Garibaldi’s drummer credits also include Natalie Cole, Jermaine Jackson, Boz Scaggs, Deniece Williams and Yellowjackets.

He later joined the high school’s big band and practiced with the help of Eddie Tinga, a drummer and employee of the US Postal Service who also served in the Air Force reserve.

At age 17, Garibaldi’s parents bought him his first drum kit, which he would later use to record Tower of Power’s debut album “East Bay Grease”.

During his service at McChord Air Force Base in Tacoma, Washington, Garibaldi performed with different ensembles, including a symphonic orchestra where he played timpani, concert snare drum and mallet percussion.

[2][5] In the mid-70’s Garibaldi left Tower of Power and commenced performing, recording and writing with artists including Gino Vannelli, Wishful Thinking, Patti Austin, Natalie Cole, Boz Scaggs, the Yellowjackets, Jermaine Jackson and Deniece Williams.

[6] Later in the mid 2000's Garibaldi released a collection of drum loops titled "Tower of Funk" produced with Josquin Des Pres.

Garibaldi is the author of notable instructional music books and educational DVDs including Future Sounds and The Funky Beat.

[7][8] In an interview with the Percussive Arts Society, Garibaldi explains that at 23 years of age, he was not trying to create revolutionary drum grooves but rather follow his creative instinct.

My goal was (…) to have my own sound and personality like they did.Mark Griffith of the Percussive Arts Society describes Garibaldi’s style as a funky sixteenth-note based groove that has all or most of the notes played separately with backbeats that occasionally turn around give the illusion that the pulse is in a different place than expected.

", "After Hours", "Down to the Night Club", "East Bay", "Oakland Stroke", "Vuela Por Noche" and "You Wanna Be a Hero".

Emilio Castillo (saxophone) and Garibaldi usually worked on the rhythm section while Rocco Prestia (bass) listened to the overall feel of the song.

[11][12] During one rehearsal with Tower of Power, he added syncopation to a drum pattern he played often and suggested the sixteenth-note bass line.

David Lynch from the Austin Chronicle describes the name as “not only (a) reference of their signature tunes” but also as the question “is Tower of Power still hip?” The anthology received positive reviews as a documentation of the group’s evolving sound throughout the 1970s and 1980s.