This is The Home of the Environmental Rhythms of Daniel Ray (a/k/a Big Black)

Daniel Ray f/k/a Big Black

Humanity is as different as DNA and Blood Type. However, the one constant is the Heart beat! The master musician, percussionist and hand drummer, who prefers to be called a “Kongoist”, and plays off that human condition, the heart beat is BIG BLACK.

BIG BLACK aka Daniel Ray, in Motion Pictures and Commercials. BIG BLACK, one eighth Mohawk Indian and African, Georgian by birth, that grew up as a child in the Carolinas physically, in Miami and the Bahamas musically. BIG BLACK, as a child, first heard drum and percussion rhythms while listening to a radio broadcast from Cuba and was mesmerized by the sounds of congas and bongos. BIG BLACK began tapping out his own rhythms with his hands and feet, while lying on his back on the front porch or tapping on the kitchen table. BIG BLACK would create musical passages this way, for nine years, until at last he acquired his first drum.

BIG BLACK relocated to Miami in the Fifties and worked at odd jobs, until he could purchase his first set of bongos, self taught and inspired by his older brother, and other musicians during the Calypso era. BIG BLACK moved on to the congas and created a style of his own, compatible with all genres of music, in particular jazz. The Calypso era, found BIG BLACK working with Lord Flea, Fish Ray, Johnny” Slick” Engraham, his true mentors. BIG BLACK performed with Calypso Eddy and Sam Rolle receiving national recognition, “Calypsomania” had captured the nation, according to Time Magazine, as the popular medium.

The Sixties Cultural Revolution, would be the discovery of BIG BLACKS’ multi-talents. BIG BLACK received raved reviews as a musician and as a powerful actor in his role as”BIG TIME BUCK WHITE”. This success led to exposure on “The Mike Douglas Show”, “The Red Foxx Show” and others, with exciting reviews in “The San Francisco Chronicle”, by Ralph Gleason, Philip Elwood, in particle John L. Wasserman, who always had praise and Stanley Eichelbaum of “The Examiner”. BIG BLACKS’ musical talents led, of course, to a recording contract with UNI/MCA. BIG BLACKS’ productivity, during the decade delivered six recording's, the most profound, “MESSAGE TO OUR ANCESTORS”,”LION WALK” and “BIG BLACK AND THE BLUES”. These musical statements introduced collaborations with Dizzy Gillespie, Randy Weston, Hugh Masekela and Freddie Hubbard with Art Blakey on the collectors, essential recording, “NIGHT OF THE COOKERS”. BIG BLACKS’ recording and acting careers soared afterwards, to even greater heights.

The next two decades would prove to be truly eventful, on the theatrical level, BIG BLACK performed in films, such as, BLAZING SADDLES, UPTOWN SATURDAY NIGHT, LETHAL WEAPON and others. As a musician in international films such as, Dizzy Gillespies’ HAVANA BOP and WHEN WE WERE KINGS, at the ZAIRE MUSIC FESTIVAL, prior to the Muhammad Ali Fight in 1974.

BIG BLACKS’ performances were requested, at The Montreal, Monterey, Newport and The Playboy Jazz and Music Festivals. BIG BLACK kept advancing musically, he then signed a contract with 1750 Arch Records, to record the renown, “ETHNIC FUSION”, project with Anthony Wheaton, the classical guitarist. The collaboration is brilliant and demonstrates BIG BLACKS’ originality and creativity. BIG BLACKS’ technique, may be considered unorthodox for a drummer, because BIG BLACK, prefers to set out and approach the drums as a pianist would approach their instrument, left hand being bass or lower keys and the right hand, treble or the high keys. When BIG BLACK is accompanying a pianist the tonal exchanges, reminds one of listening to mallets being played on the piano strings, though it is BIG BLACKS’ pure fusion of sound.

BIG BLACKS’ creativity, ear and pitch allow him to experience, or become submerged in any particular instrument, thus developing, an almost singular sound, within a musical collaboration. These musical transitions, unlike most drummers, invites BIG BLACK to experiment with the octaves. BIG BLACKS’ drums are tuned in a Dorian Mode. Dorian being the note D or neutral; BIG BLACKS” drums, the three of them, are tuned in D, G, F, respectively, and his vocal keys are D, B, G and A. Music critics and serious listeners, often comment, that there are moments when the drum ,instruments and sometimes the voice are difficult to tell apart. “This distinctive feel of melody and harmony, are what distinguishes BIG BLACK from all other hand drummers and percussionist”, truly the “AMERICUS AFRICAN”!

While working for an Independent Record Distributor in the sixties, I was introduced to the Folkways catalog. I quickly learned, the fabulous versatility and range, of the ethnic origins of almost every form of music. I was delighted, when The Smithsonian acquired Folkways, a truly worldly, catalog. The Smithsonian, is clearly the Educational and Historical Institution, of the Archives of The United States. It is our opinion that, BIG BLACK, creative Artist and Master of the hand drum is worthy of The Smithsonian Institutes’ recognition. BIG BLACKS’ catalog is diverse, uncommonly innovative and musically boarders on genius. Surely, the addition, of this musician and or his catalog, would only enrich The Smithsonian Institutes’ current properties. The procedure necessary to incorporate this National Treasure, would be our pleasure (to do) and a tribute to this art form. We simply feel that BIG BLACK, this native born musician, should be noted! -PAXTON WHITEHEAD

Thelonious Monk Sideman Bio - Big Black

1. BIG BLACK. Percussionist Big Black is one of the first musicians to replicate bebop rhythms ...

   www.monkzone.com/bios/bigblack.
2. Big Black is one of the first musicians to replicate bebop rhythms on hand drums. He is considered a master of his art, developing a teaching method for hand drums known as "Heart Beat." Big Black grew up in Savannah, Georgia and was influenced at an early age by his older brother, William "Fish" Ray, who was a Vaudeville performer. He began playing percussion in Miami in the 1950s, performing with salsa and calypso bands. In the 1960s, he moved to New York, where he began to connect with bebop musicians and become a successful actor. Big Black went on to play with Randy Weston, Dizzy Gillespie, and Freddie Hubbard, and he toured the world including the Caribbean, Brazil, and the Ivory Coast. Among the several albums he has recorded is Message to the Ancestors, a duet with Black Harold. Meanwhile, Big Black has established an impressive acting career, appearing in films including Uptown Saturday Night, Blazing Saddles, and Minus Man, which was a winner at the 1999 Sundance Film Festival. Over the years, he has also worked with Charles Tolliver, Pharoah Sanders, Jimmy Heath, B.B. King, Hugh Masekela, and Sun Ra. Big Black is presently involved with the African blues ensemble JuJu, in addition to actively teaching and touring.