As a young drummer, Paul Wertico would sit in a darkened room carefully extracting every possible sound from each of his drums and cymbals. Every square inch of surface became another sound source for new textures and colors. Paul would then continue to practice his original conceptual exercises repeatedly.
“Like so many others, I became a drummer after hearing and being inspired by great music and the world’s great drummers. In my case, Buddy Rich played a pivotal role. When I first heard Buddy’s version of “Uptight” from his 1966 album, Swingin’ New Big Band’ - I wanted to be a drummer from that day on!
— Paul Wertico
Some of the other well-known drummers Paul cites as major influences include: Ginger Baker, Art Blakey, Roy Haynes, Elvin Jones, Mitch Mitchell, and Keith Moon.
His early methodologies served him well as a member of the Pat Metheny Group from 1983 to 2001. Paul’s versatility and melodic approach to drumming was perfectly adapted to the multitude of progressive styles inherent in Metheny’s original compositions
Also, Paul’s use of the flat ride cymbal for additional tonal coloration is legendary. His ride sound whether live or recorded is as easily recognizable as those of Joe Morello and Tony Williams.
"Getting a cymbal to swing is definitely an art in itself, since it basically involves hitting a plate of metal with a stick and somehow making that metal plate come alive.” - Paul Wertico
During his years with Metheny, Paul traveled the world, performing in over sixty countries and all fifty states. Also, during this time, he won seven Grammy Awards (for Best Jazz Fusion Performance, Best Contemporary Jazz Performance, and Best Rock Instrumental Performance). In addition, he won several magazine polls, received several gold records, and played drums & percussion on David Bowie’s hit recording (with the Pat Metheny Group), “This Is Not America.”
Yet, this is just the tip of the iceberg. Much has been written about Paul’s tenure with Pat Metheny, but his career before and after Metheny is just as intriguing.
“When I play, in my mind, I'm dancing with the cymbal and I try to approach playing the cymbal like a painter, using a numerous variety of strokes, sweeps, and jabs. In fact, a student of mine once told me that I look like I'm sword fighting as well as painting.
— Paul Wertico
One of the amazing things Paul does is dancing around the drums. He starts by soloing in a seated position, then gradually stands up and begins circling the drum set. He then moves to the area between the stage and audience. With sticks in hand, Paul then begins playing on the floor, and every other available surface (including a kitchen sink!). In visual terms it echoes the action painting techniques and motions of the legendary abstract expressionist painter Jackson Pollock.
“My painting does not come from the easel.”
— Jackson Pollock
As a huge jazz fan, Pollock especially loved Gene Krupa. During a scene in the film Pollock, Ed Harris the actor who portrays him, begins drumming on the dinner table. Harris then proceeds to bang out Benny Goodman’s “Sing, Sing, Sing” featuring Gene Krupa. In the 1940s, Pollock believed that Krupa was the greatest drummer in the world. There was always a connection between jazz and Pollock’s paintings. Improvisation was the central focus between the two.
Oftentimes, while painting, Pollock was simultaneously listening to jazz. This is when he had the revelation to begin painting on the floor…dripping and throwing the paint onto large pieces of canvas lying horizontally. This method became known as ‘The Dance’ with Pollock going around and around the painting while applying the paint. Many art critics have referred to his work as ‘Energy Made Visible’. Pollock escaped the restrictions of easel painting integrating both the spontaneity and lyricism of jazz.
The same creative concepts could also be applied to Paul Wertico’s drumming. Paul utilizes his drums and cymbals while also adapting the surrounding environment as a palette for additional new sound sources. 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.
“I use small and large motions that are really fluid because I’m dancing when I’m playing, that’s sort of how I get my flow. Every movement is an expression.”
— Paul Wertico
Each transcended established norms by purposely challenging the status quo. Paul has stated: Music is the closest thing to life as far as expressing yourself. You’re not going to please everybody, so you might as well please yourself.”
It may also be possible that Wertico and Pollock both experienced some degree of Synesthesia which is defined as: ‘A perceptual phenomenon in which stimulation of one sensory or cognitive pathway leads to involuntary experiences in a second sensory or cognitive pathway. “It’s been suggested that Synesthesia develops during childhood when children are intensively engaged with abstract concepts for the first time.” Could this be why so many of Paul’s particular drumming motions are considered so ‘painterly’? - With Pollock being described as using repetitive body motions to achieve the ‘rhythmic’ quality in his paintings. It’s more than evident that there is a measured degree of shared influences in both of their distinctive styles.
“It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony.”
— Jackson Pollock
Further evidence of Paul Wertico thinking differently is in his new book: TURN THE BEAT AROUND (A Drummer’s Guide to Playing “Backbeats” on 1 & 3).
“I wrote this book to help drummers explore an alternative way of thinking and grooving, and the book is for all drummers, since it runs the gamut from simple to complex, regardless of their musical style”.
— Paul Wertico
Here’s a brief description:
Habits and traditions are often hard to change, but discovering new and creative ways of rearranging and rethinking established norms is what distinguishes a great drummer and provides endless challenge and possibilities. TURN THE BEAT AROUND breaks a decades-old routine by examining "backbeats" in a whole new light, asking the questions: "Why are backbeats always played on beats 2 & 4?" and "What about playing them on beats 1 & 3?" By delving into this inquiry, Paul provides drummers with innovative ways of expanding their groove vocabulary, solidifying their time, and mastering coordination and limb independence. Wertico has even coined a new word for these types of reversed beats: Frontbeats.
Paul has been extremely active in the field of education for over fifty years. In addition to teaching drums privately and online, he is an Associate Professor of Jazz Studies at Roosevelt University’s Chicago College of Performing Arts. Before becoming a full-time faculty member at CCPA, he served on the wind & percussion faculty of Northwestern University for sixteen years. For over four decades, he’s conducted drum master classes, clinics, and workshops around the world and has written numerous educational articles for a wide variety of magazines. Many of his former students have become highly successful, and recognize Paul as their major influence.
"Studying with Paul changed my entire approach to the drum set. He’s the kind of teacher that makes you feel comfortable as he shoves you outside of your comfort zone. I’m forever grateful for and inspired by the mentor and friend I have in the genius that is Paul Wertico."
-Hannah Welton - drummer with Prince & 3rdEyeGirl, clinician
“My time studying with Paul was a truly formative period for me. At times he focused on the most elemental aspects of my playing - stripped it all away and teaching me to flow and swing with just one limb. At other times, he laid out some really complex concepts that opened doors for me and that still shape my playing. He also dropped the type of deep wisdom that was sometimes immediately inspiring and at other times took me years of experience to fully grasp and appreciate (and he exposed me to all kinds of amazing music!). I still learn from him every time I hear him or even talk to him.”
— Glenn Kotche - drummer/percussionist with Wilco, composer, clinician, solo artist
Additional Accolades From Former Students:
“Working with Paul was hugely important in my growth as a percussionist, musician, and artist in the 21st century. Our lessons were more than just about technique and "chops". With Paul I learned about being a musician, and how important it is to have your ears open and your skill set as versatile as possible. Paul Wertico is a true "musical omnivore", his playing isn't limited by style or genre, and experiencing and learning from that first hand through my studies with him had a huge impact on me, and my career.
— Peter Martin, Ensemble Member, Third Coast Percussion, (Grammy Award Winner - Best Chamber Music / Small Ensemble Performance, 2017)
“I studied with Paul in the mid 80’s. I was in my early 20’s, an avid music listener and casual drummer living in Madison, WI. I think I was looking for inspiration that would convince me to make the commitment to dedicating myself to becoming a professional, full-time drummer. I had heard Paul play on records that came out of the Chicago jazz scene. But seeing him play live made me understand just how much of an individual he really was. He didn’t sound like any other drummer I had ever heard. He played stuff that confused me and at the same time, sounded perfect for the music. Whether he was playing an arena or a postage-stamp-sized jazz club, it seemed as though he was focused and present for every single subdivision and was always elevating the musical experience of everyone else on that stage.
He was so friendly and approachable that I asked him if he’d give me lessons. I really had no business doing this, as I possessed very little jazz chops, but Paul agreed to get together. Our lessons were mostly spent listening to records. I learned how to listen carefully by listening to records at his house with him. He’d point stuff out to me that I had never noticed before. This attention to detail then transferred to my playing as I began my career as a drummer.
Paul’s fearless approach inspired me to go to music/jazz school, which was the best decision I ever made. Subsequently, I would pass through Chicago once or twice a year and we would do a lesson. We’d listen to 20-minute Roy Haynes solos; we’d listen to recordings Paul had just done with Ken Nordine or Earwax Control; we’d just talk drums and music for hours. Paul was always super generous with his time. These lessons were the perfect (real world) compliment to attending jazz school. It was an amazing luxury to have access to a musician on Paul’s level. He’s such a wealth of knowledge and experience, that just hanging out with him was the musical education I needed. Even though I’m a very different drummer than Paul, stylistically speaking, I still feel like I’m a true disciple because we share the same musical spirit, and at a pivotal moment in my development, he gave me permission to step into and own that spirit.”
— Jeff Quay - Drummer/Music Director of Blue Man Group Chicago
“I grew up in Iowa listening to Paul play on the Pat Metheny Group records. When I was in high school, I researched and found that he was teaching at Northwestern University at the time. Although my career path took me in a more classical direction, I would have never made it to where I am today without working with Paul. My job requires versatility between orchestral percussion, contemporary percussion, and drum set. Paul’s influence and encouragement of an openness to so many styles is a big part of why I have been able to have so many incredible opportunities in the music world.”
— Jacob Nissly - Principal Percussion, San Francisco Symphony; Percussion Department Co-Chair, San Francisco Conservatory of Music
"Studying with Paul was a weekly adventure, and his balance between openness and rigor were essential to the player I became. I'm pretty sure I found one of the only teachers who was not only willing, but eminently qualified to guide me through my first experiments with a double-kick pedal within the confines of a jazz studies program! It was an honor to study with someone who was not only a great teacher, but also a true inspiration."
— Jonathan Schang - drummer/composer from the band District 97
Accolades From Paul’s Colleagues:
“Paul Wertico’s playing is magical: technically brilliant, stylistically diverse, and consummately collaborative. You will rarely hear more compelling and imaginative playing. As a teacher, Paul values and nurtures the creativity and imagination of each student.”
— Dr. Rudy Marcozzi - Dean, Chicago College of Performing Arts
“Making music with Paul Wertico is the best: creative, natural, flowing, fun, selfless, and spontaneous. Paul's world-class technical skills combined with his rich musical aesthetics give rise to new and pioneering musical expressions. It's a joy to walk the tightrope of improv with Paul because he is able to conjure up beautiful rhythms, pitches and flow. Paul is as unique as he is generous in his creative flow. It's been great to collaborate - a dream come true. Paul lives and plays music for music's sake. He's a true musical artist.”
— David Cain - composer, performer, filmmaker, author, artist
“Paul never ceases to amaze and inspire me. His technique is beyond virtuosic and his ideas are endless. Moments of spiritual transcendence have occurred during our performances that have left the audience speechless. Performing with Paul is like a brilliant, other worldly adventure!”
— Frank Catalano - saxophonist, producer, composer
“Playing with Paul Wertico has been one of the highlights of my career. His delicate sensitivity and wild abandon, reckless freedom and impeccable control, all contribute to an incredible playing and listening experience.”
— Fareed Haque - guitarist, composer, educator
“Paul Wertico is a joy to play with - he has big ears and a big heart. His playing is very dynamic and so musical because he’s always listening - and driving us in the right direction.”
— John Helliwell - saxophonist with Supertramp and “The Super Big Tramp Band”
"I have played with Paul Wertico in a wide variety of settings over many years- my NBV Quintet, Harmonica Jazz Quartet, with spoken word artist Ken Nordine, and in many small groups. Paul brings an incredibly intuitive, interactive feel to any music that he plays, as well as humor, occasional surrealism, and a strong melodic sense. He has plenty of chops, can play in all styles, and his musicality and personality stand out and make him unique. He has his own sound on drums."
— Howard Levy - 2-time Grammy Award winner, harmonica/piano virtuoso, composer, producer, author, recording artist
“Paul is his own person, his own artist, and this comes across in his music. His playing has its influences, but is completely him: innovative and unique, rebellious and unconventional at times, full of ideas, humor, creativity, and the unexpected. After years of collaborating in the studio, as well as in live settings, there’s so much I have grown to love and appreciate about Paul’s playing and approach to music, such as his phrasing, the textures he creates, and that he plays melodically, mindful of both of the composition itself and the spontaneous composition evolving in the moment.”
— John Moulder - guitarist, composer, educator
PAUL WERTICO – ADDITIONAL BIOGRAPHY
Paul has also played drums and percussion on hundreds of recordings, including Paul Winter’s Grammy nominated release, Earth: Voices of a Planet, and on four of vocalist Kurt Elling’s Grammy nominated releases. He also hosted his own weekly radio show, Paul Wertico’s Wild World of Jazz, from 2010 to 2012.
He also serves on the Advisory Board and the Pro-Panel of Modern Drummer magazine, the Education Committee of the Jazz Institute of Chicago, and he served five terms on the Board of Governors of The Recording Academy Chicago Chapter.
In 2004, Paul was a Chicago Tribune “Chicagoan of the Year.” In 2010, the Cape Breton International Drum Festival honored him with a “Life Time Achievement Award” for his “Major Contribution To The World Of Drumming & Education,” and that year he was also a recipient of the Montréal Drum Fest’s “Lifetime Achievement Award.” As Musical Director for the crowd sourced TV video series Inventing The Future, Paul was nominated for a 2012-2013 Emmy Award in the “Outstanding Achievement In Interactivity” category by The National Academy of Television Arts & Sciences, Midwest Chapter. He's also the inventor of his signature product, TUBZ, made by Promark, who also makes the Paul Wertico Signature Drum Stick (TX808W).
“I played in front of Buddy Rich when I was with the Simon & Bard Group at ChicagoFest at Navy Pier. My friend was standing right next to Buddy on the side of the stage watching us perform. After our set was over Buddy asked my friend what he thought about the drummer and he said “He’s good,” to which Buddy replied, “No, he’s great!” Well, as you can imagine, I was totally blown away to hear that, and to this day those words mean more to me than I can say”.
— Paul Wertico
As a solo recording artist, Paul’s recordings have all received great critical praise and Down Beat magazine listed Paul’s CD, Impressions of a City, as one its “Best CDs of 2010.” His DVD, Paul Wertico's Drum Philosophy, was named “One of the best drum videos of the last 25 years” by Modern Drummer magazine. LA Weekly even wrote “His recent records, such as 2000’s Don’t Be Scared Anymore and the new StereoNucleosis, are stunning examples of the electronic, rhythmic and intellectual directions jazz could be going."
Another key aspect of Paul’s career includes the numerous collaborations with his wife Barbara. Most notably touring together as members of the Pat Metheny Secret Story Band. Barbara is a well-known and respected keyboardist, composer & multi-instrumentalist who has perfect pitch. It’s that rare ability of identifying & re-creating musical notes without the benefit of a reference tone.” She and Paul also compose together with songs written for Paul’s CDs – The Yin And The Yout and StereoNucleosis. Others include the CDs State of the Union and Nastroje. Barbara has also co-written music with Jim Peterik of The Ides of March, and Survivor. One of their compositions entitled “Under the Spell” appeared on The Doobie Brothers CD, Brotherhood.
Videos of the Pat Metheny Secret Story Band featuring Paul Wertico and his wife Barbara:
Pat Metheny Secret Story Live - Santiago de Chile – “Facing West”
Pat Metheny Secret Story Live – Band Introductions & “Minuano”
Some of his latest releases include a DVD & CD by David Cain & Paul Wertico entitled Feast For The Senses; a CD by Paul Wertico & Frank Catalano entitled Topics of Conversation; a CD by Fabrizio Mocata, Gianmarco Scaglia & Paul Wertico entitled Free The Opera!; a DVD & CD by Wertico Cain & Gray entitled Sound Portraits (which won “Best Live Performance Album” in the 13th Annual Independent Music Awards (2014); Wertico Cain & Gray’s second CD entitled Out In SPACE; Wertico Cain & Gray's second DVD & third CD entitled Organic Architecture; Wertico Cain & Gray's fourth CD & downloadable video release entitled Realization (which was nominated for “Best Live Performance Album” and “Best Long Form Video” in the 15th Annual Independent Music Awards (2016); Wertico Cain & Gray's fifth CD entitled Short Cuts - 40 Improvisations; Wertico Cain & Gray's sixth CD entitled AfterLive; and Wertico Cain & Gray's seventh CD & downloadable video release entitled Without Compromise. The Paul Wertico Trio also just released a new CD (celebrating the trio’s 25th anniversary) entitled First Date, and two upcoming releases, a CD entitled Dynamics In Meditation by The Gianmarco Scaglia & Paul Wertico Quartet, and a double-CD entitled Live Under Italian Skies by The Paul Wertico/John Helliwell Project, will be released in 2020.
Paul's major endorsements include: Drum Workshop, Dream, Remo, Promark, and Shure.
Links to songs from some of the CDs Paul has played on as a leader, co-leader, and sideman (drums and/or percussion):
Paul Wertico Trio - “Clybourn Strut”
Paul Wertico Trio - “8x12”
WERTICO - “Almost Sixteen”
Paul Wertico Trio - “Little Creatures”
Paul Wertico’s Mid-East/Mid-West Alliance - “The Inside Track”
Earwax Control - “Dogshit Blues”
Spontaneous Composition - “March of the Schnatskis”
Earwax Control - “The Ditch at the Side of the Tracks”
Hobgood/Torff/Wertico - “Bekiduan”
Brian Peters & Paul Wertico - “The Tundra”
Wertico Cain & Gray - “The Great Dinosaur Dance That Never Was”
Mocata/Scaglia/Wertico - “Angry Peacocks”
Wertico Cain & Gray - “Trying To Remember To Forget”
Terry Callier - “If I Could Make You (Change Your Mind)”
Ellen McIlwaine (with Jack Bruce) - “Danger Zone”
Kurt Elling - “Tanganyika Dance (The Man from Tanganyika)”
Ken Nordine - “Mister City”
SBB - “Całkiem Spokojne Zmęczenie”
Larry Coryell - “Spaces Revisited”
Kindred The Family Soul - “I Am”
Simon & Bard - “Fancy Frogs”
Paul Winter - “Appalachian Morning”
John Moulder - “Earthborn Tales”
Carrie McDowell - “Happy Talk”
Marbin - “The Way to Riches”
Lisa McClowry - “Do You Hear What I Hear?”
Eugene Friesen - “Nuns In Cuba”
Tom Mac - “What a Joke”
Scott Earl Holman Trio - “James”
Niels Lan Doky - “Split Milk”
Liam O’Connor - “Liam’s Waltz”
Julio Awad - “Tornado Tango”
Alberto Mizrahi - “La Comida, La Manana”
Patxi Pascual - “Zadar”
Dimension - “After The Rainbow”
Rex Richardson - “Mobius”
Jerry Goodman - “Endless November”
Paloma San Basilio - “Cheek to Cheek”
Walt Cunningham Jr. - “Spirit Prelude”
Fred Simon - “Usually Always”
Vangelis Katsoulis - “Endless Dream”
A video juxtaposing the drumming of Paul Wertico with the painting of Magda Bielesz:
Paul Wertico
Associate Professor of Jazz Studies
Chicago College of Performing Arts at Roosevelt University
430 S. Michigan Ave., Room 927D
Chicago, IL 60605
Visit Paul’s websites at:
https://www.facebook.com/paulwertico2/
https://musicians.allaboutjazz.com/paulwertico
I would like to thank Paul Wertico for the exclusive interview and additional correspondence through E-mails and phone conversations. Got to hang with Paul at the Chicago Drum Show asking him lots of questions, and taking some great photos. He’s a super nice guy, and an incredible drummer. Some interviews are difficult – This one was easy, and truly rewarding.
— Many thanks, Paul
David Barsalou MFA
