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Barnaby Gold, a graduate of the Victorian College of the Arts with Honours, has freelanced in the Melbourne music scene for the last ten years. He has played at many major venues including Bennett’s Lane, the Melbourne Concert Hall, Manchester Lane, Dizzy’s, and the Wangarratta Festival of Jazz and Blues. At 19, he won Australia’s Best Up & Coming Drummer competition and is endorsed by Premier drums, Sabian cymbals, and Vater drumsticks.
Barnaby has performed with a score of notable Melbourne musicians, including vocalists Shelley Scown, Nichaud Fitzgibbon, Julie O’Hara, Michelle Nicolle, Yvette Johansson, and Rebecca Barnard; guitarists, Peter Petrucci, Doug De Vries and James Sherlock; saxophonists, Paul Williamson and Jim Glasson; and pianists, Mark Fitzgibbon, Bob Sedergreen, and Colin Hopkins. He has been a member of trumpeter Gianni Marinucci’s quartet since 1997 and appears on the 1999 release, The Sound of My Voice.
In 2000, Barnaby spent three months in the United States studying with some prominent musicians in New Orleans and New York (fourteen teachers in all), including: Shannon Powell (Harry Connick Jr.), Johnny Vidacovich (Astral Project), Leon Parker (Jacky Terrasson and solo), Mike Clark (The Headhunters) and John Riley (Vanguard Orchestra). In New Orleans, Barnaby played with Jason Marsalis’ pianist, Jonathan Lefcoski, trumpeter Leroy “Kid Chocolate” Brown, and veteran R & B pianist, Eddie Bo. Barnaby was also involved with a percussion ensemble led by Leon Parker at the White Plains African Heritage Festival, New York.
Barnaby is currently involved with a Motown/R & B group called Jellywhip, which has played residencies in Melbourne for the past two years. As well as being a freelance drummer, Barnaby also writes for the Australian drumming publication, Drum Scene, teaches in schools, and runs occasional workshops for young drummers. His inaugural clinic in 2000 was entitled: New Orleans and Second-Line Drumming. Though the New Orleans drumming style is his specialty, bebop, funk, reggae, and derivatives of these styles are all integral parts of Barnaby’s diverse musical identity.
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