|
 |
frank derrick
Description
Drummer, Frank Derrick, has led a multifaceted national and international music career. He is a virtuoso performer, composer, and educator. His many theatrical credits include Bubbling Brown Sugar, The Wiz, Ain’t Misbehavin’, Sophisticated Ladies, Big River, and Catskills. He has performed with numerous legends and artists including Redd Foxx, Stephanie Mills, Della Reese, Freda Payne, Eubie Blake, The Platters, Eartha Kitt, The Duke Ellington Orchestra, The Woody Herman Ochestra, Dorothy Donegan, The Pointer Sisters, Ken Peplowski, Dakota Staton, Steve Allen, The Louis Armstrong Legacy Band, Donna Summer, Keely Smith, Maureen McGovern, Ann Hampton Callaway, Benny Carter, and has conducted on the concert stage for John Pizzarelli and Lanie Kazan. He toured worldwide with Cab Calloway for ten years and was drummer for “The David Letterman Show” on NBC.
Currently he is featured regularly with the sensational new Bob Hoose Orchestra, and is the drummer and assistant conductor for the Palm Beach Pops. Familiar to symphony audiences around the world, Frank Derrick has appeared with the Royal Philharmonic, the New York Pops, Pittsburgh Symphony, Calgary Philharmonic, and the Buffalo Philharmonic. His precision and driving rhythmic styling has been featured on the cast album of Bubbling Brown Sugar, Big City Swing-Veronica Martell, Strong & Graceful Oaks-Rejoicensemble, The Cab Calloway Show Live in Freiburg Germany, and Something Old, Something New-The Bob Hoose Orchestra, to name a few. His “Straight Ahead” composition garnered the A.S.C.A.P. Special Award. As an educator, he served as Chairman of Percussion at Henry Street Settlement in New York, presents master classes, is the respected author of FOCUS ON TECHNIQUE For Drummers, (published by Hal Leonard) and a contributing author to various educational publications.
Currently he is featured regularly with the sensational new Bob Hoose Orchestra, and is the drummer and assistant conductor for the Palm Beach Pops. Familiar to symphony audiences around the world, Frank Derrick has appeared with the Royal Philharmonic, the New York Pops, Pittsburgh Symphony, Calgary Philharmonic, and the Buffalo Philharmonic. His precision and driving rhythmic styling has been featured on the cast album of Bubbling Brown Sugar, Big City Swing-Veronica Martell, Strong & Graceful Oaks-Rejoicensemble, The Cab Calloway Show Live in Freiburg Germany, and Something Old, Something New-The Bob Hoose Orchestra, to name a few. His “Straight Ahead” composition garnered the A.S.C.A.P. Special Award. As an educator, he served as Chairman of Percussion at Henry Street Settlement in New York, presents master classes, is the respected author of FOCUS ON TECHNIQUE For Drummers, (published by Hal Leonard) and a contributing author to various educational publications.
Category
Keywords
Date
Feb 27, 2006
Contact name
Email
Link ID
12991
Write a Review
Add to My Favorite
Refer it to Friend
Report Broken Link
Other links at Drums & Percussion > drummers, percussionists
Herve Chiquet, drummer: His professional career begins very soon in his birthplace “Blois” (North of France) where he sets up many funk, rock and jazz bands. Yet, the opening of all the music predominates in his artistic process. His teaching course starts in 1980 by the general study of drums and classical percussions, guided by Carol Leroy at the Blois conservatoire.
In 1987, he approaches the jazz, from the Ario to the big band, at the CIM in Paris with Guy Hayat, Jean Michel Davis or Jean Pierre Aupert. A training period with Billy Hart completes his knowledge. Finally, 3 years of studies at the Agostini School in Toulouse directed by Daniel Dumoulin bring him another instrumental experience. The live music stays his sparehead and during his course in Paris, he accompanies the French Rock band « CAPALDI » with Sébastien Chouard, plays with the Panam Jazz Quintet too, with Patrick Bocquel and works especially for afro-west indian formations as « SILENCE » directed by Christian Combette or also « CHOUKAS » foundated by Joby Garnier.
He moves to Toulouse in 1994 and comes looking for a different inspiration as he begins his metal drummer career in the trio “Jack in the box”. At the same time he integrates the « CADILLAC BAND » of José Haro, big ban Jazz-Salsa during two years then go back on the roads with “Jack In The Box” ...
Sa carrière professionnelle commence très tôt dans sa ville natale de Blois où il fonde de nombreux groupes Funk, Rock et Jazz. Déjà l’ouverture à toutes les musiques prédomine dans sa démarche artistique. Son parcours pédagogique débute en 1980 par l’étude générale de la batterie et de la percussion classique, guidé par Carol Leroy au conservatoire de Blois.
En 1987 il aborde le Jazz, du trio au big band, au CIM à Paris avec Guy Hayat, Jean Michel Davis ou encore Jean Pierre Aupert. Un stage avec Billy Hart vient compléter ses connaissances. Enfin 3 années d’études à l’école Agostini de Toulouse sous la direction de Daniel Dumoulin lui apportent un autre bagage instrumental. La musique Live reste son fer de lance et durant son parcours parisien il accompagne le groupe Rock Français « CAPALDI » au côté de Sébastien Chouard , joue également dans le Panam Jazz Quintet avec Patrick Bocquel et travaille surtout pour des formations afro-antillaises comme « SILENCE » dirigée par Christian Combette où encore « CHOUKAS » fondée par Joby Garnier.
Il se délocalise sur Toulouse en 1994 et vient chercher une toute autre inspiration puisqu’il démarre sa carrière de batteur Métal au sein du trio « JACK IN THE BOX ». Parallèlement il intègre le « CADILLAC BAND » de José Haro, big band Jazz/Salsa pendant deux ans, puis repart sur les routes avec « JACK IN THE BOX » ...
In 1987, he approaches the jazz, from the Ario to the big band, at the CIM in Paris with Guy Hayat, Jean Michel Davis or Jean Pierre Aupert. A training period with Billy Hart completes his knowledge. Finally, 3 years of studies at the Agostini School in Toulouse directed by Daniel Dumoulin bring him another instrumental experience. The live music stays his sparehead and during his course in Paris, he accompanies the French Rock band « CAPALDI » with Sébastien Chouard, plays with the Panam Jazz Quintet too, with Patrick Bocquel and works especially for afro-west indian formations as « SILENCE » directed by Christian Combette or also « CHOUKAS » foundated by Joby Garnier.
He moves to Toulouse in 1994 and comes looking for a different inspiration as he begins his metal drummer career in the trio “Jack in the box”. At the same time he integrates the « CADILLAC BAND » of José Haro, big ban Jazz-Salsa during two years then go back on the roads with “Jack In The Box” ...
Sa carrière professionnelle commence très tôt dans sa ville natale de Blois où il fonde de nombreux groupes Funk, Rock et Jazz. Déjà l’ouverture à toutes les musiques prédomine dans sa démarche artistique. Son parcours pédagogique débute en 1980 par l’étude générale de la batterie et de la percussion classique, guidé par Carol Leroy au conservatoire de Blois.
En 1987 il aborde le Jazz, du trio au big band, au CIM à Paris avec Guy Hayat, Jean Michel Davis ou encore Jean Pierre Aupert. Un stage avec Billy Hart vient compléter ses connaissances. Enfin 3 années d’études à l’école Agostini de Toulouse sous la direction de Daniel Dumoulin lui apportent un autre bagage instrumental. La musique Live reste son fer de lance et durant son parcours parisien il accompagne le groupe Rock Français « CAPALDI » au côté de Sébastien Chouard , joue également dans le Panam Jazz Quintet avec Patrick Bocquel et travaille surtout pour des formations afro-antillaises comme « SILENCE » dirigée par Christian Combette où encore « CHOUKAS » fondée par Joby Garnier.
Il se délocalise sur Toulouse en 1994 et vient chercher une toute autre inspiration puisqu’il démarre sa carrière de batteur Métal au sein du trio « JACK IN THE BOX ». Parallèlement il intègre le « CADILLAC BAND » de José Haro, big band Jazz/Salsa pendant deux ans, puis repart sur les routes avec « JACK IN THE BOX » ...
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" ...
Category:
3. billy ward
Billy Ward is from Cincinnati Ohio. When he was nine, he began formal drum lessons with well-known local drummer, Jack Volk. "Mr. Volk was a stickler for holding the sticks properly, reading music and independence. He was a great teacher." While in the fifth grade, Billy began playing with local bands. Billy listened to, and tried to play, all kinds of music; from James Brown to Miles Davis; The Who to Charles Mingus.
At the age of fifteen, Billy got his first studio experience when he became the house drummer for a local Cincinnati gospel recording studio/label. While attending The Cincinnati Conservatory of Music, Billy says: "I had a technical gig mixing the sound at a Thad Jones/ Mel Lewis concert in Cincinnati and I met Mel Lewis, who said I needed to go to New York (to Frank Ippolito's Drum Shop) to get a set of K. Zildjian (Istanbul) cymbals. This was during the early 70's. In New York, I selected a set of K's with assistance from Papa Jo Jones, who was just hangin' out at the shop that
day!!!"
"I also got an extremely influencial drum lesson with Elvin Jones that, due to his generosity, lasted six hours! I will always be indebted to Mr. Jones for the many gifts he shared that day." Billy quit the conservatory in the second year when he realized that he wanted to play jazz and rock. "Counting two hundred and ten measures to play a two measure chime part wasn't my thing." His symphonic career ended, it was off to North Texas State University; a jazz school that emphasized playing ...
message boards, forum, free forums, free message boards, programming, programmers, community, games, bulletin boards, online communities, discussion forums, billy ward drummer two hands clapping
At the age of fifteen, Billy got his first studio experience when he became the house drummer for a local Cincinnati gospel recording studio/label. While attending The Cincinnati Conservatory of Music, Billy says: "I had a technical gig mixing the sound at a Thad Jones/ Mel Lewis concert in Cincinnati and I met Mel Lewis, who said I needed to go to New York (to Frank Ippolito's Drum Shop) to get a set of K. Zildjian (Istanbul) cymbals. This was during the early 70's. In New York, I selected a set of K's with assistance from Papa Jo Jones, who was just hangin' out at the shop that
day!!!"
"I also got an extremely influencial drum lesson with Elvin Jones that, due to his generosity, lasted six hours! I will always be indebted to Mr. Jones for the many gifts he shared that day." Billy quit the conservatory in the second year when he realized that he wanted to play jazz and rock. "Counting two hundred and ten measures to play a two measure chime part wasn't my thing." His symphonic career ended, it was off to North Texas State University; a jazz school that emphasized playing ...
message boards, forum, free forums, free message boards, programming, programmers, community, games, bulletin boards, online communities, discussion forums, billy ward drummer two hands clapping
Category:
David Oromaner, information, music, photos, bio, equipment, discography.
Known for his versatility, vibrant live energy, and musical malleability, David Oromaner has entered the realm of New York City's in-demand drummers. His diverse background as a musician ranges from live performances, studio sessions and recording dates, to Carnegie-Hall neighborhood clinics, Cabarets, and finally to teaching his craft.
Growing up in the suburbs of Long Island, David was constantly surrounded by music. "My earliest musical memories are of my older cousin Richard playing drums in his basement for hours. There was just something about being surrounded by sound—a raw, primal energy that instantly got me hooked." Adding to the fire was David's musically obsessed older brother, who would blast Led Zeppelin, The Beatles, and Pink Floyd from his boom box, which was set at no less than an "11." In addition to influences seeping in from his bedroom wall, David was also discovering classical and jazz on his own. The objects of his admiration included Basie, Roach, Bonham, Bruford, Peart, and John Williams. The combination of all these influences helped shape David as a drummer, which he became at the early age of eleven, when he inherited his cousin's drums.
However, from ages 10 to 17, David's main instrument was trumpet. David attented Wantagh High School, where he studied theory and jazz improvisation under the tutelage of Rolann Masciarelli. As a senior he was awarded the prestigious' Louis Armstrong Jazz Award.' In addition to trumpet studies, David pursued private drum lessons at the Long Island Drum Center with a great teacher and fusion drummer named Dave Stark. David then went on to pursue both business and music at SUNY Albany, where he studied with percussionist Richard Abagli and jazz drummer Dave Calarco.
After college, David relocated to Atlanta, Georgia. One of the first musicians he met was guitarist Dan Marshall, who had recently opened the doors to his studio in Little Five Points, called 'Levelheads.' David began laying down live,' pre-produced' drum tracks at the studio in order to develop recording techniques and sounds. Eventually, he garnered the attention of various Atlanta based singer/songwriters who needed drum tracks for their LPs and demos ...
Known for his versatility, vibrant live energy, and musical malleability, David Oromaner has entered the realm of New York City's in-demand drummers. His diverse background as a musician ranges from live performances, studio sessions and recording dates, to Carnegie-Hall neighborhood clinics, Cabarets, and finally to teaching his craft.
Growing up in the suburbs of Long Island, David was constantly surrounded by music. "My earliest musical memories are of my older cousin Richard playing drums in his basement for hours. There was just something about being surrounded by sound—a raw, primal energy that instantly got me hooked." Adding to the fire was David's musically obsessed older brother, who would blast Led Zeppelin, The Beatles, and Pink Floyd from his boom box, which was set at no less than an "11." In addition to influences seeping in from his bedroom wall, David was also discovering classical and jazz on his own. The objects of his admiration included Basie, Roach, Bonham, Bruford, Peart, and John Williams. The combination of all these influences helped shape David as a drummer, which he became at the early age of eleven, when he inherited his cousin's drums.
However, from ages 10 to 17, David's main instrument was trumpet. David attented Wantagh High School, where he studied theory and jazz improvisation under the tutelage of Rolann Masciarelli. As a senior he was awarded the prestigious' Louis Armstrong Jazz Award.' In addition to trumpet studies, David pursued private drum lessons at the Long Island Drum Center with a great teacher and fusion drummer named Dave Stark. David then went on to pursue both business and music at SUNY Albany, where he studied with percussionist Richard Abagli and jazz drummer Dave Calarco.
After college, David relocated to Atlanta, Georgia. One of the first musicians he met was guitarist Dan Marshall, who had recently opened the doors to his studio in Little Five Points, called 'Levelheads.' David began laying down live,' pre-produced' drum tracks at the studio in order to develop recording techniques and sounds. Eventually, he garnered the attention of various Atlanta based singer/songwriters who needed drum tracks for their LPs and demos ...
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:
Main Category
11
2005
555
335
215
6
791
59
2257
363
411
190
140
211
22
2321
74
120
3
178
36
145
105
36
14
26
1038
159
234
98
273
9
1068
151
245
144
312
255
348
15
78
214
128
70
414
536
2604
91
Top 10
Statistics
Links: 17467
Categories: 1112
Unique Outgoing Hits: 4635271
Pagerank Statistics
