[ Billy Kilson ]
Group // Chris Botti
Stick // 5A Wood
Like most young drummers, Billy Kilson began his career in his mother's kitchen with her pots and pans. However, he did not receive his first drum set until he was sixteen. Realizing he was working against the clock since most professional musicians began taking lessons on their chosen instrument in grade school, he immediately to work to develop his drumming skills and practiced as much as 14 hours a day.
Billy learned all different styles of playing. Inspired by funk and R&B, he listened to groups such as Sly and Family Stone, Earth Wind and Fire, Parliament & Funkadelic, Max Roach, Philly Joe Jones, Billy Cobham and played along with the records. At seventeen, Billy first heard Tony Williams on one of Miles Davis' recordings. "I felt he was the most innovative drummer I had ever heard. I was mesmerized by his playing," recalls Billy. He was overwhelmed with the sound and kept trying to learn this technique, but felt he didn't have enough hands. "I kept saying, 'How does he do that. It's impossible!" Billy learned that Tony Williams' teacher was Alan Dawson who had taught at Berklee.
After high school, Billy enrolled at Berklee and absorbed everything Alan Dawson taught. Alan became his teacher, mentor and even a father figure. Finally, Alan announced that he had taught him everything he could and it was time to go out in the world and perform. Alan told Billy that Walter Davis Jr. was planning a European tour and looking for a drummer. Upon Dawson's recommendation, Billy was invited to audition where he landed the gig.
After the tour with Davis, word spread and the calls began to come. Donald Byrd, Ahmad Jamal and Dianne Reeves were some of the first artists who hired Billy for their tours. From this exposure, Billy caught the attention of George Duke, Najee, Freddie Jackson, Bob James and the calls kept coming. Eventually Dave Holland invited Billy to join his quintet. As the drummer for the Dave Holland Quintet, he brought an element of funk to the band, creating a new sound for them and catapulting them into a premiere group in jazz. Critics frequently lauded his performances, particularly his expertise with odd meters. Billy then joined Chris Botti's band who had just landed an opening spot for Stings tour exposing Billy's talents to a more diverse audience. Chris always allowed Billy the opportunity to stretch musically and he brought his element of funk and odd meters to Chris band.
Although he has achieved notable success as a sideman in concert and on recordings, Billy's first love is creating and performing his own music. Influenced by the funk and fusion music of his youth, Billy began to write his own music and plan his first recording, While Ur Sleepin'. Later he assembled some of his peers, Kenny Davis, Mike Sim and George Colligan to form Billy Kilson's BK Groove. They came together as seasoned musicians, reading each other like a favorite book, anticipating the next move perfectly, stepping out to solo at the perfect moment and keeping the groove going at all times.
They began performing and developing a new energy of their own which led them back to the studio to record. Like Billy, they all had diverse backgrounds and the project became a summation of their collective musical experiences. Their latest album, Pots & Pans is a jazz/funk/fusion project with a special nod to drummers.
Billy continues to perform with Chris Botti as well as with his own band, Billy Kilsons BK Groove.
Billy learned all different styles of playing. Inspired by funk and R&B, he listened to groups such as Sly and Family Stone, Earth Wind and Fire, Parliament & Funkadelic, Max Roach, Philly Joe Jones, Billy Cobham and played along with the records. At seventeen, Billy first heard Tony Williams on one of Miles Davis' recordings. "I felt he was the most innovative drummer I had ever heard. I was mesmerized by his playing," recalls Billy. He was overwhelmed with the sound and kept trying to learn this technique, but felt he didn't have enough hands. "I kept saying, 'How does he do that. It's impossible!" Billy learned that Tony Williams' teacher was Alan Dawson who had taught at Berklee.
After high school, Billy enrolled at Berklee and absorbed everything Alan Dawson taught. Alan became his teacher, mentor and even a father figure. Finally, Alan announced that he had taught him everything he could and it was time to go out in the world and perform. Alan told Billy that Walter Davis Jr. was planning a European tour and looking for a drummer. Upon Dawson's recommendation, Billy was invited to audition where he landed the gig.
After the tour with Davis, word spread and the calls began to come. Donald Byrd, Ahmad Jamal and Dianne Reeves were some of the first artists who hired Billy for their tours. From this exposure, Billy caught the attention of George Duke, Najee, Freddie Jackson, Bob James and the calls kept coming. Eventually Dave Holland invited Billy to join his quintet. As the drummer for the Dave Holland Quintet, he brought an element of funk to the band, creating a new sound for them and catapulting them into a premiere group in jazz. Critics frequently lauded his performances, particularly his expertise with odd meters. Billy then joined Chris Botti's band who had just landed an opening spot for Stings tour exposing Billy's talents to a more diverse audience. Chris always allowed Billy the opportunity to stretch musically and he brought his element of funk and odd meters to Chris band.
Although he has achieved notable success as a sideman in concert and on recordings, Billy's first love is creating and performing his own music. Influenced by the funk and fusion music of his youth, Billy began to write his own music and plan his first recording, While Ur Sleepin'. Later he assembled some of his peers, Kenny Davis, Mike Sim and George Colligan to form Billy Kilson's BK Groove. They came together as seasoned musicians, reading each other like a favorite book, anticipating the next move perfectly, stepping out to solo at the perfect moment and keeping the groove going at all times.
They began performing and developing a new energy of their own which led them back to the studio to record. Like Billy, they all had diverse backgrounds and the project became a summation of their collective musical experiences. Their latest album, Pots & Pans is a jazz/funk/fusion project with a special nod to drummers.
Billy continues to perform with Chris Botti as well as with his own band, Billy Kilsons BK Groove.
| 2005 | To Love Again | Chris Botti |
| 2005 | Overtime | Dave Holland |
| 2004 | When I Fall in Love (Gold) | Chris Botti |
| 2004 | Rarum, Vol. 10: Selected Recordings | Dave Holland |
| 2004 | Nonsequence | Mike Gibbs |
| 2004 | Homage | James Moody |
| 2004 | Montreal Jazz Festival, Vol. 1: Very Best Live | Various Artists |
| 2004 | Deep End | Spyro Gyra |
| 2004 | All We Need | Antonio Hart |
| 2004 | Wings to Walk This Road | John Stoddart |
| 2003 | Extended Play Live At Birdland (2004 Grammy Nominee) | Dave Holland Quintet |
| 2003 | Take It From The Top | Bob James |
| 2003 | Rhythm & Soul | Ronnie Plaxico |
| 2003 | Watching The Snow | Michael Franks |
| 2003 | Treats for the Nightwalker | Josh Roseman Unit |
| 2003 | Soulful Song | Steve Wilson |
| 2003 | Sapphire Blue | Larry Carlton |
| 2003 | Moods | Monday Michiru |
| 2002 | Autumn in New York | Donald Brown Trio |
| 2002 | Soul on Jazz | Philip Bailey |
| 2002 | Simply Natural | Carla Cook |
| 2002 | What Goes Around (2003 Grammy Winner) | Dave Holland Big Band |
| 2002 | State of Soul | Joe Locke |
| 2001 | While Ur Sleepin' | BK Groove |
| 2001 | Not For Nothing (2001 Grammy Nominee) | Dave Holland Quintet |
| 2001 | Restoration: The Best of Bob James | Bob James |
| 2001 | Black Dahlia | Bob Belden with Orchestra |
| 2001 | Get 2 It | Robin Eubanks and Mental Images |
| 2001 | Nonsequence | Mike Gibbs |
| 2001 | Crossing the Bridge | New York Connexion |
| 2001 | Disney Meets Jazz | Gil Goldstein & Friends, Randy Brecker, David Sanborn, Pat Martino |
| 2001 | At This Point In My Life | Donald Brown & The Bush Messengers |
| 2001 | Dem Bones | Carla Cook |
| 2001 | Deep Into It | Larry Carlton |
| 2000 | re: Animation Live! (2000 Grammy Nominee) | Hagans/Belden |
| 2000 | Casino Lights '99 | Bob James, Larry Carlton, Boney James, Kirk Whalum, George Duke, Fourplay |
| 2000 | Portrait of Kevin Mahogany | Kevin Mahogany |
| 2000 | From Belo to Seoul | Jack Lee |
| 1999 | Joyride (1999 Grammy Nominee) | Bob James |
| 1999 | It's All About Love (1999 Grammy Nominee) | Carla Cook |
| 1999 | Prime Directive (2000 Grammy Nominee) | Dave Holland Quintet |
| 1999 | French Kiss | Donald Brown |
| 1999 | R N'Brown | Tom Browne |
| 1999 | Art of Ballad | Best of Mapleshade |
| 1998 | Points of View (1998 Grammy Nominee) | Dave Holland Quintet |
| 1998 | Playin' Hooky | Bob James |
| 1998 | Animation Imagination (1999 Grammy Nominee) | Tim Hagans |
| 1998 | My Romance | Kevin Mahogany |
| 1998 | Re-cover | Terumasa Hino |
| 1998 | Live At Birdland | D.D. Jackson Etc. |
| 1998 | One on One, Best of Smooth Jazz,Vol.3 | Warner Brothers Records |
| 1998 | Blue Box, Vol.2:Finest Jazz Vocalists | EMI |
| 1997 | Joined At The Hip (Grammy Nominee) | Bob James and Kirk Whalum |
| 1997 | Jazz X-Mas Party Friends | Warner Bros. Various Artists including Al Jarreau, Bob James |
| 1997 | Tapestry | Bob Belden Blue Note Cover Series Bros. |
| 1997 | Sound Roots | Andy McKee |
| 1997 | Hot Jazz Biscuits | Various Artists |
| 1996 | Strawberry Fields | Blue Note Cover Series Bob Belden featuring Cassandra Wilson and Dianne Reeves |
| 1996 | Escape | Bill Evans |
| 1996 | MOMENT, Hino-Kikuchi Live | Teremasa Hino, Pooh Kikuchi |
| 1996 | Hip Strut, Bop City | Featuring D. Fiuczynski |
| 1996 | Shades of Red | Blue Note Records |
| 1996 | All Things In Time | Bill Meyers |
| 1995 | Quiet After The Storm (Grammy Nominee) | Dianne Reeves |
| 1995 | Acoustic Boogie Swing Journal Record of the Year | Teremasa Hino, Pooh Kikuchi |
| 1995 | Audible Architecture | Tim Hagans |
| 1995 | Into The Night | Jack Lee |
| 1995 | The Verdict | Johnny Adams |
| 1995 | Shades of Blue | Blue Note Records |
| 1995 | Jazzabelle | Maria Muldaur |
| 1994 | Art and Survival | Dianne Reeves |
| 1994 | Ludwigs Jazztage | Steps Ahead "Live" |
| 1994 | Right On Time | Little Buster and The Soul Brothers |
| 1994 | Gatchaman | Soundtrack produced by Maurice White |
| 1993 | Portrait of a Player | Billy Clouds |
| 1993 | Prince Jazz | Blue Note Cover Series Bob Belden |
| 1993 | Trippin' | Jean-Paul Beaurelly |
| 1992 | Simply Stated | Terence Blanchard |
| 1992 | I Remember | Dianne Reeves |
| 1992 | Man Talk For Moderns Vol. X | Greg Osby |
| 1991 | Montreaux 91 | Greg Osby and Dianne Reeves |
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