Studio Musicians

Jeffrey Pevar is an American producer, bandleader, composer, and acclaimed touring and session guitarist whose lifelong dedication to music began at an early age. After seeing The Beatles perform on The Ed Sullivan Show, Jeff knew music would define his future. Inspired and determined, he began playing guitar at age ten with encouragement from his older brother. Largely self-taught, he immersed himself in records — even learning intricate Steely Dan solos note for note — and by age fifteen was performing in local bands, with his mother driving him to bar gigs to pursue his growing

Bill Pitman was a first call studio musician in Los Angles who played on a string of hit records and award winning motion pictures. As a member of the Wrecking Crew he played on the Beach Boy's Pet Sounds album as well as hundreds of top 40 hits beginning in the late 1950s. Bill's ukulele can be heard at the beginning and throughout the Academy Award winning song "Raindrops Keep Falling on My Head" for the 1969 film Butch Cassidy and the Sundance Kid. His Danelectro guitar was a central part of the soundtrack of the television show “The Wild, Wild West”.

Bucky Pizzarelli was a jazz guitarist who helped bring the sounds of the electric guitar into jazz and into popular music, beginning in the 1940s.  As a stage performer and later a studio musician, Bucky's guitar can be heard on countless recordings both by other artists as well as on his own.  He has played and endorsed several products during his career and has a special place in the history of music products as one of the first well-known performers to play the Danelectro brand of guitars.

Dave Pomeroy has been active during the Summer NAMM Show in Nashville as both a performer on stage for many events and as an exhibitor as president of the Musician's Union in Nashville.  Dave’s playing career has included live performances and studio recordings with Trisha Yearwood, Alison Krauss and George Jones.  He became personal friends with singer/songwriter Keith Whitley and in fact spent a lot of time in the studio with Keith towards the end of his life, which was cut short in 1989 when Keith was 33.  Dave was elected president of the Nashville Local 257 of the American Fe

Vernon Porter can be heard playing bass on many Kenny Loggins recordings from 1981-1984, which is one of many crowning achievements of his career. It started when young Vernon was in the fourth grade and was encouraged to appreciate music by his Bluegrass playing uncle and father. He joined the school band playing saxophone and switched to bass when he was 15.  In the early days he mostly played rock but moved into the R&B and Funk world after hearing Rocco Prestia of Tower of Power. His band, Liaja was the opening act for such performers as Larry Graham and the Brothers Johns

George Porter Jr. has proven himself to be one of the bedrocks that make up the foundation of the New Orleans music scene. While starting out briefly on guitar, George quickly transitioned to bass where he really hit his stride. After some prompting from Art Neville, George became an integral part of the Meters, playing with them from the start until their breakup in 1977. Following the Meters, George remained active on the scene eventually returning to the reformed Meters in 1989. George, with the Meters, were one of the first bands to play New Orleans following Hurricane Katrina

Specs Powell played jazz drums during the hey-day of 52nd Street in New York City. He worked hard -- sometimes four gigs a night -- playing behind such legends as Billie Holiday, John Kirby and Red Norvo. Specs was active in the V-Disc recordings to boost the troops’ morale during World War II and became the first black musician hired by a network orchestra, CBS back in 1943. He made the transition with the orchestra from radio to television, playing in the pit for the long running Ed Sullivan Show.

Jerry Puckett was a studio musician for Malaco Records in Jackson, Mississippi who played guitar on the hits “Groove Me” by King Floyd and “Mr. Big Stuff” by Jewel Bass, among many others. Jerry also performed on several historic albums over his long career including Remember Me by Willie Nelson and There Goes Rhymin' Simon by Paul Simon. Like so many musicians, in the early part of his career, Jerry worked for a local music store between gigs, including for Army Brown the founder of Brown Music in Jackson where he bought his first Les Paul and Stratocaster.

Bernard Purdie became a studio drummer in the early 1960s. In fact his first recording was when he provided the influential drum beat heard in the beginning of “Just One Look” with singer Doris Troy. Since that time he has played important roles on several landmark recordings and partnered with many drum and percussion companies as a consultant on new products. Purdie is also a regular attendee and performer at most NAMM Trade Shows who has inspired many by his talent and positive approach to music making. 

Norbert Putnam is a studio musician’s studio musician. With a career that includes playing on most of the early Muscle Shoals recordings as well as hundreds of tracks with Elvis Presley, Norbert also played with and produced such artists as Jimmy Buffett, Dan Fogelberg and Joan Baez. At the heart of Norbert is his love and passion for music. As a bassist he has been able to express himself and make a living doing what he has really loved!

Brittany Quiroz grew up surrounded by music, and by four years old, she was already on stage with her mother’s band. They performed locally in New England and at special events, such as a candlelight vigil following the 9/11 tragedy. Music has always been at the core of Brittany's identity, but it gained a profound purpose in 2019 when she was diagnosed with Multiple Sclerosis (MS). Partnering with her mother, Brittany began writing songs that convey powerful messages to those suffering from chronic illnesses. Her work has been instrumental in uplifting, encouraging, and educating

Trevor Rabin was raised in a musical household, with a father who was a musician and he encouraged Trevor to play the piano at an early age. Later, his father gave him a guitar as a gift which started Trevor off on a side musical experience as a session player in his hometown of Johannesburg, South Africa. Trevor also studied classical music and composition, which he later used to great success while scoring for films. His pop music career began with the band Rabbitt, which had a string of hits in the 1970s and he later joined Yes and wrote several songs for the band.

Chuck Rainey picked up a violin as a boy and knew very early on that he wanted to make music! His legendary career as a studio musician and band leader included some iconic projects such as Aja with Steely Dan and a tour with King Curtis, when he toured with the Beatles.  Chuck is best known as a rhythm and bass guitarist.

Don Randi is among the most noted studio musicians that came out of Los Angeles during the famous Wall of Sound era.  Don was a member of the Wrecking Crew and played keyboards on countless hit recordings.  When listening to the Beach Boy's famous Pet Sounds album, you will hear Don’s piano and keyboards throughout the recording.  He plays the harpsichord on the beginning of Linda Ronstadt’s career jumping hit “Different Drum” (when she was a member of the group The Stone Poneys).  Don’s list of credits is incredible, as are the many instruments he not only played but also perfect

Phil Ranelin stood in line at school to pick an instrument for band. He really wanted the saxophone but when he got to the head of the line all the saxophones were gone and he was given a trombone. It was not his first choice, but he grew to love the instrument and in fact made it his own over the years by establishing his own unique sound. He helped redefine jazz in the 1960s and 70s with his band The Tribe and performed with a long list of innovative musicians including Freddie Hubbard and Wes Montgomery.

Mickey Raphael grew up with a passion for music and was recruited to play sousaphone and tuba in his high-school marching band. While this was his excuse to get out of gym class, Mickey realized his love for music and gravitated towards playing the harmonica. He was deep into the folk scene in Dallas, TX and drew great inspiration from Canned Heat, The Lovin' Spoonful and the Paul Butterfield Blues Band just to name a few. Since the harmonica was a prominent instrument in folk music, Mickey had no problem getting gigs and playing many shows. He started playing with Willie Nelson i

Leon Rhodes was one of the most beloved country music guitarists in history. He established himself as a clever and hard driving musician as part of Ernest Tubb’s Texas Troubadours. Leon’s guitar style helped make up the distinctive Tubb sound on recordings such as “Texas Troubadour Stomp”, “Cool It”, “Red Top” and the classic instrumental “Honey Fingers”. Leon performed on the Grand Ole Opry in Nashville as well as becoming a sought-after studio musician.

Emil Richards played a significant role in the expanded use and knowledge of world percussion instruments. Through his recordings and work for TV and the movies, Emil was known for adding splashes of new sounds and flavors to many of the nearly 2,000 films including authentic Russian instruments for “Doctor Zhivago” (1965). Emil also played a large role in the development of the PAS museum, which now includes several rare percussive instruments he has donated for display. 

Paul Riser Sr. was given important musical training when he was in school, which helped set the direction of his career as a trombonist and later as an arranger. He was hired as a trombonist to join the famous studio musicians at Motown Records. He soon began arranging charts for the group and assisting in writing songs. He contributed to the Jimmy Ruffin hit “What Becomes of the Brokenhearted” and his trombone can clearly be heard on the Temptations' million-seller “My Girl.” He arranged Diana Ross’ “Ain’t No Mountain High Enough” as well as the Temptations' “Papa Was a Rolling S

Lee Ritenour was exposed to jazz music in Los Angeles as a youth thanks to his parents.  He developed a great knowledge of guitar techniques having watched and or worked with many of his guitar heroes. When he was 16 years old he accompanied jazz singer Lena Horne, which opened up many doors for Lee.  His studio work and later solo career established him as a gifted and versatile musician and set the stage for a long list of successful musical projects, several of which have been praised by fans and peers alike.  His constant drive to explore and develop has also led to his carefu

Lyle Ritz worked for a Los Angeles music store in the 1950s when his career as a studio musician began to take off. Lyle’s studio years were filled with numerous ground-breaking hits, many featuring his influential electric bass. His incredible list of recordings includes “I Got You Babe” by Sonny and Cher and the Beach Boys “Good Vibrations.” In the 1980s, Lyle returned to his first musical love, the ukulele, thanks to the urging of Flea Market Music founder and ukulele historian Jim Beloff.

Sylvester Rivers has applied his musical talents to thousands of hit recordings over the years as well as music for television and motion pictures. His list of credits includes several categories as pianist, arranger, and musical director. The list of iconic performers he has worked with is just as impressive and yet at the very center of these accomplishments is a gentle and giving soul who loves making music. His friendly personality and talents as a musician may explain why so many people want to work with him. He is dedicated to his craft and works hard to provide programs tha

Hargus “Pig” Robbins became a member of the Nashville studio group of musicians known as the A Team. As a gifted piano player, Pig gained the attention of producers such as Owen Bradley and Chet Atkins who repeatedly used him to back singers and performers for countless hit recordings. While interviewing Pig it was clear that it might be easier to list the recording artists he did NOT work with either on stage or in the studio.

George Roberts is known in the jazz world for his recording of “Stella By Starlight” with the Stan Kenton Orchestra, which featured George on bass trombone. He is known among music instrument makers as Mr. Bass Trombone, who helped make a market for the instrument beginning in the late 1940s. George is known to movie trivia buffs as the trombonist who scared audiences with the sounds before JAWS attacked (ba-dump ba-dump). His is also known to his NAMM family for creating Bones West, a big band style trombone band that has played at every trade show since the mid 1970s. 

Warren Roché met Michael Thomas in the sixth grade where they were studying the trumpet. Both went on to studio careers and together they formed a valve oil company (Roché-Thomas) to make a little money on the side. Both men also played in the band that performed with Lou Rawls. That gig provided Warren the opportunity to work with HB Barnum, who arranged for Warren to conduct shows for Don Ho, and introduced him to studio work in Los Angeles. Warren’s trumpet can be heard on over a thousand recordings including those on the Motown label and such 1970s hits as Barry White’s “Can’t

Charles Rose began playing trombone in the 7th grade and by 1970, when he was still a teenager, formed a band with three trombones. It was the beginning of a long and successful career in music. Clayton Ives at Wishbone Recording Studio in Alabama hired Charles as a studio musician. Clayton soon discovered Charles’ music notation skills and asked him to write lead sheets for the recording sessions. Jimmy Johnson over at Muscle Shoals Studios hired Charles for sessions, which is where he joined the now-famous group known as Muscle Shoals Horns.

Ray Russell is the noted English studio musician and composer who has also performed with a number of bands over his long career including the prog rock group Mouse. His guitar can be heard on hundreds of records with such artists as David Bowie, Gil Evans and Roxy Music. Working with Sir George Martin in Air Studios was a meaningful experience for Ray as was working on the James Bond Theme Song. His go-to instruments for much of his studio recordings were a Fender Stratocaster and a CF Martin guitar. He also used a Bartell fretless, which was given to him by George Harrison.

Leon Russell was the noted musician and songwriter who contributed greatly to popular and rock music during his long career.  As a studio musician, Leon was active in the development of the Linn Drum Machine having provided Roger Linn with several ideas to create new sounds, such as the hand clap and longer loops.  He recorded extensively with other artists and on his own as a solo performer.  He was also an award-winning songwriter who penned classic hits for himself as well as many other artists. 

David Sancious always had records playing in his home growing up and his dad would take him to jazz clubs when he was just a child to sit by the stage so he could see the piano player. As an early member of the E Street Band, David toured with Bruce Springsteen as synthesizers and MIDI were introduced, which led to innovative ways to include these instruments in his playing. He formed his own band Tone in the mid-1970s and has played with several other iconic artists including Sting, Stanley Clarke and Eric Clapton.

Billy Sanford purchased his first guitar, a Stella, at a pawn shop in his hometown of Shreveport, Louisiana, when he was 13 years old. Still a teenager, Billy became a member of the staff band for the popular radio program The Louisiana Hayride from 1958 to 1959. A few years later he moved to Nashville and began his long career as a studio guitarist.

Curly Seckler was a pioneer in the development of Bluegrass music. He began performing professionally in 1935, on a daily radio program on WSTP in Salisbury, NC.  After the breakup of the Monroe Brothers act, Curly was the first tenor singer selected by Charlie Monroe for his Kentucky Pardners band in 1939. He was also the tenor singer with Flatt & Scruggs for twelve years, during their most creative period, and can be heard on nearly all of their greatest hits.

Denny Seiwell went along on gigs with his father who was the drummer for the Tommy Dorsey band during the great Swing Era.  Denny recalled sitting on the floor and watching his father play.  As a young child, Denny took up the drums and loved every minute.  During school he played in marching bands and at night and weekends he focused on drum set playing while listening to his dad and his records.  His career as a drummer really began in New York where he began performing on recordings.  As a member of Paul McCartney’s band Wings, Denny played concert halls and festivals around th