Hall of Fame Class of 2023

PAS is proud to announce our Hall of Fame Class of 2023: Johnny Lee Lane, Mike Mainieri, Arthur Press, Ney Rosauro, Viola Smith, and the Hurtado Brothers Royal Marimba Band.

“On behalf of the entire PAS community, I extend my heartfelt congratulations to Ney, Johnny, Mike, Arthur, and the families of Viola and the Hurtado Brothers Royal Marimba Band. It is with great pleasure that we announce their well-deserved induction into the prestigious PAS Hall of Fame in 2023. Each of these remarkable inductees has left an indelible mark on our field, showcasing their immense talent and dedication. I eagerly anticipate the opportunity to honor their outstanding achievements in person during the annual festivities at PASIC 2023.”

    — Joshua Simonds, PAS Executive Director

About the PAS Hall of Fame

The Percussive Arts Society Hall of Fame was established in 1972 to recognize the contributions of the most highly regarded leaders in percussion performance, education, research, scholarship, administration, composition and the industry. Inductees demonstrate the highest ideals and professional integrity to their profession to bring about significant events, substantive improvements in the world of percussion, and the betterment of the profession through exemplary services or acts.

Johnny Lee Lane

Johnny Lee Lane lives in Indianapolis, Indiana. Lane is one of the Nation’s foremost college percussion educators, and previously served as Professor of Music and Director of Percussion Studies at Eastern Illinois University for 28 years (1974-2002). He also spent three years at Indiana University School of Music at IUPUI (2002-2005), and two years at Tennessee State University (1972-1974). He is the former Director of Education and Senior Educational Advisor at Remo (2005-2018). Is now Adjunct Professor at Butler University and Traditional Product Manager at Dynasty USA.
 
At Eastern, Lane developed one of the finest total percussion programs in the nation. 
His students are college teachers, performers, and educators throughout the world. In the 1980s, Lane toured Germany four times and most recently gave clinics and workshops in South Korea and Japan.  For 13 years, he was the Host and Founder of the UNITED STATES PERCUSSION CAMP. This camp was a total percussion camp with over 300 students and 37 faculty members. Lane and the camp appeared on ABC’s GOOD MORNING AMERICA SHOW in 1996. The percussion camp was held each summer at Eastern Illinois University. At Eastern, Lane taught undergraduate and graduate percussion majors, conducted the percussion ensemble, marimba orchestras, marimba rag bands, and the World percussion program. Johnny received Faculty Excellence Awards in 1989, 1994, and 1996.  Lane also led the 2004 Tournament of Roses Parade, playing the world’s tallest drum.

In 1979, Lane was elected to the PAS Board of Directors, where he served for nearly ten years. During that time, he started what was called the PAS 100% CLUB and also in charge with recruiting new members. Then again 20012-2018. He was inducted into the Conn-Selmer Institute Hall of Fame (2019).

Lane conducts clinics around the country for Zildjian, Remo, Vic Firth Sticks and Mallets, and Dynasty Percussion. His Marimba Book: FOUR MALLET INDEPENDENCE FOR MARIMBA by Johnny Lee Lane and Samuel A. Floyd, Jr.  and RUDIMENTAL SNARE DRUM GROOVES by Johnny Lee Lane and Richard L. Walker, Jr. are both published by Hal Leonard Publications. Also HAND DRUM TRIOS by Johnny Lee Lane and Terence Mayhue, published by Row-Loff Productions. 

Lane received the PAS Lifetime Achievement in Education Award at the 2007 International Percussive Arts Society Convention in Columbus, Ohio. Lane is also on the Board of Directors for 317 Performing Arts.

Mike Mainieri

Primarily recognized as an award-winning, jazz vibraphonist, Mike Mainieri’s equally remarkable talents as producer, arranger, and composer has contributed to shaping the cutting-edge in music throughout his fruitful career–now spanning seven decades–Mike has collaborated with the world’s most formidable jazz player’s, produced numerous albums, and discovered a host of innovative, young talent.   

Raised in a family of performers and musicians, Mike’s training began early. In 1952, at the age of 14, his own jazz trio appeared on the PAUL WHITEMAN radio show, and by 19 he was playing and arranging for the Buddy Rich’s sextet – a tenure, which continued up until 1964.  At the age of 20 he won Downbeat’s new artists poll.

As a solo artist, Mike has created and contributed to countless, visionary artistic endeavors. In 1964, he joined the groundbreaking jazz/rock group JEREMY & THE SATYRS led by flutist Jeremy Steig. Along with Warren Bernhardt, Donald MacDonald, Adrian Guilery, and Eddie Gomez. THE SATYRS jammed at New York’s Café A Go Go, and performed with such monumental Figures as Frank Zappa, Richie Havens and toured with folk singer Tim Hardin.

During the late 60’s, this small circle of performers grew into what became known as the WHITE ELEPHANT ORCHESTRA, a 20-piece, all-star, experimental ensemble. The group featured: Saxophones: Michael Brecker, George Young, Frank Vacari, and Ronny Cuber;  Trumpets: Randy Brecker, Nat Pavone, Jon Faddis, and Lew Soloff; Trombones: Barry Rogers and Jon Pierson; Drums: Donald MacDonald and Steve Gadd; Bass: Tony Levin; Keyboards: Warren Bernhardt; Guitarists: Joe Beck, David Spinozza, Hugh  McCracken, Sam Brown, and Bob Mann.

Under Mike’s direction, this jazz/rock big band evolved into a laboratory for experimentation with various musical forms, ideas, and philosophies. From 1969-1972, the WHITE ELEPHANT clan of New York’s finest musicians jammed, and recorded at studios throughout the city, and its energy spawned many musical directions for the decades to follow, including DREAMS, ARS NOVA, BRECKER BROTHERS, and L’IMAGE.

While Mike, Warren Bernhardt, Tony Levin, Steve Gadd and David Spinozza lived in Woodstock in the early 1980’s, they formed the group L’Image which toured locally. A reunion occurred 30 years later. They recorded two albums and appeared in concerts in Japan and in NYC.

During the late 70’s, Mike founded the pioneering jazz/ fusion group: STEPS AHEAD, featuring Michael Brecker, Eddie Gomez, Steve Gadd, Peter Erskine and Don Grolnick. Delving into  contemporary sounds while maintaining experimentation and compositional integrity, STEPS AHEAD was, and still is, a launching pad for young talent and new musical ideas. STEPS alumni have included: Saxophonists: Michael Brecker, Bendik Hofseth,  Bob Berg, Bob Mintzer, Donny McCaslin, Alex Foster and Ravi Coltrane; Pianists: Don Grolnick, Eliane Elias, Warren Bernhardt, Rachel Z, Dave Kikoski and Joey Calderazzo; Guitarists: Chuck Loeb, Mike Stern, Adam Rogers; Bassists: Eddie Gomez, Tom Kennedy, Victor Bailey, Daryl Jones, Baron Browne, James Genus, Scott Colley, Ed Howard, Larry Grenadier,  Richard Bona and Marc Johnson; Drummers: Steve Gadd, Peter Erskine, Steve Smith, Jeff ‘Tain’ Watts, Omar Hakim, Billy Kilson, Rodney Holmes, Clarence Penn and Ben Perowsky.

Other noteworthy recordings and live performances: Dizzy Gillespie, Harry Sweet Edison, Charlie Shavers, Ruby Braff, Billie Holiday, Coleman  Hawkins, Paul Chambers, Roy Eldridge, Charlie Shavers, Art Farmer, Freddie Hubbard, Tom Harrell, Joe Henderson, Kenny Burrell, George Benson, Wes Montgomery, Russell Malone, Larry Coryell, Toninho Horta, Pat Martino, Gene Bertoncini, Kazumi Watanabe, Andy Summers, Art Farmer, Sonny Stitt, Ben Sidran, Gato Barbieri, Dave, Valentine, Gil Evans, Gil Goldstein, Manny Album, Don Sebesky, Mike Abene, Vince Mendoza, Alan  Baylock, Thad Jones, Chuck Mangione, Gil Evans, Marty Paich, Ernie Wilkins, Ron Carter, John Patitucci, Eberhard Weber, Marcus Miller, Richard Davis, Mark Egan, Andy Gonzales, Anthony Jackson, Ray Brown, Will Lee, Jeff Andrews, Charlie Mariano, Jack McDuff, Paul Desmond, Urbie Green, Bob James, George Garzone, Joe Lovano, Al Foster, Jim Hall, Steve Khan, David Sanborn, Billy Hart, Randy Brecker, Toots Theilsman, Paul Desmond,  Cozy Cole, Chico Hamilton, Joe Jones, Philly Joe Jones, Elvin Jones, Billy Cobham, Mel Lewis, Adam Nussbaum, Steve Jordan, Antonio Sanchez,  Ed Shaughnessy, Grady Tate, Rick Marotta, Lenny White, Danny Gottlieb, Brian Blade, Bernard Purdie, Nana Vasconcelos, Airto Moreira, Steve Berrios, Milton Caardona, Manola Badrena, Ray Barretto, Roger Squitero, Bashiri Johnson. Ralph MacDonald, Joe Porcaro, and his son Jeff Porcaro. 

As a composer, arranger, and performer, Mike has contributed to over 100 gold and platinum albums. An active participant in the rock and pop genre, he’s performed and recorded with Paul Simon, Art Garfunkel, Linda Ronstadt, Laura Nyro, Aerosmith, Billy Joel, Michael Franks, Tim Hardin, Dianne Reeves, Dianna Krall, Boz Scaggs, Carly Simon,  Janis Ian, James Taylor, Bobby McFerrin, Marc Knopfler and Dire Straits, Don McLean,  Bonnie Raitt, Paul McCartney, and Rickey Lee Jones’ latest standards album which was released in May of 2023.

He’s also produced and arranged numerous albums with artists such as Carly Simon, George Benson, Ben Sidran, Andy Summers and Dee Carstensen.

In 1992 Mike formed his own record label, nycrecords.com and has released 32 albums of various artists.

He continues to tour with his two groups: STEPS AHEAD and has been guest artist with the WDR Big Band, the Swiss Jazz Orchestra and the Scottish National Orchestra.

Arthur Press

Arthur was drawn to the drums at an early age. He spent his teenage years in the fabled jazz clubs of NYC, learning his craft at the knees of jazz greats. He was awarded a full scholarship at The Juilliard School. He was overjoyed to get the gig of a lifetime, as a percussionist and timpanist with the Boston Symphony Orchestra. 

Arthur loved teaching, at Boston Conservatory of Music (now Berklee School of Music), at his Percussion Academy and at Tanglewood Music Festival, and he loved mentoring his students, giving back all that had been given to him as he made his way towards a professional musical career.

Arthur married Beverly in 1955 with whom they had two children, Michele and Stuart. After his beloved Beverly died, Arthur developed a relationship with Joanna with whom he continues to enjoy a loving and devoted companionship. With Joanna, Arthur moved to Birmingham, Alabama in 2000, where he played whenever needed with the Alabama Symphony Orchestra.
 
Tragically, Arthur’s son, Stuart died in 2017. Stuart was an extraordinarily creative and successful entrepreneur who had great musical talent. He shared his love of music and Tanglewood with his adored wife, Deborah, and children, Bela and Sophie. 

Michele holds dear the memories of Tanglewood summers that shaped her and her brother’s life. Although music was a major part of their lives, it was Arthur’s humanity, generosity and love that sustained all those around him. She cites her passion for her profession of psychoanalysis as having been nurtured by Arthur with his deep belief in Freudian therapy. She continues to enjoy Tanglewood with her wonderful husband, Gerry, and children, Alex and Claudia. Claudia continues the musical tradition as Director, A&R Research with Quality Control Music.

Ney Rosauro

A native of Rio de Janeiro, Brazil, Ney Rosauro has developed a successful international career as a percussionist, composer, and pedagogue.

He received his DMA from the University of Miami, his Master’s degree from the Hochschule für Musik Würzburg, Germany, and his Bachelor Degree in Composition and Conducting from the Universidade de Brasilia, Brazil.

He has given solo recitals, appeared as a soloist with orchestras and has presented workshops/residencies at some of the world’s most prestigious conservatories and universities in: Brazil, Cuba, México, Argentina, Venezuela, Uruguay, Ecuador, Colombia, Chile, Peru, Costa Rica, Guatemala, Puerto Rico, Switzerland, Austria, Luxemburg, Poland, Belgium, Croatia, Slovenia, Lithuania, Finland, Sweden, England, Scotland, Denmark, Holland, Germany, Portugal, Spain, France, Italy, Greece, New Zealand, Australia, Hong Kong, Macao, Korea, Taiwan, China, Japan, India, Canada and USA.

Rosauro has written for all categories of percussion instruments and his more than 100 compositions and method books are standards in the percussion repertoire, having been performed and recorded by major artists and orchestras worldwide. 

His first marimba concerto was performed by more than 4,000 orchestras, and it is arguably the most popular percussion concerto of all times. It was played by some of the most acclaimed percussionists such as: Evelyn Glennie, Emmanuel Sejournee, Katarzyna Mycka, Li Biao, Collin Currie, Martin Grubinger, Theodor Milkov, Pius Cheung, Eriko Daimo, Mark Ford, Michael Burritt, Blake Tyson, Arthur Lipner, Cristina Llorenz, Javier Nandayapa, Roland Haerdtner, Israel Moreno, Angel Frete, among many others.
 
His 11 CDs have been hailed by critics, percussionists, and general music lovers alike.

Ney was pioneer in self-publishing his compositions and method books through his company “ProPercussao/Brasil”. Later he was also pioneer to start selling these pieces and books through his website www.neyrosauro.com.

He was the first to make arrangements of his concerti using the same solo part to be performed with multi ensembles (orchestra, percussion ensemble, wind ensemble, piano), and this feature is today widely used by most of the composers who write for percussion.

In the 80ths he introduced the “Extended Cross Grip” the first hybrid grip for 4 mallets that combine elements from the Musser and the Burton Grips.

Dr. Rosauro was Director of Percussion Studies at the University of Miami (2000-2009) and headed the Percussion Department at the Federal University of Santa Maria, RS in Brazil (1987-2000). 

Between 1975-1987 he was percussion instructor at the Escola de Musica de Brasilia, and timpanist with the Orquestra do Teatro Nacional de Brasilia in Brazil.

He was president of the PAS Brazilian Chapter and was the first from Latin America to serve at the PAS Board of Directors in the 1980 and 90s.

Viola Smith

Viola Clara Smith was a groundbreaking musician known for her exceptional drumming skills and her advocacy for female musicians. Born on November 29, 1912, in Mount Calvary, Wisconsin, Viola grew up in a musical household with nine siblings. Her father, Nicholas, a professional cornet player, inspired her love for music from an early age.

Viola’s musical journey began when her father assigned her the drums in the family band, the Schmitz Sisters Orchestra, at the age of 13. The band, organized by their entrepreneurial father, toured extensively and even engaged in a radio battle with an all-male big band, showcasing their talent. As her sisters gradually left the band, Viola formed another all-female group called the Coquettes, featuring her remaining bandmate, Mildred. The Coquettes achieved modest national fame in the late 1930s and appeared on the cover of Billboard magazine.

Viola soon became renowned as the first female star of jazz drumming. She performed at prestigious events, including President Harry S. Truman’s inauguration gala, and collaborated with esteemed musicians such as Ella Fitzgerald and Chick Webb. Known for her virtuosity on the drums, Viola’s signature piece was a captivating jazzy solo called “Snake Charmer.”

During World War II, as male musicians were drafted into the military and the big bands faced talent shortages, Viola took a stand for female musicians. In her influential editorial titled “Give Girl Musicians a Break!” published in DownBeat Magazine, she passionately argued for the inclusion of talented women in big bands. Viola advocated for the recognition of the great girl musicians across the country, dispelling the myth that girls could only play certain instruments.

Despite her impassioned plea, the big bands of the era did not heed Viola’s call for inclusivity. However, her efforts paved the way for future generations of female musicians and earned her recognition as a pioneer in the field. In subsequent years, Viola continued to inspire others with her talent and passion for music.

In the 1950s, as the big-band era was coming to an end, Viola decided to retire from professional drumming. She briefly returned to the spotlight as a member of the Kit Kat Band in the original Broadway production of “Cabaret” in 1966. Afterward, she enjoyed her life, becoming skilled at bridge and relishing the comforts of her rent-regulated New York apartment for several decades.

In 2012, Viola relocated to Costa Mesa, California, where she joined a Christian commune called the Piecemakers. Living among a community of older women, she embraced a new chapter of her life. In her later years, Viola’s impact on the music world became apparent to her, as she discovered her recognition as a female pioneer of drumming through the internet and media interviews. She expressed gratitude for being accepted as a girl drummer, reflecting on the times when such a notion seemed inconceivable.

Viola Smith passed away on October 21, 2020, at the age of 107, at her home in Costa Mesa, California. Her legacy as a trailblazing musician and advocate for female musicians will forever be remembered. Viola’s remarkable talent, her spirited advocacy, and her role in challenging gender stereotypes have left an indelible mark on the world of music.

Hurtado Brothers Royal Marimba Band

The Hurtado Benítez brothers began their career in their native Quetzaltenango, Guatemala, at the turn of the 20th century. They hailed from a family of marimba builders active since the mid-19th century. An experienced constructor of diatonic instruments, their father, Sebastián Hurtado, built the first Guatemalan chromatic marimba prototype at the end of the 19th century.

With a novel 6 ½ octaves, 8-foot long marimba built by their father, the Hurtado Brothers debuted as a quartet at the National Exposition of 1904 in Guatemala City. At the time, they were between 10 and 16 years old. They again participated at the exposition of 1907 and were soon proposed to tour the United States, arriving in New Orleans in 1908 to play at the White City amusement park.

Their first tour in the United States lasted from 1908 to 1910. There, they joined celebrities of the epoch in shows managed by the agency of the famous William Morris. They performed at major vaudeville venues (Keith’s, Orpheum, Pantages, etc.) in cities across the United States as well as in Europe. After almost two years touring Europe, they returned to Guatemala in 1912 due to the illness and subsequent death of their band leader, Arnulfo, age 24. The group returned to the US in 1915, representing Guatemala at the Panama Pacific Exposition of San Francisco, with a two-instrument band that included three brothers, Celso, Mariano and Jesús, and two cousins, Oscar and Joaquín.  

The Hurtado marimbists, later known as the Hurtado Brothers’ Royal Marimba Band, introduced the Guatemalan chromatic marimba to the United States in 1908, although diatonic Guatemalan marimbas had already toured North America since at least the 1870s. Altogether, the group was active between 1900 and 1958. The instrument they displayed in their 1915 tour is considered the forebear of modern commercial marimbas and is still the basis for instruments used in Southern Mexico and Central America.

By including in their repertoire European music popular in the early 20th century, such as their early recordings of music by J. Strauss, F. Liszt, Mascagni, von Suppé, Donizetti, and others, as well as American folk tunes, the Hurtado Brothers demonstrated the capabilities, versatility and promise of their instrument. 

Playing in theaters at major cities in the USA and Europe, the Hurtado Brothers were  an influence on future personalities of the marimba, among them, a 16-year-old Omar Claire Musser visiting the San Francisco Exposition, and Mr. John C. Deagan, renowned designer and manufacturer of xylophones and marimbas. 

They were the first marimba band to record for the major labels of the time: 14 pieces for Columbia in 1915 from the grounds of the 1915 San Francisco Exposition, more than 50 pieces between 1916 and 1918 with the Victor Talking Machine, and at least three dozen more between 1923 and 1934. 

In later years, the brothers became US citizens and took residence in the San Francisco Bay area, where they continued to play locally and teach. At least one of them, Celso Hurtado, went on to offer concerts in Latin America and the United States, including one concert at Carnegie Hall in 1947. 

Celso Hurtado

The band’s leader, Celso Hurtado, is additionally remembered as an exceptional soloist. Among his achievements, he gave a recital in October of 1922 at Aeolian Hall in New York City, on an instrument of his own design, playing with four mallets music by Paganini, Mendelssohn and Saint-Saens and accompanied by piano. He subsequently offered the first ever marimba soloist recital at Carnegie Hall in April of 1947. As a soloist, Celso Hurtado recorded music by Kreisler and Bazzini for the Victor company in 1923 and again music by Sarasate and Godowsky for Columbia in 1936.  

The brothers eventually made San Francisco, California, their residence and in their later years engaged in teaching and recitals. Their former director, Celso Hurtado, went on to give recitals in Latin America and the US, including his celebrated Carnegie Hall concert. 

In Guatemala, the Hurtado Brothers became a bridge between the ethnic or indigenous instrument and western music, and in the United States they were a bridge between the Guatemalan instrument and the current, world marimba. In recognition to their pioneering achievements, they were inducted to the Percussive Arts Society’s Hall of Fame in 2023.