Born to the drum is the best way to describe performing artist, percussionist and composer, Jose Claussell, who came into the  world at Methodist hospital, Park Slope Brooklyn, with the gift of expressing percussive rhythms.  He and his ten siblings grew up in what was dubbed “The Madhouse of Music.” Their mother, Aurora Claussell-Roman, who is his biggest influence, was passionately devoted to collecting and listening to music. She created a circus of rhythms and melodies with a diverse selection of recordings that featured just about every genre one can imagine. It was this passion that would serve as an essential part of his nurturing process, a ritual that eventually inspired the entire family to religiously collect, listen and regard music as sacred.

Consequent to Jose’s musical environment at home, he became, as he states, “one of the most eclectic collectors and listeners of music. “My music library reflects many categories of artistic works from the classics to the obscure, all of which had & still have a profound effect on my approach to drumming and composing. My mother set the template. As I matured in life and searched for the why’s concerning my existence, it hit me like a ton of bricks one day. I realized that she not only influenced my musical side but just about everything else that had to do with my walk through the path. I am, without a doubt, a performing artist, DJ and a few other things because of her. Freud was right. It all goes back to Mom, and guess what…the bricks are still falling”

As a child he displayed an overwhelming passion for drumming by beating on everything he got his hands on.  Knowing early on that he wanted to be a musician, he created his first drum set from empty one-gallon paint cans and used refrigerator shelves for cymbals. “Man, my brother Joe and I would be in the backyard jamming, me with my makeshift drums and him on a broomstick mimicking guitar sounds while our older brother Larry was rehearsing his band in the basement.”  On his seventh birthday he asked his brother who was a drummer and bandleader in the 60’s and 70’s, for lessons.  Much to their amazement, as Jose sat down at the drums, he began to play as if he had been playing the drums for years.  “It was in my blood, in my genes, a gift from the Creator, definitely,” recalls Mr. Claussell.

Jose’s natural talent and the stimulating effects of sound produced at home was the fuel that powered his aspirations to become a musician.  By the age of nine he began to perform with seasoned rock and funk bands from the neighborhood.  Then one day his brother turned him on to the debut LP of Carlos Santana, which changed his musical direction completely.  It was at this point that all of the Afro-Caribbean music that his mother played, like Benny More, Casino de la Playa, Orquesta Aragon, Machito, Cortijo, Eddie Palmieri & La Perfecta, Tito Puente and Tito Rodriguez, etc., etc., took on a new and profound meaning. He enrolled himself at “Phonograph University,” furthermore, he took instruction on tumbadoras (congas) from Jose Bermudez, the percussionist in his brother’s band. Upon entering middle school, Jose was assigned to orchestra class as part of his academic schedule. Initially he was given the trombone to play because, as his music teacher put it, he had the perfect lips to play that instrument.  Then he switched to trumpet and found himself frustrated because he wanted to play the drum set. But after much prodding, pleading and nagging to play the drums, she finally granted him the position.

With the consent of his mother, Jose landed his first professional gig at the tender age of thirteen as a Stage Manager/Percussionist with the Rafael Batista Orchestra, a Merengue band that also played Salsa music. The orchestra alternated between the bigger names of the era, such as Tito Puente, Tipica 73, Ray Barreto and so on. It was during this period that Jose met and befriended many sidemen who have gone on to become legends. Within his endless encounters he met and studied with Tommy Lopez, Little Ray Romero, Frankie Rodriguez and Frankie Malave. “These were the Kat’s! They were so accessible and gifting of their history and knowledge. They taught me Afro Puerto Rican & Cuban folklore in addition to helping me develop my drumming within a professional context. Their homes were always open for jamming, you know, rumbas and conversation. Man, it was a blast!”

Jose’s other influences include, John Bonham, Pete Moon, Carmine Applecie, Steve Gadd, Grand Funk Railroad, Yes, Jimi Hendix, James Taylor, The Beatles, Miles Davis Theloneous Monk, Louis Armstrong, Bill Evens, Ella Fitzgerald. Nina Simone, Sara Vaughn, Billie Holliday, Freddie Hubbard, James Brown, Tower of Power, Weather Report, Donny Hathaway, Stevie Wonder, Marvin Gaye Elvin Jones, Arsenio Rodriguez, Chapotin Y Sus Estrellas, Sonora Mantanzera, Mongo Santa Maria, “Tata Guines” Ray Barreto, Carlos “Patato” Valdes, Machito, Tito Puente. Milton Cardona, Johnny “El Dandy” Rodriguez, Papo Pepin, Ulpiano Diaz, Orestes Varona, Elio Reve, Manny Oquendo, Orestes Vilato, Nicky Marrero, Charlie Cotto, Los Munequitos de Matanzas, Los Papines, James Jamerson, Bela Bartok, Ravel, Mozart, Frank Sinatra, Nat king Cole Trio, the list goes on and on.

During the eighties, Jose worked with several local groups, such as Hector Ramos, Wayne Gorbea, Urban Jazz Ensemble, Joe Quijano, Cruz Control, Bobby Rodriguez y La Compania, Orquesta Real, Ray Santiago and Willie Millan of Saocco Fame. In addition, Jose performed with, and with the Frank Sinatra Orchestra at Carnegie Hall as an invited guest performer.

Throughout his musical journey there was one artist that stood out above everyone else in Afro-Caribbean music.  That artist was none other than Eddie Palmieri.  Like a young baseball player’s fantasy of playing for the Yankees, Jose’s dream was to one day perform with Mr. Palmieri.  “Man, La Perfectas sound, music, sidemen and execution were all deeply rooted in swing and natural funk.    Like James Brown, he took the art form to the political level and voiced the magnitude of racial and social-economic imbalances we were experiencing as a community. His compositions, Justicia, La libertad Logico and Vamonos Pal Monte, were compelling anthems of conciousness that moved a generation.  He put it on the line, point blank, at a time when it was artistic suicide to do so, that resonated in me big time…cause if you ain’t saying something (musically & lyrically) you ain’t playing nothing. U dig!  But, it wasn’t until I got my hands on the recording Super Imposition that I became the biggest Palmieri fan on Earth. The compositions Chocolate Ice Cream, Pa’ Huele and Bilongo …(the baddest version to date), sequestered my total existence. It made me aware of the emotional depth one can reach spiritually through the art of music. In retrospect, Caminando, on the Vamonos Pal Monte record  was soulful,  and  Harlem River Drive had sketches of soul, but it was the aforementioned LP that injected the soul vaccination.”

In 1989 Jose’s dream would be realized when he got the call to sit in for the great Anthony Carrillo on bongo.  “Eddie was in transition between Puerto Rico and New York and was forming a pick up band to fulfill an engagement at the Puerto Rican Day Parade.  He recruited the legendary timbalero Monchito Munoz and conguero Willie Villegas, two close friends of mine, as part of the rhythm section, but he was still short a bongo player. Willie put the word in for me and Eddie told him to bring me in for the event.  After it was all over, the band members met at a bar on 86^th Street.  Eddie walked over to me to thank and praise me for my bongo work.  He then asked me if I played any other percussion instruments and I told him that I was primarily a drummer/ timbalero.  He smiled and said to me, ‘Well, Tuesday we’re at The Bottom Line, so bring your timbales,’ just like that! I arrived to the club and found myself on stage with the likes of Andy Gonzalez, Charlie Sepulveda, Richie Flores, Anthony Carrillo and Brian Lynch.”

As a member of Mr. Palmieri’s various configurations, Jose has traveled all over the world and participated in eleven recordings; two of which were nominated for Grammy Awards, Palmas in 1994, Arete in 1995. In addition, Masterpiece, the historical collaboration between Eddie Palmieri and Tito Puente, went on to win the Grammy Award for Best Salsa Album in 2000.

In the opinion of many, Claussell is one of the most spiritual players on the scene, a master of groove, time and space, who speaks  an understandable language on his drums. In action he is captivating…a true communicator of the soul.

Other notables in Claussell’s impressive line up of performances and recordings include Ray Barreto, Nuyorican Soul, Little Louie Vega, La India, Larry Harlow, Lalo Rodriguez, Hilton Ruiz, Grace Jones, Frank Sinatra Orchestra, Donald Harrison, Marvin Santiago, Conrad Herwig, Dave Samuels, Randy Weston, Carlos “Patato” Valdez, Daniel Santos, Nestor Sanchez, Charlie Sepulveda and the Turnaround, Jephthe Guillaume, Pete “El Conde” Rodriguez, Victor Manuelle, Chico Hamilton, John Santos and the Kindembo /Machete Ensemble, Chuck Mangione, Nitin Sawhney and Monday Michiru, just to name a few.

As a Producer, Mr. Claussell has worked on two productions for PBS; Afro-Cuban Grooves, a 1995 Emmy Award winning expose, and in 1997, Que Siempre Viva La Musica.  In addition, he has appeared on the Tonight Show, Late Night With David Letterman, VH-1Hard Rock Live, The Maria Conchita Alonso show, Sabado En Grande, No Te Duermas, to name a few.

Currently, Jose is putting the finishing touches on the music for his solo recording entitled Restless Natives. He is also collaborating with Berkeley School of Music piano professor Matt Jenson, on a project called Rebel Tumbao, the music of Bob Marley in a Latin Vibration.