A percussion instrument is a musical instrument that is sounded by being struck or scraped by a beater (including attached or enclosed beaters or rattles), or struck, scraped or rubbed by hand, or struck against another similar instrument. The percussion family is believed to include the oldest musical instruments.^[1]

The percussion section of an orchestra, however, traditionally contains in addition many instruments that are not, strictly speaking, percussion, such as whistles and sirens. On the other hand, keyboard instruments such as the celesta are not normally part of the percussion section, but keyboard percussion instruments (which do not have keyboards) are included.

Percussion instruments are most commonly divided into two classes: Tuned percussion instruments, which produce notes with an identifiable pitch, and untuned percussion instruments, which produce notes without an identifiable pitch.^[2][3]

Classification[link]

Hornbostel–Sachs has no high-level section for percussion. Most percussion instruments (as the term is normally understood) are classified as idiophones and membranophones. However the term percussion is instead used at the lower levels of the Hornbostel–Sachs hierarchy, including to identify instruments struck either with a non-sonorous object (hand, stick, striker) or against a non-sonorous object (human body, the ground) as opposed to concussion which refers to instruments in which two or more complementary sonorous parts are struck against each other, and for other purposes. For example:

111.1 Concussion idiophones or clappers, played in pairs and beaten against each other, such as zills and clapsticks.

111.2 Percussion idiophones, includes many percussion instruments played with the hand or by a percussion mallet, such as the hang, gongs and the xylophone, but not drums and only some cymbals.

21 Struck drums, includes most types of drum, such as the timpani and snare drum.

412.12 Percussion reeds, a class of wind instrument unrelated to percussion in the more common sense

There are many instruments that have some claim to being percussion, but are classified otherwise:

• Keyboard instruments such as the celesta and piano.^[4]
• Stringed instruments played with beaters such as the hammered dulcimer.
• Unpitched whistles and similar instruments, such as the pea whistle and Acme siren.

The word "percussion" has evolved from Latin terms: "percussio" (which translates as "to beat, strike" in the musical sense, rather than the violent action), and "percussus" (which is a noun meaning "a beating"). As a noun in contemporary English it is described in Wiktionary as "the collision of two bodies to produce a sound". The usage of the term is not unique to music but has application in medicine and weaponry, as in percussion cap, but all known and common uses of the word, "percussion", appear to share a similar lineage beginning with the original Latin: "percussus". In a musical context then, the term "percussion instruments" may have been coined originally to describe a family of musical instruments including drums, rattles, metal plates, or blocks which musicians would beat or strike (as in a collision) to produce sound.

Percussion beaters and sticks

History[link]

Anthropologists and historians often speculate that percussion instruments were the first musical devices ever created. The human voice was probably the first musical instrument, but percussion instruments such as hands and feet, then sticks and rocks, were in widespread use long before recorded musical history.

Function[link]

Percussion instruments may play not only rhythm, but also melody and harmony.

Percussion is commonly referred to as "the backbone" or "the heartbeat" of a musical ensemble, often working in close collaboration with bass instruments, when present. In jazz and other popular music ensembles, the pianist, bassist and the drummer are often referred to as the rhythm section. Most classical pieces written for full orchestra since the time of Haydn and Mozart are orchestrated to place emphasis on the strings, woodwinds, and brass. However, often at least one pair of timpani is included, though they rarely play continuously. Rather, they serve to provide additional accents when needed. In the 18th and 19th centuries, other percussion instruments (like the triangle or cymbals) have been used, again relatively sparingly in general. The use of percussion instruments became more frequent in the 20th century classical music.

In almost every style of music, percussion plays a pivotal role. In military marching bands and pipes and drums, it is the beat of the bass drum that keeps the soldiers in step and at a regular speed, and it is the snare that provides that crisp, decisive air to the tune of a regiment. In classic jazz, one almost immediately thinks of the distinctive rhythm of the hi-hats or the ride cymbal when the word "swing" is spoken. In more recent popular music culture, it is almost impossible to name three or four rock, hip-hop, rap, funk or even soul charts or songs that do not have some sort of percussive beat keeping the tune in time.

Because of the diversity of percussive instruments, it is not uncommon to find large musical ensembles composed entirely of percussion. Rhythm, melody, and harmony are all represented in these ensembles.

Percussion notation[link]

Music for pitched percussion instruments can be notated on a staff with the same treble and bass clefs used by many non-percussive instruments. Music for percussive instruments without a definite pitch can be notated with a specialist rhythm or percussion-clef; More often a treble clef (or sometimes a bass clef) is substituted for rhythm clef.

Classifications[link]

Percussion instruments are classified by various criteria sometimes depending on their construction, ethnic origin, function within musical theory and orchestration, or their relative prevalence in common knowledge.

Percussion instruments are sometimes classified as "pitched" or "unpitched." While valid, this classification is widely seen as inadequate. Rather, it may be more informative to describe percussion instruments in regards to one or more of the following four paradigms:

By methods of sound production[link]

Many texts, including Teaching Percussion by Gary Cook of the University of Arizona, begin by studying the physical characteristics of instruments and the methods by which they can produce sound. This is perhaps the most scientifically pleasing assignment of nomenclature whereas the other paradigms are more dependent on historical or social circumstances. Based on observation and experimentation, one can determine how an instrument produces sound and then assign the instrument to one of the following four categories:

Idiophone[link]

"Idiophones produce sounds through the vibration of their entire body."^[5] Examples of idiophones:

• Bock-a-da-bock
• Cabasa
• Cajón
• Celesta
• Chimes
• Cowbell
• Crash cymbals
• Crotales
• Güiro
• Handbells
• Hi-hat
• Lummi stick
• Marimba
• Orchestra bells
• Piano
• Quadrangularis Reversum
• Singing bowls
• Slit drum
• Steelpan
• Suspended cymbal
• Tongue drums
• Triangle
• Vibraphone
• Vibraslap
• Wood block
• Xylophone

Membranophone[link]

Most objects commonly known as "drums" are membranophones. "Membranophones produce sound when the membrane or head is struck."^[5]

Examples of membranophones:

• Bass drum
• Bongos
• Conga
• Darbuka
• Djembe
• Mridangam
• Octoban
• Snare drum
• Tabla
• Timpani
• Tom-tom

• The lion's roar and the cuíca are friction instruments which are not struck like other drums, but the sound is produced by applying friction to a string (lion's roar) or to a stick (cuíca) that is attached to the center of the membrane. In both cases, it is the membrane that vibrates, not the string nor the stick, thus ensuring their classification as membranophones. In the case of the lion's roar, a resined string (or gut) is fastened through a hole in the membrane. In the case of the cuíca, the stick is attached (tied) to the membrane before it is stretched and tightened to the body of the instrument, and the stick is accessible by placing one hand inside the body, rubbed with a wet cloth.
• Wind machines: A wind machine in this context is not a wind tunnel and therefore not an aerophone. Instead, it is an apparatus (often used in theatre as a sound effect) in which a sheet of canvas (a membrane) is rubbed against a screen or resonator; this action produces a sound which resembles the blowing of wind.

Chordophone[link]

Most instruments known as "chordophones" are defined as string instruments, but some such as these examples are percussion instruments also.

• Hammered dulcimer, Cimbalom
• Onavillu

Aerophone[link]

Most instruments known as "aerophones" are defined as wind instruments such as a saxophone whereby sound is produced by a person or thing blowing air through the object. Examples of aerophones played by percussionists:

• Apito or samba whistle
• Siren
• Slide whistle
• Whistle or police whistle

By musical function or orchestration[link]

When classifying instruments by function it is useful to note if a percussion instrument makes a definite pitch or indefinite pitch.

For example, some percussion instruments (such as the marimba and timpani) produce an obvious fundamental pitch and can therefore play melody and serve harmonic functions in music. Other instruments (such as crash cymbals and snare drums) produce sounds with such complex overtones and a wide range of prominent frequencies that no pitch is discernible.

Definite pitch[link]

Percussion instruments in this group are sometimes referred to as "pitched" or "tuned".

Examples of percussion instruments with definite pitch:

• Anvil
• Caisadrum
• Chimes/Tubular bells
• Crotales
• Glass harmonica
• Glass harp
• Glockenspiel
• Handbells
• Hang
• Marimba
• Mridangam
• Steelpan
• Tabla
• Timpani
• Tuned Triangle
• Vibraphone
• Wind chimes
• Xylophone
• Xylo-marimba

Indefinite pitch[link]

Instruments in this group are sometimes referred to as "non-pitched", "unpitched", or "untuned". Traditionally these intruments are thought of as making a sound that contains such complex frequencies that no discernible pitch can be heard.

In fact many traditionally unpitched instruments, such as triangles and even cymbals, have also been produced as tuned sets.^[6]

Examples of percussion instruments with indefinite pitch:

• Bass drum
• Castanets
• Cymbals
• Rainstick
• Slapstick or whip
• Snare drum
• Tamtam
• Tom-tom

By prevalence in common knowledge[link]

Although it is difficult to define what is "common knowledge", there are instruments in use by percussionists and composers in contemporary music which are certainly not considered by most to be musical instruments of any kind. Therefore, it is worthwhile to try to make distinction between instruments based on their acceptance or consideration by a general audience.

For example, it is safe to argue that most people would not consider an anvil, a brake drum (the circular hub which houses the brake on the wheel of a motor vehicle), or a fifty-five gallon oil barrel to be musical instruments, yet these objects are used regularly by composers and percussionists of modern music.

One might assign various percussion instruments to one of the following categories:

Conventional or popular[link]

• Drum kit
• Gong
• Tambourine

Unconventional[link]

(Sometimes referred to as "found" instruments or as custom percussion)

• Automobile Brake Drum
• Beer kegs
• Brooms
• Clay pots
• Five gallon buckets
• Garbage cans
• Metal pipes
• Metal pots
• Plastic bag
• Rocks in a bucket
• Shopping carts
• Spokes on a bicycle wheel

John Cage, Harry Partch, Edgard Varèse, and Peter Schickele, all noted composers, created entire pieces of music using unconventional instruments. Beginning in the early 20th century, perhaps with Ionisation by Edgard Varèse which used air-raid sirens (among other things), composers began to require percussionists to invent or "find" objects to produce the desired sounds and textures. Another example includes the use of a hammer and saw in Penderecki's De Natura Sonoris No. 2. By late 20th century, such instruments had become common in modern percussion ensemble music and popular productions, such as the off-Broadway show, Stomp. Rock band Aerosmith used a number of unconventional instruments in their song Sweet Emotion, including shotguns, brooms, and a sugar bag.

By cultural significance or tradition[link]

It is not uncommon to discuss percussion instruments in relation to their cultural origin. This has led to a division between instruments which are considered "common" or "modern," and folk instruments which have a significant history or purpose within a geographic region or cultural group.

Folk percussion instruments[link]

Some percussion instruments

Ancient Chinese musical bronze bells from the Eastern Zhou Dynasty, c. 6th century BC.

• Berimbau
• Bodhrán
• Bombo legüero
• Cajon
• Dhaa
• Dhime
• Dhol
• Dholak
• Djembe
• Dunun
• Gamelan
• Kalimba (Thumb Piano)
• Kpanlogo
• Lagerphone
• Latin percussion
• Madal
• Marimba
• Marimbula
• Naykheen
• Pogo cello
• Skrabalai
• Steelpan
• Tabla
• Taiko
• Tambourine
• Thavil
• Timbales
• Tonbak
• Urumee
• Udukai

"Common" drums[link]

This category includes instruments which are widely available and popular throughout the world:

• Drum kit, typically consisting of:
  • Bass drum
  • Crash cymbal
  • Floor tom
  • Hi-Hat cymbals
  • Snare drum
  • Tom-tom drums
• Marching percussion instruments
• Orchestral percussion instruments

Names for percussionists[link]

The general term for a musician who plays percussion instruments is "percussionist" but the terms listed below are often used to describe a person's specialties:

• Balafonist: a balafon player
• Bombisto: a bombo legüero player
• Bongocero: someone who plays bongos and usually cencerro (a cow bell)
• Congalero, conguero: someone who plays congas
• Cymbalist: someone who plays cymbals
• Djembefola: djembe player.
• Drummer: a term usually used to describe someone who plays the drumset, hand drums or a single drum such as Snare drum.
• Glockenspielist: someone who plays the glockenspiel.
• Güirero: someone who plays the güira, a Dominican scraper used in merengue music
• Marimbist: a marimba player
• Panman, pannist: a steelpan player
• Timbalero, timbero: someone who plays timbales
• Timpanist: a timpani player
• Vibraphonist: a vibraphone player
• Xylophonist: a xylophone player

Manufacturers[link]

For a list of percussion instrument manufacturing companies, see the categories link down below this article.

See also[link]

	Percussion portal
	Music portal

• Beatboxing
• Bock-a-da-bock
• Drum
• Drum beat (including a list of drum beats)
• Drum Corps International
• Drum Kit
• Drumline
• Electronic drum
• Hand percussion
• Klopotec
• Latin percussion
• List of percussionists
• Melodic percussion instrument
• Musical Stones of Skiddaw
• Orchestral percussion
• Percussion notation
• Percussive Arts Society
• Pipes and Drums Corps
• Practice pad
• Vocal percussion

Notes and references[link]

Further reading[link]

• James Blades, Percussion Instruments and Their History, (1970).
• Shen, Sinyan, Acoustics of Ancient Chinese Bells, Scientific American, 256, 94 (1987).
• Schick, Steven (May 2006). The Percussionist's Art - Same Bed, Different Dreams. University of Rochester Press. ISBN 978-1-58046-214-3. http://www.urpress.com/store/viewItem.asp?idProduct=10918. 

External links[link]

Wikimedia Commons has media related to: Percussion instruments

• Percussion instruments at the Open Directory Project
• Drummer Brasil — Website for drummers and percussionists
• Video clips of percussion instruments demonstrated
• Drum Museum, Information about antique hand drums from Africa, New Guinea and the Himalayas

Arvo Pärt in Christ Church Cathedral, Dublin, 2008

Arvo Pärt (born 11 September 1935; Estonian pronunciation: [ˈɑrvo ˈpært]) is an Estonian classical composer and one of the most prominent living composers of sacred music.^[1] Since the late 1970s, Pärt has worked in a minimalist style that employs his self-invented compositional technique, tintinnabuli. His music also takes inspiration from Gregorian chant.^[2]

Pärt was born in Paide, Järva County, Estonia. A prolonged struggle with Soviet officials led him to emigrate with his wife and their two sons in 1980. He lived first in Vienna, where he took Austrian citizenship, and then re-located to Berlin. He returned to Estonia around the turn of the 21st century and now lives alternately in Berlin^[3] and in Tallinn.^[4]

Musical development[link]

Familiar works by Pärt are Cantus In Memoriam Benjamin Britten for string orchestra and bell (1977) and the string quintet "Fratres I" (1977, revised 1983), which he transcribed for string orchestra and percussion, the solo violin "Fratres II" and the cello ensemble "Fratres III" (both 1980).

Pärt is often identified with the school of minimalism and, more specifically, that of mystic minimalism or holy minimalism.^[5] He is considered a pioneer of the latter style, along with contemporaries Henryk Górecki and John Tavener.^[6] Although his fame initially rested on instrumental works such as Tabula Rasa and Spiegel im Spiegel, his choral works have also come to be widely appreciated.

Pärt's musical education began at age seven. He began attending music school in Rakvere, where his family lived. By the time he reached his early teen years, Pärt was writing his own compositions. While studying composition with Heino Eller at the Tallinn Conservatory in 1957,^[4] it was said of him that "he just seemed to shake his sleeves and notes would fall out."

In this period of Estonian history, Pärt was unable to encounter many musical influences from outside the Soviet Union except for a few illegal tapes and scores. Although Estonia had been an independent Baltic state at the time of Pärt's birth, the Soviet Union occupied it in 1940 as a result of the Soviet-Nazi Molotov-Ribbentrop Pact; and the country would then remain under Soviet domination—except for the three-year period of German wartime occupation—for the next 51 years.

Musical oeuvre[link]

Arvo Pärt in 2011

Pärt's oeuvre is generally divided into two periods. He composed his early works using a range of neo-classical styles influenced by Shostakovich, Prokofiev, and Bartók. He then began to compose using Schoenberg's twelve-tone technique and serialism. This, however, not only earned the ire of the Soviet establishment, but also proved to be a creative dead-end. When early works were banned by Soviet censors, Pärt entered the first of several periods of contemplative silence, during which he studied choral music from the 14th to 16th centuries.^[4] In this context, Pärt's biographer, Paul Hillier, observed that "He had reached a position of complete despair in which the composition of music appeared to be the most futile of gestures, and he lacked the musical faith and will-power to write even a single note."

The spirit of early European polyphony informed the composition of Pärt's transitional Third Symphony (1971); and thereafter, he immersed himself in early music, re-investigating the roots of Western music. He studied plainsong, Gregorian chant, and the emergence of polyphony in the European Renaissance.

The music that began to emerge after this period was radically different. This period of new compositions included Fratres, Cantus In Memoriam Benjamin Britten, and Tabula Rasa.^[4] Pärt describes the music of this period as tintinnabuli—like the ringing of bells. Spiegel im Spiegel (1978) is a well-known example which has been used in many films. The music is characterised by simple harmonies, often single unadorned notes, or triads, which form the basis of Western harmony. These are reminiscent of ringing bells. Tintinnabuli works are rhythmically simple and do not change tempo. Another characteristic of Pärt's later works is that they are frequently settings for sacred texts, although he mostly chooses Latin or the Church Slavonic language used in Orthodox liturgy instead of his native Estonian language. Large-scale works inspired by religious texts include St. John Passion, Te Deum, and Litany. Choral works from this period include Magnificat and The Beatitudes.^[4]

Of his popularity, Steve Reich has written: "Even in Estonia, Arvo was getting the same feeling that we were all getting .... I love his music, and I love the fact that he is such a brave, talented man .... He's completely out of step with the zeitgeist and yet he's enormously popular, which is so inspiring. His music fulfills a deep human need that has nothing to do with fashion."^[7] Pärt's music came to public attention in the West, largely thanks to Manfred Eicher who recorded several of Pärt's compositions for ECM Records starting in 1984.

Invited by Walter Fink, he was the 15th composer featured in the annual Komponistenporträt of the Rheingau Musik Festival in 2005 in four concerts. Chamber music included Für Alina for piano, played by himself, Spiegel im Spiegel and Psalom for string quartet. The chamber orchestra of the Bavarian Radio Symphony Orchestra played his Trisagion, Fratres and Cantus along with works of Bach. The Windsbach Boys Choir and soloists Sibylla Rubens, Ingeborg Danz, Markus Schäfer and Klaus Mertens performed Magnificat and Collage über B-A-C-H together with two cantatas of Bach and one of Mendelssohn. The Hilliard Ensemble, organist Christopher Bowers-Broadbent, the Rostock Motet Choir and the Hilliard instrumental ensemble, conducted by Markus Johannes Langer, performed a program of Pärt's organ music and works for voices (some a cappella), including Pari Intervallo, De profundis and Miserere.

A new composition, Für Lennart, written for the memory of the Estonian President Lennart Meri, was played at his funeral service on 2 April 2006.

In response to the murder of the Russian investigative journalist Anna Politkovskaya in Moscow on 7 October 2006, Pärt declared that all of his works performed in 2006–2007 would be in honour of her death, issuing the following statement: "Anna Politkovskaya staked her entire talent, energy and—in the end—even her life on saving people who had become victims of the abuses prevailing in Russia."^[8]

Pärt was honoured as the featured composer of the 2008 RTÉ Living Music Festival^[9] in Dublin, Ireland. He was also commissioned by Louth Contemporary Music Society^[10] to compose a new choral work based on St. Patrick's Breastplate, which premiered in 2008 in Louth, Ireland. The new work is called The Deers Cry. This is the composer's first Irish commission, having its debut in Drogheda and Dundalk in February 2008.

His recent (2008) Symphony No. 4 is named “Los Angeles” and was dedicated to Mikhail Khodorkovsky. It is Pärt's first symphony written in over 37 years, since 1971's Symphony No. 3. It premiered in Los Angeles, California, at the Walt Disney Concert Hall on 10 January 2009,^[11] and has been nominated for a GRAMMY for Best Classical Contemporary Composition.

On 10 December 2011 he was appointed a member of the Pontifical Council for Culture for a five year renewable term by Pope Benedict XVI.^[12]

List of Works[link]

Awards[link]

• 1996 – American Academy of Arts and Letters Department of Music
• 1996 – Honorary Doctor of Music, University of Sydney^[13]
• 1998 – Honorary Doctor of Arts, University of Tartu
• 2003 – Honorary Doctor of Music, University of Durham^[14]
• 2008 – Léonie Sonning Music Prize
• 2010 – Honorary Doctor of Music, University of St Andrews^[15]
• 2011 – Chevalier (Knight) of Légion d'honneur^[16]
• 2011 – Membership of the Pontifical Council for Culture^[17]

International Arvo Pärt Centre[link]

The International Arvo Pärt Centre is being created in the Estonian village of Laulasmaa. The centre will include a research institute, an education and music centre, a museum, a publishing facility and an archive of the composer's works. It is planned to open in 2015.^[18]

References[link]

Sources[link]

• Hillier, Paul. (1997). Arvo Pärt. Oxford : Oxford University Press. 10-ISBN 0-19-816616-8; 13-ISBN 978-0-19-816616-0 (paper)

Further Reading[link]

• Andrew Shenton (Ed.), The Cambridge Companion to Arvo Pärt (Cambridge: Cambridge University Press, 2012).
• Chikinda, Michael (2011). "Pärt's Evolving Tintinnabuli Style". Perspectives of New Music 49, no. 1 (Winter): 182–206.

External links[link]

Wikiquote has a collection of quotations related to: Arvo Pärt

• Arvo Pärt biography and works on the UE website (publisher)
• Arvo Pärt discography at Classical Net
• Arvo Pärt discography at MusicBrainz
• Arvo Pärt Conference at Boston University
• Complete Listing of Arvo Pärt's Works
• Arvo Pärt – extensive site
• arvopart.info – another comprehensive site with current news
• David Pinkerton's Arvo Pärt archive – yet another extensive site, with some good analytical writing.
• Biography in MUSICMATCH Guide – Small biography and list of works.
• Arvo Pärt and the New Simplicity – Article by Bill McGlaughlin, with audio selections
• Steve Reich about Arvo Pärt, in an interview with Richard Williams, The Guardian, 2 January 2004
• Spike Magazine Interview
• Lancing College Commission 'Original' Claudio Records Recording in the presence of the composer – Review/Information
• International Arvo Pärt Centre – most up-to-date info and more

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (November 2008)

Sheila E.
Background information
Birth name	Sheila Escovedo
Born	(1957-12-12) 12 December 1957 (age 54)
Origin	Oakland, California, U.S.
Genres	Pop, funk, R&B, Latin jazz, jazz fusion, Rock
Occupations	Drummer, singer, actress
Instruments	Vocals, percussion
Years active	1976–present
Labels	Warner Bros., Paisley Park, Concord
Associated acts	Prince, Ringo Starr & His All-Starr Band, George Duke

Sheila Escovedo (born December 12, 1957), known by her stage name Sheila E., is an American drummer and percussionist, perhaps best known for her work with Prince, George Duke and Ringo Starr.

Sheila's Biography[link]

Early life and Prince period[link]

Born in California, Sheila E. is the daughter of percussionist Pete Escovedo, with whom she frequently performs. Sheila E's uncle is Alejandro Escovedo. Tito Puente was Escovedo's godfather. She is also niece to Javier Escovedo, founder of seminal San Diego punk act, The Zeros. Another uncle, Mario Escovedo, fronted long-running indie rockers, The Dragons. Escovedo is of Mexican and Louisiana Creole (black, french & native american) heritage. Coke Escovedo, who was in Santana and formed the band Azteca, was also her uncle. Nicole Richie is Sheila E.'s biological niece.^[1]

She made her recording debut with jazz bassist Alphonso Johnson on "Yesterday's Dream" in 1976. By her early twenties she had already played with George Duke, Lionel Richie, Marvin Gaye, Herbie Hancock, and Diana Ross. She also plays tuba and guitar.

Prince met Sheila E. at a concert in 1978, when she was performing with her father. After the show, he met her and told her that he and his bassist "were just fighting about which one of us would be the first to be your husband". He also prophetically vowed that one day she would join his band. The two would eventually join forces during the Purple Rain recording sessions. She provided vocals on the B-side to "Let's Go Crazy", "Erotic City" in 1984. Though taken under Prince's wing, she proved to be a successful artist in her own right. In 1984 she scored hits with "The Glamorous Life" (#7 on the Hot 100), and "The Belle of St. Mark" (#34), the latter an NME 'Single of the Week'.^[2] She opened for the Purple Rain tour and there was a segment where she would have a man called up on stage and seated in a chair while she sang "Next Time Wipe The Lipstick Off Your Collar" and teased him (similarly mirrored by Janet Jackson during the "Rope Burn" segment of her Velvet Rope Tour in 1998/99.) Around the same time, the collaborating duo began a brief romantic relationship, while Prince was still seeing Susannah Melvoin, twin sister of The Revolution band member, Wendy Melvoin.^[3]

In 1985, she released Romance 1600, scored another hit with the track "A Love Bizarre" (#11), and the non-album track "Holly Rock" made its way to live shows and into the film Krush Groove. She was also nominated for an American Music Award and a Grammy for "The Glamorous Life". Sheila E. recorded three albums during the '80s, The Glamorous Life, Romance 1600, and Sheila E.. She appeared in four films, Krush Groove with Run-D.M.C., LL Cool J and Blair Underwood in 1985, Prince's concert film, Sign 'O' the Times in 1987, The Adventures of Ford Fairlane and Chasing Papi in 2003.

During the Sign o' the Times, Black Album, and Lovesexy periods of Prince's career (including the Lovesexy World Tour), Sheila E. served as his drummer and musical director in his backup band, dubbed The New Power Generation not long after her departure. During the Sign o' the Times era, she released the single "Koo Koo" from her 3rd album Sheila E., which had Sign o' the Times member Cat as a backup dancer in the accompanying video. Sheila E. also served as a writer and musician on many of Prince's records, as well as on the albums of his protégés such as Madhouse.

Post-Prince and other collaborations[link]

After leaving the Prince organization in 1989, Sheila E. recorded a few more albums, Sex Cymbal, Writes of Passage, and Heaven. However, the albums garnered little attention. This was especially true in the case of Sex Cymbal, since Sheila E. developed severe health issues that prevented her from touring in order to promote it.

In 1996 she played in Japanese pop singer Namie Amuro's live backup band. The show at Chiba Marine Stadium was later made available on DVD. In 1998 she played percussion on the Phil Collins cover of "True Colors." In 2002 Sheila E. appeared on the Beyoncé Knowles song "Work It Out."

Sheila E. has performed three stints as one of the member "All-Starrs" of Ringo Starr & His All-Starr Band, in 2001, 2003, and 2006. Her drum "duets" with Starr are a moment of comic relief in the show, where they play the same parts but he quickly falls behind, shrugs and smiles as she takes off on an extended percussion solo. Says Sheila E.: "Ringo truly is one of the greatest rock n' roll drummers in the history of music. He enjoys the joke!"

She was also the leader of the house band on the short-lived late night talk show, The Magic Hour, hosted by Earvin "Magic" Johnson Jr. in the late 1990s.

In 2004, Sheila E. toured New Zealand as drummer and percussionist for the Abe Laboriel Band.

In 2004, Sheila E. was also featured on Tonex's Gold Album OUT THE BOX on the song "Todos Juntos". She also play drums on Cyndi Lauper's hit album of standard covers, At Last. She played percussion on the song "Stay". Sheila E. joined Lauper on a live version of that song on VH1 Divas.

In 2005, Sheila E. was a surprise guest orchestrating a band, in Amerie's "1 Thing" performances for The Lady Of Soul & World Music Awards.

In February 2006, Sheila E. performed with Prince (and Wendy Melvoin and Lisa Coleman) once again at the BRIT Awards.

Sheila E. performed at the Sonoma Jazz Festival in 2006 as part of Herbie Hancock's band featuring Larry Carlton, Terrence Blanchard, Marcus Miller, and Terri Lyne Carrington.

She also performed at Prince's One Nite Alone... Live! concert, Live at the Aladdin Las Vegas in 2003, 36th NAACP Image Awards in 2005, and on the Good Morning show in June 2006.

In March 2007, she went on a small tour through Europe with her new band project called C.O.E.D. (Chronicles of Every Diva). C.O.E.D. consists of Sheila E., Kat Dyson, Rhonda Smith and Cassandra O'Neal. For several concerts she was joined by Candy Dulfer, who was billed as a special guest.

She performed at the 2007 Latin Grammy Awards with Juan Luis Guerra. She also performed at the ALMA (American Latin Music Awards) Awards in June 2007 with Prince, and on 7 July 2007 in Minneapolis with Prince. She performed at all three of his concerts: first, at Prince's 3121 perfume launch at Macy's, followed by the Target Center concert, and finally, at an aftershow at First Avenue.

In October 2007, Sheila E. was a judge alongside Australian Idol judge and marketing manager Ian "Dicko" Dickson and Goo Goo Dolls lead singer John Rzeznik on the Fox network's The Next Great American Band.

Sheila E. recently met with Prince on 29 March 2008, who sat in on (and played keyboard) on Sheila E.'s performance with her family at Harvelle Redondo Beach.

On 9 April 2008, Sheila E. appeared on the Emmy winning program, Idol Gives Back. Shelia E. took part in the show opener "Get on Your Feet" with Gloria Estefan. Dance troupe, So You Think You Can Dance finalists joined them on stage.

On 26 April 2008, Sheila E., along with Morris Day and Jerome Benton, performed with Prince at the Coachella Music Festival.

From 2 to 6 May 2008, Sheila E. played four sold-out shows at Blue Note Tokyo in Japan. This is the most frequented jazz music club in Tokyo.

On 14 June 2008, Sheila E. performed at the Rhythm on the Vine music and wine festival at the South Coast Winery in Temecula, California for Shriners Hospital for Children. She took the stage with the E Family, Pete Escovedo, Juan Escovedo and Peter Michael Escovedo. Other performers at the event were jazz musician Herbie Hancock, contemporary music artist Jim Brickman and Kirk Whalum.^[4]

In February 2009, she was made an honorary member of Tau Beta Sigma National Honorary Band Sorority by the Eta Delta Chapter located at Howard University in recognition of her humanitarian efforts through and in music.

On 30 May 2009, Sheila E. and the E Family Band will once again take the stage to perform at Rhythm on the Vine at Gainey Vineyard in Santa Ynez, California for the Hot Latin Beats concert. Also to perform at the concert is Poncho Sanchez.^[5]

On 13 December 2009, Sheila E. performed at the Deryck Walcott produced Christmas Jazz held at the Plantation Restaurant in Barbados.

Sheila E. is the business partner of singer and former member of The Brides of Funkenstein, Lynn Mabry. They formed a foundation for abused children called the Elevate Hope Foundation. [1]

Sheila E. has collaborated many times with other artists, notably with Gloria Estefan for whom she played the timbales. Sheila E. first collaborated with Estefan on Estefan's first Spanish language studio album Mi Tierra in 1993, and in 2007 with Estefan's smash hit "No Llores" in which Estefan also collaborates with Carlos Santana and José Feliciano. She also is one fourth of the band C.O.E.D. (Chronicles of Every Diva), who as of 2008 are touring overseas and released a CD available in limited distribution or through her website.

In 2009, Sheila E. won the CMT reality show, Gone Country. This gave her an opportunity to make country music aided by the country producer, writer, and singer John Rich. Sheila E.'s first song in the country market was "Glorious Train". A video for the song debuted on CMT on 7 March 2009, following the airing of the episode of Gone Country in which Sheila E. was announced the winner.

Sheila E. performed at Yoshi's in San Francisco on 15 August 2010 and she released an EP From E 2 U. It includes a song "Leader of the Band" written by Prince and it features Prince on piano.^[6] She toured on his 20Ten Tour and Welcome 2 America tours.^[7][8]

In 2010, Sheila E joined forces with Avon as a celebrity judge for Avon Voices,^[9] Avon’s first ever global, online singing talent search for women and songwriting competition for men and women.

On 25 May 2011, she performed alongside Marc Anthony in the American Idol Season 10 finale.

On 7 June 2011, she performed on The Late Show with David Letterman as a part of the show's first "Drum Solo Week".

On 26 February 2012, she performed at the Academy Awards, playing the into and out of commercial segments.

Discography[link]

Studio albums[link]

colspan="10" style="font-size:8pt"| "—" denotes releases that did not chart

Singles[link]

See also[link]

• List of number-one dance hits (United States)
• List of artists who reached number one on the US Dance chart

References[link]

External links[link]

• Official website
• Sheila E. at the Internet Movie Database