More DrumBrothers!

Hello, Friends!

As you know, this blog is dedicated to music and drumming and, while this supposition embraces the unlimited percussive expressions worldwide, I most often fancy featuring many of my close DrumBrothers from all around the globe.

Here’s an archive clip featuring one of the most influential fusion trap drummers of American music: Steve Gadd!




Here’s another sensational DrumBrother (composer and pianist!) who is very dear to my heart: Tommy Campbell! Our friendship goes back more than a few decades, during which time we toured, recorded, and performed together in bands such as The Manhattan Transfer and Ray Anderson’s Alligatory Band, as well as Tommy’s own band.

This performance in Budapest also counts with the participation of Attila Laszlo on guitar, Olah Kalman on piano, Bela Latmann on bass, and Horvath Kornel on percussion.

Enjoy! :-)





Another deeply creative DrumBrother (and Manhattan Transfer Alumni) whom I love to perform with is Cliff Almond! In this first clip, he is featured with the Michel Camilo Trio, performing in Spain.





In this next clip, Cliff is featured performing in New York City alongside Wayne Krantz on guitar and John Patitucci on upright bass!

The Hurricane from Bahia: Ivete Sangalo + Samuel Formell of Los Van Van!

Here’s one of my all-time favorite bands; Los Van-Van de Cuba!
Led by the wonderfully creative bassist, Juan Formell, it is from this band that the celebrated drummer, Jose Luis "Changuito" Quintana came from. Changuito is credited with having co-created the “Songo” style of Cuban music and rhythm, by which means he adapted the traditional drum set into the context of the Latin music orchestral drum ensemble. When he left the Van-Van band in 1992, Juan Formell’s son, Samuel, took Changuito’s place, effectively commanding the drum chair while also manning the timbales, as well! It is Samuel who is featured in this swingin’ clip, filmed at the Karl Marx theater in Havana, Cuba. Enjoy, as Samuel sculpts a badass solo on timbales and drumset! ...smokin'!!!



Now, some more samba percussion, from a show titled , “Cidade do Samba”, which has become a favorite of mine. This clip features the special appearance of singer/composer Juan Luis Guerra, from the Dominican Republic, paired off with Brazilian singing and dancing hurricane, Ivete Sangalo. Between us, it’s a very bold move to attempt to sing and/or perform roots samba if you don’t know how to speak Portuguese or how the samba rhythm swings. But, to my surprise, Juan Luis Guerra pulls it off, without causing any major train wrecks. Then again, an even bolder move is to attempt to demarcate one’s own stage space while performing with Ivete Sangalo! That’s what’s really dangerous to do! This beautiful performer from Bahia takes absolutely no prisoners during her performance!



I am able to sense that Ivete, who naturally exudes tons of charisma on and off stage, wasn’t totally satisfied at having been paired up with the Dominican merenge star. One can notice how she challenges him to move his feet to the samba – a challenge that is quite common in the idiom and genre of samba! As Juan Luis doesn’t bite the hook, Ivete resolves to simply have her own fun on top of the samba groove while taking over the stage, effectively stealing the spotlight from the Caribbean brother. I can see from Juan Luis’ face that he is concentrating on keeping it together during this performance, as Ivete commands every square inch of their stage riser, except the spot where he is standing on. I'm afraid that he's learned the hard way that, while Ivete is a tough act to follow, it can prove to be even more hazardous to share the stage with this formidable performing powerhouse!

Gilberto Gil and Marjorie Estiano - Chiclete Com Banana

Here’s another video clip from a great show which features former Brazilian Minister of Culture, singer/composer Gilberto Gil and singer/actor Marjorie Estiano. Originally from Bahia, Gil is totally at home in the samba genre, although he has composed prolifically in almost every style of music, including rock and reggae. Marjorie, on the other hand, is not that experienced with this style, but she manages to defend her presentation with her sense of stage presence and her appealing tonal quality.

While Marjorie is totally committed to her heartfelt vocal delivery, Gil’s natural charisma and exuberant artistry quickly evidence why he has always been a musical powerhouse in Brazil and around the world. An accomplished guitarist, as well, Gil’s enthusiasm is as contagious as it is over-powering! However, the experienced and consummately confident entertainer that he is, provides him with the insight of knowing exactly when to physically lift up Marjorie to his own level. And, rise she does!



This song is performed really jazzy and we can see that the band is performing with a cool reverence that denotes the respect and sheer awe that everybody feels in the presence of Gil. The drummers keep the groove burning at an even smolder, maintaining a controlled wicked infectious swing all the way through song, which Gil flipped into an improvised vocal jam. There is even a cat playing a small frying pan, which is mentioned in the lyrics of the song!

Brazilian audiences love to see their artists dancing to their own groove. It’s appreciated as the artist’s surrender to the most elemental of instinctual human pleasure for the benefit of the audience. And, Gil throws down, on the hoof, with total natural abandon, much to the crowd’s delight! Even band director, Rildo Hora is totally mesmerized by the magic of the moment, so much so, that Gil directs the finale of the song.

The Roots of Samba: Zeca Pagodinho and Dudu Nobre

Following my blog's purpose, which is the featuring of virtuosic drumming from around the world (and, preferably performed by my own friends!), I’ve lately been giving priority to samba jams. Here’s one that features two of the genre’s most popular contemporary masters, Dudu Nobre and Zeca Pagodinho, performing together at a National Samba Day celebration party, this year in honor of singer Beth Carvalho’s 40-year career commemoration. The music and video production was directed by Brazil’s stellar producer, Daniel Figueiredo, owner of the Music Solution Studio, in Rio de Janeiro.

The song is titled, “Quem É Ela”, and was written by both of the performers, Zeca and Dudu. Check out, however, the cats on the pagode drums, as they lay down this thick, sweaty, badass, funky accompaniment to the singers and melody players! These cats are putting muscle into a traditional poly-rhythmic samba stew, with sophisticated technique that actually surpasses the need for amplification. They are playing just as if they were hanging on the corner of their favorite neighborhood botiquin on an animated Sunday afternoon!



Towards the end of the song, Zeca snaps on colleague Almir Guineto, who rises to the challenge (literally!) and responds with an improvisation of his own – something totally spontaneous and unplanned! Dudu Nobre, sensing from his ample experience that the situation is about to veer off into uncharted territory, raises his arm to direct the song’s finale, just as Almir is calling on another sambista to rise up and get into the developing call-and-response singer duel. As such, the song ends on a good note and organically flows into another jam….soon to be featured here, as well!

Enjoy... then, get up and get your drums out!

Old Songs > New Grooves!

It was back in 1939 that Glenn Miller first recorded his classic song, “In the Mood”. A subsequent Brazilian version, with Portuguese lyrics was composed and recorded in 1954 by Aloysio de Oliveira, whose orchestra Bando da Lua (The Band from the Moon), accompanied Carmen Miranda on her tour of the U.S.A. This samba version combines the talent of radical punk-rocker, Pitti, with hard-core rapper, Marcelo D2, in an interesting and swinging rendition of this timeless classic! But, check out the guys back in the percussion kitchen, cooking up a hot and spicy samba jam!




And, here’s an impromptu jam with my soul brother, Daniel Figueiredo, and mutual bro, Claudio da Matta. We were all in a recording studio in São Conrado, mixing video for another project, (www.musicalnationproject.com) when we took a break and pulled out some instruments, just for the fun of it. As we set up, with no previous rehearsal, a swift video assistant scooped up a minicam and registered this first-take of us experimenting with a new groove for the bossa classic, Wave”. Now, all of a sudden, besides all of our other individual and collective projects, we’re considering building up a repertoire for this trio.



Daniel Figueiredo is one of Brazil’s premier television soundtrack composers and producers, as well as a gifted multi-instrumentalist. Claudio da Matta, a former Olympic athlete medalist, is a proven composer, vocalist and guitarist.

Later this month in Rio, I'll be featured in a show with saxophonist Ricardo Serpa's "Quarteto Aquariando", at the Santo Cenarium theater! Don't miss it!

Impure Thoughts - Pete Lockett - Selva Ganesh

Hello, Friends!

First of all, today I'd like to share a video clip that up on the Tube from one of the bands in which I had a ton of fun performing in: Impure Thoughts! This sextet, led by the extraordinary pianist, Michael Wolff, was one of the rare groups that I worked with for an extended length of time in which I never performed on either bongos or congas. In fact, I really can't remember any other band in which I both toured and recorded with that described my participation as strictly a "percussive colorist".



Mike had originally thought of my inclusion in the band as a Tabla player who also used sound effects, but I instead suggested that he use a full-time Tabla drummer and referred him to my friend, the musically-flexible Badal Roy.



The concept that Michael was looking to explore was that of a world-music sound that did not lean towards the Latino concept, as he abhors the role of the Latin pianist who is often relegated to "playing montunos all night." As such, after a series of rehearsals, during which we three got tight with the other members of the band - John B. Williams, on electric up-right bass, Alex Foster on saxes, and trap drummer Victor Jones - I settled on a functional percussive arsenal that featured Shekere, Berimbau, Cuica, Djembe, Timbales, and another 50 or so sound effects. I introduced a Wave Drum (it's a drum synth, built by KORG) during a couple of gigs in NYC, but I believe that Mike and Badal were a bit frightened by the electric amplification of such and I was requested to please remain acoustic. I always did, however, use my K & K contact mics for my Berimbau and Cuica, so that I could project my sound while not being prisoner to a specific stage location.



This composition is called Eritrea, and was inspired by Mike's personal exploration of the music from various areas of northern Africa. It just happens to be the first song that we worked on at our first rehearsal at Euphoria Studios in Manhattan!

Impure Thoughts Clip


Now, it gives me great pleasure to share with you the news about a wonderful drumming book which has recently been released by my friend and colleague, Pete Lockett. The book is, "Indian Rhythms for Drumset". The book presents an in-depth study of the intensely complex musical system of rhythmic cycles which define both the music tradition from northern and southern India.

Pete, whom I met and befriended at a WOMEX conference in Berlin (and, who later, along with his wife Pam - who is also a musician! - visited me in Rio de Janeiro) is one of the premier percussionists of our generation, who happens to be from England! He has certainly paid his dues, subjecting himself to acquiring drum knowledge through the traditional method of apprenticeship to a drum master, for a long period of time. His efforts have handsomely rewarded him with vast profound knowledge and impeccable technique on both the Tablas and the Kanjira, the major classical drums of northern and southern India.

Indian Rhythms for Drumset

Rather than a book by a trap drummer who has "checked out" Indian drumming and attempted to graft some of the exotic swing beats to the traps, Pete has absorbed the true essence of Hindustani and Carnatic culture, becoming a master Konnakol reciter, as well! And, for those of you who are not familiar with this term - Konnakol is the art of reciting the Indian rhythmic cycles / rhythms, using the traditional onomatopoeic syllables! In India, this is a respected discipline in and of itself and many times one can enjoy a Konnakol reciter performing on the stage alongside the musicians in a Carnatic music concert. The accompanying CD is chock-full of vocal and sonic illustrations of all of the transcribed rhythmic examples covered in the book.

Congratulations, Pete, on a seriously fine workbook which will prove a valuable addition to all drummers and percussionists!

And now....... MORE DRUMS!

Here's a clip of a smokin' Kanjira drummer by the name of Selva Ganesh, who happens to be the son of the greatest Ghatam player, T. H. Vinayakram. You'll see an example of some Konnakol singing, as well as Selva playing a traditional Monitor Lizard-skin Kanjira.

Giovanni Hidalgo + How To Copyright a Song + More Drums

Hello, Friends! Welcome Back!

You know, it just dawned on me that I've yet to acknowledge a dear friend of mine who, in turn, has grown to be an inspiration to thousands of drummers, young and old. I'm referring to the one-and-only: Giovanni Hidalgo!



I first met Giovanni around '82 or '83, when I went to Puerto Rico to perform a series of shows with the Airto Moreira and Flora Purim Band. The band configuration, at that time, had Airto at the helm from the drumset, with me on multiple percussion and Flora featured on most of the vocals. The other members of the band included Jeff Elliot , Kei Akagi, Keith Jones, Larry Nass.

During what was to be the first night of a week-long engagement at the Teatro Tapia, in Old San Juan, friend and fellow drum-brother Angel "Cachete" Maldonado showed up during the sound-check, to hang out and catch up on old times. It was at this moment that he introduced us to somebody whom he was mentoring on the Bata drums: Giovanni. We all had dinner together and then, after the show, Cachete took us to a restaurant a couple of blocks away where we ran into bassist Eddie Gomez, who was also in town, performing with I don~t remember who right now.... We all had something to eat and drink when.... don't ask me how, but, there were suddenly some more drummers on the scene with congas and Plena hand-drums... and I had my shekere (like American Express...I never leave home without it!)... and an electric bass materialized and fell into Eddie's hands...and the jam was on! Pretty soon, the restaurant owner locked the doors and the sangria began to flow and the music and drumming got more intense, and.... well, let's put it this way; I remember leaving way after the sun had come up, feeling tired but enriched and thankful for this unforgettable experience. And, Giovanni, a young teenager, at the time, had hung in there with us, just drinking soft drinks and playing drums non-stop all night!

That series of concerts in San Juan led to the recording of Airto's first record album directed towards a Latin fan base. It was a project produced by Frank Ferrer and recorded for a Puertorican label called Tierrazo Records, which came to be titled, "Latino: Aqui Se Puede". The recording session was done in Los Angeles and included, besides the core members of Airto's band , some other cats such as Roland Baptista (guitarist with Earth, Wind and Fire), Laudir D'Oliveira (percussionist with Chicago), Geni da Silva, Giovanni Hidalgo, Joe Farrell,Jorge Dalto,Oscar Castro Neves, Rafael Jose ,Tite Curet Alonso, and Tony Moreno.



At Mickey Hart's (Grateful Dead) Ranch/Recording Studio, in San Anselmo, California.

At the time of this recording, I was impressed with Giovanni and his dedication to his craft, because whenever there was a rest period during the studio recording, when we'd all be either listening to what had just been played and/or discussing new ideas or specific music arrangements, we'd notice that Gio would have slipped out, only to be diligently but softly practicing something that, to my eyes, was a different way of handling the conga drums. Friend and colleague, Sammy Figueroa, used to tell me that when Giovanni stayed with him, at his apartment in NYC, he would often wake up in the morning and find Gio already softly practicing on his congas...apologizing, in case his shedding had woken Sammy up!

Besides this seminal recording, Airto brought Giovanni and myself back together again for the recording of his CD, "The Other Side of This", produced by The Grateful Dead's drummer, Mickey Hart.

This CD became very special for me, as I believe it was the first one on which I recorded the sacred Bata drums on popular music...and it also marked my debut as a lead vocalist on a commercial recording! And, while we were in San Anselmo, CA. recording at Mickey's studio, he took the opportunity to invite me to perform on his Grammy-winning CD, "Planet Drum".

From Wikipedia, the free encyclopedia

Planet Drum is a world music album by Mickey Hart, a musician and musicologist who was a member of the rock band the Grateful Dead.

Hart's concept for Planet Drum was to play drum music with percussionists from around the world, and incorporate their different musical styles and traditions into a new global sound. The musicians on the Planet Drum album were from the United States (Hart), India (Zakir Hussain and T.H. "Vikku" Vinayakram), Nigeria (Sikiru Adepoju and Babatunde Olatunji), Brazil (Airto Moreira and his wife, vocalist Flora Purim), and Puerto Rico (Giovanni Hidalgo and Frank Colón).

Planet Drum won the Grammy Award for Best World Music Album of 1991, the first year for which the award was given.

Since then, Giovanni has completely re-defined the concept of playing conga drums and shows no sign of stopping his forward motion! While there may be a slew of young drummers who have studied and learned the techniques that Gio has generously demonstrated, none to this day, in my opinion, have been able to perform the ambi-dexterous double-stroke speed rolls and other modern and progressive techniques with the sophisticated musicality that Gio so smoothly exudes! And, besides the unequaled height at which he glides, soaring constantly higher out into space, I have rarely, in all my life, met a more humble and compassionate human being!





I consider this friend of mine, who kids around calling me "Uncle Frank", to be truly the Avatar of the art of congas.... touched by the hand of God.








Here's a video clip of Giovanni, totally open to the universe and channeling cosmic sound vibrations!




Now, I'd like to share a video about a topic that might interest musicians in general: How To Copyright A Song.

I was recently looking for some printed info on this subject, you know...to refresh my memory, as I'm writing some new material... and I came across this video clip which explains the procedure quite clearly.

Check it out!

How To Copyright a Song on Howcast

Now, those of you who know me (specially, my colleagues who've been on the road with me!) are well aware of the fact that I've been a vegetarian and a physical fitness buff, from way back! I'm not so much a gym rat as I am a martial arts lover, having pursued and earned teaching degrees in Chinese Tai Chi and Israeli Krav Maga.

I've also always approached the art of drumming as a physical contact sport, for which one has the responsibility of maintaining one's health and fitness in the utmost of excellent conditioning! I owe it to myself, in respect for the material vehicle which houses my essence this time around, as well at to the friends who come out to enjoy my music!


Photo session for DRUM! Magazine Interview

As a vegie-head since 1970, it's definitely been a challenge to tour around the world, often visiting countries where the concept of a vegetarian was often exactly like that scene in the movie, "My Big fat Greek Wedding" - where aunt Voula (Andrea Martin) tells boyfriend Ian Miller (John Corbett) of the bride-to-be Toula Portokalos, (Nia Vardalos), "What do you mean, you don't eat no MEAT?! (pause...) That's ok....I'll make lamb!" For years, when touring, I'll pack, along with my clothes and many instruments, a large supply of vitamins, dried fruits and assorted fresh nuts and seeds, in order to supplement my diet. Back in the 70's, I used to get some weird stares for this... not as much anymore, though.

So, as I'm definitely a senior citizen now, ("...what do you mean...'NOW'? You've been senior citizen for a long while, dude!") it always pleases me immensely when I run across an example of someone who embraces similar concepts about healthy living, nutrition, meditation, martial arts, chanting, NLP, and other self-improvement and enlightening disciplines as me! One such brother very dear to me is the sensational guitarist/composer/producer/animal rights activist/meditator/cosmic joker, Jamie Glaser (www.jamieglaser.com), who's friendship changed my life for the better and who's example continues to inspire me towards striving for the maximization of the human potential. But, I will write about Jamie, at length, in a near-future post on this blog....


Jamie Glaser

Right now, however, I'd like to share a video clip of 72 year-old bodybuilder, Jim Morris, in hopes that his example may serve to inspire us all to believe that there are no limits to what we, in our humble human form, may achieve! Once you see this, I think you'll see why this clip has been viewed close to 2 million times! And, please, pay attention to the description of Jim's diet! :-)



JIM MORRIS

And, of course...........MORE DRUMS!!!

Here's a short clip of former child prodigy and present-day tabla master, Zakir Hussain, gracing us with a short solo in the Tintal (16 beats) rhythmic cycle. Enjoy!!!