Don was a king for me. He had a never-ending desire to reach the center of music. In our early “Los Muchachos” days, we spent mucho time discussing the world around us and how we could achieve success through our determination to have the world's greatest occupation, being a musician.

When we hit the New York City lofts and began jamming with other like-minded individuals, our futures expanded rapidly. In just a few years we managed to travel and perform with Nina Simone, Sarah Vaughan, Mongo Santamaria, Willie Bobo, Elvin Jones, and Miles Davis.

Yes, Don was a king who could fit with anything.
One of the last times we played together, we sensed between us an instantaneous shifting of feelings from swing to funk to Latin. His conviction was carved into his face, yet he always presented a gentle desire to create harmony with those around him.

This recording brought together his dream of presenting his music, highlighting a deep commitment to the essence of percussion. Long live the King’s music!

Gene

NOTES

It’s ironic that some of Don’s most high-profile gigs feature him on a drum set. Nina Simone, Joni Mitchell and on Miles Davis genre busting LP “Bitches Brew,” (where Don was playing percussion), Miles moved him onto the drum stool for “Miles Runs the Voodoo Down.”

But make no mistake about it, Don’s was first and foremost a hand percussionist. Included alongside the names mentioned above Don’s talents were enlisted by Herbie Hancock, Roberta Flack, Weather Report, Elvin Jones, and many more throughout his career.

Viewing this video, you’ll see why Don was in such demand. Don takes you through the steps of layering multiple percussion instruments to form a complete track. As each instrument is added a split screen technique is used to watch him add each instrument to the previous track so you can see how the whole process unfolds in real time.

From the moment the skin of the hand hits the skin of the drum you realize your witnessing a true master at his craft. The result is a swirling orchestra of rhythm pulling you into its multiple currents and propelling you into a whole new appreciation on the possibilities of percussion.

Sadly, Don passed away in 2006 but we’re fortunate he left us such a rich legacy of recordings and performances. Don is also featured on a Juilliard Masterclass video also available from PM Records.

NOTES

Don Alias made his name in the creative musical explosion of the late 60’s and 70’s and beyond. The fusion of Jazz with Latin, rock, and R & B influences created a sea change in the music world. Soon it became common to find “jazz” musicians listed on rock, folk, and R&B records. Don’s percussion mastery found a home in every genre. A small list of his collaborations is mentioned by Daniel Druckman in his class introduction.

In this class Don explains his roots in Afro-Cuban music through career anecdotes highlighted with demonstrations of the various drums and their functions. For instance, in one segment he explains how in Afro-Cuban music you’ll see multiple hand drummers. Don breaks down the function of each drummer and how what each one plays creates the greater rhythm. He then demonstrates how one drummer can get the same effect on his own.

Don stresses the importance of approaching the study of percussion like you would any other “serious” instrument. As the class progresses and he breaks down the history of the rhythms and how they’re played he’s opening the door to whole new dimensions of limitless possibilities.

To anyone new to the world of percussion this master class is the perfect introduction. To the seasoned player he’ll find it a valuable source of inspiration.

Don welcomes the viewer to his world with his enthusiasm for his art and delivers it with an infectious sense of humor. One thread of advice that runs throughout the class is Don’s approach to music and life of “meeting the challenge.” Good advice from one of the masters.

James Gilheany

TRIBUTE TO DON ALIAS

Montreal International Jazz Festival: Jean-Pierre Zanella at L’Astral, July 3, 2011

Photo by Jean-F. Leblanc/ Montreal International Jazz Festival