John JR Robinson: Remembering Tony Williams

Back at Berklee College of Music in 1973, I had become friends with Steve Smith. Of course, we came to a common denominator – Tony. Steve and I talked about muscle cars. Steve was driving a 1968 Camaro back then. He asked me to meet him in front of the 150 Massachusetts Avenue building around 7:00 pm or so. I got into his car and immediately felt like I was at home - a muscle car, 12 pack of beer, and Tony playing on Steve’s car stereo!

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Skip Hadden: Remembering Tony Williams

Several years later I had the opportunity to work at the same club as the Tony Williams Lifetime when they were touring and playing the music that was on the “The OLD Bum’s Rush,” recording. He already had the big yellow Gretsch kit by this time with the 24” bass drum and multiple toms. Each night over the course of the week the band gelled better and on the final night it was truly amazing. The entire night was smoking; one tune would have been worth waiting the week to hear, let alone the whole night.

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Paul Wertico: The Sound Painter

In the international press, Paul has been called “an inspired madman,” and “a restless innovator.” The same could be said of painter Jackson Pollock. There is a direct rhythmic connection between what Paul composes on the drums and what Pollock visually composed on canvas. Each deliberately using an organized rhythmic pattern while communicating their inconsistencies, anomalies and imperfections. Both speaking different languages of which only they can understand and interpret. Critics may never be able to fully describe the true motivations and complete originality of Paul Wertico and Jackson Pollock since both were creating in the moment. 

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