Tim Mah's Top Jazz Albums of 2018

CJSW radio host and frequent contributor to this blog, Tim Mah once again offers his favourite Jazz picks for 2018. Tim is the host of Jazz Today which can be heard on Thursday mornings in Calgary on 90.9 fm between 530 and 7am and over at www.cjsw.com (also podcasted over at Apple Music). Tim listens to a lot of new and current Jazz releases so I am always pleased to have him contribute this special guest blogspot with his informed choices. We'll also be featuring his picks for top Canadian Jazz albums later in the week.

So, without any further adieu, Four on the Floor is proud to present:

"Tim Mah's Top Jazz Albums of 2018"

Here’s a list of 100 jazz album recommendations, released from December 2017 to November 2018. The intent of this list is to help readers connect with new music from their favourite artists and discover new ones. Please refer to a future post featuring 2018 album recommendations from Canadian jazz artists.

1. Gilad Hekselman “Ask for Chaos”

This album features Gilad Hekselman’s two trios: Zuperoctave and GHex Trio.

Zuperoctave: Gilad Hekselman (guitar/bass), Aaron Parks (synths/Rhodes/piano) Kush Abadey (drums/pads)

GHex Trio: Gilad Hekselman (guitar), Rick Rosato (bass), Jonathan Pinson (drums)

“VBlues” (featuring Zuperoctave)

2. Kenny Barron Quintet “Concentric Circles”

Personnel: Kenny Barron (piano), Kiyoshi Kitagawa (bass), Johnathan Blake (drums), Mike Rodriquez (trumpet and flugelhorn), Dayna Stephens (soprano and tenor saxophone)

“Concentric Circles”

3. Cecile McLorin Salvant “The Window”

Personnel: Cecile McLorin Salvant (voice), Sullivan Fortner (piano)

“The Gentleman is a Dope”

4. Esperanza Spalding “12 Little Spells” / “Exposure”

Esperanza Spalding released the limited edition (CD and vinyl only) album “Exposure” in December 2017 (written and recorded live on social media over 77 hours in September 2017). In October 2018, Esperanza Spalding released “12 Little Spells.” Each song is dedicated to a body part.

Musicians on “Exposure”: Esperanza Spalding (bass, vocals), Matthew Stevens (guitar), Ray Angry (piano, Mello-tron), Justin Tyson (drums), plus guests: Robert Glasper (piano), Lalah Hathaway (vocals) and Andrew Bird (violin, vocals).

Musicians on “12 Little Spells” included: Esperanza Spalding (vocals, piano, Wurlizter, electric bass, orchestral bass drum), Matthew Stevens (guitar, electric bass), Justin Tyson (drums, organ, synth, vocals, beats & programming), Aaron Burnett (saxophone), Burniss Travis (electric bass, acoustic bass, vocals), Corey King (vocals), Rob Schwimmer (continiuum), plus many others in the orchestra.

“You Have to Dance” from “12 Little Spells”

5. Makaya McCraven “Universal Beings”

Chicago-based drummer, Makaya McCraven’s third album features recordings with four different groups (in Chicago, New York, London and Los Angeles).

“Universal Beings” (featuring Jeff Partker, Anna Butterss, Josh Johnson, Carlos Nino, Miguel Atwood-Ferguson)

6. Aaron Parks “Little Big”

Personnel: Aaron Parks (piano, keyboards), Greg Tuohey (guitar), David Ginyard (bass), Tommy Crane (drums)

“Kid” from the album “Little Big”

7. Kamasi Washington “Heaven and Earth” / “The Choice”

Personnel: Kamasi Washington (tenor saxophone), Dontae Winslow (trumpet), Ryan Porter (trombone), Cameron Graves (piano), Brandon Coleman (keyboards, organ, vocoder), Miles Mosley (bass, electric bass), Ronald Bruner Jr. (drums), Tony Austin (drums, percussion), Allakoi Peete, Kahlil Cummings (percussion)

“Street Fighter Mas” from “Heaven and Earth”

8. Logan Richardson “Blues People”

Personnel: Logan Richardson (alto saxophone), Justus West (electric guitar, vocals), Igor Osypov (electric and acoustic guitars), DeAndre Manning (electric bass), Ryan Lee (drums)

NPR Music Tiny Desk concert featuring Logan Richardson

9. Stefon Harris & Blackout “Sonic Creed”

Personnel: Stefon Harris (vibraphone, marimba), Casey Benjamin (alto and soprano saxophones, vocoder), Felix Peikli (clarinet, bass clarinet), James Francies (piano, keyboards), Mike Moreno (guitar), Jean Baylor (vocals), Regina Carter (violin), Daniel Frankhuizen (cello), Elena Pinderhughes (flute), Joseph Doubleday (marimba), Joshua Crumbly (bass), Terreon Gully (drums), Pedrito Martinez (percussion).

Stefon Harris & Blackout concert (September 17, 2018 in New Orleans)

10. Edward Simon (with Afinidad and Imani Winds) “Sorrows & Triumphs”

Afinidad: Edward Simon (piano & keyboards), David Binney (alto saxophone), Scott Colley (bass), Brian Blade (drums) 

Imani Winds: Valerie Coleman (flute), Toyin Spellman-Diaz (oboe), Monica Ellis (bassoon), Mark Dover (clarinet), Jeff Scott (French horn)

Other musicians: Gretchen Parlato (vocals), Adam Rogers (guitars), Rogelio Boccato (percussion), Luis Quintero (percussion)

“Uninvited Thoughts” (featuring Afinidad and Imani Winds)

11. The Bad Plus “Never Stop II”

12. Ambrose Akinmusire “Origami Harvest”

13. Caroline Davis “Heart Tonic”

14. David Virelles “Igbo Alakorin (The Singer’s Grove) Vol. 1 & 2”

15. Helen Sung “Sung With Words”

16. Julian Lage “Modern Lore”

17. Mary Halvorson “Code Girl”

18. Joe Lovano & Dave Douglas - Sound Prints “Scandal”

19. Rudy Royston “Flatbed Buggy”

20. Cuong Vu 4-tet “Change in the Air”

21. Tia Fuller “Diamond Cut”

22. Joshua Redman “Still Dreaming”

23. Aaron Goldberg “At the Edge of the World”

24. Brad Mehldau “Seymour Reads the Constitution!”

25. John Escreet “Learn to Live”

26. David Murray “Blues for Memo”

27. Marquis Hill “Modern Flows, Vol. 2” and “Meditation Tape”

28. James Brandon Lewis & Chad Taylor “Radiant Imprints”

29. Darryl Yokley’s Sound Reformation “Portraits of an African Exhibition”

30. Dan Weiss “Starebaby”

31. Noam Wiesenberg “Roads Diverge”

32. Sons of Kemet “Your Queen is a Reptile”

33. Justin Brown “NYEUSI”

34. JD Allen “Love Stone”

35. Marc Cary “Cosmic Indigenous”

36. Ethan Iverson & Mark Turner “Temporary Kings”

37. Roxy Coss “The Future is Female”

38. Kate McGarry, Keith Ganz & Gary Versace “The Subject Tonight is Love”

39. Maria Grand “Magdalena”

40. Walking Distance feat. Jason Moran “Freebird”

41. Ray Angry “One”

42. R+R=Now “Collagically Speaking”

43. Bill Frisell “Music Is”

44. Chucho Valdes “Jazz Bata 2”

45. Myra Melford’s Snowy Egret “The Other Side of Air”

46. Shai Maestro “The Dream Thief”

47. Wolfgang Muthspiel “Where the River Goes”

48. Mast “Thelonious Sphere Monk”

49. Allison Miller & Carmen Staaf “Science Fair”

50. Nels Cline 4 “Currents, Constellations”

51. Tiffany Austin “Unbroken”

52. Magos Herrera & Brooklyn Rider “Dreamers”

52. Marcus Strickland’s Twi-Life “People of the Sun”

53. Eric Harland “13thFloor”

54. E.J. Strickland Quintet “Warriors for Peace”

55. Kurt Elling “The Questions”

56. Kind Folk “Why Not”

57. Matt Penman “Good Question”

58. Now Vs Now “The Buffering Cocoon”

59. David Binney “Here & Now”

60. John Hollenbeck Large Ensemble “All Can Work”

61. Christian McBride “Christian McBride’s New Jawn”

62. Orrin Evans & the Captain Black Big Band “Presence”

63. Buster Williams “Audacity”

64. Stu Mindeman “Woven Threads”

65. Miguel Zenon “Yo Soy La Tradicion (feat. Spektral Quartet)

66. Adam O’Farrill’s Stranger Days “El Maquech”

67. Wayne Shorter “Emanon”

68. Christian Sands “Facing Dragons”

69. Mark Kavuma “Kavuma”

70. Kat Edmonson “Old Fashioned Gal”

71. Bobby Previte “Rhapsosdy”

72. Dafnis Prieto Big Band “Back to the Sunset”

73. Shamie Royston “Beautiful Liar”

74. Eddie Henderson “Be Cool”

75. Walter Smith III “Twio”

76. Sharel Cassity “Evolve”

77. Chick Corea & Steve Gadd “Chinese Butterfly”

78. Henry Threadgill & 14 or 15 Kestra: AGG “Dirt…And More Dirt”

79. Jonathan Finlayson “3 Times Round”

80. Devin Gray “Dirigo Rataplan”

81. James Francies “Flight”

82. John Raymond & Real Feels “Joy Ride”

83. Emma Frank “Ocean Av”

84. Various Artists “We Out Here”

85. Bob Reynolds “Quartet”

86. Jonathan Barber “Vision Ahead”

87. Sara Serpa “Close Up”

88. Black Art Jazz Collective “Armor of Pride”

89. Sarathy Korwar “My East is Your West (feat. Upaj Collective)”

90. Jamie Saft Quartet “Blue Dreams”

91. Chad Taylor “Myths and Morals”

92. Gogo Penguin “A Humdrum Star”

93. McClenty Hunter “The Groove Hunter”

94. Spanish Harlem Orchestra “Anniversary”

95. Dinosaur “Wonder Trail”

96. Phronesis “We Are All”

97. Kamaal Williams “The Return”

98. Jason Marsalis & the 21stCentury Trad Band “Melody Reimagined: Book 1”

99. Humanity Quartet “Humanity”

100. Lee Konitz & Dan Tepfer “Decade”

xmas brushes

Just a short little clip today of me playing the brushes, from yesterday's very VERY early morning gig, a live-to-air radio broadcast on CBC Calgary with Tim Tamashiro:

View this post on Instagram

Some xmas brushwork from this mornings live CBC radio broadcast...

A post shared by Four on the Floor (@fouronthefloorblog) on Dec 20, 2018 at 9:28am PST

I only brought a snare drum and pair of brushes for this morning gig and I drank a lot of coffee. Lots and LOTS of coffee...

Tain @ Bimhuis

From a recent hit at Amsterdam's Bimhuis, one of the greatest Jazz venues in the world today, here's some great Jeff "Tain" Watts in action with his trio featuring Kurt Rosenwinkel on guitar:

Karl Jannuska: "On the Brighter Side"

When I arrived on the doorsteps of McGill University in Montreal during the mid-1990s, it was a very good time to be studying Jazz drums at that school. In addition to the stellar drum faculty of Chris McCann, Dave Laing, Andre White and Michel Lambert, the other students who were also studying there at the time set the bar very high for us incoming freshmen. One of those drummers I looked up to was undoubtedly Karl Jannuska, originally from Brandon, Manitoba and now a resident of Paris, France (*I would also include the likes of Jesse Cahill, Rich Irwin and, a few years later, Jim Doxas and Greg Ritchie in that same crop, among others....)

Karl's innate musicality was evident from the first time I heard him play (incidentally at a now long-gone Jazz club in Regina, Saskatchewan called Cafe '97, backing up trumpeter Dave Mossing and pianist Tilden Webb). A tremendous musician, he's is also one of the few drummers out there who, in my opinion, really transcends the drums in terms of his musical choices. Karl is ALL ears, ALL the time and I am always inspired and impressed by the creative musicality he exhibits from behind the drum set. He's also one of the nicest people you'll ever meet.

Karl has been in Paris, France for over a decade now and is in high demand for his drumming. In his spare time (!) he has also found time to compose and produce his own music. His album "On The Brighter Side" is his most recent sonic offering. Learn more about Karl and his music over at his website: http://www.karljannuska.com

Karl was also nice enough to take some time out of his busy schedule to answer a few of my questions about his most recent project:

Karl Jannuska - Four on the Floor Interview December 2018

1) Tell us about your latest recording!

"On The Brighter Side" is my sixth recording as a leader. I wrote all of the music and lyrics interpreted by a fantastic young French singer named Cynthia Abraham. I started this album pretty much at the same time as my last one, "Midseason", about 3-4 years ago. Each instrument was recorded separately which is a time consuming process but one that allowed me to really focus in on the sound and nuances of each new element being added to the mix. In September and October 2017 I took Protools lessons and this album reflects some techniques that I learned. I spent a great deal of time at the computer, looking for sounds, manipulating the sounds of different instruments, editing, moving notes around and generally exploring the post production possibilities of the studio. That said, I made a conscious attempt to not try to "clean" everything and make it to polished sounding. I wanted to still make it feel alive. When asked to categorize this music I have a lot of trouble and like to avoid putting it in a box. I think it's a pretty unique blend of jazz and alternative music (which is just as wide a category as jazz...). For lack of a better term, I often call it "Indie Jazz".

2) How did you choose your repertoire and sidemen?

When I started recording "Midseason" I went into the studio a few times and recorded drum parts to a lot of songs - more than could fit on one album. In a way, some of the material on this new recording are the leftovers from "Midseason"! They were songs that I really liked though... I'm someone who composes on a regular basis. I don't wait to have a project to write for. I just compose because it's something I enjoy and is a big part of who I am as a musician. To complete the album, I somehow chose some other songs of mine to record - songs that complemented the other ones and songs that I had written lyrics to. I was actually worried that this album wouldn't be coherent as I didn't give too much thought to the overall picture beforehand. I just started recording songs. Now that it's done, it seems like it's all a part of the same universe. Part of that is due to having the voice of Cynthia as a common thread. This leads me to the next part of the question! I met Cynthia about four years ago as I was looking for a singer in Paris to work with. I worked for a long time with Sienna Dahlen (from Toronto) which was wonderful but the distance became an issue. We did a rehearsal together and I knew within about ten minutes that I had found the right singer for my band. The other sidemen are mostly musicians that I'd worked with before : Pierre Perchaud (guitar) appears on several of my records. The other guitar player, Federico Casagrande is new to my music but we've been friends for a long time. In my live band I use both guitar players and they really complement each other nicely. Tony Paeleman is someone who had a huge role in this. He plays all of the keyboards and he mixed and mastered the album. We play together in a bunch of different bands and are part of the same musical family. Seamus Blake appears on two tracks although, I have a confession to make, I took a lot of post-production liberties with the music he recorded. I would also like to mention Baptiste Germser who plays french horn, bass and keyboards. We had a lot of fun in his home studio searching for different sounds and exploring the possibilities of the studio (check out the end of Parsimony to get an idea). A friend of mine recommended him to me and we hit it off right away. There are ten other musicians that appear on this recording. Most of them I've known for a while but there were some nice musical meetings such as Baptiste.

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

I tried to let myself be guided by the phrase "do what's right for the song". Basically each song has a different instrumentation. There's even one song with no drums - odd for a drummer's record! As for the vibe, that just came naturally when I followed what each song needed. I've really enjoyed having vocals on my music for the past few records. It just seems natural.

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

Not really. To be honest, I didn't give any thought to how this music would be perceived while I was recording it. While writing a description of my music for a presentation, I said that, if my music could have one super power it would be the power of levitation. It's not a message but a sense of floating away is the effect I'd like my music to have.

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

The bands I've been listening to recently are Dirty Projectors, Deerhoof, Radiohead, Syd Matters, The Barr Brothers, Bjork, Kurt and Chris Weisman. I don't think this music sounds like any of them but those are some groups that have influenced me recently.

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

Well, I've been listening to the bands I mentioned above, plus I spend a lot of time listening to the repertoires of the musicians I play with in Paris. Most are not known outside of France. I don't practice that much anymore. I have almost as much technique as I would like to have. When I do practice it's just to keep my hands and feet in shape and to have fun exploring different grooves - some of which become drum parts for new songs. For me, working on a new album and having input from the musicians I play with. Also, digging deeper into the possibilities of the studios and learning the program Protools is something that interests me more than working on playing faster or more complex things on the drums.

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

I'm a part of the band called The Watershed with Tony Paeleman (keyboards), Pierre Perchaud (guitar) and Christophe Panzani (saxophones). It's all improvised music (though we like to call it spontaneous composition). We just had a tour in Mexico in September and it was amazing. These guys are fantastic musicians and we never seem to run out of ideas! Check out www.thewatershed.fr for more info. Together we've started the Shed Music label which is the label that "On The Brighter Side" is on. Aside from that, I'm an active member of about ten bands. Never a dull moment!

8) How do the drums and your overall approach to rhythm factor into your compositions and concept?

Some songs have been written around specific drum grooves. "On The Brighter Side" is a good example. One exercise I work on with drummers is playing a steady stream of 8th notes around the drums leaving occasional breaths in the line (half random, half controlled). Listening back to my song "I'll Find You" where there are three different takes of drums layered on each other, I can really hear how this exercise is directly linked to my music. I'm sure someone like Sherlock Holmes would listen to my music and sense that it was written by a drummer. The drumming isn't showy or demonstrative I think but the drums are up pretty high in the mix and, even if it's hard to put into words, it's innate in the music I write.

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

Where do I begin??? Brian Blade is a big influence. He's versatile and has the whole spectrum of being a sensitive accompanist to roaring and bringing the fire to the music. Joey Baron is big too. Again, very versatile. Really fun to watch as he just looks like a kid exploring the sounds of the instrument. Deep groove. Jeff Ballard has this really percussive thing that I love. I've been listening to him for years and it always seems fresh. He's one of the few drummers that I don't hear a lot of younger people imitating. He's really got a unique approach. In another style Greg Saunier from the band Deerhoof blows me away. He's got an incredible time feel - very elastic. I've seen the band live about five or six times and he's into the music completely. He's also a really great composer.

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

Don't do it halfway. 

Be curious. 

Listen to everything and play with as many different musicians as you can. 

Leave all of your doors open. 

Really listen to music. 

Put your phone down and really listen to what's going on. 

When the record is done, listen to it again. You'll hear new things you missed the first time. 

If you love what you're doing, you'll manage and you can make a career out of this but only if you're willing to devote yourself to it fully.

Practice a lot but don't forget to live. It's a balancing act - as is life. 

As you get further along in your study of music you may lose sight of the joy you got from playing your instrument for the first few times. Don't forget how that felt and try to keep that spark alive.
It's precious. 

Also, don't forget to breathe!

Jeff Sipe: "Rhythm Patterns for Drum Set"

I came across this wonderful new book by Jeff Sipe via the Facebook and have really been learning a lot from it. If you're not familiar with Jeff Sipe, he is a prolific Master of rhythm and I really dig and admire the eclectic forms of music he plays and his approach to dealing with rhythm on the drum set.

Learn more about Jeff's music here jeffsipe.bandcamp.com and visit his website to order a copy of his wonderful new book here: jeffsipemusic.com

Jeff was nice enough to take some time out of his busy schedule to answer a few questions about his new book (which I highly recommend):


Jeff Sipe - Four on the Floor Interview: December 2018

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

RHYTHM PATTERNS FOR DRUM SET delivers a comprehensive collection of rhythmic concepts, references and adventures inspired from decades of drumming in many styles including fusion, jazz, rock, and jam band improv.

With over 100 pages of original lessons, exercises and resources, this book is an essential reference for any musician seeking to deepen their understanding of time and rhythm and apply it with individual expression. The second half of the book is designed for drummers of all levels and styles; and through its library of fundamental stickings, note groupings, and many styles of drum set patterns offers the student potential for profound technical and conceptual development.

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

The original motivation for the book was to compile my many notes and exercises that I wrote for myself to practice, all in one complete volume. They included beats, patterns and permutations and philosophy that I thought were helpful to me in my personal growth as an aspiring drummer. It kept growing so realized it could be helpful to share it as a book.

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

This book is intended to be a reference book and a source of rhythmic patterns and phrasing available to drummers and all musicians. This contemporary collection of rhythmic studies focuses on the practical part of the vastly larger thesaurus of rhythms.

The basic patterns presented here can be combined to form thousands of very useful hybrid patterns. Once the student has practiced and integrated these patterns, they can recombine them and create hybrid patterns that will increase their personal rhythmic vocabulary.

The first portion of this book is intended for all musicians. It provides a compilation of patterns and permutations based on basic rhythm systems and their possible combinations.

The second half of this book introduces practical drum beats using some of the patterns learned previously. The student is invited to apply and embellish these patterns in order to develop their own individual rhythmic vocabulary.

• Chapter 1: Provides the philosophy and food for thought when considering music making and how to practice and perform.

• Chapter 2: "Time" provides the framework for understanding note subdivisions applied in time.

• Chapter 3: "Right and Left Hand Patterns" is a series of practical “stickings” for easy execution of any multiple note grouping, large or small.

• Chapter 4: "Rhythm & Phrasing" is for all musicians. The content can be applied to melodic and harmonic playing on any instrument.

• Chapter 5: "Drum Set Patterns" gets the limbs working in coordination with each other. Starting with the feet and working up to the hands, the drummer will become comfortable with the foundational patterns that apply to beats and styles.

• Chapter 6: "Drum Beats and Styles" introduces basic drum beat patterns and variations that recombine into longer and more intricate beats. Examples of styles include: simple down beat/back beat patterns, various back beat grooves, shuffles and half-time shuffles, African grooves, and Classic drum beats

• Chapter 7: "Odd-Time Grooves" presents an introduction to odd-time grooves in 3/4, 5/4 and 7/4 time.

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

As this volume is a collection of studies, the teacher/student can find whatever interests them and start there. The book is laid out so that a beginner can read cover to cover and flow from philosophy to understanding time and notation to basic patterns and their practical applications, to permutations of those patterns, into established cultural rhythms, into multi-limb coordination, into drum set beats and styles. Some of these notation exercises are complete systems, leaving nothing undone so that all possibilities are explored.

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?

Writing and publishing your own book is a great way to understand your own philosophy and your own limitations. My advice is to write constantly and work with an editor whom you trust. They will help you communicate your ideas clearly.

6) Who are your influences with regards to your own style of playing music and drumming? What drummers (or other musicians) do you consider as influences?

I am influenced by thinkers and musicians who are careful with their craft and who have a personal approach. All the great musicians have this in common. The list is long. Everyone from John Prine to John Coltrane!

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

These days I practice my book and practice the fundamentals (including metronome exercises). Also listening to everything that comes along. I’m blessed to have friends who are among the best and they keep me on my toes!

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

I’m recording with Sarah Siskind, Mike Seal, Warren Haynes and other musicians in my area. I have a band called State Birds that includes Mike Seal, Neal Fountain and Bryan Lopes. Also playing with Danny Barnes' Space Program. Kaizen is a trio with Mike Barnes and Mark McDaniel. We play monthly in Nashville.

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

Be on the scene. Be helpful.

Create opportunities for yourself and others.

Check your intentions and be true to yourself.

All things pass so be present and enjoy the time that you have!

More Jerry Gonzalez....

Even more amazing conga videos today from Jerry Gonzalez featuring Steve Berrios on drums. Again, lots of great, basic techniques to be found here and a great companion to follow-up from Monday's post.

Jerry Gonzalez: "Conga Mania"

Sometimes it's really amazing where an internet search for some obscure Jazz drumming resource turns up something unexpected and equally quite amazing instead...

I was very fortunate to hear trumpeter Jerry Gonzalez (who recently passed away back in October) & The Fort Apache band at the Sweet Basil in New York City, back in the year 2000. I had just finished auditioning for John Riley at the Manhattan School of Music and then raced down to Greenwich Village to catch this legendary band (including Steve Berrios on drums). I was blown away by their high intensity music and style of Latin Jazz which seamlessly and very cleverly blended the two genres together of Afro-Cuban music and straight-ahead Jazz.

I was very interested to learn that apparently Jeff "Tain" Watts had sought out the drummer with Fort Apache, Steve Berrios, to learn about authentic applications of Latin and Afro-Cuban rhythms to the drum set. It's safe to say that Tain has really checked this stuff out over the years and this is evident in his playing.

Anyways, apparently Berrios also produced an instructional VHS video back in the early 1990s on applying Latin rhythms to the drum set. I haven't had any luck finding a copy of this (hence my internet search...) BUT I did come across this Jerry Gonzalez conga video (from the same instructional series) which also features Steve Berrios on drums. Not only was a Gonzalez a Master trumpet player in the Latin Jazz genre but a Master conguero as well.

So now stop, listen and learn as there is a TON of great information here:

Billy Drummond Recommends...

I am always interested and fascinated with who my favourite musicians are listening to and influenced by. Lucky for us, here's Billy Drummond sharing some of his favourite recordings, specifically ones that have outstanding recorded drum & cymbal sounds:



To summarize, here's his list of influential records to check out (now go do your homework!):

Wynton Kelly "Kelly at Midnight" - Philly Joe Jones (drums)

The Great Jazz Trio "Vol. 1 & Vol. 2" - Tony Williams (drums)

Steve Kuhn Trio "Life’s Magic" - Al Foster (drums) 

Cedar Walton "The Pentagon" - Billy Higgins (drums)

Miles Davis "Filles de Kilimanjaro" - Tony Williams (drums)

Herbie Hancock "Maiden Voyage" - Tony Williams (drums)

Jack DeJohnette "Special Edition" - Jack DeJohnette (drums) 

Jack DeJohnette’s Directions "New Rags" - Jack DeJohnette (drums) 

Cannonball Adderley "Something Else" - Art Blakey (drums)

Paul Motian "Le Voyage" - Paul Motian (drums)

The Elvin Jones Jazz Machine "Remembrance" - Elvin Jones (drums)

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

Lee Morgan "Charisma"- Billy Higgins (drums)

And to conclude today's post, here's some great recent footage of Drummond's of Freedom of Ideas band in action (featuring some beautiful Tony Williams yellow Gretsch drums!):

Farnsworth Plays the Blues

From a recent hit at Small's, here's smokin' Joe Farnsworth with the legendary Buster Williams on bass and Dan Nimmer on piano:

A Tain'ish Soundcheck

Just a brief clip of Tain warming up the drums during a soundcheck to get the week off to a good start:

Changuito

Toronto Jazz drummer Ethan Ardelli recently visited Calgary with his band this past weekend and I attended his performance & clinic at Long & McQuade on Saturday afternoon.

Ardelli is a fine drummer/composer and in explaining one of his own original compositions, he pointed to the influence of Cuban drummer Jose Luis Quintana (also know as "Changuito"), with whom Ardelli had also studied Afro-Cuban drumming with. He recommended that everyone check out Changuito's incredible drumming on the YouTube for further examples. I was actually reminded of Billy Hart saying the same thing (!) back at a Jazz workshop that I attended in Lake Placid, NY circa. 1998.

In fact, these two following instructional videos are exactly what Hart referred to (although at the time obviously there was no YouTube!) Anyways, get comfortable and check these two resources out, straight from source....

Jason Marsalis: Snare Drum Improvisations

A very musical and cleverly improvised solo piece from Jason Marsalis today, this time using ONLY a snare drum (with the snares turned OFF incidentally). Check out all the colours and hip grooves that he gets from the instrument:



This also brings to mind some similar solo snare drum improvisations that I've seen from the likes of Han Bennink and Ted Warren. I also heard Evelyn Glennie play a piece for solo suspended cymbal about a year ago at a concert in Calgary, AB. These are all amazing examples that we should follow in our quest to be musically inventive Jazz drummers.

Now imagine if one were to approach ALL the components of the drum set in the same way, exploring all the different colours, textures and rhythmic possibilities that we can get out of ONE instrument. Hmmm....

The Monday Morning Paradiddle

Man, this Fall has really been flying by lately but I've been fortunate to have been on the go recently with clinics, private students, and a steady stream of gigs with the Saskatoon Jazz Orchestra and, most recently, former CBC Jazz radio host Tim Tamashiro and his new show "When You're Smiling". Anyways, still lots of interesting things to share with you all these days and here's what we've got in store for you in this month's instalment of The Monday Morning Paradiddle. Enjoy!


- Thanks to Four on the Floor correspondent Tim Mah for passing along this feature on Chicago's Makaya McCraven from Rolling Stones magazine: https://www.rollingstone.com/music/music-features/makaya-mccraven-universal-beings-interview-746144/?fbclid=IwAR2ZGoVfA3mvHmCk7H838iEIDmVJB1oZS1F941SUPLKpHo2w_9vjYoac0Ew

- An older Modern Drummer feature on Canadian Jazz legend Terry Clarke:
https://www.moderndrummer.com/article/june-1983-terry-clarke-playing-right-place/

- WBGO's Nate Chinen on new music from five different notable drummer/composers:
http://www.wbgo.org/post/new-music-five-composers-behind-drums-tyshawn-sorey-allison-miller#stream/0

- Lenny White interviews Jeff "Tain" Watts over at his podcast iyouwee: http://iyouwee.com

- Here's Rudy Royston on his latest offering "Flatbed Buggy":
https://greenleafmusic.com/anftd-56-rudy-royston-fbb/

- Billy Hart recently visited Western Michigan University. Read all about it here:
http://www.wmuk.org/post/billy-hart-eternal-student-brings-60-year-jazz-legacy-wmu-jazz-masters-series

- A article on Joey Baron from Downbeat magazine:
http://downbeat.com/news/detail/joey-barons-deep-listening-manifesto

- Mike Clark interviewed by Modern Drummer magazine:
https://www.moderndrummer.com/article/december-2018-mike-clark/?fbclid=IwAR2BSJro_1gSgFFY6omawZ3gyaRBhCwJZa-RsHCOSHpbGVwfy4GP6euz_vc

- Here's the trailer for the new upcoming Paul Motian documentary!


MotianInMotion_Alternate_Trailer_ from Michael Patrick Kelly on Vimeo.


- A pair of tributes from Hudson Music, originally used for Zildjian's 375th Anniversary concert in 1998 featuring Elvin Jones, Max Roach, Louie Bellson and Roy Haynes!






- Dan Weiss doing his thing in an urban basketball court:




- Thanks again to Tim Mah for sending along this TEDx talk which is certainly worthy of taking a good look at in this day and age:

- A Neon Jazz interview with Kobie Watkins on the heel of his recent release "Movement":




- When people talk about Philly Joe Jones, this particular track often enters into the conversation (and for good reason!):




- Finally, check out this groovy clip of Geoff Clapp in the studio from awhile back:



I've been taking FaceTime lessons with Geoff lately and he is a great teacher and I highly recommend connecting with him. Contact him via Facebook and schedule an on-line lesson asap. You won't regret it!


- What am I listening to these days?

Time Warp "There and Back" - Barry Elmes (drums)

John Wadham "Drums and Friends" - John Wadham (drums)

Willies Jones III "Groundwork" - Willie Jones III (drums), Warren Wolf (vibraphone)

Donny McCaslin "Give and Go" - Gene Jackson (drums)

Peter Beets "New York Trio" - Willie Jones III (drums)

Bud Powell "Portrait of Thelonious" - Kenny Clarke (drums)

Lee Morgan "The Procrastinator" Billy Higgins (drums)


- And today's Final Word goes to pianist and Jazz Messenger Benny Green who, lucky for us, often shares some great gems of wisdom via his Facebook page:

"Preparation" by Benny Green

"If anyone asked me then and if anyone asks me now, why I moved to New York City in 1982, it was always to become a Jazz Messenger.

There was no texting, no email nor social media in 1982. You’d get your ass to the club where the people you wanted to play with were performing, and you'd be dressed reasonably appropriately for that particular band. You'd have listened and played along with some of their records and you'd know some of their arrangements.

You’d be present-minded and not pretend to yourself that one lone recording of a musician from 27 years prior is a reasonable indicator of their current repertoire. You'd consider your instrument's essential vital characteristics as pertained to the aesthetics of the musicians you were about to hear in-person - and keeping it real, who you were hoping to sit in with and eventually be hired to perform and record with.

You’d want to feel like you could bring something to the plate in terms of authenticity with the older players, and contemporary fire and freshness with your peers.

You’d want to know some history, you’d want to know some American popular songs and some instrumental Jazz standards, to be able to play the blues, to be able to play a ballad, and to have endurance with up-tempos.

You’d want to be able to play well for singers, you'd need to be able to play in the appropriate style for swing, for pre-bop, for bebop, for hard bop, for The Jazz Messengers, for Miles and for Coltrane, for soul and funk, bossa novas and sambas (Phoebe's that is).

I've been blessed to have a career playing 99% of the time in 4/4.

You'd better swing your tail off, have that “spark”, or else - hey it’s NYC, nothing personal and thanks for shopping with us.

If you were a young cat, carried yourself with some dignity and humility and were well-dressed, Art would see you coming around, look you in the eyes and get a very accurate read on you - Art Blakey could see your soul and he'd be looking to assess your mettle.

If Art noticed that some of the cats, the more the better, were hanging and talking in a serious way with you on the breaks, then it was a simple matter of being there constantly and waiting for your chance to one night late on the 2nd set, perhaps be invited to step onto Art’s bandstand." 

- Benny Green via Facebook, October 2018

Chris Smith - The Drum Hang Vol. 2

Another batch of GREAT Jazz drumming lessons from New York's Chris Smith (who's also currently performing with the Birdland Big Band and the likes of Dick Oatts and Garry Dial). There is LOTS of practical and well-informed information here so take note and learn something from someone who really knows what they are talking about!









Thanks again Chris and keep 'em coming!

Hutch @ Bimhuis

A bunch of really good ones today featuring Gregory Hutchinson on drums with Peter and Marius Beets (on piano and bass, respectively) from a trio hit at Bimhuis Amsterdam:







I've always enjoyed listening to Hutch and videos like these are a nice reminder to dig deeper into my  own Wilcoxin snare drum studies and to retake a healthy dose of Philly Joe Jones...

And if you dig these, make sure to check out Hutch's excellent series of instructional lessons over at Open Studio Network: https://www.openstudionetwork.com/project/fjd-overview/

Mike Downes "Root Structure"

It's not often that I feature non-drummers here on Four on the Four but I'm always willing to make exceptions for the likes of Toronto bassist Mike Downes. I first met Mike when I was still in high school back in the mid 90s and to this day I consider him to be one of the world's great Jazz bassists and he is one of the hardest working people I know. He is a consummate musician, a wonderful person and an example for us all to follow. Downes and his all-star band from Toronto (including Larnell Lewis on drums!) will be performing in Calgary on November 8th (sorry folks...this exclusive concert is already sold out!). On the eve of this highly anticipated performance and on the heels of his second (!) Juno award for his recent album "Root Structure", Mike was nice enough to take some time out of his busy schedule to answer a few questions about himself and his music.


Mike Downes - The Four on the Floor Interview October 2018

1) Tell us about your latest recording!

My latest recording is called “Root Structure.” It won the 2018 JUNO for Jazz Album of the Year: Solo and is a follow up to our 2014 JUNO winning album “Ripple Effect.” It features 2016 JUNO winner Robi Botos, two-time Grammy winner Larnell Lewis (with Snarky Puppy), JUNO winner/nominee Ted Quinlan and myself. 

2) How did you choose your repertoire and sidemen?

From my liner notes: “In music and life, I’ve always been interested in what lies beneath the surface: the underlying structures that hold everything together, the strength that resides deep down. The music in this recording was composed and performed in this spirit.”

In a more tangible sense, I had recorded music for an 11-piece group (“In the Current”) and I distilled many of the musical colours and structural ideas from that large ensemble to expand the possibilities of the quartet. The musicians are some of my favourite musicians in the world. We have been playing together in many different contexts, and the musical chemistry is magical.

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

I wanted to have the intimacy of a quartet, yet use different guitar/keyboard, etc. timbres to expand the sonic palette of the quartet. I have often recorded with horns, but I was hearing something else for this recording.

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

All of my compositions have an emotional space that they occupy, and I try to make musical choices that bring that emotional space directly and powerfully to the listener. I don’t expect any two listeners to react the same way to the music, but I do hope it stirs something inside them that inspires them to dig deeper in their own lives.

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

A few that come to mind are Brian Blade and the Fellowship Band, Brad Mehldau, Wayne Shorter and Pat Metheny.

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

I’m listening to a lot of symphonic music. I’m writing more music for my 11-piece band, so I’m listening to Gil Evans, Bob Brookmeyer and other composers/arrangers. As far as practicing, I’m so busy that I’m mostly practicing music that I have to perform or record! When I get a chance, I’ve been working on independence exercises as well.

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

I have a bunch of projects on the go. I produced an album that will be released this month with Ron Davis entitled “SympRONica UpFront” for jazz group and string quartet, I am co-producing a Joni Mitchell project with Yvette Tollar, I’m writing arrangements for a show with Molly Johnson and orchestra, writing music for my next recording, and playing with a lot of great musicians.

8) How does the bass and your overall approach to rhythm factor into your compositions and concept?

I rarely write music on the bass, but I always treat the bass line as a secondary (or even primary) melody. In that respect, I am acutely aware of the top and bottom melodies in music. Rhythm always plays a huge part in my compositions and playing. Playing with rhythms brings me a lot of joy, so I’m sure that factors into my music in a big way.

9) What bassists (or other musicians) do you consider as influences?

I have far too many influences to name, but some of my favourite bassists include Ray Brown, Scott LaFaro, Oscar Pettiford, Israel Crosby, Paul McCartney and Edgar Meyer. Sonny Rollins, Clifford Brown and Hampton Hawes come to mind as players who have had a big influence on my approach.

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

Stay passionate, stay curious, be comfortable with a vision that is farther ahead of where you are now and work hard.

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Learn more about Mike Downes and his current activities over at his website: www.mikedownes.com

Kobie Watkins "Movement"

Kobie Watkins sent me his latest upcoming musical offering "Movement" featuring his band the Grouptet. I first heard Watkins as a member of the Spin Quartet on the album "In Circles" (Origin Records) featuring him with a group of great Chicago Jazz musicians. I was very impressed with his drumming so naturally I was very interested to hear what he came up with as a composer and leader of his own project.

Kobie was nice enough to take some time out of his busy schedule to tell us about his new music:

1) Tell us about your latest recording!

Movement is an album about dance music that lives in your spirit and body. It’s about you the listener and how this music grooves with you. This album tells us it’s okay to still dance and to dance to jazz music.

2) How did you choose your repertoire and sidemen?

The songs on this album, I’ve been writing since 2008 (I’m still writing them, believe it or not). The songs "Rivet" and "Movement" are the most recent songs added to the list and "MBDC" (the real name for these acronyms I lost) was written in Africa in 2008. Since then the songs I wrote on this album have stuck with my spirit and how I want to present music on my second album.

The band was a total God send. We met and played together from my transplant years to Idaho. Justin Nielsen and I worked and played together at a performing and visual arts school in Eagle, Idaho (2010). During that time I met Ryan Nielsen (yes Justin’s real brother) at the school where he performed his original composition "Able Suite” and of course a jam session.

Later in 2014 Ryan (Classical and Jazz Trumpet Professor) and I worked together in Rexburg, Idaho (BYU-I) and a year later Aaron Miller (bassist) came back as the professor of Classical and Jazz Bass and we met and played at the student jam session. Jonathan Armstrong started working at Idaho State University as head of the Jazz Department.(2016) and we played his original music in a recital. These were immediate musical and spiritual connections, nothing political. These guys can just play (as you can here on the album). Let me just state the obvious: it was all a process and I (you) have to be patient in it.

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

I’m inspired by how music moves me and people all over the world. Music and dance, I’ve learned, breaks language barriers. You no longer have to speak Swahili, Japanese or English to speak music so as I wrote these songs this was my feeling while writing and discovering my natural inclinations. The instrumentation comes from listening to great jazz quintets and they’re horn blends (Dizzy Gillespie and Charlie Parker, Roy Hargrove and Ron Blake, Miles Davis and John Coltrane, Wynton and Branford Marsalis, Art Farmer and Benny Golson, Cannonball and Nat Adderley, to name a few). The modern sound of my writing and approach help me and the Grouptet make these instrumentation choices. If you don’t have the players/friends with the sound or potential, the search process must continue.

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

DANCE…on every performance and every listen. Make dance your outlet and avenue of expression through this and all music that interest you to Move. There was a time when jazz was mentioned, and you knew there would be dancing (though I never grew up then, I've heard stories and read some as well).

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

Artist and genres that influenced my writing include: Sonny Rollins, Branford Marsalis, Jeff Watts, Asa Watkins, Bobby Broom, Dexter Gordon, Thomas Whitfield, Stevie Wonder, Jarrard Harris, Kenny Garrett, Wayne Shorter. These people, I’ve memorized their musical signatures and creative style; singing and transcribing their melodies, solos and vamps.

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

I’m currently practicing ostinatos, bass drum and hi hat figures with triplet options with my hands and always practicing singles, doubles, and reconfiguring all forms of paradiddles. Researching: string sounds and articulations. Listening to gospel, classical, Brazilian, latin, big band and vocal jazz. Studying/reading: "Creativity the Perfect Crime" and "Born to Run".

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

My album release concert is on Friday, October 26th at the Durham Fruit Co. in Durham North Carolina.

Next February 2019 the Grouptet will premier with the Idaho State Civic Symphony six of my compositions arranged for crchestra. “The Kobie Watkins Grouptet Symphony Sessions feat. ISCS" will be performed in Pocatello, Idaho conducted by Julie Sorenson (undergraduate peer and now colleague).

8) How do the drums and overall approach to rhythm factor into your compositions and concept?

I sing the melody I hear and I play the drums after. The melody has enough rhythmic possibilities for a drum groove or feel that I rarely think about the drums as the first approach to the composition.

Drums of course do play a healthy roll in how the composition or arrangement develops. The drum part solidifies my melodic hopes.

For example, the song "Rivet" on this album has a flowing rhythmic melody but isn’t over instructed by drum riffs. MBDC is nothing but rhythm most of the melody sits on the syncopation of the beat. I’m a musician cultured by Rhythm, Melody and Harmony, influenced deeply by sound.

9) What drummers & other instrumentalists do you consider as influences?

Alious C Watkins, Art Blakey, Elvin Jones, Buddy Rich, Philly Joe Jones, Jimmy Cobb, Max Roach, Dennis Chambers, Dave Weckl, Michael Williams, Oscar Seaton, Dana Davis, Kevin Brunson, Joel Smith, Earth, Wind and Fire, The Pharohs, The Winans, Clark Sisters, Kim Burrell, Arlindo Cruz.

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

My advice for young drummers would be to listen to music, not for what you can do to “improve it” but what musical messages are being conveyed. Meaning: can I/ you hear and sing the other instrument parts? What are the other instruments and are they real musicians? Can you follow the form? Can you sing the melody louder than you’re playing? I believe all drummers should spend some time at the piano (I’m not a functional pianist, but I can find what I need). Playing slow is just as important as playing fast, if not more. Continue to be the best musician/ drummer you can be. It’s fun and competitive, sometimes even physically painful, but rewarding, however one ends their groove for the moment or day. 

Young Ladies and Gentlemen: I honestly don’t believe there are bad (horrible) drummers, just drummers who do a horrible job of listening effectively.

Another importance: please learn music theory. It’s better to have it and not need it than need it and not have it. Music theory is not just reading music it’s also arranging instruments and sounds. It’s balancing compositional decisions (sometimes in the moment). You can learn a lot by being more than just the drummer.

----------------------------

Learn more about Kobie and his latest album "Movement" over at his website: www.kobiewatkins.com

Dave King on Improvisation

Dave King of Bad Plus and "Rational Funk" fame offers some great ideas and sage advice about improvising on the drums thanks to the kind people over at Drumeo:



I was lucky to hear King with the Bad Plus at Ronnie Scott's in London, England in 2010 and was impressed with his creativity, imagination and musical sensitivity.

Dig this Modern Drummer interview with Dave King as well:

https://www.moderndrummer.com/2012/12/dave-king-bad-plus-web-exclusive-interview/

Mel Lewis: Rub-a-Dub

I posted a first volume of Chris Smith's excellent YouTube series "The Drum Hang" awhile ago and was intending to post more as another batch as he released them (I still intend to) BUT....his most recent offering, a tutorial on Mel Lewis and his infamous "Rub-a-Dub" rhythmic concept clearly deserves a mention of its own:



Chris has done an excellent job of breaking down and explaining Mel's unique approach to drumming that served both small and large Jazz ensembles alike.

Furthermore, if you watch this video you'll see some rare, up close footage of Mel in action which I've never seen before and we are fortunate to have available for us to see.

Thanks again Chris and keep 'em coming!

Gerry Hemingway

A few great spots of Gerry Hemingway today, a wonderfully unique drummer/percussionist/improviser whom I started checking out thanks to suggestions from Toronto's Nick Fraser, following my call awhile back for some recommendations for great works for improvised solo drums.

Dana Hall: Tenor & Drums Duet

Some fantastic tenor & drum duet music today from Chicago's Dana Hall with John Wojciechowski on tenor saxophone:



As you can see above, Dana is a ferocious player and incredibly musical; exactly what we should all be striving towards (and that is: all ears, all the time!) I've been fortunate to take a lesson with Dr. Hall in the past and he's a great educator too.

Here's also a nice feature from Modern Drummer magazine to check out:

https://www.moderndrummer.com/article/august-2018-drum-wisdom-dana-hall/

Ignacio Berroa: Afro-Cuban Jazz & Beyond

Some wonderful drumming and insight today from Ignacio Berroa, a drummer who truly understands the intersection of Afro-Cuban rhythms and straight-ahead Jazz drumming:



Whenever I have questions about specific Afro-Cuban rhythms or approaches to playing Latin Jazz music, Berroa is always my go-to resource to figure things out.

This one is long out-of-print but his instructional video from the 90s is also really worth checking out as well:




These ones are more recent and here Ignacio demonstrates a few different concepts thanks to the kind people from LP Percussion: