Quincy Davis - Mastering the Swing Feel

Well, blogging has been more than a bit lite over here at Four on the Floor lately, over the past few months. Things have just been really busy these days with numerous projects on the go and I've already been on the road for a good portion of the Summer. 

Anyways, all is good around here however this will also likely be the last blog post for the Summer and I'll resume things and try to get back into a proper regular blog groove again once the Fall hits. I've still got plenty of interesting things to share with the world. 

Thank you for your continued support!

In the meantime check out Quincy Davis' latest on-line instructional series Mastering the Swing Feel.

Sign up for this excellent resource here and check out the trailer for his new course here:

https://qsdigitaldownloads.sellfy.store/p/jazz-drumming-course-mastering-the-swing-feel/

I've been a big fan Quincy's teaching and YouTube series for a long time and I usually make a point of sharing his wonderful video tips here on my blog.

Quincy was nice enough to take some time out of his busy schedule to answer a few questions about his latest endeavour:

Quincy Davis: Mastering the Swing Feel 

1) Tell us all about your new instructional series! What is it all about and what are the goals of your course?

I'm really excited about this project because it's something I've wanted to create for a long time. It's called Mastering the Swing Feel on the Drum Set, and it's entirely focused on what I believe is the most important and, at the same time, one of the most challenging aspects of jazz drumming: developing an authentic swing feel.

There are countless jazz drum lessons online, including plenty on my own YouTube channel, but those lessons are naturally limited by time. I wanted to create something much more comprehensive. A place where we could slow down, connect all the dots, and really take a deep dive into what makes this music feel the way it does.

So instead of jumping straight into ride patterns or comping ideas, we actually begin with the origins of swing. We explore how swing evolved, how the drummer's role changed over time, and then build everything progressively, from the feet, to the ride cymbal, to developing an internal pulse, comping, brushes, learning tunes, and ultimately playing with a live bass player.
My goal wasn't simply to give drummers more exercises. It was to give them a deeper understanding of the music itself.

By the end of the course, I hope drummers have a much better understanding of the evolution of swing, a stronger and more authentic swing feel, and greater confidence expressing that feel through comping, brushes, and playing tunes.

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

The response to my YouTube videos really opened my eyes. A lot of drummers were looking for something deeper than a ten minute lesson. They wanted one place they could go instead of trying to piece together ideas from hundreds of individual YouTube videos. They wanted more context, more history, and a better understanding of why this music feels the way it does. That inspired me to create a course where all of those concepts are connected and build on one another.

I also grew up wearing out VHS instructional videos by drummers like Dennis Chambers, Dave Weckl, Ed Thigpen, Herlin Riley, and even Elvin Jones' Different Drummer. I watched those videos over and over, and they had a tremendous impact on my own development. I wanted to create something that could have that same kind of lasting impact on today's drummers.

This course is really the culmination of many years of studying, listening, performing, and teaching jazz. It's also a reflection of the countless conversations I've had with drummers through my YouTube channel, at the university, in masterclasses, and through my online community, Q/MUNITY.

I hope it not only improves drummers' swing feel, but also deepens their appreciation for this incredible music.

3) How does your course differ from other jazz drumming courses currently online? What makes it unique?

I think one of the biggest differences is that we don't just talk about what swing is. We spend a lot of time exploring the nuances that actually create a great swing feel and the different approaches drummers can take to developing it.

Another thing that's pretty unique is the historical perspective. Most drummers know how to play a ride pattern, but very few really understand how swing evolved or why we play the way we do today. I think understanding that evolution gives you a much deeper appreciation for the music and ultimately helps you make better musical decisions behind the drums.

Toward the end of the course, I also bring in a live bass player so we can explore one of the most important relationships in jazz: the connection between the drummer and bassist.

Every drummer also receives my new Ultimate Practice Guide as part of the course. While it's certainly valuable for drummers, it's really written for musicians in general, and I think it'll help anyone practice more efficiently and get more out of their time in the practice room.

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

I'd recommend working through the course in order and at your own pace.

While I do plan on making each module available individually, I designed the complete course as one progressive learning experience. Each lesson builds on the previous one, so you'll get the most out of it by following that sequence.

That's one of the biggest differences between this course and my YouTube channel. My YouTube videos are designed to stand on their own, but I wanted this course to be a one stop resource where drummers could learn everything in one place instead of having to search through hundreds of separate videos and figure out how all the concepts fit together.

There's no rush. Pause the lessons, spend time at the drums, revisit sections whenever you need to, and really let the concepts become part of your playing.

5) What are some of the challenges of putting together an online instructional course and series? What advice do you have for anybody potentially interested in creating and producing their own?

The biggest piece of advice I'd give is to create the curriculum first. Spend a lot of time organizing exactly what you want to teach and in what order. Be as detailed as possible because, while things will naturally evolve a little once you start filming, having a solid roadmap makes the entire process much smoother.
I'd also recommend hiring professionals for the things that aren't your specialty. A great audio engineer and a great videographer make a huge difference in the final product, and they allow you to focus on teaching instead of worrying about the technical side.

Another thing I wasn't fully prepared for was just how mentally exhausting it is. You're standing in front of cameras talking for hours with no feedback from anyone. Your voice gets tired, your brain gets tired, and it takes a lot of concentration to stay clear, organized, and engaging.
I filmed everything over two days, and for me that was about right. I definitely wouldn't recommend trying to film an entire course in one day.

Finally, make sure it's a topic you know inside and out. You should feel completely comfortable not only demonstrating the material but also explaining it from different angles. That's what separates a collection of lessons from a truly great course.

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

I'm currently Professor of Drum Set at the University of North Texas, where I teach applied drum set lessons, jazz chamber music, and serve as Chair of the Drum Set Department.

Outside of the university, I stay active performing, presenting clinics and masterclasses, and creating educational content through my YouTube channel, where I've been fortunate to connect with drummers from all over the world. Many of those drummers have also become members of my online drumming community, Q/MUNITY, where we continue learning together through live sessions, discussions, and exclusive educational content.

I feel really fortunate that performing, teaching, and creating educational resources all feed into one another. Everything I learn on the bandstand influences how I teach, and the conversations I have with drummers, whether they're at UNT, on YouTube, or in Q/MUNITY, continually challenge me to think more deeply about my own playing. I think that's what keeps both parts of my career exciting.

Ted Warren - Drum Stories

I've known Ted Warren for over 30 years now. We're both originally from Regina, Saskatchewan although he's a few years ahead of me and he left town and moved out East well before I even started playing the drums.

However, his reputation was well-known around town even by the time I started to get into jazz drumming and I've always looked up to him as a musician and I've always admired his devotion and commitment to the study of the drums.

I think the first times I heard Ted play were on some great Canadian jazz recordings including pianist John Stetch's "Rectangle Man", with Rob McConnell and the Boss Brass "Overtime" and on bassist Mike Downes' "Forces".

The first time I heard Ted play live was at the Regina Jazz Society around 1994, in a trio with local musicians Jim Gallagher on piano and Peter Dyksman on bass (years later Jim and Peter would become good friends and musical colleagues of my own, as well). I was immediately struck by Ted's overwhelming musicality from behind the drum set and his deep creativity, all while dealing with the manipulation of time, form, melody and rhythm. 

I've always been really impressed and inspired by Ted's hard work ethic and incredibly creative approach to playing the drums. He truly sounds like himself from behind the kit (which is actually a hard thing to do in this day and age!)

Ted has been an active composer for a long time now and, lucky for us, he has also recently released an album of solo drum music. I've been looking forward to this for some time now, as I've also dabbled in solo drumming performances myself and will hopefully record my own project in the near future.

Ted was nice enough to take some time out of his schedule to answer a few questions for Four on the Floor about his new music:

Ted Warren - Drum Stories

1) Tell us about your latest recording!

My latest recording is entitled "Drum Stories" and is being released on QTM Recording Co.

2) How did you choose your repertoire and create your drum compositions? What was your process?

I went to my dear friend Mark Mariash's studio and improvised all the pieces in one day of recording. I was mainly looking for variety in tempo, dynamic and texture.

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

The short answer is high ambition and a low budget! : ) I have wanted to do a solo drum recording for some time and Mark suggested I come by his place and just bang out an album's worth of material in one long session.

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

Yes! I think we're in an era when a lot of the drumming we see and hear, especially online, is people playing impossible technical stuff with no context. Even with the title "Drum Stories" I'm trying to get across that I want to take listeners on a journey, with a narrative. I'm doing different techniques and such, but I really hope that listeners will hear the stories, rather than just being focused on drum stuff.

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

There are so many, some of which are referenced in the tune titles. I will say that when I heard the album, I was amazed how much of Papa Jo Jones I heard in what I was attempting to do. It makes sense though because my Dad hipped me to him early on in my drumming career.

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

I'm listening a lot these days for sound and swing feel, and I feel it's really improving my concept. Two recordings I've been enjoying lately are "The Young Lions" (w/Tootie Heath and Louis Hayes) and J.J. Johnson's "Proof Positive" (w/Frank Gant and Elvin on one track).

Practicing-wise, I've been working on my low dynamic range, the endless journey that is independent coordination, and work through books like 4-Way Coordination, The New Breed, and the Cirone and Delecluse classical snare books.

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

I'm doing a CD release for the album at Silence in Guelph June 13th and I'm leading my second sextet gig playing my tunes at the end of May.

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

Again so many, but a few might be: Wayne Shorter, Thelonious Monk, Tony Williams, John Bonham, Ringo Starr (and the Beatles in general), Max Roach, Howlin' Wolf. 

Also it changes all the time depending on what I'm listening to.

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

I think a lot of younger players don't examine playing the ride cymbal in depth, and I can hear when they don't. I would recommend spending a lot of time listening to and practicing this fundamental art...

10) Houston or Western? (which sauce is "the boss?")

Oddly enough, I'm in Regina while doing this interview and I have had both recently and Houston edged it out slightly, although I'm now convinced that Juliana is better than both of them : )

Ted Warren - Drum Stories

Drum Stories finds Ted Warren turning his attention to the drum set as a fully expressive solo instrument. Across 17 contrasting improvised pieces, the newly released recording explores the many voices of drums and cymbals with imagination, nuance, and boldness—moving between delicacy and force, pulse and freedom, while honouring tradition and pushing beyond convention. The result is a strikingly personal and adventurous sonic journey.

Ted Warren is one of Canada’s most respected and versatile jazz drummers, known for his dynamic touch, deep groove, and instinctive musicality. A sought-after performer, bandleader, and educator, he has built a distinguished career at the heart of Canada’s jazz scene, performing with artists including Kenny Wheeler, Mike Murley, Sheila Jordan, Slide Hampton, Jeff Healey, and Chuck Mangione. As a longtime member of the legendary Boss Brass, Warren appears on six recordings, including Velvet and Brass with Mel Tormé and From Lush to Lively with Oliver Jones. His playing is also featured on Richard Underhill’s Juno Award winning Tales from the Blue Lounge and Mike Murley’s Conversation Piece, named Jazz Report’s Album of the Year. He was honoured with the Jazz Report Drummer of the Year award.

As a composer and bandleader, Warren leads his modern jazz quartet, Ted’s Warren Commission, an ensemble praised for its adventurous interplay and inventive writing. The group has released three independent recordings, including First Time Caller, named one of CODA Magazine’s top ten jazz recordings of the year. Warren is also deeply committed to music education and mentorship. His studies include McGill University, St. Francis Xavier University, Thompson Rivers University, and a Master’s in Community Music from Wilfrid Laurier University, where he now serves on the jazz faculty. On stage, in the studio, and in the classroom, he continues to shape the sound and future of Canadian jazz.

https://tqmrecordingco.com/

Buy  Ted's music here!

https://tqmrecordingco.com/buy

All The Things You Are: Kendrick Scott & Warren Wolf

Another fantastic instalment from the SFJAZZ Alone Together series featuring the wonderful pairing of Warren Wolf on vibraphone and Kendrick Scott on drums, improvising over the timeless standard All the Things You Are:

Valérie Lacombe - State of Garden and Shadow

I was very excited to hear that Montreal's Valérie Lacombe had released a new album of her original music and I'm also really looking forward to seeing her perform in Calgary, AB with her band later this month. Being an aspiring drummer/composer myself (and also a fellow McGill grad!) I was a particularly interested in Valérie's approach to writing music and leading a band. As you'll read below, she has put a lot of thought and hard work into this project. Check it out.

Valérie Lacombe - Stage of Garden and Shadow

1) Tell us about your latest recording!

State of Garden and Shadow is an album of seven original compositions and one piece by Benny Golson. I wrote it during my master’s degree at McGill University while studying with Kevin Dean and Darrell Green. Writing a full album in such a short period of time was a first for me, and the process really introduced me to myself as a composer; the sounds I naturally gravitate toward, the emotional spaces I return to, and the kinds of stories I want to tell through music. The title was inspired by Água Viva by Clarice Lispector, a chaotic and deeply introspective stream-of-consciousness novel that explores identity, loneliness, beauty, and transformation. The book moves between light and darkness, tenderness and ugliness, and throughout it there’s a profound respect for art as both a refuge and a way of making sense of being alive. I connected deeply with that emotional landscape while writing this music, and the phrase “state of garden and shadow” eventually imposed itself on the project. In the novel, Lispector uses the phrase to describe a fragile state of freedom and creativity, a moment of feeling intensely alive, while also confronting the unknown and more unsettling parts of oneself.

2) How did you choose your repertoire and sidemen?

I knew from the beginning that I wanted the album to be made up mostly of original music. I really fell in love with the compositional process, and because all of these pieces were written within the span of a few months, they naturally felt connected to one another, like they belonged to the same emotional and sonic world. I was especially interested in writing for a chord-less quartet and experimenting with ways harmony could still be deeply felt without a chordal instrument, through arrangement, counterpoint, and the blending of two horns. The writing process itself felt surprisingly intuitive, almost passive at first. Kevin Dean encouraged me to sit quietly, listen to what I heard in my head, and record melodic ideas as voice memos. Later, I would transcribe the ideas I connected with most and shape them further by adding bass movement, harmony, and form. Choosing the musicians was very natural. I knew I wanted to work with Caoilainn Power because we’ve been collaborating for years, and I deeply love her sound, creativity, and musical sensitivity. Camille Thurman and Ira Coleman are two artists I admire immensely and had the chance to meet through my studies at McGill University. I took a chance and asked if they would be interested in being part of the project, and I was so grateful when they both said yes. The recording process felt incredibly easy and collaborative because everyone immediately understood the aesthetic and spirit of the music. We also had Darrell Green producing the record, and his guidance made the whole experience feel supportive, focused, and genuinely fun.

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

The seed for this project was actually planted in 2017 after seeing a concert at Dièse Onze in Montreal. It was a project led by Kirk MacDonald featuring Pat LaBarbera, Kieran Overs, and Adam Nussbaum. The group was chord-less, and I remember being completely struck by the world they created together. It felt open, alive, and incredibly expressive, and I remember thinking, “If I ever have my own band, this is the kind of sound I want to explore.”

A lot of the album’s aesthetic also came from what I was listening to at the time (in 2024), especially late-60s and early-70s records by Elvin Jones like Puttin' It Together, The Ultimate, Poly-Currents, and Genesis. That sound was living in my ears and imagination while I was writing: the intensity, the drama, and especially the way those groups could imply harmony and atmosphere without relying on chordal instruments. There are also some very direct compositional inspirations throughout the album. For example, my tune “Who’s Afraid of Clarice Hana?” was heavily inspired by Frank Foster’s composition “Who’s Afraid…” from Merry-Go-Round. In the same way, my composition “Persona” draws a lot from Dave Liebman’s tune “Small One” from Live at the Lighthouse. Liebman’s writing, especially pieces like “New Breed” also taught me a lot about how to harmonize for two horns. I really connect with his aesthetic.

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

I think the main thing I wanted to convey is a sense of wonder toward art and being alive. This album comes from a place of really believing in the emotional and almost magical power of creating something and sharing it with other people.

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

Elvin Jones and Jeff "Tain" Watts have both been huge influences on me because of the way they make the drum set feel alive, organic, and constantly in motion. Jimmy Cobb taught me so much about forward momentum and the power of the ride cymbal, while Kenny Washington inspires me through his total commitment and dedication to the music.

I’m also deeply influenced by Max Roach for his creativity and the language he developed on the instrument, Frankie Dunlop for his personality and swing, Joe Farnsworth for the heart and forcefulness of his playing, and Clifford Jarvis for his masterful comping.

Darrell Green has influenced me through his beautiful sound and his commitment to creativity in music, while André White stands out for his ability to always make the most supportive musical choice and never play anything out of place. I could honestly go on and on, it’s rare that I hear a drummer play and don’t come away influenced in some way.

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

Practicing: Wilcoxon (KWash method, if you know you know!)

Studying: the art of playing open drum solos. Trying to develop a more natural sense of form, pacing, and storytelling when there’s no fixed structure to lean on.

Listening: Miles Davis’ Walkin’, ‘Round About Midnight and Cannonball’s Somethin’ Else

Researching/Reading: Miles’ Autobiography

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

This summer, I’ll be playing with The Ostara Project, and we’ll be doing a run of performances on the Canadian jazz festival circuit. I’m also hoping to continue touring my own project, State of Garden and Shadow, and would love to bring the music to more places, especially in Eastern Canada and the Maritimes.

8) How does the drums and your overall approach to rhythm factor into your album concept?

The drum parts weren’t something I designed separately from the compositions; they're part of the way I hear the music from the start. For me, rhythm isn’t an added layer, it’s embedded in the melodic and harmonic ideas themselves. So the rhythmic identity of each piece is already implied in the writing, even before anything is played.

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

Andre White, Cedar Walton, Dave Liebman, Joe Henderson and Nicole Glover

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

Be honest with yourself and do the work.

Learn more about Valérie on her website www.valerielacombe.com and Bandcamp page www.valerielacombe.bandcamp.com/album/state-of-garden-and-shadow

Steve Fidyk!

Fantastic brush playing and some words of wisdom today from Steve Fidyk thanks to the kind people over at Steve Weiss Music:

Sam Woodyard - Hi-Fi-Fo-Fum

Thanks to Mike Clark who shared via social media this fantastic clip of the great Sam Woodyard in action, featured with the Duke Ellington Orchestra:

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 

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.

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):

  

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:

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:

Bebop: Kendrick Scott & Warren Wolf

More incredible music from SFJAZZ's Alone Together series featuring Kendrick Scott on drums and Warren Wolf on vibraphone, playing Dizzy Gillespie's Bebop:

Joe Farnsworth plays "Cute"

Epic drumming from Joe Farnsworth today, featured on Neal Hefti's classic "Cute", with pianist Emmet Cohen:

Drum Gratitude Part 1: Beginnings - The Regina Lions Band (1986-1995)

Well, I’ve been writing this jazz drumming blog since 2009 and sometimes I get stuck or busy with life and not quite sure what to post and share. However, someone once gave me a good piece of advice, something along the lines of “If you don’t know what to say, say something nice!”. I've also recently been inspired by Colleen Clark and Vinnie Sperrazza's recent ongoing Substack posts lately and I think their writing is fantastic. So in the spirit of gratitude I’ve decided to write a series of columns and record some drum solos that acknowledge the many drummers, percussionists and teachers who are very much part of who I am today.

Drum Gratitude Part 1 - Beginnings: The Lions Band 

Regina, Saskatchewan 1986-1995

I started my drum journey in 1986 in Regina, Saskatchewan, Canada at the age of nine. I had already been playing the piano for a couple of years but hated practicing (!) so I decided to try something different and started on the drums (go figure!) My parents enrolled me in the Regina Lions Band, an incredible youth band program that already had a reputation as a premier music education institution in Western Canada, under the direction of Bob Mossing. The program focused on year-round concert bands and competitive marching bands, along with jazz bands, “dixieland” bands and, for us percussionists, playing in drum lines with an emphasis on rudimental drumming. Suffice to say, I wouldn’t be where I am today if it weren’t for the experience and instruction I received in the Lions Band, from the ages of nine to eighteen.

Here’s a few of the people who shaped my experience and to whom I am eternally thankful:

Jack England was an older gentleman (a retired a jeweller I believe) and a local amateur percussionist who was enlisted by Bob to teach the beginner percussionists during my very first week of band practice in 1986. He taught me how to hold my sticks!

My first regular drum teacher was Richard Toth, who was older than I, in high school and a member of the senior Lions “A” Band (we all started in the beginner “D” Band and progressed through the C and B bands until we reached the coveted senior “A” Band by high school (aka the “Pride of the Lions”). Richard was a wonderful teacher who made drumming fun and encouraged proper fundamentals, particularly in learning to read rhythms. The first year I took lessons with Richard I won first prize in a junior snare drum competition, performing a solo called “Pet Rock”.

John Worthington coordinated the percussion sections and drum lines for the entire Lions Band program, up until I reached high school. John was a retired police officer and had played percussion with the Royal Canadian Mounted Police. “Big Dog” as he was called, was a tough old-school snare drummer who demanded the students take their drumming seriously and there was no messing around with his drill-sergeant like intensity, discipline and accountability. To this day I am very thankful for his emphasis on rudimental drumming and he set the bar very high for us young drummers, even back to my first interaction with him was when I was only about 12 years old. He taught me to take my drumming seriously, to take pride in what I was doing and to do the work. This was meant to be serious business. No shortcuts, no excuses, no B.S. and no messing around OR ELSE!

The Lions Band program (now defunct, unfortunately) had been active since the 1940s and relied on older members and graduates of the program to offer instruction and mentor younger students. I was very fortunate to take many drum lessons with Jody Mario (who was five years my senior) and he was really my introduction to contemporary DCI style rudimental snare drumming. He was also a mean drum set player who knew all of Neil Peart’s drum solos with RUSH and I always marvelled at his epic open drum solo that he played with the Lions #1 Stage Band (still a strange term for a big band I think Lol) on Frank Mantooth’s arrangement of “If I Were a Bellson” (a drum feature written for Louie Bellson).

Chris Worthington (Big Dog’s son) was also a significant influence although he had already graduated the program by the time I reached the “A” band but would return frequently to help out, teach and hip us to the latest drum corps trends he was learning on the West Coast in California. Brent Jefferson (who was also an important local drum set influence of mine - more on him in a future post) was also a regular sectional instructor. Brent, Jody and Chris were all very accomplished drummers, had fast hands and also marched with the Santa Clara Vanguard and the Blue Devils Drum & Bugle Corps respectively. We spent many hours lined up in the RCMP drill hall, in empty parking lots, inside the old band hall on Dewdney Avenue and in the gymnasium of the “new” band hall on Pasqua Street beating out drum exercises with these guys correcting our mistakes, striving for precision and pushing our limits with every beat.

We were also very fortunate to work with many regular guest drum line clinicians as I got older, with esteemed DCI luminaries such as Tom Float, Paul Rennick and Glen Crosby. I worked with Glen on a few occasions over the course of a few camps and summer tours and distinctly remember his emphasis on always striving to get a good quality of sound and tone out of the instrument and to spend time developing my touch. I didn’t really get it back then (!) but I do now and am very thankful that he planted those seeds even way back then.

Keep in mind that this is back in the early 90s, well before the internet was a thing as we know it, so the information, concepts and exercises that they shared and left with us up in Saskatchewan were significant at the time and I certainly didn’t take it for granted. I still practice and share many of those exercises with my students today.

Robb Muller was recruited from the USA as an assistant director by the time I got to high school (working alongside the amazing Luther Appel). Robb brought a different perspective to drum line and rudimental drumming, albeit informed by his time on the East Coast and from his experience with the legendary Bridgeman Drum & Bugle Corps. His partner at the time, Amy James, was an incredible marimba and mallets player (who had also played with the Garfield Cadets). Amy was one of the sweetest human beings and teachers I ever met and I regret not taking more mallet lessons with her at the time (of course I was stubborn and it was all about honing my snare chops and getting into the drum set).

I also worked with Helen Barclay towards the end of high school. Helen was a great percussionist who had graduated from McGill University and relocated to rural Saskatchewan. She would come to Regina frequently to teach and run percussion sectionals for the Lions Band and gently offered a sense of purpose in my being a complete and musical percussionist in addition to my focus on the snare drum and jazz drumming.

Of course I would be remiss if I didn’t mention some of many of the great drummers and friends that I marched with and drummed with over the years, side-by-side for hundreds of hours of long parades, marching band competitions, countless drill rehearsals in empty parking lots and on grassy football fields, hundreds of drum line rehearsals and warm ups in the old band hall (sometimes spilling outside onto the sidewalk on Dewdney Avenue as cars and delivery trucks drove by) and trading licks on rubber Real Feel practice pads. These include my pals and forever drum brothers Les Schaeffer, Timothy LaBelle, Sean McDougall, Scott Polowyk, Dean Pelzer, Jim Hobson, Jim Milton and many, many others (you know who you are!). Playing drums with other drummers is a real privilege and I am thankful for the opportunities and experiences I had that were afforded to me when I was growing up.

So this where I got my start and these are the people who shaped my early music education as a drummer in the Regina Lions Band. In my next post, Part 2 will focus my first introduction to jazz drumming and early development on the drum set.

Please enjoy this short improvised drum solo dedicated to everyone listed above, a Philly Joe Jones inspired variation on a classic old Lions Band marching snare drum cadence called "Mark's Blues 2026”: 

Antonio Sanchez - Storytelling on the Drums

I was having a great conversation over coffee with pianist David Restivo last December and we spent the afternoon talking all things drumming and drummers (Dave's also a great drummer!). Eventually Jack DeJohnette, Billy Hart and Joe Chambers became the hot topic of conversation and one theme that David emphasized in the context of these amazing drummers (and other jazz musicians) was the concept of musical storytelling. I think one can agree that the way great improvisors can develop an abstract yet compelling sort of musical narrative and development through the course of their solos is something real and something important (the opposite being just stringing together a series of unrelated phrases that individually might work but as a whole might not really lead anywhere or add up to much...)

Antonio Sanchez is one of my favourite storytellers on the drums and he's obviously given a lot of specific thought to developing ideas and musical narratives on the drum set. Check it out:

 

Here's a few other favourites of mine featuring even more great "storytelling" from behind the drums featuring Antonio Sanchez:

Billy Hart "Multidirectional"

Just a quick Billy Hart appreciation post today featuring Billy's quartet and his new album Multidirectional on Smoke Records:

Here's a couple of pieces from earlier this year featuring Jabali from SFJazz:

And, if you haven't done so already, check out this incredible book!

Elvin Jones - Berlin 1972

Some amazing concert footage of Elvin Jones and his quartet with Dave Liebman, Steve Grossman and Gene Perla performing in Berlin circa. 1972 recently appeared on YouTube:

I believe I shared some black and white footage of this band, from the same European tour, many years ago so it's cool to see this one in colour. If you aren't familiar with the Elvin Jones Live at the Lighthouse recordings that feature this same band, I highly recommend it!

Joe Farnsworth!

Thanks to Australian jazz drummer Andrew Dickeson for this fantastic and in-depth interview with Joe Farnsworth. 

It's Time to Swing!

The Monday Morning Paradiddle - January 2026

And...we're back.

And for like many of you I'm sure, it's also the beginning of a new year and it's time to get back to work and back to school.

Thanks for checking in for today's post, the very first of the year, the January 2026 edition of the Monday Morning Paradiddle, my occasional all-things jazz drumming variety column.

It's been awhile since I've posted one of these. Life takes over sometimes and it was a pretty busy Fall last year, so blogging was bit lite for awhile. It's hard to believe that my last column was back in September! But I'm still here and not planning on going anywhere anytime soon so please enjoy this month's collection.

The Monday Morning Paradiddle - January 2026

1. More excellent writing and great commentary from Vinnie Sperrazza's Substack Chronicles including:

For Andrew Cyrille 

For Andrew Cyrille: Part Two

One World, One Music: Jack DeJohnette

On Oceans of Time

Second Annual Tony Williams Playlist

2. Todd Bishop's Cruiseship Drummer is still one of my go to drumming blogs. His excellent and concise latest piece Who and Why: The Magnificent Seven is an example why.

3. This is an older interview that I've shared before but it's worth revisiting, George Colligan's interview with Jack DeJohnette from George's dearly missed blog Jazz Truth.

4. The Drum Candy Podcast interviews Kush Abadey

5.  The Art of the Story podcast features Joe Farnsworth in 'Playing Free' is what drummer Joe Farnsworth is all about

6. Portland's Alan Jones with Phil Dwyer (piano) and Ben Dwyer (bass) on Bean and the Boys by Coleman Hawkins: 

7. Check out Gregory Hutchinson's new YouTube series In the Pocket with Hutch. He's dropping some pretty serious knowledge and wisdom here, so take the time to check these out. Here's a preview of a couple recent episodes:

 

 

8. Thanks to the JP Bouvet Method for this interview with Dave King:

9. Inspiring drumming from Shakoor Hakeem and Kweku Sumbry: 

10. Johnny Vidacovich shares some deep wisdom on groove and feel:

11. Footage of Marvin "Smitty" Smith from Calabria circa. 1991:

12. Pat LaBarbera talks all things drums, drummers, Buddy Rich and Elvin Jones with Michael Vosbein and Adam Nussbaum at Drummer Nation: 

13. And, of course as always, many more fantastic lessons from Quincy Davis' Q-Tips jazz drumming lesson channel on YouTube:

 

 

 

 

 

 

 

 

 

Make sure to check out and sign up for Quincy's latest endeavour Q/munity.

Quincy has done a great job creating a very engaging ongoing, on-line jazz drumming community.

So come join the fun, get to work, learn something and....Let's Goooo!

Check it out here: https://www.skool.com/jazzdrumming

14. What am I listening to these days?

Well, I'll likely elaborate more on this in a future blog post but aside from listening to and learning music for specific upcoming gigs, the main focus of my music listening over the past couple of months has intentionally been jazz music with no drums! It's all part of a specific musical exercise I'm putting myself though and I'll explain my rational later but in the meantime check out this fantastic duo recording of Joe Lovano and Hank Jones (with no drums!):

15. And today's Final Word goes to Kenny Washington:

"It doesn't take much for a drummer to make a band sound good."

- Kenny Washington (via Gregory Hutchinson)

*editor's note:*

...and I'll just add my two cents (Canadian!) here as well:

"...and it doesn't take much for a drummer to make a band sound bad either!"

- Jonathan McCaslin