Greg Burrows

Greg Burrows is a drum set and multi-percussion player based in The Bronx, New York City.

Performance styles/specialties: Jazz, multi-ethnic ("world music"), funk/soul, samba/bossa nova, calypso, chicha (Peruvian Cumbia), bluegrass/folk, shows, free improvisation ... are these styles related? Yes they are: all musical pulsation and rhythm emanates from the body, heart and soul.

Education: Two years in the Conservatory at S.U.N.Y. Purchase College; private lessons with: Joe Morello, Henry Adler, Gary Chester, Bob Moses, Glen Velez, Dave Weckl, Peter Erskine, Ray DesRoches, Montego Joe and Milton Cardona, among others.

Greg acknowleges Jo Jones, Jr., son of the late, great "Papa" Jo Jones, as a primary influence/encouraging force in his younger days; Jo held a weekly jam session at the now-defunct Jazz Forum, in which he always let Greg get on top of the long drummer list. Also, the legendary Louie Bellson was a positive influence, as Greg apprenticed him during a weeklong recording session with Benny Goodman (Goodman's final record date). Bellson's powerful-yet-gentle style and unwavering groove, not to mention his supreme personal warmth and kindness, left a permanent impression on the budding 22-year-old.

As a student at the State University of New York Purchase College campus, Greg was at the heart of a scene that gave rise to numerous jazz players who are now acknowleged masters. On any given day, the sounds of pianists Kevin Hays, Joe Caldarazza, and Bill Charlap could be heard echoing in the conservatory hallways [they loved the 24-hr access to Steinway grands back then] , practicing solo or participating in a session (often with Greg at the drums). Other contemporary jazz greats were there on an almost daily basis also, like bassist/composer Sean Smith. At that time (mid-1980s) SUNY Purchase was a classical conservatory with a small 'Studio/Composition' major focusing on pop/jazz music, initiated by education visionary Jim MacElwaine. The college now offers one of the nations finest jazz education programs.

It was at this time, beginning at age 21, that Greg became full-time drummer for late guitarist Sal Salvador, appearing live and recording in trio, quartet, quintet, sextet w/ vocalist Barbara Sfraga, and big band contexts. Sal was a veteral of the Stan Kenton Orchestra, New York's then-busy recording studios, and he worked with a 'who's who' of jazz greats in the 1950s-60s. Greg's predecessors in the group (and this is an incomplete listing) were: Butch Miles, Joe Morello, Dave Weckl, Steve Gadd ... and Leon Parker subbed a few times. At this time, Greg was also busy and in-demand for all gigs that working musicians did in the NY area at that time: studio sessions, weddings, private functions, 'oldies' acts including

In 2003 Greg completed the first U.S. TA KE TI NA rhythm teacher training with Advanced certification. Taketina was founded and is taught by the Austrian master drummer/composerReinhard Flatischler and co-led by Cornelia Flatischler. [More info available at: www.taketina.com]

Greg is currently offering Taketina rhythm workshops locally and sometimes internationally. For more info on this fantastic mind-body-spirit musical experience, have a look at www.taketina.com

Greg maintains a busy schedule as a live/studio performer and teacher. Catch Greg live in and around New York City, drumming with with Brown Baby Girl, featuring Jamie Finegan and a true rising star of the NewSoul movement: Lorenda Robinson.

Other projects: occasional shows/recordings with Las Rubias Del Norte and Chicha Libre, two Brooklyn-based Latin-inspired groups; occasional appearances with RhythMutation (see photo), a tap dance company featuring Stephanie Larriere and Chikako Iwahori (of Beat The Donkey) and various guest musicians.

"I intend to continue developing and expanding my abilities as a performer, teacher and workshop leader. In my view, each live gig, private lesson, and workshop is a golden opportunity not only for enriching the lives of others; teaching and performing also greatly empower my own musical, personal and spiritual growth."

"I continue to evolve and learn about my craft and about rhythm, each and every day. As a result, I'm eager to share what I know with those who may wish to learn about the art of drumming, and how rhythm can affect them or help in their daily lives." Show less