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Take Five With Zack Albetta

By AAJ Staff
February 10, 2010
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Meet Zack Albetta: Since coming to Kansas City in 2003, Zack has been active throughout the Midwest as a performer, composer/arranger, educator, author, adjudicator and clinician. His performance credits to date include Angela Hagenbach, The Kansas City Symphony, The Kansas City Repertory Theatre, Stan Kessler, The 18th & Vine Big Band, Mark Lowrey, Shay Estes, and Trio ALL. Zack has several recordings to his credit with Kansas-City-based artists Shay Estes, Trio ALL, Ron Gutierrez, and Clint Ashlock's New Jazz Order Big Band. He has also performed and/or recorded with national and international artists such as Bobby Watson,Karrin Allyson, Mary Stallings, Dr. Art Davis and Roberto Magris, and worked as a commercial session drummer for Hallmark Greeting Cards. As a writer, his articles have been published in Percussive Notes Magazine, the periodical publication of the Percussive Arts Society, and OnlineDrummer.com, an educational website on which he has also been featured in two instructional videos.

Instrument(s):

Drums.

Teachers and/or influences?

Bobby Watson, Doug Auwarter, Michael Carvin.

I knew I wanted to be a musician when...

I was born.

Your sound and approach to music:

If it feels good to you and you play honestly, it'll feel good to everyone else.

Your teaching approach:

Something about teaching a man to fish.

Your dream band:

All of 'em.

Favorite venue:

Jardine's Jazz Club, Kansas City, MO.

Your favorite recording in your discography and why?

Couldn't choose.

The first Jazz album I bought was:

I was told I should check out Miles Davis so I went out and got You're Under Arrest. Not the best choice for a gateway into jazz. I soon opted for Birth of the Cool.

What do you think is the most important thing you are contributing musically?

Taste, touch, class.

Did you know...

I share a birthday (August 4th) with Louis Armstrong, Fidel Castro and Barack Obama

How would you describe the state of jazz today?

All bets are off.

What are some of the essential requirements to keep jazz alive and growing?

To make it GOOD.

By Day:

Private teaching.

If I weren't a jazz musician, I would be a:

A chef.

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