A brief overview of Donny's history:
Donny Osborne found himself behind his first set of drums at age four. The Chicago native recalls that there was a lot of music around his house; all jazz. “HI-FI Drums” by Woody Herman’s Herd featuring Buddy Rich is the earliest recording that he remembers. He acquired his amazing drumming skill set by ear, spending hours playing to records from the family album collection. With the exception of music reading lessons from big band drummer Roy Burns, Osborne never had a formal drum lesson in his life. He was first and foremost influenced by the amazing genius and technique of Buddy Rich, and also by the skill of drumming greats Gene Krupa, Dave Tough, and Chick Webb.
Donny’s primary and middle schools had no formal music programs. Unlike other kids who participate in youth music ensembles or garage bands, Donny’s first opportunity to make music with and for other people came at age 13, when he played the Beatles tune “Norwegian Wood (This Bird Has Flown)” – behind the Buddy Rich Orchestra as an opening act for the Ink Spots at Chicago’s Club Laurel. “I was scared to death!” laughs Donny recalling the experience. He officially became a “professional” drummer at age 14 when he earned $50.00 conducting a drum clinic at Franks Drum Shop located on Chicago’s loop at 2nd & Wabash. “People were standing on display counters watching me play. I loved that place, they had a huge inventory of drums and you never knew who you were going to meet in there” says Osborne modestly. He was hailed as a “Drum Wizard” and “Drum Prodigy” by Chicago papers.
Upon entering Chicago’s Taft High School, Donny became a member of the school’s symphonic band. “The director was too square for a jazz orchestra” says Osborne as his eyes roll to the back of his head. Instead, Osborne scratched his jazz itch appearing with Buddy Rich at the Slingerland Drum Show in Miami. He also appeared with Steve Allen at The London House, a jazz club and restaurant located in Chicago. Donny started a love affair with the Pacific Northwest while conducting drum clinics at Vancouver Washington’s Clark College, and University of Idaho at Moscow Idaho. He enrolled in the Mount Hood Community College Music Curriculum in 1971. “That was a great band, and a once in a life time opportunity” Osborne reminisces, “The Director, Larry McVey, and the members of the band were committed to performance excellence!”
It was late 1974 when Mel Tormé, “The Velvet Fog”, summoned Donny to the Fairmont San Francisco. Mel and his hired drummer had decided to part ways. Donny watched and tape recorded Mel’s show from the back of the auditorium, then returned home confining himself to his tape recording and drum kit to learn the show. “I learn best by listening” claims Osborne. On December 31, 1974 Donny Osborne launched his 24+ year career with Mel Tormé at the Hyatt Regency Houston.
Osborne recalls of the time that he was oblivious to the state of jazz as a result of the 20 year rock and roll incursion, or the advanced state of decline of Mel’s career. The economics of big bands traveling by chartered bus from gig to gig had died long ago.
“Most of the time, it was Mel and I loading a set of drums on a rented station wagon and driving to the next small town to perform. Since Mel himself was a drummer and had such a strong attraction to the instrument, I was his only full time band member. The club owners that booked us were responsible for filling in the rest of the band with local talent, some of which was excellent, and some of which was really bad. We played anywhere and everywhere. Big towns. Small towns. Ballrooms in major city hotels, and hotel lounges in Lincoln Nebraska. We were booked as 30 minute opening acts in Las Vegas for Jerry Lewis and Rich Little. Can you imagine how humiliating this was for Mel, given where his career had been, to be opening for those guys? Mel should have been the headliner! As with all jazz greats at some point in their career, Mel struggled. But because of his love of the art form and performing, he just kept keeping on!” AND so does Donny with this new release "Live At Tony Starlight's" in Portland, OR. This is his first official leader date release.
Here are a few words about Donny from DANNY SERAPHINE the great former drummer from the multi-platinum selling mega group CHICAGO and current leader of CTA..."Steve it’s true what you are saying about Donny, we should all be so lucky to be able to play Buddy’s licks as good as Donny does, he deserves to be championed. BTW we’re all Buddy imitators, or at least we try and eventually give in to the fact that Buddy was a one of a kind and we best do our own interpretation of him."
Donny at age 6, playing in Grandma's garage
Donny doing a clinic with Buddy Rich as "Buddy Rich's Protege".
Donny sitting in with Buddy Rich's band in Los Angeles, as a teen.
Slingerland ad from the 1970's
Slingerland ad from the 1970's
Donny and Mel Torme worked together for over 20 years.
The CD art from Donny's latest release
The tune selection from Donny's latest release
From Donny's clinic at Rob Cook's Vintage Drum show.
Donny and friends at a Peter Erskine gig
One of Gene Krupa’s kits, which Mel Torme procured and was given to Donny upon Mel’s passing (Thanks to Steve Maxwell at MaxwellDrumscom, for this story)
This was Gene’s kit given to Mel and brought to the day’s standards by Donny’s dad. Mel and Donny used this kit nightly in the Krupa tribute. When Mel passed, his estate gave the drums to Donny, and he later sold them to Steve Maxwell. I believe Charlie Watts (Stones) bought them for his collection.
This kit has a remarkable history. Mel was an excellent drummer as well as a world class vocalist, and he loved Gene Krupa and always wanted to own drums that belonged to Gene. Mel's opportunity came in the 70s. Mel had learned that one of Gene's kits was available, even though most of Gene's drums had been lost in a fire. The kit was used by Gene circa 1938. Mel was fortunate enough to acquire this kit, and when he did so, he approached Don Osborne Sr., then President of Slingerland, with an idea. Mel wanted to use the kit in his nightly show, where he performed a tribute to Gene Krupa along with his drummer, Donny Osborne Jr. Mel wanted to use Gene's kit, but the shells were badly discolored and he felt the kit didn't look as good as it should. As a result, he asked Don Osborne Sr. if Slingerland would restore the kit by using all of the hardware from Gene's drums and mounting it on new Slingerland shells. Don agreed, and as a result, Mel used the kit nightly for more than 25 years and it was by far his favorite set. Mel discusses this kit in a 1976 interview with Les Tomkins in Great Britain. The text can be seen by going to Jazz Professional.com.
The drums and the throne are the originals from this kit. The cymbals and all other stands are not. The kit was acquired by me from Donny Osborne Jr. (Don Osborne's son), who was Mel's drummer for more than 25 years. Donny acquired the kit from Mel's family after Mel passed away. The toms still have the original calf heads. The original 'GK' calf logo head is not present. Donny recalls that he would tune the kit for Mel each night, and that after awhile, the idea of tuning the bass drum with calf heads became too cumbersome, so the heads on this drum were switched out to plastic at some point and the GK logo was replicated exactly for the plastic heads. The original calf heads remain on the toms, and the snare drum has plastic heads.
Donny Osborne Jr was, and still is, a phenomenal player. At the early age of 15 Donny was performing clinics at Frank's Drum Shop here in Chicago, and he was the only drummer that Buddy ever let sit in with his band, all at a time when Donny was still in his teens. Donny and Buddy were close friends, and I'm happy to say that Donny and I are also close friends. His performance at Rob Cook's Chicago Vintage Drum Show was over the top. For details on the 2005 Chicago Show see Rob Cook's website at www.rebeats.com