The Monday Morning Paradiddle

Hope you all had a pleasant weekend. For all those Canadian football fans out there (yes, I'm referring to REAL three down football with the BIG balls ya dig?) I trust you all enjoyed your Grey Cup parties (and congrats to the Toronto Argonauts on their victory over the Calgary Stampeders...look out next year as my beloved Saskatchewan Roughriders will rise and conquer, just wait!)

Here's a plethora of interesting things to check out today, many of which that were forwarded to me by many loyal readers from around the globe:

- Further to my last post on the recent passing of drummer Pete LaRoca, here's a nice article courtesy of NPR's A Blog Supreme:

http://www.npr.org/blogs/ablogsupreme/2012/11/20/165593227/pete-la-roca-top-post-bop-jazz-drummer-has-died

- Conor Guilfoyle, a very fine drummer from Ireland, demonstrates his approach to playing a broken, swing feel:



Sounds great Conor!

- I was very fortunate to spend some time working with the great Joe LaBarbera in the past month. I have lots to work on and think about these days including this recent article written by Joe where he shares his thoughts about playing fast tempos:

http://www.louisvilledrummer.com/how-to-play-up-tempo-jazz-without-getting-tired-by-joe-la-barbera/

- And from that same webpage here's insightful article by Allan Herman (who was recently featured in Billy Martin's very fine DVD "Life on Drums")"

http://www.louisvilledrummer.com/what-is-drum-technique-by-allen-herman/

- Here's a nice, up close one of Joe Farnsworth in action with Pharoah Sanders:



If you find yourself in Vancouver, B.C. this coming weekend be sure to catch Farns with Mike LeDonne's trio at the Cellar. Wish I could be there!

- Courtesy of the kind people over at Vic Firth, here's a great breakdown of Al Jackson Jr.'s iconic groove on "Green Onions" as explained by Zoro:

http://www.vicfirth.com/exchange/2012/11/21/we-want-the-funk-1962-2/



- From a recent masterclass here's the great Peter Erskine demonstrating his "comping game" exercise:



- If you find yourself in Edmonton next weekend I'll be playing with an exciting band at the Yardbird Suite on Friday and Saturday nights, playing Duke Ellington's imaginative interpretation of the Nutcracker Suite:

The Yardbird Suite All-Stars

directed by Craig Brenan

Play the Duke Ellington Arrangements of the Nutcracker Suite

Friday - Saturday, November 30 - December 1, 2012

Tickets - Members $24, Guests $28

Doors 8 PM - Show 9 PM

Featuring:

Jim Brenan, Jerrold Dubyk, Sarah Matheson, Ray Baril, Mark Dejong  - woodwinds

Craig Brenan, Marty Majorowicz, Ken Read - trombones

Dave Morgan, Allan Gilliland, Sergio Rodriguez, Doug Berner - trumpets

Chris Andrew - piano

Jeff Johnson - bass

Jon McCaslin - drums

For a twist on seasonal classics, nothing beats the Nutcracker Suite by Duke Ellington. The "Duke" jazzed the titles of Tchaikovsky's legendary score - "Dance of the Reed Pipes" became "Toot Toot Tootie Toot," "Dance of the Sugar Plum Fairy" was rechristened "Sugar Rum Cherry" - and then added swinging brass and colorful solos to the familiar tunes. The whole suite is filled with holiday joy. The evening will feature the complete suite as well as a selection of swingin' holiday jazz standards.

- Billy Drummond has long been one of my favorite contemporary Jazz drummers and during the early 2000's if there was an album on the Dutch Jazz record label Criss Cross that featured Billy, I had it! He's been a big influence on me and I've always really dug his unique style and sound. He's a nice little interview with Billy and an example of his great playing to check out:



- Thanks to cymbalholic.com patron saint Chad Anderson, here's a recent interview with my vibraphone hero, the great Bobby Hutcherson:



- And of no mention of Bobby Hutcherson is complete with out mentioning this amazing clip of Hutcherson with Harold Land and Joe Chambers!

Farewell Pete LaRoca

The great but lesser-known Pete LaRoca recently passed away. His drumming on Joe Henderson's "Page One" always had an impact on me. Every time I play "Blue Bossa", THAT is the sound I'm going for on the drums! And his driving groove on Henderson's "Homestretch"...yep, that's it! For several months during early 2000 a cassette copy of that album never left my mother's red Volkswagen Golf that I was driving around Regina at the time (Side B contained "Mode for Joe" with Joe Chambers and Bobby Hutcherson - another favorite).

Peter Hum over at his fine blog jazzblog.ca had these thoughts regarding LaRoca's passing:

http://blogs.ottawacitizen.com/2012/11/20/rip-pete-la-roca/

Here's a clip of LaRoca in fine form with Sonny Rollins from a 1959 broadcast in Holland (thanks to my European correspondent David Grebil who dug this one up!):



David Liebman, who was mentored by LaRoca during the late 60s, also had these inspiring words to offer:

MASTER - APPRENTICE:

"Before the advent of so many jazz programs in America, the question used to be to a young musician: "Who did you play with?"

The inference was what "master" did you serve under.

(Now the question is: "What school did you attend?")Those of you familiar with my background know that I most notably put in a few years with Elvin Jones and Miles Davis (and Chic Corea much later). But my first true employer was drummer Pete LaRoca Sims. (The name LaRoca, meaning the Rock, came from his reputation, but his real name was Sims.)

I have written in my biography about my audition with Pete, Steve Swallow and Chick Corea in 1969 playing a few bars of “Softly” before Pete stopped the music and said: ”Let’s rehearse.” I spent the next six months with him mostly doing a gig at a club on 69th Street and Broadway called La Boheme paying five dollars a night-(absolutely true).

We ended that cycle playing the Village Vanguard on Thanksgiving weekend in 1969, forty three years ago…my first time there.

I was substitute teaching in NY schools at the time to make a living residing in my first of many lofts on West 19th Street in Manhattan trying to learn the music. For those six months every bass player and pianist in New York worked with Pete and me.

He was my first teacher in all ways. He was a brilliant guy who after being so disenchanted with the music business became a lawyer. Over the next decades, every once in awhile he would put together a group to work a few weekends in NY, but basically Pete went into sunset mode.

He was by far one of the most brilliant minds I ever knew, one of the greatest musicians I ever encountered who for starters would sing the bass line IN KEY and was a drummer like no one else.
Coltrane had him before Elvin; he worked with Newk; Miles wanted him to join as did Herbie Hancock when he branched out on his own.

Pete was one of a kind … a stubborn, brilliant guy who insisted on perfection. I will never forget the lessons he taught me, which I recite almost daily in my teaching. For me, Pete’s passing is in a sense like the passing of a father or uncle, meaning of all my mentors he was the last to survive.

Maybe now, I am truly on my own!!"

- Lieb on the road

Joe Ascione

I'd like to thank Mike Clark via the Facebook for this one today:



One regular reader of my blog recently wrote me, wondering what Joe Ascione is up to these days (if you'll recall, I posted some clips of Joe's brush playing awhile ago). Honestly, I have no idea what he's up to these days but from the above clip you can see that he's a ridiculous drummer.

Check out that INSANE left hand!!! How does he make it look so effortless? Buddy who???

I took some lessons with Joe back in 2004 while I was spending some time in New York City. His teaching studio was literally in the basement of the Ed Sullivan Theatre (!) below Late Night with David Letterman. He was very astute in his observations of my playing and made some small, but very important observations about my technique that, to this day, have had a great impact on how I play.

Gadd on Brushes (on a box!)

Monday's post featuring some recent footage of Steve Gadd performing at this year's edition of PASIC got me searching for more of this modern day Master. As Dave Mancini put it to me during a lesson together last week: "Gadd NEVER overplays" and he's right!

Here's a cool one of Gadd demonstrating his brush technique:




And here's more footage of Gadd's drum clinic from the 2005 edition of PASIC in Columbus, Ohio:

Rodney Green with the Benny Green Trio

Drummer Rodney Green is another of my favorite contemporary jazz drummers on the scene today. I was really impressed with his playing on pianist Eric Reed's album "E-Bop" from several years ago and he's really playing great and developing his own sound and style these days.

Here's some more recent examples of Green's fine playing from a recent concert date in Thailand with pianist Benny Green (no relation!) and Ben Wolfe on bass:

The Monday Morning Paradiddle

Things are really on the go for me these days but I'm still trying to blog as often as possible. I'm just humbled that people are still interested in what I have to say these days! Here's a few interesting things making the rounds this week over here at Four on the Floor: 

-I didn't make it to PASIC 2012 in Austin, Texas this year but from all reports it was stellar (as usual!) Here is the legendary Steve Gadd with percussionist Pedrito Martinez:

Dig how Gadd's famous grooves and feel fits seamlessly with Martinez' Rhumba patterns on the Bata drums and vocals.

-Here's some fun up close footage of Matt Wilson with tenor saxophonist Noah Preminger on a tune called "Taurus People" originally made famous by Elvin Jones from his "Live at the Lighthouse" sessions from the early 70s:

-When Kim Thompson isn't on the road with Beyonce she frequently shares the stage with guitarist Mike Stern. Here she is in a solo spot with Stern at the 55 Bar:

-Cuban-born drummer Francisco Mela has been one of my favorite contemporary young lions these days. Here he is from a performance at New York's Blue Note Jazz club:

-What am I listening to these days?

Jim Hall - "Live!" Terry Clarke (drums)

Pat Metheny - "Trio Live" Bill Stewart (drums)

Joe LaBarbera Quintet - "Silver Streams" Joe LaBarbera (drums)

Christian McBride Big Band - "The Good Feeling" Ulysses Owens Jr. (drums)

Chet Baker - "Chet Baker in New York" Philly Joe Jones (drums)

Brandi Disterheft - "Gratitude" Greg Hutchinson (drums)

Phineas Newborn Jr. - "Harlem Blues" Elvin Jones (drums)

The Matt Wilson/Jeff Hamilton Drum Battle!

I've always been a sucker for drum battles or, as I like to call them, "Percussion Discussions". Some of my early favorites include the Buddy Rich/Gene Krupa drum battles from Jazz at the Philharmonic, Rich vs. Roach and Gretsch Drum Night at Birdland.

Here's an impressive rhythmic exchange between Jeff Hamilton and Matt Wilson to enjoy from last summer's Port Townsend Jazz Festival:

Joey Baron's GIGANTIC Drum Solo

Just as the title reads on this youtube.com video, here is Joey Baron playing a GIGANTIC drum solo with the Dave Douglas & Joe Lovano Quintet from a recent performance in Budapest (hoping these guys actually record this project sometime soon!):

Ali Jackson Jr. & Joshua Redman

And....we're back.

(and thanks to Mr. Patrick Boyle who provided that very eloquent interlude while I was working in Saskatoon, Saskatchewan last week!)

Here's an interesting clip today of Jazz @ Lincoln Center drummer Ali Jackson Jr. in an impromptu, post rehearsal jam with tenor saxophonist Joshua Redman (dig the slick fast cymbal work and some nice brushwork!):

Guest Post: Patrick Boyle's Choice Cuts

Thanks to my good friend and partner-in-crime Professor Patrick Boyle, here is an insightful and generous guest blog post to muse upon today.

"Choice Cuts" by Patrick Boyle

I enjoy reading blog posts of artists ‘top ten’ lists of key recordings. It’s a fun way to learn about their backgrounds. I had a teacher once who said ‘you are what you eat, you are what you listen to.’ So I compiled the following informal annotated best-of list that includes some of my most favourite recordings for my students at the University of Victoria. I passed it along to your favorite drum blogger (and mine) Jon McCaslin who asked me to turn it into a blog post. Here you go, in no particular order:

Miles Davis - Love for Sale





Just a killer. So many personalities working together. Everything a young jazz musician needs is here.

Miles Davis - Walkin' (Live in Tokyo 1964)







Just listen to the drums and piano for the entire trumpet solo and maybe that's all you'll ever need to hear for the rest of our lives. I have likely played this at least once in ever class I've ever taught.

Hank Mobley - Soul Station






Total swinger. If jazz makes you burb, then wear a bib listening to this. Capital ‘J’ jazz. Wynton Kelly on piano is so fluid.

Keith Jarrett - Survivors Suite





A warning about Survivors Suite. For me, this is truly heavy. Esp 12min-18:30. There are moments on this record that I feel were made for me alone to hear, as though there is an alien secret language in the notes. Obviously that cant be true, but Jarrett is unreal (he plays piano, soprano and flute on this recording, with Dewey Redman on tenor, Charlie Haden on bass, and Paul Motian drums). Of course the record might not resonate the same way with you, but for me I would honestly say this is my most favorite single jazz recording, even more than the Love for Sale.

Mike Murley, Dave Liebman, Jim Vivian, Ian Froman Live at the Rex in Toronto


                                                                                              

I was at this show with Jon. Jim is an old friend from Newfoundland and Murley plays on my last record, so there's the idea of hearing friend's personalities come through their music while listening to it WITH friends that appeals to me here. And if you know a little of their backstory with Liebman then it’s kind of like THEM listening to a friend. Meta-meta listening! This sound quality of the gig doesn't translate as well on YouTube, and I don’t know what the band thinks about it being online, but take my word for it...it was super super heavy. They made a wonderful record available here http://www.cornerstonerecordsinc.com/pages/cat130.html

Many people, including me were completely transported at this show to somewhere way way far away....somewhere where 'potential' and 'imagination' meet and where it might be possible to hear everything at once forever. One of the top two or three shows I've ever witnessed.

Barry Elmes Quartet - Grooveyard




This was the 2nd jazz group I ever saw in my life (around 1991). Kevin Turcotte was my trumpet teacher for many years. To me, this is quintessential 'Canadian' jazz. You can set your watch by the time-feel of any member of the band. Beyond solid.
It’s funny…Jon and I grew up thousands of miles away from each other but we bonded over so much of the same music, especially this band.

Murley, Bickert & Wallace – Test of Time


http://music.cbc.ca/#/blogs/2012/10/Murley-Bickert-and-Wallaces-Test-of-Time-full-album-stream

 This record isn’t out yet, but it is streaming for free till Nov 5. What a thrill. If you are in Toronto be sure to check out the Ed Bickert Celebration Nov 29. This record, like so many others on this list, is so full of ‘time.’  I swear, all I need is to hear really great time.

 Ron Miles - Quiver





This record came out recently. Ron is a fave trumpeter of mine with my two other faves, Bill Frisell on guitar and Brian Blade on drums. Ron's sound is visceral, from the heart. Without a bassist, the time has to flow naturally/authoritatively from each player.

Django Reinhardt -Limehouse Blues





I first heard this with my parents in Heathrow when I was maybe 12 or 13. My folks are the type of people to buy me things I want to shut me up. Later, when I found out that what he did at 1:34 was done with only two fingers on his right hand, I realized maybe my 'able-bodiedness' was capable of more than I was putting it through. It helped me try harder.

Lyle Lovett - Simple Song





Ok, not jazz…but so much more. Lyle is serious. I've seen him a couple of times live and have rarely experienced a performer 'giving it' more. His lyrics aren't that straightforward. They can be taken many ways. But the melodies are direct and his stage show flawless. Really, this is all about the last lyric for me.

Penderecki - Polymorphia




This is more fun to listen to with the score. What kind of mind made this? Dang.

Pat Metheny on Night Music




'Night Music' for many musicians born when I was born was a huge deal. It was on quite late. Saxophonist David Sanborn was the host and he would assemble only the deepest and most progressive musicians. Metheny is beyond words. A true jazz fiend....not friend. He is a fiend. Wherever he is right now as you are reading this sentence, he is practicing.

John Coltrane - A Love Supreme





I got this record for my birthday in 1995. To really dig it, you should go here http://en.wikipedia.org/wiki/A_Love_Supreme to learn some of the issues behind the music itself. I think about this record when I am unsure about things. It has deep answers to questions I haven't really formulated. Coltrane at this time was on a quest. We are all on some kind of quest. Coltrane acknowledged it though. He was honest about what he didn't know.

Frank Zappa - Hot Rats





I have all my uncles old LPs and among them is an abundance of Zappa. Zappa would've been the greatest music prof ever had he had the chance. A vast mind with a tendency to disrupt protocol of all kinds. Google more for some deep live cuts. Hot Rats is just my fave Zappa studio record, but so many have deep resonance, especially considering his stage banter.
  Wynton Marsalis - Green Chimneys





This trumpet playing, especially from 3.27 onward, necessitates a force and commitment we can all have if we really try. Think about THAT!!!

Joe Zawinul – The Harvest





How this record was for sale in Corner Brook, Newfoundland I’ll never know. How no one plays this tune that often I’ll also never know. This is a great live version. Bobby McFerrin is on the studio version from the album “Dialects.”

AND FINALLY

Ornette Coleman - Lonely Woman





Jon and I share much love for Ornette and his fabulous musicians. I had the privilege of giving the pre-concert lecture for the Ornette Coleman concert at Massey Hall in 2009. He is a massive influence on so many people. When I met him, I thanked him for his years of incredible music...to which he replied...."music is energy." I am still figuring that one out. Ornette is not from this time. We'll sort him out when we are long gone.

Incidentally, when is the last time you listened to recordings with friends? The few times I've listened to music with dear friends who are equally keen have been formative. Plan a dinner party where you eat, drink and listen. Be sure to invite me. I don’t like olives.

Phew. That’s a lot of music. Hope you dig. What are your choice cuts? And now…back to Jon.

Halloween Update

Sorry folks for the radio silence lately. Things have just been too busy in the past week for much blogging what with putting together another successful Calgary Creative Arts Ensemble big band concert last Friday with our very special guest Sean Jones on trpt and then spending the weekend in the studio recording bassist Rubim de Toledo's new album (featuring Jones as well). There were a couple tricky arrangements for us to navigate and I'll blog more about my approach to playing Rubim's clever tunes in 11/8 and 15/8 in a later post. To top it all off I've been sick with some kind of stomach flu the entire time...

I'm going to be in Saskatoon, Saskatchewan this week presenting some sessions on big band drumming at the the annual Saskatchewan Music Educators convention so there won't be any updates here until I get back next week.

In the meantime, check out this track from a KILLING Jim Hall live album featuring Terry Clarke on drums and Don Thompson on bass (recorded in Toronto cira. 1975 at the famed Bourbon Street):



Thanks to Mark Griffiths from soggy New Jersey who hipped me to this gem. According to Mark this album, for guitarists, is the equivalent of the Bill Evans trio meets Miles' Plugged Nickel sessions! Apparently the unreleased tracks from the gigs will soon see the light of day and I'll be sure to grab them when they do.

Thanks again for your support and see you all next week!

Up Close with Ulysses Owens Jr.

Thank you to my Winnipeg correspondents Jeff King and Aaron Sabasch who hipped to these great ones of drummer Ulysses Owens Jr., via the Facebook, shown here playing with the Christian McBride trio:






Owens latest album on the Criss Cross label "Unanimous" has actually been making the rounds on my car's CD player for the past few months and I've really been digging his playing and hard swinging concept.

Check out Peter Hum's glowing review of his new album here over at jazzblog.ca:

http://blogs.ottawacitizen.com/2012/06/07/young-and-fine-ii-ulysses-owens-jr-cd-reviewed/

I came across a couple of interviews with Owens and if you read them you can tell that he definitely is one drummer to watch in the years to come:

http://inflatableferret.com/interviews/interview-ulysses-owens/

http://revivalist.okayplayer.com/2012/08/27/ulysses-owens-jr-redefining-the-commerce-of-creativity/

Here's Ulysses sharing a nice practice pad warm-up lesson with us:



And this is also a nice one of Owens showing off his chops on some Yamaha drums:



I've heard via Christian McBrides Facebook feed that he's recently recorded new quintet and trio albums to be released in the new year. I'm definitely looking forward to checking those out!

The Monday Morning Paradiddle

Well, I'm a little late today but its been a crazy day and this is the first chance I've had to sit at my computer and share these random and yet awesome things with you all today.

-I stumbled across this track from a Modern Jazz Quartet recording featuring Sonny Rollins the other day and have really been enjoying the whole album:



It's interesting how Connie Kay doesn't get mentioned all that often. His playing on the album "Bags & Trane" featuring Milt Jackson and John Coltrane is one of my personal favorites.

-Here's a brief interview with drummer Jason Marsalis:



-Thanks to Calgary's Aaron Leaney who forwarded me this awesome footage of Hamid Drake in action:



-I've really been digging Ralph Peterson Jr.'s album with his Unity Project of late. Here's some in-studio footage of a duet between and organist Pat Bianchi to check out. Dig those brushes!



I really dig the multi-tom and cymbal set-up that Peterson employs. Every once in awhile I'm inclined I try to use more drums and cymbals myself, but I just end of reverting to a four-piece kit with a minimal set up (!) Oh well, maybe some day...

-This next one is only 43 seconds long but I can guarantee that this footage of Jack DeJohnette will be the best 43 seconds you spend today:



-Drummer Rodney Green has apparently got a project of his own on the go, recording for the Small's Live record label. I look forward to hearing the finished project and in the meantime here is a recording of his band from an earlier date:

http://soundcloud.com/smalls-jazz-club/the-rodney-green-group

-I am VERY excited about this upcoming concert coming up this Friday featuring my big band with special guest Sean Jones on trumpet:

The Liftoff Collective presents:

The Calgary Creative Arts Ensemble (CCAE)
featuring jazz trumpeter Sean Jones

Friday, October 26, 2012 at 8:00 pm
Hope Lutheran Church
3527 Boulton Road NW
Calgary, AB
T2L 1M5

Tickets are available at the door and online through Eventbrite.ca
Adults $25, Students $15

TICKET LINK:
http://www.eventbrite.ca/event/4449522642/efbevent

The Calgary Creative Arts Ensemble is in full force presenting its third concert of 2012 featuring American trumpeter Sean Jones. This concert will feature jazz orchestra music penned by local and international composers performed by the crème of the region's jazz musicians, a 16 piece big band comprised of performers such as Mark DeJong, Jon McCaslin, Michelle Grégoire, Jim Brenan, Jon Day and many more.

Sean Jones is particularly adept at plumbing complex emotional depths through his trumpet playing and composing. As Jones says, “I like to play from the heart and not the head.” In the spring of 2010 he stepped down from his position as Lead Trumpeter of Wynton Marsalis’ Jazz at Lincoln Center Orchestra, a position that Jones held for over half a decade. He recently recorded his sixth record as a leader and has performed and toured with artists such as Marcus Miller, Wayne Shorter and Herbie Hancock. For more information on Sean Jones please visit http://seanjonesmusic.com/. Sean Jones' appearance is sponsored by Mount Royal University. Jones is Mount Royal Jazz Music Program's 2012 Visiting Artist In Residence. In addition to his appearance with the CCAE, Jones will be working with MRU students from October 22-25, and presenting workshops open to the public on October 26. All public workshops are on campus.

The CCAE concert program on October 26th will include works by Canadian composers Phil Nimmons (Toronto), Ian McDougall (Victoria), Christopher Smith (Montréal), Rob McConnell (Toronto), Maynard Ferguson (Montréal), Michelle Grégoire (Calgary), as well as premieres of works by local composers Lorna MacLachlan and Jon McCaslin.

Calgary has a diverse and active music scene, and the Calgary Creative Arts Ensemble (CCAE) works to enrich and energize the musical environment by engaging Calgary's most active, creative, and interesting jazz and improvising musicians to create original music for large jazz ensemble of the highest calibre. While many Calgary musicians have risen to prominence in a variety of genres and musical settings, there are numerous improvising and creative jazz musicians who deserve a higher profile on the local, regional and national level.

The CCAE was created by and is run by the The Liftoff Collective, a collective of three musicians namely saxophonist Mark DeJong, drummer Jon McCaslin, and pianist Michelle Grégoire. These Calgary based jazz artists share a common passion for the creation and performance of original Canadian repertoire for large jazz ensemble. Sensing a need in the Calgary community for an ensemble with this type of focus, these accomplished musicians set out to form The Calgary Creative Arts Ensemble.

For more information and detailed biographies on the guest artists as well as featured composers, please contact Michelle Grégoire at (403)-228-1175, michjazz@gmail.com. For more information on Sean Jones (picture, bios, sound samples) please visit http://seanjonesmusic.com/.

-I'd like to leave you all today with this fine recording of Billy Higgins playing Cedar Walton's "Bolivia":



Thank you Chad Anderson for the muse and Joe LaBarbera for some insightful and humbling recent commentary on my left foot hi-hat technique!

Have a great week everybody.

Up Close with Kendrick Scott

Thanks to Edmonton's Efa Etoroma Jr. who posted this one via the Facebook.

Here's one of my favorite younger, contemporary drummers Kendrick Scott trading some phrases with trumpeter Terence Blanchard:

The Yardbird 6/8

A couple of weekends ago while I was performing with the Tom Van Seters Quintet up at the Yardbird Suite in Edmonton, Alberta (by far one of Canada's BEST Jazz clubs - Period) my good friend and saxophonist Jeremiah McDade asked me about a particular pattern that I played during some extended vamp-like 3/4 sections of Tom's compositions. If you'll recall, David Braid asked me a similar question last summer with regards to another pattern in 12/8 that I like to play, but this particular one is quite different.

The tune (entitled "The Long View" and composed by pianist Tom Van Seters and found his fine album of the same name, featuring some great drumming from Paris-based drummer Karl Jannuska) is basically played with a broken 3/4 swing feel. However, at the end of the form the groove changes up and I found myself implying some kind of triplet-based Afro-Cuban groove that looks something like this:

I've written this in 6/8 but it's obviously interchangeable in 3/4 as well. Admittedly, I was inspired to come up with a pattern like this from listening to Jeff Ballard come up with his own interesting 6/8 and 12/8 variations.

These are the two variations I found myself commonly playing with my feet. As you can see, the bass drum is clearly playing dotted quarter notes, emphasizing the 6/8 feel while the hi-hat is playing a Viennese style waltz pattern in 3/4:









This next foot variation further emphasizes the 3/4 quarter note on the hi-hat along with the dotted quarter note in the bass drum:








You'll notice that the bass drum playing dotted quarter notes really reinforces the phrasing of the cymbal rhythm with the right hand.

Now here's a slightly more complicated version of the initial hand/drum pattern, whereas the left hand plays a busier part between the drums:

This pattern was definitely inspired by many of the patterns I've found in Billy Martin's amazing book "Riddim: Claves of African Origin" (and there's surely some Edward Blackwell in there too!)

Now, if you break down just what the hands are doing, to me it resembles some sort of Swiss Army Triplet but given where the flam and accents lie, it's not a straight forward Swiss Army Triplet.

I've notated it like this:

As best as I can tell, I would call this an "Inverted" Swiss Army Triplet. It's got an interesting feel to it and when you put it together it gives the overall drum set pattern some really interesting layers.

My only regret is that I didn't bring my cowbell with me to Edmonton as I think these patterns would lend themselves well to a cowbell part.

Oh well, there's always next time (and thanks for asking Miah!)

Happy Birthday Art Blakey

Happy Birthday to one of my biggest drumming heroes, Art Blakey!



Bu was born on October 11, 1919 and would have been 93 years old today!

The Tuesday Morning Paradiddle

I usually post these things on Monday mornings but seeing as yesterday was Canadian Thanksgiving today is in fact the de facto beginning to the week.

Last week was a very busy and exciting week of music for me. Monday started off with a bang performing the music from Charlie Parker's "Bird with Strings" album at the University of Calgary featuring Washington D.C. saxophonist Vaughn Ambrose and a full string section. It's not often I get to set up next to the harpist (and I thought that I had a tough load-in sometimes!) Wednesday evening I was at the Cliff Bungalow-Mission Jazz Series (curated by Jan Mulder) and presented the music from Pat Metheny's seminal 70s ECM album "Bright Size Life" with guitarist Ralf Buschmeyer and bassist Dale James. I had a fun time checking out Bob Moses' drumming to get me ready and man, that's some tough music! This past weekend took me up to Edmonton and I played the Yardbird Suite on Friday night with trumpeter Doug Berner's group and then Saturday evening with the Tom Van Seters Quintet. Never a dull moment for me these days and I'm very thankful to have the opportunity to play with so many talented and dedicated musicians on a regular basis.

Here's a few things cooking around the Four on the Floor office today:

-Here's the video tribute to Jack DeJohnette that accompanied his induction as an NEA Jazz Master earlier this year:



-Peter Hum, food & Jazz critic extraordinaire, over at the Ottawa Citizen recently interviewed vibraphonist Gary Burton in advance of his duo performance with Chick Corea:

http://blogs.ottawacitizen.com/2012/10/09/lifting-the-lid-on-one-of-jazzs-great-duos-the-gary-burton-interview/

Peter was also nice enough to review my album "Sunalta" not too long ago as well:

http://blogs.ottawacitizen.com/2012/09/20/five-canadian-quintets-demonic-and-otherwise-cd-reviews/

Thanks for the kind words Peter!

-Speaking of interviews, Ali Jackson Jr. recently spoke with the Examiner:

http://www.examiner.com/article/q-a-with-ali-jackson-of-the-jazz-at-lincoln-center-orchestra

I've really been digging Ali's playing on this particular album of late:

I really dig how he cleverly dances around his rock-solid quarter pulse on the ride cymbal. He also plays with an incredible sense of space and dynamics.

Here's a few shots of this trio in action from Dizzy's earlier this year:







-My good friend and former McGill drumming colleague Rich Irwin (currently performing and touring with Nikki Yanofsky) will soon be featured at the Montreal Drum Fest next month. Here's a little preview of this fine drummer in action:



-Who wants press rolls? Do you want press rolls? Okay, Jason Marsalis has some press rolls for you!



After seeing this....I definitely need to work on my press rolls....

-Speaking of practicing, I've been trying to up my game with regards to playing in 3/4 these days. Check out these great exercises and playing from Jesse Cahill over at his fine blog:

http://jessecahill.wordpress.com/2010/11/11/drum-worksop-34-time/

http://jessecahill.wordpress.com/2010/11/19/drum-workshop-34-time-part-two/

Todd Bishop over at his excellent blog cruiseshipdrummer also has a series of great waltz exercises that stem from this ingenious little 3/4 Elvin Jones gem:

http://shipdrummer.blogspot.ca/2012/03/groove-o-day-elvin-afro-waltz.html

As Jesse points out in his earlier post, check out Master Roy Haynes in this footage and it's all there!



Have a great week everybody!

Kendrick Scott Speaks

Bellson Plays Gladstone

A good friend of mine recently purchased a couple of very special Billy Gladstone snare drums and let me tell you, they are very special indeed!

Here's the great Louis Bellson playing his very own custom Gladstone snare drum:



For more information about these very unique snare drums, check these out:

http://www.pas.org/experience/onlinecollection/shellymanneglastonesnare.aspx

http://www.drummagazine.com/gear/post/gene-krupas-custom-gladstone-snare/

http://www.maxwelldrums.com/museum-sale-gladstone-snare-gallery-c-79_82.html

Ralph Peterson Jr. Plays Art Blakey

I enjoyed this one...here's powerhouse Ralph Peterson Jr. demonstrating the style and patterns of his own drum mentor, the great Art Blakey: