Rayford Griffin was born February 6, 1958, in Indianapolis, Indiana to a minister father, Reverend Thomas J. Griffin, and a vocalist mother, Geneva Brown, a Howard University classical music graduate. Therefore, his music appreciation started early. It was the drum solos of Art Blakey and Max Roach on albums by his “Uncle Clifford” that lured him to the realm of percussion.

Rayford received his first drum, a marching field snare, at age 10 (from his parents?). Shortly after, he began playing in his grade school marching band and orchestra. Rayford next received his first full set of drums at age 13.

From the 8th grade through high school, Rayford studied with Tom Akins, Principal Timpanist for the Indianapolis Symphony. Akins provided Rayford with a polished precision on drum set, snare and tympani that would give him a lifelong edge. Crucially, Tom gave Rayford a firm understanding of the drumming he was hearing plus all the technical information to be able to play it.

Aside from a brief flirtation with trombone in high school, drums remain Rayford’s primary instrument.

Rayford was raised on a steady diet of uncle Clifford’s jazz gems, classical recordings of Brahms, Mozart and Tchaikovsky, the symphonic soul of Isaac Hayes, the earth blues basics of Jimi Hendrix and Buddy Miles, and the revolutionary jazz-rock fusion of poly-stylistic drumming masters Billy Cobham (The Mahavishnu Orchestra) and Lenny White (Return to Forever).

While attending Shortridge High School in Indianapolis, Rayford became a member of the group Tarnished Silver, one of the many R&B bands he played in as a teen in the mid-`70s. Rayford additionally sang lead in this group on covers of soul classics such as “Can’t Hide Love” (Earth Wind & Fire) and “Slippin’ Into Darkness” (WAR). This group also included future Grammy-winning songwriter/producers Kenny “Babyface” Edmonds and Daryl Simmons.

In 1976, Rayford studied at Indiana State University as a music major in percussion. During his first year he won Best Drummer honors at three collegiate jazz ensemble competitions, including the Elmhurst Jazz Festival.

This led him to joining the established local fusion group, Merging Traffic, circa `77. One of his first gigs with the band was opening for violinist Jean-Luc Ponty. In an interview for Modern Drummer magazine, Ponty recalled. “As we were coming into the hall, Merging Traffic was playing. In fact, it was during Rayford’s drum solo. Usually everybody just goes back to the dressing room while there’s an opening band on. But this time, everyone stayed to watch the drum solo. Rayford had the crowd in his hand.”

In 1988, George Duke invited Rayford to join the band of Anita Baker who he worked with off and on for a decade. Two years later, he performed double duty by playing in both Anita Baker’s and George Duke’s bands on their co-billed U.S. and European tours. He played on records by Wilton Felder and Teena Marie, as well as 12x-platinum sellers Boyz ll Men. He also collaborated on several albums with saxophonist/singer George Howard, co-producing his 1992 album, Do I Ever Cross Your Mind, from which Howard garnered a Grammy nomination for the song, ‘Just the Way I Feel,’ which Rayford composed.

In 1996 Rayford was invited to play with “King of Pop” Michael Jackson for the Sultan of Brunei’s 50th Birthday Celebration. In 1997, Rayford toured with Bette Midler, taking part in her Emmy-winning HBO extravaganza, “Diva Las Vegas!”

From 1997-2000, Rayford played the U.S. and abroad with The Isley Brothers. Simultaneously, he was conceptualizing, writing and recording music for his own project – finally exploring ways to make a name as a solo artist and leader. Rayford and his brother, Grammy-nominated arranger/producer Reggie Griffin, united to form RazoRedge Recording, a studio to produce Rayford’s debut CD.

Tragically, before completion of an album, Rayford suffered a crippling accident while touring with The Isley Brothers during the summer of 2000. He fell from a hotel balcony. He broke his back, suffered a spinal cord injury near his waist, and was unable to walk or move. Two surgeries were followed by an intensive regimen of physical therapy that was both emotionally and physically draining. He used a practice pad in bed on occasion but playing the drums was not his priority during this time. First, Rayford had to re-learn to stand and walk. Ultimately, he emerged from a wheelchair to a walker, then a cane.

At this point, Rayford began to practice playing his drums again. During a benefit in his honor at The Musicians’ Institute in Hollywood, he performed one short tune. A few months later, he led his triumphant return show at The Baked Potato club in Studio City. That’s when he knew he was fully ready to move forward. By 2002, Rayford began to get calls for recordings and tours again.

Rayford’s long-anticipated first CD as a leader was 2003’s Rebirth of The Cool, released on Lightyear Entertainment/WEA, in conjunction with his own imprint RazoRedge Records. The jazz-funk fusion gem received rave reviews with an amazing roster of musicians including, Branford Marsalis, Brandon Fields, Walt Fowler, Everette Harp, Karen Briggs, Munyungo Jackson and more.

From 2004 thru 2010, Rayford consistently worked primarily in the smooth jazz performance world with acts Gerald Albright, Jeff Lorber, Richard Elliott, Jonathan Butler, Mindi Abair, Peter White, Jonathan Butler, Jeffery Osborne and BWB (Rick Braun, Kirk Whalum & Norman Brown).

In 2011, he was invited to tour Brazil with Jean-Luc Ponty, rekindling a collaboration that continues to this day. Subsequently he was asked to join the formation of The Anderson Ponty Band (a.k.a. APB) with Jean-Luc and lead singer Jon Anderson from the rock band YES. A 2014 recording, Better Late Than Never, was followed by a tour in 2015.

Currently, Rayford is writing, collaborating, and recording new music with some of the artists he has worked with over the years as well as a few promising younger musicians for his exciting upcoming third project as a leader.

From the glorious `70s to the present – traversing multiple layers of triumph and overcoming one crushing low – Rayford Griffin remains a deeply resourceful and high-resonating all-points master of music.

~ A. Scott Galloway
Music Journalist & Author

Rayford Griffin was born February 6, 1958, in Indianapolis, Indiana to a minister father, Reverend Thomas J. Griffin, and a vocalist mother, Geneva Brown, a Howard University classical music graduate. Therefore, his music appreciation started early. It was the drum solos of Art Blakey and Max Roach on albums by his “Uncle Clifford” that lured him to the realm of percussion.

Rayford received his first drum, a marching field snare, at age 10 (from his parents?). Shortly after, he began playing in his grade school marching band and orchestra. Rayford next received his first full set of drums at age 13.

From the 8th grade through high school, Rayford studied with Tom Akins, Principal Timpanist for the Indianapolis Symphony. Akins provided Rayford with a polished precision on drum set, snare and tympani that would give him a lifelong edge. Crucially, Tom gave Rayford a firm understanding of the drumming he was hearing plus all the technical information to be able to play it.

Aside from a brief flirtation with trombone in high school, drums remain Rayford’s primary instrument.

Rayford was raised on a steady diet of uncle Clifford’s jazz gems, classical recordings of Brahms, Mozart and Tchaikovsky, the symphonic soul of Isaac Hayes, the earth blues basics of Jimi Hendrix and Buddy Miles, and the revolutionary jazz-rock fusion of poly-stylistic drumming masters Billy Cobham (The Mahavishnu Orchestra) and Lenny White (Return to Forever).

While attending Shortridge High School in Indianapolis, Rayford became a member of the group Tarnished Silver, one of the many R&B bands he played in as a teen in the mid-`70s. Rayford additionally sang lead in this group on covers of soul classics such as “Can’t Hide Love” (Earth Wind & Fire) and “Slippin’ Into Darkness” (WAR). This group also included future Grammy-winning songwriter/producers Kenny “Babyface” Edmonds and Daryl Simmons.

In 1976, Rayford studied at Indiana State University as a music major in percussion. During his first year he won Best Drummer honors at three collegiate jazz ensemble competitions, including the Elmhurst Jazz Festival.

This led him to joining the established local fusion group, Merging Traffic, circa `77. One of his first gigs with the band was opening for violinist Jean-Luc Ponty. In an interview for Modern Drummer magazine, Ponty recalled. “As we were coming into the hall, Merging Traffic was playing. In fact, it was during Rayford’s drum solo. Usually everybody just goes back to the dressing room while there’s an opening band on. But this time, everyone stayed to watch the drum solo. Rayford had the crowd in his hand.”

In 1988, George Duke invited Rayford to join the band of Anita Baker who he worked with off and on for a decade. Two years later, he performed double duty by playing in both Anita Baker’s and George Duke’s bands on their co-billed U.S. and European tours. He played on records by Wilton Felder and Teena Marie, as well as 12x-platinum sellers Boyz ll Men. He also collaborated on several albums with saxophonist/singer George Howard, co-producing his 1992 album, Do I Ever Cross Your Mind, from which Howard garnered a Grammy nomination for the song, ‘Just the Way I Feel,’ which Rayford composed.

In 1996 Rayford was invited to play with “King of Pop” Michael Jackson for the Sultan of Brunei’s 50th Birthday Celebration. In 1997, Rayford toured with Bette Midler, taking part in her Emmy-winning HBO extravaganza, “Diva Las Vegas!”

From 1997-2000, Rayford played the U.S. and abroad with The Isley Brothers. Simultaneously, he was conceptualizing, writing and recording music for his own project – finally exploring ways to make a name as a solo artist and leader. Rayford and his brother, Grammy-nominated arranger/producer Reggie Griffin, united to form RazoRedge Recording, a studio to produce Rayford’s debut CD.

Tragically, before completion of an album, Rayford suffered a crippling accident while touring with The Isley Brothers during the summer of 2000. He fell from a hotel balcony. He broke his back, suffered a spinal cord injury near his waist, and was unable to walk or move. Two surgeries were followed by an intensive regimen of physical therapy that was both emotionally and physically draining. He used a practice pad in bed on occasion but playing the drums was not his priority during this time. First, Rayford had to re-learn to stand and walk. Ultimately, he emerged from a wheelchair to a walker, then a cane.

At this point, Rayford began to practice playing his drums again. During a benefit in his honor at The Musicians’ Institute in Hollywood, he performed one short tune. A few months later, he led his triumphant return show at The Baked Potato club in Studio City. That’s when he knew he was fully ready to move forward. By 2002, Rayford began to get calls for recordings and tours again.

Rayford’s long-anticipated first CD as a leader was 2003’s Rebirth of The Cool, released on Lightyear Entertainment/WEA, in conjunction with his own imprint RazoRedge Records. The jazz-funk fusion gem received rave reviews with an amazing roster of musicians including, Branford Marsalis, Brandon Fields, Walt Fowler, Everette Harp, Karen Briggs, Munyungo Jackson and more.

From 2004 thru 2010, Rayford consistently worked primarily in the smooth jazz performance world with acts Gerald Albright, Jeff Lorber, Richard Elliott, Jonathan Butler, Mindi Abair, Peter White, Jonathan Butler, Jeffery Osborne and BWB (Rick Braun, Kirk Whalum & Norman Brown).

In 2011, he was invited to tour Brazil with Jean-Luc Ponty, rekindling a collaboration that continues to this day. Subsequently he was asked to join the formation of The Anderson Ponty Band (a.k.a. APB) with Jean-Luc and lead singer Jon Anderson from the rock band YES. A 2014 recording, Better Late Than Never, was followed by a tour in 2015.

Currently, Rayford is writing, collaborating, and recording new music with some of the artists he has worked with over the years as well as a few promising younger musicians for his exciting upcoming third project as a leader.

From the glorious `70s to the present – traversing multiple layers of triumph and overcoming one crushing low – Rayford Griffin remains a deeply resourceful and high-resonating all-points master of music.

~ A. Scott Galloway
Music Journalist & Author