Chris McHugh can be seen touring with Keith Urban on his 2009 “Escape Together World Tour,” but his work can be heard on numerous platinum and Grammy Award winning recordings from a virtual who’s who in the music industry. It is estimated that his involvement in the making of nearly 50 albums has played a role in the sale of upwards of 100 million CDs worldwide.
A New Jersey native, Chris moved to Nashville in 1985 to start his professional music career. He has since recorded, produced and audio engineered for the likes of Faith Hill, Brooks & Dunn, Rascal Flatts, LeAnn Rimes, Keith Urban, Carrie Underwood, Garth Brooks, Jewel, etc. He has also served as Keith Urban’s musical director for the past two years.
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Matt Chamberlain
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 2009 Tori Amos Tour Schedule: www.toriamos.com
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."
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For more information on The Killers, and their entire 2008/09 Tour Schedule: www.thekillersmusic.com
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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.
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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
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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:
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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
