Please join us for the next episode of Four on the Floor *Live* happening next Wednesday, May 17th at 7pm MST (9pm EST), appearing on Instagram Live IGTV @fouronthfloorblog featuring Dr. Colleen Clark.
Colleen and I are going to have a conversation about PRACTICING (she's always offering great wisdom on her Instagram feed) and talk about all the great things she's up to these days.
Founder and Artistic Director of the University of South Carolina’s Jazz Girls Day, Dr. Colleen Clark is an Assistant Professor of Jazz at the University of South Carolina where she coordinates the small ensembles, conducts a big band, and teaches her drumset studio and jazz history courses. As a player, Clark has been described as "someone to watch" and "someone who will be turning heads in jazz for years to come." Clark was invited by the ASCAP Foundation to lead her band, the Colleen Clark Collective, at the Kennedy Center.
Dr. Clark has performed in prominent NYC venues including Jazz at Lincoln Center, Birdland and the 55 Bar. Her debut album, consisting entirely of her original music, Introducing Colleen Clark, was produced by Gordon Stout and engineered by ten-time Grammy Award nominee/winner, Brian Dozoretz. Clark proudly joined the Sisters in Jazz Collegiate Combo on their premiere performance at the Jazz Education Network Conference in 2019. She has presented her research on the evolution of the ride cymbal pattern for the Percussive Arts Society and the Jazz Education Network.
Clark can be heard playing on SteepleChase record #900, Allegra Levy's Lose My Number: Allegra Levy Sings John McNeil and upcoming records released by Dr. Matt White and Michael Dease.
Dr. Clark is the only woman and drummer to earn a doctoral degree in jazz from the University of North Texas.
Clark joined the Percussive Arts Society Drumset Committee in July 2021 and was nominated as Vice President of the South Carolina Chapter.
Clark is now the Assistant Coordinator for the Jazz Education Network’s Sisters in Jazz program, of which she is an alumni.
Her latest project is CC & the Adelitas, which features the merging of the golden era of Mexican music and jazz.
She is proud to join the Zildjian, Vic Firth and Mono families as an official endorser of their products.
Today I'd like to share an excerpt from a new production I've been working on called TapBassDrums with tap dancer Lisa La Touche, bassist Jodi Proznick and visual media designers Jae Sterling and Contra. This was performed and filmed at Decidedly Jazz Danceworks (Calgary, AB) during a creative residency last February and thanks to a generous grant from the Canada Council for the Arts. I'm really excited about this new project and what we accomplished. I hope to bring this show to a stage near you in the future.
This movement is a solo drum piece (featuring myself!) called Melvin's Beat (water) and was inspired and dedicated to Alberta jazz drummer and civil rights activist Melvin Crump.
Season Three of Four on the Floor *Live* is back for Spring 2023. Please tune in via my Instagram Live feed for what will hopefully be another series of thought provoking interviews.
Please join us for the next episode of Four on the Floor *Live* happening next Wednesday, May 10th at 7pm MST (9pm EST), appearing on Instagram Live IGTV @fouronthfloorblog featuring Chad Anderson and Geoff Clapp.
These two are good friends and we're going to talk drums, cymbals and life in general. Looking forward to what should be a fun conversation.
Thanks to Chicago's Ted Sirota who shared this fantastic recording of Dannie Richmond's solo piece Melody from the Drums from the Charles Mingus album Mysterious Blues (1960):
Thanks for tuning in and it's been a minute since my last MMP column. Things are on the go however there are lots of interesting factoids to be found in today's piece and I hope you dig it.
Thanks again for all your support and please enjoy today's offerings:
1. A recent feature and interview with the legendary Ed Soph from Drumming News Network
2. There is a new documentary on Max Roach!
Max Roach: The Drum Also Waltzes is the story of a musician whose far-reaching ambitions were inspired and challenged by the inequities of the society around him. His stunningly diverse seven-decade career marked him as one of the great musical artists of the 20th century and a pioneering cultural activist at times when the nation was steeped in racism. The film follows Roach across a rich and complicated life, years of now-legendary achievement, deep personal struggle, and the price he paid for his outspoken views. His was an epic musical journey -- from the revolutionary Jazz of the 1940s to the Civil Rights years, through experiments in hip hop, multi-media works, and beyond. (from www.maxroachfilm.com)
4. Vinnie Sperrazza continues to knock it out of the park with his regular Substack series Chronicles. I encourage everyone to subscribe to his series as his writing and insights are very compelling.
Check out these excellent and well researched columns including pieces on:
5. Carl Allen demonstrates a new microphone interface with his always supple and musical drumming:
6. Chicago's George Fludas offers these awesome lessons featuring phrases from both Max Roach and Elvin Jones:
7. Joe Farnsworth demonstrates some up tempo ride cymbal playing:
(and....if you listen very carefully, that was also the sound at the very end of me heading back into the woodshed. Yikes!)
8. Allison Miller was recently a featured special guest soloist in Stephan's Basement YouTube.com series:
9. The Drum History Podcast offers this feature, The Drum Legends of Wayne Shorter with special guest and historian Mark Griffith:
10. When speaking of the late Wayne Shorter and drummers, the conversation (as above) will invariably include Brian Blade.
Here's a great episode from the You'll Hear It podcast and Open Studio in which they share their appreciation and insights into Blade's influential drumming and music:
And course if one needed any reminding...
11. The Drum Candy Podcast features an interview with Jim White:
Jim doesn't know this but 30 years ago or so he wrote an article for Percussive Notes in which he listed about a dozen or so must listen to jazz drummers and recordings. I kept that list in a binder for years and made it my personal mission to find and listen to all of the them. Of course nowadays one can just find everything on Spotify or YouTube (!) but back in the day (ie. the 1990s!) one still had to track down physical copies of music in order to listen to them. Jim's article was an important part of my development back then and finding those recordings one by one was definitely part of that.
12. The always inspiring Adam Nussbaum interviewed by Drummer Nation:
13. Check out this orchestrated drum duet between Joe LaBarbera and Sinclair Lott based on Max Roach's Conversation:
14. Dig this up close footage and the graceful drumming of Portland's jazz drumming great Mel Brown:
15. Some incredible footage of Michael Carvin with Hampton Hawes' trio filmed in Paris (circa. early 70s?):
16. Montreal bassist Fraser Hollins offers his interview with Parisian drummer Karl Jannuska in his new and hopefully ongoing series The Hook Up:
Both Fraser and Karl are serious musicians and I learned a great deal going to school with Karl (attending McGill University) and playing with Fraser during my time in Montreal. I look forward to more episodes in this series.
17. A feature on Billy Hart from his recent masterclass at the Liceu Conservatory in Barcelona:
18. And finally some recent footage featuring the duet combination of Dave Douglas and Joey Baron from their recent European tour:
I really hope that we see an album or recording of some sort come out of this collaboration!
19) What am I listening to these days?
Michel Lambert & Rakalam Bob Moses "Meditation on Grace" - Michel Lambert, Rakalam Bob Moses (drums & percussion)
Carl Allen "The Pursuer" - Carl Allen (drums)
Viviane Martin "I Know a Thing" - Owen Howard (drums)
Pat LaBarbera "Pass it On" - Joe LaBarbera (drums)
Morgan Childs "On the Street of Dreams" - Morgan Childs (drums)
Johnny V "Agonistically Eclectic" - Duris Maxwell (drums)
Andy Cree "Live at the Bassment" - Andy Cree (drums)
Kenny Barron & Regina Carter "Freefall"
20) And today's Last Word goes to the late Wayne Shorter and Herbie Hancock who, together, offered their wisdom via an open letter published on Hancock's website a few years ago (thanks to bassist Solon McDade who shared this via the Facebook following Shorter's recent passing):
An Open Letter To The Next Generation Of Artists – by Herbie Hancock and Wayne Shorter
To the Next Generation of Artists,
We find ourselves in turbulent and unpredictable times.
From the horror at the Bataclan to the upheaval in Syria and the senseless bloodshed in San Bernardino, we live in a time of great confusion and pain. As an artist, creator and dreamer of this world, we ask you not to be discouraged by what you see but to use your own lives, and by extension your art, as vehicles for the construction of peace.
While it’s true that the issues facing the world are complex, the answer to peace is simple; it begins with you. You don’t have to be living in a third world country or working for an NGO to make a difference. Each of us has a unique mission. We are all pieces in a giant, fluid puzzle, where the smallest of actions by one puzzle piece profoundly affects each of the others. You matter, your actions matter, your art matters.
We’d like to be clear that while this letter is written with an artistic audience in mind, these thoughts transcend professional boundaries and apply to all people, regardless of profession.
FIRST, AWAKEN TO YOUR HUMANITY
We are not alone. We do not exist alone and we cannot create alone. What this world needs is a humanistic awakening of the desire to raise one’s life condition to a place where our actions are rooted in altruism and compassion. You cannot hide behind a profession or instrument; you have to be human. Focus your energy on becoming the best human you can be. Focus on developing empathy and compassion. Through the process you’ll tap into a wealth of inspiration rooted in the complexity and curiosity of what it means to simply exist on this planet. Music is but a drop in the ocean of life.
EMBRACE AND CONQUER THE ROAD LESS TRAVELED
The world needs new pathways. Don’t allow yourself to be hijacked by common rhetoric, or false beliefs and illusions about how life should be lived. It’s up to you to be the pioneers. Whether through the exploration of new sounds, rhythms, and harmonies or unexpected collaborations, processes and experiences, we encourage you to dispel repetition in all of its negative forms and consequences. Strive to create new actions both musically and with the pathway of your life. Never conform.
WELCOME THE UNKNOWN
The unknown necessitates a moment-to-moment improvisation or creative process that is unparalleled in potential and fulfillment. There is no dress rehearsal for life because life, itself, is the real rehearsal. Every relationship, obstacle, interaction, etc. is a rehearsal for the next adventure in life. Everything is connected. Everything builds. Nothing is ever wasted. This type of thinking requires courage. Be courageous and do not lose your sense of exhilaration and reverence for this wonderful world around you.
UNDERSTAND THE TRUE NATURE OF OBSTACLES
We have this idea of failure, but it’s not real; it’s an illusion. There is no such thing as failure. What you perceive as failure is really a new opportunity, a new hand of cards, or a new canvas to create upon. In life there are unlimited opportunities. The words, “success” and “failure”, themselves, are nothing more than labels. Every moment is an opportunity. You, as a human being, have no limits; therefore infinite possibilities exist in any circumstance.
DON’T BE AFRAID TO INTERACT WITH THOSE WHO ARE DIFFERENT FROM YOU
The world needs more one-on-one interaction among people of diverse origins with a greater emphasis on art, culture and education. Our differences are what we have in common. We can work to create an open and continuous plane where all types of people can exchange ideas, resources, thoughtfulness and kindness. We need to be connecting with one another, learning about one another, and experiencing life with one another. We can never have peace if we cannot understand the pain in each other’s hearts. The more we interact, the more we will come to realize that our humanity transcends all differences.
STRIVE TO CREATE AGENDA-FREE DIALOGUE
Art in any form is a medium for dialogue, which is a powerful tool. It is time for the music world to produce sound stories that ignite dialogue about the mystery of us. When we say the mystery of us, we’re talking about reflecting and challenging the fears, which prevent us from discovering our unlimited access to the courage inherent in us all. Yes, you are enough. Yes, you matter. Yes, you should keep going.
BE WARY OF EGO
Arrogance can develop within artists, either from artists who believe that their status makes them more important, or those whose association with a creative field entitles them to some sort of superiority. Beware of ego; creativity cannot flow when only the ego is served.
WORK TOWARDS A BUSINESS WITHOUT BORDERS
The medical field has an organization called Doctors Without Borders. This lofty effort can serve as a model for transcending the limitations and strategies of old business formulas which are designed to perpetuate old systems in the guise of new ones. We’re speaking directly to a system that’s in place, a system that conditions consumers to purchase only the products that are dictated to be deemed marketable, a system where money is only the means to an end. The music business is a fraction of the business of life. Living with creative integrity can bring forth benefits never imagined.
APPRECIATE THE GENERATION THAT WALKED BEFORE YOU
Your elders can help you. They are a source of wealth in the form of wisdom. They have weathered storms and endured the same heartbreaks; let their struggles be the light that shines the way in the darkness. Don’t waste time repeating their mistakes. Instead, take what they’ve done and catapult you towards building a progressively better world for the progeny to come.
LASTLY, WE HOPE THAT YOU LIVE IN A STATE OF CONSTANT WONDER
As we accumulate years, parts of our imagination tend to dull. Whether from sadness, prolonged struggle, or social conditioning, somewhere along the way people forget how to tap into the inherent magic that exists within our minds. Don’t let that part of your imagination fade away. Look up at the stars and imagine what it would be like to be an astronaut or a pilot. Imagine exploring the pyramids or Machu Picchu. Imagine flying like a bird or crashing through a wall like Superman. Imagine running with dinosaurs or swimming like mer-creatures. All that exists is a product of someone’s imagination; treasure and nurture yours and you’ll always find yourself on the precipice of discovery.
How does any of this lend to the creation of a peaceful society you ask? It begins with a cause. Your causes create the effects that shape your future and the future of all those around you. Be the leaders in the movie of your life. You are the director, producer, and actor. Be bold and tirelessly compassionate as you dance through the voyage that is this lifetime.
I had the opportunity to hear Alvin Queen play the drums with Oscar Peterson at Birdland in New York City circa. 2004 and his dynamic, hard swinging drumming left a profound impression on me. I waited in line outside the club for over an hour in the rain to hear Oscar Peterson's quartet (!) but it was worth it and I managed to secure a seat in the front row (sitting next to none other than the great bassist Ron Carter!) I recall that Alvin opened the set with a high energy drum solo bursting into a deep, funky second-line groove while the rest of the band took the stage (including Niels-Henning Ørsted Pedersen on bass and Ulf Wakenius on guitar, supporting Oscar Peterson on piano).
• Here's a few pieces that chronicle Alvin Queen's life story:
• A short drum lesson with Alvin from New Morning Jazz TV:
Thank you to Chad Anderson who shared this rare hour-long video footage of the great Freddie Waits, demonstrating jazz drumming techniques for Spanish television circa. 1987:
Unfortunately I don't speak or understand Spanish but I think the drumming is incredible!
The National Film Board of Canada presents Heartbeat of a Nation, a short documentary by filmmaker Eric Janvier that celebrates Dene cultural reclamation and revitalization as a father passes on traditional knowledge to his child through the teachings of a caribou drum.
Thanks to the people over at the Avedis Zildjian Company for this wonderful tribute to Art Blakey with commentary and insight from Marcus Gilmore, Kenny Washington, John Riley, Aaron Spears, Billy Drummond and Adam Nussbaum.
The act of using Melody to inform ones creative statements and musical choices on the drums is one quite dear to me. I think about this every time I sit down to play the drums or teach a lesson.
Allison Miller is a favourite drummer of mine these days and her approach to using Melody around the drums is compelling, to say the least.
Check out this brief footage of Miller from her PASIC 2022 appearance in which she demonstrates her melodic imagination, using Sonny Rollins' Sonnymoon for Two as the basis for her improvisation:
And I've shared this one numerous times already but it's really great so here it is once again, Allison's feature on melodic drumming from NPR's Jazz Night in America:
Drummer, composer, author and educator Steve Fidyk recently released his new big band recording entitled Red Lines featuring a stellar line-up of musicians on a diverse and dynamic program of tunes and arrangements.
Steve was nice enough to take time out of his busy schedule to answer a few questions about his recent recording project.
Steve Fidyk Red Beats Four on the Floor Interview - March 2023
1) Tell us about your latest recording!
Jon, I appreciate the opportunity to speak with you about my latest recording Red Beats. This record features nine original compositions of mine that were presented on my first three solo records (Head’s Up!, Allied Forces and Battle Lines), orchestrated for large ensemble by six different arrangers from the Washington D.C. and Philadelphia region. These guys are all buddies of mine, and over the years, I’ve performed their arrangements and compositions in big bands like the Army Blues, The Airmen of Note, and the Jazz Orchestra of Philadelphia. Some of the arrangers featured on Red Beats have even played in my small group and on the original records, so they have intimate insights and knowledge on the development of each song. It’s interesting for me to go back and listen to the original small group recordings and compare approaches in regard to structure, melodic counterpoint, and style. For a big band project like this, the leader usually arranges standards and their original music. One thing that makes this recording unique is that the compositions are written by one person, but the arrangements are reconstructed by a sextet of very talented composers in their own right. The record features soloists Brian Charette, tenor titan Walt Weiskopf, guitar legend Jack Wilkins as well as a host of incredible musicians from Philadelphia, New York, and Washington D.C. It’s a northeast corridor band for sure.
A portion of the proceeds of each Red Beats CD sold will go to help the nonprofit organization No Kid Hungry. Kids in the US today face real challenges, as families and communities work to recover from effects of the pandemic. Many people aren’t fully aware of the severity of childhood hunger in the United States. Many parents are searching to find resources available in their communities to help feed their children. I feel it’s important to try and use my music as a platform to help raise awareness and do my part to give back to organizations that are doing great work to help the less fortunate.
On my last recording Battle Lines, that organization was Warrior Beat. A nonprofit that uses professionally facilitated drum therapy to help US Military Veterans who suffer from PTSD, anxiety, and depression. For Red Beats, I’m currently dedicating efforts to our greatest resource- our children.
2) How did you choose your repertoire and sidemen?
For projects that I lead, I try to build on experiences and concepts that I learned since my last one. It’s all a process of progress that takes place in very small increments. For Red Beats specifically, each arranger had specific tunes in mind that they were interested in reworking. This project began at the start of the second year of the pandemic, and so many of the guys were excited to be a part of this and contribute their creative ideas. They all have an infinity and respect for rhythm which is one thread of consistency in regard to approach. As far as input, I tried staying out of the creative process because I wanted to hear how each would go about reimagining my original music. I’m proud of these guys. They all did an amazing job with the music. They are my good friends and I’m inspired by their playing, writing and creative energy. They make me a better musician from our long relationships and collaborations over the years. I’m blessed and thankful.
3) What inspired you to pursue the vibe and instrumentation that you did?
I’ve always wanted to lead a big band session-- a capstone project that features some of the original music from my first three solo recordings. It felt like a logical progression, and a way to acknowledge my past compositional efforts, arranged by friends that enjoy and appreciate creative, improvisational music.
4) Was there a particular message you were trying to convey to the listener?
My tune titles tend to shed light or expose the politics in our society and government. I’m not a political person but performing and living in the Washington DC area for so many years has certainly influenced my outlook. My original music is somewhat contemporary, but with strong roots in traditional swing and bebop.
5) Who are your influences with regards to your style of writing and playing?
I like a good strong melody that hooks the listener, much like a pop tune would. My compositions are simple vehicles for improvisation. That’s it. If the soloists like the progression and the groove, chances are they will feel liberated to improvise freely. If a horn player has fun improvising over the progression I came up with, then I feel like I did my job. Playing in the moment, listening, interacting, and initiating dialogue are essential elements.
Early drumming influences included Buddy Rich who was the first jazz drummer I saw perform when I was eight years old. Next came the music of Dave Brubeck, which was anchored by Eugene Wright and Joe Morello. The journey of influence and discovery continues to this day.
6) What are you practicing/studying/listening to/researching these days?
I continue to work on fundamental maintenance exercises for tone and dynamic balance at the kit. I'm always experimenting with polyrhythms orchestrated between my hands and feet, improvising on both sides of the polyrhythm for variety and tension.
I always return to the classic drummers like Philly Joe, Art Taylor, Kenny Clarke, Jo Jones, Max Roach, Shelly Manne, Mel Lewis and Joe Morello for feel, phrasing and intensity. These players created musical tension at all dynamic levels. I’m always amazed by how they could swing a band and achieve that soft intensity...You don’t hear that kind of dynamic playing as frequently today on record.
I’m also looking forward to checking out the new Kendrick Scott record Corridors with Walter Smith III.
7) What other current and future projects do you have on the go at the moment?
In addition to my teaching at Temple University, The University of the Arts and The University of Maryland, I’m booking record release shows for Red Beats.
I’ve also begun writing music for a new small group project, with plans to record sometime next year. Please stay tuned and check my web site and socials for updates.
8) How does the drums and your overall approach to rhythm factor into your compositions and concept?
Many horn players have pointed out that my tunes have interesting rhythmic ideas and counterpoint, with listenable melodies. It’s a natural extension because I’ve been playing drums for so long. Each composition I write is different, in that sometimes I begin with a chord progression, sometimes a bass line, sometimes a drum groove and sometimes a melody.
9) What drummers (or other musicians) do you consider as influences?
I would be remiss if I didn’t acknowledge my teachers. Without their help, advice, and guidance, it would be very difficult to navigate a career in music-- Angelo Stella, Ed Soph, Joe Morello, Bob Grauso, Kim Plainfield, John Riley and Ralph Peterson were all very patient and encouraging. Unfortunately, some of these men have left us, so I try to carry on their message through my music and teaching. I’ve been influenced by so many wonderful people, but it all started with my parents. They provided opportunities and encouragement to study music and believe in myself. I’ve had so much help along the way.
10) What advice do you have for younger, aspiring jazz musicians and jazz drummers?
Study and learn as much about your instrument and the music you inspire to play. It takes dedication and lots of hard work, and even then, goals and aspirations are sometimes not met. You really have to LOVE the music and listen to the musicians that have more experience than you in order to grow. Study with a reputable teacher in your community, trust what they are giving you to practice, and EXCEED their expectations by being prepared. The path to success isn't always a straight line, but if you keep your eyes and ears open, you will learn something new about the music and yourself from every twist and turn.
Thanks for tuning into the January 2023 edition of the Monday Morning Paradiddle (first one of the year!), your monthly jazz drumming variety column. Things are about to get really busy around here with a variety of projects on the go and then a couple of small tours on the horizon so this will be my last blog post for the foreseeable future. Regular blogging will resume in a month or so. In the meantime, there's lots of great interviews and things to check out in my blog post below (or pay a visit to Todd Bishops Cruise Ship Drummer! or Ted Warren's Trap'd and you'll find plenty of great things to practice over there!) Please enjoy.
Thanks for your support and see you in March!
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And now, and without further ado, here are today's offerings:
1. Check out my recent "Five Minutes With..." interview and artist feature with the Calgary Guardian
2. Wonderful and insightful features on Ralph Peterson Jr. and Joey Baron from Vinnie Sperrazza's Substack series Chronicles
Last April 2022 Brian Blade performed at Koerner Hall in Toronto with Joshua Redman's Mood Swings band featuring Gerald Clayton on piano (filling in for Brad Mehldau) and Christian McBride on bass. Former Toronto and now St. John's, Newfoundland resident and drummer Mark Micklethwaite was in attendance and offered a very thoughtful and articulate post-concert summary via Facebook. He was also kind enough to allow me to share his thoughts here below.
Observations of Brian Blade by Mark Micklethwaite (April 2022)
1. Play for the Room.
Brian can play at every volume, from a whisper to a roar. In a resonant concert hall, drums can take over really easily. Even when he bashes, it doesn't sound too loud. This is not easy to do.
2. Intensity vs Volume.
As per above, you can have great intensity without bashing. Brian's intensity is beyond compare.
3. Explore Every Sound.
He used sticks, brushes, mallets with sticks on the other end, and some kind of soft plastic brush thing as implements, moving back and forth as needed. He kept his bass drum case to the right of his floor tom and would often toss what he was done with and grab something else. He also had a tambourine (didn't play it) and a few handfuls of bells and jingles that he used during his own rubato / free piece.
He also had a couple of thin towels that he used on the snare (snares on and off) and floor tom, with varying degrees of muffling. He'd put them on and take them off in the same song, as needed. Sometimes he'd move it to his leg for a while and then put if back on later.
4. Cymbals.
He gets a million sounds from every one. Every cymbal can be a crash, a ride, a gong, a triangle and a shimmer. All sounds are available if you want them.
His touch is unparalleled. He can bash a cymbal and hold the stick against it so it doesn't fully resonate, so you get the crash but not an endless wash.
5. Feathering the Bass Drum.
This was a revelation for me, having seen him many times but never his right foot for the entire concert. Some say feathering is 'old school' but he played the bass drum on quarter notes almost constantly throughout the night. Felt but not heard. Beater hitting the head ever so lightly and muffling so briefly. In a loud room, bass drum control is uber important.
6. Know the Music.
Everyone else had sheet music (Gerald got it two days before...) but Brian had everything memorized. And he knew the songs and forms and hits / shots and caught every nuance when needed.
7. Communication.
Brian was looking at all the members of the band, giving smiles and visual cues. This was especially evident with Gerald. Since it was his first gig ever with the band, Brian seemed to pay extra attention to him, especially the first few tunes. He was smiling and nodding, letting Gerald know that he was welcome in the band and nailing the music. Which he was, in a big way.
Joshua has always been very active as a listener onstage, even when he's standing side stage not playing. He's listening, tapping his foot, reacting to the music, encouraging. Brian cued the end of one drum solo VERY LATE and the only reason Josh caught it was because he was listening and watching and jumped in at the last second with the head out.
8. Process not Perfection.
This aspect was huge for me, and I'm not sure I can put it into words, but I'm going to try:
From the full view of his every move, I was amazed at how many times he "missed"; how he'd go for a fill up the toms (or down) and miss the crash at the end or flub somehow. And after a brief pause (or not) he'd just keep going. It was as if the trying and missing was part of the point; going beyond what you know, pushing ahead beyond what you can already play. And even when he'd miss, you'd be right there with him, because the intensity and the intent is all right there. One time near the end he almost fell off the stool going for something and I just about leapt out of my seat to try and catch him. Such intensity. So in the moment.
9. Joy.
People talk about this all the time, but it's true; he translates joy in every way. His body language, the smile on his face, the reverence for the music. It's captivating. Inspiring. Everything.
10. On the drum rider, always request a comfortable seat!
Mark Micklethwaite is an accomplished musician, educator, historian, and administrator. His work experience in the music field includes positions at the Banff Centre, Greenleaf Music, JAZZ.FM91, and Manhattan School of Music. He has facilitated events at various venues including Glenn Gould Studio, Carnegie Hall, Lincoln Center, and Blue Note Tokyo, working with such artists as Dave Douglas, Vijay Iyer, Sheila Jordan, Lee Konitz, Joe Lovano, Pat Metheny, and Oscar Peterson.
As an educator, Mark has developed innovative community and educational programming for students of all ages and facilitated relationships with schools and community groups to present many engaging programs. He has taught classes, workshops, and ensembles in various settings including the Halton, Peel, Durham, and Toronto school boards, Queens College, University of Toronto, York University, and University of Waterloo. Mark helped develop the jazz appreciation curriculum at JAZZ.FM91 and taught 6-week interactive courses to over 300 students.
A successful freelance drummer for over twenty years, Mark has performed at clubs, concert halls, and festivals throughout North America, Europe, and the Middle East. He has performed with musicians such as Guido Basso, Phil Dwyer, Joel Frahm, Dave Frishberg, Molly Johnson, Christian McBride, Donny McCaslin, Mike Murley, Ted Quinlan, Kevin Turcotte, the Turtle Island String Quartet and Kenny Wheeler. He completed his Bachelor of Fine Arts in Music at York University and his Masters of Music at the Manhattan School of Music in New York City.
His work experience in the music field includes key positions at the Manhattan School of Music , Greenleaf Music, York University, JAZZ.FM91, and the Banff Centre. He is currently on staff at Memorial University in St. John’s, NL where he coordinates venues and concerts and also teaches in the School of Music.
Check out Mark perform with Montreal pianist and composer Marianne Trudel on January 26th as part of the Newfound Music Festival at Memorial University January 26-27
And there's not a better way to start off with my first blog post of the year 2023 than to wish a very happy 99th birthday to Maxwell Lemuel Roach who was born on this day January 10th, 1924.
Here's a few recent favourite clips to celebrate Max's artistry including:
...a solo with mallets:
...and some solo drum audio recordings circa. 1996:
This particular concert footage filmed at the Newport Jazz Festival circa. 1992 is very dear to me as it was one of my very first introductions to Max Roach and his music:
And finally, here's some dynamic footage of Max putting his Italian-made Hollywood Tronic drums though its paces:
This is a blog about jazz, jazz drumming and all things unrelated. Thanks for stopping by!
A Bit About Me...
Jonathan McCaslin was born in Winnipeg, Manitoba and raised in Regina, Saskatchewan. Jonathan began playing the drums at the age of nine. He progressed through the Regina Lions Junior Band and the music program at his high school, Campbell Collegiate, soon developing a passion for playing the drums and jazz. Ultimately, Jon's interest in music led him to enroll in the Jazz Studies program at McGill University, graduating with distinction in 1999.
While at McGill Jon had the opportunity to study with some of the finest jazz educators in the country including Gordon Foote, Kevin Dean, Jan Jarcyzk, Chris McCann, Andre White, Michel Lambert and Dave Laing. He also attended the prestigious summer jazz workshop presented by the Banff Centre for the Arts in 1997, where he performed with Canadian jazz greats Hugh Fraser, Don Thompson and Kenny Wheeler.
Jon has also been fortunate to have performed with many of Canada's jazz elite including Charlie Biddle, Brian Hurley, Louise Rose, Alaister Kay, Mart Kinny, Gary Guthman, Mike Rud, Hadley Caliman, Greg Clayton, Chase Sanborn, Andre White, Tilden Webb, John LaBelle, Kevin Dean, Dave Turner, Ralph Bowen, Don Thompson, Dionne Taylor, Jim Vivian, Kelly Jefferson, Ian McDougall, Brad Turner, Jim Brenan, The McGill Jazz Orchestra, Jeff Johnston, Lorraine Desmerais, Steve Amirault, Hugh Fraser, Chucho Valdes, Kieran Overs, The Altsys Jazz Orchestra, Pat LaBarbera, The Regina Symphony Orchestra and The Montreal Jazz Big Band.
In the spring of 2002 McCaslin completed his Master's in Jazz Studies at McGill University where he studied jazz drumming, improvisation and composition.
In January 2003 Jon released his debut CD, “McCallum’s Island”. Featuring his quintet, the CD contains an exciting collection of McCaslin’s original compositions, featuring himself and his band. The release of this CD was followed by a twenty-day tour of Western Canada, performing to enthusiastic, capacity audiences. During March of 2003 Jonathan was the recipient of a fellowship from the Kennedy Center for the Performing Arts and attended the “Betty Carter Jazz Ahead” residency in Washington, D.C. Along with twenty other distinguished young jazz artists, McCaslin was featured with such jazz icons as Terence Blanchard, Carmen Lundy, Winard Harper, Curtis Fuller and John Clayton.
McCaslin’s quintet performed at the 2003 edition of the Montreal International Jazz Festival and was nominated for the General Motors Grand Prix du Festival (awarded to the most outstanding Canadian group). From 2004 until 2006, Jon toured North America, Asia and Europe with the high-energy, critically acclaimed music production troupe “Barrage”. Featuring a cast of seven world-class fiddlers and a four-piece band, this dynamic show featured high-energy music and fiddle traditions from around the world set to upbeat choreography and movement.
In 2015, Dr. McCaslin received his Doctorate through the University of Toronto and completed his dissertation on the conceptualization of contemporary melodic jazz drumming. He is currently based in Calgary, Alberta where he maintains a busy performing and teaching schedule across Canada.
