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Meet Drummer Danny Gottlieb
I stumbled into a music store near my house in New Jersey, and found that a famous drummer, Joe Morello, was teaching at the store! I didn't know he played on 'Take 5,' or had played with Brubeck for 12 years-but he was on the back of the Ludwig catalog, and 'he must be good!,' so I started lessons with Joe in 1969.
If you don't know drummer Danny Gottlieb or you know him from only the earliest incarnations of the Pat Metheny Group, there's a lot you don't know about this talented, multi-faceted musician. Not complacent to rest on past laurels of any kind, Gottleib currently juggles percussion duties with more groups and ensembles than many work with in a lifetime, seeing it all optimistically, as a welcomed challenge. A rare attitude that pervades his work and beyond and which is carried to all who he comes into contact with professionally and personally. Being honestly excited about and intensely interested in what he does ultimately makes the listener the winner. And honesty and faithfulness to the spirit of the music allows for certain moments to happen that never would otherwise, as well as the trust of those who have the good fortune to work with him. This all serves as a testament and textbook on how to be a valued, successful, creative, open-minded musician, enjoying life for the long term.
All About Jazz: Can you talk more about that session with
Nnenna Freelon
vocalsb.1954
Danny Gottlieb: My connection to Neena was through the great New York based pianist and arranger,
Michael Abene
pianob.1942
Maynard Ferguson
trumpet1928 - 2006
Mel Lewis
drums1929 - 1990
Dr. John
piano1940 - 2019
Diana Krall
piano and vocalsb.1964
Joe Beck
guitar1945 - 2008
Avishai Cohen
bassb.1970
Chick Corea
piano1941 - 2021
I think there was something by Laura Nyro (one of my favorites), and another by Nina Simone. We recorded at Sound on Sound, a studio in Manhattan on 45th street, where I've recorded a bunch of recordings, including the recordings with pianist
Sergio Salvatore
pianob.1981
Tony Williams
drums1945 - 1997
As far as live gigs, we did do a week with Neenah when the record was released at the New York club, Iridium. From what I remember, her current bassist,
Wayne Batchelor
bass, acousticJoe Beck
guitar1945 - 2008
AAJ: Who were your strongest, most important, influences as you develped as a drummer? Do you still listen to other drummers?
DG: I've listened to so many recordings of so many different drummers over the years, and still do today. I'm always finding something new and inspiring, and I do feel connected to the great, long lineage of jazz drummers. However, as far as personal strong influences, here's my path to the present;
I started being a fan of Buddy Rich's in the '60's, as most kids were. I played cello for eight years, and then also started drums around the age of 14. My dad, when I expressed an interest in the drums, bought me a Max Roach record "The Drum Also Waltzes" (a classic!), and so Max became an early influence. I was then playing drums in the JR. high school band (1966-67), in New Jersey, and Mr. Geist, my first real influence at school (and still an influence and friend today) introduced us kids to jazz. I became an instant fan of every big band drummer, and also happened to buy Miles Davis' recording of "Round Midnight, and Philly Joe Jones became an influence. When I was in high school, there was an amazing jazz program on WRVR, featuring the DJ Ed Beach. He would highlight a different jazz musician every day, and the station would play it in the morning, and then again in the evening. I lived for that show, and always checked out the different drummers he mentioned. I still have some reel-to-reel tapes of his shows, floating around somewhere.
I then got an amazingly lucky break. I stumbled into a music store near my house in New Jersey, and found that a famous drummer,
Joe Morello
drums1928 - 2011
As far as other drum influences, I used to sneak into the Village Vanguard while in high school, and hear the Thad Jones-Mel Lewis Orchestra. he became one of my heros, and when I first approached him about lessons, he told me he as too busy. When I told Morello about this at a lesson, he said "I know Mel-get him on the phone!" So I got Mel Lewis' number from the musician's Union, and Joe had me call him up. Joe told him " I've got this kid who is just nuts about your cymbal sound-would you please get together with him, and get him off my back!!" (laughingly of course). That started years of time spent with Mel. He let me copy many of his special, private tapes, took me to gigs, and even let me play cowbell on the
Thad Jones
trumpet1923 - 1986
Bernard Purdie
drumsb.1939
I started playing with Metheny while at the University of Miami, in 1972, and he turned me on to many great drummers, from the recordings he liked:
Bob Moses
drumsb.1948
Gary Burton
vibraphoneb.1943
Bill Goodwin
drumsb.1942
Phil Woods
saxophone, alto1931 - 2015
Paul Motian
drums1931 - 2011
Bill Evans
piano1929 - 1980
Elvin Jones
drums1927 - 2004
Jack DeJohnette
drumsb.1942
Ed Soph
drumsb.1945
Woody Herman
band / ensemble / orchestra1913 - 1987
Clark Terry
trumpet1920 - 2015
Sarah Vaughan
vocals1924 - 1990
Sarah Vaughan
vocals1924 - 1990
Gil Evans
composer / conductor1912 - 1988
Another influence was the great studio master, and teacher, Gary Chester. I met and studied with Gary through
Dave Weckl
drumsb.1960
AAJ: Was Gene Krupa an influence at all for you?
DG: A bit, as he was an influence on pretty much all drummers. I heard him live for a second, once, in the '60's, when I stuck my head into the Metropole club in NY (I was underage) My teacher, Joe Morello, used to talk about him all the time. They used to get together before Gene passed away, and Joe would tell me about it. I still listen to his recordings, and always play "Sing Sing Sing" with some big band every year somewhere. I played it just last week here in Florida, on a big band gig with Clem De Rosa, and old friend of Mel Lewis' who now leads a big band. He did a tribute to
Benny Goodman
clarinet1909 - 1986
AAJ: What are your thoughts on current players like Vinnie, Weckl, Bruford, Wackerman?
DG: They are all fantastic players, and certainly have something unique drumwise to listen to and learn from. I listen mostly, though, to the older generation of drummers.
How was the experience of working Sting? Did you meet?
It was really fun. We played one big concert that was televised and recorded in Italy, in 1987. He also sat in on a few gigs with the Gil Evans Orchestra, at the Sweet Basil club, in New York.I also recorded with him on two tracks for the cd "Nothing Like the SUn," playing percussion (
Kenwood Dennard
drums
Stewart Copeland
drumsb.1952
Mark Egan
bassb.1951
AAJ: Did you ever get to meet or work with
Will Lee
bassb.1950
DG: After UM, in New York. I've done some sessions and live gigs with him. (we even did a Neil Sedaka record together!) He is one of the greatest musicians, and one of the greatest human beings I know! His father was the dean at UM when I went there, and he's a wonderful person as well.
AAJ: Yeah, Bill was even head of the music department here at UTSA a few years back and Will would come down a few times a year and do concerts with the school's jazz ensembles. You mentioned IAJE. Are you much involved with jazz education?
DG: A bit. I am an adjunct insructor at Rollins College, in Winter Park, Florida, and an artist in residence at USF, in Tampa. USF has a bigger jazz school, but Rollins has some nice jazz ensembles as well. I also do maybe 10-15 clinics a year, for Zildjian Cymbals and Premier Drums, either at stores, schools, or festivals. It's not always jazz, but because that is my background, that is usually the topic of discussion. Beth and I also do many children's workshops, in the Orlando area, playing percussion duets. The performances are sponsored by Rollins College, and the kids just go crazy for it. I also teach on occasion, at the New School, New york City, ad have recently done workshops at North Texas State, and MI and LAMA in Los Angeles.
AAJ: Did you spend some time at Miami?
DG: I was there 4 years; 1971 through 1975. I got a music degree, a BM in jazz performance in 1975. I met Pat in '72, and we played alot of duo gigs, and had a faculty/student group called Kaleidescope, led by Dan Haerle. I also met Mark Egan, Cliff Carter, Steve Morse, Ross Traut, Hiram Bullock, Rod Morganstern,
Gil Goldstein
pianoAAJ: I know. Seems like every school has those amazing periods. When I was at Berklee in the early to mid 80's was one of those. Stern, Sco, Pat, Frisell, Goodrick, Abercrombie, Brecker and Vinnie (among others) were playing Boston a lot and giving clinics. Plus, people like Terri Lyne, Tain, Vic Bailey and Branford were all students at the time. Did you have any involvement with Jaco?
DG: A bit. He played and taught some at the University, and Mark took some lessons with him. I played a few show gigs with him-he was SO strong. I was always a bit intimidated by him, but he was always a good guy, and very supportive. I did a few gigs later in Boston, with he and Pat.
AAJ: As far as the gigs in Boston with Pat and Jaco... what were the tunes? BSL stuff? And are there any tapes?
DG: The gigs with Pat and Jaco usually had a variety of players. I remember one with two drummers and two bassists—myself, Gary Chafee, Barry Smith—and I do have a tape somewhere. The BSL stuff usually had Jaco and Bob Moses playing. I did do many trio gigs with Pat and another bassist, but not too many with Jaco.
DG: As far as tunes, they were standards, and classic Pat compositions, either finished, or in the development stages.
AAJ: Does Elements (you and Mark) get hired as a rhythm section a lot?
DG: Quite a bit. We just recorded with George Gruntz (Swiss arranger. pianist, and he wanted Mark and I) last week. We not only get alot of recording work together, but we also get alot of jingles and commercial music work as a rhythm section team as well. We are on alot of CNN news themes, for example, and are on the theme to NPR's "Morning Edition" together.
AAJ: Do you do any of your own work on your drums (beveling, refinishing etc)?
DG: No, although, I do drill cymbals and install rivits quite often. The drums, though, are standard issue, (Premier, and older Ludwig), except from some very special handmade Eames srumshells, which I cherish.
AAJ: Our bassist (with Synergy) works as a manager at the new Mars here in town and might be able to get you a clinic if you were at all interested.
DG: Sure! I've been doing quite a few clinics for Premier and Zildjian, if the store is interested. Many times clinics have to go through corporate control, and there can be alot of politics involved, but, I'd certainly be interested!
AAJ: Whats the status of that live Haru record with Stern and the Neena thing with Herbie?
DG: I'll ask Haru. Looks like I'll be going to Japan with him in March. The Neena CD I don't have, but it should be available on Concord Records... The new Jeff Berlin will be out in the spring, I gather-Jeff says Stern sounds great, although I haven't heard it in it's final stages.
AAJ: What's the current status with Elements... any touring or recordings scheduled?
DG: Elements has existed since 1982, being led by Mark and I. We have nine CD's available, including three live CD's available from Mark through his "Mark Egan" website. He is completing a solo recording at the moment, scheduled for early 2001 release. Next up after that will be a new Elements recording. Over the years we have done some touring, but lately it's been difficult. Bill Evans has been busy with his own band, (and has a great new record, by the way, Soul Insider with the great
Steve Jordan
drumsb.1957
Mark and Pat and I met at UM, and played quite a bit, although Mark played in a different circle of musicians. Mark was in a band led by sax great Mark Colby (now Chicago based), and then moved to New York playing with the late, great Phyllis Hyman. Mark was playing in
David Sanborn
saxophone1945 - 2024
AAJ: I'd have to agree. Is there anything about being a (jazz) musician that has surprised you? Did you have any expectations about it that were not met?
DG: Well, it's been 25 plus years of touring, averaging 200 days on the road per year, every year, and I didn't get married until 1997, when I was 45! I can't say it was just touring that led to that life style, but it sure didn't help. Also, meeting the right girl helped. She plays better rudimental snare drum than I ever will! Ha! I guess my approach was to just keep growing musically, have confidence, keep taking lessons and playing all styles of music. As a freelance jazz musician, I sometimes look back and wonder if it might have been better to have focused on one group after Metheny, and tried to make it a success-but on the other hand, I've gotten to play with SO many different groups-
Gil Evans
composer / conductor1912 - 1988
John McLaughlin
guitarb.1942
Michael Franks
vocalsb.1944
Stan Getz
saxophone, tenor1927 - 1991
Gerry Mulligan
saxophone, baritone1927 - 1996
Eddie Gomez
bassb.1944
Bobby McFerrin
vocalsb.1950
AAJ: I can't imagine a better attitude to have about anything. What are the specifics of the sessions with Soloff and Mike Stern?
DG: The Soloff recording was basically his touring band recorded in the studio, playing the tunes we perfromed live. It featured Lew, Joe Beck on guitar, Lou Marini from the Blues Brothers on sax, Mark Egan and myself. There is also one track that has some other special guests, all playing to a drum loop. It's interesting.
Mike Stern
guitarb.1953
Hiram Bullock
guitar, electric1955 - 2008
AAJ: All great guitar players. Hiram's a character. How did the Manhattan Transfer gig originally come about?
DG: I originally played in the Transfer band in 1995. The pianist and conductor/ arranger is a New York based musician, Yaron Gershovsky. Originally from Israel, Yaron and I became friends in NY, and when the Transfer needed a drummer, he recommended me. Cliff Almond, one of the world's great drummers, and one of my personal favorites, (used to play with
Michel Camilo
pianob.1954
AAJ: Can you discuss your approach to:
a) teaching...
What does the student want to accomplish? Find methods, based on experience, to help the student acheive their goals. Talk about personal exeriences and musical situations that would be helpful. Work on technique, time, grooves, drum fundamentals, sudying the masters.b) session work...
Being flexible, and having many musical options. Using as many or as few sounds, colors and dymnamics, as needed, depending on the situation. Making as many friends in the industry as possibe. practice with a metronome, work on feels, groove, reading. Know as much about many styles of music as possiblec) sideman work...
Make many friends. Surround yourself with the musicians you want to play with. Study the masters, and musicians who have played the gig before you. Enjoy many styles of music. Be an asset to every situation, both musically, and personally. Develop confidence in your own abilityd) writing?
I usually write little melodies and have my friends (Mark Egan, Gil Goldstein, etc) help me with the harmonic concept. But always write melodies down, or sing them into a tape recorder.AAJ: How the Metheny gig came about for you and anything you'd like to mention about those incredible years. How did that affect your perspective on music?
DG: The friendship and musical affiliation with Pat was a great learning experience.
I played with him 1972-1983, 11 years. Again, we met in school, played together, and then he got me on the
Gary Burton
vibraphoneb.1943
AAJ: What have been some of the other most influential gigs you've done or musicians you've worked with?
DG: The Gil Evans Orchestra is my all-time favorite (I'm on the Grammy winning recordings Bud and Bird, Farewell, and also Last Session, with Sting; The Honey Man; and Tribute).
John Mclaughlin and Mahavishnu was great (1984-86-one recording, Adventures in Radioland on Verve); the Nando Luria recordings were special.
Others include:
Al Di Meola
guitarb.1954
AAJ: What are your current equipment and endorsement situations?
DG: Currently endorsing: Zildjian Cymbals, Premier Drums, Hot Sticks, Remo Drum Heads, Rhythm Tech percussion, HQ "Realfeal" drum pads, Eames Drum Shells, Shure microphones, Grover percussion, Wright handrums, Regal brushes, Vic Firth mallets and accessories.
I currently use a small kit-1 or 2 rack toms, 20" bass, 14" floor tom, Genista and Signature Marqui series from Premier, and many cymbals, depending on the situation. Currently, I use some (all Zildjian) 22" flat-ride prototypes, some 18" flat-ride prototypes, 22" and 20" K Custom Dark Dry ride, 20" Constantinople Medium Ride,18" Oriental Crash, 16" Vintage Crash, 10" Extra Thin Splash, 14" New Beat Hi Hats.
AAJ: Are there any specific things you do other than music itself that you feel add to your ability to play and create better?
DG: Exercise! It's the best! My wife is a serious runner, and she's getting me to do at least something everyday! I just ran my first 15k, 10k and 5 k races recently. A half Marathon is next! Listen a lot, practice, enjoy life, have a positive attitude, help others. It all adds up and comes out in the music.
AAJ: All great things to have incorporated in your life, regardless of what you do. Whats coming up for you in the near future?
DG: Pretty busy! The rest of 2000: I finish the Transfer gig; play another week at the Christmas show at Epoct in Orlando with my wife (50 pce. Orchestra); record in NY with the George Gruntz Concert Jazz Band; play a big band gig with an old friend and friend of Mel Lewis, Clem DeRosa; finish a record with saxophonist Jack Wilkins; return to NY and be best man at my best friend Ken's wedding, and then reurn to Florida for a New Year's gig with trumpeter Glen Zatola, and one of my favorite bassists, Mark Neuenshwander. In 2001, I play at IAJE in New York in January with Chuck Owen's Orchestra, again with tenor saxophonist Jim Rupert (Lew Soloff appearance there has been cancelled), record with percussionist/arranger Mike Whalen (with Michael Brecker, Mark Egan, Tony Levin, among others), then play at NAMM show in Anaheim with Jeff Berlin, and at Muriel Anderson's guitar night. Also scheduled; some kids concerts in the Orlando area, a March trip to Japan with guitarist Haru and Harvey Swartz, and an April trip to Europe with the Soloff Quintet. And then: a new Elements record, a new Danny solo record, and a percussion record with my wife, Beth.
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Interview
Danny Gottlieb
Mike Brannon
Maynard Ferguson
Mel Lewis
Dr. John
Diana Krall
Joe Beck
Chick Corea
Tony Williams
Wayne Batchelor
Joe Morello
Thad Jones
Bernard Purdie
Bob Moses
Gary Burton
Bill Goodwin
Phil Woods
Bill Evans
Elvin Jones
Jack DeJohnette
Ed Soph
Dan Haerle
Woody Herman
Sarah Vaughan
Gil Evans
Benny Goodman
Stewart Copeland
Mark Egan
Will Lee
Nnenna Freelon
Michael Abene
Avishai Cohen
Paul Motian
Kenwood Dennard
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