Matt Chamberlain has been a force in the drumming community for over two decades. Matt’s drumming can be heard on countless albums, and he’s provided the backbone for some of the music industries best artists.
In August 2007, Chamberlain will release the debut project Floratone with musician Bill Frisell. Matt, who has worked with Tori Amos for over ten years, will be featured during her upcoming US Tour, starting October 9th in New York.
For more information, and the entire 2008 Tori Amos Tour Schedule: www.toriamos.com
Click ad to download pdf
Ronnie Vannucci
Ronnie’s solid and tasteful playing-skills have been a key ingredient in The Killers success over the last five years.
The Killers second studio album “Sam’s Town”, released October of 2006, is continuing the bands ongoing success. The first single off the album "When You Were Young" debuted on radio stations in late July ’06 and was an instant hit. “Sam’s Town” went on to sell over 700,000 copies worldwide in the first week of its release. The Killers next single, "Bones" was the second video from the band, and was directed by Tim Burton. “Bones” went on to win the 2007 Shockwaves NME Award for Best Video. The Killers have announced that the band will be in the recording studio sometime in mid 2008 for their third album. To date, “Sam’s Town” has produced four singles in the United Kingdom and United States: “When You Were Young”, “Bones”, “Read My Mind”, and “For Reasons Unknown”. The Killers were recently awarded the 2007 BRIT Award for Best International Album, as well as Best International Group. The Killers are currently on tour in Europe, promoting “Sam’s Town”.
"I'm not paid by anyone, I don't get a snare drum for writing something nice about Craviotto Drums. I only endorse something I truly believe in. Plain and simple. I play these drums because they make me sound good. I think it's the only reason you should play a particular brand of instrument; after all, it is the point, right? To sound the best you can. It's as if Johnny Craviotto were destined to make drums like these. A simple idea, perfected. So much time and craft has gone into these drums, and you hear it!. Not to mention their beauty. Perhaps it's said best when being asked to describe a set of Craviotto Drums, is that they sound honest. There's nothing getting in the way. They say that being truthful and honest is always the way to go. If you want the truth, then maybe you should play these drums. I do."
r
v
Check out the Killers on Tour!
08/09/08
Cologne, Germany
08/14/08
Leopolsburg, Germany
08/15/08
Erfurt, Germany
08/16/08
Salzburg, Austria
08/17/08
Budapest, Hungary
08/20/08
Dublin, Ireland
08/21/08
Dublin, Ireland
08/23/08
Reading, England
08/24/08
Leeds, England
For more information on The Killers, and their entire 2007 Tour Schedule: www.thekillersmusic.com
Click ad to download pdf
Chad Cromwell
Chad Cromwell’s career began to blossom in Memphis, Tennessee during the early 1980’s. In 1986, Chad moved out west to join Joe Walsh for a collaboration which produced Got Any Gum? and Ordinary Average Guy, which resulted in multiple US and worldwide tours. The following year, 1987, Chad got the call to record with one of the world's most prolific songwriters, Neil Young. These sessions became Neil Young & The Bluenotes. After touring to promote this record, and producing MTV's 'Video of the Year', This Note's For You, Neil's interest circled back to 3-piece Rock & Roll which led to the New York and San Francisco recording sessions that ultimately became the album Freedom.
In 1990, Chad moved to Nashville, Tennessee. Richard Bennett and Tony Brown were among the first producers in Nashville to request Chad for session work. These two producers would prove extremely helpful in creating a successful recording career for Chad, in Nashville. In 1996, Chad’s artistry behind the drums was formally recognized by his peers, when Chad was nominated for the Nashville Music Awards as “Drummer/Percussionist of the Year”. That same year, Chad could be heard on Leann Rimes breakthrough album, “Blue”.
During the mid-90’s, Mark Knopfler recruited Chad for the recording of Golden Heart, Mark Knopfler’s first solo album. Chad soon went on tour with Mark in 1996, to promote the album. Mark Knopfler and Chad Cromwell would go on to work together quite a bit; including the soundtracks to the films Metroland and the US blockbuster Wag The Dog. Knopfler would team up with Cromwell again in 2001 for his album Sailing To Philadelphia, 2003’s album The Ragpicker’s Dream, & 2004’s album Shangri-La.
Chad’s studio work would continue throughout 2004 and 2005, working with artists such as Sugarland, Gretchen Wilson, Trisha Yearwood, Marty Stewart, and Miranda Lambert.
Chad Cromwell’s career has seen him in the studio and on stage/TV/touring with an impressive list of major recording artists. In addition to those already mentioned, Chad’s versatility behind the drums has been showcased with multiple country and pop artists throughout the years. Chad Cromwell has executed a solid-feel behind many of today’s hit-making artists, including: Blake Shelton, John Michael Montgomery, Willie Nelson, Jackson Browne, Jessica Simpson , Boz Scaggs, Wynonna, Bonnie Raitt, Peter Frampton, Donnie Osmond, Gary Allen, Radney Foster, Comedians Jeff Foxworthy & Bill Engvall, Kenny Chesney, Lee Ann Womack, Amy Grant, Mary Chapin Carpenter, Brooks & Dunn, and Keb’ Mo’.
The spring of 2005 brought a new project with Neil Young, called "Prairie Wind”. The spring of 2006 brought another recording called "Living with War”. Chad performed on Neil Young's “Heart of Gold” Movie, filmed and directed by Johnathan Demme, during the summer of 2005.
During 2006, Chad was hard at work in the studio with artists Livingston Taylor, Toby Keith, as well as recording tracks featured on a new box set release "These Days" by acclaimed country music star Vince Gill. Chad would continue throughout 2006 recording and touring with Neil Young and performing on CSNY's "Freedom of Speech Tour”.
Chad Cromwell is currently touring Europe with Neil Young. The tour is expected to run through mid-2009, and US dates will be announced in the coming months.
Europe Dates:
August 7th
Hartwell Arena - Helsinki, Finland
August 8th
Way Out West Festival - Goteborg, Sweden
August 11th
Spektrum - Oslo, Norway
August 13th
Stadpark - Hamburg, Germany
August 15th
Le Theatre de Plein Air - Colmar, France
August 16th
August 17th
Lovely Days Festival - Wiesen Austria
August 19th
Zitadelle - Berlin, Germany
August 21st
Hallenstadion - Zurich, Switzerland
August 23rd
Schlossplatz - Coburg, Germany
September 15th
September 20th
Farm-Aid @ Comcast Center - Mansfield, Mass
Charli Persip
After playing with Tadd Dameron in 1953, drummer Charli Persip toured and recorded with Dizzy Gillespie's big and small bands between 1953-1958. Charli then joined Harry Edison's quintet and later the Harry James Orchestra before forming his own group, the Jazz Statesmen with Roland Alexander, Freddie Hubbard, and Ron Carter in 1960. Around this time, Charli Persip also recorded with several formidable jazz musicians including Lee Morgan, Dinah Washington, Kenny Dorham, Zoot Sims, Red Garland, Gil Evans, Don Ellis, Eric Dolphy, Roland Kirk, and Gene Ammons. Persip was also the drummer on the legendary "Eternal Triangle" recording, featuring Sonny Rollins and Sonny Stitt. Charli Persip also toured for several years as a drummer and conductor with Billy Eckstine (1960-1973).
Along with his performing activities, Charli has earned a reputation as a superb educator. Since 1974, Charli Persip has been instructor of drums and music, for Jazzmobile Inc. – New York. He is currently Associate Professor at the New School for Jazz and Contemporary Music in Manhattan, and has had a highly successful private practice for over fifteen years. As a teacher, Charli ranks among the best. Charli Persip is also a popular attraction at drum clinics, and gives lecture-demonstrations at the nations most prestigious schools: Howard University, University of Massachusetts, Ohio State University, and North Texas State University.
Charli's currently leads Supersound, his jazz big band that was started in the mid-80’s. The emergence of Supersound (formally known as Superband) as a major musical experience, is underscored by its latest self-produced recording, Intrinsic Evolution. Charli Persip and Supersound’s release of Intrinsic Evolution is the fourth album recorded by this suburb band, and showcases 25 years of big band leadership.
Supersound’s first album was recorded on the Stash label, and was titled Charli Persip and Superband. The group’s second album Superband 11, and third album No Dummies Allowed, was recorded on the Soul Note label. Tracks from these recordings are played on jazz stations throughout the world, especially in the greater New York area, which is also home-base for Charli and his band. The musical direction of Supersound, presents the total spectrum of Jazz. From the Be-bop era to the present, fans of all ages have thoroughly enjoyed listening and dancing to the music of Supersound.
Supersound’s library of tunes consists of unique arrangements on both standards and original compositions. The individual sound of the band stems from its tri-concept: First, an excellent rhythm section with a small band feeling. Second, all the horns know the melody and harmonic structure of each tune, as well as their written parts. Thirdly, the band portrays the true drama in the music, while maintaining the basic jazz big band traditions. Supersound’s concept crosses the threshold of musical transformation, with Charli Persips drumming - unique in itself. Supersound is truly a unique jazz orchestra.
"The Craviotto drums are beautiful, a full sound... and made in America!"
Scott Amendola Distinguished drummer plays Craviotto
Solid Shell Drums
While rooted in the San Francisco Bay Area
scene, Amendola has woven a dense and far reaching web
of bandstand relationships that tie him to influential
figures in jazz, blues, groove, rock and new music. An
organizer by nature, he has become a creative nexus for
a community of musicians stretching from Los Angeles
and Seattle to Chicago and New York.
While he first gained
widespread notice a decade ago for his work in eight-string
guitar ace Charlie Hunter’s trio, in recent years
Amendola has stepped forward as the leader of several
compelling bands that showcase his supremely supple trap
work. He continues to work as a sideman, accompanying
artists such as the tart-toned vocalist Madeleine Peyroux,
guitarist and singer/songwriter Kelly Joe Phelps and
the Nels Cline Singers (a volatile instrumental trio
without a vocalist), but it’s as a bandleader that
Amendola’s dynamic, ever-evolving style is best
showcased.
A perfect example is a recent recording session
for his next release (2005) as a bandleader featuring
Los Angeles guitar hero Nels Cline and the visionary
Chicago fret-master Jeff Parker, violinist Jenny Scheinman
and stand-up bassist John Shifflett. The music is full
of extreme dynamic shifts and a crunching rock edge,
with Amendola adding textural electronic elements into
his trap work via an effects pedal board. “I’m
getting more into sonic things with the pedals, exploring
noise, distortion and sonic textures by manipulating
acoustic sounds. I sample myself live, and then whatever
happens happens. It’s totally improvised, though
I’m developing a vocabulary with it.”
Around
the Bay Area, Amendola explores the many facets of his
expansive rhythmic sensibility in an intriguing series of small
combos. As a jazz player, for instance, he’s performed
extensively with the cooperative group ‘plays Monk’,
a trio featuring clarinetist Ben Goldberg and bassist Devin Hoff
that focuses on the brilliant, knotty composition of modern jazz
giant Thelonious Monk. “We’ve created certain moods
for tunes, more than developing set arrangements,” Amendola
says. “What really makes the trio its own thing and opens
up possibilities is the lack of a chordal instrument. We’ve
all played and listened to a lot of Thelonious Monk. One could
really study Monk’s music for a lifetime.”
There’s
also the new potent groove trio with the blazing Hammond B3 newcomer
Wil Blades and the brilliant guitarist Will Bernard, whose relationship
with Amendola dates back to their days in the fondly recalled
T.J. Kirk. In a more straight-ahead vein, Amendola has been performing
in a trio version of his band with guitarist Dave Mac Nab, an
original member of the Scott Amendola Band, and Shifflett on
acoustic bass. While the group’s sound continues to evolve,
it keys on Mac Nab’s lean, clean sound, which mostly eschews
effects and distortion. “That trio is definitely more inside,” Amendola
says. “There are sonic textures, and Dave does use some
pedals, but it’s really about songs and melodies and chords
more than soundscapes.”
Born and raised in the New Jersey
suburb of Tenafly, just a stone’s throw from New York City,
Amendola was the kind of kid who showed an inclination for rhythm
almost from the moment he could walk. His grandfather Tony Gottuso,
a highly respected guitarist who split his time between studio
sessions, was a member of the original Tonight Show Band under
Steve Allen, and would do gigs with jazz luminaries such as Ella
Fitzgerald, Louis Armstrong, Frank Sinatra, and Nat “King” Cole,
offered plenty of support when Amendola began to get interested
in jazz. “ We
used to play together a lot when I was a teenager. It had a huge
impact on me to play with someone who was around when a lot of
the standards that musicians like Miles Davis, John Coltrane,
and Keith Jarrett play.”
“I used to bang on things
as a kid,” Amendola says. “I’d just sit around
banging on pots and pans and coffee cans. When I was nine, we
had to pick an instrument in school, and I started studying drums
at school.”
His passion for music only deepened during
his four years at Boston’s Berklee College of Music, where
it wasn’t unusual for him to practice for 12 hours a day.
Drawing inspiration from fellow students such as Jorge Rossi,
Jim Black, Kurt Rosenwinkel, and Mark Turner, and studying with
the likes of Joe Hunt and Tommy Campbell, Amendola decided he
had to find his own voice rather than modeling himself after
established drummers. After graduating in 1992, he decided to
move to San Francisco, where he quickly hooked up with Charlie
Hunter. They went on to play together with John Schott and Will
Bernard in the three-guitar-and-drums.
Cravitto Drums and the expansion of ones mind, body, and soul...
Music is something that I've always been drawn to, and according to my
mom, it was through drums starting at 1 and a half. So it's been a
long time I've been hitting things and making sounds. Over the years
I feel like I've played just about every trap set out there. Every
make and model. From the cardboard cut outs, to the super fine custom
drums. Loving music, it rarely made much of a difference in a way.
Yes, some drums made more impressions than others, but I was playing
music so it was cool. Drums is what I needed. Back in 1996 I was
playing at Kuumbwa Jazz Center and this guy comes up to me and gives
me many a compliment. He then tells me he's Johhny Craviotto, he makes
snare drums and he'd like me to check out his drums. I had heard of
Johnny and said sure. Send one up to me when you get a chance. Few
weeks later one of his makers shows up in San Francisco with a 6.5"
maple solid shell drum. I put it on the stand, play it and stop. I'm
blown away. I didn't even tune the thing and it was speaking volumes,
not volume, but volumes. Sounds, dynamics, textures, within a few
moments I could hear the difference. Needless to say, that drum was my
mainstay for years. I tried not to go anywhere without it. Any time I
played another snare drum, I missed my Craviotto.
Several years later I get a call from Johnny. He says he's making
full kits and he wants me to check them out. So I say to him 'you
tell me when to be there and I'll check them out'. I drive down to
his workshop in Wattsonville. He points me to the seat behind these
gorgeous drums. Just looking at them was almost enough. I start to
play them, but this time I don't want to stop. Once again, completely
blown away. Johnny's drums are an extension of musical ideas, of
sounds I hear in my head, of tones I WANT to hear from the drums. I
almost can't believe it. Again, I love drums, and have always loved
drums, but to play an instrument that can actually allow true
expression of ones art, TRUE expression, is rare in my opinion. These
drums kick my ass. I hear things now that I've never heard on
the drums. They tell the truth. I still can't believe it. Every time I
play Craviottos I feel complete as a musician, drummer, composer...
Johnny has brought art to the making of drums like no other. There are
so many possibilities with his drums. I've been using a 12"x 18" bass
drum. No one believes it's 12"x18". When I want bottom and volume, I
can get it. When I want soft and subtle, I can get it, out of any of
his drums. Even the 14"x16" I played at the NAMM show.
True expression is rare. Johnny and company have made it a
reality. I for one am grateful. THOSE FREAK'N DRUMS JOHNNY!! THOSE
FREAK'N DRUMS!!!
Listen To Scott Amendola Play Craviotto Drums Below:
Click ad to download pdf
Matt WIlson
Drummer, composer, bandleader, producer, author, educator and Palmetto recording artist Matt Wilson is considered one of the most creative, talented and entertaining spirits in jazz today. He recently won the Downbeat Critic’s Poll for Rising Star Drummer for the fifth year in a row and his band, Arts and Crafts, was voted Rising Star Small Group. In 2003, Wilson was voted Drummer of the Year by the Jazz Journalists Association and has been voted one of the top jazz drummers of the year by Modern Drummer magazine readers for the past three years.
At home in a variety of settings, Wilson has appeared on over 170 recordings as a sideman and has performed throughout the world. He performs with a wide range of ensembles including bands led by Charlie Haden, Lee Konitz, Larry Goldings, Denny Zeitlin, Bill Mays, Jane Ira Bloom, Dena Derose, Ted Nash, Frank Kimbrough, Steve Cardenas, Mark Dresser and numerous others. In addition, he has performed and or recorded with Wynton Marsalis, Dewey Redman, Pat Metheny, Kenny Barron, John Zorn, Bill Frisell, Andrew Hill, Dr. Lonnie Smith, Paul Bley, Buster Williams, Ray Anderson, Eddie Gomez, Michael Brecker, Curtis Stigers, John Medeski, Randy Brecker and Fred Hersch. Wilson has made seven critically acclaimed albums as a leader for Palmetto Records, a label he has been associated with for a decade. His most recent “The Scenic Route” was released in February of 2007 and is being recognized as one of the top jazz recordings of the year.
Wilson leads several of his own ensembles including Arts and Crafts, the Matt Wilson Quartet, the Carl Sandburg Project and Field Trip. His bands have toured throughout the U.S, Europe, Canada and Australia and have performed at Carnegie Hall, Chicago Symphony Hall, the Newport Jazz Festival, North Sea Jazz Festival, San Francisco Jazz Festival, Melbourne, Australia Jazz Festival, and numerous other festivals, halls, colleges and high schools.
Wilson recently appeared on the Canadian Bravo network television show "Solos”. He improvised pieces on drum set and incorporated a juicer, children’s toys and electric drill into his solo adventures. A full length DVD of the show will be released in 2008. He is also one of the featured performers on the DVD of the 2003 Modern Drummer Festival released by Hudson Music.
Matt is a popular educator and has presented fun-filled workshops at schools, camps, festivals and conventions throughout the world. He contributes a column "Improv Playhouse" for Modern Drummer magazine and is currently working on a book on improvisation for the drumset. In addition, Matt teaches at the Interplay Jazz Camp, Stanford Jazz Workshop and Sarah Lawrence College.
Wilson endorses Craviotto drums, Zildjian and sticks, Remo drumheads, Factory Metal percussion and Protechtor cases.
Matt lives in Baldwin, New York with his wife Felicia, daughter Audrey and triplet sons, Max, Henry and Ethan. Have fun at www.mattwilsonjazz.com
Johnny Craviotto is the Soundmaster General (and a hipster!) by Matt Wilson
The artistry of Sir Johnny Craviotto, a true American craftsman, warrants him the title of the United States Soundmaster General in the invaluable division of the drum.
The love that is put into each and every Craviotto drum is evident as you play them. The immediate partnership of player and drum allows you to offer a wonderful sound to the music that you are playing. That is what I love about Johnny’s vibe. He knows that the instrument is meant to convey the wide spectrum of a player’s sonic imagination to the band.
That is what the drums are allowing me to do. They sing, growl, laugh, cry, align, collide, howl, whisper and shout. Whatever I feel the drums respond. They are loyal friends ready to convey the feeling. I feel connected to their vibrations!
Often, we are barraged with specs about an instrument and I appreciate that aspect of instrument construction. Though when you meet Johnny, he always first expresses the joy of knowing that his artistry is contributing to music. I love that about him.
Believe me when I say that I know something hip is happening when my fellow musicians are digging the Craviottos and how their sound inspires them.
That is remarkable!
Everyone also adores the beautiful finishes of the drums, especially the intricate wood inlay on my set. Hey, that is just further proof of the love put into the Craviotto drum!
The whole crew at Craviotto is dedicated to his philosophy of the love of music.
They know that their artistry and craftsmanship is being used to bring beauty to our planet through sound.
Hallejulah!!
Love,
Matt
Matt Wilson Itinerary
Aug. 1-3 Edinburgh Scotland Jazz Fest w/various artists August 6 Anat Fort Duo Hawley, PA August 9 Brecon, Wales Jazz Festival Lee Konitz Trio Aug 12-14 Jazz Standard Ron Miles Group w/ Bill Frisell, Reginald Veal Aug. 17 Montauk, NY w/ Ralph Lalama, Joel Frahm, Jack Wilkins and Martin Wind Aug. 22 Joan Crowe, White Plains, NY Aug. 26-28 Jazz Standard NYC Ted Nash Cd release with Frank Kimbrough, Ben Allison Aug. 30 Detroit Jazz Festival with Ted Nash Quartet Sept. 1 Detroit Jazz Festival w/ Arts and Crafts Sept. 4-5 Record NYC with Janis Siegal Sept. 6 Dee Cassella Cd release Metropolitan Room NYC Sept.6 Ted Nash Chris’ Jazz Café Philadelphia, PA Sept.11 Helio Alves Trio Kitano NYC Sept. 12 Marty Ehrlich Quartet AACM Festival NYC Sept. 13 Tim Armacost 5 Tarrytown, NY Sept. 14-15 Record Matt Wilson Quartet for Palmetto Records Sept. 18 University of Nevada -Reno Arts and Crafts w/ Terell Stafford, Gary Versace, Martin Wind
Matt Wilson 2008 Monterey Jazz Festival Showcase Artist
Sept. 19 Monterey Jazz Festival Arts and Crafts Sept. 20 Monterey Jazz Festival Duo with Bill Frisell Sept. 21 Monterey Jazz Festival Trio M w/ Myra Melford, Mark Dresser
Sept.25 Duke University, NC Charlie Haden’s Liberation Music Orchestra Sept.26 Travel Sept.27 University of Minnesota Charlie Haden’s Liberation Music Orchestra Sept.30 Jane Ira Bloom Quartet Dizzy’s Club Coca Cola NYC
Tour with Joe Lovano/ John Scofield Quartet w/ Matt Wilson, Matt Penman
Oct.4 Travel Oct.5 Jazz Stage Geyonng, Korea Oct.6 Travel Oct.7 Blue Note Nagoya, Japan Oct.8-11 Blue Note Tokyo, Japan Oct.12 Travel Oct.13 Esplanade Theater Singapore Oct.14 Travel Oct.15 Mahisom Hall Bangkok, Thailand Oct.16 Rockwell Tent Manila, Philippines Oct.17 Travel Oct.18-19 York Soul and Jazz Festival York, Australia Oct.20 Travel Oct.21-22 Rocket Bar Adelaide, Australia Oct.23 Travel Oct.24 Skycity Theater Auckland, New Zealand Oct.25 Town Hall Theater Wellington, New Zealand Oct.26 James Hay Theater Christchurch, New Zealand Oct.27 Travel Oct.28 Sydney Opera House Sydney, Australia Oct.29-30 Off/Travel Oct.31 Brisbane Powerhouse New Farm, Australia Nov.1-2 Wangaratta Jazz Festival Wangratta, Australia Nov.3 Travel Home
Nov. 4-9 Charlie Haden Liberation Music Orchestra Blue Note
Nov. 12- 22 Arts and Crafts Italian Tour with Ron Miles, Gary Versace, Martin Wind Nov.13 BARI Nov.14 VALDERICE (TP) AUDITORIUM Nov.15 CATANIA HOTEL SHERATON Nov.16 PALERMO Nov.17 VILLA S. G. (RC) LA SOSTA Nov.18 CATANZARO AUDITORIUM CASALINUOVO Nov.19 MERCOLEDI' MAROSTICA (VI) PANIC JAZZ CLUB Nov.20 OSTRA (AN) Nov.21 FERRARA IL TORRIONE
Nov. 25 MWQ –Sarah Lawrence College Dec. 5-6 Smalls NYC Mark Soskin Quartet Dec. 19-20 Dena Derose Trio Kitano NYC
Click ad to download pdf
Jarrod Alexander Rock Drummer endorses Craviotto Drums
Jackson, Mississippi-born-and-raised Jarrod Alexander had an early instinct to wake the dead with his cranked snare. A graduate of Boston’s Berklee College of Music, Jarrod’s characteristic style is a visceral combination of raw power and technical finesse—giving his sound dizzying complexity and deafening clout.
His drumming resume doubles as a who’s who laundry list of early 2000’s pioneer Hardcore and Punk rock, and as a blueprint of a young, prolific career, packed tightly with studio drumming and exhaustive touring with Death by Stereo, A Static Lullaby, The Vandals, among many others.
His professional drumming credits began in 1999, when he played on Death by Stereo’s debut album, If Looks Could Kill, I’d Watch You Die, followed by Give Up the Ghost’s debut album, Background Music in 2001, and afterward segued into a European summer tour as drummer for The Vandals. Between 2002 and 2003, he recorded drum tracks for The Hope Conspiracy’s End Note, Throwdown’s Haymaker, The Bars’ Introducing, and The Suicide File’s Things Fall Apart (as well as touring with the band). And in the years that followed, recorded albums and toured with A Static Lullaby, When Tigers Fight and Mean Season.
Jarrod has an almost obsessive, connoisseur-like knowledge, love and collection of drums, as well as a set of influencers that include Mitch Mitchell, Dave Grohl, Bill Stevenson and Matt Cameron. The inception, and evolution, of his style started when he was young; “I wanted to play the drums when I was sitting at my Uncle’s 1970’s Rogers set, at an age so young my feet wouldn’t touch the pedals. I was fascinated by all of the different sounds that each piece of the drum set made…and knew I had to be a drummer.”
He characterizes his own style as coming from a teenage desire to “play fast” and “throw in as many rudimental marching band licks as possible”, and later loving “choking splashes and cranking my snare to wake the dead, and standing up on my throne and jumping off in the breaks of songs.”—which ended up with him driving himself to the emergency room after wrecking his ankle. The evolution continued after meeting AFI’s Adam Carson, whose sound prompted Jarrod to “zoom in” on drum tuning and “let the songs breathe”. With a combination of insane natural ability, and a heart-breaking amount of work, Jarrod’s honed his craft to exactly where he wants it, defined by “the finesse, the speed and craziness” that’s the control aspect of his percussion, as well as “the Neanderthal face-smashing” that is always impressively powerful, sometimes awesomely so, to be in the same room with.
Listen
To Jarrod Alexander Play Craviotto Drums Below:
Carl Lemar Carter ~ NOW ON TOUR WITH JOSS STONE!!! ~
After spending the last year on the road with Carrie Underwood, Carl Lemar Carter is now on tour with Joss Stone.
Being a major player in Nashville, Carl recently completed touring with one of today's top country acts - Carrie Underwood. Carrie Underwood made her definitive mark in country music over the last few years, and so has the top-notch band that backed her up... Just as Carrie Underwood's tour was in the final stages, Joss Stone heard such great things about Carl's playing, that she recruited him for her recent tour - now touring Europe!
Carl Lemar Carter has played with a variety of well-known artists throughout the last decade, many in the Christian and R&B genres. Growing up in Michigan, Carl had multiple drumming influences growing up - many of these influences have also been seen playing a Craviotto Snare Drum now and again...
Craviotto Drum Company is proud to have Carl play our fine instruments, and we look forward to hearing more great drumming from Carl Lemar Carter.
photo by: Alan Hess
Jay Lane
Jay Lane's roles on drums have earned him a place in San Francisco's music history. He started performing in the Bay Area in the early '80s in a band called "Ice Age" that featured childhood friend and current guitarist with Spearhead, Dave Shul. Another childhood friend, saxophonist Dave Ellis, got Lane his next gig with a local ska band, The Uptones, which he played with for two years before joining another popular Bay Area group, the Freaky Executives, in 1985. After four years of steady gigging and a huge record deal with Warner Bros. that eventually was shelved, Lane then met Les Claypool in the halls of the rehearsal space the bands shared, who invited him to join his group Primus. After about eight months with Lane on the gig (that included a recording session for the Primus cassette called "Sausage"), Claypool was ready to hit the road. Lane bowed out due to prior commitments to the Freaky Executives.
Shortly thereafter, Lane co-founded the pioneering hip hop/jazz group Alphabet Soup with saxophonist Kenny Brooks, N.Y. keyboardist Dred Scott, rapper Chris Burger (The Mo'fessionals), and vocalist Zachariah Mose. Alphabet Soup recorded two albums: '94's "Layin' Low in the Cut" and '96's "Strivin'" and shot a video that featured regularly on BET. Also during those years Lane reunited with old friends, the 7-string guitarist Charlie Hunter and sax man Dave Ellis, to form the original Charlie Hunter Trio. The trio recorded two albums. The first on Claypool's Prawn Song label and the second, "Bing Bing Bing!" on Blue Note records. Touring schedules conflicted shortly thereafter when he started playing with Grateful Dead guitarist/vocalist Bob Weir and bassist Rob Wasserman in a side project, that would eventually become Bob Weir's Ratdog. About the same time, Les Claypool called Lane and origional guitarist for Primus, Todd Huth, to put together a band called Sausage. They recorded an album, "Riddles" on Interscope records in 1994, shot a video of the title track that was played on "Beavis and Butthead" several times, and did a tour with the Rollins Band and Helmet that summer. When it rains it pours! After Jerry Garcia passed in 1995, RatDog began a steady touring schedule. Playing with a great like Bob Weir gave Lane the opportunity to also meet and play with many incomparable musicians such as THE TRUE FATHER OF ROCK & ROLL , Pianist Johnnie Johnson (the Johnnie Johnson Trio - that hired a then UNKNOWN Chuck Berry!).
At the ’96 Inaugural Ball, Ratdog performed for President Bill Clinton!
Evening Moods (1999) and Live as Roseland (2001) featuring Lane's work with RatDog, are available through Grateful Dead Records. He has also appeared on Austin City Limits, VH1 Classic's All Star Jams, the Montreaux Jazz Festival and others in Europe, the Mt. Fuji Jazz Festival and the Fuji Rock Festival in Japan, and almost every state in the US. In 2002, Lane earned accolades from his peers and fans, winning "Drummer of the Year" in the California Music Awards. His beats are urban, funky, and fluid, and demonstrate the physical power and stamina he's built over a lifetime on the drums. In 2005, Lane was touring with both Les Claypool's Fancy Band (Skerik, Mike Dillon, Gabby La La) as well as Bob Weir & RatDog, laying down beats in his home studio, and playing Bay Area shows with Alphabet Soup between tours. Lane is currently out on the road with Bob Weir & RatDog through the summer of '07!
Janet Weiss grew up in Hollywood, California listening to AM radio
and the classic rock heroes of her 2 big sisters. Her musical abilities
probably were passed down from her father, a harmonica player from
Chicago with great pitch. As a teenager, bands such as The Clash
and REM redefined her understanding of the world. Music increasingly
became the lens through which she saw everything.
Janet escaped Los Angeles at 17, attending college at San Francisco
University. She became very interested in local bands like Donner
Party, Camper Van Beethoven, Blue Movie, The Catheads. She connected
with their irreverent, DIY, rebellious attitude, and the intimacy
of the small clubs in which they regularly played. At the ripe
old age of 22, after one drum lesson on a practice pad, Janet joined
the sloppy rock trio The Furies. Without any training, Janet learned
the drums by watching drummers at a million shows, and by studying
John Bonham, Mick Avery, Mitch Mitchell, Topper Headon, Melanie
Clarin, Elvin Jones, and countless others.
In 1989 she moved to Portland, Oregon where she’s resided
ever since. She’s played mostly in two bands for more than
a decade, Quasi and Sleater-Kinney. Each made 7 records, and toured
the world, allowing her to support herself with her music. Her
drumming, which became more outspoken and personal, was honed against
the Indie Rock backdrop of the 1990’s. Janet loves long tom
fills, and a snare drum with a giant crack. She first heard the
Craviotto snare drum she calls her “snare mate” while
engineering a local band. They borrowed it from a shop in town.
She tracked it down and offered her first child for it. But it’s
lucky owner said it was only available on a borrow basis. She played
it, a refurbished Radio King, whenever she could, until she found
a maple Craviotto of her own.
Listen To Janet Weiss Play Craviotto
Drums Below:
Zsolt Jánky Drummer & Educator is proud to play
Craviotto Drums
He was born in Kolozsvár located in Transilvania.
As the member of a large family full of musicians, music was second
nature to him since his birth. In the first 4 years attending his
music school he was learning piano, but at the end he graduated
on the vocal faculty. At 14 he had a strong personal experience,
which had inspired him to start drumming, at the time in a self
thought manner. His talent and fanatic practicing, earned him to
become a member of such nationally well-known bands, as Trident,
Altar and Kappa. With them he had toured, and played several major
rock festivals.
At age 18 he had moved to Hungary, and immediately
got into Fuchsia’s
Fall, a band known for their alternative sound. From here he
got invited to play rhythm & blues, and latin rock with the
popular Sonia and the Palefaces band, which had an immensely
large following. The young drummer rose to fame with this electrifying
band, which played thousands of concerts nationally and internationally,
opened for Santana in his Budapest concert in 1996, and recorded
several creative albums. He became well known among the music
lover audiences, and the music industry as well. It was a mile
stone in his musical carrier, as it landed him in the dimension
that gave him the opportunity of self expression on his instrument,
opening him up to the various styles of the music of the sixties,
and seventies, while making important self realizations.
As he
became one of the most sought after drummers in Hungary, a natural
continuation of his musical carrier was to become a session musician,
sharing his talents with; the Mogyorosi Trio, Éliás & Staff,
Mother Funker Dr. Rhythm Project, Unisex, Not for Sale,
Egyszercsak, Fiesta, Bery, Hevesi Tamás,
Unique, Csepregi Gyula Band, Bódi Magdi,
Felkai Jam, Tátrai Tibor, Ex meg Az, Szörp,
Cool Miners, Coda, Daci Zsolt Band, KAPPA,
Honfoglalás, Tino Gonzales,
Etta James, Earth Wind & Fire, Pure Blues, Ian
Siegal and many others….
With them he played countless club and open-air concerts, and
participated on many of their records.
In 1996 he founded his
drum school Dr.Rhythm, and by today several of his students have
their own bands, are playing out in clubs, and do recordings.
He’s national endorser for Pearl drums,
Sabian cymbals, Big Stick drumsticks, Remo drumheads, and the
handcrafted solid shell Craviotto snare drums. In the beginning
Nicko Mc’ Brain,
then later Steve Gadd, Harvey Mason, Jeff Porcaro, Omar Hakim
and John Jr. Robinson had a big influence on him. As a musician
he likes all the jazzy, groovy, funky, rocky, live music. His
future goal is to publish his own drum notebook; release records
with his band KAPPA, and to enlarge his Dr. Rhythm drum studio.
Listen
To Zsolt Jánky Play Craviotto
Drums Below:
Jeff Ballard Acomplished Musician touts Craviotto
Lake Superior Snare Drums
Jeff Ballard grew up in Santa Cruz, California.
He recalls when he was a child laying in bed listening to
the music his father would play every weekend: Count Basie,
Ella Fitzgerald, Louie Armstrong, Sergio Mendez, Oscar Peterson,
Milton Nascimento; how he loved the sound and the speed of
Ed Thigpen’s brushes on the snare. “I remember
feeling the power of a Basie big band shout chorus which
would then suddenly disappear into some quiet dancing riff.
It was the swing in it, which excited me the most. I also
remember how it felt traveling thru sounds of the jungle
in a Milton Nascimento record. The drums, percussion, and
voice, would sound as if they either came from the earth
or were made of water. And I was so happy to hear the joy
of Ella and Louie singing and playing together. I think that
that early exposure has made me part of what I am today,
especially in regards to my love for sound.”
In a community
college he studied music theory and played in a big band
as well as started working in small groups that played music
for all kinds of occasions. He realized then that there are
ways to play the drums, which are particular for each occasion.
Each genre has requirements with needs to be met. "...I
think the challenge is in the search for finding the music’s
particular needs. The joy is in the discovery.” During
this time, while living in and playing around San Francisco,
he became absorbed with ‘modern’ jazz. “ Hearing
Tony Williams play with Miles completely changed the way I played
drums. Hearing John Coltrane and Elvin Jones, and listening to
Ornette Coleman’s music changed my whole world. It was
like coming home.”
At the age of twenty-five he began playing
with Ray Charles. “We
toured 8 months straight every year with the band. Although we
often played the same songs and arrangements every night, Ray
was always able to make us feel as if it was for the very first
time. The drum chair was the best seat in the house really. I
only had to watch Ray’s feet to know where and what he
wanted the groove to be. What a great school.”
After three
years with Ray Charles, Jeff Ballard move to New York City where
he found like-minded musicians who were drawing on tradition
as well as searching for their own interpretation of playing
and expression in music. "...Playing and recording
with all of these musicians have opened up the opportunity for
me to explore my infatuation with sound. It is the sound, not
the note per se, which touches me the most.” Jeff Ballard
has also played and toured with Eddie Harris, Bobby Hutcherson,
Buddy Montgomery, Lou Donaldson, Mike Stern, and Danilo Perez.
He joined Chick Corea in 1999 and continues to play in his various
projects.Currently Jeff Ballard is a member of the Brad Mehldau
Trio, Joshua Redman’s Elastic Band, performs periodically
with Corea, and is a co-leader of Fly, a collective trio with
Mark Turner and Larry Grenadier. Their latest self entitled record,
Fly, and ensuing concerts have won critical acclaim as best of
the year 2004.
Listen To Jeff Ballard Play Craviotto Drums Below:
Jeff Quay Blue Man Group Drummer loves his Craviotto
Snare Drum
Jeff Quay's Craviotto Solid Shell Snare drum
is the centerpiece of his drum kit. "It has a lush warmth
that blends perfectly with the toms to provide the depth that
gives me that 'tribal sound'." he says. "At the same
time, it has a crystal clear 'crack' which can cut through
anything when the back beat is needed. It has the widest dynamic
range of any drum I've ever owned. It sounds great at very
low levels and doesn't sound papery when I'm bashing. I own
several of these drums and each one has it's own character
and personality. Like a Stradivarius Violin, Craviotto drums
are a vehicle for personal expression. They are works of art!"
