FOUR ON THE FLOOR

One of the perks of writing this blog and sharing everything on social media is that I have the privilege of connecting with jazz drummers from all over the world.

Once such drummer is Kai Craig and he recently released a fantastic new album of wonderful original music. Being a drummer/composer/band leader myself, I am always excited to see and check out great new music from other drummers as well. The music is wonderful and Kai is a killer drummer!

To learn more about his new album and music, check these out:

Listening Links: https://whirlwindrecs.lnk.to/ATimeOnceForgotten

Press Release / Background Info:

https://www.whirlwindrecordings.com/kai-craigs-debut-album-a-time-once-forgotten-out-now/

Kai was nice enough take time out his busy touring schedule to answer a few questions about his new music.

Kai Craig "A Time Once Forgotten"

Four on the Floor: September 2025

1) Tell us about your latest recording!

A Time Once Forgotten is my first album as a leader. The album was released in August 2025 and so far it’s getting a lot of positive feedback. It features Sean Payne on alto saxophone, James Copus on trumpet, Rainer Böhm on piano and Géraud Portal on bass. We recorded in Cologne, Germany and I invited Gregory Hutchinson to help bring the music to life as producer. Hutch has been a mentor of mine for a number of years and always knows how to bring the best out of me.

The album was mostly captured in 1st takes with one or two 2nd takes and overdubs, it feels natural and raw. I wanted to make a record where the drums shine more through sonority and musicality than as a solo
instrument or through chopping out.

I’m grateful to you for checking out the recording and offering me a platform to speak on it, I’ve been a fan of your blog for many years.

2) How did you choose your repertoire and sidemen?

It was a way for me to pay tribute to a few of the musicians that have been influential to me - Roy Hargrove, Michael Brecker, Wayne Shorter, Kenny Kirkland, John Taylor. I wanted to put the spotlight on some of my favourite compositions that people are rarely playing.

Each of the bandmates was chosen as I felt they were each the best individual for the music, but would also bring valuable characteristics to the team. We are all longtime friends and musical partners. Sean and I used to shed all the time at school and we listened to a lot of records together, we even shared an apartment through our final year of school. We would go into practice rooms at school and play long versions of hard tunes until we couldn’t come up with any more ideas. Over time we developed a natural understanding and the hookup we built stays with us as we grow up.

The first time I played with James, he immediately became one of my favourite trumpet players. His ideas, sound and phrasing are all incredible. He can really phrase a melody and capture the vibe of a song. Sean and James also work together well in a section, which was something I had to be conscious of when I was deciding on the band.

Rainer is a genius and has a natural affinity for music that is so exciting to play alongside. He has big ears and hears the slightest gesture and always knows the right way to respond. He is extremely creative and reactive, and always seems to know exactly the right thing to play when supporting a soloist.

Géraud is like my big brother and we have a strong concept of rhythm and time as a rhythm section. He’s supportive, rock solid and has one of my favourite bass sounds.

Hutch was the final choice because I wanted the right person to come and help tie it all together. I studied with Hutch for a number of years and he has always been there for me as a mentor and knew how to get the best out of me as I was developing my skills. He’s of the generation to have met and played with the musicians the album is in tribute of, and knows where I’m coming from with my concept of playing so it was fitting that he would come and hang out at the studio to help bring the best out of me and the music itself. The stories and anecdotes he shared with me when we were hanging were invaluable in bringing the music together.

3) What inspired you to pursue the vibe and instrumentation that you did?

Foremost, I just wanted to hear the guys on the album playing together on tunes that I hadn’t heard any of them play before. I believe we’re each saying something new on the music and I’m proud to have put the project together and made something I look back on fondly.

I grew up listening to records like Black Codes [Wynton Marsalis], Speak No Evil [Wayne Shorter], Of Kindred Souls [Roy Hargrove], The Big Beat [Art Blakey Jazz Messengers], Four & More [Miles Davis], Live at Birdland [Art Blakey], Tokyo Live [Tony Williams], Nefertiti [Miles Davis]. As well as those, a lot of Ralph Peterson, Jeff ‘Tain’ Watts and Jack DeJohnette records, Michael Brecker albums, Cannonball Adderley albums.

Many different sounds contributed over a very long time to the aesthetic and vibe of what I’m going for with this group. I wanted to make a quintet album because I love the sound and vibe of trumpet and saxophone together, and I enjoy backing up those instruments while they play.

The drum sound on the album was something I spent a lot of time thinking about too. I play Sonor Drums and I was playing Paiste Cymbals at that time. Sonor make my favourite drums and I played a set of Vintage Series drums with a Phonic reissue snare drum. At the time I was into Paiste Masters cymbals, and I was playing a 22” and 20” that Hutch gave me.

I take inspiration from Jeff ‘Tain’ Watts, Tony Williams and Jack DeJohnette in drum sound and I’m proud of the sound on the album. I wanted to make something with a big, old school sound, with fresh concepts and ideas in the playing. I wanted the mix and master to be big and punchy because I like records to sound that way,

I like a lot of different music and I like when a record is in your face and sounds big.

4) Was there a particular message you were trying to convey to the listener?

Not by design. I did have a clear concept for the music to be a way for me to pay respects to those it was in tribute of, as well as the musicians featured on the album but ultimately, I just wanted to make a record I was proud of, the message became clearer throughout the process of making it. It’s an honest portrayal of my playing, and where I was at in my development. It was the culmination of a long few years; graduating music school, moving to New York and finding my feet as a professional musician. The end of one chapter and beginning of the next.

We started touring the album last week and it’s already been a big learning experience for me. Being a sideman is so easy in comparison. You learn the music, show up, play well, get paid. But as a leader you have to deal with organising travel, accommodation, getting everybody paid, food, charts as well as leading great musicians through hard music and still playing well. It’s a lot more work and you have to think about a lot more stuff in order to guarantee you’re still able to show up and play your best.

I went through a lot of really tough life stuff throughout the year leading up to the record date and had to work hard to get my playing to a place I was happy enough to document. I was practicing 8-10 hours a day for the 5 weeks or so leading up to the record date while my body was fighting an auto-immune condition that was causing me a lot of problems. It was a tough time but if there’s a message that became clear through all of that… It’s: Set a goal, work hard and do what you set out to do the best you possibly can.

5) Who are your influences with regards to your style of writing and playing?

Jack DeJohnette, Tony Williams, Elvin Jones, Roy Haynes, Philly Joe Jones, Max Roach, Art Blakey, Louis Hayes, Buddy Rich, Baby Dodds, Milford Graves, Lewis Nash, Kenny Washington, Jeff ‘Tain’ Watts, Greg Hutchinson, Tyshawn Sorey, Marcus Gilmore, Mike Mitchell, Brice Wassy, Mamadou Keita, Ralph Peterson, Joe Chambers, Dennis Chambers, Steve Gadd, Vinnie Colauita, Ronald Bruner Jr, Philip Fish Fisher, Carter Beauford. I could go on, but those are some of the first names off the top of my head.

My dad was a drummer and he has been the biggest influence in terms of work ethic. He always encouraged me to work hard and said that it would pay me back one day. He’s responsible for introducing me to the full spectrum of music and the drumming styles connected to each. I spent a large amount of time learning from and trying to sound like each of those drummers, at various points throughout my development.

Early on, I would transcribe comping, phrases and full solos by all of those drummers almost everyday. I am still trying to transcribe and absorb new information as often as possible.

In terms of writing… I’m no authority but what I know has been learnt through transcribing and analysing songs I’m into or shown to me by musicians I have asked.

I learnt a lot from cadences on tunes by Kenny Kirkland, Mulgrew Miller, Chick Corea, Wayne Shorter, Herbie Hancock.

Dealin’ came from a Mulgrew cadence and a Chick Corea bridge, connected with some other ideas to form it into a tune.

One of my goals is to pursue piano playing more and writing now the album has been released. I want to write more, not only for the band but for myself. Writing and playing piano teach you about music, they allow the student to connect the dots between sound and notes.

6) What are you practicing/studying/listening to/researching these days?

Mainly, repertoire for the next gig or session. Searching for new ways to bring myself to the music and apply whatever I’m learning at that moment.

I try to not use sheet music on stage but to know a song well enough takes a long time. I can memorize a song in a semi-photographic way before the gig and the imprint will stay fresh in my mind for a few days. But to really know it, I like to learn songs by ear and use the chart only for reference.

I work on maintenance things each day: Wilcoxon, Joseph Tompkins, the ride cymbal, coordination, soloing fundamentals. I’m searching for whatever I don’t have together and then I focus on those weaknesses for the duration of my practice.

Practice has to be creative and inspiring for me, otherwise I don’t feel compelled to do any. There has to be an element of spontaneity involved as that’s what performing is like. Sitting down at the drums is inspiring for me and I can easily spend 8 hours without leaving the room. It’s been that way my whole life, I find it meditative and it allows me to isolate myself in a way I’ve always enjoyed.

I spend a lot of time listening to albums or bootlegs and watching videos. I’m into Miles In The Sky and Plugged Nickel again lately. I’m also into Charles Lloyd Quartet era Jack DeJohnette, pre 1970s and I guess, also pre-Miles.

I’m searching for ways to deepen my knowledge every day and I spend a lot of time watching the greats and watching live concerts. I feel as though exposure to great music brings your standard up and helps you figure out what you want to develop within your own playing.

I’ve also been working on charts and logistics for the release shows we just played in Europe to promote the record. That’s a side of practice and preparation I don’t see too many people talk about; being away from the instrument, working on strategizing and detailing upcoming projects or planning an upcoming tour or recording.

Leading up to the release gigs, I was in the shed all day, everyday, practicing and learning the music, figuring out what directions I could take the music in. It takes a lot of balancing between regular gigs, teaching and downtime, but that’s all part of it.

7) What other current and future projects do you have on the go at the moment?

I just played the first gigs with my trio: Sean Payne, Géraud Portal and myself. I really enjoy playing trio, especially with those guys. We talked about doing it for a while and then I booked a few gigs to promote the album and we could try it out. We have a big theatre show in Bourges in March 2026 and I’d like to record it.

I’ve wanted to do a trio album my whole life. Something like Dark Keys, Bloomington or Triology. The trio has a nice vibe and the tunes we play come from the same angle as the album, obscure songs by influential figures that I believe deserve more recognition.

I have a few sideman things coming up, in the US and Europe, record dates and touring dates. Sean is releasing his first album next year which we recorded nearly 3 years ago and that’s going to be fun when we get out touring.

Aside from that, I’m organizing the release tour to promote the album, with the quintet. That’s a lot of work but I’m hopeful I can put a good tour together.

8) How do the drums and your overall approach to rhythm factor into your compositions and concept?

I play what I hear. I try to write what I want to hear.

Playing wise, I play what I want to listen back to. Different rhythms evoke different feelings and emotions so I like to focus on the emotional impact of rhythm when I’m listening to music. I think this also translates to tunes I enjoy playing.

The foundation for most of what I know came from studying the greats such as Max, Philly, Roy and Blakey. I mostly studied their playing on more standard-form songs. However, as I studied my way through Elvin, Jack and Tony, through to the likes of Tain and Hutch - the tunes changed and became more complicated in harmony and rhythm.

I took a liking to songs by the likes of Kenny Kirkland, Mulgrew Miller, Wynton Marsalis and Michael Brecker. A lot of those songs have distinctive rhythmic and harmonic structure. I enjoy playing on tunes that have interesting harmonic, rhythmic and melodic corners to catch and I find those types of songs to be more interesting.

When I write a new tune, I think the interest I take from those songs makes its way into my tunes.

9) What advice do you have for younger, aspiring jazz musicians and jazz drummers?

Work on playing the ride cymbal on its own for long periods of time in order to develop a strong foundation for your time.

Practice the Wilcoxon Swing Solos with sticks and brushes, left hand and right hand lead, on a real snare drum in front of a mirror. Accents loud, ghost notes as quiet as possible.

Build a strong foundation in technique and time keeping.

Transcribe things that have an emotional impact for you and analyze why they make you feel the way they do.

Learn solos both by ear/memory and by ear/notation, both methods have separate benefits.

Listen to as many different types of music as you can.

Sit with one record or one song for long periods of time until you can sing along and understand what’s happening.

Watch great musicians playing live as often as you can, whether in person or on videos.

Focus on strengthening your weaknesses, don’t waste too much time practicing things you can do already, save that for the gig.

Record yourself as often as possible and listen back with a critical ear. If you work hard on your playing it will only be a certain amount of time before you see positive change.