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

Thursday, June 30, 2022

Four on the Floor *Live* on Instagram IGTV featuring Mike Clark!

Please join us for the next episode of Four on the Floor *Live* happening next Wednesday, July 6th at 12pm mountain (2pm eastern/11am pacific), appearing on Instagram Live IGTV @fouronthfloorblog featuring Mike Clark!

www.drummermikeclark.info

 

Mike Clark gained worldwide recognition as one of America’s foremost jazz and funk drummers while playing with Herbie Hancock in the early seventies. His incisive playing on Hancock’s “Actual Proof” garnered him an international cult following and influenced generations of drummers. While Mike digs the funk, he considers jazz his first love, and playing that music is what he says feeds his soul.

Besides Herbie Hancock, Mike has performed and recorded with such well-known jazz greats as Christian McBride, Chet Baker, John Scofield, Nicholas Payton, Tony Bennett, Wayne Shorter, Joe Henderson, Donald Harrison, Eddie Henderson, Bobby Hutcherson, Vince Guaraldi, Woody Shaw, Albert King, Larry Coryell, Mike Wolff, Wallace Roney, Billy Childs, Dr. Lonnie Smith, Chris Potter, Bobby McFerrin, Nat Adderly, Oscar Brown Jr., and Gil Evans and his Orchestra.

Born in Sacramento, CA, Mike traveled around the country with his father, a union man for the railroad, and a former drummer himself. His dad had a great appreciation for jazz and blues music, and Mike credits this exposure as forming the foundation for his ability to synthesize many different regional styles. He absorbed the music of America while riding the rails. From age 4, he was a prodigy, sitting in—and getting “house” —- with bands in Texas and New Orleans. By the time he reached his early twenties, he had become one of the founders of the distinctive East Bay Sound coming out of Oakland, California.

During the late sixties, Mike led his own jazz organ trio,. Then he met Hancock in 1973. With Herbie, Mike set the rhythms for the acclaimed group, The Headhunters. Afterwards, he did a two-year stint with Brand X, the British jazz/rock fusion band founded by Phil Collins. With them he recorded ”Do They Hurt?” and “Product.”

By 2000, Mike had made a foray into the popular jam band scene. His group Prescription Renewal pulled together cross-generational talents, such as Charlie Hunter, Fred Wesley, Skerik, Robert Walter, and DJ Logic, and featured special guests such as Donald Harrison, George Porter Jr. of The Meters, Les Claypool, Larry Goldings and fellow Headhunters alumni Bill Summers. He also toured with The Roots Funk All Stars.

Along with James Brown's drummer Clyde Stubblefield, Mike's beats with The Headhunters (most notably “God Make Me Funky”) include some of the most sampled in hip hop. He has been featured in Downbeat, Musician, International Musician & Recording World, Modern Drummer, Jazz Times, Guitar Player, Jazz Is, and numerous jazz history and method books.

Mike is a popular and busy clinician. His latest book, “The Post Bop Drum Book” on Hudson Music is a big hit. A previous book, “Funk Drumming: Innovative Grooves & Advanced Concepts” was published in 2012 by Hal Leonard.

As a bandleader, his release “Give The Drummer Some” earned a rare four and a half stars in Downbeat. “The Funk Stops Here,” a joint effort with Hancock alumni Paul Jackson got five stars, as did 2011’s “Carnival of Soul.” In 2001, his solo CD “Actual Proof” met with critical acclaim, as did the 2003 acoustic jazz release, “Summertime,” featuring Chris Potter and Billy Childs, which spent weeks in the top ten jazz charts. 2009’s “Blueprints of Jazz” featuring Patrice Rushen, Randy Brecker, Donald Harrison, Rob Dixon, and Christian McBride was considered one of the top jazz releases of the new millenium by Downbeat magazine.

In 2012 Mike co-led The Headhunters,’ with original founding member Bill Summers. 2012 saw a new Headhunters' release, “Platinum.” which featured guest turns by Snoop Dogg, George Clinton, and Killah Priest.

Another musically exciting year was 2015. His second Wolff & Clark Expedition CD released in February, and his hard bop band “Indigo Blue Live at the Iridium” arrived six months later, both on Random Act Records. Both CDs featured Christian McBride on bass, Donald Harrison on alto, Rob Dixon on tenor, Antonio Farao on Piano and Randy Brecker on trumpet.

Mike has produced three releases for the spoken word prophet Tony Adamo, indulging ”Miles of Blu” with Tower of Power's Doc Krupka, bass legend Paul Jackson, and Michael Wolff. Along with drum legend Lenny White (Return to Forever), Mike is co-leading Nu Brew, a double drummer experience in new music. He also appears on Tower of Power's organist Chester Thompson's “Mixology.”

During Covid, Mike did many online drum clinics and co-led a record date with Michael Wolff and Leon Dorsey: “Wolff, Clark and Dorsey Play Sgt. Pepper.” On this date they played swinging arrangements of Beatles tunes, acoustic jazz style. He also was a sideman on Leon Dorsey's “Thank you Mr, Maybern” with the late great Harold Maybern and Leon in a hard swinging trio setting, “DSC MonkTime” celebrated the music of Thelonious Monk, once again with Leon Dorsey, with Dorsey and Greg Skaff as co-leaders. He also is a founding member of The StickPeople, an online interview show, along with Lenny White, David Garabaldi, Michael Shrieve and Greg Errico. The four drummers do online interviews with great artists playing jazz, funk, fusion and all things music!

As of 2021, Mike still lives in New York City. His latest CD, “Mike Drop” with sax great Michael Zilber is in the top ten on Jazz Weekly. Mike is with Leon Lee Dorsey and Manny Valera on Leon's new record “Freedom Jazz Dance” which debuted on Jazz Weekly at number 16. He was in Chicago recently with Donald Harrison and the great Fred Wesley; then Donald and Mike left for Indiana to co-lead an organ trio at the famous Jazz Kitchen in Indianapolis. He also just finished a “beats” recording for Yurt Rock which will be out in the fall 2021, along with his newest, “Mike Clark plays Herbie Hancock—Again!” an acoustic jazz recording out next year.

Mike endorses DW Drums, Istanbul Cymbals, Evans Drum heads, and Innovation Percussion drumsticks.
 

Monday, June 27, 2022

Kenny Clarke Returns!


 













Last week's post featuring Kenny Clarke got a lot of attention and I received some great messages and comments on social media from many of you out there. Thanks for reaching out and I decided to follow up with some more Klook today.

Pittsburgh's Thomas Wendt pointed out that the track I posted last week was from a Kenny Clarke-Ernie Wilkins Septet album recorded for Savoy in 1955:

Ireland's Conor Guilfoyle also took the time to scan the liner notes from this album:






And thanks to Toronto's Nick Fraser who shared this track of Billie's Bounce recorded by Eddie Bert featuring a wonderfully melodic drum solo from Kenny Clarke, no doubt informed by the melody in question:
 

And while we're on the subject of Kenny Clarke, check out this episode from the infamous History of Jazz Drumming radio series featuring Mel Lewis and Loren Schoenberg, originally broadcast in 1989:

Monday, June 20, 2022

Kenny Clarke 1955





















Three unique and interesting videos featuring Kenny Clarke today.

First up, a wonderfully melodic drum solo interpretation of Charlie Parker's bebop anthem Now's the Time. I've never heard this one before nor do I know which album it's from. But if I had to guess, perhaps it's an outtake from one of his sessions recorded for Savoy? (*Editors Note: after some internet sleuthing, I think it's from this album recorded with Ernie Wilkins:  https://en.wikipedia.org/wiki/Kenny_Clarke_%26_Ernie_Wilkins)

 

And here's a rare selection and a dazzling display of the drum set featuring Klook, from the LP Spotlight on Percussion, also recorded circa. 1955:

 

And finally, a drum exchange between Kenny Clarke and British jazz drummer Kenny Clare (and in colour!):
 

Thursday, June 16, 2022

Four on the Floor *Live* on Instagram IGTV featuring George Marsh






















Please join us for the next episode of Four on the Floor *Live* happening next Wednesday, June 22nd at 12pm mountain (2pm eastern/11am pacific), appearing on Instagram Live IGTV @fouronthfloorblog featuring George Marsh, author of the book Inner Drumming.



 

At fifteen George Marsh became a professional drummer in Belleville, Illinois. His early experiences included work with Sam Andria, Jimmy Williams, and Barbara Streisand (before she became a super star). He studied percussion with Tom Siwe and Jack McKenzie at Champagne-Urbana, and later played with the Lyric Opera of Chicago, Judy Roberts Trio, John Klemmer, William Russo's experimental big band, The Chicago Contemporary Chamber Players and many great Chicago jazz musicians.

Since 1968, he has lived in the San Francisco area where he has performed and recorded with musicians such as: Denny Zeitlin, David Grisman Quintet/Sextet, Jerry Garcia, John Abercrombie, Mose Allison, Smith Dobson, Joe Henderson, Art Lande, Harold Land, Terry Riley, William Allaudin Mathieu, Pauline Oliveros, Kronos Quartet, Mel Martin, etc. If you were around in 1970, perhaps you caught him with Chuck Berry, Loading Zone or The Jerry Hahn Brotherhood at the Fillmore West and East.

I started teaching shortly after I got my first drumset at age 12. There were very few jazz drummers in Belleville and the surrounding area at the time (1953) and I had learned a lot by seeing Gene Krupa, Papa Jo Jones, and Buddy Rich at Jazz At The Philharmonic concerts. I can still feel the excitement when I saw Count Basie with Sonny Payne on drums! A little later when I was in high school I would go to Peacock Alley in St. Louis and see Philly Joe Jones, Max Roach, Art Blakey - all at the young age of 16.

George has written percussion music for such films as Never Cry Wolf and The Black Stallion. He premiered a suite of his pieces for chamber ensemble in the fall of 2002 at the Lincoln Center in New York which featured Rich Fudoli (reeds), David Wessel (interactive electroacoustics), and Mel Graves, bass. And he also performed on this same concert with Timeless Pulse featuring Pauline Oliveros (just intonation accordion), Thomas Buckner (vocals), Jennifer Wilsey (percussion), and David Wessel (interactive electroacoustics).

George has taught drumming and rhythm theory at the University of California at Santa Cruz since 1982 and at Sonoma State University. He also teaches remotley from his private studio in Santa Rosa California. His book, Inner Drumming is a highly praised and unique manual for drummers.






















This book is an instruction manual that offers ways to enhance internal awareness while playing with one, two, three and finally all four limbs. The method allows the drummer to de-condition pathways of inappropriate reflexive responses that often appear when body energy is not flowing most efficiently.

When you play the drums you are already experiencing Inner Drumming, if not consciously, then subconsciously. The easiest way to experience this is to play a simple rhythm with two hands. Playing

hand to hand is basic to all drumming and all drummers do it naturally. As you play hand to hand, slow the motions way down while feeling deeply what’s going on inside your body, what’s happening between the strokes. In deep slow-motion, be internally aware of your movement from limb to limb. This increased awareness is what I call Inner Drumming.

Monday, June 13, 2022

Evan's Drum: Keeping the Inuit Drumbeat Alive

Filmed and directed by Ossie Michelin for the National Film Board of Canada, Evan’s Drum is the beautiful story of an adventurous seven-year-old boy from Happy Valley-Goose Bay, Newfoundland. Evan is part of a new generation of Labrador Inuit who are among the first in living memory to grow up with the sounds of drum dancing since birth.

An adventurous young boy and his determined mother share a passion for Inuit drum dancing in Happy Valley-Goose Bay. Evan’s Drum is a joyful visit to a family’s loving home, and an uplifting story of cultural pride. After generations of silence, the rhythm of the traditional Inuit drum has returned to Labrador, and seven-year-old Evan is part of the new generation that will keep its heartbeat strong.

Sunday, June 12, 2022

Four on the Floor *Live* on Instagram IGTV featuring Dan Weiss















Please join us for the first episode of Four on the Floor *Live* Season Two (!) happening next Tuesday, June 14th at 12pm mountain (2pm eastern), appearing on Instagram Live IGTV @fouronthfloorblog featuring Dan Weiss!


















Two-time Shifting Foundation Grantee Dan Weiss has been hailed as one of the top five jazz drummers by The New York Times and his large ensemble recording “Fourteen” made their top ten list of the best records of 2014. Weiss’s innovative drumming and forward thinking compositions have been pushing musical limits for decades.

Weiss's intense study of jazz, classical Indian, contemporary classical, West African, and metal sets a musical platform that creates a sound that transcends conventional style or genre. His compositional trademarks are angular yet emotive melodies; long rhythmic cycles native to many non-western music, complex through-composed drum parts, and melodic shapes drawing directly from the raga system found in Indian classical music.

Weiss has been studying tabla under Samir Chatterjee for twenty five years. He’s performed classical Indian music with the legendary Ashish Khan and Ramesh Misra, and recorded the tabla solo cd, “3dcd” (2007). Weiss also recorded two unprecedented cds, “Teental Drumset Solo” (2005) and “Jhaptal Drumset Solo” (2011) where he performs classical Indian repertoire on drum set.

With his trio, which includes Jacob Sacks and Thomas Morgan, he’s released three records ('Now Yes When’, 'Timshel', and ‘Utica Box’ ) which have been critically acclaimed for their unique approach to song structure and endless creative improvisation. This band has toured Europe, the United States, and Puerto Rico.

Weiss also leads a unique sixteen piece large ensemble that features some of NYC’s most gifted musicians including Miguel Zenon and Jen Shyu. The two albums 'Fourteen' (2014) and 'Sixteen: Drummers Suite' (2016) released on the Pi record label have made numerous critic polls.

His latest project 'Starebaby' blends metallic jazz, prog and post rock that melds deep sophistication with visceral impact. The band has been featured in The New York Times, toured the US and Europe, and played the prestigious North Sea Jazz Festival. Starebaby’s second record called ‘Natural Selection’ was released in 2020.

As a sideman, Weiss has played/toured with Lee Konitz, Chris Potter, Noah Preminger, Kenny Werner, Rudresh Mahanthappa, David Binney, John Zorn, and many others.

Weiss is currently working on a new trio project (new album in 2022) and a duo project with Miles Okazaki (double vinyl release scheduled for late 2021).

In addition to his musical projects, Weiss is a highly sought-after teacher. He’s currently working on an instructional course and book.

Monday, June 6, 2022

Tony Allen: Afro-Beat










And....we're back and sorry for the radio silence Lol. I was out of town, recording with some friends all last week and unfortunately discovered the hard way that Google's Blogger isn't actually compatible with my iPad mini (!)

Anyhow, today's offering is a trio of unique clips featuring the influential style of the great Afro-Beat drumming legend Tony Allen, a drummer that Brian Eno once called "perhaps the greatest drummer ever" and "probably the most important musician of the last 50 years".

I think the following videos are amazing and recently discovered them while studying Tony Allen's drumming style in preparation for last Spring's Decidedly Jazz Danceworks production of Family of Jazz.

Please enjoy.



 

And here's a couple of bonuses:

• A 2007 article, interview and drum lesson with Allen from The Guardian Hit Me With Your Rhythm Shtick 

• And finally an epic percussion duet featuring Tony Allen and Ginger Baker from Fela Kuti's iconic album LIVE! (1978):












Monday, May 23, 2022

Keeping the Drummer Occupied & Standard Tune Learning Sequence



A couple of new books arrived in my mailbox recently and today I'm going to share them with you all.

I think that one of the bright sides of the challenges of the past two years, over the course of the COVID-19 pandemic, is that many people had the motivation to invest their time and channel their positive energy into new projects and creative ventures.

Ireland's Conor Guilfoyle and Iowa's James Dreier are two accomplished drummer/authors who did just this and they have both recently self-published two wonderful new drum books that offer a wealth of information and challenging things to practice and think about.
















Keeping the Drummer Occupied - by Conor Guilfoyle

I've known Conor for some time now and he is no stranger to writing interesting drum books and sharing his great exercises and compelling concepts via his YouTube channel.

The exercises that Conor has written are concise, practical and offer a variety of concepts and skills that will undoubtedly expand a drummer's vocabulary by using rudiments in creatively different ways.

Keeping the drummer occupied. These 40 studies provide an interesting and challenging way to practice your rudiments. Each study is designed to develop both rhythmic ability and hand technique by utilising familiar stickings in unique ways. Singles, doubles, flams, rolls, and paradiddles are all presented using a combination of unusual rhythmic groupings as well as odd time signature giving you an insight into many of the rhythmic devices found in the contemporary music of today. Also included is a challenging snare drum etude which can be used as a performance or audition piece.

https://conorguilfoyle.com/books
















Standard Tune Learning Sequence: A Musical Approach to Improvisation for Jazz Drummers - by James Dreier

James Dreier's new book is a welcome addition to the canon of jazz drumming literature, in which he offers practical approaches to drum improvisation using song form and melody as guiding features.

I was first introduced to Dreier's concepts while researching for my own doctoral research and thesis Melodic Jazz Drumming https://tspace.library.utoronto.ca/handle/1807/69408 

Dreier's step-by-step approach to using melody and form as reference points and organizing principles while soloing on the drums was an important influence in my own research.

While books that deal with specific patterns, coordination, technique, etc. are very important I also feel that books and approaches such as Dreier's are very important as well because they teach us to think about How and Why we play the drums, not just about What we are playing on the drums.

My book, Standard Tune Learning Sequence, A Musical Approach to Improvisation for Jazz Drummers, is a method book designed to provide jazz drummers with a sequential, organized set of exercises (the STLS sheet), utilizing the act of singing, to learn jazz standards and improvise over them. The book also contains a dozen unique improvisational strategies (along with tune lists, recommended resources etc.), to provide drummers directed and focused ways to utilize the musical elements of any jazz standard for improvisation. It is all designed to provide a more musical foundation for jazz drumming.

There is also a dedicated YouTube channel that provides instruction and examples for all the material provided in the book.

The book is available on Amazon.

"This book is excellent way for even a beginning drummer to start incorporating song form into their daily practice routine in an organized and creative way."

- Joe LaBarbera

Monday, May 16, 2022

The Monday Morning Paradiddle - May 2022









Welcome back to another action packed edition of the Monday Morning Paradiddle, my somewhat regular monthly jazz drumming variety column (sorry, I was too busy to get anything together last month...) Anyways, thank you to all of you who've e.mailed me and I appreciate your feedback and contributions. 

This column represents a collection of the somewhat random but significant jazz drumming-related pieces (recent and otherwise) that I find inspiring and feel the need to share with the world.

Thanks again for all your support and please don't forget to subscribe to my mailing list on the right hand side of the page. Don't miss out, sign up today and get Four on the Floor sent directly to your inbox!









So, and without any further ado, here is the Spring edition of the Monday Morning Paradiddle. Please enjoy!

1) Joe Zawinul: The Somewhat Long Lost Interview about Drummers and Weather Report by David Aldridge

2) Phase Dancing: The Art of Drumming in the Pat Metheny Group featuring Danny Gottlieb, Paul Wertico and Antonio Sanchez

3) An interview with Andrew Cyrille in advance of his duo performance with tenor saxophonist Billy Harper









4) Clifford Allen interviews Clifford Barbaro

5) Ken Micallef, writing for Stereophile Magazine, wrote a wonderful survey on the evolution of jazz drumming From Congo Square to Times Square: A Short History of Drums in Jazz

6) Victoria's Kelby MacNayr featured in YAM Magazine The Beat Goes on for Drummer Kelby MacNayr 

7) A short drum solo from Jeff Ballard:

 

8) Curtis Nowosad interviewed by Darrian Douglas for The Working Artist Project podcast:

  

 9) Steve Maxwell Jr. interviews Matt Wilson:

 


10) A fantastic duo set from Francisco Mela and George Garzone:



11) Quincy Davis continues with his always excellent Q Tips YouTube series with these formidable episodes:

 

...and this feature from the Avedis Zildjian Cymbal Company:


12) And also from Zildjian, here's John Riley with another episode from his Art of Bop Drumming series:

 


13) Sara Hagan Backstage interviews Paul Francis, Master cymbal craftsman:

 

14) Jochen Rueckert interviewed by Pablo Held:

 

15) Joe Farnsworth offers these two important lessons from the Greats:

 


16) The prolific Dr. Jazz Talks, Samo Salamon interviews these Master drummers of our time including:

Jeff Williams

 

Kenny Washington

 

Billy Drummond

 

Bill Stewart 

 

17) The Drum Candy Podcast and Thomas Wendt give us 10 Reasons to Love Roy Haynes:

 

18) Mind Free Drumming from Ra Kalam Bob Moses and Jabali Billy Hart:

 

...and more great wisdom here from Ra Kalam:

 

19) Marcus Gilmore and Savion Glover in a fantastic tap and drum duet:

 

20) Thanks to Ed Soph who shared this incredible footage of Sonny Rollins with Albert "Tootie" Heath on drums:

 


21) What am I listening to these days?

Freddie Hubbard "Red Clay" - Lenny White (drums)

Allison Miller & Jane Ira Bloom "Tuesday Sessions" - Allison Miller (drums)

Fela Kuti "Live!" - Tony Allen & Ginger Baker (drums)

Max Roach "Long As You're Living" - Max Roach (drums)

Kenny Wheeler "Music for Large and Small Ensembles" - Peter Erskine (drums)

Terry Gibbs "The Terry Gibbs Dream Band" - Mel Lewis (drums)

Don Cherry & Ed Blackwell "Live in Philadelphia 1978" - Edward Blackwell (drums)

Steve Hirsh "So Now - Drumset Orchestra" - Steve Hirsh (drums and cymbals)


22) And today's Final Word goes to the Copasetics, “a social, friendly benevolent club” of musical and tap dance artists dedicated to preserving the memory and spirit of Master tap dancer and entertainer Bill Bojangles Robinson:

The "Copasetics Song" written by Honi Coles and Paul Branker

When you feel blue,

the best thing to do

is tell yourself to forget it.

Laugh your cares away

Tomorrow's another day

And Everything will be Copasetic.


Never look down

Chin up and don't frown.

Don't let life get pathetic.

Life's a funny thing

It's really great when you sing,

And Everything will be Copasetic.


Greet your fellow man

With a wide open hand,

Make your neighbor's burden lighter.

A friendly hello everywhere that you go

Is bound to make your day much brighter.


When you feel sad

Pretend that you're glad

Smile and you won't regret it.

Show a happy face

To the whole human race,

And Everything will be Copasetic.





Monday, May 9, 2022

Max on "Swing" - Max Bacon 1934























A rare piece of jazz drumming history today, a long out-of-print drum manual on swing drumming by drummer, actor and comedian Max Bacon, originally published by the Premier Drum Company in 1934.

Download the .pdf version here:

https://archive.org/details/MaxOnSwing/mode/2up

...or here:


If I had to guess, I might believe that this is one of the very first jazz drumming manuals or instructional books ever published (ed. note: I know that Gene Krupa and Dave Tough had some books published in the 1930s but I'd have to check the dates...)

I recently came across this book and author via drummer British drummer Daniel Harding's blog.

Here's an excerpt from Max on "Swing" via Harding's website and I think that many of these words still resonate today:


SWING. I cannot imagine a better name, for to me it conveys everything that is expressed in the ultra-modern rhythm. And before we go any farther, I want to pass this feeling on to you; because, until you learn what it is that we are to do, it is no use attempting to learn how it is to be achieved.

What, then, is this “swing”, which is the very essence of successful rhythmic playing to-day? Is it rhythm ? 

It is more than rhythm.

It is the very pulse of rhythm – that which beats within rhythm to give it life.

Unless the essential swing is there, the rhythm will cease to inspire: it may even cease to exist. 
Swing is a very elusive thing, but there is no mistaking it when you hear it. It is a sense of rhythmic balance which moves the whole band as one unit. It is a steady sweeping movement, like the swing of the pendulum of a grandfather clock. To and from: to and from.

That is swing ; and until a band get knack of swinging together, that band will not be a success. The expression of the rhythm is of the same type that you see in that super swing acquired by skilled skaters, dancing upon ice – large regular sweeps. 
Mind you, this swing is very difficult to acquire at first. It does not come all at once, even to the best musicians. I have often heard a bunch of well-known players get together for amusement and – experienced though they are – it will be quite a while before they begin to swing as a unit. In the same way, it sometimes happens that a band noted for its swing will lose it for a time. Lack of concentration, or over-tiredness is generally the cause.

But when once you get “into” the swing of the rhythm, you will find that you keep it, for the simple reason that a rhythmic movement, with its regular pulse, is the easiest to maintain.

What is the best way to acquire swing, you may well ask. First and foremost, it is a question of temperament: you must like it when you hear it and you must want to do it yourself. As you know, most dance drummers have become such because they were “drum-minded” ; they had in “in” them to become drummers. In just the same way, you must have it in you to feel that swing behind the rhythm. As I say, it is a question of temperament. It is, of course, partly what we call a gift. You must have the gift of a drumming mind. But it can most definitely be acquired to those who will.

There are several ways of helping yourself to get swing into your work. First and foremost, you must listen to those bands that are known to excel in this. Compare them with others and notice the difference. Then try and analyze their work and discover how this difference is produced. By this means, you will find yourself gradually “soaking your system” in swing until it enters your very blood and becomes part of you.

Having thus acquired it, the best way to produce it is to play easily. Do not be strained or forced. And to do this, you must, of course, have a certain amount of technique…..

Remember that the drummer has a very important part to play in swinging the band: and a poor drummer cannot swing a band, even if it is a good one. And the reverse of this is equally true.

- Max Bacon from Max on "Swing" (1934)

Monday, May 2, 2022

Francisco Mela and Susie Ibarra - Solo Drums & Percussion














Not much time for blogging these days as I'm quite busy playing for the current Decidedly Jazz Danceworks production of Family of Jazz which runs until May 15th. 

However, in the meantime, here's a pair of improvised solo performances today to check out from Francisco Mela and Susie Ibarra. I think these are great!

Monday, April 25, 2022

Motian in Motion














I've been eagerly waiting to watch this one for sometime and now...here it is!

Please watch and appreciate the artistry of the late Paul Motian, in this full-length documentary entitled Motian in Motion, directed by Michael Patrick Kelly.



Let things happen when they happen.
Don't push. Don't force.
Don't jump in ahead.
Relax - take your TIME.
Don't do anything.
Let anything do all.

Paul Motian

1931 - 2011


Monday, April 18, 2022

Billy Hart - NEA Jazz Master


Congratulations to Master drummer Jabali Billy Hart on recently being named a NEA Jazz Master!


Check out these wonderful recent features and interviews with the Master himself:

- Billy Hart now has to acknowledge he really is now a Jazz master from the Washington Post

- On The Corner interviews Hart for SF Jazz

- An hour-long feature from NPR's Jazz Night in America

Monday, April 11, 2022

Jimmy Cobb: Bruxelles 1974

This is absolutely incredible.

Check out this rare and new to me solo footage of Jimmy Cobb in action with Sarah Vaughn in Bruxelles, circa. 1974.

Monday, April 4, 2022

Quincy Davis: Bass Drum Feathering














Feathering the bass drum and how to properly use the bass drum in a straight-ahead context is an important but yet often mis-understood concept. Many drummers underestimate this important timekeeping tool. But don't take my word for it! Check out this excellent episode from Quincy Davis' Q-Tip series on YouTube.com in which Q breaks down how to properly feather the bass drum.

Monday, March 28, 2022

Who's In Charge of the Tempo?









Open Studio offers a preview of their new upcoming course "Rhythm Anthology" with this important demonstration and discussion between bassist Christian McBride and drummer Gregory Hutchinson. 

Monday, March 14, 2022

The Monday Morning Paradiddle - March 2022


Welcome back to another action packed edition of the Monday Morning Paradiddle, my more-or-less monthly jazz drumming variety column, a collection of significant items that have come across my desktop over the past month.

I'm taking a brief break from blogging and social media for the next few weeks (there's drums to be shed, work to get done and new music to be written ya dig?) however there is more than enough great content collected below to keep you occupied in the meantime.

Thanks again for all your support and don't forget to subscribe to my mailing list on the right hand side of the page. Don't miss out, sign up today and get Four on the Floor sent directly to your inbox!
























Anyways, let's get down to business shall we? Here's this month's pick of things worth considering:

1) Please check out Kenny Washington's brand new weekly jazz radio program that can be heard on Monday evenings from 5-7pm (PST) / 8-10pm (EST) live or via streaming on San Diego's Jazz 88.3 KSDS.

Washington (aka The Jazz Maniac) has an encyclopedic knowledge of jazz music and I guarantee that if you tune in you'll learn something.

2) Rich Stitzel's Drum Mantra website and practice system is a serious resource that includes an extensive series of books, lessons, courses, guided practice sessions, a podcast series and a collection of masterclasses with a variety of artists including this one with Ed Soph. Rich has assembled an impressive collection of masterclasses with the likes of Soph, Dan Weiss, Ari Hoenig and Nate Wood among many others. Check it out.

3) Thanks to CJSW's Tim Mah, host of the weekly radio program Jazz Today, who shared with me this excellent documentary from CBC Gem Blue Note Records: Beyond the Notes

4) Matthew Crouse and The Working Drummer Podcast features my good friend and percussionist Clifford Koufman, host of the regular interview series Clif Chats.

5) When Joe Farnsworth comes calling, it's always Time to Swing!




6) Dave Liebman offers some thoughts on Elvin Jones via The Jazz Session:


7) More great lessons from Quincy Davis' excellent ongoing YouTube.com instructional series:





8) A feature on Canadian drummer Buff Allen:


9) Neon Jazz features Charles Goold and music from his new album "Rhythm in Contrast":


10) Sarah Hagan interviews Eric Harland:


and Otis Brown III:


11) The Drum Candy Podcast interviews Johnathan Blake:

 

and Thomas Wendt:


12) Montreal's Thom Gossage interviewed by DrumFills Kafé:


13) Jeff Williams offers some hip and musical brush playing:


14) Ken Micallef features drummer and audiophile Paul Wells in this two-part series:


 

15) Francisco Mela opens up on "Green Dolphin Street" with Phil Grenadier (trumpet), George Garzone & Joe Lovano (tenor saxophones) and John Sullivan (bass):


16) A very short (but of course very incredible!) clip of Billy Hart:
 

17) Another duet, this time featuring Dutch jazz drummer Eric Ineke:


18) Check out Gregory Hutchinson's new YouTube.com channel:


19) And finally, here is the always swinging and always melodic Frankie Dunlop featured with the Thelonious Monk Quartet:



20) What am I listening to these days?

Terry Gibbs Dream Band "Vol. 1-6" - Mel Lewis (drums)

Buddy Rich "Big Swing Face" - Buddy Rich (drums)

Anthony Williams "Lifetime & Spring Revisited" - Tony Williams (drums) *Thanks Tim!*

Michael Stuart "The Blessing" - Claude Ranger (drums)

Steve Swallow "Damaged in Transit" - Adam Nussbaum (drums)

Clifford Jordan "Glass Bead Games" - Billy Higgins (drums)

Wynton Kelly Trio with George Coleman "Live at the Left Bank Jazz Society Baltimore 1968" - Jimmy Cobb (drums)


21) And today's Final Word goes to Elvin Jones:

"My drums are my life. Sometimes what happens to you during the day affects your ability and shows up in your work. But once you get to your set, you can obliterate all the troubles, which seem to fall off your shoulders. If you aren't happy before, you are when you play. Playing is a matter of spontaneity and thought, of constant control. Take a solo. When I start, I keep the structure and melody and content of the tune in my mind and work up abstractions or obbligatos on it. I count the choruses as I go along, and sometimes I'm able to decide in advance what the pattern of a whole chorus will be, but more often five or six patterns will flash simultaneously across my mind, which gives me a choice, especially if get hung up, and I've had some granddaddies of hangups. If you don't panic, you can switch to another pattern. I can see forms and shapes in my mind when I solo, just as a painter can see forms and shapes when he starts a painting. And I can see different colors. My cymbals will be one color and my snare another color and my tomtoms each a different color. I mix these colors up, making constant movement. Drums suggest movement, a conscious, constant shifting of sounds and levels of sound. My drumming can shade from a whisper to a thunder. I'm not conscious of the length of my solos, which I've been told have run up to half an hour. When you develop a certain pattern, you stay with it until it's finished. It's just like you start out in the evening to walk to Central Park and back. Well, there are a lot of directions you can take...one set of streets going up, then in a certain entrance and out another entrance and back on a different set of streets. You come back and maybe take a hot bath and have some dinner and read and go to bed. You haven't been somewhere to lose yourself, but to go and come back and finish your walk."

- Elvin Jones (via American Musicians: 56 Portraits in Jazz by Whitney Balliett, 1985)








Thursday, March 10, 2022

John Riley - The Art of Bop Drumming: Part 2














Part Two of this week's feature on John Riley's The Art of Bop Drumming series from the Zildjian Learning Zone.

This is tons of great information here. Check it out.










Monday, March 7, 2022

John Riley - The Art of Bop Drumming: Part 1














Part One of a two-part series this week featuring John Riley's Art of Bop Drumming instructional lessons from the Zildjian Learning Zone.

As always, the information that Riley shares and the manner in which he explains it is exceptional.
 







Monday, February 28, 2022

Big Band Drumming



A pair of excellent webinars today on the art of big band drumming from Stockton Helbing and Jerome Jennings. 

There is lots of great information here so check it out!

 

And here's an outstanding example of some dynamic big band drumming from Buddy Rich and his big band circa. 1978: 

 


"The Drums are the first instrument and the drummer is the key - The Heartbeat of Jazz." - Jo Jones