WELCOME TO FOUR ON THE FOUR: A BLOG ABOUT JAZZ DRUMMING AND ALL THINGS UNRELATED, BROUGHT TO YOU BY JON McCASLIN

Tuesday, April 28, 2026

Jeff Asselin - The Rudimental Blueprint























I am always excited to read and play through new drum books that deal with rudimental snare drum technique. Dealing with snare drum fundamentals has been something that I've studied and practiced since day one. I still continue to work on these things myself and share them with my students. 

Jeff Asselin was nice enough to take some time out of his busy schedule to answer a few questions about his fantastic new book The Rudimental Blueprint: The Burrows Method. There is a lot of great information in here so check it out:

Jeff Asselin - The Rudimental Blueprint

1) Tell us all about your book! What is it all about and what are the goals of your text?

The Rudimental Blueprint is a comprehensive guide to developing snare drum technique through a structured, musical, and highly scaffolded approach. The book features over 100 original solos and duets built around essential rudiments, all supported by more than 675 companion videos accessible through QR codes.

The primary goal of the text is to move beyond rote memorization of rudiments and instead help students apply them in real musical contexts. It’s designed to build not only technical proficiency, but also musicality, reading ability, and confidence. Ultimately, the book aims to function like a Vygotskian guided learning system—almost like having a private teacher built into the page.

2) What was the motivation and inspiration for putting together this method?

This book is deeply rooted in the legacy of my late teacher, Chuck Burrows, who authored a series of pedagogical materials that had a huge impact on my development. When he passed away, he left me the rights to his work, and I felt a strong responsibility to preserve and expand on his teaching philosophy.
At the same time, my experience as an educator—especially working with students in a wide range of settings—highlighted a gap in how rudiments are often taught. Too often, students learn rudiments in isolation without understanding how they function musically. This book was my way of bridging that gap by combining Chuck’s foundational ideas with a more modern, constructivist approach to learning.

3) How does your book differ from other snare drum method books currently on the market? What makes it unique?

What sets The Rudimental Blueprint apart is its emphasis on scaffolded, applied learning. Rather than presenting rudiments as isolated exercises, the book integrates them into musical solos that gradually increase in complexity through guided instruction.

Another key difference is the integration of technology. With over 675 videos, students can see and hear each example performed at multiple tempos, often starting with slower, counted versions and progressing to full performance tempo. This creates a much more accessible and supportive learning experience.

Pedagogically, the book is grounded in constructivist principles—students build knowledge step-by-step, with clear guidance and modeling. It’s not just a collection of exercises; it’s a complete learning framework.

4) How do you recommend students and teachers approach working through your materials?

I recommend approaching the book sequentially, as each section is designed to build on the previous one. The key is to take advantage of the scaffolded structure—start with the slower video examples, focus on accuracy and consistency, and gradually increase tempo.

For teachers, the book works well as both a primary method and a supplemental resource. You can assign solos that align with the student’s current level while using the videos as a form of guided practice between lessons.

Most importantly, I encourage both students and teachers to focus on musicality, not just execution. Dynamics, phrasing, and sound quality are just as important as technical accuracy.

5) What are some of the challenges of putting together a drum method book? What advice do you have for anybody potentially interested in publishing their own book?

One of the biggest challenges is balancing clarity with depth. You want the material to be accessible to a wide range of learners while still being musically and pedagogically meaningful. That requires a lot of revision, testing, and feedback.

Another challenge is consistency—ensuring that every exercise, solo, and concept aligns with your overall teaching philosophy.

For anyone interested in publishing their own book, my advice would be:

• Start with a clear pedagogical vision
• Test your material with real students
• Be prepared for a long editing process
• Think about how your material fits into the broader educational landscape

Also, don’t underestimate the importance of presentation—clear notation, layout, and supporting materials (like video) can make a huge difference in how your book is received.

6) Tell us about your other current activities as a drummer and teacher

Alongside writing and publishing, I continue to stay active as both a performer and educator. I teach at the university/college level, run my own drum academy, and perform regularly in a variety of musical settings.

I’m also continuing to develop additional educational resources, including future books that expand on different aspects of drumset performance and pedagogy. A big focus for me right now is integrating educational theory (I am currently finishing up my masters degree in Education)—particularly constructivist approaches—into practical, real-world teaching tools.

At the end of the day, everything I do—whether it’s performing, teaching, or writing—is connected by the same goal: helping students become more confident, creative, and musically expressive drummers.

The Rudimental Blueprint: The Burrows Method can be purchase via the following on-line retailers:

Amazon Canada https://amzn.to/4nkgdhX 
Amazon USA https://a.co/d/cTPTSoQ 
Hudson Music https://bit.ly/47TW8dz 


Monday, April 6, 2026

Bobby Wiens - Focus






















My good friend Bobby Wiens recently released his second album as a leader entitled Focus and he was kind enough to take some time out of his busy schedule to answer a few questions about his new music.

Learn about Bobby and his music here www.bobbywiens.com and check out his new album here:  www.bobbyjwiens.bandcamp.com/album/focus

Bobby Wiens "Focus"
Four on the Floor: April 2026

Tell us about your latest recording!

I feel that this album represents my current artistic aesthetic, sound, and also is a reflection of my everyday life presently. With one exception, it’s all original compositions of mine. The musicians on it are Gabriel Mervine (trumpet/flugelhorn), Tom Amend (keys), and Seth Lewis (bass). We recorded it at Mighty Fine Studios with the great engineer Colin Bricker at the helm; One of my favorite things he’s engineered and mixed is “Rainbow Sign” by Ron Miles…and since he’s right here in Denver it was an obvious choice for me.

How did you choose your repertoire and sidemen?

That went hand in hand…Tom, Seth and I work as a rhythm section quite often in other people’s bands and I feel there’s a great rapport there. I’ve worked with Gabe (who is just a downright scary trumpet player!) on and off, and every time I do I feel inspired, challenged, and also that there’s a real shared language between us. All 4 of us have a wide palate of musical tastes, and similar reference points.

So, all that to say… I called them all first, booked the studio, and THEN began writing the music…so I was thinking about them, and their sounds and our collective group sound as I composed.

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

Around the time I began thinking about doing another record I was revisiting a lot of my early influences…one of which is the Brad Turner Quartet, which is the same instrumentation as this record, so that initially got the wheels turning…I was also listening to These Rooms by Jim Hall quite a bit again, and even though I didn’t use guitar, I think having Tom do a mix of acoustic piano and a variety of keyboards, plus Gabe having a conception that is in a lot of ways aligned with Tom Harrell got us into that world a little bit.

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

Not particularly…I wanted to put music out there that I made ME feel different emotional colors…as I wrote it, recorded it and listened back to what now are the final takes. And if it speaks to other people too, even better!

I will say however, the last tune “With God on Our Side” (by Bob Dylan) is definitely a politically charged song, and so I was pretty intentional about wanting to include that on this album a) because the message is poignant one for those living in America, especially right now, and b) because I just love the song. The version that Aaron Neville sings on “Yellow Moon” is my favorite!

Who are your influences with regards to your style of playing?

So so many! A few prominent ones that I feel I consistently go back to are (in no particular order): Elvin Jones, Paul Motian, Vernel Fournier, Mel Lewis, Brian Blade, Adam Nussbaum, Warren “Baby” Dodds, Papa Jo Jones, Ed Blackwell, Zigaboo Modaliste, Al Foster, Idris Muhammad, Roy Haynes, and Billy Higgins.

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

Life is so busy right now with having a two-year-old, playing lots of gigs, doing records and working adjunct at a couple colleges…I try to make sure I get at least 20-30 mins. in (sometimes more, sometimes less). Usually I’ll go in this order: Spending time learning music for upcoming gigs, doing “maintenance” work (playing time/grooves, working on my touch, some coordination stuff to, as my teacher John Riley would say, keep the limbs lubricated, playing along to records), or learning new things that I’ll hear on a record or see in a video or live, and want to go figure out. Most recently I’ve been trying to shed some things Jeff “Tain” Watts does…so that keeps me busy :) Oh…and I always try to practice along to a little bit of Ahmad Jamal each day. Especially the things Vernel Fournier plays on.

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

Currently working on booking shows and maybe a short tour with this current band to promote this new record. Throughout the month of April I’m leading a group at a club in Denver called Nocturne, and we’re doing the music of Eastern Rebellion each week as a residency. I’m also a member of a funk/fusion/jam band organ trio and we are going into the studio this summer to cut a record. Besides that, working on whatever stuff people call me for!

How do the drums and your overall approach to rhythm factor into your album concept?

That’s an interesting question…honestly, just in a minor way. I didn’t treat it any differently than any other session, where I’m just trying to find the best “drum part” to fit the vibe of the tune.

What drummers (or other musicians/composers) do you consider as influences?

Again, so many! For drummer composers I’d say: Paul Motian, Al Foster, Brian Blade, Jeff Ballard and Bill Stewart. For any other instrument/style some prominent ones that come to mind are: Ellington, Strayhorn, Monk, Wayne Shorter, Debussy, Bartok, Kenny Wheeler, Stevie Wonder, Daniel Lanois, Keith Jarrett, Thad Jones.

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

Spend as much time playing with people and listening to records (like REALLY listening!) as you do shedding the drums.

Go hear live music whenever you can. 

Prioritize playing good time with a good sound that blends with the band (this can’t happen if you don’t play with other people!)

Learn lots of tunes and always be the one on the bandstand who has done the most homework…since we have to simultaneously be the conductor, arranger, producer and drummer (even when it’s not YOUR band), make sure you really know the music you are playing — whatever the style.



Monday, March 23, 2026

Tain - Black Nile








Just a quick post today as I'm on the road on Canada's West Coast for the next week.

Anyways, this track from Jeff "Tain" Watts' piano trio album Wattage featuring Kenny Kirkland on piano came on the radio the other day as I was driving home from a gig. This is a really great album and it was a nice reminder hearing this (I think I bought this CD at Jazz Record Mart in Chicago around 2005!).


And thanks to Peter Retzlaff for sharing this quick clip of Tain playing Al Foster's ride cymbal at Good Hands Drum Shop (New York City):
  




Monday, March 16, 2026

Billy Martin on Improvisation












Some fantastic lessons on drum set improvisation from a recent masterclass with Billy Martin:


Martin is a creative force and I've admired his multifaceted approach to the drums and music for a long time.

Make sure to check out his excellent film Life on Drums and his book Riddim: Rhythms of African Origin:




Wednesday, March 11, 2026

Billy Hart Solo!

Thanks to Craig VanDerSchaegen, author of the Practicing Drummer blog and podcast, for this epic (and I mean EPIC!) solo from Billy Hart: