"A well respected sought after drummer, producer, and clinician living in New York. Ray LeVier's chops and musicality have brought him much success. Ray has played and recorded with John Abercrombie, Dave Binney, KJ Denhert, Joe Locke, Francois Moutin, Wayne Krantz, Mike Stern, and Rich Tozzoli. Ray also writes music for television and has amassed hundreds of TV cues airing around the world from networks such as Nat Geo, Discovery, TLC, Etc. Rays debut CD "Rays Way" released 09 on Origin records has been received with rave reviews and was featured in Jazz Times magazine May 2009 issue stating "Keep an ear on this LeVier guy—he's got "rising star" written all over him." Ray has been taught by some of the best drummers in the biz such as Lenny White, Kim Plainfield, John Riley, Marvin Smith, and Adam Nussbaum. Touring the world and inspiring all who see and hear him play at clinics and festivals. Ray LeVier's spirit is testimony to his inspirational career as a drummer and musician."
"I grew up listening to a lot of rock and metal as a kid. I literally knew nothing about jazz and, in my being so green, thought it was for older people and rather fuddy-duddy. It was too polite and quiet and didn’t stir anything inside of me.
A neighbor down the street started taking drum lessons and that was the first time I ever heard anybody play drums. After that day, I wanted to play drums more than anything and begged my mom and dad to get me a drum kit. That same neighbor showed me my first rock beat and there was no turning back; I was hooked.
My ignorance was my bliss and I played that one rock beat over and over, learning other variations based on it. I was a freshman in high school and I was sure I was going to be a rock drummer and didn’t need any drum lessons.
One day after school, I went to my friend's house. His older brother was an accomplished jazz drummer. I told him I played drums and he asked what I was listening to. I was really into rock and metal and when I told him this, he kind of rolled his eyes and said, “You should check out fusion.”
As soon as he said the word “fusion,” I was intrigued. “What’s fusion?'' I asked. He then put on The Tony Williams Lifetime Believe It record. I was so naïve. I didn’t know you could mix jazz and rock. It blew my mind and I couldn’t believe what I was hearing. There were thunderous rock grooves interwoven with finesse, technique, dynamics, and a complete command of the drums I never thought was possible.
My friend’s brother was nice enough to make me a cassette and I listened to it over and over, trying to figure out what I was hearing. With Tony as the gatekeeper, I entered the jazz world through the backdoor.
Learning that he was a jazz drummer first and rock drummer second blew my mind. He played with such fierceness, tenacity, and audacity that I just assumed he was a rock drummer. It wasn’t until I really started checking him out that I realized the vastness and depth of his creativity.
Tony (and wanting to unpack his style) is the reason I wanted to take drum lessons. My father called a friend he’d played a few gigs with, Sal Larocca. Turns out that Tony was Sal‘s favorite drummer, too, and he turned me on to Miles’ Four & More album. I immediately went to Tower Records after that lesson and bought as many Miles Davis recordings with Tony Williams on them as I could. This was the beginning of my deep dive into his body of work, but it wasn’t until I started reading Modern Drummer magazine that I realized how influential he was to so many drummers in so many genres.
I then studied with John Riley at William Paterson University and, at almost every lesson, I asked him to teach me Tony’s licks. Tony never played a drum fill for the sake of playing a drum fill. It was always rooted in musicality and expression for the music first. It was inspiring that he put just as much effort into songwriting as he did into playing the drums.
I only got to see Tony play on two occasions. Once at The Blue Note and again at Birdland. Both nights, I received the drum lesson of my life and learned firsthand about control, finesse, and confidence. He played that massive canary yellow drum kit with the three floor toms and used every drum melodically and musically. His flams and single stroke rolls knocked me out on the spot. Looking back now, I wish I would’ve checked him out live more, but am grateful for the two times I did.
Tony left this world way too soon, but he left an enormous discography for all of us to learn from. I feel it would take me two lifetimes of listening to fully grasp his playing and conceptual ideas and I can’t help but wonder, “If Tony was still around, how much more would he be pushing the boundaries of the drums and music?”
Thank you, Tony, for your talent, perseverance, and love for the instrument. You made me want to be, not only a great drummer, but a great composer. You’ve taught us all how to reach for the stars."
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https://www.youtube.com/watch?v=lYEPeJEupB8
https://www.youtube.com/watch?v=LvwVFk38uTk
https://www.youtube.com/watch?v=NMRBEQOEBIA
https://www.youtube.com/watch?v=nkqJER8dR8k
"Aside from being a great inspiration to me, Ray Levier is really a great drummer. Everyone take note." - Lenny White