I always make a point of sharing Quincy Davis' excellent YouTube series QTips. His tutorials are excellent, clear and concise, well produced and they focus on relevant material. Quincy is a great teacher and I recommend these to all my students and anyone who is interested in jazz drums.
Check out this compilation of his recent lessons:
I would also highly recommend checking out and joining Quincy's on-line jazz drumming platform Q/MUNITY www.skool.com/jazzdrumming
This is a great on-line community and great way to connect with Quincy directly.
Check it out!
QUINCY DAVIS' JAZZ DRUMSET Q/MUNITY
COMMUNITY OVERVIEW
If you’re looking for a supportive community of drummers who share a passion for jazz, are dedicated to learning, growing, and improving, you’ve found your place! After 10 years of creating video lessons for so many drummers, this community gives me the opportunity to engage with you directly, get to know you better, and help you grow - and vice versa!
INCLUDED WITH MEMBERSHIP
Live Feedback and advice during Zoom calls Personalized Growth Plan and Recommendations Group lessons/Q&A/discussion group sessions Guest pro drummer masterclasses Free access to Recorded Group Lessons Exclusive Discounts: 50% off play-alongs and PDFs 20% off Quincy Davis signature drumsticks
BONUS CONTENT FOR NEW MEMBERS
Free Group Lesson: Advanced jazz drumming techniques Gig Tips: Behind-the-scenes insights from gigs and tours
16. Dr. Jazz Samo Salamon interviews Allison Miller:
17. Fantastic footage of the great Tony Williams, recorded in Scotland circa. 1994:
18. Don't forget to tune into Instagram Live @fouronthefloorblog on Sunday, June 8th at 730pm mountain (930pm eastern) for my interview with the great Mike Clark!
19. What am I listening to these days?
Alan Dawson "Waltzin' with Flo" - Alan Dawson (drums)
Steve Nelson "A Common Language" - Eric Ineke (drums), Steve Nelson (vibraphone)
Sonny Rollins "Night at the Village Vanguard" - Elvin Jones (drums)
Fred Anderson/Steve McCall "Vintage Duets" - Steve McCall (drums)
Joe Henderson "Lush Life: The Music of Billy Strayhorn" - Gregory Hutchinson (drums)
Kenny Garrett "Pursuance: The Music of John Coltrane" - Brian Blade (drums)
Marty Paich "I Get a Boot Out of You" - Mel Lewis (drums)
Yusef Lateef "Into Something" - Elvin Jones (drums)
Moe Koffman "Solar Explorations" - Claude Ranger (drums)
McCoy Tyner/Joe Henderson "Forces of Nature: Live at Slugs" - Jack DeJohnette (drums)
Bud Powell "Inner Fires: The Genius of Bud Powell" - Roy Haynes (drums)
20. And today's Final Word goes to Dave Liebman and Richie Beirach:
I'm thrilled to announce that Mike Clark will be joining me for a return interview on Four on the Floor *Live* over on my Instagram acccount @fouronthefloorblog
I started this informal series back in 2020 and kept it going regularly for the duration of the pandemic. It was really fun, people were very generous with their time and information, and I really learned a lot. I had been revisiting this series on Instagram every Spring since 2021 but this year things are really busy and wasn't sure I'd really have time to properly present any kind of series anymore.
Anyways, Mike Clark recently reached out to me and expressed interest in connecting again to talk about his amazing upcoming projects. Mike's last interview on Four on the Floor was a really memorable one so I was thrilled that he asked me and of course agreed.
So please join us for a special episode of Four on the Floor *Live* happening on Sunday, June 8th at 730pm mountain (930pm eastern/630pm pacific), appearing on Instagram Live IGTV @fouronthfloorblog featuring Mike Clark!
Mike Clark gained worldwide recognition as one of America’s foremost jazz and funk drummers while playing with Herbie Hancock in the early seventies. His incisive playing on Hancock’s “Actual Proof” garnered him an international cult following and influenced generations of drummers. While Mike digs the funk, he considers jazz his first love, and playing that music is what he says feeds his soul.
Besides Herbie Hancock, Mike has performed and recorded with such well-known jazz greats as Christian McBride, Chet Baker, John Scofield, Nicholas Payton, Tony Bennett, Wayne Shorter, Joe Henderson, Donald Harrison, Eddie Henderson, Bobby Hutcherson, Vince Guaraldi, Woody Shaw, Albert King, Larry Coryell, Mike Wolff, Wallace Roney, Billy Childs, Dr. Lonnie Smith, Chris Potter, Bobby McFerrin, Nat Adderly, Oscar Brown Jr., and Gil Evans and his Orchestra.
Born in Sacramento, CA, Mike traveled around the country with his father, a union man for the railroad, and a former drummer himself. His dad had a great appreciation for jazz and blues music, and Mike credits this exposure as forming the foundation for his ability to synthesize many different regional styles. He absorbed the music of America while riding the rails. From age 4, he was a prodigy, sitting in—and getting “house” —- with bands in Texas and New Orleans. By the time he reached his early twenties, he had become one of the founders of the distinctive East Bay Sound coming out of Oakland, California.
During the late sixties, Mike led his own jazz organ trio,. Then he met Hancock in 1973. With Herbie, Mike set the rhythms for the acclaimed group, The Headhunters. Afterwards, he did a two-year stint with Brand X, the British jazz/rock fusion band founded by Phil Collins. With them he recorded ”Do They Hurt?” and “Product.”
By 2000, Mike had made a foray into the popular jam band scene. His group Prescription Renewal pulled together cross-generational talents, such as Charlie Hunter, Fred Wesley, Skerik, Robert Walter, and DJ Logic, and featured special guests such as Donald Harrison, George Porter Jr. of The Meters, Les Claypool, Larry Goldings and fellow Headhunters alumni Bill Summers. He also toured with The Roots Funk All Stars.
Along with James Brown's drummer Clyde Stubblefield, Mike's beats with The Headhunters (most notably “God Make Me Funky”) include some of the most sampled in hip hop. He has been featured in Downbeat, Musician, International Musician & Recording World, Modern Drummer, Jazz Times, Guitar Player, Jazz Is, and numerous jazz history and method books.
Mike is a popular and busy clinician. His latest book, “The Post Bop Drum Book” on Hudson Music is a big hit. A previous book, “Funk Drumming: Innovative Grooves & Advanced Concepts” was published in 2012 by Hal Leonard.
As a bandleader, his release “Give The Drummer Some” earned a rare four and a half stars in Downbeat. “The Funk Stops Here,” a joint effort with Hancock alumni Paul Jackson got five stars, as did 2011’s “Carnival of Soul.” In 2001, his solo CD “Actual Proof” met with critical acclaim, as did the 2003 acoustic jazz release, “Summertime,” featuring Chris Potter and Billy Childs, which spent weeks in the top ten jazz charts. 2009’s “Blueprints of Jazz” featuring Patrice Rushen, Randy Brecker, Donald Harrison, Rob Dixon, and Christian McBride was considered one of the top jazz releases of the new millenium by Downbeat magazine.
In 2012 Mike co-led The Headhunters,’ with original founding member Bill Summers. 2012 saw a new Headhunters' release, “Platinum.” which featured guest turns by Snoop Dogg, George Clinton, and Killah Priest.
Another musically exciting year was 2015. His second Wolff & Clark Expedition CD released in February, and his hard bop band “Indigo Blue Live at the Iridium” arrived six months later, both on Random Act Records. Both CDs featured Christian McBride on bass, Donald Harrison on alto, Rob Dixon on tenor, Antonio Farao on Piano and Randy Brecker on trumpet.
Mike has produced three releases for the spoken word prophet Tony Adamo, indulging ”Miles of Blu” with Tower of Power's Doc Krupka, bass legend Paul Jackson, and Michael Wolff. Along with drum legend Lenny White (Return to Forever), Mike is co-leading Nu Brew, a double drummer experience in new music. He also appears on Tower of Power's organist Chester Thompson's “Mixology.”
During Covid, Mike did many online drum clinics and co-led a record date with Michael Wolff and Leon Dorsey: “Wolff, Clark and Dorsey Play Sgt. Pepper.” On this date they played swinging arrangements of Beatles tunes, acoustic jazz style. He also was a sideman on Leon Dorsey's “Thank you Mr, Maybern” with the late great Harold Maybern and Leon in a hard swinging trio setting, “DSC MonkTime” celebrated the music of Thelonious Monk, once again with Leon Dorsey, with Dorsey and Greg Skaff as co-leaders. He also is a founding member of The StickPeople, an online interview show, along with Lenny White, David Garabaldi, Michael Shrieve and Greg Errico. The four drummers do online interviews with great artists playing jazz, funk, fusion and all things music!
As of 2021, Mike still lives in New York City. His latest CD, “Mike Drop” with sax great Michael Zilber is in the top ten on Jazz Weekly. Mike is with Leon Lee Dorsey and Manny Valera on Leon's new record “Freedom Jazz Dance” which debuted on Jazz Weekly at number 16. He was in Chicago recently with Donald Harrison and the great Fred Wesley; then Donald and Mike left for Indiana to co-lead an organ trio at the famous Jazz Kitchen in Indianapolis. He also just finished a “beats” recording for Yurt Rock which will be out in the fall 2021, along with his newest, “Mike Clark plays Herbie Hancock—Again!” an acoustic jazz recording out next year.
Mike endorses DW Drums, Istanbul Cymbals, Evans Drum heads, and Innovation Percussion drumsticks.
A fantastic video today of the great Billy Drummond in action, demonstrating (comprehensively I might add) the new Kerope ride cymbals from the Avedis Zildjian Company:
Jazz drumming great Joe LaBarbera performed in my hometown of Calgary, Alberta last night with the Atlantic Jazz Collective featuring Norma Winstone (voice), Mike Murley (tenor saxophone), Florian Hoefner (piano) and Jim Vivian (bass). The whole band put on an inspiring and memorable performance.
I was there and frequent Four on the Floor contributor and CJSW radio host Tim Mah was kind enough to capture these brilliant solo moments and share these great clips of Joe LaBarbera in action:
Thank you Tim!
In particular, Joe's brush playing was phenomenal but what really knocked me out was his dynamic control and wide range of dynamic expression. It was really shocking how quiet Joe could play and how clear and articulate his drumming was.
I asked Joe about this afterwards while he sipped his well-deserved post-gig glass of red wine. Joe said that when he was young he used to play along to his favourite records playing through his stereo system (with no headphones!) that had a low ampage and therefore a low volume threshold. He wanted to hear everything on the record clearly (the bass in particular) so he had to learn how to adjust his dynamics accordingly while playing along to his records. Joe feels that this really informed his dynamic awareness and conceptual approach on the drums. He also commented that this has really served him well over the course of his career.
Joe also stressed the importance of staying super relaxed and holding the sticks/brushes with a loose, relaxed grip. Joe commented that often when drummers try to play quietly they tense up but, in fact, we should do the opposite.
His drumming really was "poetry in motion".
Joe is also one the nicest and warmest human beings you'll ever meet and it was sure a privilege to watch and hear him in action.
I meant to blog about something last week but got behind the beat (so to speak...) with so much going on these days.
Anyways, now we are back and here's a killer clip to watch and to be inspired by, a fantastic drum and tenor saxophone duet featuring Kendrick Scott and Chris Potter from SF Jazz:
A short Billy Higgins appreciation post today featuring our man Higgins with the George Coleman Octet.
I took a moment to edit and splice together Billy's drum features throughout the concert:
Here's the entire concert:
Great playing from everyone here (George Coleman in particular) and I really enjoyed watching Higgins playing behind Harold Mabern's piano solos.
I am also looking forward to checking out this new documentary from Jazz is Here featuring Willie Jones III:
I've shared these ones before but here's some great commentary and insight on Billy Higgin's legacy from Victor Lewis, Billy Drummond, Carl Allen and Kenny Washington:
And finally, there's many great interviews with Master Higgins to be found on the YouTube and I think it's worth taking some time to hear the wisdom he had to share:
Thanks to the Memphis Drum Shop for sharing these wonderful lessons with Joe LaBarbera:
And here's another older one featuring Joe from Aquarian Drum Heads and the Pro Drum Shop in Hollywood:
These three are new to me including two informative masterclasses and an interview with LaBarbera on Dave Douglas' podcast A Noise from the Deep from Greenleaf music:
And finally a brief audio clip of Joe soloing at the Jazz Workshop in Boston, MA circa. 1977:
I've known Joe since 1997 when I met him at the Banff Centre for the Arts. Joe is an incredible drummer, an exceptional teacher and a wonderful human being.
LaBarbera will touring Canada this Spring with the Atlantic Jazz Collective and I look forward to catching up with him and listening to his exceptional musicality from behind the drums when he's in Calgary.
A fantastic and in-depth interview today with Canadian jazz drumming legend Terry Clarke from The Vocal Lab with Sara Ramsay:
I was fortunate to take lessons with Mr. Clarke during my brief time at the University of Toronto, around 2007-2008. Our lessons together were mostly spent perfecting my ride cymbal beat at a wide range of tempos, including extensive work with Allan Cox's excellent play-a-long resource Meet the Bass Player.
We also did a lot of listening together and he generously shared his extensive insight into the drumming of Elvin Jones, Tony Williams and Roy Haynes. He also shared a great deal of his unique approach to playing Brazilian rhythms on the drum set.
However, one thing that I really appreciated and made a huge difference during my brief time working him was that I made a point of going to hear Terry play at every opportunity I could! I was lucky to hear him play regularly with a wide range of groups including small groups, quintets, quartets, piano trios, big bands, groups playing original music, odd meters, bands playing standards, backing up vocalists, etc. His ability to shift gears and play at such a high level with a wide variety of musicians and in different situations really left an impression on me.
I also made a point of asking him about these different musical situations in our lessons (of course his work with Rob McConnell and the Boss Brass, Jim Hall and John Handy came up in our conversations frequently). I really learned a lot from all this and still think about these lessons today.
Anyways...to make a long story short:
*Students: go hear your teachers play frequently and them ask them questions about the music!*
Spring Break has come to an end up here and last weekend I went down a bit of a Tony Williams rabbit hole, mostly thanks to listening to Jacob Wutzke's wonderful new album You Better Bet (in which he features some very creative interpretations of Tony's original music) and also thanks to Vinnie Sperrazza's Substack article which features some very insightful commentary on William's recorded output on Blue Note records during the 80s and 90s.
I've shared many of these before, but we're lucky to have them and it's always worth revisiting (and an opportunity to learn something new!)
I'm currently on the road this week, visiting Canada's beautiful West Coast, so just a brief post today. Here's a drum clinic from the great Lewis Nash, recorded last month at the University of New Mexico.
Another recent release from Cellar records today, this time from Montreal-soon-to-be-New York jazz drummer Jacob Wutzke. I've known Jacob for a long and he's one of the hardest working young musicians I know.
Jacob was enough to take out of his busy touring and packing schedule to answer a few questions about his fantastic new album You Better Bet:
Jacob Wutzke You Better Bet - Four on the Floor: March 2025
1) Tell us about your latest recording!
Thank you Jon for the opportunity to speak on my new recording! I’m so appreciative of all of the effort you’ve put into supporting me over the years, and I often think about our lessons together. Crazy to think that those lessons were already over ten years ago.
3) What inspired you to pursue the vibe and instrumentation that you did?
It was interesting approaching a recording with the vibe of Tony Williams’ quintet in my mind. His band, (which featured Ira Coleman on bass, Mulgrew Miller on piano, Wallace Roney on trumpet, Bill Pierce on saxophones, and Tony Williams on drums and compositions) played with a fully acoustic setup, yet was influenced by the power and the intensity that came from Tony’s electric bands in years prior. So it has a somewhat traditional sound, but also a real intensity and drive (and volume!) that you wouldn’t have necessarily heard in hard-bop from the 50’s. His approach to musical form and harmony was also really unique and informed the way that I wrote my tunes. Beyond those influences, I like to think that I approached the music (both Tony’s tunes and my own) with my own sensibility and approach. I didn’t really try to play like Tony, but through years of listening to and admiring his sound, I’m sure some of his language seeped into my playing. I find the record to be very cohesive, and it feels like one unified concept.
4) Was there a particular message you were trying to convey to the listener?
I had been reflecting a lot on what it means to record a jazz album in the 2020’s. While there is definitely still room for innovation and original voices to shine through, it’s true that SO MANY records have already been made that perfectly exemplify a given style. How can one make a piano trio record without thinking of Oscar Peterson’s “Night Train”? How can one record a quartet album with tenor saxophone without thinking of John Coltrane? And so I think it’s more important than ever to make albums that have a strong and unified concept, and that feature original music. Also, when I perform and record, I try to showcase primarily music that was written by myself and by other drummers. I feel that drummers are so often remembered by their associations with other bandleaders, even if they may have composed music and led bands for most of their careers. This is certainly the case with Tony Williams in that most people speak of his association with Miles Davis (which was only a handful of years, and very early in his career and development as a musician), ignoring the fact that he primarily led bands and composed music for the 30+ years that followed.
5) Who are your influences with regards to your style of writing and playing?
Aside from Tony Williams who is (evidently!) a massive influence on me, I really do try to be a sponge when it comes to listening to music. Some recordings resonate with me, some recordings are largely forgotten, but each one teaches me something about music and about myself. I often think about Billy Higgins, notably in his “straighter” approach to swing timekeeping. I think about Marcus Gilmore and his gorgeously organic approach to phrasing that seems to roll off the tongue. I think of Vernel Fournier and his sharp, precise brush sound that has influenced my own profoundly. And I think of Roy Haynes and that beautiful “snap crackle pop” feeling that his beat has — notably in his snare drum.
6) What are you practicing/studying/listening to/researching these days?
I’ll be moving to New York City next week (March 14th 2025), and I’ve been noticing that there’s many tunes that are commonly played at jam sessions and gigs that haven’t made their way up to the Canadian scene. So I’m trying to catch up before I get there — checking out lots of music by Barry Harris and Bud Powell in particular. Barry Harris’ record “Luminescence” has been a favo(u)rite lately. I’m also always playing along with recordings — particularly drumless recordings — and working on developing my technique by practicing Alan Dawson’s Rudimental Ritual and pieces by Charles Wilcoxon and Joseph Tompkins. Lately I’ve been playing all of the accents on the floor tom, which forces you to deal with lots of interesting crossovers and awkward movements.
7) What other current and future projects do you have on the go at the moment?
I’m in an interesting phase of my life right now in that I don’t have much in my calendar! Which is partially by design as I’m trying to keep myself open to whatever may arise once I arrive in New York. But I will say that I recently toured this album with seven concerts around the Pacific Northwest, and that was something that really brought me a lot of joy. It was my first time playing my own music on the road, and it’s something that I’d like to continue doing. I’ll also start planning my next record soon. I have a nice collection of tunes, some of which I’ve been playing and developing on the road. I’d like to record it in New York, and I’d like for it to be a real working band that I’ve been gigging with. At this point I’m certainly prioritizing my band having a personal group sound rather than just employing superstar players for six hours in the studio. Groups that have a feeling of rapport and connection have always been my favourites.
8) How do the drums and your overall approach to rhythm factor into your compositions and concept?
Normally I don’t write from the perspective of the drums (although occasionally a composition will be sparked by a particular drum groove or vibe that I’d like to use). I enjoy composing a piece of music that I feel is complete, and then afterwards figuring out how I fit into it as the drummer. I write from the piano, and I’m a BAD piano player. In some ways this works to my advantage because I have to work slowly due to my limitations on the instrument. I’ll often hear a chord in my head and then have to try a few options before I find it. That process of “finding” a tune that’s already bouncing around in my head is something that brings me a lot of joy. I also don’t really compose for composition’s sake. I write tunes that I want to play, and I often think about what type of tune I need in my setlist. At the moment I could use more ballads. That said, of course I spend hours every day thinking about rhythm, and so the rhythmic element presents itself in the music. I think that’s just a fundamental part of being a drummer that I can’t turn off!
9) What advice do you have for younger, aspiring jazz musicians and jazz drummers?
I feel that we’re all trying to figure out where we fit into the world of jazz music. I believe that the best way to go about developing as a young musician is to listen to and study as much music as possible. Study music from all eras of jazz, and study music outside of jazz with an equal emphasis. Study and learn new material constantly, and then, importantly, don’t worry about how it will manifest in your playing. That part comes naturally. Actively trying to implement your latest Philly Joe Jones lick in your playing rarely goes well. That’s how I treat playing music in general. Practice mindfully, carefully and with great attention. Then when you play, try to forget all of that and keep your ears open. If something is ready to come out, it will.
Also, if you can’t play something perfectly in time, don’t play it!
I've been searching for footage of this super obscure VHS instructional video featuring Steve Berrios for sometime now and, lucky for us, someone has uploaded it to the YouTube.
Steve was a mainstay of the New York salsa and latin jazz scenes for many years, probably best known for his work with Jerry Gonzalez and the Fort Apache band.
I was actually fortunate to hear Steve and see Fort Apache at Sweet Basil in New York City around this time of year, about 25 years ago. I went to hear them on a weekday night following my audition at certain prominent conservatory (that's another story...) The audience was pretty light that evening as I remember it but the band was on fire and burning from the very first note and the intensity was off the charts for the whole night.
Steve's authority of afro-latin rhythms on the drum set along with a deep swing was really something to behold.
Carl Allen was nice enough to take time out of his busy schedule and answer a few questions about his new album Tippin', released on the Cellar music label, featuring Allen on drums with Chris Potter on tenor saxophone, Christian McBride on bass and John Lee on piano, guesting on one track.
This is a fantastic album and has been on regular rotation around my house lately. I've always been a fan of Carl's drumming and was thrilled when I heard he had a new album coming out.
Here's what Carl had to say about his latest music:
Carl Allen Tippin' - Four on the Floor: February 2025
1) Tell us about your latest recording!
My latest recording is called Tippin’ on the Cellar Music label and it features my brother Christian McBride on bass, Chris Potter on saxophones and bass clarinet and on one track the very talented John Lee on piano.
This is my first recording as a leader in over 20 years and although I generally don’t listen to records that I’ve recorded on as a sidemen I will say that I’m very proud of this recording. The vibe in the studio just felt like we were doing a gig.
2) How did you choose your repertoire and sidemen?
I knew that I wanted to pay tribute to a few people who are close to me for various reasons. For example, Happy Times is a song by Freddie Hubbard. Freddie really was the one who got me out here and I spent eight years with him. I’ve always loved this tune, and I used to tell him that we should to play it more often.
James Williams was a pillar in the Jazz community and very much like an uncle to many of us younger musicians during the 80’s and 90’s. In fact we used to call him Uncle James. His tune Alter Ego just seemed to fit this trio format, and I’ve always loved playing it and felt that it needed more recognition.
L’s Bop, written by the great Lenny White is just such a hip tune. I remember first hearing this tune on a a recording with Lenny, Freddie, and others with this all-star group called Griffith Park Collection.
McBride‘s tune, A Morning Story is such a great tune. I love playing in three and the form got my attention in addition to the melody.
Roy Hargrove was a genius musician and a beautiful spirit who left us too soon. I wrote a song dedicated to him called Roy’s Joy. My first two records as a leader had Roy on it with the first one and him being only 18 years old. Every time I think of Roy, I think of the joy that he would bring to the music and to others around him.
Some of the other tunes just felt like a natural fit for me like Parker’s Mood, The Inchworm and They Say It’s Wonderful. John Coltrane’s Ballads record has always been one of my favorites.
Put on A Happy Face. Well, that’s part of what I want to do when people listen to this recording.
Lastly, my tune Hidden Agenda was written out of a personal experience that I had gone through. What I realized about dealing with certain people is that there are folks out here who have a hidden agenda. Ultimately, it was a great learning experience.
3) What inspired you to pursue the vibe and instrumentation that you did?
Initially, I was just thinking about some musicians that I wanted to play with. Christian and I have played together for so long and have made so many recordings together that this just made sense to me to have him on this record. Potter and I recorded with Renee Rosnes a few years ago which also featured Christian. As I was putting this together I just had Chris Potter sound in my head so for me, those guys were really the nucleus.
Once I thought about recording Kenny Barron‘s tune, Song for Abdullah it just made sense to have piano on that one track. John Lee is a young musician whom I met through Cory Weeds from the label when I recorded with him for his recording. I knew that he was coming to the session to observe so I thought it might be nice to have him on this one track.
4) Was there a particular message you were trying to convey to the listener?
The message really isn’t that deep. To be selfish for a moment, I really just wanted to make a record that I wanted to listen to. With that said, I was hoping for the listeners to have something that they could tap their toes to. Just something that felt good. I’ve always felt that sometimes when things feel complicated we need to go back to simplicity. That was kind of the thought process in the vibe behind the recording.
5) Who are your influences with regards to your style of writing and playing?
Well, this is an interesting question. I really would not consider myself a composer per se. Having spent so much time around Benny Golson, Freddie Hubbard, McBride, Benny Green, Bobby Hutcherson, my brother Eddie, who is a great writer, and so many others it’s hard for me to put myself in that same sentence. Quite often when I’m writing tunes, it begins with a single thought. Sometimes it’s just a title. Sometimes it’s a bass line, or a chord, or just a groove. Often times we think it’s all about the melody and in some cases that is true for me, but it doesn’t always start there.
I resonate with simplicity. I like something that I can sing and remember. I grew up on gospel and R&B music. And in that music there’s always something that we sometimes call a hook that helps us to remember the song. I love that and would like to have that as part of my music as well.
6) What are you practicing/studying/listening to/researching these days?
It’s back to the basics for me right now. When I think of all the amazing drummers that I’ve checked out and studied of the years, the common denominator is that they were all fundamentally sound. Doesn’t matter what the genre is. Great time is great time. Great dynamics is great dynamics. Great balance is great balance. These are not limited to genres.
I’m really excited about not only what my peers are doing, but also some of the younger musicians like Sullivan Fortner, Gerald Clayton, Kendrick Scott, and so many others. One of the things that Art Blakey used to talk to me about was this concept of either your appearing or you disappearing. Now he meant that in terms of just showing up on the scene and physically being seen. I take it somewhat as a metaphor since that we have to remain open and aware of what’s going on around us in order for us to be able to connect with the people who are listening to us.
7) What other current and future projects do you have on the go at the moment?
Well, I do intend to tour with this trio format, but ironically, when this record came out, I started receiving inquiries about other projects that I had. For example, I have an Art Blakey tribute project that I have a number of gigs already booked with for this year.
Believe it or not, there are still some musicians that are on my bucket list that I would love to connect with and make music. And not all of them are jazz musicians. I have always loved Bonnie Raitt and James Taylor and if you guys are listening please hit me up hahaha...
8) How do the drums and your overall approach to rhythm factor into your compositions and concept?
As I stated previously, sometimes when I’m writing it’s based on a groove or a rhythm. I believe the time and rhythm is essential to everything and melody helps move it forward for me.
When I’m playing there are two basic fundamental questions that I try to keep in my head: How does it sound and how does it feel? I always say if the answer is anything other than amazing then I need to get to that. As I have gotten older, I’ve begun to simplify everything.
9) What drummers (or other musicians/composers) do you consider as influences?
For drummers there are so many. Some of the obvious would be Art Blakey, Billy Higgins, Roy Haynes, Elvin Jones, Tony Williams and Max Roach. But there are so many others like Roy McCurdy, Tootie Heath, Mel Lewis, Billy Cobham, Jack DeJohnette, Calvin Rodgers, Philly Joe Jones, Jimmy Cobb and maybe 1000 more. I would sometimes listen to Specs Wright and Al Harewood and marvel at the way that they were able to make the ride cymbal dance.
For composers I would say Mulgrew Miller, James Williams, Christian McBride, Freddie Hubbard, Donald Brown and I have to add Renee Rosnes. She is so amazing. Again, there are so many other others.
10) What advice do you have for younger, aspiring jazz musicians and jazz drummers?
Work on your time and feel, concepts, reading, and listen to more than you even think you need to. And listen to everybody. Remember, jazz music is still all about dancing.
Some more brief but awesome footage of Claude Ranger on drums, this time taking a brush solo with vibraphonist Peter Appleyard, Hank Jones on piano and Slam Stewart on bass, filmed for Canadian television (circa?)
I admire the fact that when it's time for Claude to solo, he just does his thing and of course he sounds great, even in a brief solo feature. He doesn't seem to be bound stylistically nor he does he seem to be inclined to mimic or play in the style of any other drummers that may have played with the likes of Peter Appleyard, Hank Jones or Slam Stewart before him. Claude plays the music in front of him, in the moment and of course it all works out. I think there's a real lesson there for the rest of us.
I'm taking a break from blogging and all things social media for the next few weeks.
In the meantime check out Quincy Davis' awesome drum jazz community Q/munity on Skool:
This is a blog about jazz, jazz drumming and all things unrelated. Thanks for stopping by!
A Bit About Me...
Jonathan McCaslin was born in Winnipeg, Manitoba and raised in Regina, Saskatchewan. Jonathan began playing the drums at the age of nine. He progressed through the Regina Lions Junior Band and the music program at his high school, Campbell Collegiate, soon developing a passion for playing the drums and jazz. Ultimately, Jon's interest in music led him to enroll in the Jazz Studies program at McGill University, graduating with distinction in 1999.
While at McGill Jon had the opportunity to study with some of the finest jazz educators in the country including Gordon Foote, Kevin Dean, Jan Jarcyzk, Chris McCann, Andre White, Michel Lambert and Dave Laing. He also attended the prestigious summer jazz workshop presented by the Banff Centre for the Arts in 1997, where he performed with Canadian jazz greats Hugh Fraser, Don Thompson and Kenny Wheeler.
Jon has also been fortunate to have performed with many of Canada's jazz elite including Charlie Biddle, Brian Hurley, Louise Rose, Alaister Kay, Mart Kinny, Gary Guthman, Mike Rud, Hadley Caliman, Greg Clayton, Chase Sanborn, Andre White, Tilden Webb, John LaBelle, Kevin Dean, Dave Turner, Ralph Bowen, Don Thompson, Dionne Taylor, Jim Vivian, Kelly Jefferson, Ian McDougall, Brad Turner, Jim Brenan, The McGill Jazz Orchestra, Jeff Johnston, Lorraine Desmerais, Steve Amirault, Hugh Fraser, Chucho Valdes, Kieran Overs, The Altsys Jazz Orchestra, Pat LaBarbera, The Regina Symphony Orchestra and The Montreal Jazz Big Band.
In the spring of 2002 McCaslin completed his Master's in Jazz Studies at McGill University where he studied jazz drumming, improvisation and composition.
In January 2003 Jon released his debut CD, “McCallum’s Island”. Featuring his quintet, the CD contains an exciting collection of McCaslin’s original compositions, featuring himself and his band. The release of this CD was followed by a twenty-day tour of Western Canada, performing to enthusiastic, capacity audiences. During March of 2003 Jonathan was the recipient of a fellowship from the Kennedy Center for the Performing Arts and attended the “Betty Carter Jazz Ahead” residency in Washington, D.C. Along with twenty other distinguished young jazz artists, McCaslin was featured with such jazz icons as Terence Blanchard, Carmen Lundy, Winard Harper, Curtis Fuller and John Clayton.
McCaslin’s quintet performed at the 2003 edition of the Montreal International Jazz Festival and was nominated for the General Motors Grand Prix du Festival (awarded to the most outstanding Canadian group). From 2004 until 2006, Jon toured North America, Asia and Europe with the high-energy, critically acclaimed music production troupe “Barrage”. Featuring a cast of seven world-class fiddlers and a four-piece band, this dynamic show featured high-energy music and fiddle traditions from around the world set to upbeat choreography and movement.
In 2015, Dr. McCaslin received his Doctorate through the University of Toronto and completed his dissertation on the conceptualization of contemporary melodic jazz drumming. He is currently based in Calgary, Alberta where he maintains a busy performing and teaching schedule across Canada.
