Ray began his musical career like most New York City musicians,  . . ‘performing on the side-walks of Manhattan . . .’ Every Saturday night Ray and a small group of friends from high school, would haul their drums, amps and guitars in a taxi-cab to the corner of 52nd Street and Fifth Avenue, . .  plug the amps into a street light, and jam-out to a tough, but appreciative, New York City crowd.

Ray didn’t initially want to become a drummer.  Originally, he was accepted into Music and Art H.S., as a vocalist.  Ray's aspiration of being a Broadway performer was quickly diminished after he found out that it would be at least three years before he would get an opportunity to audition for a musical in his own High School.  So, rather than wait, Ray borrowed his Uncle’s drums, and practiced for several months in his basement, . . . and later that year, Ray auditioned, and was accepted to the famed High School of Performing Arts, as a drummer!

Ray likes to call himself a 'street drummer', . . referring to his style of playing, as being instinctive, and with feeling, rather than a more traditionally trained percussionist.  “I never was very good with the mallets. After spending a few years at Juilliard, studying the ‘art’ of percussion, Ray suddenly found himself playing in the orchestra pit of several regional, and off-Broadway theatres in and around the Metropolitan area.

It was at this time, when Ray teamed up with New York Musical Director and Conductor, Edward G. Robinson.  .  .

Ray worked with Mr. Robinson on several musical productions, including Pippin, Grease, Bye, Bye Birdie, Best Lit’l Whorehouse in Texas, Baby and a European Tour of Jesus Christ Superstar. . ., Ray comments, “working with Ed was a huge influence on my career, and one of my main reasons for pursuing a career in musical theatre and the Broadway show scene. . ."

Ray eventually began making the rounds looking for sub work on Broadway, and was introduced to musical contractor Earl Shendell. Earl mentioned that Dorian McGee, the drummer for A Chorus Line might be looking for another  sub.  Ray was invited down to the Shubert Theatre to learn the drum book, and began subbing for the show.

Ray went on to substitute for several Broadway shows, including A Chorus Line, Cats, Dreamgirls, and the National Tour of Annie, as well as many Bus & Truck tours, including such shows as Dancin’, Grease, Pippin, Little Shop of Horrors and Jesus Christ Superstar.

Eventually, Ray took a much needed break from the New York music scene, and moved to the West Coast, where he was introduced to the recording studio, and began producing various projects, . . . and even contributed his percussion talent on several recordings for local talent. During his time in LA, Ray was introduced to singer, and five-time Grammy winner, Dionne Warwick. . and began laying down the groove for Ms. Warwick in various jazz venues throughout the US and Europe.

After spending a few years producing, and occasionally playing drums on a variety of commercial jingle sessions, it wasn’t long until the musty smell and sounds, of the orchestra pit would once again entice Ray back to playing the drums.

Recently, Ray has joined with recording artist, and long-time childhood friend Lisa Velez, of the 80’s group, Lisa, Lisa & the Cult Jam, performing with her new solo act, and reviving the hits that made her famous, as well as adding some new R&B/Soul sounds of her own.

Currently, Ray is in pre-production, working in the studio on a new CD with recording artist Yvonne Elliman, scheduled for release in 2010. . .

" fellas. . .it was sounding great, but I could've used a little more cowbell, . ."    SNL