Joseph Albert Morello (July 17, 1928 – March 12, 2011) was a jazz drummer best known for his work with the Dave Brubeck Quartet. He was particularly noted for playing in the unusual time signatures employed by that group in such pieces as "Take Five" and "Blue Rondo à la Turk". Popular for its work on college campuses during the 1950s, Brubeck's group reached new heights with Morello. In June 1959, Morello participated in a recording session with the quartet — completed by the alto saxophonist Paul Desmond and the bassist Eugene Wright — that yielded "Kathy's Waltz" and "Three to Get Ready," both of which intermingled 3/4 and 4/4 time signatures.

Morello suffered from partial vision from birth,^[2] and devoted himself to indoor activities. At six years old, he began studying the violin. Three years later, he was a featured soloist with the Boston Symphony Orchestra, playing Mendelssohn's Violin Concerto, and again three years later.

At the age of 15, Morello met the violinist Jascha Heifetz and decided that he would never be able to equal Heifetz's "sound". Therefore, he switched to drumming, first studying with a show drummer named Joe Sefcik and then George Lawrence Stone, author of the noted drum textbook Stick Control for the Snare Drummer. Stone was so impressed with Morello's ideas that he incorporated them into his next book, Accents & Rebounds, which is dedicated to Morello. Later, Morello studied with Radio City Music Hallpercussionist Billy Gladstone.

After moving to New York City, Morello worked with numerous notable jazz musicians including Johnny Smith, Tal Farlow, Stan Kenton, Phil Woods, Sal Salvador, Marian McPartland, Jay McShann, Art Pepper, and Howard McGhee. After a period of playing in McPartland's trio, Morello declined invitations to join both Benny Goodman and Tommy Dorsey's bands, favoring a temporary two-month tour with the Dave Brubeck Quartet in 1955. Morello remained with Brubeck for well over a decade, departing in 1968. Morello later became an in-demand clinician, teacher and bandleader whose former students include Danny Gottlieb, TigerBill Meligari, Bruce Springsteen E Street Band drummer Max Weinberg, Rich Galichon, Phish drummer Jon Fishman, Gary Feldman, Patrick Wante, Tony Woo, Frankie Valli and the Four Seasons drummer Gerry Polci, Jerry Granelli, RIOT drummer Sandy Slavin, retired Army Blues drummer Steve Fidyk, Glenn Johnson, Pittsburgh drummer Bennett Carlise, Level System author and professional drummer Jeff W. Johnson,^[3] and Jon Bon Jovi drummer Tico Torres.

Morello appeared in many Brubeck performances and contributed to over 60 albums with Brubeck. On "Take Five", he plays an imaginative drum solo maintaining the 5/4 time signature throughout. Another example of soloing in odd time signatures can be heard on "Unsquare Dance", in which he solos using only sticks without drums in 7/4 time. At the end of the track, he can be heard laughing about the "trick" ending. He also features on "Blue Rondo à la Turk", "Strange Meadow Lark", "Pick-Up Sticks" and "Castilian Drums".

During his career, Morello appeared on over 120 albums. He authored several drum books, including Master Studies, published by Modern Drummer Publications, and also made instructional videos. Morello was the recipient of many awards, including Playboy magazine's best drummer award for seven years in a row, and Down Beat magazine's best drummer award five years in a row. He was elected to the Modern Drummer magazine Hall of Fame in 1988, the Percussive Arts Society Hall of Fame in 1993, and was the recipient of Hudson Music's first TIP (Teacher Integration Program) Lifetime Achievement award in June, 2010.^[4] [1][5]

Morello died at his home in Irvington, New Jersey, on March 12, 2011, aged 82, and is interred at Saint Michael Cemetery.^[6]

Upon his death, Morello's wife gave Marvin Burock, one of Joe's students who had toured extensively with Morello and who was tasked with transcribing Morello's Modern Drummer articles for ten years, control of Joe Morello's memorabilia and collections.^[7][8][9]

 AS LEADER/CO-LEADER

• Collections (Intro, 1957) with Red Norvo, Art Pepper and Gerry Wiggins
• It's About Time (RCA, 1962)
• Another Step Forward (Ovation, 1969)
• Joe Morello (Bluebird, 1989)
• Going Places (DMP, 1993)
• Morello Standard Time (DMP, 1994)

 AS SIDEMAN

With Dave Brubeck

• 1957 Jazz Impressions of the U.S.A.
• 1957 Dave Digs Disney
• 1957 Reunion
• 1958 Jazz Goes to Junior College
• 1958 Jazz Impressions of Eurasia
• 1958 Newport 1958
• 1958 The Dave Brubeck Quartet in Europe
• 1959 Gone with the Wind
• 1959 The Riddle
• 1959 Time Out
• 1960 Brubeck and Rushing
• 1960 Brubeck à la mode
• 1961 Take Five Live
• 1961 Time Further Out
• 1961 Tonight Only!
• 1962 Countdown—Time in Outer Space
• 1962 Music from West Side Story
• 1962 The Real Ambassadors
• 1963 Bossa Nova U.S.A.
• 1963 Brandenburg Gate: Revisited
• 1963 Dave Brubeck Quartet in Amsterdam
• 1961 Near-Myth
• 1963 At Carnegie Hall
• 1964 Dave Brubeck in Berlin
• 1964 Jazz Impressions of Japan
• 1964 Time Changes
• 1965 Angel Eyes
• 1965 Jazz Impressions of New York
• 1965 The Canadian Concert of Dave Brubeck
• 1966 My Favorite Things
• 1966 Time In
• 1966 Anything Goes: The Music of Cole Porter
• 1967 Bravo! Brubeck!
• 1967 Right Now!
• 1967 The Last Time We Saw Paris
• 1968 Jackpot!
• 1971 Summit Sessions
• 1972 Adventures in Time
• 1973 On Campus
• 1976 25th Anniversary Reunion
• 1988 The Great Concerts: Amsterdam Copenhagen Carnegie Hall
• 1991 Live (1956–1957)
• 1992 Live (1954 and 1959)
• 1993 Someday My Prince Will Come
• 1993 St. Louis Blues

With Gary Burton

• 1961 New Vibe Man in Town
• 1962 Who Is Gary Burton?

With Tal Farlow

• 1954 Tal Farlow Quartet
• 1955 The Tal Farlow Album

With Marian McPartland

• 1952 Lullaby of Birdland
• 1955 Marian McPartland in Concert
• 1955 Live At the Hickory House
• 1956 After Dark
• 1957 The Marian McPartland Trio
• 2002 Live at Shanghai Jazz
• 2003 All My Life

With Gil Mellé

• Gil Mellé Quintet/Sextet (Blue Note, 1953)
• Gil Mellé Quintet with Urbie Green and Tal Farlow (Blue Note, 1953)

With Sal Salvador

• 1956 Shades of Sal Salvador
• Juicy Lucy (Bee Hive, 1978)

With Chuck Wayne

• The Jazz Guitarist (Savoy, 1953 [1956])

With others

• 1954 Jimmy Raney Quintet, Jimmy Raney
• 1956 The Middle Road, Jimmy McPartland
• 1957 Dream of You, Helen Merrill
• 1957 Mr. Roberts Plays Guitar, Howard Roberts
• 1958 Sweet Paul Vol. 1 Paul Desmond
• 1961 Jazz Winds from a New Direction, Hank Garland
• 1977 Early Art, Art Pepper
• 1979 The Big Apple Bash, Jay McShann
• 1994 Burning for Buddy: A Tribute to the Music of Buddy Rich, Buddy Rich Big Band
• 1994 The Gamut, Robert Hohner
• 1995 Two Facets of Louis: 1920-1950, Louis Armstrong
• 1997 Burning for Buddy: A Tribute to the Music of Buddy Rich Vol. 2, Buddy Rich Big Band
• 2000 Chega de Saudade, Stan Getz
• 2007 Sings the Ultimate American Songbook Vol. 1, Tony Bennett^[10]

Joe Morello liked to buck trends when it came to his gear. As his international reputation grew through his work with The Dave Brubeck Quartet in the late ’50s/early ’60s, he passed overGretsch drums, the brand favored by many of his jazz drumming contemporaries, and chose instead to play aLudwig Super Classic kit, an outfit more closely associated with rock drummers of the day.

By that point, jazz drummers had transitioned from big band to small combo jazz, and in the process scaled down their kits with diminutive 18″ bass drums. In contrast, Morello outfitted his 4-piece kit with a booming 22″ kick, as well as a 13″ mounted tom and 16″ floor (both finished in a bold silver sparkle), with a 14″ x 5″ Ludwig Black Beauty or Super Sensitive snare drum. He clearly wanted to make a statement.

Morello played Zildjian from the mid-’50s to the mid-’60s (including a set of As during the recording of “Take Five”). He would later endorse Paiste, and showed a particular fondness for the company’s 602 line. In the ’60s, he even played an instrumental role in developing the very first flat ride – Paiste’s Formula 602 model.

In recent years, the respected East Coast drum shop owner Steve Maxwell put a large selection of Morello’s cymbals on sale. The offering revealed the drummer’s taste for variety, mixing Paiste 602s, 3000s, and prototype rides and crashes with a smattering of Zildjian New Beat hi-hats and Ks from the ’80s. We’re certain they weren’t sold cheaply.

Later in life, Morello changed his palette and turned heads by endorsing DW Drums and Sabian cymbals. He chose aDW Collector Series set in a custom Desert Sand finish with a 13″ x 9″ mounted tom, 16″ x 16″ floor tom, 22″ x 16″ bass drum, and 14″ x 5″ Edge snare – all fitted with DW heads. His Sabian setup included 13″ Brilliant Finish AAX Studio hi-hats, a 19″ Brilliant Finish AA Medium crash, a 17″ AA Brilliant Finish Medium-Thin crash, and a 21″ prototype ride.

Morello used Ludwig 11A drum sticks in the early years, but later switched to Pro-Mark, which made the drummer his own Signature 11A hickory stick in both wood- and nylon-tip models. Morello was fond of tuning his snare drum fairly tight and crisp, with the batter head about a fourth lower than the snare side. He played all drums wide open, with the only muffling being a 2″ felt strip on the batter head of the bass drum, running from top to bottom about 3″ off the center of the head.

https://en.wikipedia.org/wiki/Joe_Morello