Four on the Floor *Live* on Instagram IGTV featuring Pete Zimmer & Jason Tiemann

It's a Four on the Floor *Live* double-header next week on Instagram Live IGTV!

Please join us for the next two action packed episodes of Four on the Floor *Live* happening next Wednesday, June 14th at 7pm MST (9pm EST) featuring Pete Zimmer and Thursday, June 15th at 11am MST (1pm EST) featuring Jason Tiemann, both appearing on Instagram Live IGTV @fouronthfloorblog 

Since 2001, Pete Zimmer has established himself as one of the top-call drummers in New York City’s music scene. In December of 2021, Zimmer relocated to Chicago to become active in the Chicago and Midwest scene while still maintaining his performance schedule and established musical associations in New York. Originally from Waukesha, Wisconsin, Zimmer has made his mark nationally and internationally as a versatile and articulate drummer, bandleader, sideman, composer, educator, and record label entrepreneur.

Pete Zimmer has released five (5) critically acclaimed albums since 2004 as a leader on his own record label, Tippin’ Records. The albums showcase both his consistent swing and his skillful and melodic compositions. His composition, “Time That Once Was,” a moving ballad recorded on his first album Common Man, was recently licensed to Sony Pictures Television where it was featured in the opening scene of the series they produce “Masters of Sex” (Episode 307, Monkey Business), aired on Showtime. He has received many accolades from major publications, including "Pete Zimmer has learned his New York lessons well, as his dry tone, meaty swing beat and subtle accents make him an old hand” (Down Beat), and "Zimmer's drumming boasts a crisp, swinging command with judicious musicality." (Modern Drummer)

Zimmer’s band has performed at many of the prominent jazz venues in New York City and throughout the United States, including The Blue Note, Jazz Standard, Smoke Jazz Club, Smalls Jazz Club, Dizzy’s Club Coca-Cola, Birdland Jazz Club, The Kitano, Fat Cat, Cornelia Street Café, Blues Alley, Baker’s Keyboard Lounge, Cliff Bells, Zanzibar Blue, Chris’ Jazz Cafe, NightTown, Andy’s Jazz Club, Winter’s Jazz Club, The Jazz Estate, Dazzle Jazz Club, Nocturne, Caffè Sole, Green Lady Lounge, Black Dolphin, Jazz Kitchen, Lagniappe, Jazz Factory, The Royal Room, and Le Chat, among others. He has toured throughout the United Kingdom performing at both Ronnie Scott’s and Pizza Express in London. Throughout the years his group has featured many of the top musicians, including Mike Rodriguez, Joel Frahm, Jeremy Pelt, George Garzone, Peter Bernstein, Wayne Escoffery, Avi Rothbard, David Wong, Peter Slavov, Rick Germanson, Toru Dodo, John Sullivan, Mike DiRubbo, Stacy Dillard, Miki Yamanaka, Yoshi Waki, Ryan Kisor, Vitaly Golovnev, George DeLancey, Jerry Weldon, Joseph Lepore, Jaleel Shaw, Jon Gordon, Robert Rodriguez, Jeb Patton, Tadataka Unno, Sam Trapchak, Patrick Cornelius, Daisuke Abe, Kuriko Tsugawa, Sharel Cassity, Marco Panascia, Yotam Silberstein, Nathan Peck, Michael Janisch, Pete Benson, Kyle Asche, Scott Burns, Geof Bradfield, Ivan Taylor, Jake Vinsel, Ben Markley, Ben Leifer, Matt Otto, Mitch Towne, Jim Pisano, William Flynn, Jeremy Thomas, Mark Small, Martin Bejerano, Alex Brown, Dion Kerr, Tim Jago, Fernando Ulibarri, Steve Allee, Jeremy Allen, Mark Davis, Jamie Breiwick, Dan Trudell, Jeff Hamann, Jeff Pedraz, Corey Kendrick, Ryan Freitas, John Gunther, Peter Sommers, Seth Lewis, Reggie Berg, Jason Crowe, Hans Teuber, Tim Kennedy, Geoff Harper, Bob Bowman, and others.

As a highly regarded educator and clinician, Pete Zimmer has presented clinics and masterclasses at many top collegiate jazz programs throughout the United States and United Kingdom. He was a faculty member with the New York Jazz Academy from 2009 until 2021.

As an active sideman, Zimmer has performed and/or recorded with the likes of George Garzone, Rodney Jones, Jeremy Pelt, Dennis Irwin, David Schnitter, Lezlie Harrison, Pat Mallinger, Champian Fulton, Akiko Tsuruga, Rick Germanson, Julius Tolentino, Gene Perla, Wayne Escoffery, Dan Nimmer, and many others.

Pete Zimmer’s record label, Tippin’ Records, was originally established to feature his own projects, but after having much success with his first few releases, it did not take long for other artists to solicit their projects to Tippin’. In 2009 Zimmer decided to expand the catalogue and encompass additional artists. The first additional artist was trumpeter Vitaly Golovnev with the release of To Whom It May Concern and was followed by guitarist Kyle Asche Organ Trio (featuring legendary organist Melvin Rhyne), Blues for Mel. The label now has a total of one dozen releases and six artists.

Zimmer’s education includes studies at Northern Illinois University in DeKalb, Illinois and at the New England Conservatory of Music in Boston, Massachusetts, earning his bachelor’s degree. He was fortunate to have apprenticeships with master musicians and teachers Danilo Perez, Cecil McBee, George Garzone, George Russell, Bob Moses, Jerry Bergonzi, Bob Brookmeyer, Robert Chappell, Rich Holly, Ronald Carter, Jeff Stitely, Joel Spencer, and James A. Sewrey.

www.peterzimmer.com

 

 

Jason Tiemann is a New York City based jazz drummer, where he maintains a busy schedule as a freelance performer and educator. Admittedly drawing influence from the great(s) Philly Joe Jones, Tony Williams, Elvin Jones and Billy Higgins, Tiemann is quickly forging his musical voice on the New York scene by fusing his depth of historical foundation with crisp technique and propulsive, intuitive swing. Tiemann is currently on the jazz faculty of the Jackie McLean Institute of Jazz at the university of Hartford. Additionally, he has been an artist/clinician for the Jamey Aebersold Summer Jazz Workshops since 1998. Before moving to NYC, he was an active component of the Midwest Jazz community where he was in constant demand throughout the region as a performer and educator and was afforded the opportunity to accompany numerous jazz luminaries. Throughout his career, he has performed and/or recorded with an astonishing array of musicians including, but certainly not limited to, Benny Golson, David Liebman, Harold Mabern, Eric Alexander, Mike LeDonne, Peter Bernstein, Slide Hampton and countless others on the New York scene. Jason is an endorsing artist for Yamaha drums, Remo drumheads, and Innovative Percussion sticks, mallets and brushes.

www.jasontiemann.com

The Monday Morning Paradiddle - June 2023

And...we're back.

Thanks for tuning in to the June 2023 edition of The Monday Morning Paradiddle, my regular ongoing and almost monthly jazz drumming variety column.

It's hard to believe but Four on the Floor is now fourteen years old (founded in the Spring of 2009!)

Thanks for all your continued support.

In case you haven't noticed, I rebooted my regular weekly interview series Four on the Floor *Live* on Instagram for a third season now and this will continue weekly through July before I go on the road for the month of August.

These interviews have been a ton of fun and I always come away inspired and motivated following each of my conversations with the many jazz drumming Instagram personalities that I connect with. Tune in and come join the fun.

Please join us for the next episode of Four on the Floor *Live* happening next Wednesday, June 7th at 7pm MST (9pm EST), appearing on Instagram Live IGTV @fouronthfloorblog featuring New York drummer and educator Peter Retzlaff.

Anyhow, and now without any further adieu, here's this month's extensive offering of assorted and interesting jazz drumming items that I have to share with you:

1. How Rhythm Shapes Our Lives from the BBC

2. From London Jazz News: Mondays with Morgan featuring Joe Farnsworth and his new album In What Direction Are You Headed?

3. Check out my friend Craig VanDerSchaegen's fantastic new podcast series Practicing Drummer with great interviews from Billy Drummond, Colin Stranahan and Brad Webb

4. Discussions in Percussion podcast interviews Marvin Smitty Smith

5. The Working Drummer podcast features a ton of great interviews including the likes of Nasheet Waits, Joe LaBarbera, Bobby Sanabria, Cindy Blackman Santana and George Coleman Jr.

6. Vinnie Sperrazza continues with his excellent ongoing Substack series Chronicles with really well written and insightful commentary including:

Sonny Rollins and Max Roach

Billy Hart and Nasheet Waits: Just Friends

For Horacee Arnold

7. Joe Chambers, Lenny White and Willie Jones III featured on the Burning Ambulance podcast

8. A wonderful piece, The Meditative, Multihued Soundscapes of Tyshawn Sorey from Columbia Magazine

9.  Check out this AMAZING recent piece on Andrew Cyrille from Danish drummer Kreston Osgood's Facebook page:

10. John DeChristopher's series Live from my Drum Room featuring Jeff "Tain" Watts:

...and Cindy Blackman Santana:

 

11. And here's a great one of Cindy doing her thing:

 

12. Steve Gadd on his Yamaha Recording Custom drums:

 

13. Adam Nussbaum with Eliane Elias and Marc Johnson:

 

14. Portland's Mel Brown featured on Cedar Walton's Bolivia with bassist Alexander Claffy and pianist Randy Porter:

 

15. A few great solos from Allison Miller (my favourite drummer these days...) and a rundown of her drum set-up and cymbal selection:

 

16. The Hook Up from Montreal bassist Fraser Hollins interviews my good friend Rich Irwin:

 

17. Al Foster with Sonny Rollins:

18. Check out this 1978 drum duet featuring Tony Williams and Billy Cobham:

 

19. What am I listening to these days?

Artemis "In Real Time" - Allison Miller (drums)

Mulgrew Miller "Work!" - Terri Lyne Carrington (drums)

John Patitucci "Remembrance" - Brian Blade (drums)

Dave Holland "Prime Directive" - Billy Kilson (drums)

Pat LaBarbera "Pass It On" - Joe LaBarbera (drums)

Jimmy Cobb "So Nobody Else Can Hear" - Jimmy Cobb (drums)

Duke Ellington "The Carnegie Hall Concerts: January 1943" - Sonny Greer (drums)

20. And today's Final Word goes to pianist Bill Carrothers. This post on Facebook earlier this year has been making the rounds amongst musicians on social media lately. I found it quite inspiring and felt inclined to share it with you all:

I recently had a young man write me asking for advice on how to proceed as an aspiring jazz musician. I'm always a bit nervous to dispense music/life advice to a stranger from my lowly perch, and it's all so subjective, but I told him what I tell my students every day. Maybe I'm just crazy. I can't tell anymore.

Here's the next step, the one that takes your whole life. Listen to the music you love, all day, every day, and imitate and assimilate. Listen to the way different guys comp and solo and try to do the same thing. Listen to instruments other than yours, to clue into what they do and how it's different. Study the instruments in the rhythm section to understand what each of them brings to the discussion and how they interrelate. Listen to how different people write, the history of all the folks who have written amazing things before you (Mozart, Bach, Ives, Cole Porter, Monk, Billy Strayhorn, Wayne Shorter, etc...). Dance around the room while you listen. Write. Call sessions. Play with others. Read poetry. Do things that scare you and things that aren't music. Box. Ride a motorbike. Jump out of an airplane. Whatever!

Now you are at the beginning of a very long journey which has no end, a voyage of self-discovery which is not a sprint but is instead the loneliness and persistence of the long-distance runner. Music is Mount Everest (a mountain that climbs as you climb it), and is strewn with the bodies of all the people who tried to do it before you. Pack accordingly. Learn to love the process more than the destination (which doesn't exist anyway). 

SIMPLY LOVE THE MUSIC! In the end it's that simple. And that difficult.

- Pianist Bill Carrothers via Facebook, March 2023

Four on the Floor *Live* on Instagram IGTV featuring Peter Retzlaff

Please join us for the next episode of Four on the Floor *Live* happening next Wednesday, June 7th at 7pm MST (9pm EST), appearing on Instagram Live IGTV @fouronthfloorblog featuring New York jazz drummer Peter Retzlaff.

 

Peter Retzlaff is a New York City-based drummer. In his formative years, Peter studied with many influential teachers/performers such as Bob Breithaupt, David Garibaldi, Ed Soph, Jim Chapin, Gary Chaffee, John Riley, Kenny Washington, and Billy Hart. As a performer, Peter is equally at home in jazz, rock, funk, Brazilian, Afro-Cuban, Afro-Caribbean, odd meter, and New Orleans drumming styles. Peter has played with Kenny Werner, Greg Osby, Diane Schuur, Ray Vega, Maynard Ferguson, Pete McCann, Kim Bock, Loren Stillman, The BMI Big Band, The Jamie Begian Big Band, Steeplechase recording artists Flow, Matt Savage, Bo Diddley, Neil Diamond, The Drifters, The Coasters, Gloria Gaynor, American Idol finalists Melinda Doolittle, Jordan Sparks, and Constantine Maroulis, and contemporary bassist and singer Adeline Michele.

As an educator, Peter teaches private lessons in jazz, rock, funk-RnB, Brazilian, Afro-Cuban, and Afro-Caribbean drumming styles. In addition, he teaches reading, chart interpretation, brushes, soloing, rudiments and snare drum technique (fundamental concepts, Moeller and push pull).

Peter is the author of two books, Turn It Up and Lay It Down: Baby Steps to Giant Steps (Hudson Music) and Contemporary Jazz Styles for Drums (Carl Fischer). Peter received a B.A. in Jazz and Commercial Music and a B.A. in Business Administration from Capital University. He also received a M.M. in Jazz Studies from the Manhattan School of Music.

The recipient of three National Endowment for the Arts Grants, Peter is a clinician for Sabian Cymbals, Canopus Drums, Innovative Percussion, Remo, and Prologix Percussion.

www.peterretzlaff.wordpress.com

Jorge Rossy - Music Is:

A great interview today with drummer/vibraphonist Jorge Rossy from Music Is:

(unfortunately the video is disabled for embedding (!) but it's still worth taking a look)

Check out the entire interview here: https://youtu.be/JBdMWA8Q_us

And while we're here, here's a bunch of great and inspiring footage to check out including:

• Rossy's vibraphone trio featuring Jeff Ballard on drums:

 

• An artist feature from Paiste cymbals:

 

• An older interview from Open Studio with Edu Ribeiro:

 

• London Blues, playing with Brad Mehldau and Larry Grenadier: 

Four on the Floor *Live* on Instagram IGTV featuring Alvester Garnett

Please join us for the next episode of Four on the Floor *Live* happening next Thursday, June 1st at 7pm MST (9pm EST), appearing on Instagram Live IGTV @fouronthfloorblog featuring New York jazz drummer Alvester Garnett.

Alvester Garnett is an American jazz drummer who, among many other productions, has appeared on Great Performances on PBS in a tribute to Kurt Weill. Garnett has played with Abbey Lincoln, Betty Carter, Regina Carter, Clark Terry, Pharoah Sanders, Dee Dee Bridgewater, Teddy Edwards, James Carter, Cyrus Chestnut, Charenee Wade, Lou Donaldson, Benny Golson, Al Grey, Rodney Jones, and Sherman Irby, and others.

Jochen Rueckert - With Best Intentions

German-born New York jazz drummer Jochen Rueckert was kind enough to answer a few questions about his recent release With Best Intentions featuring Mark Turner on tenor saxophone, Nils Wogram on trombone, Joris Roelofs on bass clarinet and Doug Weiss on bass.

Check out his new music here: https://jochenrueckert.bandcamp.com/album/with-best-intentions and learn more about Jochen and his musical activities on his website: https://www.jochenrueckert.net/

Jochen Rueckert - With Best Intentions

1) Tell us about your latest recording!

I just released my 6th (jazz) album as a leader. It's called "With best Intentions" and features a quintet with tenor saxophone giant Mark Turner, Swiss/German trombonist Nils Wogram, Dutch bass clarinetist Joris Roelofs and NYC bass mainstay Doug Weiss. It's available at: https://jochenrueckert.bandcamp.com/album/with-best-intentions 

2) How did you choose your repertoire and sidemen?

Well I have been trying to get Mark Turner and Nils Wogram together for a long time; they have been the two main pillars of my musical life - Mark has been playing in my quartet for over a decade and I have been playing in Nils's bands since 1994 or so! Mark is my favourite living tenor player and Nils is pretty much the only trombone player that doesn't do any of the stuff that makes people hate the trombone so much. I wrote almost all the songs specifically for this band, except for two quite old ones that I resurrected for this. It was pretty hard gauging if this little run of concerts in Europe and the recording were going to happen during the pandemic or not, so when it was finally confirmed I found myself a few tunes short so I dug through some old stuff. Kind of nice - in a nostalgic kind of way - to play some older unfinished stuff - like sleeping with the high school girlfriend you only got to first base with back then - at your 10 year class reunion, but in a nice hotel you paid for with money you made playing drums which she thought was just a hobby back then.

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

After four albums with guitar, tenor, and bass I wanted to try something with 3 horns and without a chordal instrument. I don't know how to write for trumpet - alto saxophone is a terrible instrument - so out of the question - and I hear my melodies more in the range of a tenor or the trombone so extending lower to the bass clarinet came naturally, especially after hearing Joris play a couple of years ago. Bass clarinet is like modern jazz fairy dust - you can sprinkle it on anything and it makes it sound better. Kind of dangerous!

I wanted to keep things kind of simple, something I often try and fail at but I think this time I actually got close, or as close as I probably can.

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

Playing - pretty much any jazz drummer known from their work in late 50s and 60's is a heavy influence then many drummers I listened to a lot during my "formative years" - the 90s : Tain, Brian Blade, Hutch and Bill Stewart.

Writing - oh boy. Duke Ellington, Wayne Shorter, Monk, Herbie Hancock, Gershwin, Bird, Bud Powell. Not that you could tell lol.  Of course a lot of my peers - Kurt Rosenwinkel, Mark Turner, some of Nils's writing; many of the people I play with....like Sam Yahel, Brian Charette, Sean Wayland kind of...Some less obvious folks that I steal ideas from are Olivier Messiaen, Deftones, Midlake, and other rock bands.

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

Researching: mostly how to make my son do his homework without crying and expanding his culinary palette beyond four items.

Listening: tons of electronic music, new stuff mostly, rediscovering lesser known gems from the 60s: Duke Pearson, Ahmad Jamal, Harold Land, Bobby Hutcherson etc. Some fringe things like Car bomb, I like this droney organ music by Kali Malone. I listen to whatever comes out these days, you know, by the jazz youngins, and I do go see a lot of music at the Village Vanguard, Smalls, Jazz Gallery etc. Last night I caught a glimpse of Billy Hart listening to Al Foster in Peter Bernsteins's band !

I don't have much time to practice these days - when I do it's mostly maintenance/upkeep and expanding on some odd groupings and polyrhythmic things I've been working on over the years.

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

I play a lot with Fred Hersch and also piano trios with Henry Hey and Sam Yahel are back! I am doing less touring this year but am busy playing around NYC with many great musicians. I still program and perform electronic music under the alias "Wolff Parkinson White" https://wolffparkinsonwhite.bandcamp.com I have a tour with that in September. Not much jazz band leader things on the horizon, I've been a bit burnt by the booking process and am just now slowly digging out of the COVID hole. My quartet is still going though it's harder now as Mark has moved to California, Lage to Norway and travel has become very expensive.

7) How does the drums and your overall approach to rhythm factor into your compositions and concept?

Well after years of maybe overcompensating by writing things with many many chords I slowly have been pushing towards overall simplicity as I said before, though I still like to use little rhythmic devices like displacement (that song "Mark of the Beast" for example) or odd forms or meters, but much less than before. The older I get the more I realize swing is one of the main things that draws me to jazz so I have been putting a lot of emphasis on having material that swings. It's much harder to do than you'd think. It's very easy to get into iffy/cheesy territory and also easy to overachieve, leaving the band sounding uncomfortable.

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

I hear many amazing young drummers here in NYC, I mean just tons of very great young musicians overall. I sometimes I wish I'd hear more swinging music played by the younger musicians; it is one of the hardest things to do - especially as a drummer- and in my opinion maybe eschewed by many for that reason. It is sort of the litmus test, I feel like many musicians won't think of a drummer as great until they hear them play something swinging, or at least something that feels good otherwise.

Beyond NYC my advice for young drummers would be to play along with more records, play with as many people and better or more experienced musicians you can, and really find out what it is you like about the music you like and study that intensely. I would also like to remind many folks that nobody has to be a jazz musician and that it's maybe not the most rewarding or respected or practical job of all times. Maybe you're better at something that would be more useful.

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

Jochen Rueckert is a jazz drummer, composer, band leader, and Oxford Comma-enthusiast born in Germany in 1975, currently residing in New York City.

Besides a decade of touring with his own quartet with Mark Turner, Lage Lund, and Matt Penman, he is known for his work recent work in Melissa Aldana's and Fred Hersch's trios, the mid-2000 Kurt Rosenwinkel New Quartet, Nils Wogram's Root 70, 12 years of the Marc Copland trio, his electronic music programmed under the alias "Wolff Parkinson White", as well as his series of ebooks aptly titled "Read the Rueckert - travel observations and pictures of hotel rooms". Jochen's deliberate avoidance of formal music education, albeit initially for budgetary reasons, provides a great lack of erudite nonsense in his playing and writing. He's celebrating his 6th album as a leader, titled "With Best Intentions".

Tony Williams!

 
Thanks to Jeff Sulima who hipped me to this fantastic and extensive compilation of footage featuring Tony Williams circa. 1964-1994:

Here's a summary of everything found in this video and cheers to whomever took the time to put this together!

1 - Miles Davis Quintet - September 10, 1964 - Steve Allen Tonight Show 

2 - Miles Davis Quintet - November 7, 1967 - Stadhalle, Karlsruhe Germany 

3, 4 - Tony Williams Lifetime - June 17, 1971 - Paris, France 

5, 6 - Jean luc Ponty - August 1972 - Paris, France 

7 - Stan Getz - 1972 - Montreux Jazz Festival 

8 - Herbie Hancock 4tet - April 1981 - Chicago IL 

9 - Great Quartet feat. Dizzie Gilespie - August 1982 - Newport Jazz Festival Madarao, Japan 

10 - VSOP II - April 3, 1983 - Chicago, Park West 

11,12 - VSOP II - July 24, 1983 - Casino, Montreux, Switzerland. 

13, 14, 15, 16, 17 - Zildjian Days / Clinic - April, 28 1985 - Dallas, TX 

18 - Herbie Hancock - August 31, 1986 - Mt Fuji Jazz Fest 

19 - 21 - Tony Williams Quintet - November 3, 1987 - SUBWAY Jazz, Koln Germany 

22 - Tony Williams Quintet - July, 1988 - Umbria Jazz Festival, Perugia Italy 

23 - Tony Williams Quintet - August, 1988 - Mt Fuji , Japan 

24 - Tony Williams Quintet - March 17, 1989 - Burghausen, Germany 

25, 26, 27 - Tony Williams Quintet - March 25, 1989 - Theaterhaus, Stuttgart, Germany 

28 - Tony Williams Quintet - March 1990 - Blue Note Tokyo, Japan 

29, 30, 31 - Tony Williams Quintet - July 27 1990 - Antibes, France 

32 - Jan Hammer / Tony WIlliams Group - July 4, 1991 - Montreal Jazz Festival 

33 - 36 - Tony Williams Quintet - November 17, 1991 - Carrboro NC 

37 - Tony Williams Quintet - Feb 17, 1992 

38, 39 - Tribute to Miles - July 02, 1992 

40 - Tribute to Miles Davis - July 12, 1992 - North Sea Jazz Festival 

41 - A Tribute To Miles Davis - July 19, 1992 - Philharmonie im Gasteig, Munchen (Germany) 

42 - Zildjian Clinic - 1994 - Scotland

Four on the Floor *Live* on Instagram IGTV featuring Colleen Clark

 

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.

www.colleendrums.com

Melvin's Beat (drum solo)

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.

Four on the Floor *Live* on Instagram IGTV featuring Chad Anderson and Geoff Clapp

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.

Dannie Richmond - Melody from the Drums

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):

The Monday Morning Paradiddle - April 2023

And...we're back.

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)

Here's a review from SXSW (where it premiered) about Max Roach: The Drum Also Waltzes by Samuel Pollard and Ben Shapiro: https://www.austinchronicle.com/daily/screens/2023-03-13/sxsw-film-review-max-roach-the-drum-also-waltzes/

I don't think this is available for wider, general viewing or distribution quite yet but when it is, rest assured that you'll hear about it here!

Here's the official website and it looks like it will be shown across the USA in limited viewings over the next few months.

3. Congratulations to Kendrick Scott on his recent release on Blue Note records, Corridors.

Here's a feature and interview from wbgo.org: 

https://www.wbgo.org/music/2023-03-08/music-is-for-a-message-kendrick-scotts-lifelong-quest-to-be-of-service-to-others-and-himself

 

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:

Joe Chambers

Max Roach and M'Boom

Mel Lewis and Richard Davis

Roy Haynes

Art Blakey and Wayne Shorter

Jim Black

Mark Guiliana on Jim Black

Shelly Manne

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.

– Wayne Shorter and Herbie Hancock

(via www.herbiehancock.com)

As always, when the Masters speak...we listen.

Alvin Queen!

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:

https://newmorning.ch/index.php/component/allvideoshare/video/alvin-queen-on-drum?fbclid=IwAR3GZ5BrZdpmX8OQtCcrckLOs23hClnHiAu9aoUqoIyFhgfa2lkat18gzyE

• A drum solo excerpt filmed in Copenhagen circa. 1986:

• And a favourite and creative solo drum composition from his album Ashanti:

Louis Hayes - NEA Jazz Master

Congratulations to Louis Hayes on recently being named a NEA Jazz Master!

 

Here's a full-length interview from the National Endowment for the Arts:

https://www.arts.gov/honors/jazz/louis-hayes

...and a couple of favourite clips of mine featuring Louis Hayes in his element:

 

Freddie Waits 1987

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!

Heartbeat of a Nation

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.

Heartbeat of a Nation, Eric Janvier, provided by the National Film Board of Canada

Zildjian: A Tribute to Art Blakey

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.

As always, when the Masters speak....we listen.

Allison Miller - Melodic Imagination

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:

And to quote/paraphrase the great Roy Haynes:

"If you know the song, you'll never go wrong!"

- Roy Haynes (via Joe Farnsworth)

Steve Fidyk - Red Beats

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.

 

For more information about Steve Fidyk and his music, please visit www.bluecanteenmusic.com