Wednesday, May 5, 2021

Four on the Floor *Live* on Instagram IGTV featuring Colin Stranahan


Please join us for the next episode of Four on the Floor *Live* happening next Tuesday, May 11th at 7pm MST (9pm EST), appearing on Instagram Live IGTV @fouronthfloorblog featuring Colin Stranahan.

Born In Denver Colorado, Colin Stranahan has always been surrounded by music. By his teenage years he was already actively working on the local Denver scene, and has recorded multiple records on the Capri Record label. After receiving the prestigious National Foundation Advancement of the Arts Presidential Scholar award in 2005, he studied at the University of the Pacific for one year as a Brubeck Institute Fellow. Shortly thereafter, he attended the prestigious Thelonious Monk Institute of Jazz at Loyola University in New Orleans, Louisiana.

Stranahan was also one of the winners of the 2012 Thelonious Monk Drum Competition. Now living in Brooklyn, New York, Colin is among the most sought-after drummers in the world working with such artist as Kurt Rosenwinkel, Jonathan Kreisberg, Dr. Lonnie Smith,Fred Hersch, Terence Blanchard, Dave Kikoski, Kevin Hays, Herbie Hancock, Wayne Shorter and many others. 

He is part of a collective trio featuring some of the most talented and praised young musicians in New York City. Together, the Stranahan/Zaleski/Rosato trio has recorded and released two successful albums and are releasing a third that was recorded live at Smalls, released in 2015.

Colin Stranahan currently holds adjunct teaching positions at Aarhus Royal Academy of Music, and London’s Royal Academy of Music, where he teaches both private lessons, and ensemble teaching.

He also teaches at a few summer Jazz programs including The Brubeck Institute Summer Jazz Colony, The Fara Sabina Summer Jazz School and Festival in Fara Sabina, Italy. Colin also gives drum master classes at Oberlin College, New England Conservatory, International Jazz Conference in Thailand, and the Singapore Esplanade Jazz Festival.

Monday, May 3, 2021

The Three Bloggers - Part III: Technique!

For the third and final instalment of our ongoing collaborative collective series entitled The Three Bloggers, myself, Ted Warren of Trap'd and Todd Bishop of Cruise Ship Drummer! will each offer our individual thoughts on the concept of Technique

As before, this topic was suggested without any specificity or direction so I'm sure between the three of us we'll come up with a variety of interesting perspectives to consider.

Given the current circumstances and on-going restrictions re: Covid-19, the idea of Technique is something I've given quite a bit of thought to over the past year now since I've had more time to practice. Specifically, the question I've been asking myself has been: "How do I become a better drummer AND musician throughout all of this?"

Here are a few of my thoughts and some things that I've learned:

- In my opinion, developing one's technique as a drummer is a very important and lifelong study. 

Specifically, I am referring to developing, maintaining and refining one's rhythmic control and ability with one's hands, feet and overall four-way coordination on the drum set.

I once heard Jerry Bergonzi in a Downbeat interview say something along the lines of: 

"You never really master music. Music is the master." 

...and I think he's right! But what does this mean?

- I think people all too often confuse the idea of technique (practicing rudiments for example) with that of developing speed and virtuosity for their own sake. In a society and culture that generally celebrates speed and virtuosity it's easy to buy into this. But for me it becomes much deeper than that and I think it's really about developing and expanding your rhythmic/musical vocabulary and, most importantly, your sound on your instrument.

As my good friend jazz trumpeter Prof. Dean McNeill often reminds me: 

"Often the things that count the most aren't easily counted..."

- So yes, we should always continually work on the technical side of our instrument but ultimately it's how we apply those concepts in a musical context that matters most.

- I'm often reminded of many significant drummers who, over the course of music history, certainly had adequate technique but not to a level that I would qualify as being overly virtuosic (I won't mention any specific names here...)

So why were those drummers so special and in constant demand? It's because it wasn't necessarily what they played so much as it was how they played (i.e. their attention to their sound and how they made the music feel) and for me this is really the heart of the matter.

Carl Allen recently commented on this during my recent Four on the Floor *Live* interview with him:

"When you are playing there are two questions that you have to ask yourself: how does it sound and how does it feel?"

And he's right!

- Speaking of feel, Steve Gadd is, of course, one of the greatest drummers in the world and his prolific career reflects the way he makes the music feel and the rhythmic dance with which he plays the drums.

However, Gadd is also a master of the snare drum rudiments. My friend Chris Worthington recently forwarded to me this compilation of Gadd demonstrating his brilliant approach to using flam rudiments:

For me, I think Steve Gadd is a perfect example of how technique and musical intention merge and all come together.

- This has all been, admittedly, very challenging for me to put into practice over the past year since we, as musicians, have had our livelihoods turned upside down and haven't been able to play with other people!

- However, for myself, addressing technical issues from a musical perspective (such as sound), playing along with recordings, play-a-longs, composing/arranging new music, listening to music (more on this below) and playing melodies on the vibraphone has really helped give me a musical sense of balance to my practice routine over the past 12 months.

It's all a matter of musical intention and balance!

- Speaking of balance, saxophonist David Liebman puts this all into perspective with a brilliant artistic concept he breaks down into three areas. He calls this The Three H's: The Head, The Hands and The Heart (check out Liebman's excellent book Self-Portrait of a Jazz Artist).

These three areas of one's artistry (no matter your artistic discipline) all need to be addressed and they all work together towards creating a healthy and balanced creative spirit (and as Bergonzi stated before, it's a journey that one never finishes and it's always a work in progress).

1) The Hands

This is the technical and hands-on "muscle memory" aspect of being, in our case, a drummer. This is developing your facility on the snare drum, learning to use rebound, developing coordination, independence, etc. In some ways this is almost like being an athlete, meaning training our hands and feet to react in certain ways, developing control, dexterity and overall skill on our instrument (and your sound!)

2) The Head

This is the theoretical aspect of being a musician and a drummer: being able to understand and think about rhythm, melody, harmony, form, different styles, etc. One has to understand how music works and of its theoretical possibilities and potential.

3) The Heart

This is probably the most subjective aspect but the emotional content of one's artistry is very important as well. 

What does your music mean?

Why do you play? 

What message are you trying to convey?

These are important questions to ask and not only are the answers unique to every individual, they often take a long time to ask and to answer in an honest way. It's all very personal.

When thinking about this particular aspect, I often return to Charlie Parker's famous quote:

“Music is your own experience, your thoughts, your wisdom. If you don't live it, it won't come out of your horn.”

All these Three H's work together towards creating an honest individual artistic identity. They all must be addressed or else you'll likely fall short of your creative potential. 

For example: one could have great technique (the hands) and lots of theoretical knowledge (the head) but with a lack of emotional meaning (the heart) one's music might come across as being cold and mechanical. The last thing you want to sound like is a machine!

One could have great chops (the hands) and lots of emotional spirit (the heart) but without a deep grasp of theory (the head) the depth and use of one's vocabulary will be limited.

Finally, one could have a lot going on in their Head and in their Heart but without the Hands (ie. technique!) one will never be able to fully express themselves adequately nor have the proper technical tools to do so.

But like I said before, how these different elements add up is different for everyone and everyones journey is unique.


Furthermore, Adam Nussbaum (also a frequent musical collaborator of Dave Liebman's) puts things into perspective with his concept of Chops that he shared with me once:

In Adam's opinion there are two kinds of chops, your Outside Chops and your Inside Chops.

Your Outside Chops are what one usually thinks about when we talk about chops: ie. your hands, your feet, 4-way coordination, rudiments, etc. = technique.

But your Inside Chops are what you listen to and how you listen.

This is really important because what music you listen to and how you listen to music informs everything you do with your Outside Chops!

I'm reminded of something Joe Farnsworth said to me in my recent Four on the Floor *Live* interview: 

"You have to listen to learn and you have to learn how to listen!"

Great advice from Joe Farnsworth, Charlie Parker, Adam Nussbaum, Dave Liebman, Steve Gadd, Carl Allen, Dean McNeill and Jerry Bergonizi and I think about these things a lot, whether I'm working things out on my drum pad, learning new Brazilian Batucada patterns on the drums or playing along with recordings of Bud Powell.

Furthermore, I've shared this one before but it's really important, in my opinion. Percussionist Evelyn Glennie offers this wonderful TEDx talk that is certainly worth a watch entitled "How to Truly Listen":

So there you go, a few thoughts about Technique to consider.

I'd also like to leave you with vocalist Jon Hendrick's timeless one-word jazz poem:


Friday, April 30, 2021

Four on the Floor *Live* featuring Jon Gordon on Instagram IGTV


Please join us for the next episode of Four on the Floor *Live* happening next Tuesday, May 4th at 7pm MST (9pm EST), appearing on Instagram Live IGTV @fouronthfloorblog featuring Jon Gordon.

"Jon is one of the greatest alto players ever!" - Phil Woods

A native New Yorker, saxophonist and composer Jon Gordon was born into a musical family and began playing at age ten. In addition to private saxophone studies he attended Performing Arts High School and won numerous competitions, among them the Julius Grossman, the Goldman Band and the Performing Arts Concerto competition. This led to performances as a soloist with the Grossman orchestra, Goldman Band and the Performing Arts Orchestra.

In his mid-teens Jon’s love for Jazz began to bloom. He began sitting in regularly with Eddie Chamblee at Sweet Basil and started lessons with Phil Woods. From 1984-88 he attended Manhattan School of Music. During this time Jon began working professionally including gigs with Red Rodney, Roy Eldridge, Barney Kessel, Al Grey, Eddie Locke, Mike LeDonne, Mel Lewis, Doc Cheatham and many others.

Since that time, he has worked with Maria Schneider, Ron McClure, Clark Terry, Benny Carter, Phil Woods, T.S. Monk, TanaReid and Bill Mays, The Vanguard orchestra, Bill Charlap, Ray Barreto, Mark Turner, George Colligan, Chico Hamilton, Harry Connick jr. and the N.Y. Pops Orchestra, among many others. Jon also appears regularly as a member of the Jazz Nativity, whose other featured artists have included Tito Puente, Ron Carter, Dave Brubeck, Savion Glover, Slide Hampton, and Harold Nicholas.

Jon has led his own groups at various European, Canadian and U.S. jazz festivals and clubs including, Ronnie Scott's and The Pizza Express (London), The Sunside, The Sunset, and La Villa (Paris), The Brecon Jazz Festival (Wales), The Oslo Jazz Festival, The Ottawa Jazz Festival, The Royal Caribbean Floating Jazz Festival, Savannah on Stage, The Savannah Jazz Festival, and The Wolftrap Festival. He has performed as a sideman at dozens of other festivals, clubs and concert halls around the world.

Recent appearances include stints at the Blue Note, Birdland, Visiones, Iridum, Smalls, the Jazz Standard, Jazz in July at the 92nd Street Y, the JVC Jazz Festival, the Village Vanguard, Fat Cat, And The Charlie Parker Festival.

In November of 1996, Jon won the Thelonious Monk International Jazz Saxophone Competition. Judges for this important event were Wayne Shorter, Jackie McLean, Joe Lovano, Jimmy Heath and Joshua Redman. 

Monday, April 26, 2021

Terri Lyne Carrington: The New Standards

A series of instructional videos with NEA Jazz Master Terri Lyne Carrington from the The Library of Congress (here's the direct link to the Library of Congress website):


And a recently streamed concert from The Library of Congress featuring her New Standards band with Kris Davis (piano), Linda May Han Oh (bass), Tia Fuller (flute and saxophone) and Devon Gates (electric guitar and voice):

Thursday, April 22, 2021

Four on the Floor *Live* on Instagram IGTV featuring Joe Farnsworth

It's Time to Swing!

Please join me for the next episode of Four on the Floor *Live* happening next Tuesday, April 27th at 7pm MST (9pm EST), appearing on Instagram Live IGTV @fouronthfloorblog featuring Joe Farnsworth!

One of the most highly regarded jazz drummers on the scene today, Joe is known for his blazing speed, precision, musical, and melodic playing.

Born in South Hadley, Massachusetts in 1968, Joe grew up in a musical family; his father was a music educator and he has four older brothers, two of whom became professional musicians.

He studied with Alan Dawson and Arthur Taylor prior to attending and graduating from William Patterson College in New Jersey in 1994 where he began playing with saxophonist Eric Alexander and guitarist Peter Bernstein.

Upon moving to New York City, he led the weekend jazz combos at Augie’s (now Smoke Jazz & Supper Club). He performed with Junior Cook, Cecil Payne, John Ore, Big John Patton, Harold Mabern, Eddie Henderson, John Jenkins and his brothers, John and James.

Joseph’s career includes recording over 100 CD’s as a leader and side-man, jazz festivals and world tours with Pharaoh Sanders, Horace Silver, Harold Mabern, McCoy Tyner, Cedar Walton, Diana Krall, Benny Golson, George Coleman, Johnny Griffin, Lou Donaldson, Benny Green, Barry Harris, Curtis Fuller to name a few.

Monday, April 19, 2021

The Monday Morning Paradiddle - April 2021

And...we're back.

Thank you to everyone who has been tuning into my weekly Instagram interview series Four on the Floor *Live* happening every Tuesday evening. I've really been learning a ton from all the artists who have generously taken time out of their daily lives to speak with me. Thank you for all your ongoing support.

Please tune in tomorrow Tuesday, April 20th at 7pm mountain (9pm eastern) on Instagram IGTV @fouronthefloorblog for my interview with Dr. Colleen Clark www.collendrums.com

Okay, so here's what's in the queue for this months column:

1) A pair of articles from Jazz Times magazine including:

- Carl Allen remembers Charli Persip

- Steve Swallow on Pete LaRoca

2) The Drum History Podcast featured this episode on Alan Dawson and big thanks to Steve Fidyk for also sharing this tribute to Alan Dawson:

3) Matt Wilson interviewed by the Happy Musicians podcast and here is Matt's excellent article from Jazz Times magazine on his favourite ride cymbal melodies!

4) Check out this free on-line concert and get your rhythm fix from CAP UCLA featuring Zakir Hussain and The Masters of Percussion with Marcus Gilmore on drums

5) Ted Warren recently featured by Toronto Jazz including a stellar drums/alto saxophone duet with Allison Au on his original composition O Fink Hoot E

6) Creative Conversations with percussionist Warren Smith:


7) Jack DeJohnette interviewed by Dekel Bor for "Speakin' My Piece":

8) A wonderful interview with Lewis Nash, interviewed by Bret Primack:


And thank you to Peter Erskine for reminding us of Nash's amazing solo drum rendition of Eddie Harris' Freedom Jazz Dance:


9) UNT's Professor of Jazz Drums Quincy Davis continues with his on-going and prolific Q-Tips series on YouTube. 

Check these out! 

Don't forget to check out Quincy's ongoing interview series Drummer 2 Drummer on Instagram @qdjazz

10) A spotlight on Ulysses Owens Jr. thanks to the nice people at the Avedis Zildjian Company:


Make sure to check out Ulysses' excellent book Jazz Brushes for the Modern Drummer!

11) Antonio Sanchez performs his original composition Leviathan with Chris Potter on tenor saxophone and Scott Colley on bass:


12) Pianist Rossano Sportiello featuring Kenny Washington on the brushes:

13) Jerome Jennings offers this informative webinar masterclass on The Art of Big Band Drumming:


14) Some rare recordings of British drummer Kenny Clare demonstrating some brushwork and uptempo timekeeping:



15) A rare recording of this beautiful trio featuring Geri Allen on piano, Terri Lyne Carrington on drums and Esperanza Spalding on bass:


16) Check out this rare Philly Joe Jones drum feature!


17) What am I listening to these days?

Dick Oatts "Standard Issue" - James Oblon (drums)

Thelonious Monk "Monk's Dream"- Frankie Dunlop (drums)

Steve Lacy "The Straight Horn of Steve Lacy" - Roy Haynes (drums)

Gary Burton "Like Minds" - Roy Haynes (drums)

Fredrik Kronkvist "Afro-Cuban Supreme" - Jason Marsalis (drums)

The Young Tuxedo Brass Band "Jazz Begins"

Various Artists "Batucada - The Sound of Favelas"

Patrick Boyle "LULL"

18) And today's Final Word goes to Dame Evelyn Glennie with this reminder and important words of wisdom:

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