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Home , Airto Moreira, Al Di Meola, Bill Connors, Bitches Brew, Buhaina, Chick Corea

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LENNY WHITE

CHAPTER ONE RTF (SLIGHT RETURN) n the basement of his New Jersey home, located just minutes from Manhattan across the George Washington Bridge, is showing off his bicep. “Feel this,” he says, making a fist and flexing his left arm. It is rock hard and bulging, like Schwarzenegger circa his Pumping Iron days. Not bad for a guy who is closing in on 60 (he’ll be I59 on December 19 of this year). “Now feel this,” he says, offering his right bicep for inspection. It is half the size with none of the musculature of that

mighty left bicep. “Rotary cuff surgery,” he apy before embarking on a whirlwind explains. “I had orthoscopic back on Sep- 2008 summer tour with Return To For- tember 20. They didn’t replace the shoul- ever. Given the demanding nature of those der; they just went in there and cleaned it pulse-quickening, chops-busting RTF out. All the muscles in my right shoulder scores from the ’70s, he’ll need to be in atrophied and I’ve been trying to build it peak condition to cut all the intricate, stop- back up for the last months. I had time unison lines and intense, precision nothing … zero, man. I couldn’t play for 30 fills around the kit that defined seconds on a pad it was so bad. And so I’ve (and a genre) more than 30 years ago. been getting it back gradually.” For fusion fans, the prospect of Return The shoulder injury, however, didn’t To Forever getting back together again prevent White from flying to Los Angeles after all these years (the group dis- the previous week to participate in re- banded in 1976) is akin to a Beatles re- hearsals and a group photo session in union, and for the past few decades preparation for the much-anticipated Re- seemed about as unlikely. Corea was the turn To Forever reunion tour (June 1–Au- lone holdout in recent years. While gust 10 in the and Europe). Clarke, Di Meola, and White had been And his RTF bandmates – , lobbying for an RTF reunion, the three , and – barely were unable to persuade Corea to take noticed any difference in his playing. “I up the cause, until now. “I think there hadn’t played in four months,” he ex- are a lot of reasons why it got resolved,” plains. “My first playing since the surgery reflects White. “You know, iron wears was when I went out to L.A. and did the out ... eventually. And I think it just got thing with . But it was to a point where Chick realized, ‘Hey, like riding a bike, man. And it was great man, why not?’” just to go and play that music again. Just to While the individual members had get an opportunity to reinvestigate some- been busy carrying on with their own re- thing that you did before – that’s exciting.” spective bands and undertaking various At the time of this interview, White still creative projects on the side, White had a few more months of physical ther-

RTF rehearsal circa 1974

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sensed a Return To Forever reunion might have larger implications than just four brilliant virtuosos getting back to- gether to play “Hymn Of The Seventh Galaxy,” “Song To The Pharaoh Kings,” and “The ” once again. “It seemed like the right time for this,” says the lefty drummer. “I think the cir- cumstances now warrant for something to happen, an event that would hopefully galvanize the creative end of improvised music again on a grand scale. And this Return To Forever reunion could be that event. The synergy of these four guys get- ting back together and doing it, I think, can really make a spark and cause people to say, ‘Wow, maybe it’s cool to play this music again. Let’s do this!’” With the exception of the (whose original members – John McLaughlin, , , Jerry Goodman, and – are still very much alive and kicking, though existing in different orbits these days), Return To Forever is the last of the Mohicans from the golden era of fusion (roughly 1969–1977). As White notes, “ can’t get back together because ’s not here, unfortu- nately, and Jaco [Pastorius]’s not here, un- fortunately. is not here anymore, so there won’t be any Lifetime reunion. is not here anymore. And I don’t know what’s happening with John [McLaughlin] and Billy [Cobham] regarding any possible Mahavishnu re- union. But maybe this RTF reunion could even jump-start that, you know? “I’m looking forward to playing that music again with those guys,” White con- tinues. “I listen back to some of the live versions of some of the stuff back in the day and there were some real deep things there. My brother took some footage in ’74 and ’75 of that band, and one of the seg- ments is us playing ‘Green Dolphin Street,’ and it’s killing! It’s ! The rhythm sec- tion is definitely coming from that place, and the band is also flexible enough to take it into this high-energy realm of fusion. And of course, all these years later we’re individually better players on our instru- ments. We’ve all gone through so many different experiences in music and in life since then. We’ve grown, and that’s bound to be reflected in the music. So now it will be interesting to see how we interpret the old tunes from 30 years ago.”

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LENNY WHITE

other young bands for the opportunity to CHAPTER TWO JAMAICA BOY MAKES GOOD play for a gig at Art D’Lugoff’s famous Village Gate in the heart of Greenwich rowing up in the musically rich environment of the Jamaica dis- Village. A group called The Jazz Sumari- trict in the borough of Queens, a long subway ride away from tans – which included Clint bustling Manhattan, White was immersed in jazz from an early Houston, saxophonist Steve Grossman, age. “My dad was a real big fan,” he recalls. “He pianist , and a gifted young was in the Army with Lester Young, though Lester was a little Panamanian-born drummer named Billy Golder than him. But musically, he went from Prez [Lester Young’s nickname, Cobham – won the ultimate prize. When bestowed by Billie Holiday] to . Those were his guys, along Cobham left to join the Quintet, White replaced him in the Jazz with Count Basie and Duke Ellington. I eat left-handed, talk on the telephone Sumaritans. And when he wasn’t gigging And so I got an education in this music with my left hand, I throw right- with that promising young outfit, White by listening to his records.” handed, bat right-handed, shoot baskets honed his drumming vocabulary by jam- In a regular Sunday ritual at the White right-handed. My brain is wired to do ming with friends. household, family and friends would get all those things and to play the ride “We used to have jam sessions in together to eat and sit around listening to with my left hand. Billy Cob- George Cables’ basement,” he recalls. jazz records. “My father and his friends ham plays like that, so does Carter “That was one of the advantages of living would debate on who was better,” White Beauford. But every once in a while I in Queens. We all had basements, which says. “Was cleaner than Bird? will switch over and play something gave all the young guys a place to get to- Was Clifford Brown faster than Diz? And right-handed, even though you have to gether and play and work their stuff out I would take all that in. But at the same reprogram your brain to do that. My on their instruments. That’s what I’d do time I would listen to the music of my brother has some film footage of me when I was like 15, 16 years old. Instead generation on the radio. That’s where I of having parties where you ask your heard The Drifters, , The “Philly says to me, ‘Yeah, mom and dad if you could have people Coasters, Martha Reeves And The Van- come over and listen to records and dellas. Later on it was Marvin Gaye and Len, you sounded ... dance and stuff, guys would come over all the Motown stuff, The Beatles and for these jam sessions. We’d fix the base- Jimi Hendrix, and Frankie something.’ So after I ment up like a nightclub and we’d just Valli. I listened to all different kinds of play. My dad had a coworker who was a music coming up.” picked my face up off of cousin of [tenor saxophonist] Albert and Between the ages of 12 and 13 White ac- [trumpeter] Donny Ayler, so they’d come quired two things: his own and the floor, I had to think by to play at these sessions. And then his first case of puppy love. “Her name [tenor saxophonist] Syl Austin was a big was Antonia and she said her dad was a about what he meant ” family friend, so he’d drop by too. So it musician,” he recalls. “They lived nearby was a really cool neighborhood scene.” on Mexico Street in St. Alban’s, the next During this time, White also began neighborhood over from Jamaica. At some playing one of Stanley’s tunes with Re- picking up work with Weldon Irvine. point I asked her, ‘What instrument does turn To Forever back in the day called “One of my first gigs with Weldon was your dad play?’ and she told me he played ‘Lopsy Lu,’ and I’m playing that beat backing [R&B singer] Millie Jackson,” he . So I asked what his name was right-handed. And I also play brushes recalls. “And man, I had never played and she said, ‘John Coltrane.’” Antonia, right-handed, so go figure.” anything like that before. But Weldon sometimes called Syeeda by her Muslim By 1965, at age 15, White began playing said to me, ‘Listen, just play on the hi- mother, Naima, was five years old and fa- drums professionally. “There was a place hat, play backbeat and you’ll be cool.’ therless when Naima met Coltrane. Anto- down the street from my house called And he was right.” nia and her mother took Coltrane’s name Club Ruby,” he recalls. “My first band While attending the High School Of a year later when Naima and John were played there and they passed around the Art & Design in Manhattan, White got wed in 1955. In 1959, the same year they hat. That was the first time I made money his first opportunity to see John Coltrane moved to St. Alban’s, Queens, Coltrane playing music.” A year later, a veteran perform. It turned out to be a memorable would name one of his tunes from his Gi- keyboard player named Weldon Irvine experience for the aspiring musician, ant Steps , “Syeeda’s Song ,” af- came from Virginia to settle in Jamaica, providing one of many musical epipha- ter his stepdaughter. Queens and soon became a mentor figure nies to come. “I was 16 years old and I In his earliest years of playing, White for White and other young, aspiring took the subway by myself into Manhat- naturally gravitated toward playing players around the neighborhood, in- tan to see Trane playing at a ‘Titans Of left-handed on the kit. “The story is that cluding saxophonist and Tenor’ show at Philharmonic Hall [Feb- I was born left-handed and then when I trumpeter Charles Tolliver. By 1966, they ruary 19, 1966]. He was there with Sonny went to school they switched me around banded together to participate in a Jazz Rollins, , Zoot Sims, and made me write right-handed. Today Interactions competition, vying with and Yusef Lateef. Trane had his Ascension

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band with Rashied Ali and J.C. Moses on drums, Alice [Coltrane] on , and John Tchicai on alto sax. And I’ll never forget, man – after the concert it LENNY WHITE’S TRAPS was like I was walking on air.” The following year, one of White’s hip- per friends at school turned him on to a record by Miles Davis that registered with him deeply for a very specific rea- son. “It was ,” he re- calls, “and it just so happens that the drummer on that album was 17 years old at the time of the recording [May 1963]. And I was 17 years old at that time. So right away I figured, ‘That’s who I got to be like.’ It was Tony Williams. And when I heard him play on that record, I heard all the drummers who came be- fore him. I heard Max [Roach] and , Elvin [Jones] and and Philly Joe [Jones]. But I also heard the future of where drumming was go- ing to go. I heard the history, the present, and the future of drumming all com- bined into one guy! And I said, ‘Whew! DRUMS Innovation Drum Company Istanbul Agop: 14" hi-hat, HEADS That’s my guy!’ And from that point on I Virtuoso Series: 14" x 5.5" snare, 22" x 17", 18", and 19" crashes, 22" Lenny STICKS Signature listened to every Miles Davis record I 18" , 12" x 8" and 13" x 9" White Signature Epoch Ride could get my hands on, old and new.” mounted toms, and 14" x 14", 16" x Cymbal HARDWARE Vintage Gretsch White remains steadfast to this day in 16", and 18" x 16" floor toms. floating-action chain-driven pedal his admiration for the late, great drummer. “Tony Williams is a genius, man,” he says. “My affectionate name for him is God Coltrane with the saxophone. And then ing great. But then on the break I go back Drums. is God Bass, he’s when you think about what he did after into the kitchen at the Vanguard where God Drums. He was the closest thing to Miles, with Lifetime, it’s just incredible.” all the musicians hang out after the set, being perfect in the sense of playing the As a young developing player finding and there’s . So hero num- whole kit and taking what he played to his own way in the music, White got the ber one is letting me play his drums and such a great, high musical level. There rare opportunity to hang with and absorb hero number two is in the audience lis- are a lot of people who are very profi- wisdom from several master jazz drum- tening. And Philly says to me, ‘Yeah, Len, cient at playing the drums and playing mers on the New York scene. “, you sounded ... something.’ So after I great. was truly amazing at Pete LaRoca, Philly Joe Jones, and picked my face up off of the floor, I had to what he could do with the drum kit. But [Art Blakey] all let me sit in on their gigs think about what he meant by that.” just from a musical standpoint what when I was like 17, 18 years old,” he says. Shortly after that humbling experience, Tony played, to me, transcended drums. “They told me certain things that helped White was back at the Vanguard playing And there was so much technique in shape how I look at the music and how I with . “Now, Freddie what he did. You could listen to or watch play the music. And there’s a big differ- was complaining that I was playing too one of his solos and have enough of a ence from listening to an album of theirs, loud during the set. But on the break I go technique lesson to last you for years. To or now looking at a video, and actually back in the kitchen and Philly Joe’s back watch Tony Williams and hear the music talking to and interacting with your he- there again, and he says to me, ‘Yeah, Len! that he played in a solo or what he played roes. These guys shared their knowledge Now that’s what I’m talkin’ ’bout! Man, I within the music – it’s just untouchable.” with me, and I’ve always felt connected to used to make Miles’ lips bleed, I played so He’s quick to point out that Williams’ something larger because of that.” loud.’ So I was vindicated, you know? influence is still felt today. “It’s just amaz- He cites a memorable case that took And these kinds of reactions and interac- ing the effect he’s had on drummers. place at New York’s most hallowed jazz tions with guys who were my heroes are Tony made such an impact from ages 17 club, the Village Vanguard. “Buhaina was the things you just can’t pick up by learn- to 22, during the five years that he was always great to me, really a champion, ing the music from the records. It places with Miles. The influence that he had and he let me and Steve Grossman sit in you in a whole cultural context. It’s why I over the drums during those five years is with one night. So feel jazz is part of my heritage rather than like Jimi Hendrix with the or John we played and thought that we were do- just a musical style.”

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valuable lesson from that. I learned that CHAPTER THREE & BEYOND you can’t outthink yourself, that you should just do what somebody asks you n 1968, at age 18, White began gigging with the renowned alto saxo- to do, what’s needed and wanted. Don’t phonist and Blue Note recording artist, Jackie McLean. “Through play- try to do more than that.” ing with the Jazz Sumaritans and sitting in with different people I had White was in working gotten somewhat of a name around town,” he says. “Jackie had called with vibraphonist Buddy Montgomery my house and talked to my mom and dad about me playing in his (brother of Monk and ) Iband. I was still going to school and living at home with my parents, so my when Bitches Brew was released as a dou- dad would take me to the gigs after a full day of working his job. And he’d sit ble album in the Spring of 1970. It was his first recording and he was thrilled to there through the whole gig. After we For the next three days (August 19–21, see his own name prominently listed finished playing he’d take me back 1969), White and a crew of a dozen or so among his heroes. “As a kid, I always home. The next morning I’d wake up other musicians recorded what would wanted to see my name on an album and go to school, he’d wake up and become Bitches Brew. The sessions were cover,” he says. “In fact, on the back of would have to go to work again. That essentially an exercise in abstract collec- one of my records where it was our routine for a while.” tive improvisation with Davis directing lists the personnel – Dave Brubeck, Paul McLean’s band included bassist Scotty the proceedings like some kind of sor- Desmond, Eugene Wright, Joe Morello – Holt, pianist Harold Mabern, and trum- cerer stirring a big pot. As White recalls, I added ‘and Lenny White’ in pen, be- peter , who was fast build- “During the session we’d get a groove go- cause I just wanted to see my name on an ing a reputation as an outstanding ing and then Miles would point to John album cover. improviser and composer in his own McLaughlin or Chick or Bennie Maupin “So when Bitches Brew finally came out right. And hovering over White during or someone and stop the band, and that I went to a record store to see it. Unfortu- his tenure with McLean’s band was a person would play for a while until he’d nately, the guy was closing down but I sense of inevitability of where it might start up the whole band again. It was an really had to see it so I knocked on the lead. “Everybody kept telling me, ‘Man, experience, man.” window and said, ‘Please, can you just Tony played with Jackie, and from Jackie he went to Miles. And Jack DeJohnette “It freaked me out, man. I was like, ‘Wow! I finally played with Jackie, and from Jackie he went to Miles. So you’re going to play got my name on an album and it’s with Miles Davis!’” with Miles next.’” White explains that it was actually another colleague of Davis’ who even- White had worked in two-drummer show me the album cover?’ And he held tually tipped the trumpeter to White’s situations before in Queens, so playing the album cover up in the window and playing in the summer of 1969. “It just alongside fellow drummer DeJohnette right away I noticed that the names in so happened that I played a gig in was no problem. Percussionists Don order were Miles Davis, , Wayne Queens at a place called the Afrodisiac Alias and Jumma Santos were also on Shorter, saxophone, Lenny White, with Rashied Ali, and there was a the session for those three days and, in drums. I’m the third name on there! And trumpet player on the gig who I used to fact, on the second day White switched it freaked me out, man. I was like, ‘Wow! see all the time with Miles. His name places with Alias on “Miles Runs The I finally got my name on an album and was Dion. And on the break he said to Voodoo Down.” As he recalls, “Miles it’s with Miles Davis!’” me, ‘Man, has Miles ever heard you wanted to have, like, a beat on that Around this same time, Tony Williams play?’ I said no and he said, ‘I’m going piece and I started playing all this slick Lifetime was beginning to make an impact to tell him about you.’ And I was like, stuff because, you know, I’m a Tony on the burgeoning jazz-rock scene with its ‘Yeah, yeah, right, sure, whatever.’ And Williams fan and I’m playing with Miles slash and burn, proto-punk approach to sure enough, I got a call from Miles Davis so I wanted to show off my stuff. the traditional jazz organ trio (with the shortly after that gig to come over and But I out-thought myself. Instead of just young British electric guitar sensation rehearse at his house.” playing a simple beat, I was overplaying. John McLaughlin, and Hammond B-3 vet- In the company of Chick Corea, Dave And Miles pointed that out to me in no eran ). Williams had left Holland, Jack DeJohnette, and Wayne uncertain terms. He said, ‘No, no, you Davis’ band in February, 1969, after Shorter, White rehearsed just one piece ain’t gettin’ the chicken.’ So Alias sat recording and three months at Davis’ house on Manhattan’s Upper down at my drum set and said, ‘Miles, I later (on May 26 and 28) recorded his West Side. “I brought a and got this beat that might work,’ and he groundbreaking debut with Lifetime, the Jack had a snare drum and a cymbal. We plays this simple kind of funky New Or- aptly-named Emergency!, which was re- went through the first half of ‘Bitches leans beat. And that’s what ended up on leased in the early fall of 1969. Brew,’ and when we were through Miles ‘Miles Runs The Voodoo Down.’ I wound White had seen this volatile new band said, ‘Okay, be at Columbia studios to- up playing percussion on that song in- play at Slug’s on the Lower East Side a morrow at 10:00 A.M.’” stead of playing drums. And I learned a few times before their debut record

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came out. “Lifetime was already hap- pening around the same time that Bitches Brew was being recorded,” he remembers. “There were bands that pio- STANLEY CLARKE neered that direction earlier. I know was doing some electric stuff and I know that Gary Bur- e was in the city all the time. He had that vibe.” ton and Chico Hamilton and other That’s Stanley Clarke re- bands were exploring in that same area. “H calling his first encounters with drum- But it all crystallized, to me, with Life- mer Lenny White in . “It time. And when I heard that band it was was the late ’60s, early ’70s when I met like, ‘Whoa! You got to be kidding me! Lenny for the first time. I think I was What is this?!’ Because it was such a playing with Horace Silver at Slug’s, and I believe Lenny came to the show. new and different sound. It had the in- “Funny, but at the time, me being clusion of these -type influ- young, I was new to the ambience of ences, but it was still jazz. They were the city’s night life, the drugs. I was still playing straight-ahead stuff and 19 or 20, Lenny was 19 going on 40. they were swinging and burning, but We hung out and became friends in- then John would break into a guitar solo stantly. In a lot of ways he was like a big brother to me, me being from with a grungy rock sound and they Philly. There are many stories of would head off into these freak-out Lenny saving me from the perils of jams. But at its core it was still an organ the big city,” Clarke laughs. “One trio, which is straight-up jazz. So all this time, when I was playing with Joe music was fusing together and it was so Henderson, a guy pulled a gun on me. powerful. When I saw them play at I was so pissed, Lenny put his hand Slug’s, it changed my life. I mean, I was over the gun to stop everything. He later scolded me, saying, ‘That guy completely blown away. That band could’ve shot you!” turned everybody’s heads around.” It was during such trying and ad- In October 1969 White was given his venturous times that Clarke and first opportunity to play a gig with Miles White built a partnership that found Davis’ working band. “Miles liked the musical expression with Return To way I played and he wanted me to sub Forever. It’s a partnership that’s stood the test of time. “It was a funny situ- for Jack DeJohnette for a week in Boston. ation,” he remembers of those early Jack’s wife, Lydia, was going to have her days. “When we started doing the first child and he wanted to stay home full electric thing, I think Chick with her, so Miles arranged for me to be wanted in the band. But I there.” But the next night (October 10) thought Lenny was a better choice. I mers who are tremendous techni- could read it, but Lenny played it so Davis was shot by a mysterious gunman used to talk to Chick about Lenny, cians. [With RTF] Lenny could do it would sound better. You could telling him, ‘You got to get Lenny. some of that Billy Cobham stuff, but have another drummer play that while sitting in his Ferrari in Brooklyn You got to get Lenny!’” Lenny’s playing was the most musi- part and have it never sound like and the gig was cancelled. “So my oppor- When he talks about playing with cal of them all. Lenny made it sound. Lenny gets it tunity to play with Miles on the road White, Clarke is just short of effu- “The way that Lenny approached naturally. It’s really cool. Jack De- never happened.” sive. “Out of all the drummers I’ve the ‘Medieval Overture’ on Roman- Johnette is like that; Tony Williams Shortly after that missed opportunity, played with Lenny has been the tic Warrior – you look at the way was like that. With Lenny White, I White recorded with pianist-composer most musical, the one who under- Chick wrote it, [and] the way Lenny don’t feel like I’m playing with a stands the language of the music,” played it – they are two different drummer but with a musician.” Andrew Hill in November 1969. The says the bassist. “There are drum- things. Chick wrote it that way so we By JOHN EPHLAND tapes were shelved by and forgotten, only to be rediscovered 32 years later and ultimately released to mended White. For that CTI session at that. It’s too resonant, you’re not going to widespread acclaim in 2003 as Passing Rudy Van Gelder’s legendary studio in hear the bass.’ So Rudy goes over and Ships. In January 1970 White played on Englewood Cliffs, New Jersey, White gets this 26" bass drum that has a paint- another jazz classic, trumpeter Freddie brought along an old oil can bass drum ing of a moonlit lake on the front head. Hubbard’s , which featured a that was made by a mutual friend of And I hated it. I didn’t listen to that stellar cast of on piano, Steve Grossman and . “It was record for years because I hated the way Ron Carter on bass, and the drum I had used on Bitches Brew and I I sounded on it. Years later I learned that on . According to was planning on using it for Red Clay,” he [drummer] Gus Johnson had set that White, Hubbard had called says, “but when I set up my drums in the bass drum up for Rudy at his studio, so Tony Williams for the session but studio and hit that oil can bass drum, there’s some history there, I suppose. Williams couldn’t make it and recom- Ron Carter said, ‘No man, you can’t use But I still hated it.”

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and hit it off and it was great. I have tapes CHAPTER FOUR BIRTH OF A SUPERGROUP of that too. They were also going to bring in Greg Rollie, who I knew from Santana, round late 1970 or early 1971 White met a gifted young bass to play keyboards. So they said, ‘We love player from whose career would become indeli- the way it sounds. Would you want to do bly linked with the young drummer from that point forward. “I this band with us?’” was playing with Joe Henderson at this point and Reggie John- But fate would intercede. “Then Chick son was playing bass in the band, but he decided he was going called again and says, ‘Listen, man, we’d Ato move to so suddenly we needed a bass player,” White explains. really like for you to join our band.’ So I “Well, I walked into Slug’s one night to see Horace Silver and heard this guy said okay and went back to New York to play with Return To Forever. If I had playing electric bass who was killer. a week at the Keystone Korner?’ And I stayed there in San Francisco, I would’ve When the set was over I introduced my- said, ‘Yeah, sure, why not? I’m already been the drummer with Journey, but self and learned that his name was Stan- out here.’ So we played and it was unbe- they ended up getting Ansley Dunbar to ley Clarke. So I said to him, ‘Listen, Joe lievable. Stanley played acoustic bass, play drums instead, and then later Steve Henderson needs a bass player, would Chick played Fender Rhodes and I played Smith. And the rest is history.” you give him a call?’ And I gave him Joe’s drums. We played all of that music from With White supplying his muscular number. Stanley called Joe and got the their first album and on the last day, Sun- backbeats and providing gig, and that’s when we first started day, Chick invited two guitar players up the distortion-laced guitar lines to the playing together. And since that time to sit in, and Bill Connors. newly electrified edition of RTF, Corea we’ve had a lock up for the ages.” And it was really killing. I actually have and crew reached out to a young genera- Clarke and White first recorded to- tapes of that night.” tion of fans with challenging music that gether on Henderson’s In Pursuit Of Black- The kinetic energy of that last electri- had one foot in jazz, with rhythmic intri- ness, recorded in May 1971. The following fied night at the Keystone Korner cacies and harmonic sophistication, and one foot firmly planted in the rock camp, “Back when we were recording Bitches Brew, with sheer bombast and high energy. This more volatile lineup yielded Hymn Miles asked me did I want to play with Jimi Of The Seventh Galaxy in 1973, and when Al Di Meola replaced Connors in 1974 Hendrix. He said, ‘Man, I can set you up,’ but I they took the energy level up a notch on Where Have I Known You Before, which in- passed on that one too. Jeez!” cluded White’s composition, “The Shadow Of Lo.” This even more potent outfit followed up in 1975 with the year, White got a call from percussionist sparked something in Corea. As White Grammy Award-winning and to join Azteca, a new recalls, “After that gig, Chick said, ‘Lis- in 1976 with Romantic Warrior, which was Latin-tinged fusion band forming in San ten, man, I want to have an electric Re- easily their best-sounding album, yet Francisco. The group also included turn To Forever and I want to get Bill turned out to be the group’s swan song. trumpeter , saxophonist Mel Connors and I want to know if you want “After Return To Forever broke up, Joe Martin, future Headhunters bassist Paul to do it.’ But I said, ‘No, Chick, I’m actu- Zawinul called and asked me to join Jackson, and guitarist . “Clive ally doing this thing with Azteca and I Weather Report,” White recalls. “He Davis signed us and premiered us at a think I’m going to stay and do this for a said, ‘Listen man, Jaco asked me to call convention in London,” says White. while.’ So Chick went back to New York because he really likes your playing, and “That was my first time being out of the and got Steve Gadd to work with the we need somebody to play.’ [White had country and I’m thinking, ‘Well, I’m go- band instead of me.” played on Pastorius’ self-titled debut on ing to be a big rock star now.’” Azteca’s second album, Pyramid Of The Epic, which was released in April 1976]. Shortly after Azteca released its self- Moon, was recorded in late 1972 and by And I was very cordial about it and said, titled debut in 1972, White got a call from the time it was released in 1973, White ‘Joe, I’m very flattered that you asked, pianist Chick Corea, whom he had was ready to make another move. “At this but I was just in a band and now I’m try- known from the Bitches Brew sessions and point I’m still in San Francisco but com- ing to get my own stuff out there.’ And who had a successful release himself that muting back and forth to New York. And he was cool about it. year in with his new I find out that Herbie Herbert, the fa- “So I didn’t play with Weather Re- band, Return To Forever (Stanley Clarke mous manager, was putting a new band port, I didn’t play with Journey, and in on bass, on sax and flute, Airto together with some of the guys from San- fact, back when we were recording Moreira on drums, and on tana. It was on bass, Neal Bitches Brew, Miles asked me did I want vocals). “Chick says to me, ‘Listen Lenny, Schon on guitar, and they asked me to to play with Jimi Hendrix. He said, we’re coming to San Francisco and Airto come in and play a rehearsal just to see ‘Man, I can set you up,’ but I passed on and Flora can’t make the gig. Can you do how it felt. So the three of us got together that one too. Jeez!”

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ful concept album created in the wake of CHAPTER FIVE SOLO FLIGHTS Star Wars mega-success at the box office the previous year. efore Return To Forever split up, White had already released his By 1979 White had taken fusion as far own debut as a leader in 1975 on Nemperor Records. Venusian as he could. Forming a new band, Twen- Summer was a highly ambitious undertaking that featured a nynine, he delved into the burgeoning ur- sprawling all-star cast, including Hammond B-3 organ legend ban contemporary market with a string and former Lifetime organist Larry Young, along of three releases that reflected influences Bwith bassist , pianist Onaje Allen Gumbs, White’s former other than his jazzy roots. White scored Azteca bandmate Tom Harrell on trumpet, keyboardist , an R&B hit with the goofy P-Funk-ish an- them, “Peanut Butter,” from 1979’s Best Of flutist , and guitarist Ray Coryell and his main disciple, RTF’s Friends, and offered an answer to Chic’s Gomez. A key collaborator on this futur- young fretboard flash, Al Di Meola. “Le Freak” with his own “ istic project was ARP 2600 synth wiz- After his exit from RTF, White contin- (The Rap)” from 1981’s Just Like Dreamin’. ard , who provided the ued in a hard-hitting fusion vein with In 1982, White took time out from his eerie soundscape on “The Venusian 1977’s Big City, which included members funk duties for an acoustic bop date he Summer Suite,” an ambient piece dedi- of the Mahavishnu Orchestra, Herbie produced for Elektra Records that fea- cated to the crew of the Starship Enter- Hancock’s Headhunters, Tower Of tured an all-star cast of Corea on piano, prise and reminiscent of the “electronic Power, Earth, Wind & Fire, Brian Freddie Hubbard on trumpet, Joe Hen- tonalities” from the soundtrack to the Auger’s Oblivion Express, and the New derson on tenor sax, and Stanley Clarke sci-fi cult classic, Forbidden Planet. The York Philharmonic Orchestra, along on upright bass. Titled , it closing track of White’s debut was with Journey guitarist Neal Schon and also showcased soul diva in “Prince Of The Sea,” an extended 11- an 18-year-old on bass. the unexpected role of jazz vocalist, deliv- minute piece that included a fiery guitar His next release as a leader was 1978’s ering aggressively swinging renditions of duel between fusion pioneer Larry The Adventures Of Astral Pirates, a master- ’s “I Mean You” and 26-39 Lenny 3/21/08 11:07 AM Page 34

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Duke Ellington’s “Take The A Train,” ducer] where they did a ver- bard, Joe Henderson, Chick Corea, and along with standards such as “All Of Me,” sion of Dizzy’s ‘Night In Tunisia’ [on 1981’s Stanley Clarke.’ The idea was to get all of “Them There Eyes,” and “Spring Can Re- What Cha’ Gonna Do For Me], and when I my old employers on a project that I pro- ally Hang You Up The Most.” heard that I said, ‘You know what? She duced. I wanted Jackie McLean on there “I first met Chaka when I was still in Re- can sing jazz; she can improvise.’ So I went too, but that didn’t work out. So Bruce turn To Forever and she was with Rufus,” to [Elektra/Musician president] Bruce said, ‘That’s a great idea, do you think White explains. “Later on she did a ver- Lundvall’s office and said, ‘Bruce, I have they’ll do it?’ So I called them up one by sion of ‘Lady Madonna’ on my Streamline an idea for a project. I want to recreate Bil- one and they each said, ‘Well, if they’ll do album from 1978, and we just stayed in lie Holiday’s Lady Day Swings! sessions it, I’ll do it.’ Everybody gave me the same touch. I’ve always loved what Chaka does. with contemporary musicians. And I answer so I finally told Bruce, ‘Let’s do it.’” She had just put out a record with [pro- want to use Chaka Khan, Freddie Hub- White gave Khan a copy of Lady Day Swings! to listen to and Corea worked up some great for the songs that they chose. “Then Freddie and Joe just came in and played them, so it was cool,” White says. “And we captured a really nice vibe on that record because Following White we did everything without overdubs In RTF and direct to 2-track.” That same all- here was much more of star acoustic jazz group (sans Khan) a design to the music, would go back into the studio shortly “T and Chick was very par- after that initial session to record the ticular,” says former Return To For- ever drummer Gerry Brown about two-volume Griffith Park Collection. By working with the band and its leader. 1983 White was back on the R&B trail “Because I was aware of the sub- with his solo project, Attitude (featuring tleties in the music and the musician- Marcus Miller and Bill Laswell, ship needed, the boss appreciated keyboardist , and singer those qualities, and it made him Bernard Fowler), which followed the happy.” RTF bassist Stanley Clarke was the connection that brought quintessentially ’80s formula of dry Brown to the group in 1977, replacing synth and static sounds drummer Lenny White in what that worked so well for Prince. “I’ve turned out to be a band makeover. been into and machines Brown burst onto the scene in a big for a long time,” White says. “And I way as part of Clarke’s phenomenally thought that with the advent of drum fun School Days album the year be- fore. And it was no surprise that the machines, if I didn’t know how they two would hook up now, given their worked and I wasn’t capable of pro- shared history. “I had known Stanley gramming them that I would lose work. since we were kids in Philly; he’s prob- If this machine was going to put me out ably my oldest friend,” Brown recalls. of work then I was going to learn how to “We were going to what was called operate the machine. So during that pe- the Philadelphia Music Academy, later called the University Of The Arts. At riod in the ’80s I learned how to pro- one point, Stanley would start going gram the LinnDrum and worked with to New York, where he eventually met that on like Attitude.” Lenny. They started to have a working That same year, Return To Forever relationship, which led to Chick’s made the situation easier was Chick, in composition. With help from Clarke undertook a brief reunion tour with band. When he left, Chick decided on the beginning of rehearsals, had the and original member, reed player Joe White, Corea, Clarke, and Di Meola. Al- a new format, a big band kind of thing, drum charts written out. But I wanted Farrell, among many others, Brown hough they worked up new material, and Stanley thought of me.” to see more. So I would go over to him emerged and thrived to help create For Brown, known to many as a top- and ask for the piano charts so I could yet another Return To Forever sound. they never went into the studio to flight fusion/crossover drummer, play- see all the other charts. In his eyes, Looking back on those times, record, and by the next year the individ- ing big-band music was nothing new. this was cool – ‘Here’s this guy reading Brown cheerfully reminisces, “After uals had gone their separate ways again. When Corea moved into this new for- stuff, uplifting the music.’” one rehearsal, I think Chick realized White would close out the ’80s by fo- mat it “worked out for me,” he says. Documented on the concert al- something: that I had always taken cusing on his urban soul trio, The Ja- “In college I played in the big band, bum, R.T.F. Live, as well as the studio- the attitude in an audition or a group maica Boys, which he had formed with and I had some great experience two produced , the music was to never assume everything is cool. It summers working up at the Catskills still clearly a Corea-driven project, all goes back to the charts, not to bassist Marcus Miller and vocalist Raleigh Hotel. At that point, reading- but gone was the relatively hardcore mention Stanley and my long friend- Michael Stevens (who happened to be wise, my chops were up, and the big fusion vibe, replaced by an expanded ship with him.” Chaka Khan’s brother). But in the com- band stuff was a piece of cake. What band, and a new long-form style of By JOHN EPHLAND ing decade, White was ready to reinvent himself once again.

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White with CHAPTER SIX FUSION REDUX Freddie Hubbard hite returned to fusion with a vengeance in the ’90s with a circa 1971 string of potent instrumental offerings. 1995’s Present Tense featured guest appearances by guitarists and , bassists and Marcus Miller, and his RTF bandmate Chick Corea. Along with hard-hit- Wting numbers like Bailey’s “Sweet Tooth” and Corea’s “Caprice” (originally written for the 1983 RTF reunion tour) it included a new hip-hop flavored

of White’s “The Shadow He closed out the ’90s in dynamic Of Lo” from RTF’s heyday. Renderers Of fashion with 1999’s Edge, which featured Spirit (released in 1996 with bassists a soulful interpretation of Led Zeppelin’s Stanley Clarke, Victor Bailey, Foley Mc- “Kashmir,” featuring former Miles Davis Creary, and Daryl Jones, along with bassist McCreary on lead vocals. During and the ) that time he also formed a powerhouse included the funky Brecker Brothers- fusion outfit with former RTF bandmate ish “Ho-Cake” and Bailey’s “Pick Stanley Clarke called Vertú, which in- Pocket,” his answer to the Average cluded keyboardist , violinist White Band’s “Pick Up The Pieces.” , and former Poison gui- White also veered into smooth jazz ter- tarist and metalesque shredder, Richie ritory with “Countdown 2000,” though Kotzen. Their self-titled debut on Epic the rest of that project maintained a Records was an ambitious fusion offer- funky fusion feel. ing that harkened back to the grand vir- 26-39 Lenny 3/20/08 4:12 PM Page 36

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tuosity and majestic sweep of Romantic DISCOGRAPHY Warrior – a portent of things to come. White’s Return To Forever Catalog In May 2004 White and fellow drum- mer Mike Clark (from Herbie Hancock’s Throughout Hymn Of The Seventh Galaxy, then, the he fusion movement emerged as sparks sputter- Headhunters) unveiled New Brew, a su- ing from the cauldron stirred by Miles Davis and RTF experience was more orgasmic than cosmic. Seem- perstar fusion ensemble with two drum- T his bands in the mid-’60s. Only three of those ingly spent on that first cut, it revives in the extraordinar- sparks were brilliant enough to sustain lives of their own. ily powerful backup that White offers toward the end of mers, two bass players (Stanley Clarke on And of those three, Return To Forever is the one most of- the solos on “After The Cosmic Rain.” It’s back again on upright, Victor Bailey on electric), Kenny ten, and unfairly, overlooked. track three, “Captain Senior Mouse,” where Corea and Garrett on alto saxophone, Eddie Hender- This is true in part because the other two groups lasted Clarke play with White’s beat, briefly shifting the empha- son on trumpet, on key- sis to yank his 2 and 4 to 1 and 3 before introducing the longer. Equally important, both broke a little further from boards, DJ Logic on turntables, and theme of the tune. the old head-solos-reprise formula, Mahavishnu Orches- on guitar. Their one show- tra, through incorporating elements of Indian music into RTF returned a year later with Where Have I Known You their generally familiar Western structures, and Weather Before, which featured a new guitarist, Al Di Meola, and a case gig at B.B. King’s nightclub in Man- Report for not blowing so much in the post-bop fashion, shift in emphasis from Rhodes electric piano to synthe- hattan was a spontaneous flow of except of course for , whose instrument was sizer in the keyboard part. These moves had the unin- provocative, cutting-edge sounds inspired the one least-often heard as a solo voice up to that point. tended effects of tying this album a little more to the by the collective improvisation of Miles Still, Return To Forever, the third of period that defined it, in effect dating its these epochal ensembles, had an identity sound, while slightly tweaking the rhythm. that was entirely its own and revolution- Clarke and White still cook, but “Vulcan “At this point I can ary to boot. Its first incarnation actually Worlds,” the first track, locks into an al- represented a retrenchment of sorts for most -inflected hi-hat pattern during do what I want to do leader/founder/keyboardist Chick Corea, the head, with the bass pushing toward the an adventurous and sometimes abstract thumb-pop era. From this point, the music with the drums, but I improviser whose conversion to Scientol- winds through keyboard reveries, some not ogy hastened his decision to emphasize very spontaneous funk, another distressing still practice” communication rather than experimental- Hymn Of The disco lapse on “Earth Juice,” and other ism in his music. Thus, the first two al- Seventh Galaxy, 1971 tame interludes. In this context, “Beyond bums that bore this name, Return To The Seventh Galaxy,” a nod to the feel of Forever (1972) and Light As A Feather the preceding album, allows White to Davis’ Bitches Brew session. Unfortunately, (1973), adhered to familiar forms, with shine briefly again, though less persua- nothing more has come of this promising offering an airy, Latin-in- sively through repeating and somewhat venture to date. “We did go in the studio,” toning down what had come before. Di flected feel in his kit and percussion parts. says White, “but we didn’t finish that Later, in ’73, Corea juggled his lineup and Meola’s playing, more advanced and less emerged with Stanley Clarke on bass and elemental than that of Connors, measures project. We only did three cuts, so we have Lenny White on drums for Hymn Of The the price paid at this juncture for a more to go back and complete that. But it’s sort sophisticated, less-electrifying dynamic. Seventh Galaxy. And suddenly, the softer- Where Have I Known You of on the backburner for now.” edged aesthetic of the newly main- Before, 1974 With Where Have I Known You Before, RTF The following year, White teamed up streamed keyboard player was blown out takes a step down from its peak, where with fusion guitar pioneer every note seemed urgent and necessary, of the water by an approach whose raw ag- and former Weather Report bassist Victor gression was unlike anything heard in music toward the noodling that would become up to that point. Rather than replicate the the genre’s burdensome legacy. Bailey to form a stripped-down, jam-ori- soaring, spiritual direction charted by gui- With Romantic Warrior in 1976, the ented power trio that reveled in reconfig- tarist Jon McLaughlin for Mahavishnu Or- lineup continues its journey away from its ured renditions of classic rock and jazz chestra, this disc drew its power from the raw but fiery genesis. Corea’s tunes, including Jimi Hendrix’s “Manic rock side of the jazz/rock equation. Some has advanced significantly to integrate its Depression,” Led Zeppelin’s “Black Dog,” emerging technology and broadening of this owes to the guitar style of Bill Con- Albert King’s “Born Under A Bad Sign,” nors, whose performance adhered to the Romantic Warrior, 1976 tonality into a more integrated blend of ’s “,” and Miles conventions of his instrument, established improvisation and composition. Often this in a more leisurely way by and his peers. confines him to playing written parts or sitting out for a Davis’ “So What,” along with White origi- Truly, though, White deserves credit for most of this while, as in the down- but intricately arranged title nals like “Wolfbane” and his intricate transition. Few albums, from any time in the LP or CD cut. When he can, though, White plays within more rhythmic puzzle, “Door #3” (both of which eras, begin as explosively as this one, as the drummer tightly arranged boundaries – but this only elevates had previously appeared in a larger en- erupts with an intense, propulsive energy that was virtu- White’s performance to a particularly ferocious level. The semble format on Present Tense). They de- very title of track one, “Medieval Overture,” evokes the ally without precedent in the catalog. In just a little more buted with 2005’s Electric on Chesky than three minutes on this title track, he unleashes a prog-rockist flummery of the era, an impression rein- flurry of kick accents, syncopations, and rolls, whips rest- forced by the 12-minute length and labyrinthine structure. Records and followed up in 2006 with the lessly from hi-hat to ride and, when Connors builds to a And try to listen to “The Magician” without imagining the hard-hitting Traffic. Then in 2007 White screeching peak in his solo, plunges into a blizzard of fills dancing dwarves of Spinal Tap. Still, White attacks each coproduced Evolution Of The Groove, a that seems to be yanking the tempo impatiently while metrical shift deftly and, when things open up in 4/4, Miles Davis remix project that sought to actually anchoring it artfully – and all the while, whether awakens his early RTF persona for a brief but exhilarating bring material from , Miles sprint, reminding us not only of RTF at its peak but also of on snare or , the backbeat is there, targeting Smiles, , In A Silent Way, and these ecstatic flights not so much for the head, or even the promise of the entire genre at its birth. the soul, as for the body. By ROBERT L. DOERSCHUK into the 21st century. And now in 2008 White comes full circle, back to Return To Forever in what

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promises to be the most celebrated event of the year for fusion fans. “I would hope CHAPTER SEVEN that the Return To Forever reunion could mark a rekindling of at least an at- OPERA & OTHER AMBITIONS titude of creativity – to return to for- rapping up the interview in White’s cozy practice room ever,” he says. “I know that might sound at home, he offers a basketball analogy in assessing his weird, but that’s exactly what Chick role in all the bands he has ever played in throughout his wanted it to do, to return to forever and career. “I think of myself as a point guard, and it’s my job get to that point again, man. And hope- to get the ball to the scorer,” he says. “See, the drums are fully, we’ll go out and do what we do and Wa very egotistical instrument. The drummer can always take over the band people will get it.” at any point if he wants to do that, but I think the music is key. When the ego And this time out, White plans to take an entirely different set of drums than he gets in the way and you overplay, there’s information and that information uplifts had the first time around with RTF. “Orig- a tendency for people who like what you you. And when I see Roy, I’m uplifted. I inally, I took out a Gretsch kit,” he says. do to encourage you. Drummers are no- come there for information and to hear a “Gretsch is synonymous with all of the torious for that. They will invariably go master at work. And when I leave his gig, heroes that played the instrument, from up to you after a gig where you overtook I’m fulfilled.” Art Blakey to to Philly Joe the music and say, ‘Man, you sounded A couple of days after this interview, Jones. Now I’ve developed a new set with great!’ But if you play within the music, White left for a week-long tour in Russia, Innovation Drums, which to me is the people will come up to you after the gig where he premiered his new work for Rolls Royce of drums,” he says. “I’m going and say, ‘Wow, the band sounded great.’ double quartet featuring a Russian string to use the same configuration that I used That’s more important to me. It’s really quartet and a jazz quartet featuring when I first went out with RTF, which is important for me to be a catalyst to make bassist Eddie Gomez, Russian saxophon- five toms – two mounted toms and three all of the guys in the band feel comfort- ist , a Russian pianist, and floor toms, a little bit bigger bass drum able in their groove. And when that’s White on drums. He had played me a than normal, and snare. As far as cym- happening, I’m fine.” sampling of the music after our interview. bals, I’ll have a ride cymbal, three crashes, Regarding his practice methods these It was profoundly beautiful and deeply and maybe a China cymbal. days, he says, “At this point I can do what meaningful with an underlying tender- “Recently I had been playing one of I want to do with the drums, but I still ness and inherent sense of lyricism that Tony Williams’ old K Zildjian cymbals, practice because you he may have picked which I got from . It had can always learn “The jazz police have up from his com- holes where rivets were put in there. We more, no matter posing heroes, both listened to the cymbal and looked at how advanced you managed to ostracize Ravel and Debussy videos and finally determined that it was may become. Every – definitely a work the one that he used on Miles’ Nefertiti. time I go to see Roy fusion out of the to be proud of. And We went up to Zildjian and there’s a pic- Haynes I learn yet, White doesn’t ture there of him playing that actual something. Roy is history of the music” rest on his laurels. cymbal. We took the cymbal back there the living embodi- He’s already for- and had them re-create it. And I had ment of jazz history mulating another played Tony’s for a while and it cracked, because he’s played with everybody – big concept for some time down the road. so we put it aside. Then the re-creation Prez, Bird, Diz, Monk, Louis Armstrong, “I got this idea of doing an album of all cymbal cracked. The one I’m playing Billie Holiday. He is the most renowned, famous arias,” he explains, “but I now is a copy of the re-creation, which acclaimed musician that is playing today. wanted to do it with unexpected pairings sounds great. But I’m also going to intro- Notice I say ‘musician.’ He just happens of singers and musicians, like maybe duce a new line of cymbals that I’ve been to play drums. Every drummer should Jessye Norman and Herbie Hancock, Or- developing with Istanbul called Epoch, go and check out Roy wherever he is nette Coleman and Plácido Domingo. I which I’ll bring out on tour with RTF. playing, no matter if they’re hip-hop presented the idea to a friend of mine “There are some people that talked to drummers, church drummers, rock and who had a label and he said, ‘It’s a fan- me about adding this or that to my kit roll drummers, or whatever. They should tastic idea, but the opera police will kill for this tour,” he continues. “I’ve never just all go and sit in the audience where you. You should write your own opera.’ played two bass drums and I’ve never Roy is playing and get perspective. Roy is And I walked out of that meeting totally used a drum pedal because I unbelievably killing and still as relevant dejected because I didn’t know much just don’t hear that. In order to play today as he’s ever been. People are about opera. But I started doing research these different things you have to hear amazed that he can still play that way at on the Internet and started realizing that that in your playing, and at this point I age 83. But in the East when you go visit a maybe I could write an opera, and I got just don’t. I never say I’ll never use it, but Zen master, you sit and he tells you what pretty into it. For two years I did nothing at this point I don’t hear a double bass to do and you say, ‘Thank you, sensei.’ else but work on this opera. I’d go on the drum pedal in my playing.” You don’t ask how old he is. You get the road and play gigs and as soon as I came

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back I’d focus entirely on that. I was pos- that’s the kind of thing I’m going for Over the course of his distinguished sessed with it.” with this opera, and I’ll see if I can get it career, White has received awards, acco- White has already composed the mu- done some time in the near future.” lades, gold records, and adulation from sic for this ambitious work, which he en- Meanwhile, White has laid the other drummers. But one bit of feedback visions as a performance rather than a groundwork for an ambitious documen- still stands out for him among all others. recording. “It’s a symphonic poem that tary film he plans to make on the fusion “The greatest compliment that I’ve ever flows from beginning to end and is about movement. He maintains that critics gotten for playing drums – and I’ve had 25 minutes long,” he says, “but I’m stuck have unfairly disparaged the genre as compliments from Max Roach on down for the libretto. That’s the thing that’s got “the dreaded F-word,” dismissed over – came from an African guy who came me stumped. I had the story but I couldn’t time by historians and all but ignored by up to me after a gig in Paris. He said, get the words to fit. I got with four or five Ken Burns in his acclaimed, ten-part ‘When you play, I hear my people.’ And I different people to work on that but they documentary, Jazz, which first aired on was touched by that. That’s the source. ultimately found out that it was more of PBS in 2001. And as an active partici- And for him to get that, to make that an ordeal than they thought it would be. pant in the first wave of that once-vital connection, meant a great deal to me.” So I still have this desire to create in this movement, he intends to set the record While there may be a touch of Africa in symphonic form.” straight. “I know the jazz police have White’s drumming, he is also part of a lin- And if you listen to some of White’s al- managed to ostracize fusion out of the eage of American jazz drumming royalty. bums, that would seem like a natural history of the music,” White says. “Con- As he puts it, “When I play I’m trying to progression for him. “There are pieces of sequently, there’s a whole musical frater- emulate the Holy Six, which is Elvin, mine that have symphonic touches,” he nity and musical movement that gets Tony, Max, Philly Joe, Art Blakey, and Roy says. “The album I did with Stanley overlooked because there’s not any Haynes. But when it comes to playing fu- [Clarke] called Ve r t ú has a piece I did on iconic person or band championing that sion music, I’m one of the guys who there called ‘Dance Of The Harlequin.’ I motion anymore. So this Return To For- started doing that, so I’m not trying to em- didn’t write it for any drums at all; it was ever reunion might be an opportunity to ulate nothin’. I’m just doing what we do.” for , guitar, piano, and bass. So champion that motion again.” And nobody does it better. 26-39 Lenny 3/20/08 5:18 PM Page 39

WHITE-ISMS

While Lenny White is well versed in many drumming styles, his funk Ex. 1 - “Celebration Suite, Part 1” At 5:46 influence is unmistakable. Ex. 1 is an excerpt from “Celebration Suite, Part 1” off of Return To Forever’s 1973 recording, No Mystery. Here White solos and plays figures with the band over a driving 6/8, but in the third line he lays down a groove for two measures with his distinctive crisp backbeats. He also unleashes his favorite lick – the flam accent – in the first, eighth, and last measure of this transcription. You can also see flam accents at the end of the second example, which comes from the RTF’s 1976 release Romantic Warrior. Here White played a classic ’70s fusion groove at drum ’n’ bass long before anybody had heard of that genre. Woven between his cracking backbeats you’ll also notice another of his favorite rudiments – the single paradiddle – which he plays in the second line of this transcription between his snare and bass drum. And the Ex. 2 - “Medieval Overture” At 1:03 second to last line of this example also illustrates another of White’s signature sounds – fast, clean singles around the set. By WALLY SCHNALLE

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