Once again, Paul Wertico pushes the sonically progressive envelope to its limits by creating ultra-modern music that occupies the space between Visual Arts and Experimental Jazz Idioms. Paul is continually exploring these advanced rhythmic concepts… Many of which verge on the sensory characteristics of ‘Synesthesia’… The perception of reality becomes significantly altered when an individual has Sound-Color ‘Synesthesia’. This is where someone can see specific colors when hearing certain sounds or music. Artists and Musicians often describe having this one specific form.

Synesthesia // sinəsˈTHēZH(ē)ə/

“Simply put, when one sense is activated, another unrelated sense is activated at the same time. This may, for instance, take the form of hearing music and simultaneously sensing the sound as swirls or patterns of color.”

Paul Wertico has always gone above and beyond the established definitions of ‘What Jazz Is’. Breaking everything down into a brand new melodic form of ‘Visualized Storytelling’. One never knows where Paul will be taking his next musical journey -- With most of his drumming being spontaneous and in the moment. Thankfully, Paul always records everything... Meticulously preserving it for the enjoyment of future generations.

“This music is alive, even more than “live”; and, as happens to all living beings, it cannot be analyzed or vivisected. It pulsates, breathes, moves about and seeks its way with the unforeseeable spontaneity of an organism in full possession of its will and ability.”
-- Chiara Bertoglio

Although I appreciated every tune on Paul’s recent album - ‘Drums Without Boundaries’, the standout for me was: (Deconstructing John Cage's) Third Construction -- John Cage (1912-1992) was an American ‘Avant Garde’ composer who dedicated his life to experimental music. He challenged the very definitions of music and musicianship. Cage once said…

“Music is about changing the mind - not to understand, but to be aware.”

Cage's 1952 composition 4’ 33” emphasized the absence of sound. Cage sat at the piano for 4 minutes and 33 seconds without playing a note. He presented silence as a structure within musical notation. Cage’s intent was to focus attention from the performer to the audience. Cage’s conceptual development of 4′33″ was the direct result of his interaction with visual artists he associated with at Black Mountain College.

“In the absence of deliberate sound, musicians who present the work do nothing but be present for the duration specified by the title. The content of the composition is intended to be the sounds of the environment heard by the audience during a performance.“ -- John Cage

Regarding John Cage: Between 1948 and 1953, Black Mountain College, in Asheville, North Carolina, was one of the leading experimental art schools in America. Cage first visited there in the spring of 1948.

The school attracted many notable students and teachers, including: Artists Josef and Anni Albers, Architect R. Buckminster Fuller, Abstract Painters Elaine and Willem de Kooning, Dancer and Choreographer Merce Cunningham, along with Painters Jasper Johns, and Robert Rauschenberg. It was Rauschenberg who influenced John Cage in the early 1950’s which was later proven to be immeasurable.

In the same spirit of experimentation, Paul Wertico appropriated John Cage’s ‘Third Construction’ improvising over the piece totally with brushes for 11 minutes and 25 seconds. Paul described this as the complete use and integration of ‘Horizontal’ drumming, creating forward motion and a smooth, continuous, seamless sideways flow - rather than employing a ‘Vertical’ up and down, jagged, stop-and-start type rhythmic approach.

In the spirit of ‘Postmodernism’, John Cage who died in 1992 became an unknowing collaborator with Paul Wertico. Yet, together they have created a truly original piece of music spanning diverse periods of time.

“Cage’s music reveals itself gradually, as happens with all temporal phenomena and with all friendships; Wertico’s receptivity is in turn unveiled and constantly challenged as the process progresses.” -- Jeff Cebulski,

Paul Wertico recorded the album ‘Drums Without Boundaries’ with Italian musicians - bassist, Gianmarco Scaglia, vibraphonist Mirko Pedrotti, The Ichos Percussion Ensemble, and British guitarist Alex Munk. On this new project, Paul was both the leader and producer.

Those interested in the future of drumming need to look no further –

‘Paul Wertico’s album ‘Drums Without Boundaries’. Da Vinci Classics is

available through AMAZON.

“Whatever the format, I really want as many people as possible to hear this music, since I can’t adequately express how proud I am of this project and of everyone involved in the making of it!”

-- Paul Wertico

Paul Wertico: The Sound Painter

By David Barsalou

https://www.notsomoderndrummer.com/not-so-modern-drummer/2019/12/26/paul-wertico-the-sound-painter

REVIEW | Paul Wertico's Drums Without Boundaries --- By Jeff Cebulski

review-paul-wertico-drums-without-boundaries

Drummer Nation: Paul Wertico

Paul discusses the many stylistic elements of his playing, his love for flat ride cymbals, and his new CD, "Drums Without Boundaries."

https://www.youtube.com/watch?v=aT9dVSEvw1E

Drummer Nation Paul Wertico CD Excerpt

https://www.youtube.com/watch?v=NmZIoS60lIY

Sound (1966) John Cage and Rahsaan Roland Kirk

https://www.bilibili.com/video/BV17s411k7Rk/

Paul’s Groundbreaking Book ‘Turn The Beat Around’ A Drummer’s Guide to Playing “Backbeats” on 1 & 3 is available at music retail stores, online retailers, and Alfred.com.

“PAUL WERTICO’S DRUMS WITHOUT BOUNDARIES is an outstanding and unique pairing of percussion ensemble with one of the world’s finest drum set players. Paul Wertico and the Ichos Percussion Quintet effortlessly combine instruments, genres, and traditions into a kaleidoscopic album that showcases the true musical and emotional capacity of percussion. The grooves, lyricism, dynamics, and tone colors explored in each track combine to create an eclectic album full of surprise and energy.”

– Peter Martin (Percussionist in the Grammy Award-winning percussion ensemble, Third Coast Percussion)

“PAUL WERTICO’S DRUMS WITHOUT BOUNDARIES is a percussion tour de force with Paul Wertico’s blazing and refreshingly unpredictable drumming paired beautifully with the Ichos Percussion Quintet’s adventurous sounds to create an array of evocative moods through a suite of powerfully mysterious and exciting pieces.”

– Glenn Kotche (Percussionist & Drummer in the Grammy Award-winning band, Wilco)

“PAUL WERTICO’S DRUMS WITHOUT BOUNDARIES balances groove, tonality, and free playing into a thoroughly enjoyable experience. Their use of the standard instruments of the percussion ensemble blends seamlessly with all of the various styles in the project. Paul Wertico’s virtuosic and creative solos top it off. When Paul told me he was improvising over John Cage’s “Third Construction” I thought it was crazy. However, the only thing crazier is that it actually works! I have performed and conducted “Third Construction” many times. The ensemble’s performance of the piece is excellent and Paul’s improvisations fit right in. This is a percussion album not just for percussionists but for anyone that enjoys creative music.”

– Ed Harrison (Principal Timpanist at Lyric Opera of Chicago, Artist Faculty at Chicago College of Performing Arts, and Director of Chicago College of Performing Arts Percussion Ensemble)

Paul Wertico’s ‘Drums Without Boundaries’ Personnel

Paul Wertico, drums and percussion

Gianmarco Scaglia, bass

Alex Munk, guitar

Mirko Pedrotti, vibraphone

John Moulder, guitar

The Ichos Percussion Quintet:

Luca Vanoli, glockenspiel

Georgio Calvo and Fabio Zuliani, marimbas

Gianmaria Romanenghi, percussions and timpani

Nicolo Giovanni Demurtas, percussions

Paul Wertico