THE USUAL SUSPECTS
Dr. Gio Washington-Wright's Top Los Angeles Studio Musicians Tribute Site
LENNY CASTRO
WEBSITE: www.lennycastro.com
A native of New York City, Lenny Castro moved to Los Angeles in the late 70’s where he quickly established himself as a first call percussionist in the prestigious Los Angeles studio session scene. Since then his talents have taken him to work with artists such as Toto, Boz Scaggs, Al Jarreau, David Sanborn, Stevie Wonder, Barbra Streisand, Ricky Lee Jones, Joe Sample, Randy Crawford and Bette Midler to name a few.
BRAD DUTZ
Brad started to study music at age seven. After high school he studied at the University of North Texas and Berklee college of music. In 1982 he moved to Los Angeles and began free-lancing untill 1984 when he joined Maynard Ferguson and toured around the country. Beside his ten solo c.d.s - NINE NEDS, KRIN, CAMELS, RAILROADS, GRILL, MAKING ICE, OBLITERATION quartet, MY BONGO, JOHN HOLMES- BRAD DUTZ duos and the first BRAD DUTZ c.d. he has co-produced twelve others and played as a sideman for 210 titles.
In 1995 Warner Brothers and Interworld selected Brad to do eight video tapes for beginners entitled HAVE FUN PLAYING HAND DRUMS. He can be heard on TV shows KING OF THE HILL, FAMILY GUY, AMERICAN DAD, ENTERPRISE and FIREFLY. Some of the movies that Brad has played on are PRINCE OF EGYPT, SYRIANA, HILDAGO, RUGRATS GO WILD,STAR TREK 5, OCEAN’S ELEVEN , ANCHORMAN, HOLLYWOOD HOMICIDE , RUN DOWN and I SPY.
IMAX films : MYSTERIES OF EGYPT, MT. KILAMANJARO , AMAZON, and ISLAND of SHARKS. In addition to playing mallets hand percussion is his specialty . He has studied many instruments ; congas, berimbau,
bata, bodhran, bones, pandiero, djembe, tabla, kanjira, doumbec,riq
and others.
While recording c.d.s for artists like ALANIS MORRISETTE, KISS, WILLIE NELSON, MICHAEL WOLFF, TRIBAL TECH, DAVID BENOIT,RICK BRAUN, VINNY GOLIA, LEE ANN RYHMES, MITCH FORMAN ,TERENCE TRENT DARBY, RICKIE LEE JONES, HANDS’ONSEMBLE and even actors JEFF BRIDGES and RONNYCOX Brad tries to bring the strangest percussion instruments he has to the session to create a unique sound . Every year he travels to
colleges and stores to do clinics and concerts on hand percussion and
mallets. His endorsements include VIC FIRTH, REMO,YAMAHA, FACTORY METAL PAISTE, ROLAND and MOUNTAIN RYTHYM . Since becoming a member of the part-time faculty of Cal State Long Beach eight years ago Brad has finished three books, “Practicing music on hand percussion”, “Manipulations in time”and “Duos,Trios,and Quartets for percussion”. In 2002 his Obliteration quartet was the subject of a documentary film.
ALAN ESTES
Drummer and percussionist Alan Estes has literally thousands of credits to his name for his work on records, movies, TV and jingles. A principal percussionist for composers such as John Williams, Randy Newman and Alan Silvestri, some of Alan's recent works include the scores for Spiderman 2, I Robot, Chronicles of Riddick and the vibraphone/sax duets for "Catch Me If You Can".
Alan playing "Catch Me If You Can" with saxophonist Dan Higgins and the Hollywood Studio Symphony
GREG GOODALL
Gregory Goodall has performed on over four hundred Hollywood motion pictures for such notable composers as John Williams, Jerry Goldsmith, James Horner, David Newman, Don Davis and Alan Silvestri. His list of film credits includes the popular scores from Jurassic Park, Titanic, and the Matrix trilogy. In addition, Mr. Goodall holds the position of Principal Timpani with Los Angeles Opera where he performs frequently under Music Director Kent Nagano and Artistic Director Placido Domingo. During the summers, Mr. Goodall has played in the percussion section of the Hollywood Bowl Orchestra under Music Director John Mauceri since the orchestra’s founding in 1991.
PAULINHO DaCOSTA
WEBSITE: www.paulinho.com
Born in Rio de Janeiro, Brazil, Paulinho DaCosta discovered his love for percussion at the tender age of five by exploring the different sounds of everything he could get his hands on. While still in his early teens, he joined several musical groups, traveling extensively throughout the world. Upon arriving in the United States, the multi-versed percussionist has carved a sizable niche in the music community.
Contributing his professional outlook and friendly appeal to nearly four hundred fellow artists, his name has appeared on numerous top-selling records, including works by Quincy Jones, jazz veterans Dizzy Gillespie and Miles Davis, and pop superstars Madonna, Sting and Michael Jackson. Perhaps even more outstanding than the multitude and caliber of artists he plays with, is the variety of musical styles he has mastered.
A dynamic percussionist, an innovative composer and a qualified producer, Paulinho's musical versatility is also well demonstrated on his four solo albums - AGORA, HAPPY PEOPLE, SUNRISE and BREAKDOWN.
Through his prolific career Paulinho has been involved with some of the decade's best selling projects, including the record breaking Thriller, the landmark recording We Are The World and the percussion dominated successes of All Night Long and La Isla Bonita.
However, not only has DaCosta made a profound impact within the record industry, his talents are proudly recognized in both film and television. His credits range from the Oscar-nominated motion picture The Color Purple to box office hits like Saturday Night Fever, The Wiz, Footloose and Coming To America.
Through radio and television the sounds of Paulinho DaCosta come into your home on a daily basis. Whether it be for a car commercial, food commercial or television movies, his music is heard around the world. Even more noted is his composition of the Coca-Cola "Orchestra" commercial which found it's way to number one on the U.S. and international charts.
In recognition of his incredible talent, the National Academy of Recording Arts and Sciences presented Paulinho with its "Most Valuable Player Award" for three consecutive years and the honorary "Musicians Emeritus Award." His skills have provoked the Los Angeles Times to describe him "a virtuoso on percussion" and Downbeat Magazine to label him "one of the most talented percussionists of our time."
BRIAN KILGORE
In Brian Kilgore's diverse studio career he has played on over 400 albums, including popular music with Cold Play, Live, Shelby Lynne, Celeste Prince, Whitney Houston, Starship, Linda Rondstadt, Ricky Martin, Jody Watley, Robbie Nevil, Aerosmith, and Concrete Blonde, Afro-Cuban salsa with Clare Fischer and Francisco Aguabella, straight ahead jazz with Terry Trotter, Bill Watrous, Bill Cunliffe, and Bob Florence, jazz fusion with Kirk Whalum, Everette Harp, Dave Koz, Grant Geissman, and Warren Hill, and rap with NWA and Dr. Dre. His numerous TV/film credits include Pollock, A Bug's Life, Mighty Joe Young, A Perfect Storm, The Hulk, Spiderman II, The Bourne Supremacy, Troy, Van Helsing, I Robot, The Polar Express, Team America, Robots, Skeleton Key, and dozens more.
He has also performed live with Barbra Streisand, Teena Marie, Elton John, Billy Joel, The Los Angeles Philharmonic, the Hollywood Bowl Orchestra, the Los Angeles Master Chorale, and many more.
Brian received his Bachelor of Music degree from California State University, Northridge in 1984, where he subsequently served on the faculty from 1992-1998. His ability to cover all aspects of percussion, from Afro-Cuban rhythms to orchestral percussion, to the extensive use of electronics and exotic sound effects, has made him a valuable player on the Los Angeles studio scene.
Brian is an endorser of Toca Percussion, Zildjian cymbals, Vic Firth sticks and mallets, and Remo drumheads.
EMIL RICHARDS
WEBSITE: www.emilrichards.com
Emil Richards, (born Emilio Radocchia) in 1932 in Hartford, Connecticut started playing the xylophone at age six. He is a graduate of Julius Hart School of Music, (now known as University of Connecticut) and Hillard College.
He joined the Hartford Symphony Orchestra while in tenth grade, working under Arthur Fiedler and Fritz Mahler. He began to work around New England with Bobby Hackett, Flip Phillips, and Chris Connor.
In 1952 and 1953 he was stationed in Japan, while serving in the First Cavalry Army Band as assistant band leader.
In 1954 Emil moved to New York where he played jazz gigs with Charlie Mingus, Ed Shaunghnessy, and Ed Thigpen while doing studio recordings for artists such as Perry Como, Ray Charles, and Mitch Aires.
In 1955 Emil joined the George Shearing Quintet. He stayed with the group for over four years, playing 51 weeks a year.
In 1959 he moved to Los Angeles where he worked with the Paul Horn Quintet, Jimmy Witherspoon, the Shorty Rogers Big Band, Lennie Bruce, and Lord Buckly. He started recording for Frank Sinatra, Nelson Riddle, Judy Garland, Sarah Vaughan, and Doris Day. In 1962, in response to a request from President John F. Kennedy, Emil and a small jazz combo joined Frank Sinatra on a tour around the world for the benefit of under privileged children. This group helped to found the first hospital in Israel for Jewish and Arab children.
This was the beginning of Emil’s interest in, and collection of ethnic percussion instruments.
After this world tour, Emil returned to L. A. to begin recording with such artists as the Beach Boys, Jan and Dean, Bing Crosby, Nat Cole, and Frank Sinatra. He also worked on film scores for Jerry Goldsmith, John Williams, Henry Mancini, Elmer Bernstein, Johnny Mandel, Quincy Jones, Oliver Nelson, Neal Hefti, Lalo Schifrin, Dave Grusin, Michel Legrand, Alex North, and Bill Conti, to name a few. Both he and Don Ellis were studying Indian rhythms at this time, and co-founded a group known as the Hindustani Jazz Sextet.
In 1963 he met American composer Harry Partch, and sponsored his move along with all his instruments to L A. Emil was connected with the composer and his music as a performer until the composer’s death in 1974.
In 1965 he formed the Micro-Tonal Blues Band along with his music grammar school buddies, Joe Porcaro, and Dave Mackay.
In 1968 he joined Stan Kenton as a member of his NeoPhonic Orchestra, and remained principal percussionist for the orchestra’s entire existence.
In 1969 he made another trip to India, Bali, and Europe, studying, and collecting more ethnic percussion instruments.
Upon his return to L A that year he joined Roger Kelloway and the Cello Quartet.
In 1972 he made an extensive trip around the world collecting and studying percussion instruments with master players from all corners of the globe.
In January of 1974, Frank Sinatra came out of retirement and asked Emil to join him in a small group augmented by Count Basie and his orchestra.
In mid 1974 he left this group to travel through central and south America to collect and study marimbas and music of Cuba, Peru, and Brazil.
In October of 1974 Emil joined George Harrison and Ravi Shankar for an extended concert tour of north America.
In 1976 he made a trip to Sicily to trace his roots, and to study the maranzano, the jew’s harp found in the region where his mother came from. He stopped in England to record with George Harrison, and befriended one of the world’s greatest percussionists, Sir James Blades.
In 1977 he became a member of Frank Zappa’s ³Electric Symphony² and recorded several albums with this large orchestra. He was also on Zappa’s first recorded album, ³Lumpy Gravy.²
In 1979 Emil became a founding member of The New American Orchestra, comprised of 85 of Hollywood’s finest musicians. Emil has played in the film studios in between all of his other activities, and in the 1980’s, he concentrated on sound track recording, and became Hollywood’s most sought after percussionist, playing for some of his childhood heroes; Bernard Herman, Dave Rakson, Alex North, Max Steiner, Lionel Newman, Hugo Friedhoffer, Walter Scharf, and Ernest Gold.
He has won the National Academy of Arts and Sciences ³Most Valuable Player Award² for six consecutive years since it’s inception, until he was presented with the N A R A S Emeritus Award.
In 1987 Emil started traveling throughout the United States, giving clinics at colleges on the aspects of percussion playing.
In 1988 Emil formed a Jazz group, playing vibes with his old grammar school music buddies, Joe Porcaro, and Dave Mackay. He continues to perform with this jazz quartet known as Calamari.
In 1993 and 94, Emil donated his entire library of percussion books, along with a substantial number of his instrument collection to the Percussive Arts Society’s Percussion Museum in Lawton, Oklahoma. He still possesses over 650 different percussion instruments in his current personal collection.
In 1993 he regrouped with the Roger Kelloway Cello (now Sextet), and completed an album for Angel records.
In 1994 Emil recorded a solo album utilizing an assortment of instruments from his vast ethnic percussion collection, overdubbing all the instruments himself. The album, released by Interworld Music, is called Emil Richards, The Wonderful World of Percussion. He feels that there is a world of new and unusual sounds to be found and to be heard by marrying many of the percussion instruments together. This is a dedicated goal of Emil’s future projects in his world of percussion.
In November of 1994, Emil was inducted into the Percussive Arts Society ³Hall Of Fame,² joining other noted recipients as Gene Krupa, Buddy Rich, Lionel Hampton, and Red Norvo.
Lalo Schifrin asked Emil to join the percussion section of the Glendale Symphony Orchestra for the 1994 - 95 season.
In 1996 Emil played at the San Francisco Jazz festival, in a tribute to Cal Tjader. As a result Emil released an Afro Cuban Jazz album called Luntana released by Interworld Music .This same year he was appointed as head of the percussion Department at L A M A, The Los Angeles Music Academy in Pasadena California.
Starting in 1997 Emil has taken summers to travel to Europe to do summer camps teaching percussion and performing with musicians from Italy, Sardinia, Austria, Sweden and Germany.
1998 marks sixty years that Emil has been playing mallet instruments. He has (to date) recorded on over 1350 film scores and counts over 650 artists that he has recorded and performed with.
MICHITO SANCHEZ
WEBSITE: www.michito.com
Michito Sanchez will never forget the day he was called to supply percussion in sessions with both Crosby, Stills & Nash and Elton John. Naturally all days cannot be as auspicious, but one such as that is an indication of the caliber of musicianship Sanchez has become known for. There have been countless musical highlights -- the Rolling Stones, Don Was, Bruce Hornsby, Robert Palmer, Herbie Hancock, Placido Domingo, Luis Miguel, Glenn Frey and an endless list of sessions, videos and live performances in every genre of music.
Such success was the dream for the kid growing up in New Jersey. While the family jam sessions during the snowy nights were rough around the edges, music seeped into the blood of this boy. As a first generation born American of Cuban parentage, bongos were a constant fixture in the Sanchez household and between those and the pots and pans, the youngster was able to cut his early musical teeth. Then after attending some bata and rumba jam sessions, Michito was hooked.
"When I saw the real cats playing, it freaked me out," he recalls, referring to Patato and Totico, Cachete, Julito Collazo and Little Ray Romero.
The family moved to California as Michito began his sophmore year in high school. Musically, it was a turning point for the boy whose music teacher, Ken Smith, happened to be a drummer. Aside from learning how to read music and playing in the South Gate High School marching band and jazz band, as well as the All City Marching Band, the creative freedom Smith allowed his student influenced Sanchez's entire approach to drums and percussion.
"I would get bored with the sticks and I'd say, "I can do all this double stroke stuff and rudiments with my hands," Michito explains. "That's where my style came from, so I really owe a lot to my teacher for turning me onto stick control."
At the same time, Sanchez benefitted by private lessons with Rolito Soto, formerly of the Cuban band Rumbavana, considered by many as an institution in modern Cuban music. As one of Cuba's best bongoceros, Soto not only worked with Sanchez on percussive technique, but he addressed the more practical issues as well.
"We went through everything," Sanchez recalls, "even how you place bongos between your legs when you play and what kind of shoes and socks to wear. When you play bongos, you're sitting down, so your pants are higher and people see your socks and shoes. You don't want to be on the stage with funky socks and shoes, do you?" he says with a laugh.
When Sanchez enrolled in Los Angeles City College, his father knew he was serious about music as a profession. He had hoped for a more secure profession for his son, but that opinion never effected Michito's burning desire to play music or his commitment to excel at it. For two years, he played salsa five nights a week at a nightclub, slept three hours and arose at 6:00 a.m. to take the bus to college each morning. Although it was tough, he says, "I wouldn't change that time for the world."
While attending the Dick Grove School of Music, he received a call from Devauhn Pershing, Nel Carter's musical director whom he had met while subbing on another gig. He joined her band at 22, and was thrilled to be making a living playing music and experiencing his first encounter with life on tour.
"I learned how to play show tunes and how, while you're still playing one tune, you must be looking to the next chart which is about to start any second. It was great working with dancers and being exposed to their lingo and it was a learning experience just on how to be on the road, how to deal with hotels, people, etc."
As soon as the job ended after two years, the phone began to ring. Sanchez had already earned a sterling reputation that would employ him with local bands such as Claire Fischer, Rudy Regalado & Chevere, The L.A. Salsa Society Orchestra, Bongologic and Cecilia Noel & the Wild Clams. At the same time, he toured for eight years with John Denver alongside Elvis' rhythm section, guitarist James Burton and bassist Jerry Scheff. When he left Denver in the spring of 1990, it was to join Crosby, Stills & Nash.
There have been so many memorable situations like a recent Don Was drumless project where he worked beside Herbie Hancock and percussionists Shiela E., Lenny Castro, Mike Fisher, Curt Bisquera and Was on bass. For the most part, the challenge remains choosing the proper instrumentation to provide the right sound and texture to complement the music. Oftentimes, he's the last ingredient to be added to the musical pot and it's his ability to choose just the right seasoning that completes the project.
But a great percussionist never thinks just about his part. Even though the part may consist only of a strike of a cowbell or a groove on a shaker, Sanchez is contemplating the whole musical picture. "I love drums and percussion, but it's really music I love," he states.
He knows he's one of the fortunate few who gets to make a living playing music and he never takes that privilege for granted. "Every call to play -- from club dates to recording sessions -- is a unique experience and a blessing, one I look forward to," says Michito, who has enjoyed working with such artists as Kenny Loggins, Boz Scaggs, Joe Sample, Herb Alpert, Hanson, Chucho Valdez, Tito Puente, T-Bone Burnett, Joe Zawinul, Elvis Costello, Toni Braxton and Steve Winwood. Sanchez is a full member of Caravana Cubana, nominated for a Grammy in 2001 in the catagory of Best Traditional Tropical Latin Performance for their debut album Late Night Sessions.
In 2002 Michito was part of the Raul Malo (lead singer of the Mavericks) solo project. At the same time he was asked by Boney James to join his touring band. Michito toured with Boney from April thru September. During that time, he was also able to work on record projects for Flora Purim, Tommy Walker, Fernando Ortega and several others. He also performed at the Latin grammy's with Nelly Furtado & Juanes (Grammy Award Winner for Song and Artist of the Year) and the Country Music Awards with Brooks & Dunn. In August he received a call from Japan asking him to join Iekichi Yazawa (the Mick Jagger of Japan) touring band. He toured Japan extensively with Yazawa thru December.
In 2003, although a relatively slow touring year, Michito had some great experiences. He worked on several different record projects including; Airto Moreira new solo CD along side with the great conguero Giovanni Hildalgo, Eric Benet, and Angelique Kidjo. He also kept busy performing live with artist, Bill Cantos & Mary Falcone, Doc Sevrinsen, Nestor Torres, Rick Trevino, David Garfield, Jose Rizo's Jazz on the Latin Side All Stars and several contemporary christian artist including Darlene Zschech, Tom Brook, Lenny Leblanc, Tommy Commes (Franklin Graham Praise Band,) Andre Crouch, and of course Tommy Walker of his home church, Christian Assembly in Eagle Rock, CA. His plate is full, but he never complains about too much work -- it's what makes him tick.
"As long as I am playing music, I am happy," he says.
STEVE SCHAEFFER
Steve Schaeffer noted Hollywood recording musician started his career in New York City. At the age of 14, Steve was part of Marshall Brown's Newport Youth Band, a band made up the best young Jazz players in the New York, and Tri-state areas. At 17 Steve joined the Al Cohn/Zoot Sims Quintet at the famed Half Note in NYC. At 19 Steve joined Doc Severinsons Quintet. At 20 Steve joined Sarah Vaughn and stayed for 2 1/2 years, this band also had Chick Corea featured as Sarah's pianist. Steve also worked with jazz greats Joe Henderson, Eddie Daniels, Monty Alexander, Bob Sheppard, Pete Christlieb, and Mike Maineri to name a few artists.
Other positions followed with Herb Alpert and the TJB, Roger McGuinn and the Byrds, and Dreams with Randy and Michael Brecker. After 12 years on the road Steve took the drum chair with "A Chorus Line" at the Shubert Theater in Los Angeles and stayed for 2 years. It was there he was discovered and became one of Hollywood's most prominent recording musicians. He has played on 1000 feature films and Sound Tracks including:
Jerry Goldsmith, ("LA Confidential"), ("Airforce One"), ("The Edge"), ("Along came a Spider"), ("Star Trek" "Nemesis") ("Looney Tunes: Back in Action").
John Williams, ("Indiana Jones"), ("Close Encounters"), ("Amistad"), ("Catch Me If You Can"), ("War of the Worlds").
Howard Shore, ("Big"), ("Mrs. Doubtfire"), ("Seven"), ("The Truth about Cats and Dogs"), ("The Panic Room"), ("The Score").
Alan Silvestri ("Bodyguard"), ("Forest Gump"), ("Mouse Hunt"), ("What Lies Beneath"), ("What Women Want") and ("Castaway"), ("the Mexican") ("Polar Express").
David Newman, ("Anastasia"), and ("Bowfinger"), ("Galaxy Quest"), ("Ice Age"), ("How to Loose a Guy in 10 Days"), ("Serenity").
James Newton Howard, ("The Fugitive"), ("Outbreak"), ("Space Jam"), ("King Kong")
Babyface ("Waiting to Exhale").
Michael Giacchino, ("The Incredibles").
Randy Newman ("Meet the Fockers"), ("Pleasantville"), ("Monsters Inc"), both ("Toy Stories"), ("Cars") and on many other films with Bill Conti, Dave Grusin, Patrick Williams, and Henry Mancini.
Steve has also been featured on hundreds of television Shows, Dozens of Gold and Platinum records ranging from Barbra Steisand's Broadway albums both 1 & 2 and Toots Thielmans "Brazil 2", to GRP recordings with Diane Shurr and Stan Getz ("Timeless") and Harry Connick Jr., Steve has also played more than 12 Grammy Award Shows and Academy Awards Shows.
