The Official Steve Gadd Website ::: ACCOLADES

Steve Gadd's Drumset

ADAA 2003 DVD Set

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Mission From Gadd

John Tropea

I met Steve in 1972. He and Tony Levin were walking down West 48st at Manny's Music. Shortly after we found ourselves on both recording and live dates on a regular basis; from Paul Simon's
"50 Ways to Leave Your Lover" , Chuck Mangione ....to playing
live at Mikell's with the Tropea Band.

In 74 I did my first solo album (Tropea) and had two drummers on
it: Steve and Rick Marotta. It was an experience I will never forget.
We went on to do two more with double drums in 76 and 78.

In the late 80's and early 90's I had the honor of playing with Steve, Will Lee, Ronnie Cuber and Ralph McDonald in Richard Tee's band, both in the USA and Japan. Another musical experience that was priceless.

In 2004 and 2005, he was a major part of my two "Standard Influence" CD's. As any musician would agree: we are all blessed with his presence and musicality. Any music that comes out of me has a piece of Gadd in it!

Here's to you Steve,
With much friendship, love and respect,

-John Tropea
www.johntropea.com

Pat Forero & SG

As a teenager I was able to do a drum duet with Steve Gadd. For any drummer this experience is LIFE changing! I knew that day
that one day I would be sitting next to him again. Several years
later I found myself sitting next to Steve at a Yamaha Drums autograph signing session.

Steve is a soft spoken, modest man. I am inspired not only by his musicianship but also by his human nature.

I love you Steve!!

Thank you for inspiring all of us with your genius as a musician and also for providing a role model that teaches us that no matter how great and close to perfect your talent may be, it is far more important to be a good human being!!

Forever grateful
Andres Patrick Forero
http://patforero.com

Peter Erskine

Steve Gadd is to drumming as Pablo Picasso is to painting: modern yet elemental, groundbreaking but earthy, simple yet complex...and an important/ever-present part of our cultural panorama. I salute and thank the man whose timekeeping has become the language of our time.

Tony Levin

In Rochester in the '60's, Steve and I were joined at the hip. Daily rehearsals with the Wind Ensemble and the big band, history of symphony class, and gigging together in Gap Mangione's band, from 6:30pm till after midnight. What I picked up; hopefully some
of his exceptional feel for time rubbed off on me, as well as his openness to new musical ideas. What Steve got from me was only an occasional peek at my paper during a history of symphony test, to see stuff like how to compare a late Haydn symphony to an early Mozart one. (Yes, I knew a little more than Steve about the subject, but only a little more. What I did know is that the teacher wouldn't be bothered reading the papers of the jazz drummers and bass players in his class.) In later years we played together quite a bit, but never as full-time as those school years.
I remember them very fondly.

My recommendation for Steve's website is that we try to unearth
one of his history of symphony essays, and publish it here so somebody finally gets to read it and see how the man actually compares Mozart and Haydn.

Steve Khan

Without question one of the most fortunate moments in my musical life was the day, somewhere in the early ‘70s, when Steve Gadd crossed my path. Like everyone else, who had migrated to New York, I came with my various drum heroes all neatly tucked away
in their place of honor in my memory. In my experience, prior to that moment, I had never seen a drummer take a lead sheet, not even
a specific “drum part”, and while sight-reading it, interpret it and personalize it at the same moment. As the years were to come
and go, I saw Steve do this on countless occasions, one experience more wondrous than that which had come before. When Steve wants to play, there is nothing that he can’t do!
In the end, Steve Gadd set a standard for a particular level
of artistry, creativity, swing, groove, and musicality which
influenced, and will influence generations of drummers to come. Congratulations Steve on all that you have accomplished and achieved in your life. I am forever grateful that you were a most significant part of my first three recordings as a leader(’77-’79),
and for all that you taught me about what it truly means to be
a great musician. I am still learning from you!

Love to you, Carol, and your family,

Steve Khan
Caracas, Venezuela
September 10th, 2005

Chris Parker

I've always admired Steve since we first met when he played with Joe Farrell at the Village Vanguard,not only his playing, which I'd
already heard on record with Tony Levin & Chuck Mangione,but
as a person who was direct,friendly,serious,handsome(!) and interested inwhat I was doing as well.

We became good friends and evolved into co-founding the band Stuff. In that environment,I sat in awe of his command of the instrument, and admired his musicality nightly,enjoying our dialogues at the drum sets.I feel extremely fortunate to have worked side by side with Steve and I'm very proud of the recorded work we did together with Stuff, The Brecker Brothers and on Saturday Night Live with Joe Cocker.

With Love and Friendship,
Toph

Buddy Rich

I love drummers, but it disappoints me because they have not elevated the art of drumming. They've set it back quite a few years.
I think the only guy who made a dent in the change-over, if you want to call it that, was Gadd.

Steve Gadd was and probably still is, the best at that particular kind of drumming. I think that's because he has a jazz background, so he's able to incorporate it when he plays. He was very interesting in the beginning. Out of all the drummers I've heard, Gadd would have to be the one who has the most class behind the drums.*

Robbie Dupree

About Steve Gadd- actually Steve worked on Smoke and Mirrors. As always, it was brilliant to work with him. Steve, Tony Levin, Jeff Pevar and David Sancious cut the basic tracs in 2 days. It was a great session and the hang with those guys was memorable. Steve drank 1000 cups of espresso. It was lots of work in very little time and so not much in the way of social stuff. If you haven't heard the record, you should hear the incredible mood that steve set up. many tracks with brushes only. really sensitive playing and the feel is beyond.

Peter Levin

During the 70s Steve and I crossed paths often in NY studios,
but I have no stories you haven't already heard. (He was so busy that NY session players used to joke that Steve was "being fed intravenously between studios.") We were on Paul Simon's
One Trick Pony tour together. A special treat for me, playing with
Steve & Tony for months - and very special playing with Tee!

My one unique experience with Steve was The Clams sessions. It was way out of his regular bag - two-beat ragtime, or "Corn" as Spike Jones used to call it-but Steve found ways to approach it from a fresh viewpoint, like playing rhythm with brushes on a NYC phone book. It was all done as a gag, but we actually had a top-40 hit single come out of it, "Close To You". Talk about something that
could never happen today! CTI released the single, but weren't interested in a follow-up album (Translation: The Clams got canned!) so unfortunately several other Clams gems have never been released. Almost 30 years later, one of those unfinished tracks would now stand as being totally unique in the Gadd
discography. "The Godfather Theme" was a huge hit record at the time. The Clams' version had Steve tap dancing, trading 4's with a machine gun. Never completed and with the master tapes long missing, I'm sad to report that this precious, landmark moment in music history is lost forever.

Freddie Gruber

I know the phrase one of a kind is used very often, but in this case, it really applies. Steve Gadd is solely responsible for inspiring an entire generation or more of players and their approach to the music.

In other words, he's the real thing!

Chuck Loeb

First of all I have been a huge fan of Steve's ever since I first became aware of his playing in the mid '70's. One of the first projects that made me aware of his immense talent and innovative approach was The Leprachaun by Chick Corea. When I heard that I was hooked instantly, and he changed my view on drumming in one instant, and I continued to follow his career project by project, right up to this day.

With that in mind you can imagine what it meant to me when I was hired for my first proffessional NYC recording session and he was the drummer! Not only was his contribution to the date superb as always, but he and percussionist Ralph MacDonald went out of their way to make the new kid feel welcome by coming over to me on a break and saying "Hey - good job, you sound good" and making me feel at ease. I'll never forget that.

Since then I have had the great fortune to work with Steve a number of times, including producing dates that he played on! What an thrill that was. He always brings the highest level of musicianship, innovative technique and parts, a great attitude, and most importantly, an earthy deep groove that has made hit records for decades. What else can I say - he is THE MAN!

Dave Mattacks

I went to the Berklee Award thing last year (he & Armand were honored) ...he was unsurprisingly swamped by people & I asked Jim McGathey (from Zildjian) if he'd (re-)introduce me as I wanted to add my congrats', figuring at worst he' d say something like
"Oh thank you ..."

... Jim says, "Steve-this is Dave Mattacks...and he says -

"Dave-how's it going in Marblehead-you moved there, right ?" !!!!
(I'd heard he'd thought about moving here several years ago...)    ...that really says so much about how he cares for and remembers things about people-and how many he must meet every week doesn't bear thinking about -he's just a top chap! As for the music, well it's been said before, but it's not hard to hear
that's what counts with him .....

We both played on Paul McCartney's Pipes of Peace and
Tug of War, The McGarrigal's Dancer with Bruised Knees
(way back when)...I think there's some other CD's with
us both on too, but I can't recall them...

Jerry Marotta

Steve Gadd is one of Natures "Noblemen. "He's a pretty good
drummer...and he's got two of the nicest daughters in the world!

Joe Beck

Playing with Steve means never having to say you’re sorry.

Danny Gottlieb

Steve Gadd is one of the greatest drum stylists of all time! I love
his playing and have listened to hundereds of recordings featuring his touch, time feel, conception, and musicality. He was certainly
a great and important influence on my playing with the original Pat Metheny Group.

In the 70's and 80's, I heard Steve play many times at a variety
of New York clubs. Some of my special memories of those days included: standing at the side of the stage at The Bottom
Line club, I think Steve was playing with Stuff, and hearing Steve play just an unbelievable drum solo!!!! I remember standing there, shaking my head, and then flying out the door filled with incredible inspiration and ideas.

Another special evening was spent with best friend, (and no relation by blood, but by friendship) percussionist Gordon Gottlieb. We had one of those special days together and I will never forget it. We decided to go to Yankee Stadium to see an afternoon game, and we met a guy on the subway, named, of all names, Bob Gibson. He had field level tickets, and gave them to us.... unbelievable seats! On the way back, we had heard that the championship game of the short-lived USFL football league was taking place at the Meadowlands later that night. Should we go? Why not?

So we drove out to the Meadowlands, and while on line, someone had extra tickets, on the 50 yard line. Amazing seats, again!!!!! Had fun, and, on the way back to the city, Gordon mentioned that Steve Gadd was playing at The Lonestar, right near his apartment. Should we go? SURE!!!!! We get there, and the person at the door puts us in two seats, RIGHT IN FRONT OF THE DRUMS!!!!

We were laughing hysterically about the craziness of getting great seats at ALL events, and we just sat there, loving every minute of Steve's incredible playing. I don't even remember the group, but I remember the drumming! Actually, now that I think of it, Al Jarreau stopped by, and sat in for a tune. An amazing day, with Steve at the finale!

I also remember spending a few moments with Steve on the road, while I was playing with the Blues Brothers Band. Steve and Alan Rubin were great buddies, and Steve (I think he was on the road with the late Michel Petruciani) was wonderful and supportive.

Another interesting topic to note....Gary Chester was another great, legendary NY studio drummer in the 60's and 70's, and later in life, after his incredible studio career, before his untimely passing in the 80's, became a world renown drumset instructor. I took some lessons with Gary, and was involved with helping him get started on a drumming text, which was later published as an instruction book called "The New Breed." Since Gary's passing, the book has become one of the main texts used in the study modern drumming, and specifically in styles that relate to the innvations of Steve Gadd!

A few months ago, I was cleaning out a box of old cassettes, and I saw one labeled: "Gary Chester 1 and 2." I figured that it was a tape of me practicing Gary's book. As it turned out, it was an interview tape, of me asking Gary specific questions, to be used for the introduction of the book! As it turns out, there are very few tapes of Gary's lessons, or even his voice. I turned the tape over to his family, and they are in the process of editing it for the purpose of including it in future releases of "The New Breed."

The reason I mention it, is many of the questions I asked Gary related specifically to Steve Gadd. The point I was making, in the discussion with Gary, was that the method book he was writing contained some very advanced groove and coordination ideas, that really were not found in the traditional studio drumming that Gary himself had played. When you hear him on "Bad Bad Leroy Brown", or "Do the Locomotion", or "Do You Believe in Magic?", the drumming was straight-ahead, as compared to the advanced coordination exercises in "The New Breed."

My point to Gary, as mentioned on the tape, was that when Steve Gadd started to be recognized as a studio performer, his groove style, with creative nuances, became an example of a CREATIVE drummer, whose drumming became accepted as a commercial style. It was something to me that was almost unheard of before Steve's influence. I have heard people mention that they feel Steve Gadd invented "Disco" because he used the device of playing off-beats on the hi-hat as a musical nuance. It became one of the main points of our conversation, and when the tape is released, I hope Steve's fans will enjoy hearing Gary's responses and comments. And, of course, Gary, loved Steve's playing as well!

Anyway, Steve- all the best of luck with this new website!!!!
Best regards,
Danny Gottlieb

Chick Corea

Every drummer wants to play like Gadd because he plays perfect... He has brought orchestral and compositional thinking to the drum kit while at the same time having a great imagination and a great ability to swing.

John Beck

From the moment I heard him play, I knew he was special...
and he never let me down.

Forty-four years ago, I walked into Levis music store in Rochester New York to hear this kid play snare drum...standing in the corner
of the studio was a young man in front of a drum pad with a pair of snare drum sticks in his hands. I said play something for me...
he did and from that moment on, I knew he was special...
that young man was Steve Gadd.

Here is a memory of Steve's Eastman School of Music Performer's Certificate/Senior Recital performed on
February 16, 1968 in Kilbourn Hall:

Most recitals are attended by a small number of students. For Steve’s recital, the 450 seat Kilbourn Hall was standing room
only. The featured work on the program was The Eleventh Commandment (Thou Shall Swing) by Chuck Mangione.
Some of the players in the piece were: Vincent Dimartino, Gerald Niewood and Tony Levin. It was conducted by Chuck Mangione.
It was a big success.

On a personal note: Steve has accomplished a lot. He did it in
a style that i admire...he did it musically, drumistically and with
a sense of humility. he was not out to show how well he can play...but he put the music first...put it in the pocket...and that
is to be admired in today's chops conscious world.

Steve Smith

There were all the other great fusion drummers at the time like Lenny White, Alphonse Mouzon and Mike Clark, who were all essentially great jazz drummers but playing the music of the time. You had Steve Gadd shortly after, who again turned everyone around with his concept. I think after Gadd it was the Linn drum machine that became the new drum star of the ‘80s.

Steve Gadd was a big influence. But his concept is based on
so many other people, like Vinnie Ruggerio, Bernard Purdie, Dave Garibaldi, Elvin Jones and Buddy Rich.

Don Potter

I knew Steve when we played together with Chuck Mangione. There was never a problem knowing where the groove was. Whenever I would get out of the pocket from being overly excited about playing in such a band, he would bear down on the groove a little and I knew he was re-establishing his dominance. Some of that rubbed off on me, I hope, and now I’m one of those who just share Steve Gadd stories.

The bible says that a musician plays with authority when he plays with knowing. Steve’s knowing is over the top.

-Don Potter

Ned Corman

Bill Freibergis a fine drummer who made his way in Nashville for two years before getting the calling to become a doctor. Bill is in med School in Philadelphia but will return here, provided, at the appropriate time, he is accepted at U of R.

In Bill's sophomore year, the next to last year I taught at PHS,
('92 - '93), Steve Gadd kindly agreed to come to our school and speak with kids. For the session, we had two drum sets in the band room facing the rear wall.

Steve has come to PHS several time, earlier, but spring '93 was the first he wanted to come alone. Previously, he always brought several other musicians, arriving, playing a set and leaving. I think Steve, as Max Roach, Jon Faddis, Freddy Cole and lots of other great musicians, was nervous either about being around kids or knowing how to share with students. Steve, Max, Jon and Freddy all helped PHS kids, but were pretty uncertain how things would go.

I introduced Steve to the kids explaining that Steve was just back from holiday and had not played in a few weeks. I asked Steve if he would show the kids how he "gets back into it." Steve agreed and the next 10-15 minutes were exciting and even stunning. He explained his warm up, as he progressed. The transformation
was palpable. It was and is hard to believe so much audible change could take place in such a short period.

We had put up two drum sets so that several drummers could play with Steve. Patrick Forero, then a PHS senior who went on to Manhattan School of Music and has, for several years, been William Cepeda's and other's drummers, played first. Steve and Patrick had a good time.

When it was Bill's turn, as you would imagine, Bill was nervous. Shortly after beginning, nerves got the better of Bill and, although he did not fall apart, he lost it. There upon, Steve began softly singing Bye Bye Blackbird and, immediately, Bill was back on track and in the groove. It was one of the most magical pedagogical fetes I've seen.

Steve doesn't, or at least didn't, see himself as a teacher. Whatever he thinks he is, he is a kind and thoughtful human being who knows how and wants to help one in need. I doubt there is more any could ask from a teacher.

Ralph Ortiz

I feel very honored and priviledged to have been in the studio recording with Steve Gadd. Also, to have him come in and listen to or sit in with different bands I've been in. I find it hard to believe I've been touched by Gadd so many times. I'm blessed.

Mike Kaupa

I played with Steve on a couple big band gigs in Rochester and while sitting in once with the Joe Romano Quartet at the first Rochester Internaional Jazz Festival. At the Romano gig we played Cherokee and a blues. Trading 8's on Cherokee with
Steve Gadd was one of the musical highlights of my career!

* The Drummer's Time- (conversations w/the great drummers of jazz) by Rick Mattingly.