Today we’d like to introduce you to Celso Alberti.
Hi Celso, it’s an honor to have you on the platform. Thanks for taking the time to share your story with us – to start maybe you can share some of your backstory with our readers?
I was born in Curitiba, Brazil, where rhythm is an integral part of the musical culture. I was drawn to the drums at an early age, and by the time I was 17, I was already performing professionally. Those early experiences helped me grow as a musician and opened my eyes to the many directions a life in music could take me.
In 1982, I moved to New York City to expand my horizons, challenge myself musically, and experience a different environment. I wanted to meet new musicians and explore styles beyond the music I had grown up playing. New York offered an incredible range of musical influences, and I began combining Brazilian rhythms with jazz, funk, and rock. This opened the door to collaborations with artists such as singer Clarice Taylor, guitarist Toninho Horta, and the New York Samba Band.
In 1984, I moved to the San Francisco Bay Area, where my musical journey continued to evolve. I joined Terra Sul, a Brazilian band based in San Francisco that signed with MoJazz, a subsidiary label of Motown Records. In 1986, I joined Batucaje, which won the Bay Area’s Jammies Music Award for Best Brazilian Band. These experiences helped establish me within the Bay Area music scene and led to new opportunities that would shape my career.
One of the most important chapters of my life was touring with Airto Moreira and Flora Purim, two extraordinary figures in Brazilian music and jazz. We performed throughout Europe, the United States, and Brazil, and recorded two albums: The Magicians, released by Concord Crossover Records, and The Flight, released by B&W Records. Working in that international environment allowed me to experience different audiences and musical cultures while continuing to develop as a performer.
My career has always been about exploring different musical worlds. In 1989, I toured with jazz flautist Herbie Mann, another memorable experience that broadened my musical perspective. Around that time, I also formed No Man’s Land, an instrumental power trio that allowed me to explore music from a different angle.
I’ve always enjoyed the freedom of instrumental music and the interaction between musicians. Without lyrics, rhythm, dynamics, and improvisation become an even more important part of the conversation. I find that kind of musical communication incredibly rewarding.
Between 1990 and 2004, I had the opportunity to work with a wide range of musicians, including Joyce Cooling, Danny Heines, John Lucien, Michael Manring, and Craig Chaquico. Working across jazz, rock, Brazilian music, and contemporary styles taught me the importance of versatility. Every artist has a distinct personality, and every project requires something different. My approach has always been to listen carefully, understand what the music needs, and contribute in a way that supports the overall sound rather than imposing a particular style on every situation.
In 2005, I joined Steve Winwood for a U.S. tour. I’ve also been involved with adventurous projects such as Kundalini Boombox, led by keyboardist Kit Walker, which explored a combination of electronic and world music influences. These experiences reflect something fundamental about my personality as a musician: I’ve never been particularly interested in staying within one musical category. I enjoy discovering connections between different styles and finding ways to bring them together.
Since 2006, I’ve also toured in Russia and Ukraine with keyboardist Andrei Kondakov. Throughout my career, I’ve been fortunate to collaborate with musicians from many different backgrounds, including guitarist Stef Burns, Brazilian singer Emilio Santiago, guitarist Chico Pinheiro, singer-songwriter Claudia Villela, singer-songwriter Tim Hockenberry, bassoonist Paul Hanson, saxophonist George Brooks, and bassist Kai Eckhardt.
Each collaboration has brought a different perspective and taught me something new. Performing internationally has been one of the great privileges of my career. It has reinforced my belief that music is a universal language, capable of connecting people even when their cultures, experiences, and musical traditions are very different.
Would you say it’s been a smooth road, and if not what are some of the biggest challenges you’ve faced along the way?
My life took an unexpected turn when I suffered a bicycle accident that injured my lower back. As a drummer, my physical ability was central to my musical expression, and the injury forced me to reconsider how I could continue pursuing my passion.
Although it was a difficult experience, it ultimately led me toward a new chapter in my life. As I explored other ways to remain connected to music, I became increasingly interested in the technical side of recording and sound. What began as a response to an unexpected challenge developed into a new professional direction: audio engineering.
I discovered that many of the skills I had developed as a drummer translated naturally into the recording studio. A musician learns to listen closely, understand dynamics, recognize the relationships between instruments, and feel when something is working—or when it needs to change. Those instincts are just as valuable behind a recording console as they are onstage.
For me, recording and engineering became a natural extension of being a musician. The technology was different, but the underlying purpose remained the same: to understand the music and help bring its full potential to life.
Thanks for sharing that. So, maybe next you can tell us a bit more about your work?
I am a professional drummer and audio engineer with decades of international experience in live performance, touring, studio recording, and audio production. My work spans multiple musical genres and includes live and studio engineering, remote recording, mixing, and Pro Tools consulting. Combining a musician’s instincts with technical expertise, I focus on capturing the essence of each performance and helping artists achieve their creative vision.
Over the years, I’ve provided live and studio engineering, remote recording, and Pro Tools consulting for a wide range of clients, including Airto Moreira, Flora Purim, Jose Neto, Steve Winwood, Frank Martin, Ronnie Ray Padilla, and Kai Eckhardt.
More recently, I’ve worked with artists including Narada Michael Walden, Dave Weckl, Mike Stern, Patti Austin, Keiko Matsui and currently with South African artist Jonathan Butler.
I enjoy both sides of the creative process: performing music and helping capture it. Whether I’m behind a drum kit or working at a recording console, the goal is the same—to bring out the character of the music and make it sound as good as possible.
Can you share something surprising about yourself?
As a drummer, my physical ability was essential to my career, and that injury forced me to rethink my future. What initially seemed like a setback ultimately opened the door to a new chapter: audio engineering.
Looking back, I realize that my journey has been about adapting to change without losing my connection to music. Moving from Brazil to the United States, performing across different musical genres and cultures, and eventually building a career behind the recording console have all taught me the importance of staying open to new possibilities.
What makes my experience unique is that I understand music from both sides of the recording console. My years as a performer have shaped the way I listen, record, and work with other musicians. I’ve learned that even when life takes an unexpected turn, it can lead us to discover new abilities and opportunities.
Ultimately, I’ve never stopped being a musician. I’ve simply found different ways to express my passion and contribute to the music I love.
Contact Info:
- Website: https://www.celsoalberti.com
