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WEDNESDAY, JUNE 15, 1977
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join one of the special topic groups meeting weekly and con
ducted by counselors in the Personal Counseling Service.
Any A&M student is eligible to participate.
(1) Students NEW to A&M, Thursdays, 3-4:30.
(2) Assertive Training, Tuesdays, 1:30-2:30.
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Call 845-4427 to reserve a place.
Drummer well-known now
but likes low-profile life
United Press International
CHICAGO — In a business that
regularly toots its own horn a lot
more than the horn deserves toot
ing, Ralph MacDonald is a rare un
sung hero.
You probably don’t recognize his
name. But it’s estimated that if you
listen to popular music of any kind
— on records, on radio, even on TV
commercials — you’ll hear Mac
Donald about once every two hours,
all day long.
MacDonald, 32, has been called
the “invisible man” behind the
Grammy awards. He played on 16
of the recordings nominated for
Grammies this year — and was on
three of the winners, including
George Benson’s smash hit pop-jazz
album, “Breezin,” which picked up
three awards all by itself.
MacDonald is a percussionist,
perhaps the most versatile percus
sionist in the world today. He has
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worked with pop singers and jazz ar- 1
tists of every stripe, from Paul
Simon and Bette Midler to jazzman
Yusef Lateef and soul queen Aretha
Franklin. He spends a good deal of
his time jetting from coast to coast
for recording sessions and he re
cently released his own first solo al
bum, “The Sound of a Drum.’’
MacDonald is also a major
songwriter, composer of many hit
tunes, including “Where Is The
Love,” first recorded by Boberta
Flack and since covered by more
than 125 other artists in 19 lan
guages. If he didn’t work another
day, MacDonald’s successful music
publishing company would guaran
tee him more than comfortable liv-_
ing.
Until recently, nobody outside
the music business knew his name,
but that is finally beginning to
change. The soft-spoken Mac
Donald allows as how it doesn’t mat
ter much to him, either way.
“I’m used to being in the back
ground,’’ he said. “Now, slowly but
surely, it’s starting to come out, to
be known to the public that I’m on
all those recordings. But it never
did bother me. I like a low-key,
low-profile life anyway.”
As a musical double-threat man in
areas — percussion and songwriting
— not ordinarily associated with
one another, MacDonald has
encauntered the “invisible man”
problem even among those inside
the usually with-it music business.
The son of MacBeth the Great, a
calypso bandleader from Trinidad,
MacDonald grew up in Harlem and
began playing congas and other
drums (he doesn’t use a trap set, the
common snare and cymbal collec
tion at all) at the proverbial early
age. When he was just four, his
father carried him to band dates all
over Brooklyn and Queens, set him
up behind his drums and let him
pound away until he fell asleep.
“I came right into show business
with a top act when I was just 17. I
didn’t have to go through the dive
clubs and the sad hotels and all that.
So I learned the business correctly,
without people saying, “You got to
go out and do it all the hard way.’ I
paid all the dues — but at least I got
a degree from it.”
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