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elisa pilotti
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Sito personale di Elisa Pilotti, batterista, lezioni di batteria, percussionista, insegnante di batteria, batterista donna, drummer, drummer girl,drum lessons, percussionist, drum teacher, drums.
Elisa Pilotti: drummer-percussionist.
Elisa Pilotti: drummer-percussionist.
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Date
Feb 28, 2006
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13011
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Other links at Drums & Percussion > drummers, percussionists
Clayton Cameron, drummer, has a dynamic career that has already crossed many barriers in the world of music. From Sammy Davis Jr. to Tony Bennett, Clayton continues to push the envelope of contemporary drumming and brushes to their very limits. After the release of the 1990 video, “The Living Art of Brushes" Clayton has been given the honorary title “Brush Master”. Since the release of this ground breaking video Clayton has noticed a wonderful reaction from the drumming community, “It's been wonderful watching the growing interest in this art form. I never thought that my rhythmic tapping on empty oatmeal boxes would lead to such a distinction as Brush Master. My parents always thought I just loved oatmeal for breakfast. The fact is I knew the sooner I emptied the box...the sooner I’d have another cardboard drum.”
Born in Los Angeles, California Clayton began playing bongos at the age of seven. By age twelve his fascination with drums became so apparent his parents decided to buy him his first drum set and sent Clayton to music school for drum lessons. “I guess they tired of my oatmeal box drumming as much as I tired of eating those hearty oats every morning.” Clayton went on to get a degree in music from California State University at Northridge. During college, he played in clubs around L.A behind artists who were mentors to him. They included vocalist O.C Smith, Ernie Andrews, Jimmy Weatherspoon, instrumentalist Teddy Edwards, Larry Gails( of Thelonious Monk fame) and Gerald Wilson. After graduating from college, Clayton moved to Las Vegas to perform nightly with a jazz group called the Kirk Stuart trio. Clayton’s drum teacher Clarence Johnston advised Clayton to do his job and stay away from gambling. “I took his advice to heart. I would quickly find out from the casino boss that my job was not to entertain people with my bombastic drum solos, in fact the only music to his ears was the ching ching sound of the slot machines. No matter how softly I played with sticks it was not quite enough. So for six nights a week...during an eight-month engagement, I played...you guessed it...only brushes.” By experimenting with brush techniques and different styles Clayton was basically trying to make drumming more interesting. “It was during this time that some of the rough ideas for my future videos and books were initially developed. During my stint with the trio, we also toured with Joe Williams-the great blues singer. My time with Joe and the trio was a memorable learning experience” ...
Born in Los Angeles, California Clayton began playing bongos at the age of seven. By age twelve his fascination with drums became so apparent his parents decided to buy him his first drum set and sent Clayton to music school for drum lessons. “I guess they tired of my oatmeal box drumming as much as I tired of eating those hearty oats every morning.” Clayton went on to get a degree in music from California State University at Northridge. During college, he played in clubs around L.A behind artists who were mentors to him. They included vocalist O.C Smith, Ernie Andrews, Jimmy Weatherspoon, instrumentalist Teddy Edwards, Larry Gails( of Thelonious Monk fame) and Gerald Wilson. After graduating from college, Clayton moved to Las Vegas to perform nightly with a jazz group called the Kirk Stuart trio. Clayton’s drum teacher Clarence Johnston advised Clayton to do his job and stay away from gambling. “I took his advice to heart. I would quickly find out from the casino boss that my job was not to entertain people with my bombastic drum solos, in fact the only music to his ears was the ching ching sound of the slot machines. No matter how softly I played with sticks it was not quite enough. So for six nights a week...during an eight-month engagement, I played...you guessed it...only brushes.” By experimenting with brush techniques and different styles Clayton was basically trying to make drumming more interesting. “It was during this time that some of the rough ideas for my future videos and books were initially developed. During my stint with the trio, we also toured with Joe Williams-the great blues singer. My time with Joe and the trio was a memorable learning experience” ...
Category:
2. kevin twigg
Kevin Twigg, drummer:
I was born and raised on the south shore of Long Island, NY in 1956. My parents were Brooklyn born, and moved out to the suburbs on the the heels of the Levitown craze. I have 3 sisters and a brother. My brother moved to Florida with my folks, but the rest of us live within 20 minutes of where we were raised. I guess we liked the sunny south shore!
My earliest drumming memories are of Holiday parades and the swing records that my father listened to. Those drums really touched my soul! I would get great adreneline rushes when I heard the power of the drums. By the second grade, I started banging on laundry hampers that I turned upside.
At the end of the third grade, the band teacher was recruiting students for the next year. 30 future drummers showed up to get the opportunity to bounce each individual (borrowed) stick on the drum three times.That was the first time I ever played a real drum. MAN, WAS I HOOKED!!!!! The teachers name was George Raynor, and he was a true bandsmith. For concerts he would dress up in a Sousa-like uniform, and when he lifted his baton, he got respect! ...
New York All State Orchestra 1974
Performed with Cosmopolitan Symphony in Alice Tully Hall- Gerald Swartz conductor
Recording sessions with Marty Henne and Jeff Ganz- several singers including Barbara Smith(Cover Girl model and restaurant owner) and Donna Pescow(Saturday Night Fever, Angie Show, Out of this World). Donna later got Geri and I in for taping of her TV show in L.A. -sat next to Sarah Purcell.
Worked in collaboration with Composer- Jazz Pianist- Mary Lou Williams for performance of "Mary Lou's Mass" at the Interchurch Center, 155th St., New York,NY I got Chip Watterson to play guitar,Kenny Kirkland to play piano and Cecil McBee,Jr. to play bass(1976).
Jim Priess sounded myself and Joe Aebig to rehearse with Steve Reich Ensemble for a work in progress(1978).
assembled an entire volunteer orchestra of MSM students to record two pop arrangements for Doug Hoefer, Larry Wolf, Dave Signorelli, Bill Bebee( Speakeasy). A huge learning experience! ...
I was born and raised on the south shore of Long Island, NY in 1956. My parents were Brooklyn born, and moved out to the suburbs on the the heels of the Levitown craze. I have 3 sisters and a brother. My brother moved to Florida with my folks, but the rest of us live within 20 minutes of where we were raised. I guess we liked the sunny south shore!
My earliest drumming memories are of Holiday parades and the swing records that my father listened to. Those drums really touched my soul! I would get great adreneline rushes when I heard the power of the drums. By the second grade, I started banging on laundry hampers that I turned upside.
At the end of the third grade, the band teacher was recruiting students for the next year. 30 future drummers showed up to get the opportunity to bounce each individual (borrowed) stick on the drum three times.That was the first time I ever played a real drum. MAN, WAS I HOOKED!!!!! The teachers name was George Raynor, and he was a true bandsmith. For concerts he would dress up in a Sousa-like uniform, and when he lifted his baton, he got respect! ...
New York All State Orchestra 1974
Performed with Cosmopolitan Symphony in Alice Tully Hall- Gerald Swartz conductor
Recording sessions with Marty Henne and Jeff Ganz- several singers including Barbara Smith(Cover Girl model and restaurant owner) and Donna Pescow(Saturday Night Fever, Angie Show, Out of this World). Donna later got Geri and I in for taping of her TV show in L.A. -sat next to Sarah Purcell.
Worked in collaboration with Composer- Jazz Pianist- Mary Lou Williams for performance of "Mary Lou's Mass" at the Interchurch Center, 155th St., New York,NY I got Chip Watterson to play guitar,Kenny Kirkland to play piano and Cecil McBee,Jr. to play bass(1976).
Jim Priess sounded myself and Joe Aebig to rehearse with Steve Reich Ensemble for a work in progress(1978).
assembled an entire volunteer orchestra of MSM students to record two pop arrangements for Doug Hoefer, Larry Wolf, Dave Signorelli, Bill Bebee( Speakeasy). A huge learning experience! ...
Category:
3. gene jackson
Drummer Gene Jackson's website features biography, itinerary, photo gallery, discography, equipment setup, etc ...
Jazz musicians all over the world are likely to be aware of drummer Gene Jackson's talent and expressive performances. While Roy Haynes, Philly Joe Jones, Elvin Jones, Billy Higgins, and Tony Williams were some of his drumming influences, Jackson has a style that can change in accordance to what genre of music he plays. His ability to range from African to Latin to Cool rhythms have afforded Jackson the opportunity to be recommended by dozens of eminent musicians since his career took off 15 years ago. Jackson was born October 16, 1961 in West Philadelphia, Pa. Though he grew up as an only child, Jackson began to focus on music with the help of his guardian's grandson, Greg McDonald who played the drums. "(Greg) would have rehearsals with a band of excellent musicians, which helped inspire me early on," Jackson said.
In 1979, Jackson, who had the ambition to become a professional drummer as soon as he picked up the sticks, went to Boston to attend the well-renowned Berklee College of Music. In the five years Gene spent at Berklee, he counted among his peers and classmates: Walter Beasley, Branford Marsalis, Mark Whitfield, Monty Croft, Donald Harrison, Cindy Blackman, Terri Lynn Carrington, Billy Kilson, Jeff "Tain" Watts, Marvin Smitty Smith, Cyrus Chestnut, Danilo Perez, Dave Kakowski, Jovan Jackson, to name a few. Jackson also lived in an apartment with saxophonist Branford Marsalis, with whom he had established a good friendship. When Branford moved to New York City, fellow drummer Marvin "Smitty" Smith became Gene's roommate ...
Jazz musicians all over the world are likely to be aware of drummer Gene Jackson's talent and expressive performances. While Roy Haynes, Philly Joe Jones, Elvin Jones, Billy Higgins, and Tony Williams were some of his drumming influences, Jackson has a style that can change in accordance to what genre of music he plays. His ability to range from African to Latin to Cool rhythms have afforded Jackson the opportunity to be recommended by dozens of eminent musicians since his career took off 15 years ago. Jackson was born October 16, 1961 in West Philadelphia, Pa. Though he grew up as an only child, Jackson began to focus on music with the help of his guardian's grandson, Greg McDonald who played the drums. "(Greg) would have rehearsals with a band of excellent musicians, which helped inspire me early on," Jackson said.
In 1979, Jackson, who had the ambition to become a professional drummer as soon as he picked up the sticks, went to Boston to attend the well-renowned Berklee College of Music. In the five years Gene spent at Berklee, he counted among his peers and classmates: Walter Beasley, Branford Marsalis, Mark Whitfield, Monty Croft, Donald Harrison, Cindy Blackman, Terri Lynn Carrington, Billy Kilson, Jeff "Tain" Watts, Marvin Smitty Smith, Cyrus Chestnut, Danilo Perez, Dave Kakowski, Jovan Jackson, to name a few. Jackson also lived in an apartment with saxophonist Branford Marsalis, with whom he had established a good friendship. When Branford moved to New York City, fellow drummer Marvin "Smitty" Smith became Gene's roommate ...
Category:
Vicotr Indrizzo:
Sessions drummer.
Not only is Victor one of the best sessions drummers there is, he also does song writing and music production too!
I discovered this talented musician when Dave Gahan came out with his solo cd "Paper Monsters". I saw them in concert and was amazed at how much fun Victor seems to have when he is performing. Then I caught him on an old Saturday Night Live show with Beck. Man this guy can play! So I started listening to some of the cds he has appeared on. I discovered all kinds of good music. If you have not heard of Victor check out my other pages.
Be sure to check out the Discography page to see the wide variety of music he has done.I bet you will find some very familiar artists!
Sessions drummer.
Not only is Victor one of the best sessions drummers there is, he also does song writing and music production too!
I discovered this talented musician when Dave Gahan came out with his solo cd "Paper Monsters". I saw them in concert and was amazed at how much fun Victor seems to have when he is performing. Then I caught him on an old Saturday Night Live show with Beck. Man this guy can play! So I started listening to some of the cds he has appeared on. I discovered all kinds of good music. If you have not heard of Victor check out my other pages.
Be sure to check out the Discography page to see the wide variety of music he has done.I bet you will find some very familiar artists!
Category:
Drummer and jazz icon Chico Hamilton's official website .
CHICO HAMILTON had his first brush with Hollywood in 1957. Riding high on the popularity of his adventurous quintet of the time reedist/flutist Paul Horn, bassist Carson Smith, cellist Fred Katz, guitarist John Pisano - he and the band were case in Sweet Smell of Success, a gritty black-and-white film about a ruthless Walter Winchell-style York City tabloid-gossip columnist, J.J. Hunsecker, played by a dour Burt Lancaster, who wields his power like a club. The plot of this sharp-edged media satire thickens when J.J.'s younger sister, played by Susan Harrison, begins dating the clean-cut young jazz guitarist in the Chico Hamilton Quintet, Steve Dallas, played by Martin Milner.
The film was a landmark for its time, a model of street-smart cinematic cynicism that preceded Network by almost 20 years. And in choosing the Chico Hamilton Quintet as its in-house group for the nightclub scenes, the filmmakers not only demonstrated unusually hip taste in music, they also proved to be quite progressive in depicting an interracial band on-screen. But then, the Chico Hamilton Quintet had always been progressive in that regard since its inception in 1955: the original lineup featured guitarist Jim Hall, reedist Buddy Collette, bassist Carson Smith and cellist Fred Katz.
"Being a mixed group was not too cool out there at that time," Hamilton says in his penthouse apartment on Manhattan's Upper East Side. "We played our first gigs at a club on the boardwalk in Long Beach, which at that time was really redneck country. Plus the fact that the kind of music we played was so different made it a very unique, almost unheard of experience. But man, it worked."
As word of mouth spread about the new band playing a savvy brand of chamber-jazz on the boardwalk in Long Beach, the in-crowd soon followed. And gradually the nature of the club itself changed dramatically. "The first gig we had, man, you wouldn't believe. There was nothing but sailors and sawdust on the floor. You couldn't get no funkier than this joint. And can you imagine us going in there with a cello, flute, guitar, bass and drums? We had the gig for a week and that turned into two weeks and then went on into three weeks. Next thing we know, people were coming in from LA to check us out. Within a month, the whole thing changed around. They remodeled this place: and it looked great. The joint was packed every night" ...
CHICO HAMILTON had his first brush with Hollywood in 1957. Riding high on the popularity of his adventurous quintet of the time reedist/flutist Paul Horn, bassist Carson Smith, cellist Fred Katz, guitarist John Pisano - he and the band were case in Sweet Smell of Success, a gritty black-and-white film about a ruthless Walter Winchell-style York City tabloid-gossip columnist, J.J. Hunsecker, played by a dour Burt Lancaster, who wields his power like a club. The plot of this sharp-edged media satire thickens when J.J.'s younger sister, played by Susan Harrison, begins dating the clean-cut young jazz guitarist in the Chico Hamilton Quintet, Steve Dallas, played by Martin Milner.
The film was a landmark for its time, a model of street-smart cinematic cynicism that preceded Network by almost 20 years. And in choosing the Chico Hamilton Quintet as its in-house group for the nightclub scenes, the filmmakers not only demonstrated unusually hip taste in music, they also proved to be quite progressive in depicting an interracial band on-screen. But then, the Chico Hamilton Quintet had always been progressive in that regard since its inception in 1955: the original lineup featured guitarist Jim Hall, reedist Buddy Collette, bassist Carson Smith and cellist Fred Katz.
"Being a mixed group was not too cool out there at that time," Hamilton says in his penthouse apartment on Manhattan's Upper East Side. "We played our first gigs at a club on the boardwalk in Long Beach, which at that time was really redneck country. Plus the fact that the kind of music we played was so different made it a very unique, almost unheard of experience. But man, it worked."
As word of mouth spread about the new band playing a savvy brand of chamber-jazz on the boardwalk in Long Beach, the in-crowd soon followed. And gradually the nature of the club itself changed dramatically. "The first gig we had, man, you wouldn't believe. There was nothing but sailors and sawdust on the floor. You couldn't get no funkier than this joint. And can you imagine us going in there with a cello, flute, guitar, bass and drums? We had the gig for a week and that turned into two weeks and then went on into three weeks. Next thing we know, people were coming in from LA to check us out. Within a month, the whole thing changed around. They remodeled this place: and it looked great. The joint was packed every night" ...
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