www.dickgail.com

Technoking's
Home Page

Hear my 38 Live Performance Remix Tracks

Newspaper Write-up:
Dick Gail and Drum-N-Bass

Live performance recordings from 2007

Live Radio Broadcast from 2.20.03 (Real Audio or MP3 format)

Photos of my trip to NAMM

Musical Background as an acoustic drummer.

Solo "ELECTRONIC" Performances

My "A" list of Company Endorsements

My Sample Recording CD's for "Numerical Sound", and the Companies whose products I am using, and endorsing for this project.

Photo of my Electronic Drum Kit, and Samples of my Rhythm Tracks.

The DJ inter-active Live Band Project and Companies I am
endorsing with this project.

Story of my Patent for tuning Drums by the use of AIR PRESSURE.

Marketing Programs I have done for other companies.

Outline for "the Procussion Sound Module and info on the new recording project with "Bernard "Pretty" Purdie"..

The "STEALTH" - - - - - the newest and most powerful Hand Held Controller in the world.

Contact Me
 

  

Member of, and Electronic Drummer for DJ Collectives: GROUNDSCORE, NAUGHTY VIBES, and THE SPACE TRAVELERS. Newly appointed member of the Art and Performance Gallery called "HORSE COW".

You can listen to my music at SOUNDCLICK.COM

Chauvet Lighting, RANE, Lexicon, Line6, CAD microphones, and FELLOWS products presents -DnB LIVE Remix Artist, Dick Gail (Electronic Drummer - appearing at Pyramind- The institute for advanced digital audio training, Thursday and Friday Sept. 22nd and 23rd.

I am currently involved in discussions with some prominant companies concerning LIVE multi-channel performances and the use of 16 channels in interactive Dance and Electronic Live Performance venues. I have been working on this in conjunction with Gene Czerwinski for over thirteen years in the Big Band venue he originally had in mind, however, I feel that now is the time to bring this part of live performance with musicians and DJ's in a contemporary dance format to reality. The complexities involved in the set-up and mapping all have been worked out, and I have reached this level of performance using handheld controllers -- Along with several DJ's, I plan to bring this part of what is really the future to every audience in the world.

I would like to personally thank "DJCue", "DJMarz", "DJQuest", "DJApollo", DJLaird", "DJ-UFO", DJMei-Lwun", "DJFelix-the-Dog", "DJ Clockwork", "DJ Rif", "DJ Plex", "DJ Billy Lane", "DJ Brian Frost", and "DJ Tito" for all their help and support.

In the last two years I have been very fortunate to have become involved with some of the most exciting live performance, and recording DJ's in America. Its through their advanced thinking, understanding, and a real comprehension of what I am really doing, that they have played, and allowed me to download a lot of their original scratch and groove samples, which they custom created especially for me. In doing this, they have also given me the ability to play a lot of their amazing music with my new hand held instrument. This automatically establishes that everything I play in these idiom's, is at a world class level.

I love to teach and help educate young people all about the great power and versatility, of this new technology.

I get a lot of satisfaction from giving educational, (and entertaining) clinics, to young people whenever I can. I have done so, at several high schools and colleges instructing youths in the advanced applications of rhythms, that also incorporates the use of my futuristic "space age instrument". This new (hand held) controller, can electronically generate the most exciting sounds that have ever been heard, of which Drums and Percussion are only part of the endless array of images that come to life before their very eyes.

It is in the minds of these young people that new possibilities can, and do create, completely new ideas about how they can apply these new concepts. Anyone interested in having me do a clinic or a seminar connected in any way with education, feel free to contact me.

I am "Artist in house for Cerwin-Vega Speaker Systems", and an exclusive endorser of all "E-MU", "Lexicon", "Monster-Cable", "RANE", "Mackie", "Cadence-Cases", "Sonic-Foundry", and "Fellowes" products.

Since starting on my journey some ten years ago, I have played my way onto and appeared on - "MTV", on a show hosted by Corey Glover called "the Last Word". I have also performed on a show out of San Francisco based on future technology, called "The Next Step", and at the infamous "Anon Salon". I have appeared twice on "the Discovery Channel" on "One step Beyond". I played at the "COTATI Jazz Festival" where my quintette "Gail Force" was chosen best band of the Festival. I played at the "BENECIA Jazz Festival" with Bernard "PRETTY" Purdie, and played SOLO as an Electronic Artist at "Cinco De Mayo Festival" two years in a row playing Big Band Salsa arrangements, (one year opposite the band called "WAR"). I also played Electronic "SALSA" SOLO opposite "the Benny Golsen Sextette", at the Eddie Moore Jazz Festival, at "YOSH'S" in Oakland,Calif. In the last three years alone, I have done over 40 clinics for several companies, including one for "MACKIE" at "the Percussion Institute" in Hollywood Calif., that also featured, "Jonathan Moffett","Blas Elias", "Doane Perry","Chad Smith", and "Terry Bozzio". I have been featured at the last 9 NAMM shows in Los Angeles.

. . . . As of Apr.10th 2000, I have just completed the first tune, for my very first track for a "Hip-Hop album", and after submitting it, it was approved, by "DJ Cue" of the"Bullet Proof Space Travelers", to be included in his upcoming Dog Day Records-"Drum Machine Technician's New Album", called "Cue's Hip Hop Shop Vol.2". Out of respect for "d'Marie", leader of the "Drum-n-Bass" collective "Groundscore", I have named my first tune after her performance banner Eklektic - the tune is called "Eklektic Groove". I have also recently recorded a rhythm track for world class Drum-n-Bass recording artist "UFO", for a new composition for "Warner Brothers", with my hand held controller in his studio, and also finished the first tune for the "Bass-n-Drum live performance and recording group, I am also putting together. It will feature two DJ's, in a very creative and exciting inter-active Bass-n-Drum/Hip-Hop/Jungle/New Break, "Dance format".

I have also just finished my first track using a great product called "ACID", which was created by one of the leading manufacturers of software music products for computers, called - "Sonic Foundry". Using this one product, anyone now has the ability to easily use Acids tracks like building blocks, to "build and put together" a song by assembling it, and placing various parts of it, or tracks in any order, and/or stacking loops and all sorts of great overlaying effects. From there (using one of their other products), it is relatively easy to finally record the finished product, and place it on the internet. This visionary company has created an advanced collection of digital media processing algorithms, that have resulted in giving them the ultimate "in content and quality encoding system", for streaming audio and video. The entire industry itself acnowledges, there is no competition. In fact it is the people that I have met from this company that have such "great vision", that really make the company what it is. More to come.

. . . . I am interested in building tracks for companies that are involved in creating music or loops for any commercial enterprizes of any kind, as I have created a library of over 4,000 original tracks and loops, which are available, (enough sounds and music/loops for about 5 Sampling CD's in several styles), which can be used for broadcast television production, as audio background rhythms for games, commercial adds, or for use as contemporary movie, or dance soundtracks:

I am available as an Electronic Drummer and Drum Tech, for dubbing in, or overlaying tracks for Studio Recordings, where I would use a hand held controller, that allows me unlimited versatility. I am also available for any contemporary live performances. I work well, both with or without, a click track.:

I have built tracks for the following styles of contemporary music and Rhythms: Jungle, Hip-Hop, Drum-n-Bass, P-Funk, Nu-Breaks, Tribal, Techno, Trance, Industrial-Groove, African Rhythms, Afro-Cuban Rhythms, Minimalistic, and Ambience:

I am looking for individuals, especially those electronic musicians and DJ's interested in performing live in advanced staged theatrical concepts for "inter-active Drum-n-Bass", in both Rhythmic and Melodic formats": I am also interested in co-producing any projects involving live performance inter-action, between Nu-Break Beat, Transforming, and Drum-n-Bass DJ's:

. . . The new "8" piece Hip-Hop band that I put together, performed music for a show called "Big Band Hip-Hop in the year 2050" which was recieved very warmly in Los Angeles California at NAMM, on Friday and Saturday, Feb.4th and 5th., 2000. My compositions, which were especially written for this show, were featured two times each day in the Cerwin-Vega room.

. . . . The band included Mitch Marcus our Tenor Saxophonist in residence, who is a graduate of Jazz studies at Indiana University, and who sounds just like "Booker Irwin". He was joined by Louis Van Taylor Jr., on tenor saxophone, who has played with "the Temptations", "Kool and the Gang", "the Gap Band", and worked with "Stevie Wonder". They were joined by, Trumpet star 'Andy Cleaves", who has worked with "Patti Labelle", "Natalie Cole", "Gladys Knight", "Anita Baker", recorded on "the Boys" new album, played on the shows "Motown 25", and "the Arsenio Hall Show" to name just a few, and on "Trombone", currently working with "Earth Wind and Fire" the great "Tom Ralls". On guitar was Sarah-Jane Owen, who formed and played in the smash "Glam Band" called "the Belle Stars", where they recorded two hits. One of the tunes was used for the Dustin Hoffman movie, "Rainman", and of course the tune was "Iko-Iko".

. . . . . The last two musicians to round out the band, were both great artists/ performers/ record producers/ and leaders in general of a major part of the Hip-Hop movement in the San Francisco, Bay Area- "DJCue", and "DJMarz". The entire concept for the band and all the original music was was produced primarily to feature these two great artists, in conjuntion with the products I had decided to feature, at the show. "DJCue" is an outstanding "Drum Machine Specialist. He is a member of "the Bullet Proof Scratch Hamsters", "the Space Travelers", and "DMT", (Drum Machine Technicians). He is the winner of the Bay Guardians "Goldie Award", and the co-creator of "Hamster Breaks Vol.1". "DJMarz" at 22, is one of the most creative "Turntable Artists" in the Bay Area. He is also a member of "The Space Travelers", and "Sacred Hoop". He recently worked on the "Quannum World Tour" and was the perfect rhythmnist for me to play all of my abstract rhythm stuff off of.

. . . . . Everyone that heard the Band said " it was very futuristic, individualistic, and really sounded great". All of the companies were surprised, and very pleased with my whole production, ( which was to include creating all the artwork and adds for all of the companies, assembling these special musicians for this band who were both from Los Angeles and San Francisco, composing all of the arrangements to fit the "Hip-Hop" theme chosen for the show, performing the music, distributing all the promotional material, and leading the band through its presentation while meeting all criteria, and deadlines, that had been previously set up by all of the companies involved). I was very proud of everything I had accomplished, and the level it was done at, . . . . in the end.

. . . . .All of this music was performed and featured at the National Association of Music Manufacturers International Convention held in Hollywood, California, Feb., "2000" in conjunction with, promoted or sanctioned by the following 10 COMPANIES: - "RANE", .- "NUMERICAL SOUND", "CERWIN-VEGA", -"CADENCE CASES", "LEXICON", "E-MU", "MONSTER CABLE", -"STEWART AMP's", and "DURATECH-DRUMSTICKS.

. . . . . Now that I am back in the Bay Area, I plan to do a series of high visibility DJ engagements, and to really enjoy the fruits of all my hard labor, throughout this year 2000, and to now venture into the land of "Drum-n-Bass" where I have joined forces with some very prominent artists, such as "Phunkatech's "UFO" who I consider to be one of the greatest "Drum-n-Bass recording artists on this planet, and "Felix the Dog' (the undisputed leader of the "New-Break recording artists and DJ's, and "d'Marie" the brains, and visionary leader of the whole "Drum-n-Bass movement on the entire West Coast, if not the entire country, through the momentum she produces with her production company, which is called "GROUNDSCORE" and the great following she has built up for her ongoing "Drum-n-Bass" shows under her "EKLEKTIC" banner. As of tonight (Friday Mar.11th.) I have become a performance member of the exciting "GROUNDSCORE" Drum-n-Bass crew, and all that entails. I consider it an honor. Now all I have to do, is live up to it. I think this crew is one of the most creative and excting musical groups of musicians, playing in the "Drum-n-Bass" format, anywhere in the entire world. I consider myself one of the luckiest guys on earth.

. . . . After having played Jazz and Be-Bop Drums almost all of my life, one day while browsing around the Drum department in a local music store, my attention was brought to an Electronic Controller, called a Drum Kat, (which when played with a pair of drumsticks) transmits MIDI information. As I began playing with the rig, a light went on and I became aware technically of what it would be possible for me to do.

. . . . . Once connecting the KAT to a keyboard, I could use these electronic pads to play drums, or horn parts, or bass lines, or sound effects, or metallic sounds, or anything else I ever could imagine, -- record what I would play, and then trigger, not only these newly recorded tracks to play, but any kind of melodic lines and rhythmic passages, on top of which, I then would be able to play anything else I could dream of, - - "live in real time".

. . . . . I could also connect this controller to ANY kind of a sound module I desired, even an instrument as complex and exciting as the "Oberheim"Matrix 1000 Voice sound module. I thought "this could open new doors for me". It DID. I now can play bass lines that sound like they come from "God", with a pair of drum sticks.

. . . . . Very soon, my dream had grown into a full blown vision, that with a LOT of special gear, an indeterminate amount of hard work, and an ongoing OBSESSION to persevere, I would be able to perform as a SOLO ARTIST, (using drums and percussion as my primary medium for contact with an audience). While I was playing I would be able to then manipulate, change, and control various unique parts of my performances, live, in real-time. Such as being able to: (change the characteristics and pitch of cymbals while they are being struck, and lowering or raising the tuning of my drums, while manipulating a delay, and do this all while playing live in real time, as the material itself was being generated,etc.).

. . . . . . Changing Drum sounds, Percussion sounds, and even rhythms themselves, by the use of sound processors, has also become an absolute obsession with me. A pure drum sound (2 feet high and 3 feet deep), in itself is wonderful, but being able to really re-create it, by taking the sound you originally started with, and manipulating it, until the original sound has been morphed into a new multi-dimensional form that actually could not exist in real life, ( such as a drum that is 200 feet long with a 80 foot head, that resonates for 25 seconds). This ability is the real Art-Form of what brings Electronic Drums and Percussion to life in the digital domain. That desire and ability alone, has led me into some very strange journeys, and then on to what was to become, my first recording contract.

. . . . . I am currently working on the complex positioning of sounds within the audio field, and then being able to manipulate them, by the use of a controller, which will be connected to a custom built CERWIN-VEGA multi-channel sound system, which has been the result of a lifetime of hard work, volumes of pages of written theories and studies, and an absolute focused vision, by my friend Gene Czerwinski, the President of Cerwin-Vega.

. . . . . 9 Years ago, in my dreams, I actually visualised myself performing (in the center of a 360 degree, circled audience) and playing in many different styles, (using some abstract type of a hand held instrument), and playing an entirely new concept of music. All of this new music however, would be using new timbered tones and deep tuned struck sounds having unusual qualities, that I created by myself, and even the melodic content would have some very unique properties. This dream gave me a completely new vision as to what I now, would be capable of CREATING with the use of electronics.

. . . . . .With this futuristic image as an incentive, I began on my long journey to create an instrument that would give me the ability to perform, 4 hours a night, 5 nights a week, in as many different musical styles,--- and do it all ,as I now could envision myself, as an ELECTRONIC SOLO ARTIST, Avant Garde DRUMMER and performer.

. . . . . I thought it would take 3 years, (it took all of 8 years), and I found out some very interesting things, mostly about myself, -----MARKETING, and other peoples general views, about real revolutionary ideas. I met a lot of very interesting people, some who had become big ("STARS) in the industry, who I hadn't seen in over 35 years. I have never faltered in believing, that I am receiving spiritual help in all my endeavors ( my faith is strong that things will happen, when prayers and dedicated hard work set them in motion). At this time in my life, my dream is not only "alive and well", it has surpassed my wildest expectations, and "the Best is yet to come."

. . . . . I was nicknamed "TECHNOKING" by some friends at an Underground Film Festival party that I played at a few years ago. Several people have said the name fits, - so. One of the people I most admire in the music industry today, "Mickey Hart" once called me "GOD", considering who it came from, I thought it was the highest compliment, but at the same time I felt I would keep the name "TECHNOKING" because it was a lot less pretentious. The power of what I can do now is both thrilling, and one that is self-generating, as it comes from God, through me, and directly to the audience as I create it, all at the same time. Though I had a VISION from the very beginning to become one of the very best solo electronic Drummers in the world, the sheer power of how much impact performing in this new manner would have upon an audience, would not come into clear focus, until much later.

. . . . I now HAVE the ability to perform SOLO using either one of two custom built hand held CONTROLLERS, or my GIANT ELECTRONIC DRUM KIT which consists of 2 Drum Kats, (-see my electronic drum kit on "Sample of my Rhythm tracks"in column to the left, just click on it), a stand up (custom built drum pad/ and rack set-up from DAUZ , 18 PADS),hooked up to 83 rack spaces, (48 audio channels thru 2 Mackie mixers), 256 MIDI channels ( using all E-MU sound modules and Samplers, exclusively), tied to a 43 Gigabyte removable Hard Drive completely loaded with sounds and rhythms), through a custom built crossover network system (built by SYMETRIX), using 4000 watts of (STEWART) amplification, and (absolutely all sound modification and processing by "LEXICON" ).

 . . . . . . At various times I have done clinics for Mackie, Oberheim, Duratech, Cerwin-Vega, E-mu, Anvil, Lexicon, and Symetrix to name most, but not all. I have also done seminars at several Guitar Center Stores in the San Francisco Bay Area, and at several Colleges that teach, or are involved in Digital Music Production, in conjunction with live performance and computers. No matter where I appeared, I carried what I thought to be the greatest way to produce my music, for an audience. At all times, and everywhere I go, all of my music is being played through the greatest speaker system that I could find anywhere, which was built as a PROTOTYPE and made by CERWIN_VEGA, for me, but with the needs of all DRUMMERS in mind. It is through my musical connection and friendship with Cerwin-Vega, and its president Gene Czerwinski, that everything that I have accomplished in the last nine years became possible. We both are deeply concerned about the quality of the music we both generate, and have both dedicated our lives to producing complex music at the very highest level, and in more ways than one.

. . . . . Then a major "problem" came to be realized by me, through many discussions with a lot of pro-audio engineers at Cerwin-Vega, over a long period of time, ("the audio was not as clean as it should be"). It was to be one of the most important product decisions that I had to make for this world class Drum Kit.

. . . . .It also was actually the most obscure and critical decision I had to make, because I wasn't aware of its significance for a long time. I didn't know it, but it was "the" most crucial call concerning the real quality of what I would be able to produce, either in a live performance, or recording setting. The major decision and problem that is most often overlooked,-- is the wiring and connectors for any electronic rig of any kind. It effects "ALL" product output, in entity..

. . . . . After 9 years of trial and error, and much research, I decided to use the very best wiring and connectors I could find. For a long time, like everyone else, it was "buy whatever". It took me over 9 years, (after a lot of wasted money, and a lot of wasted time and energy), to find the right product, to do the right job, and which ultimately I would find, was being made by a company of very concerned and dedicated people. This great company turned out to be " Monster Cable".

. . . . . When I finally located them, I was surprised to learn, that they were right here in the "Bay Area". Not only that but, after some discussions, I found out from the head of Marketing, Mr. Menrath, that it had engineers and R&D people that were really interested in MY concept, and vision. This enthusiasm, is also what I had been looking for, because --- this interest on behalf of a company, of new ways in which their products could be used, is the one thing, (that I found out the hard way), that makes a "great company" stand head and shoulders above all the rest of the manufacturers it is in direct competition with, for any market.

. . . . . It was then and there, that I decided to use all "MONSTER CABLE" products exclusively for everything I was going to do. Suddenly without knowing it, I had joined forces with "Herbie Hancock, George Benson, Lee Ritenour, Hiroshima, The Rippingtons, Mark Isham, Cornelius Bumpus, and the Dave Brubeck Quartet in that same critical judgment, to use "Monster Cable" exclusively.

. . . . . It was a decision that completely altered my overall "SOUND", the comments that I had been getting, and then my standing with the companies that I had been submitting my music to. Suddenly I was getting comments like, - "your music sounds "Much Cleaner", and the " images seem "Much Larger", and a lot more "Noise Free" and "Transparent". I had finally found a "GREAT" product (that I, and most people commonly miss), that was immediately superior in Audio quality to anything else I had ever used, in over 9 years.

. . . . . I also realized what was even more important to ME was, there were also people in this company, who's interest in what I was doing as an "artist", set them apart, from all the other manufacturers I had ever talked to. Since installing all the new cable, the one thing I keep hearing time and again is, how "BIG all of my images are, and how "CLEAN" I sound. I believe, that I was sent to them specifically "for a reason". Maybe so we could, in some way, help each other. Besides it makes Gene Czerwinski at CERWIN-VEGA very happy to know that I'm really CLEAN, at last!

. . . . . The other product that has really changed and effected my music, is the "sound processing" that I use exclusively, from one company. Several years ago, through an act of kindness by a National Sales Rep. by the name of Brian Trankle, I was introduced to the wonderful world of LEXICON. He gave me my first piece of LEXICON gear, which I still cherish and use, the legendary --Lexicon 15.

. . . . . In the last 2 years I have acquired an MPX-1, whose use alone, (on my first recording "Percussion Wall"), helped me win some international recognition, from several companies such as "SEER SYSTEMS" and "Best SYSTEMS". The first premier company to recognize the quality of my CD, however was a cutting edge software company called "CAKEWALK", who included some of my tracks on their Pro-TOOLS 3, CD-ROM. People that are hearing the CD say "it is different than anything else in its catagory, in variety, substance and imagery."

. . . . . .Recently I purchased a PCM 81 multi effects sound processor, with a PCM 80 Dual FX insert card, which was created with Drums and Percussion specifically in mind. I was so impressed by all "IT" could do, that I immediately went out and bought the other three cards available for this great processor. The Pitch FX card allows me to build percussion sounds that are impossible to create by any other means. The "Scott Martin Gershin Post Effects card, and the "David Rosenthal music FX card, are also both heavy guns for both sound production and music editing. I plan on finishing 8 more Sampling Albums, just with these products alone. It is MY opinion that the PCM-81 is the most powerful (one rack) multi-sound processing device, in the world. It is the choice for ALL professionals, and now I know why. It does everything from Pitch Shifting to Pitch Correction. There are 300 presets, and this one device performs dynamic spatialisation effects for 2 channels, or surround sound applications. What's more the PCM-81 is capable of a full 20 seconds of delay. It does things to rhythm that go way beyond the imagination and conception of any ten people. It will take an individual Drum or Percussion sound, and turn it into an ethereal snapshot of abstract sound, that can even paint some otherworldly images (if needed).

. . . . . Every evening as I sit down at my rig (usually six to ten hours a night), to compose and "Sample" tracks of all kinds, I'm amazed ,on a minute by minute basis, as I turn a knob, or adjust a parameter of a specific voice I am manipulating. As I listen to the tracks, and the things that I am able to do to them, I'm engulfed in a world of wonder and astonishment. There are simple tap tempo settings that manipulate different parts of a sound for me. These I can adjust also, from a rhythmic point of view, often with surprizing results. After all Tap-Tempo means just that. It is a percussive adjustment, to a specific part of a sound, with rhythm in mind.

. . . . . I have finished another 2 Gigabyte's of material, (in three different bags), just with these two boxes alone, and haven't scratched the surface of how powerful these two sound processors really are. In the last six days alone I have built over 150 tracks,of what I consider the hardest style to create tracks for, -- (Ambience and Effects Beds), with the use of only ONE voice from the PCM-81. Every sound had a completely different character and texture to it. Most importantly, each finished track had such a huge image and transparency to it, that when I played it back, I couldn't really believe, that I had actually created what I was hearing.

. . . . . Turning one track, into twenty tracks, recorded at the very highest quality, of course sometimes becomes a matter of trial and error. With all LEXICON processing, the bulk of the work can be done by the processing that comes straight from the factory. Its factory settings are also very easy to use, and the manuals are written also with the novice in mind, as well as the PRO. A lot of the recognition I am getting now as an artist, I owe in good part to "LEXICON", the company, its products, and its wonderful staff. Introduction by a friend to the power of Lexicon Processing was one of the greatest gifts I have ever been given by anyone. I wouldn't do anything without LEXICON, --- even if I was paid for it.

. . . . . I couldn't leave the subject of this company without also acknowledging that LEXICON has one of the most intelligent people in the country, on staff, (who also happens to be a fine drummer), named Steve Frankel. He has been a friend and an ally for over 8 years, and to me, his ideas, advice, and counsel about LEXICON products, are worth their weight in gold. He is always cheerful, encouraging, and sincerely interested in any problems or discoveries I have had. He is the most knowledgeable person I know concerning mapping, and sound manipulation by the use of processors. He is always my first call.

. . . . . I have come to realize, that my project is also important to other drummers who would follow in my footsteps, because I have built into my concept, the ability to move my rig, and set it up,-- all by myself, in about the same time it takes to set up a full set of drums! I am building a paradigm, which will make it easy for any drummer to follow. As I am, --- --- -- so we now all are, -- FREE.

. . . . . I'm playing in several new "BAGS" now, as you can see from the beginning of this intro. The use of electronic gear has opened up all these new venues for me. What's more important is, that now as a feature solo performer, I hire other artists involved in these formats, and give them the ability to perform in front of an audience, what a blessing that is.

. . . . . Even though I have been playing drums for a living for over 40 years and still consider myself an apprentice, I have to remind myself just how long that really is. Steve Gadd's dad used to bring him in when he was 13, to sit in with most of the bands that I played with, whenever we got into ROCHESTER N.Y., at a famous club called the "PYTHOD". The list of people who played there was considered a "who's who" in the jazz field. A couple of the bands that I played with were "Charles Earland", "Rhoda Scott", "Wendell Byrd", "Eddie Chamblee", and one I co-led with "Ted Curson, and James Spaulding". If I only could go back to that space in my life, again.

. . . . My family background was pretty interesting, as I came from a family of fine musicians, who all loved GOOD music. My Dad came to America, from Lisbon, Portugal, as a small boy who couldn't speak English, and his family settled in Lawrence Mass. By the time he finished high school, he had earned two double promotions. This was a sign of the way he approached everything in his life. His appreciation of GOOD music covered a very wide spectrum, and in the house I heard everything from Bach, Franz List, Kenton, Rafael Mendez, Miklos Rosa, Magoursky, Harry James, Rockmananoff, to Gil Evans, and Basie, and Louis Armstrong, to the Benny Goodman Quartet. GOD BLESS MY FATHER, who passed away 3 years ago, and who's absolute desire to be perfect, I can only emulate.

. . . . . My MOM played classical piano in the house all through my childhood. She studied at the Boston Conservatory of Music as a young girl, and had a beautiful touch. Primarily she played the classics. She was the one who really affected my life in regards to all of my spiritual depth. Today at the age of 85, she still wants to play , although it is very hard for her to remember. I say my prayers every day for my God to look out for her, and help me to take care of her, while I can.

. . . . . Even though my dad, "John Gail", played wonderful trumpet, and could sight read ("TOILET PAPER") "so it was said", both he and his brother Armond, were first call for all the good shows that came anywhere North of the Boston area. I learned how to really "cut" my first floor show under my Dads watchful eye. My Dads trumpet playing was done primarily for backing floor shows and touring acts, mostly with small bands in the area. His brother Armond was very respected within the Jazz community because he played magnificent trombone, and in addition also wrote all of the arrangements, and fronted the band whatever the size group it happened to be. He preferred six and eight piece groups and his bands were always first call whenever a new night club opened up in the area..

. . . . . . His real name was Armond Gaiolas. He led the Salsbury Beach "Frolics" Band, that played for all the BIG acts that came there to work during the summer season for years, and was one of the finest jazz trombonists to ever come out of the Boston area. He was a brilliant arranger in his own rite, and even though he led great combos in the area for over 20 years, he never did get the recognition he truly deserved. He played in and around the Lawrence-Lowell area, most of his life after he stopped traveling, and to me, (still to this day), he is the best trombone player I have ever heard. He is pictured here at the left standing behind my cousin William on the left, and me somewhere around the age of fourteen.

The last time we were together, shortly before his passing, all we talked about was the general state of music as it is today, and how little, of this great heritage we know of as Jazz , is being performed live today. He hated fusion and most of the non-swinging nonsense, he felt, it propagates. He was the ultimate swinging traditionalist. He did love great big band Jazz and all of the great musicians that came from that kind of venue. All of this musical heritage, and most of the people that reveled in all of the "unique" tales about Armond, my Dad, and my uncle Tony are all but gone now, and this web site is the only thing left of a great legacy, which was handed down, to me.

. . . . . . The one person in my family though that received all of the national recognition was my uncle Tony Picciotto, known as "Tony Pitch". He played trumpet with the Jimmy Dorsey band for over three years and made several movies, in one of which, he appeared on camera. The name of the movie was "Hollywood Canteen". He was truly a trumpet star in every sense of the word. He looked like he stepped out of a movie, and had a sound like "Harry James". To me, he was the living image of what I think a real Jazz musician should be. Here he is with a young Tony Bennett, early in his career. Some say my Uncle had the greatest trumpet sound they ever heard, that, as far as I was concerned, was definitely the case. For years he came home for Christmas and always brought with him anyone that didn't have a family, and we sort of became his family for the holidays. In return we heard some of the greatest music, played by some very wonderful, and loving musicians. What wonderful Christmas gifts we got, which I believe were sent to me by God. I found these people, and the story of their lives and travels, the most interesting people I had ever met, and I'm sure these early contacts were some of the things that were to beckon to my spirit to leave home and chase my dreams, (in what was to be a very short time later). Now I know, it was both a combination of the musicians lifestyle and the music that was really calling to me all along. What a sirens song it is.

. . . . . The first Drummer that I really fell in love with his style of playing was the amazing "Gene Krupa", who (later) I had the pleasure of meeting while playing at the Metropole in NYC. I loved all of the great things he did with Benny Goodman, Lionel Hampton, and Teddy Wilson. While working at the METROPOLE, (my very first time playing in New York City), evry night was like a who's who in music. I got a chance to become friends with some legendary drummers like Sonny Greer, Panama Francis, George Wettling, and Barrett Deems. I also met Cozy Cole and had a deep respect for his eazy going style and approach to playing with a band. At the time he had an enormous hit called "TOPSY", and we played opposite each other for over 10 weeks. Every night the house band we alternated our sets with had the marvelous "Roy Burns" on drums. He was "smokin" each and every set. What a fantastic drummer. He went on to replace Buddy Rich with Rodgers Drum Company, and now is the owner of Aquarian Drum Head Co.

. . . . . Then I heard Louie Bellson, and my life was changed forever. I decided that I wanted to go out in the world, leave everything and everybody I knew, and go and seek out the "same class of musicians" that helped him to sound the way he did. As he found himself, through his respect and love of all people, so as fate would have it, did I, in my ever winding journey of life. Two tunes he recorded with "Duke Ellington" will live forever as examples of, what a great drummer, that is also a great musician, can really do. They were "Skin Deep", and "The Hawk Talks".

. . . . . Another Drummer that made an impact on me was the great Donald Bailey (known as "Donald Duck"), the original drummer with Jimmy Smith. I had almost everything he recorded, and listened to this great drummer night after night and into my dreams.We met in Cleveland, Ohio one cold and snowy night, around 1966 or so. I was playing with Joe Alexander, a world class tenor player, who had a well earned reputation. On that night Rhassan Roland Kirk, and Albert Ayler were also sitting in with the band. The door opened, snow, wind, - - and DUCK, my idol blew in from outside. That night he played Harmonica, Trombone and Drums. Seeing him play, and getting to know him, made me realize that there truly was a God up in Heaven. I think one tune that shows just how creative he really is was a tune he recorded around 1956 with "Jimmy Smith", called "JUDO MAMBO". What he plays against a four feeling, is just amazing.

. . . . . About the same time my path crossed with that of a drummer in Newark, New Jersey, who was to become one of the greatest and most famous drummers in the world. I was playing with the Rhoda Scott Organ Trio and kept hearing about this drummer playing on Sundays at another club across town. That set up a meeting and a friendship between me and Bernard "Pretty" Purdie that would last for years. In that time he has become the most recorded drummer in American History. He has become famous for his great "feel" and the way he "lays it down a groove". He's the drummer on "Rock Steady', "Natural Woman", and "Chain of Fools", to name just 3 of the 40 tunes he's recorded with "Aretha Franklin'. Since our first meeting he has recorded on over 4000 records, with other great artists such as "Steely Dan", "Ray Charles", "B.B.King", "Quincy Jones", "Miles Davis", "King Curtis", "Louie Armstrong", "Count Basie", and "John Williams and the Boston Pops Orchestra", to name just a few. We hadn't seen each other for 30 years when we met at NAMM about 8 years ago. It was like we had just seen each other a few weeks ago. As fate would have it I was in the middle of setting up a marketing campaign, and a photo shoot for Remin Kart-a-Bag, what timing. In fact as you can see in this photo Bernard and I both did the add together. I couldn't believe it, when he insisted on me doing it with him. Our "love" affair, and respect for each other is on-going. As of Feb12th 2000, we have just set in motion the formation of our own recording company, which will join Bernards love for Groove/Funk, and my obsession for combining very complex Techno rhythms over his Deep Groove formations. These series of CD's should set new standards within the recording industry.

. . . . . The last two drummers I would like to say something about are also friends, of note. The first, I also hadn't seen in quite a few years but whose playing has, and always does, amaze me, is --"James Levi". Like "Bernard Purdie", James is comfortable playing in any style. His recordings with "Herbie Hancock" are legendary. He also is one of the most respected drummers in the industry, today. There is always a crowd around him. His funk stuff is "Super Funky" and his "Hip" stuff is super hip. What more can I say. I dont think there is anyone that does the things with time that James does, that are derived from that kind of "Roy Haynes, Philly Joe" backround, but that still maintains a very contemporary feel. There are not many people that could ever do this, especially in the "Funk" idiom. He also swings like mad, and his latin stuff "Kills". Lately he is gaining a fine reputation as a record producer of note, and is living here in the Bay Area.

. . . . . The second drummer is Dennis Chambers. We have become friends over the last 4 years. We had both been playing at several of the National Music shows for different companies, and our paths kept crossing. We met several times and I found him to be one of the nicest down to earth guys, you would ever want to meet. I don't think there is anyone, anywhere, playing anything with half as much excitement or originality. His hands are absolutely"Amazing", to say the least. I've heard him play with several groups, and one thing always stands out- - it cant be anyone, but "Dennis Chambers". Like "James Levi", and "Bernard Purdie", he can play in any style, and "do it to death". He can play in any "bag", and at any tempo. His organ trio stuff, is played in that swinging straight ahead bag. His "Fusion" and "Funk" stuff is an entity unto itself. I think he is the consumate "Drummers Drummer".

The list of drummers to follow, have all been major influences in my musical and spiritual life.

. . . . . I absolutely loved Sonny Payne. He may have been the last great drummer that Basie had, and without a doubt he was one of the very best. He was the ultimate showman, and his impeccable time and explosive dynamics swung that band into musical history.The albums he recorded with Count Basie, and Joe Williams really stand out. Just listen to "Allright, OK, You Win", or "Roll Em Pete", if you doubt me.

. . . . . Alan Dawson ,(who also came from Boston, as did Roy Haynes), played and tuned his drums like no other drummer I have ever heard. He was "Tony Williams' teacher for all of his formulative years. He took Jimmy Zittano's place with the "Herb Pomeroy Big Band" at the "Stables" in Boston. The albums he recorded with Booker Ervin, are still 50 years into the future. All of the groups that pretend to play avante guard music, should be made to listen to "The Freedom Book" before they are allowed to pick up their out of tune and disonant instruments, and proceed to abuse and insult this great American tradition called Jazz. On this album he is accompanied by Jaki Byard and Richard Davis. What a band, what a record. Find it, you will agree.

. . . . . The great Max Roach, Elvin Jones, Art Blakey, and Philly Joe Jones are also at the top of my LIFETIME favorites list. Max for his entire carreer of playing that extends over some 60 years or more. I loved everything he did with Clifford Brown, and an album called "Its Time". Elvin Jones playing stands out for its raw energy, and his walls of sound used to take John Coltrane to visit God on all of their recordings, and performances. Art Blakey is without a doubt one of the most exciting and natural drummers I ever heard. His energy like Elvin's is raw. Every Band he led was a journey into "the Land of Up and Coming Stars". I dont think anyone had more of an impact on Jazz than Art Blakey and Horace Silver. They both blazed new roads for Jazz warriors to walk on. Both of these men had an impact on my life. Philly Joe however, I believe, is one of the real leaders of all contemporary drummers. He was known for his sense of humor, and you can always hear that in his playing. His whole concept was based on co-ordinated independence, against the time, and jutaxposed against the melodic line. Several of his recordings will make my "Top Twenty" list at the end of this page.

. . . . . Then there are some Drummers that I have always thought of as being cute because of the way they all had of playing some very unexpected, but hip stuff, against the frame work of the tunes. These included Charles Persip, Roy Haynes, Roy Brooks, Billy Higgins, James Black, Big Black, Rufus Jones, Billy Cobham, the great Joe Dukes, Bobby Durham, Vince Latiano, Chuck Flores, Billy James, and from what I feel is the next generation, Eddie Marshall, Steve Gadd, Terry Bozzio, Steve Smith, and Turlock Gurtu.(more to be added).

LIST of some more of my favorite Drummers:

1.Narada Michael Walden 2.Dave Weckl 3.Will Kennedy 4.Giovanni Hildago 5.Airto Moreira 6.Steve Farrone 7.Greg Bissonette 8.Phil Collins 9. David Garibaldi 10.Peter Erskine 11.Matt Sorum 12.Kenny Aronoff 13.Jimmy Cobb 14.Butch Miles 15.Virgil Donati 16.Alex Acuna 17. Billy Hart 18. Les DeMerle 19.Omar Hakim 20.Sheila "E" 21.Chanquito 22.Atma Anu 23.Idrees Mohamed 24.Grassilla Oliphant 25.Louis Conte 26.Tito Puente 27.Armando Perazza 28.Zakir Hussain 29. Michael Spiro 30. Babatunde Olatunji, and 31. Jesus Diaz.

I would like to say in closing about the music I am making. There is a cloudy area between an idea and my creations, which I use as a starting point. I feel these images are sent to me by God. I owe everything I do, to this creativity, which my Heavenly Father gives to me as a gift, through the sacrifice of his only Son. "Jesus Christ". I am struggling to create this body of work, which will shine as an eternal light on the power of prayer to "Almighty God", "The Blessed Virgin Mary", and my patron Saint,- dear "St. Anthony". This work will only be finished when it it satisfies me, as an artist.

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