Boyd – bass; Kenny Clarke – drums. While Max Roach played on many of the tracks associated with The Birth of the Cool, this is from the same session that produced "Venus De Milo", "Rouge" and "Israel." "Boplicity" represents the "birth of the cool" just as well as anything else might ... and the man who helped give birth to the bop in drumming was present and accounted for: Kenny Clarke. Born in Pittsburgh, Clarke was the house drummer at Minton's Playhouse in the early 40s and is credited with being the major innovator of the bop style. In the midst of swerving the music, Kenny Clarke then served his country in Europe during the Second World War, returning to New York to work with Miles Davis as well as the first iteration of the Modern Jazz Quartet. He then returned to Europe where he co-led the Clarke-Boland Big Band and remained America's Jazz Ambassador-at-Large until his death in 1985. You won't hear too much of the "Klook-Mop" dropping of "bombs" here, but there is one delicious cymbal crash that stands out for its perfect audacity, tone, placement and sound. It complements the Gil Evans arrangement and, just like everything else Kenny Clarke played, it set the stage for how things should and would be done at the drums.

Infinity Drummers. Day #216. Matthew Wilson "Man Bun" from Hug, w/ Jeff Lederer, Kirk Knuffke & Chris Lightcap. Matt Wilson is the drumming spirit that this world needs right now. He has played with just about everyone, including long stints and many miles of touring with Dewey Redman and Charlie Haden as well as with his own bands. His sense of humor is as hilarious as it is bold. His projects always seem to elicit a "why didn't I think of that?" response. He is proactively clever. Add to that an indefatigable sense of swing and the kind of touch a teacher would love. And his teacher, Professor (emeritus) J.C. Combs of Wichita State University, does indeed love and take pride in Matt's artistry and accomplishments. As do I, but I can't take any credit. So, yes, the world needs some more swing and artistry and humor, plus the kind of empathy and attention to what's going on that is Matt's thing. But the world also needs this particular song ... not only for its snaky chromaticism (Matt is the kind of bandleader who knows how to allow the musicians in the group to find and do their own thing while somehow keeping everyone focused on his vision), but also for the simple reason and reminder that the Man Bun has got to go. On a more sublime note, I will post a link to a track from Matt's award-winning "Honey and Salt" project that honors the poetry of Carl Sandburg in rhythm and in song. Matt is so good that he gets 2 tunes. His solo drumming accompaniment and tribute to the poem "Fog" is stunningly good. Listen to the tone he gets. https://youtu.be/5P4J9U9LXys It should also be mentioned that Matt Wilson has won the Infinity Drummers List "Father of the Year" Award several times in a row now.

Infinity Drummers. Day #217. Sonny Greer. "All God's Chillun Got Rhythm" Ivie Anderson and her Boys from Dixie. Vocal by Ivie Anderson & Vocal Trio. Duke Ellington(p,arr,dir); Wallace Jones, Cootie Williams(tp); Rex Stwart(cnt); Joe Nanton, Lawrence Brown(tb); Juan Tizol(v-tb); Barney Bigard(cl,ts); Johnny Hodges(cl,ss,as); Harry Carney(cl,ss,bs); Otto Hardwick(as,bsx); Fred Guy(g); Hayes Alvis, Billy Taylor(b); Sonny Greer(d); Vocal Trio(Harry Carney, Rex Stewart, Hayes Alvis). New York, June 8, 1937. (Duke Ellington recorded an instrumental version of this same tune on the same date.)

William Alexander "Sonny" Greer (December 13, c. 1895 – March 23, 1982). Greer was Ellington's first drummer, (the two met in 1919), playing with his quintet (the Washingtonians) and moved with Ellington into the Cotton Club. (According to Wikipedia) "as a result of his job as a designer with the Leedy Drum Company, Greer was able to build up a huge drum kit worth over a then-considerable $3,000, including chimes, a gong, timpani, and vibes." He and Duke parted ways in 1950. This song bounces and swings most joyously. The drumming is most excellent. Ivie Anderson's vocal is a revelation. And the band is Duke! Black Lives Matter.

Infinity Drummers. Day #218.Brian Melvin. "Morning Star" w/ Jon Davis (p) and Jaco Pastorius (b) The last 5 years or so of Jaco's life were not easy ones for him or for those who knew him. Looking back, I now realize that there was one steadfast spirit who was there when he needed someone to believe in him as a person and musician, someone who would musically engage with him on a serious level ... and that person was drummer Brian Melvin. I'll be honest: I resisted listening to Jaco's recorded output from this time period. But, thanks to a jazz club somewhere in Italy that was playing this album in the background, I started paying attention and was delighted by what I heard. Jaco playing, and Jaco serving the song, and Jaco NOT relying on tricks or licks. I give Brian a lot of credit not only for his drumming, but for his humanity. And the result is our getting to hear Jaco playing the music he truly loved. Fact: Weather Report used to play "The Days of Wine and Roses" during soundchecks (as well as the theme to "Goldfinger"), thanks to Jaco. This entire album is very much worth a good listen. I want to salute and thank Brian for everything he did to help Jaco during what was a most challenging time and circumstance. It took me some time to recognize the good will as well as the good music. But here it is. Better late than never.

Infinity Drummers. Day #219. Kenwood Dennard. "Song Bird" Joyous Lake (Pat Martino, guitar, w/ Delmar Brown, kybds and Mark Leonard, bs). Joyous Lake, recorded in 1976 at Criteria Studios in Miami and released in 1977, set the music world on its ear ... and it introduced all of us to Kenwood Dennard's masterful drumming ... drumming that proved to be a perfect match and foil for Pat Martino's hardbop lines in this red-hot fusion setting. "Joyous Lake" was indeed a celebration and it went on to achieve a legendary place in the music of the 70s. All of us have fond memories of discovering it. Kenwood went on to become the drummer in the 2nd iteration of Jaco's Word of Mouth band. He's also known as an excellent educator as well as multi-instrumentalist. Take a dive into this Joyous Lake while you listen to the Song Bird.

Infinity Drummers. Day #220. Roger Hawkins. "I Never Loved A Man (The Way I Love You)" Aretha Franklin (January, 1967) Recorded in Muscle Shoals, Alabama, this became Aretha Franklin's first #1 hit on the R&B charts (according to wikipedia ... fascinating back story to the recording and subsequent Muscle Shoals rhythm section tracking for Aretha can be found there). Roger Hawkins' drumming is the beat that launched a thousand hits ... well, dozens of hit tunes, at least! His beat and his sound are as much a part of our American landscape as any other musician's that I can think of. I'm no expert regarding the history of Black American Music, Rhythm & Blues, THE Blues, etc., but I do know that these four gentlemen from Muscle Shoals shouldered much of the musical weight from which vocalists could sing their best, and Muscle Shoals became a musical Mecca for many. You can also hear the Muscle Shoals Rhythm Section (also known as The Swampers, again according to wikipedia, somebody help me out here! ... these were recorded in New York) on Aretha Franklin's "Respect" and "Think." Think about that!

Infinity Drummers. Day #221. Chester Thompson. "Elegant People" Weather Report (Black Market). There is a power and, indeed, ELEGANCE to Chester Thompson's drumming that, combined with Alex Acuna's percussion, made for one of the most evocative, haunting and powerful Weather Report rhythm sections. Funky and exciting, too. Chester is a master drummer no matter the setting, and a Wayne Shorter tune is not a bad way to represent ... I've long been a fan and admirer of Chester Thompson's playing. Born 1948 in Baltimore, he has drummed for Frank Zappa, Phil Collins and Genesis. He lives in Nashville now and has his own group.

Infinity Drummers. Day #222. Mark Craney "Brother To Brother" Gino Vanelli (Brother To Brother, 1978). This is one of those legendary drum tracks, all the more so because it's part of a song that seems bigger than life. Gino Vanelli's 6th studio album turned out to be his last for A&M, even though it contained his biggest hit, "I Just Want To Stop." But it's the title track that seems to have had the longest-lasting impact, and Gino always generously features the musicians in his band on this one ... including on this recording, where Mark Craney shines as does bassist Jimmy Haslip. Mark was born in 1952 in Minneapolis and grew up in South Dakota. He became a member of the LA drummer brotherhood after paying his touring dues with such bands as Jethro Tull and Eric Burdon (he also worked with Jean-Luc Ponty). We lost him far too soon in 2005 at the age of 53. He lives on, quite notably on this recording. Please enjoy, and say a "thank you" to Mark Craney, Jimmy Haslip, Joe Vanelli, Gino Vanelli and guitarist Carlos Rios for this cut.Gino Vanelli was still touring up until the pandemic (my nephew Damian Erskine has been his bassist for quite a few years now). I got to share a show with Gino in Venice, Italy of all places. Nice man.

Infinity Drummers. Day #223. Brian Blade. "La Fiesta" Chick Corea Trilogy 2 (w/ Christian McBride) Where to start? Chick Corea's music is the gift that keeps on giving and giving and giving. Christian McBride is THE MAN. And Brian Blade seems to be everywhere at once and yet he is so beautifully focused whenever and wherever he plays, and he plays with THE BEST ... I mean, talk about a Super Trio! This is Infinity's choice right here for representing Brian Blade. I first got to hear Brian with Joshua Redman's band during their first trip to the west coast at the old Catalina Bar & Grill located on Cahuenga Boulevard in Hollywood. years ago. At the time, I'd never heard anyone else "get" Elvin like he could ... and, of course, he would grow and outgrow and then post-grow into the artist he is today: a remarkable drummer who adds his own voice, plus light and depth to any setting ... and is a joyous presence to boot. Remarkable to ponder Wayne Shorter's quartet, where Brian, along with Danilo Pérez and John Patitucci, have maintained membership in the band for a longer period of time than Weather Report's entire/combined existence (if my math is correct!) And Chick. WE MISS YOU. And hearing Chick here makes his absence all the more sad, the pain more acute ... yet the gladness for his having graced our lives all the more sweet. Here is a most special "La Fiesta." And, of course, check out Brian Blade. HE is something special. (And, if I may recommend another recording of the tune, please check out the version with Chick that appears on Elvin's "Merry-Go-Round" album on Blue Note, circa 1971 ... that's my favorite "La Fiesta" tempo, but this one is great, too.)

Infinity Drummers. Day #224. Wilbert Hogan. "Live in Concert" Ray Charles. Live in Concert is a live album by Ray Charles released in 1965 by ABC-Paramount Records. The recording was made at the Shrine Auditorium in Los Angeles, California in September, 1964 following a tour of Japan. Peter Donald turned me onto this recording. The sound is amazing. Of course ... it was recorded by Wally Heider. Here's the band: Ray Charles – piano, Hammond organ (on "One Mint Julep", "Georgia On My Mind", "That Lucky Old Sun" and the intro to "What'd I Say?"), vocals; TRUMPETS: Oliver Beener, Wallace Davenport, Philip Guilbeau, John Hunt; TROMBONES: Henderson Chambers, James Harbert, Frederic "Keg" Johnson, Julian Priester; SAXOPHONES: Bennie "Hank" Crawford – alto saxophone; William "Buddy" Pearson – alto saxophone, flute; David "Fathead" Newman – tenor saxophone; Leroy "Hog" Cooper – baritone saxophone; RHYTHM: Don Peake – guitar; Edgar Willis – bass; Wilbert Hogan – drums; The Raeletts – backing vocals Gwen Berry, Lillian Forte, Pat Lyle, Darlene MacRae. And here are the tunes (from the original LP version): "Opening" – 0:35 / "Swing A Little Taste" (Julian Priester) – 3:35 / "I Got a Woman" (Charles, Richard) – 6:10 / "Margie" (Con Conrad, Davis, J. Russel Robinson) – 2:39 / "You Don't Know Me" (Eddy Arnold, Cindy Walker) – 3:14 / / "Hide nor Hair" (Percy Mayfield) – 2:57 / "Baby, Don't You Cry" (Buddy Johnson, Washington) – 2:35 / "Makin' Whoopee" (Walter Donaldson, Gus Kahn) – 6:17 / "Hallelujah I Love Her So" (Charles) – 2:55 / "Don't Set Me Free" (Agnes Jones, Freddy James) – 3:58 / "What'd I Say" (Charles) – 4:30 / "Finale" – 1:55. Wilbert Hogan's drumming is a revelation. Reminds me of that sense when I was a very young drummer: big acts had great drummers. They set the bar. Swinging, fun, funky and PROFESSIONAL.This has become one of my favorite listens. I hope you'll enjoy it, too.P.S. more about Wilbert Hogan from his Wikipedia page: Wilbert Granville Thodore Hogan Jr. (January 16, 1929 – August 7, 2004)was an American jazz drummer. He used both Granville and Wilbert professionally, and is credited variously with names and initials on albums. Born in Galveston, Texas, Hogan played saxophone in high school and then switched to drums. He played with Earl Bostic from 1953 to 1955, before moving to New York City. Over the course of his career he played with Randy Weston, Kenny Drew, Kenny Dorham, Ray Charles, Elmo Hope, Bud Powell and Walter Bishop Jr. He was less active as a musician after the 1970s, and suffered from emphysema in the 1990s. Hogan died on August 7, 2004, in San Antonio, Texas. Check out his (partial) discography ... mostly small group stuff, which makes his big band playing here all the more remarkable, notable and fun to listen to. Walter Bishop Jr. Speak Low (Jazztimes, 1961 The Walter Bishop Jr. Trio / 1965 (Prestige, 1962 [1965]) With Hank Crawford After Hours (Atlantic, 1966), Mr. Blues (Atlantic, 1967), Double Cross (Atlantic, 1968); With Kenny Drew This Is New (Riverside, 1957) With Kenny Dorham 2 Horns / 2 Rhythm (Riverside, 1957) This Is the Moment! (Riverside, 1958) With Curtis Fuller Soul Trombone (Impulse, 1961) With Ike Quebec The Complete Blue Note 45 Sessions (Blue Note, 1962) With A. K. Salim Blues Suite (Savoy, 1958) With Randy Weston Get Happy with the Randy Weston Trio (Riverside, 1955 With These Hands... (Riverside, 1956) The Modern Art of Jazz by Randy Weston (Dawn, 1956 New Faces at Newport (MetroJazz, 1958) Uhuru Afrika (Roulette, 1960) And Ray Charles is THE END here.

Infinity Drummers. Day #225. Ulysses Owens, Jr. "Giant Steps" Joey Alexander, piano w/ Larry Grenadier on bass. The audio and video from this remarkable 2015 session scream "LOOK AT THIS KID PLAYING GIANT STEPS," but the message I got was "Wow, this drummer is really great" (along with, okay, "Holy smokes, we got another Mozart in our midst with Joey Alexander" ... who has proven to be not only a musician who's continuing to grow while all of 17 years old now, he was also a delightful young man at our meeting a few years ago at a Grammy-related concert and event) ... back to Ulysses. It is not easy to hold your own on "Giant Steps," and it's never easy to "share a scene with a kid actor." Ulysses treated the situation like the total musician and professional he is, and the result speaks for itself. It also inspired (and emboldened) me to recommend Ulysses to Tama Drums as the next jazz drummer they should ally with, based merely and purely on the strength of this performance. Kudos also to Larry Grenadier. Ulysses is one of my favorite drummers, and he is a terrific person as well. Wikipedia says, "Josiah Alexander Sila, known professionally as Joey Alexander, is an Indonesian jazz pianist." My math says that Joey was 11 years old when he played this.

Infinity Drummers. Day #226. Sherrie Maricle "Never Never Land" The Diva Jazz Trio, with Tomoko Ohno, piano and Noriko Ueda, bass. Sherrie Maricle has shown grace and tenacity along with superb drumming and leadership skills for the many years she has kept the Diva Jazz Orchestra alive (founded in 1992 by Stanley Kay). Keeping ANY band going for that many years is an accomplishment, but a big band ... well, you might imagine but you can't really know how much work goes into that. And Sherrie's vision and persistence have resulted in this unique and essential platform that regularly features so many great musicians. The DIVA Jazz Orchestra maintains the tradition of big bands as door openers, only DIVA does this one better. Some of my favorite musicians have played in her bands, and this trio is no exception. "Never Never Land" has been covered not enough times, but every time I hear it I say to myself, "I wish I'd thought of that" (the first cover I remember hearing was Todd Rundgren's — and I salute him for that as well as all of his other musically-visionary achievements — but his had a harmonization that always sounded wrong to me). The Diva Jazz Trio gets it right in the Infinity Drummers' book, and so we are proud to present this nostalgic listen back to "Peter Pan," with thanks to Sherrie, Tomoko and Noriko.

Infinity Drummers. Day #227. Alex Riel. Sahib Shihab and the Danish Jazz Group (1965) (entire album) What better way to spend a weekend than by listening to an entire album driven by the great drummer Alex Riel in tandem with legendary Niels-Henning Orsted Pedersen? What's notable here as in any recording or performance by Alex is how bold he is as a player. I think that he, along with such other pioneering drummers as Bjarne Rostvold, set the stage for other Nordic innovators like Jon Christensen to dispel any quaint or provincial notions that nationality matters when it comes to swing. (as Marc Myers writes: "As a member of the Quincy Jones Big Band, saxophonist and flutist Sahib Shihab had a chance to travel extensively abroad. In 1959 and '60, the band was in Paris, where Sahib had an opportunity to record and experience Europe for the first time. He found the city relaxing, racially tolerant, art-focused and beautiful during the day and late at night. I know this because Sahib told me when I interviewed him at Rutgers University in the early 1980s, when he was a visiting professor there. In 1961, the Jones band toured again in Europe, this time in Germany and Sweden. Rather than return to the U.S., Sahib joined the Europe-based Kenny Clarke-Francy Boland Big Band. While there, Sahib had a chance to visit and play in Copenhagen in the fall of 1962. He fell in love with the city and moved there. In 1963, he joined the Danish Radio Jazz Group. The ensemble, supported by the Danish government, was founded in October 1961 and at first featured 10 jazz musicians who performed on just one broadcast per month. Then in 1964, the DRJG was increased to 12 and was able to play on the air more often with guest soloists such as Sahib. In August 1965, Sahib recorded Sahib Shihab and the Danish Radio Jazz Group over two days for Denmark's Oktav label. The group consisted of Palle Mikkelborg (tp,flhrn); Torolf Molgaard (tb,euph); Niels Husum (sop,ts,b-cl); Poul Hindberg (as,cl); Bent Jaedig (ts,fl); Sahib Shihab (bar,fl,arr); Bent Nielsen (cl,fl,bar); Louis Hjulmand (vib); Bent Axen (p); Fritz von Bulow (g); Niels-Henning Orsted Pedersen (b) and Alex Riel (d).

The album features Sahib's arrangements of his own compositions, and the DRJG takes to them like cats to milk. The ensemble is extraordinarily well rehearsed and fluid. Many of Sahib's works constantly shift moods and tempos, making them mini suites. Sahib's solos are compelling and sensual throughout on alto and baritone saxophones and on flute, an instrument he helped pioneer in jazz. [Photo of Sahib Shihab with his wife, Maiken Gulmann] According to the album's liner notes... Di-Dad was something of an inside joke, its title reflecting the sound of shortened, spike-y staccato notes throughout the song. Dance of the Fakowees is a tribute to a Native-American tribe. Not Yet is based on an ascending C-minor scale. Tenth Lament is structured in three parts—a slow opening and end, and an uptempo middle. Mai Ding is a song dedicated to the Japanese poet. Harvey's Tune was named for the bartender at Copenhagen's famed Jazzhus Montmartre jazz club. No Time for Cries is a ballad that Sahib plays on the baritone saxophone.

The Crosseyed Cat was composed for this album. The others were composed by Sahib in earlier years. Little French Girl didn't appear on the original album but surfaced on the digital re-issue. My guess is it's from another session, since there are strings. It features Sahib singing, and his voice, song and lyrics are sublime. Yesterday, I spent the afternoon listening to this album several times, and the tenderness and complexity of the songs kept growing on me. The music also reminded me to transcribe my Sahib interview. As I recall, our conversation was serious and intense. That was Sahib. Sahib Shihab died in 1989."

Alex continues to play to this day, and it is always a treat to see or hear him in Copenhagen.

Infinity Drummers. Day #228. Bjarne Rostvold "Mister Man" Jazz Journey (1961), Bjarne Rostvold Quartet. Continuing our look at the Danish jazz scene in the 60's, here is the album "Jazz Journey" with the wonderfully-titled track "Mister Man." I first got to know Bjarne Rostvold when he came to see the Stan Kenton Orchestra in Copenhagen while we were on tour in Europe. Stan frequently mentioned that Bjarne was one of his all-time favorite drummers. I felt honored when, a few years later, Bjarne asked me to pen some liner notes for one of his albums. This album, featuring Erik Moseholm on bass, Bent Axen on piano, and Allan Botschinsky on trumpet, was recorded on my (7th) birthday, June 5, in 1961. It's fascinating to ponder the reach of Philly Joe Jones.

Infinity Drummers. Day #229. John Riley. "The Life of Riley" The Vanguard Jazz Orchestra. What better way to spend a Monday than by listening to The Vanguard Jazz Orchestra? The band has held sway at the Village Vanguard on Monday nights for 55 years, with John Riley at the drumming helm since 1997. John studied at North Texas (known then as NTSU, now as UNT), and went on to become one of the most in-demand drummers in New York as well as internationally (notably in Cologne, Germany with the WDR Big Band when that band was bringing in guest drummers on a regular basis). I had the honor of sharing the drum chair in both that band as well as Bob Mintzer's Big Band with John. He's not only a great drummer, but a quintessential as well as essential educator when it comes to drumming. His books, "Bop Drumming" and "Beyond Bop Drummng" are required studying in my studio and any other school where jazz drumming is taught. His clinic presentations are always excellent: articulate, informative and swinging. He's a smart man and a cool dude. As for the composer Jim McNeely: a great pianist, writer, conductor and wry wit (if it may please the Court, I submit the title of this composition as prima facie evidence of Jim's cleverness as well as fondness for old TV shows). He and I attended a Stan Kenton Summer Band Camp together way back in the early 60s. The Vanguard Jazz Orchestra has been keeping the flame alive, first ignited by Thad Jones and Mel Lewis & company, for many years. Let's all say, "Thank you." (I got to hear them play at the club a couple of years ago when I was in New York on a Monday night. I can't wait to have that pleasure again.) Meanwhile, here's the "Life of Riley." (Be sure to check out their other great recordings ...) “The Life Of Riley” (Jim McNeely) Jim McNeely - Piano, Conductor; Nick Marchione, Frank David Greene, Greg Gisbert Music & Scott Wendholt - Trumpets; Dick Oatts, Billy Drewes, Rich Perry, Ralph Lalama Music & Gary Smulyan - Saxophones; John Mosca, Luis Bonilla (soloist), Jason Jackson & Douglas Purviance (bass) - Trombones; Dennis Irwin - Bass; John Riley - Drums. Vanguard Jazz Orchestra. “Up From The Skies: Music Of Jim McNeely” Planet Arts (2006)

Infinity Drummers. Day #230. Bruce Ditmas. "Angel" The Gil Evans Orchestra Plays the Music of Jimi Hendrix. (album recorded in 1974 and 1975). Speaking with drummer and writer Mark Griffith recently, he spoke about a "Jersey Triangle" whose three points consist of Harvey Mason, the late Ralph Peterson and myself. Thinking about that this morning, I realized that we were omitting Bruce Ditmas from the equation. Bruce was born in Atlantic City in 1946, but was raised in Miami from the age of 4. His father Abe was a trombone player — a lead player on the scene there, who also returned to A.C. to work on occasion, at least I got to play a couple of gigs with him. Proud dad, I first heard about Bruce from him. Bruce was already prolific in the 60s, working with the top vocalists of the time, but much of the jazz world would come to know him by way of the recording he made with Paul Bley, Jaco Pastorius and Pat Metheny in 1974 (this marked the first recorded collaboration of Jaco and Pat, who had met and become friends in Miami the year before).

This album was my introduction to Bruce's playing, and I'll start with the first track "Angel," arranged by the multi-talented multi-instrumentalist Tom Bones Malone. This link will take you to a YouTube playlist, so I encourage you to stick around for the next track "Crosstown Traffic" (also arranged by Tom) because it really gives you a sense of what this album is about. The musicians listed are a Who's Who of the New York jazz scene in the mid-70s. Gil Evans – piano, electric piano, arranger, conductor; Hannibal Marvin Peterson – trumpet, vocals; Lew Soloff – trumpet, flugelhorn, piccolo trumpet; Peter Gordon – French horn; Pete Levin – French horn, synthesizer; Tom Malone – trombone, b. trombone, flute, synthesizer, arr.; Howard Johnson – tuba, bass clarinet, electric bass, arranger; David Sanborn – alto saxophone, soprano saxophone, flute; Billy Harper – tenor saxophone, flute; Trevor Koehler – saxophones, arranger; John Abercrombie, Ryo Kawasaki – electric guitar; Keith Loving – guitar; Don Pate – bass; Michael Moore – electric bass, acoustic bass

Bruce Ditmas – drums; Warren Smith – vibraphone, marimba, chimes, latin percussion

Sue Evans – drums, congas, percussion; And check out David Sanborn on this tune! And, of course, check out Bruce Ditmas, here and elsewhere. Small wonder his dad Abe was so proud of him. And, with this, the Jersey geometry is a bit more complete.

Infinity Drummers. Day #231. Dave Getz. "Piece of My Heart" Cheap Thrills (1968) Big Brother & the Holding Company featuring Janis Joplin. This was the first actual rock LP I ever bought, purchased during one of the weekly Interlochen Arts Academy shopping runs into nearby Traverse City (Mondays were our day off after an early morning orchestra rehearsal, as I recall). The Fall of 1968. Not sure what compelled me to get this ... it's very possible that Robert Crumb's artwork on the cover did the trick, but whatever triggered the instinct to step out of my jazz comfort zone, this album introduced me to both Janis Joplin's voice and the drumming of Dave Getz. Here are the lyrics to "Piece of My Heart," the first tune on the album (and the one I ended up listening to the most): Take another little piece of my heart now, baby / Oh, oh, break it / Break another little bit of my heart now, / darling, yeah, yeah, yeah, yeah / Oh, oh, have a/ Have another little piece of my heart now, baby / Well you know you got it, if it makes you feel good / Oh, yes indeed. Timely. Cheap Thrills. Timeless.

Infinity Drummers. Day #232. Lewis Nash. "Freedom Jazz Dance" Duologue (with Steve Wilson). Lewis Nash is the drummer who ALWAYS plays superlatively and perfectly, no matter the setting. And the drums/saxophone duet canvas is that time-honored place where the ART of playing is on its best and most direct and honest display. But his SOLO rendition of Eddie Harris' "Freedom Jazz Dance" on this duo album ranks right up there with some of the best one-person percussive performances I've ever heard. This is a good one, folks, and it is an honor to highlight Lewis Nash. He ALWAYS sounds great. But he REALLY sounds, like, unbelievably great here. With apologies for the hyperbole, please enjoy. And BRAVO, Lewis.