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Tom Zygmont

Zygmont’s drumming is the heartbeat of his narrative—sometimes explosive, sometimes delicate, always driving the groove.

About Me

Tom Zygmont’s debut album Lumina Way is extraordinary—multi-faceted and brilliantly performed — making a lasting impact unlike most contemporary jazz albums in recent memory. Recorded live at the legendary Sunset Sound in Hollywood, Lumina Way brings together some of Los Angeles’ finest musicians for a true celebration of sound, soul, and craft.

The album was recorded live by Kenji Nakai. In addition to the aforementioned Brandon Fields and Terry Wollman, includes guitarists James Zota Baker, Jennifer Batten and Sid Jacobs; percussionists Leon Mobley, Luis Conte and MB Gordy; pianist Ron Walters, Jr.; bassist Abraham Laboriel Sr.; trumpeter/flugelhornist Wayne Bergeron; harmonica virtuoso Tollak Ollestad; harpist Stephanie Bennet; and vocalist Melanie Taylor. The album was mixed by Peter Kelsey, whose credits including Elton John, Jean-Luc Ponty and Black Sabbath drummer Bill Ward.

Zygmont’s long musical journey has shaped every moment of this record. Since arriving in Los Angeles in 1979 to pursue his dreams, he has built an eclectic and respected career as a freelance drummer for both stage and studio. Over the years, he’s performed with an impressive roster of cultural icons, including Chuck Mangione, Maxine Andrews (The Andrews Sisters), Johnny Mathis, Julio Iglesias, Shirley Jones, Spencer Davis, Maureen McGovern, Martha Raye, Carol Channing, Florence Henderson, John Raitt, Adrienne Barbeau, and Bobby Kimball (Toto).

His drumming is the heartbeat of his narrative—sometimes explosive, sometimes delicate, always driving the groove.

In addition to his work on stage and in the studio, Zygmont has performed in countless musical theatre productions. Recent credits include Rent, Chess, Into the Woods, and Little Shop of Horrors, a testament to his continued creative drive and versatility.

Beyond the drum kit, Zygmont spent 24 years at Remo Drums, where he played a key role in product development and innovation, ultimately earning a patent for one of his process inventions. As Director of Graphics and Lamination—and a frequent collaborator in Research & Development—he worked closely with artists and tech teams behind the sounds of Michael Jackson, Van Halen, Whitney Houston, Rush, Ringo Starr, Def Leppard, Ozzy Osbourne, Chicago, and Wings.

Now, with Lumina Way, Zygmont steps into the spotlight with the energy, joy, and freedom of an artist whose love for music has only deepened over time. He and his ensemble play like kids, really— proof that time, in their case, hasn’t dulled anything. If anything, it’s sharpened the focus.

Contact Me

Playlist

Theme Song

My Jazz Story

I think there are two main reasons why I love jazz. The first would be its free and improvisational nature—the way interactions occur between the participants. Songs often become an extemporaneous conversation that can respond to any inspirations. The second is its rhythmic (as well as harmonic) sophistication. A drummer playing jazz needs a large toolbox of rhythmic ideas that he or she can call up at a moment’s notice. I enjoy that challenge.
 I was first exposed to jazz when I was in junior high school, and I’d go watch the high school jazz band rehearse. I was just learning to play drum set. I’d sit behind the drummer… how does he do those things… can I do it too?
 I got to know Louie Bellson through my association with Remo, Inc. We worked on some projects together and became friends. I gave him a recording of a bop quintet I was leading at the time. He really enjoyed it, and from then on we’d always talk about the gigs we were doing. I cherish my time with him. He was the nicest, most complete human being I’ve ever known.
 I’ve been to lots of shows, of course—it’s hard to pick a best. When I was studying music in college, I was going through my Billy Cobham phase. One night he played at a small club just off campus—Alphonso Johnson was on bass. I was in the first row, maybe 25 feet away from the band. I heard and saw everything. Again thinking… how does he do those things… can I do it too? (Uh, no. I tried.)
 I don’t remember the first jazz record I bought. It could have been anything from Woody Herman to John McLaughlin. I was all over the place when I was young.
 My advice to new listeners: simply, listen to things you like. At the same time, be open-minded toward new and different music. Try to keep a wide horizon.

My Favorite Local Jazz Venues & Festivals

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