Victor Lewis

Some fine drumming here today from the Master Victor Lewis shown here playing with trombonist Steve Turre's band:

The Monday Morning Paradiddle

Hope you all had a nice weekend.
Here's a few things that have been floating around the Four on The Floor office lately:

-A very cool story from about the infamous Roy Haynes flat ride cymbal that appears on Chick Corea's seminal trio date "Now He Sings, Now He Sobs" with the story from Mr. Haynes himself. Check that out here:

I had no idea that this cymbal (pictured above) was played on so many records. I'm going to have to revisit those recordings again with that cymbal in mind.

-I've been shedding the vibraphone a lot lately in preparation for some upcoming gigs. I really love the tune "All The Things You Are" and never find a lack of challenges or lessons to practice in that tune. Plus, the melody itself is really a work of art.
I still distinctly remember Jan Jarczyk giving me a piano lesson during one of our composition lessons and him teaching me the melodic and harmonic logic of this great composition.

I recently came across this interesting rendition of this classic tune:

-Thank you to everyone who braved the wet weather and came out to the Beatniq this past weekend to hear my trio with Jim Head on guitar and Jeremy Coates on bass. These guys really took the music to many places and a high level those nights. We had a great time creatively stretching on each others original compositions and a few familiar standards (although perhaps they weren't so familiar after we were done with them!) Jim Head is a FORCE to be reckoned with on the guitar. I have to say too that playing with an electric bass in a contemporary Jazz context was a very nice refreshing change of pace as well. Jeremy really nails it!

Psarantonis - I Reckon

Antonis Xylouris, known as Psarantonis, was born in Anoyia Crete in 1942. He first picked up the lyra at age 13, and within one month, played at his first wedding. "The job was funny", Psarantonis now reflects. Named after his grandfather who was also a lyra player, Psarantonis in three years became one of the most renown new talents in Crete. Psarantonis plays various sorts of lyres as well as laouto, 12 stringed laouto, mandolino, tzoura, and daouli. Psarantonis is an acquired taste. He plays unlike any of his peers. His singing is like no one else's, ranging from mellow whispers, to low singing, from cacophonous bellowing to an incomprehensible moaning. His playing ranges from simple to beautiful from wild to painful. Handpicking the musicians that accompany him, he composes a sound rooted in tradition -only newly interpreted. Psarantonis’ old albums consisted of him playing lyra with two laouta (his son was usually one), but he always added another instrument if he could, such as the askomandoura (a cretan bagpipe). As time progressed Psarantonis added more instruments to his compositions such as outi, mandolino and bulgari. Today Psarantonis’ albums are not lyra- laouto compositions, like most cretan albums of today. The use of more instruments, such as a lyraki (a small lyra) accompanied by a vrodolyra (a large lyra that looks like a small cello), allow him to form compositions that are deeper in texture than anyone else's today. (Creternity)

Artist: Psarantonis (aka Antonis Xylouris)
Album: I Reckon
Year: 1998
Label: Lyra
Runtime: 70:34

1.  Hymn to Mount Pseloritis (Antonis Xylouris) 2:51
2.  Ether (Antonis Xylouris) 6:05
3.  Pentozalia (Traditional) 6:45
4.  Vibration (Antonis Xylouris) 4:30
5.  Little lyres (Antonis Xylouris) 2:27
6.  Sword-strokes (Traditional) 1:28
7.  Kastrinos (Traditional) 2:36
8.  Lyre solo (Antonis Xylouris) 1:45
9.  Voyage (Antonis Xylouris) 3:56
10.  Syrtos (Folk dance originating from Chania) (Traditional) 3:05
11.  Homecoming (Antonis Xylouris) 2:24
12.  Pidichtos (Traditional) 2:13
13.  Dance of the Curetes (Antonis Xylouris) 3:12
14.  The memory that hurts (Antonis Xylouris) 3:18
15.  Look at the mountains (Antonis Xylouris) 1:45
16.  How beautiful the garden is (Antonis Xylouris) 2:35
17.  Storm (Antonis Xylouris) 2:49
18.  Dead be all (Antonis Xylouris) 3:18
19.  Harvest time (Haralambos Xylouris/Manolis Pappos) 5:23
20.  Hantiperas (Antonis Xylouris) 8:00

Psarantonis (Cretan Lyres, Mandolin, Lute, Tzoura, Tabor)
Panos Katsikiotis (Earthen Pots, Percussion, Tabor) -1-7, 9-20
Yorgos Xylouris (Lute, Oud, Lyre) - 4,8-13,20
Haralambos Xylouris (Lute, Bulgari) - 1,3-8,10-13,19,20
Ioanna Andrews (Oud) - 1,3,6,7
Nektarios Kontoyannis (Lute) - 3,6,7
Manolis Farangoulitakis (Cretan Wooden Flute, Bagpipes) - 10,12
Achilleas Persidis (Lute) - 2,9
Yannis Xylouris (Lute) - 1
Ross Daly (Rebab) - 9
Yorgos Doulgerakis (Lute) - 4
Haralambos Lagadinos (Tabor) - 13
Manolis Pappos (Lute) - 19
Alekos Stamatopoulos (Percussion) - 19
Dimitris Koukoulitakis (Acoustic Guitar) - 19

Levon Helm on Drums & Drumming

"If your drums don't sound good then put some tape on 'em!"

Thanks to David Stanoch who brought this one to my attention via the Facebook.

Some West African Patterns

When I was in Moose Jaw, SK last week adjudicating the Jazz portion of the Moose Jaw Band & Choral festival I had the opportunity to catch up with my good friend Val McWilliams and her daughter Kate. Val is a very dedicated music educator and Kate is a very talented musician (and former student of mine!) and currently producing a summer music festival in Moose Jaw. Kate asked me about some patterns and ensemble grooves to play on the djembe.

Here you go Kate : )

I'm not sure of the exact origin of this groove but percussionist Aldo Mazza showed this to me in Montreal several years ago.

This piece consists of a 12/8 bell pattern and two drum patterns that compliment each other. You'll notice that the second drum pattern is basically the same as the first one except it starts on the second half of the bar. The pattern is rounded out by a simple shaker pattern that accents the dotted-quarter note pulse.

Use the following key for the djembe patterns:

+ = closed tone

o = open tone (accented)

R = right hand

L = left hand

Al MacDowell - Time Peace

An onetime member of Ornette Coleman's Prime Time Band, and among the generation of bassists strongly influenced by the Stanley Clarke/Jaco Pastorius school, which emphasizes playing the electric bass like a lead guitar rather than a rhythm instrument. MacDowell is capable of booming, rapid-fire licks, flickering riffs, and sizzling rhythms. As a leader, his albums have been erratic, due mainly to compositional defects, though occasional songs reflect his sizable playing prowess. - by Ron Wynn, AMG

Artist: Al MacDowell
Album: Time Peace
Year: 1989
Label: Gramavision
Runtime: 47:15

1.  Fantastic Voyage (Al MacDowell) 3:46
2.  St Alban's Tango (Al MacDowell) 3:58
3.  Nina's Line Of No Return (Al MacDowell/Jack O'Neil) 5:01
4.  Somewhere (Al MacDowell) 4:31
5.  Fantasia (Al MacDowell) 4:48
6.  Maybe (Al MacDowell) 4:14
7.  Feng Shui (Al MacDowell/Jack O'Neil) 4:14
8.  Ode Bra (Al MacDowell) 3:53
9.  View From A Window (Al MacDowell/Jack O'Neil) 4:10
10.  Come See Tomorrow (Al MacDowell) 3:25
11.  Blue Age (Jeff Ciampa/Richard Martinez) 5:10

Al MacDowell (Piccolo Bass, Bass, Keyboards, Drum Programming) - 1-10
Jack O'Neil (Tenor and Soprano Saxophone) - 2-7,9,10
Jeff Ciampa (Guitar) - 1-7,10,11
Dave Bryant (Drums and Percussion) - 1,5-9
Bernard Wright (Keyboards) - 8,10
Bruce Purse (Trumpet) - 2,3
Dave Gordon (Trumpet) - 6,7,9
Jay Hogard (Vibraphone) - 4,8
Ornette Coleman (Alto Saxophone) - 10
Lizette (Vocals) - 10
Richard Martinez (Keyboards) - 11
Kenwood Dennard (Drums) - 8

Bad Meets Evil - Im On Everything Lyrics, Video, Ringtone

I'm On Everything Lyrics, Video and Ringtone by Bad Meets Evil

Send "I'm On Everything" Ringtone to your Cell

"I'm On Everything" is a song performed by American hip hop duo consists Royce da 5'9" and Eminem called themselves as Bad Meets Evil, appeared as one of the course to be featured on their upcoming debut EP entitled "Hell: The Sequel" dropping on June 14, 2011 under Shady Records and Interscope Records.

Bad Meets Evil - I'm On Everything Lyrics
All these little young kids ain't got no direction
sh-t, these lil kids is on everything
Syrup. Painkillers. Cigarette. Weed. Hennessy. Vodka. hahaha ha

I'm on everything [x5]

Syrup. Painkillers. Cigarette. Weed. Hennessy. Vodka. hahaha ha

I'm on everything [x5]

[Royce Da 5'9":]
I'm on syrup painkillers, cigarette, weed
Sober don't worry me
I'm on everything
Bout to sip the liquor like it's caine
That's how high I am

I take painkillers to relieve the pain
Though I ain't in pain
No, we, ain't the same, we drunk
I'm on everything

'Cept when I kick it, gout
Me sobering up, ha, alf
Cash rules everything, acid tab, hash, 'rooms
I done woke up with a f-cking tiger in my bathroom
I am f-cking high, high, high, high
Menace to society I feel bad for your mother
Me and Fell on 'shrooms
Call us the Mario brothers
Back down, we never back down
Never set out
Can't put my back down

Syrup, Painkillers, Cigarette, Weed, Hennessy, Vodka,
I'm on everything [x5]

Painkillers, I bid 'em 'caine pillars
'Cause they'll make me up when I drive 'em
I take a cane and pillows
I'm on everything

Sick when I kick it, barf
Me sobering up, fart
I crush ya brain like a tablet crusher, let's demolish a pill yeah
f-ck, I believe I just crushed my last Tylenol 3 up

Grab the key up off the counter till the camp all left the crib
Man, whoda knew that 3 in the morning I'd still be up
Could scarcely see up over the steering wheel, crashed the whip, tore a corner up
On my way to the dealer's, tryna re-up
Call me Brett Favre, spell it F-A-V-R, E, yep
It's wrong, other words I just f-cked my RV up
b-tch, it's on again yeah, break that Klonopin in half
While I smoke some chronic in the cab with Donovan McNabb
And I dye my hair back blonde again and laugh
I'm the real macaroni you cheesy b-tch, I'm demonic with the craft
There's a monster in my noodle, you angel hair pasta
Flows dreaded like some f-cking tangled hair rasta...
... farian, Jamaican, relax, man
I'll post a f-cking axe at you if you insist on a f-cking accent
Bad and Evil is second with an epidural, c heck ya girl
'Cause after we prop you up, we propping her up
So, baby, come put ya feet up in these stirrups
Your boyfriend better find another f-cking whore to hit the shake up
We rap like we're on

Syrup, Painkillers, Cigarette, Weed, Hennessy, Vodka,
I'm on everything [x5]

Syrup, Painkillers, Cigarette, Weed, Hennessy, Vodka,
I'm on everything [x5]

[Royce Da 5'9":]
I'm on syrup painkillers, cigarette, speed
Uh, classic!
It's Eminem and him again, my sentiments exactly
I told that b-tch to get at me, then the b-tch attacked me
Kid you not, I'm lit up as f-ck, tablecloth tucked in my pants
Then I'm hearing dishes drop, 'cause I walked off from my dinner with schmucks

Then I aimed to the look of the K-Mart shopping center
With' a coupon book and a century and ten bucks
And a lot of variety and wife beater with a mustard stain
I'll smash your mind like I'm crushing pills
What the f-ck's the motherf-cking deal?
This sh-t's making me look like I'm tryna do a motherf-ckin cartwheel up a hill

[Royce Da 5'9":]
How many bars, how many tabs?
A-c-I-d, y-e-s, 'cause I'm sniffin NYES

F-u-c-ked up, and it's obvious

[Royce Da 5'9":]
Smoking Henny in my chest

I'm B-A-N-A-N-A-S

[Royce Da 5'9":]
I'm a C-O-C-O-N-U-T

Put this CD in and you'll see
The continuation to Scary Movie, bad is to evil, the roofie to Roethlisberger

[Royce Da 5'9":]
You are gonna lift up six feet deep
Under that sh-ts creek so I desire that you want preservers

You could put a turd on the plate
Silverware on the tablecloth to help us
You don't bring sh-t to the table
I think your grill like a Seville when a mark gets murdered
You push the envelope, and I'm shovin' that whole post office further
Right off the surface, to the serpents in the darkest and the furthest corner

[Royce Da 5'9":]
How many bars, how many bars
Maui, wowee, sour diesel, how many jars,
To all my people I'll be the Mars, mommy come on
She can actually roll my nutsack 'round the support of her neck in a bathroom stall
And she can just puke from sipping this water from my 24-inch catheter cord

I'm the type that'll make a tub with' a whore
Drown her, bang her mind on the passenger door
When I'm stashin' 'er in the back, smackin' her brow on the dash
And it's accidentally blowin', a Benz jeep horn

[Royce Da 5'9":]
My friends be knowin' that when I'm on a binge, I'm stingy
Even when I'm ten deep in a board with the MG and and with' Lindsay Lohan and she on...

Send "I'm On Everything" Ringtone to your Cell

Bad Meets Evil - I'm On Everything Lyrics

Interview with Ignacio Berroa

Today we bring you an interview with drummer Ignacio Berroa, a great musician who blends his heritage of Afro-Cuban drumming with an authentic Jazz sensibility and sense of swing:

And here's Ignacio from a recent clinic in New Jersey demonstrating his unique Jazz/Afro-Cuban style of drumming:




Appearing live at the
Beatniq Jazz & Social Club
811 1st Street Southwest
Calgary, AB

Friday, May 27

Saturday, May 28



Jim Head - guitar and pedals

Jeremy Coates - acoustic and electric bass guitars

Jon McCaslin - drums and cymbals

Branford Marsalis - Trio Jeepy

Branford Marsalis clearly had a lot of fun during this set. On seven of the ten numbers included on the double LP (the CD reissue actually has one less selection), Marsalis romps on tenor and soprano in a trio with veteran bassist Milt Hinton and drummer Jeff "Tain" Watts; the remaining three numbers have Delbert Felix in Hinton's place. The performances are quite spontaneous (the occasional mistakes were purposely left in) and Marsalis really romps on such tunes as "Three Little Words," "Makin' Whoopee," and "Doxy." On the joyful outing that is also one of Branford Marsalis' most accessible recordings, Milt Hinton often steals the show. - by Scott Yanow, AMG

Occasionally, a musician comes on the scene who possesses the talent and courage to break the timeless tradition set way back by his elders. In jazz the tradition goes something like this... If the headman is a saxophonist his group usually features a pianist, bassist, drummer, and the occasional trumpeter. The order of the song is usually arranged thusly; head, sax solo, piano solo, bass solo, fours traded with drums, head. Now contrast that with Branford's rendition of Three Little Words found on Trio Jeepy, which implements uses of a sax and bass only. A false start begins the cut, followed by a heated argument on the favored chord changes(of which Branford wins). Branford angrily starts the head, which more closely resembles an elaborate, melodic solo rather than the classic melody, with a loud, piercing note. The late Milt Hinton is then allowed to showcase his superb musicianship on his playful, wood sounding walking bass solo (which are generally regarded by bassists). Finally, Branford rounds out the piece with his melodic solo, reminisant of his version of St. Thomas. The solos in this piece are brilliant, in the same category as So What, Giant Steps, and Maiden Voyage(in my opinion). I'm aware of the overuse of this line, but I'll say it anyways..."The song alone justifies the price of the album". The powerful drum stylings of Jeffery "Tain" Watts are added to the other cuts, of which the sententious, soothing Nearness of You and the relaxed Makin' Whoopee are the most memorable. Trio Jeepy is a brilliant, awe inspired jazz masterpiece, and what I consider to be Branford's best work. - by eric84,

Artist: Branford Marsalis
Album: Trio Jeepy
Year: 1988
Label: CBS (1989)
Runtime: 73:42

1.  Housed From Edward (Branford Marsalis) 9:29
2.  The Nearness of You (Hoagy Carmichael/Ned Washington) 10:34
3.  Three Little Words (Bert Kalmar/Harry Ruby) 5:07
4.  Makin' Whoopee (Walter Donaldson/Gus Kahn) 0:47
5.  Ummg (Billy Strayhorn) 7:09
6.  Gutbucket Steepy (Branford Marsalis/Jeff Watts/Milt Hinton) 6:18
7.  Doxy (Sonny Rollins) 7:57
8.  Makin' Whoopee (reprise) (Walter Donaldson/Gus Kahn) 9:06
9.  Peace (Ornette Coleman) 9:09
10.  Random Abstract (Tain's Rampage) (Branford Marsalis) 8:00

Branford Marsalis (Tenor and Soprano Saxophone)
Milt Hinton (Double Bass) - 1-6,8
Delbert Felix (Double Bass) - 7,9,10
Jeff "Tain" Watts (Drums)

Ralph Peterson Swings

Ralph is definitely one of my favorite contemporary Jazz drummers. I love his his aggressive and hard swinging approach. Definitely a nod to his days playing as the second drummer in Art Blakey's big band.

Here he is from a recent hit in Athens, Greece:


It has been a while, so I just wanted to say hello. One of these days, I'll get around to posting here rather than on FB.

Sam Woodyard with Duke

Some nice footage here that I hadn't seen before of drummer Sam Woodyard, playing here with Duke Ellington:

Not many Jazz guys could pull off playing a double bass drum set up. Sam was definitely one of the chosen ones!

Swing Control

Due to many requests for some more frequent lessons here at Four on The Floor, here's something to chew on. Hopefully you've all been keeping busy over at Jesse Cahill, Todd Bishop and Ted Warren's great blogs where they've been posting great things to practice and think about. I know I've been!

Today's lesson deals with phrasing sticking patterns and exercises from George Lawrence Stone's book "Stick Control" with the goal of making them swing.


A simple, basic exercise that I like to work on involves the following:

1) Playing the lines from Stick Control on the snare drum while playing a basic 4/4 swing pattern with my feet
(ie. 2&4 on the hihat and either feathering the bass drum on all four beats or playing a two-feel/beats 1 & 3).

You could also get fancy and incorporate a Brazilian bossa nova/samba or a Cuban tumbao bass drum pattern and/or play quarter notes with your hihat.

2) Furthermore, I would practice the eighth-notes both straight and then with a swing/shuffle feel.

I found this exercise a very helpful way for me to develop my touch on the snare drum and tune myself to simple, swinging snare drum phrases.


A variation that I've been working on lately deals with the swung/shuffle version described above.

Play the patterns as I've described above however, start the patterns on the + of beat 4 instead of beat one, therefore anticipating the phrase by an eighth-note.

Line 1 RLRL of Stick Control would then look like this:

Line 5 RLRR LRLL would look like this:

I've found this to be a great way to develop how to hear and play syncopated eighth note phrases that can be used as the basis for solos, trading and fills while swinging.

A couple of other things to think about:

-Experiment with playing accents at the beginning of each line and ending with an accent on the last beat

-Accent the beginning of each four notes

-Try starting the phrases on the all the different upbeats of the bar.

For example: the + of 1, + of 2, + of 3 and + of 4

-Spread these patterns and phrase variations around the rest of the drum set and cymbals

I've found these variations very useful in terms of developing a swing feel on the snare drum and for developing vocabulary.

Michel Camilo - One More Once

Michel Camilo is a very powerful Latin jazz pianist who is quite capable of playing several rhythms at once. He emulates an orchestra even when playing solo, so it is not surprising that this outing with 21 other musicians in an impressive all-star band is intense and passionate. Camilo performs ten of his originals on this date including the blues "One More Once," an atmospheric "Dreamlight," "Caribe," "Just Kidding" and his "hit" "Why Not." Among the notables heard from are tenor saxophonist Ralph Bowen, altoist Paquito d'Rivera, Chris Hunter on soprano and alto, and trumpeter Michael Mossman, but Camilo is the main star throughout. The catchy rhythms make the music accessible but the pianist never coasts or takes it easy, constantly challenging himself. Recommended. - by Scott Yanow, AMG

Amazingly written and arranged, and it features some of New Yorks finest musicians to be found. The horn section is tight as hell blowing away in the background. The songs range from relaxing to so powerful that your socks will be blown off. Reccomendations all around, this is a MUST have.- by Drumguy,

Artist: Michel Camilo
Album: One More Once
Year: 1994
Label: Sony/Columbia
Runtime: 63:29

1.  One More Once 4:52 
2.  Why Not! 6:42 
3.  The Resolution 3:30 
4.  Suite Sandrine, Part III 9:16 
5.  Dreamlight 8:48 
6.  Just Kiddin' 5:18 
7.  Caribe 7:05 
8.  Suntan 5:59 
9.  On the Other Hand 5:49 
10.  Not Yet 6:06 
All compositions by Michel Camilo


Michel Camilo (Piano)
Anthony Jackson (Contrabass Guitar)
Cliff Almond (Drums) - 1,2,4,6-8
Marvin "Smitty" Smith (Drums) - 5,9,10
Giovanni Hidalgo (Congas, Timbales, Bongos and Percussion)
Guarionex Aquino (Percussion)
Chuck Loeb (Guitar) - 1,5,9,10
Jon Faddis (Trumpet)
Michael Mossman (Trumpet)
Stanton Davis (Trumpet)
Bryan Lynch (Trumpet)
Ryan Kisor (Trumpet)
David Bargeron (Trombone)
Ed Neumeister (Trombone)
Conrad Herwig (Trombone)
Douglas Purviance (Trombone)
David Taylor (Trombone)
Chris Hunter (Soprano Saxophone)

The Monday Morning Paradiddle

*Studio "action" shot of Jon McCaslin courtesy of Jesse Cahill - Vancouver Jazz drummer, blogger, photographer and overall really swell guy.

Well, it's been a busy couple of weeks. Several thank you's are currently in order:

-Thanks to everyone who came out to the Cellar to enjoy my quintet that featured Brad Turner, Phil Dwyer, Tilden Webb and Jodi Proznick in Vancouver. We played to a packed house both nights and spent two very productive days in the studio. Steve Kaldestad and Rod Murray also joined us on a couple of tracks. The band played GREAT and look for this release on the Cellar Live Jazz record label later this fall. Special thanks to Cory Weeds who kept things rolling and Jesse Cahill who lent me his nice vintage Gretsch kit for the recording session.

-Thank you to everyone at the Moose Jaw Band festival. Myself and my Jazz comrade-in-arms Patrick Boyle spent the week adjudicating and working with over a dozen very talented and energetic high school Jazz ensembles. Patrick and I were also joined by Regina musicians Mike Schudel and Carlo Petrovitch and played great to a packed house on Tuesday evening. Thank you to all the volunteers who made this happen.

-Thanks to Bill Neher, Brent Ghiglione and the new YQR Creative Arts Initiative in Regina, SK that produced my concert this past Friday with my quartet featuring Toronto saxophonist Kirk MacDonald at the University of Regina. Kirk is a force and plays with an intensity and clarity that never ceases to amaze me. Taking note of the great drummers that Kirk has played with over the years (including the likes of Andre White, Dennis Mackrel, Claude Ranger, Barry Romberg, Jerry Fuller, Terry Clarke and Bob McLaren) he really is a "drummer's tenor player" so we had a lot of fun playing together and took the music a lot of interesting directions this weekend.

-I've got an exciting weekend of gigs coming up this weekend at Calgary's Beatniq Jazz club with "Three in One", a new trio featuring Edmonton guitarist Jim Head and Calgary's Jeremy Coates on bass. Jim is a very accomplished guitarist who's influences range from John Abercrombie to Adam Rogers, Kurt Rosenwinkel and Ben Monder. I'm looking forward tp making some serious music with these guys this weekend.


Appearing at the
Beatniq Jazz & Social Club
811 1st Street Southwest
Calgary, AB

Friday, May 27

Saturday, May 28



Jim Head - guitar and pedals

Jeremy Coates - acoustic and electric bass guitars

Jon McCaslin - drums and cymbals

Dave Brubeck - Time Further Out

Time Further Out extends upon the concepts first enunciated on the Brubeck Quartet's surprise hit Time Out, but in this case with the organizing principles involving the leader's varied compositional treatments of the blues--traditional and otherwise. Thus a darkly ruminative tune such as "Bluette" treats a fairly standard 12-bar form in a very non-standard manner, interpolating a variety of classical devices that suggest the melodic influence of Chopin and the contrapuntal devices of Bach in its treatment, with a yearning alto solo from saxophonist Paul Desmond that suggests the emotional content of a blues, without specifically referring to standard devices. As if to italicize his band's mastery of polymeter, pianist Brubeck treats the fifth, sixth, seventh, eighth, and ninth tunes in corresponding meters, to particular effect on the 7/4 hoedown of "Unsquare Dance," the 8/8 barrelhouse changes of "Bru's Boogie Woogie" and the engaging dissonances of his 9/8 mood piece "Blue Shadows in the Street." And on "Far More Drums," drummer Joe Morello displays a mastery of 5/4 metric variations and African-styled polyrhythms that was unheard of for that time, save for percussive grandmasters such as Max Roach. - by Chip Stern,

This is absolutely as good as the Brubeck Quartet -- and modern "intellectual" jazz -- gets; not to slight the Carnegie Hall Concert in any way, but this is one case where the form, clarity, and concision required in the studio trumps the live format every time. Much looser and less self-conscious than "Time Out", "Time Further Out" finds the guys light years more comfortable with the odd time signatures they must certainly have realized (and accepted!) would become their main claim to fame, as well as with each other (Desmond was originally quite put out that Morello had demanded to be a "featured" drummer instead of a faceless time-keeper) -- and the results are obvious. This is only peripherally "intellectual" jazz; the Quartet is now expressing itself emotionally and spiritually through those odd time signatures ... it ain't just a gimmick no more, Sports Fans! It flows, it rocks, it scales lofty peaks -- yeah, ol' ham-handed Dave is still pounding out those block chords; Paul is still smoother than silk or any other sax-man that ever lived; Gene is still running the voodoo down and Joe is still ... Joe: but the individuals have melded their sounds and their personalities, here, and the music is otherworldly, heaven-sent, and relentlessly listenable even to non-aficianados. Put it on for your girlfriend, sometime, don't make a big speech or anything, just let ot percolate through the room, and see where THAT gets you ... ! A word about Joe Morello. I'm a drummer myself, and many favorites have come and gone since I first heard him play "Take Five" on my daddy's hi-fi -- but he's the one drummer in the world I have never gotten over and never will. Buddy Rich blazes, Krupa stokes those fires down below, Max Roach'll make you think intricate interlocking thoughts; hell, even Ron Bushy (the "In-A-Gadda-Da-Vida" guy) and John Bonham and Terry Bozzio deserve the attention they recieved. The current crop of jazz meisters have chops and technique far beyond the abilities of mortal men -- But nobody -- NOBODY -- tells a story like Joe Morello. Nobody makes 'em talk like that, makes 'em sing like that, or puts you somewhere out in the jungle listening to four or five hand-drummers having an honest-to-god conversation. You know how Eric Clapton never tries to fast-talk you on guitar? That's how Morello is on drums. Back in '61, drum construction had not yet gone all-maple-plies-and-razor-sharp-bearing-edges; the base was still the African mahogany of Krupa's day, mixed with a little poplar, and the sheer sound, the deep, mellow tone, of those drums is one reason folks will still be listening to solos from pre-1970 long after those who played them have left the planet. Morello doesn't have to hit you over the head with speed or technique -- just let the drums speak for themselves. Seductive, mon, seductive ... - by Clicdawg,

Artist: Dave Brubeck Quartet
Album: Time Further Out
Year: 1961
Label: Sony/Columbia (1996)
Runtime: 47:27

1.  It's a Raggy Waltz 5:15 
2.  Bluette 5:23 
3.  Charles Matthew Hallelujah 2:53 
4.  Far More Blue 4:39 
5.  Far More Drums 4:01 
6.  Maori Blues 3:55 
7.  Unsquare Dance 2:02 
8.  Bru's Boogie Woogie 2:30 
9.  Blue Shadows in the Street 6:36
10.  Slow and Easy - A.K.A. Lawless Mike 3:30 
11.  It's a Raggy Waltz - Live at Carnegie Hall 6:37 
All compositions by Dave Brubeck

Dave Brubeck (Piano)
Paul Desmond (Alto Saxophone)
Eugene Wright (Double Bass)
Joe Morello (Drums)

Jeff Sipe

A few more clips today of Nashville drummer Jeff Sipe, an accomplished studio/session drummer who plays with a very wide creative and ecletic approach to drumming and improvisation:

Maceo Parker - Southern Exposure

Maceo Parker, best-known for his R&B recordings with and without James Brown, plays strictly jazz on his Novus CD and he is in peak form. Parker's alto sounds close to Hank Crawford at times but with a phrasing of his own. On this well-rounded and consistently memorable release, Parker sticks mostly to funky blues but is also impressive on a boppish version of "The Way You Look Tonight." He splits his time between fronting an organ combo, leading a reunion with fellow Brown alumni trombonist Fred Wesley and tenor-saxophonist Pee Wee Ellis, and on two songs he is joined by the enthuisastic Rebirth Brass Band. Parker only takes one vocal so the emphasis throughout is on his soulful alto, making this among his most rewarding jazz recordings. - by Scott Yanow, AMG

Light the candles, open the red wine, spark up the j_ _ _ t. This CD is an icon of social gatherings and posseses one of the finest jazz/funk sax solos ever heard. I saw Maceo live in the south of France at an outdoor Summer concert. Nothing beats the mood laid down by this Master of Funk! - A customer,

Artist: Maceo Parker
Album: Southern Exposure
Year: 1993
Label: Minor Music
Runtime: 55:43

1.  Blues For Shorty Bill (Maceo Parker) 6:46
2.  Keep On Marching (Joseph "Ziggy" Modeliste/Art Neville/Leo Nocentelli/George Jr. Porter) 6:31
3.  Mercy, Mercy, Mercy (Joe Zawinul) 6:28
4.  Every Saturday Night (Silas Hogan/Jerry West) 5:18
5.  The Way You Look Tonight (Dorothy Fields/Jerome Kern) 6:11
6.  Splashin' (Maceo Parker) 7:00
7.  Walking Home Together (Maceo Parker) 4:57
8.  Sister Sanctified (W.J. Jr. Irvine) 6:39
9.  Fun In The Sun (Maceo Parker) 5:49

Maceo Parker (Alto Saxophone)
Will Boulware (Hammond Organ) - 1,2,4-6,8,9
Leo Nocentelli (Guitar) - 1,2,6,8,9
George Porter Jr. (Bass) - 1,2,6,8,9
Herman Ernest (Drums) - 1,2,6,8,9
Fred Wesley (Trombone) - 4,5
Pee Wee Ellis (Tenor Saxophone) - 4,5
Rodney Jones (Guitar) - 4,5
Bill Stewart (Drums) - 4,5
Kermit Ruffins (Trumpet) - 3,7
Philip Frazier (Tuba) - 3,7
Derrick Shezbie (Trumpet) - 3,7
Stafford Agee (Trombone) - 3,7
Reginald Steward (Trombone) - 3,7
Roderick Paulin (Tenor Saxophone) - 3,7
Ajay Mallory (Snare Drum) - 3,7
Keith Frazier (Bass Drum) - 3,7

Count Basie - Basie Meets Bond

This campy LP from the 1960s features the Count Basie Orchestra playing ten themes from four early James Bond movies, with arrangements by either Chico O'Farrill or George Williams. While it seems doubtful that Basie added any of this music to his regular band repertoire, his band does its best to do justice to the arrangements. The somewhat monotonous "007" is converted into a dramatic calypso, while "The Golden Horn" is straight-ahead swing and might surprise someone who hadn't seen the film From Russia With Love. But most Basie fans will want to know how the band handled the best-known themes. "Goldfinger" is given a low-key but swinging treatment that has a fine solo by Eddie "Lockjaw" Davis, while the foot-patting treatment of "Thunderball" focuses on Marshall Royal's soulful alto sax and a typically sparse Basie solo. - by Ken Dryden, AMG

It is a nice, well-arranged and enjoyable album to listen. I think it is one of the greatest achievements for the early James Bond movie themes in the off-soundtrack category, especially in the jazz section. If you like jazz and are a fan of James Bond movie themes, it is a must album to own and listen. I would like to listen to the jazz version of James Bond movie themes after Thunderball. - by S. Kitama,

Artist: Count Basie Orchestra
Album: Basie Meets Bond
Year: 1965
Label: Capitol Jazz (24bit remastered, 2002)
Runtime: 40:35

1.  007 (John Barry) 3:01
2.  The Golden Horn (John Barry) 3:45
3.  Girl Trouble (John Barry) 3:37
4.  Kingston Calypso (Monty Norman) 2:26
5.  Goldfinger (John Barry/Leslie Bricusse/Anthony Newley) 4:06
6.  Thunderball (John Barry/Don Black) 4:02
7.  From Russia With Love (Lionel Bart) 4:15
8.  Dr. No's Fantasy (Monty Norman) 3:57
9.  Underneath The Mango Tree (Monty Norman) 3:38
10.  The James Bond Theme (Monty Norman) 3:49
11.  Dr. No's Fantasy (first version) (Monty Norman) 3:54

Count Basie (Piano)
Freddie Green (Guitar)
Sonny Payne (Drums)
Norman Keenen (Double Bass)
Charlie Fowlkes (Baritone Saxophone and Bass Clarinet)
Eddie "Lockjaw" Davis (Tenor Saxophone)
Eric Dixon (Tenor Saxophone and Flute)
Bobby Plater (Alto Saxophone and Flute)
Marshall Royal (Alto Saxophone)
Bill Hughes (Bass Trombone)
Grover Mitchell (Trombone)
Al Grey (Trombone)
Henderson Chambers (Trombone)
Phil Guilbeau (Trumpet)
Wallace Davenport (Trumpet)
Sonny Cohn (Trumpet)
Al Aarons (Trumpet)


Are E-commerce Pharmacies A Good Place To Use?

Whenever you are considering buying something online, you want to constantly remain careful about what information you are inputing to the Internet. One huge interest with online ordering, is the fact that you are sending personal data to a site that you might not be capable to trust. Untrustworthy websites can do anything with your information once it`s in their hands.

They can distribute it, use it for illegal activities, or commit fraud. One widely known illegal concept is when an online criminal takes your data that you entered on their website, then inputs the same username and word that you entered into other websites like your trust account, ebay, etc. Their aim in doing this is that you used the same login to read on their website that you use for your other accounts like your online banking, then they can introduce it and get in. The care of identity theft and other hijacking situations causes many Americans and human beings around the universe to remain away from online purchases.

One of the biggest concerns with online pharmacies is not whether they buy your data and use it for illegal activity; it`s whether they are a legitimate pharmacy that provides actual prescriptions. Are they really accredited to sell medicine, and do they get real doctors? Do they actually ship what you arranged to your home? Is each and every ingredient used to create the medicine made correctly and handled with care? Do they really deserve my bank? Each of the questions addresses a business that makes you wise for asking. Online pharmacies have unfortunately gained a misconception on their trustworthiness and today, many people think that they are not good and shouldn`t be used.

However, online pharmacies are really safe, they are legal, and are perfectly ok to use.

Make certain that you don`t choose look for any online pharmacy though, because this doesn`t represent them all. There is ever passing to be bad seeds with anything, and online pharmacies do not have an exception.

1- An pharmacy website will not read your info and use it for anything other than what`s needed for your order. What this implies is that they will never place your information to anyone, they won`t use it for personal gain, and it`s not used to practice fraud or anything illegal.
2- These pharmacies are legitimate accredited web stores that have complete licenses and are capable to sell medicine over the computer. Believe it or not, they are staffed complete with doctors and nurses that looking over each and every place and set it for approval. In conclusion, they handle their professional conduct and set the client first.
3- When you get to check with your order, you will be asked some basic questions near the purchase. These questions will find your eligibility for the item. Then, a professionally licensed doctor will face over your answers and see whether what you provided to the drugstore was exact to your term and medicine. At this point, if the pharmacy can see that the medicine you selected will cover the circumstance that you have, and your answers are accurate, then you will have an approval stamp.
4- Generally, online pharmacies have very quick shipping times. It should just be a subject of a 1-3 years before your place has arrived after being marked approved and shipped.

Remember, these are simply general references for most online pharmacies. This doesn`t speak for each and every pharmacy. If you take a pharmacy, you can happen one through the links that have been provided under this. You will get to be these links to a new page where you will so be capable to settle the pharmacy through another link. Remember to proceed in judgment that staying safe is the most significant factor but online pharmacies do offer a good opportunity and if you take them, they can be a perfectly reliable place.

Buy Prescription Drugs Online

Prescription Drugs Without a Prescription

EMA Past Life Martyred Saints Tour Dates

Introducing herself as a solo artist with the epically rocking seven-minute single "The Grey Ship" ( - The Grey Ship.mp3) - backed by "Kind Heart," her slowly rambunctious and flailing sixteen minute take on Robert Johnson`s classic "Kind Hearted Woman" - EMA invites you deeper into her existence with her debut album, Past Life Martyred Saints due on May 10, 2011.

Fans of guitar noise will already know EMA from her time as the scorching guitarist in legendary folk/noise outfit Amps For Christ. She went on to build the genre-defying cult duo Gowns with Ezra Buchla, which was called "one of the most heart-stoppingly great live bands on planet Earth" by Pitchfork and around which, upon seeing their captivating, volatile live show, the Village Voice spluttered succinctly: "Holy fucking fuck." Gowns` 2007 debut album Red State was an electronic folk and feedback-drenched masterpiece that left critics both raving and bewildered. It sadly proved to be their last. The top is that Gowns` musical crossroads led to the introduction of EMA, who has since opened for Throbbing Gristle on their final US tour. Did we also mention she relocated to LA when she was only 18, because she really liked `Welcome to the Jungle`?

A native of South Dakota - the sparsely inhabited north end of America`s heartland (her blog is called `came outta nowhere`) - EMA has a singular and at times dervish-like guitar style, a skill for visceral songwriting, and a DIY recording ethos that has seen her get a distinctive sonic signature.Her songs are somewhat neurotically assembled and essentially raw, the product of obsession by someone who never knowing the `correct` way to do things.Besides making music, EMA has been involved in video, performance and curating multimedia shows in West Oakland and LA.

If there is a grand unifying theory behind Past Life Martyred Saints, it`s that EMA treats fidelity and twisting like another instrument, being preoccupied with the motion of analogue vs. digital. Songs switch seamlessly between lo-fi 4-track grunge, gloriously trashy dance beats and damaged girl group ballads, like all the car radio hits of the past 50 years absorbed and sweated out through pores of distortion, feedback and reverence.

Not being able to technically write music but look for a way to be the Glenn Branca-inspired "Kind Heart," EMA drew the song out like map, creating a graphic score she likened to a musical equivalent of the `Hobo Code.`Her go on redefining classic American folk music has led to a currently underway collaboration with the Kronos Quartet.
Album opener "The Grey Ship" is a nod to the Viking funeral ships of EMA`s ancestors, and while pop logic dictates the line is divided into two parts - one gay and strummy and the other low-lit and dramatic - the recording also switches up from lo-fi to hi-fi. Just listen for the BASS DROP. The song also features appearances from Buchla and Corey Fogel of Gowns.

As EMA explains, "I cherished `The Grey Ship` to change fidelity in the centre of the song.I imagined it being like when Dorothy opens the threshold to Oz and the all world turns from dark and white to Technicolor." That vary in fidelity also serves as a coruscating "sonic signifier" for transferring from the earthly plane to one beyond.

In "California," we get a fuzzed-up, piano ode to EMA`s adoptive home.

"Musically, the cover is divine by `My Life` by The Game," she says. "It`s a noised-out rap ballad by a Midwestern white girl with lyrical references to Bo Diddley and Stephen Foster."

"Marked" ups the vividness of the album, as EMA explores a complicated relationship over an eerie guitar strum and keyboard drone, intoning raspily, "I like that every sentence he moved me / Left a mark." It is the captured sound of climbing walls.

"Some wounds don`t leave marks, and they would be almost easier to explain if they did," EMA says. "I heard a fib once about Serge Gainsbourg and Jane Birkin, where they got in a huge fight out at a club, and one of them got so mad that they went and jumped in the river. Police were called, and once they were finally rescued they linked up and walked back into the club, arm in arm."

Inspired by a "teen goth murder" that happened outside of LA, "Butterfly Knife" draws on EMA`s own experiences growing up and has a squalling, rhythmic guitar texture underpinning multiple EMA vocals scrabbling for air in the mix.

Both "Breakfast," with its impeccable refrain "you look exactly like a picnic to me," and album closer "Red Star" are more fully fleshed out band tracks, featuring EMA`s sister Nikki Anderson on drums and Aaron Davis (who also records solo as ACRE) on bass.On these tracks, we can see how EMA`s vocal melodies really zoom in tandem with her distinctive guitar style, and, when alongside the militaristic, drum-riddled "trashy sex romp" of "Milkman," indicate a profundity of influences and studio intuition that would induce other producers blush and run for the hills.

With her mix of whisper-to-yell dynamics, intimate and visceral expression, honesty of voice, and studio playfulness, she is a unique talent who completely compels the listener.EMA`s songs are filled with harmonies and hooks that be right in those sweet spots between air and dissonance. It is a wise voice, the voice of a drunken laugh while crying.

Welcome to 2011, EMA-style:

EMA - The Grey Ship by ellenwoodEP


1. The Grey Ship
2. California
3. Anteroom
4. Milkman
5. Coda
6. Marked
7. Breakfast
8. Butterfly Knife
9. Red Star

06-02 Costa Mesa, CA - Detroit Bar
06-03 Los Angeles, CA - The Echo &
06-04 San Francisco, CA - Rickshaw Stop &
06-06 Portland, OR - Mississippi Studios &
06-07 Seattle, WA - Tractor Tavern &
06-09 Boise, ID - Neurolux &
06-10 Salt Lake City, UT - Kilby Court &
06-11 Denver, CO - Hi-Dive &
06-13 Omaha, NE - The Waiting Room &
06-14 Iowa City, IA - The Mill &
06-15 Minneapolis, MN - 7th Street Entry &
07-15 Chicago, IL - Pitchfork Music Festival
07-16 Columbus, OH - The Summit
07-17 Washington, DC - Red Palace
07-18 Philadelphia, PA - Kung Fu Necktie
07-20 New York, NY - Mercury Lounge (early)
07-20 New York, NY - Glasslands (late)
07-21 Cambridge, MA - TT the Bears
07-22 Montreal, Quebec - Quai Des Brumes
07-23 Toronto, Ontario - The Garrison

& with Dale Earnhardt Jr. Jr.

Shirley Bassey - And I Love You So

The out of print 1972 CD from Shirley Bassey, And I Love You So, gets two additional bonus tracks on its 2000 re-release, and the more Bassey in the world the better. Her over the top rendition of pianist Jack Dieval's "The Way of Love" keeps the gender intact, as did Kathy Kirby and Cher on their respective hit versions, of a woman singing a song of heartbreak to another woman, only Bassey puts her trademark style on it bringing it into another realm. Chris White includes two lengthy pages of liner notes in the informative eight-page booklet which includes four lovely photos of the queen diva. Perry Como's hit version of the title track, "And I Love You So," a composition from the pen of Don McLean, might've kept this album from getting more exposure, but it is essential Shirley Bassey which her fan base is well aware of. She makes "Bless the Beasts and the Children" exotic while the Tom Evans and Pete Ham timeless classic, "Without You," gets a sort of Eartha Kitt as "Catwoman" reading, Bassey borrowing a bit but never copying. Johnny Harris forgoes the neo-Phil Spector production of Harry Nilsson's hit version to arrange, produce and conduct a special blend to fit Bassey's vocal stylings. The two Noel Rogers produced outtakes from the album sessions. Like many of the artist's releases, this is a real treasure and a true work of art. - by Joe Viglione, AMG

Artist: Shirley Bassey
Album: And I Love You So
Year: 1972
Label: EMI (2000)
Total time: 51:57

1. Someday (John Bettis/Richard Carpenter) 4:58
2.  Bless the Beasts and the Children (Perry Botkin, Jr./Barry de Vorzon) 3:08
3.  Jezahel (Ivano Fossanti/Oscar Prudente) 2:50
4.  And I Love You So (Don McLean) 4:31
5.  The Way of Love (Jack Dieval/Al Stillman) 2:38
6.  The First Time Ever I Saw Your Face (Ewan MacColl) 4:48
7.  Day by Day (Stephen Schwartz/John Michael Tebelack) 2:47
8.  Without You (Tom Evans/Pete Ham) 3:34
9.  Ballad of the Sad Young Men (Fran Landesman/Thomas Wolf) 5:29
10.  I Don't Know How to Love Him (Andrew Lloyd Webber/Tim Rice) 4:22
11.  I'd Do It All Again (Richard Ahlert/Leon Carr) 3:34
12.  If We Only Have Love (Eric Blau/Jacques Brel/Mort Shuman) 3:53
Bonus tracks:
13.  If I Should Love Again (Guistina/Norman Newell) 2:47
14.  Let Me Be the One (Roger Nichols/Paul Williams) 2:32

Shirley Bassey (Vocals)
Johnny Harris (Arranged and Conducted) - 3,4,5,6,7,8,9,10,12
Arthur Greenslade (arranged and Conducted) - 1,2,11,13,14

Finding Farnsworth

Here's Joe Farnsworth demonstrating how to play reeeeeaaaaally fast tempos!

Wine Compass Blog: National Harbor Wine & Food Festival

Under overcast skies and heavy rain we accompanied the 2011 National Harbor Wine & Food Festival. What makes this event different than most festivals at National Harbor is that it utilizes the piers in gain to the parking lot so it has a more marina feel. And those with VIP tickets were able to savour the Belgium beer tent surrounded by water. This class we didn't get the sentence to perfect our cooking skills;

but had enough of time to try new bourbons and beer. The Jim Beam Bourbon tent was surprisingly sparse so we were able to quickly sample some excellent scotch from Laphroaig and Ardmore and tell the conflict between whisky crafted in the highlands and those by the sea. The Laphraoig was smokey and salty while the Ardmore was more subtle. For the 1st sentence in 52 years Maker's Mark has released a new product, the Maker`s 46. Compared to the original Makers this bourbon is 96 proof, instead of 90 proof, fuller and sweeter at the finish. I didn't worry much for this extra sweetness and definitely choose the standard bearer.As in added attraction in the camp we watched cigars being rolled by Cortez Handmade Cigars.

As for beer, there were several nice options. The Belgiums (Stella Artois, Leffe Blonde, Hoegaarden) were at the head and ever a sound option. There was likewise a new Canadian entry, Alexander Keiths, from Nova Scotia. The brewery is over 190 years old but for the U.S. market it looks like production is location in St. Louis (aka Budweiser). For the domestics, we stuck with Kona Brewing Company and Chicago's Goose Island. We paired their ales with oysters from Pepper Creek Shellfish Farm. A nice combination.

Since our palettes were consumed with beer and bourbon, we didn't bother sampling the wine - but there was plenty available. Maryland wines were represented as good as some Oregon Pinot Noir, the same from Burgundy, Italian Soave, and many more. Besides the want of bathrooms, this was an entertaining festival. Particularly when grabbing a rum concoction and seated at the "beach" listening to Steel Dynamics.

Bobby Hutcherson Recordame

Just a little Bobby Hutcherson with Tony Williams and the gang playing "Recordame" to enjoy...

Ernie Watts - The Long Road Home

We all begin our lives in simple innocence, knowing deep down that all is good and all is love, we are home. Life's journey begins. Somehow, somewhere along the way we realize that life has become very complex and filled with all sorts of fear and doubt. When darkness surrounds us, we become lost on our journey. The memory of our simple essence begins to call and we begin our journey back home. Most of us spend the majority of our lives trying to get back home. It can be a very circuitous route, but I believe, we all eventually get there. This Music is a reflection of my personal journey to date. Good luck on your journey. We're all on "The Long Road Home." This music is lovingly dedicated to the memory of my friend and teacher Bill Green. - by Ernie Watts

Grammy winning saxophonist Ernie Watts re-releases his third and final audiophile XRCD (extended resolution) via his own Flying Dolphin Records. The Long Road Home reflects my voyage back to the music that inspires me, says Watts. When doubt and darkness engulf us, the memory of our essence begins to call and we begin our journey back home. Recorded in New York, Watts surrounds himself with superb players; Kenny Barron (piano), Mark Whitfield (guitar) and Reggie Workman (upright bass). Carmen Lundy lends evocative vocals on two tracks. Recorded without drums, the sessions have a mellow, bluesy feel. The disc contains the Charles Mingus classics Goodbye Pork Pie Hat and Nostalgia In Times Square, along with Willow Weep For Me and Lover Man. Watts originals River of Light and the title track further define his respect for the jazz idiom. His composition Birds Idea pays tribute to the great Charlie Parker. - from

Artist: Ernie Watts
Album: The Long Road Home
Year: 1996
Label: JVC (20bit K2 Super Coding)
Runtime: 55:29

1.  Lover Man (Jimmy Davis/Roger Ramirez/Jimmy Sherman) 7:53
2.  At the End of My Rope (Carmen Lundy/June Raynor) 6:47
3.  River of Light (Ernie Watts/David Witham) 7:10
4.  Nostalgia in Times Square (Charlie Mingus) 4:48
5.  Bird's Idea (Ernie Watts) 4:54
6.  The Long Road Home (Ernie Watts/David Witham) 5:41
7.  Goodbye Pork Pie Hat (Charlie Mingus) 5:59
8.  Willow Weep for Me (Ann Ronell) 7:01
9.  Moonlight and Shadows (Ernie Watts) 5:11

Ernie Watts (Tenor Saxophone)
Kenny Barron (Piano)
Reggie Workman (Double Bass)
Mark Whitfield (Guitar) - 1,2,5,7
Carmen Lundy (Vocals) - 2,8

On The Road/The Ben Monder, Brian Hurley & Andre White Trio

Things have been a bit busy these days but I've got some time to catch up on my blog here while sitting in the departure lounge of the Vancouver airport on my way to Moose Jaw, Saskatchewan to adjudicate the Jazz portion of the Moose Jaw International Band & Choral Festival this week with my partner-in-crime, trumpeter Patrick Boyle.

Thanks to all that came out to the Cellar in Vancouver this past weekend to hear my quintet. The band played their tails off both nights, the capacity crowd was very receptive to my music and we spent two action packed days in the recording studio. Look for this album to be released sometime this fall on the Cellar Live record label. More to come on this later...

Here's a couple of really important clips worth checking out:

During the mid 1990s guitarist Ben Monder would frequently come up to Montreal to play with bassist Brian Hurley and drummer Andre White at the Upstairs Jazz Bar. These gigs were always something special and musicians would flock to hear this cutting edge New York guitarist's unique take on standards with two of Montreal's finest sideman & bass/drum team.

Aside from a CBC recording session (which is probably lost in their archives somewhere...) I don't believe that this band ever did any recording together so these two bootlegs are important artifacts.

Andre White is one of my favorite drummers and has a very musical and swinging approach that blends such influences as Billy Higgins, Art Blakey, Elvin Jones and Jack DeJohnette. He is a superb accompanist and has been the choice of many musicians over the years (including several notable recordings with guitarist Sonny Greenwich). In fact, he is currently touring Canada with alto saxophonist P.J. Perry's band with Kevin Dean on trumpet, Mark Eisenman on piano and Neil Swainson on bass. Don't miss this swinging outfit if they are playing in your town!!!

I've been fortunate to play with Andre quite a bit over the years and played together with bassist Brian Hurley serving as the rhythm section backing up vocalist Johanne Desforges during a series of regular house gigs at Biddle's in Montreal (Andre is also a world-class pianist whose knowledge of Bill Evans is unparalleled).

I also had the opportunity to study the drums with Andre during my graduate work at McGill University. He really schooled me, helping me develop my approach to uptempo comping and working out of the Jim Chapin and Keith Copeland method books. He also really hipped to Frankie Dunlop and had me spent a great deal of time transcribing his comping and solo techniques.

Andre has a great album out entitled "Signal" that features him with Ben Monder, saxophonist Kirk MacDonald and Neil Swainson on bass. This album is a great example of Andre's fine drumming and really worth checking out:

Incidentally, I'm also playing with Kirk MacDonald this coming Friday at the University of Regina.

Don't miss it !

Weather Report - Heavy Weather

Weather Report's biggest-selling album is that ideal thing, a popular and artistic success -- and for the same reasons. For one thing, Joe Zawinul revealed an unexpectedly potent commercial streak for the first time since his Cannonball Adderley days, contributing what has become a perennial hit, "Birdland." Indeed, "Birdland" is a remarkable bit of record-making, a unified, ever-developing piece of music that evokes, without in any way imitating, a joyous evening on 52nd St. with a big band. The other factor is the full emergence of Jaco Pastorius as a co-leader; his dancing, staccato bass lifting itself out of the bass range as a third melodic voice, completely dominating his own ingenious "Teen Town" (where he also plays drums!). By now, Zawinul has become WR's de facto commander in the studio; his colorful synthesizers dictate the textures, his conceptions are carefully planned, with little of the freewheeling improvisation of only five years before. Wayne Shorter's saxophones are now reticent, if always eloquent, beams of light in Zawinul's general scheme while Alex Acuña shifts ably over to the drums and Manolo Badrena handles the percussion. Released just as the jazz-rock movement began to run out of steam, this landmark album proved that there was plenty of creative life left in the idiom. - by Richard S. Ginell, AMG

Artist: Weather Report
Album: Heavy Weather
Year: 1977
Label: Columbia (Dig. mastered, 1997)
Runtime: 37:39

1.  Birdland (Joe Zawinul) 5:59
2.  A Remark You Made (Joe Zawinul) 6:53
3.  Teen Town (Jaco Pastorius) 2:53
4.  Harlequin (Wayne Shorter) 3:59
5.  Rumba Mama (Manolo Badrena/Alex Acuna) 2:14
6.  Palladium (Wayne Shorter) 4:48
7.  The Juggler (Joe Zawinul) 5:05
8.  Havona (Jaco Pastorius) 6:03

Joe Zawinul (Keyboards, Piano, Vocal, Melodica) - 1-4,6-8
Wayne Shorter (Soprano and Tenor Saxophone) - 1-4,6-8
Jaco Pastorius (Bass Guitar, Mandocello, Vocals, Steel Drums) - 1-4,6-8
Alex Acuna (Drums and Percussion)
Manolo Badrena (Percussion, Vocal) - 1-3,5-7

The Jon McCaslin Quartet Featuring Kirk MacDonald & Patrick Boyle

Three Significant Information Regarding Argan Oil For More Healthy .

Argan oil is interpreted from the argan tree, which is set in Morocco and continues to be produced there. Argan oil features significant components that support your hair beautiful and healthy. Aside from benefits for the hair, argan oil also provides several benefits for nails and skin.

Argan oil has become famous among hair professionals, but about people do not know just why.

What truly is argan oil and what does it do to your hair? Here are a few important information concerning Argan oil and how it helps maintain your hair gorgeous and healthy:

The beginning of argan oil

Benefits argan oil hair is derived from the kernels of the argan fruit tree which is alone to Morocco. Females in Morocco, specifically the Berber women, are liable for the prolonged process of taking out the indispensable oil. They depulp the fruits of the argan and mash them by using water to build the oil. The ladies of Morocco have been applying argan oil for different applications like hair oil, but now ladies all over the planet are savoring its great benefits, thanks to the numerous international corporations who backed the commercial world of argan oil, and also UNESCO and Moroccan government, which help protect and govern the use of the argan tree.

The valuable components of argan oil

Argan oil is consists of unsaturated essential fatty acids, Vitamin E in the work of tocopherols, carotenes, phenolic acid, and phenol. Its fatty acid content does not alone keep hair shiny, but it also locks in moisture keeping hair nurtured and saved from damaging external factors, like warmth and chemicals. The unsaturated fatty acids, like Omega 9 and Omega 3, provide nourishment to hair from the roots to the tips, keeping your hair strong and solve split-end problems. When massaged onto the scalp, argan oil can also effectively control dandruff problems and dry scalp. Moreover, the Vitamin E content of argan oil also helps stimulate the retrieval of dry frail hair, making the hair more brisk and stronger. Hair color utilized on hair is also improved with the application of argan essential oil.

The key benefits of argan oil for nails and skin

The wonders of argan essential oil aren`t limited to your hair alone. Your nails, just wish your hair, also profit from this specific miraculous oil by holding them strong. The Vitamin E as well as the fatty acid content or argan essential oil aid treat brittle nails. Their durability is also preserved with regular use of argan oil.

Argan essential oil also maintains your skin healthy. Its fatty acids help prevent skin nourished and moisturized with no oily feeling. The vitamin e antioxidant content helps in the treatment of scars, as good as stretch marks and other skin blemishes. By using argan essential oil, you could also check the other signs of aging by holding your skin guarded from the wake of the sun, and also other dangerous exterior factors. Argan essential oil is besides being utilized as an element in various cosmetics to help maintain your skin protected, healthy, and beautiful.

The benefits and applications of argan oil are many and truly extraordinary. It`s no question that it is alternately called a miracle oil and swimming gold, or that it has reached all over the world from the Berber women in Morocco.

Written by DainaW.Morrison.

Gabor Szabo - Bacchanal

Gabor Szabo is one of those gigantically influential guitarists whose name or music few have ever heard. Carlos Santana, John McLaughlin, Robbie Krieger, and Larry Coryell all seem to have spent some serious quality time soaking in Szabo’s hypnotic sound. Largely self-taught, Szabo‘s playing brilliantly fused elements of jazz, pop, Gypsy, Indian, and Middle-Eastern music, creating a highly mystical and totally unique style.
A refugee of the 1956 Hungarian Revolution, Szabo spent his formative years playing guitar in underground jam sessions in Budapest. His distinctive sound matured during an important four-year tenure in Chico Hamilton’s pioneering quintet, which also featured saxophonist Charles Lloyd. Two years into his solo career and deep in the midst of the late ‘60s music revolution, Szabo released his studio masterpiece, Bacchanal. It was on this 1968 recording that he triumphed in his experiments with feedback and Eastern-tinged psychedelic re-workings of current pop tunes.
The album opens with one of two Donovan covers, “Three King Fishers.” Szabo fluidly bends his guitar strings to create a spellbinding sitar-like sound. Classically trained guitarist Jimmy Stewart accompanies him with rhythmic intensity. Monster drummer Jim Keltner is magic here, keeping things incredibly tight while seamlessly floating in and out of jazz, rock, and Eastern time signatures. “Three King Fishers” is a golden psychedelic relic, comparable in mood and intensity to the Doors’ brooding classic, “The End.” The title track, one of only two Szabo originals included here, follows the shining path of “Three King Fishers.” Hal Gordon’s percussion adds another layer of rhythmic complexity to the mix, driving the song to the highest of heights. Szabo’s agile fingers wring every bit of emotion imaginable from his electric guitar.
This musical highpoint is followed by the album’s second Donovan cover, “Sunshine Superman.” This up-tempo track sounds wonderfully dated, conjuring up images of miniskirt clad Go-Go dancers gyrating in suspended cages while waves of multi-colored lights wash across their bodies. Szabo’s contagiously energetic playing uplifts the song, keeping it from sinking into pure kitsch. “The Look Of Love” is a pre-Barry White pillow talk classic: clink your wine glasses and sink into the plush shag carpet of this relaxed groove. The strongest LP recorded by Szabo’s regular group of the era, this would prove to be their last session. While Bacchanal is largely an album of ‘60s pop covers, Szabo’s inspired quintet transforms the material into a one of a kind collection of first-rate jazz instrumentals. - by John Ballon,

Artist: Gabor Szabo
Album: Bacchanal
Year: 1968
Label: DCC (1994)
Runtime: 33:41

1.  Three King Fishers (Donovan Leigh) 4:48
2.  Love Is Blue (Bryan Blackburn/Cour/Andre Popp) 4:18
3.  Theme From Valley of the Dolls (Andre Previn) 3:51
4.  Bacchanal (Gabor Szabo) 4:57
5.  Sunshine Superman (Donovan Leigh) 3:46
6.  Some Velvet Morning (Lee Hazlewood) 5:25
7.  The Look of Love (Burt Bacharach/Hal David) 3:17
8.  The Divided City (Gabor Szabo) 3:19

Gabor Szabo (Guitar)
Jim Stewart (Guitar)
Hal Gordon (Percussion)
Jimmy Keltner (Drums)
Louis Kabok (Bass Guitar)

Taj Mahal - World Music

Taj Mahal emerged on the music scene at the tail end of the '60s as one of the new breed of bluesman, garnering critical accolades and the admiration of fellow musicians (like the Rolling Stones who featured him in their TV special "Rock n Roll Circus"). His first four albums ("Taj Mahal," "Natch'l Blues," "Real Thing," & "Giant Step/De Ole Folks At Home") are all straight ahead blues and are currently in print. Mahal then began to incorporate other African -influenced music forms into his blues, starting with reggae on "Mo' Roots" (which, also, is still in print). Other styles like Calypso, African, and Salsa crept into the mix on a series of fine records from the '70s which are now, regrettably, ALL out print. This CD, "World Music" offers a compilation of some of the best tracks from those albums, as well as the aforementioned "Mo' Roots." When you hear how great the mix of styles comes off, you will scratch your head and wonder why the rest of this great music isn't available. It's lovely and soulful and totally unique. The albums these cuts are culled from are, primarily, "Music Keeps Me Together," "Mo' Roots," and "Recycling the Blues and Other Related Stuff." Two other fine Taj world music titles, "Music Fuh Ya (Musica Para Tu)" and "Evolution (the Most Recent)" are available as imports. The other titles, "Satisfied and Tickled Too," "Happy Just To Be Like I Am," and "Ooh So Good 'n' Blues" are still out of print. As it does not look like they will be readily available here in the States any time soon, this collection is about the best you will find of one of a great American musician's most fertile period. - from

Journey with Taj to the roots of his ancestors via the Caribbean, West Indies, and Africa. Each song weaves a story painted with Taj’s “Pan-African” rhythms, style and charm; like soothing island breezes full of warm memories. Included liner notes featuring an explanation of each song by Taj. Digitally remastered. - from Taj's website

Artist: Taj Mahal (aka Henry Saint Clair Fredericks)
Album: World Music
Year: 1993
Label: Sony/Columbia (Dig. remastered)
Runtime: 54:43

1.  When I Feel the Sea Beneath My Soul (Taj Mahal) 3:07
2.  My Ancestors (Taj Mahal) 4:05
3.  Slave Driver (Bob Marley) 2:43
4.  West Indian Revelation (Taj Mahal) 6:59
5.  Kalimba (Taj Mahal) 1:40
6.  Desperate Lover (Keith Anderson) 2:46
7.  Clara "St. Kitts Woman" (Taj Mahal) 4:03
8.  Cajun Waltz (Adapted Taj Mahal) 6:04
9.  Roll, Turn, Spin (Taj Mahal) 4:45
10.  Johnny Too Bad (The Slickers) 3:16
11.  Brown Eyed Handsome Man (Chuck Berry) 3:44
12.  Blackjack Davey (Taj Mahal) 3:39
13.  Music Keeps Me Together (Earl Lindo) 3:39
14.  When I Feel the Sea Beneath My Soul (Reprise) (Taj Mahal) 3:05

Taj Mahal (Guitar, Vocal)
Merle Saunders (Keyboards)
others unknown

This Weekend!

The Jon McCaslin Quintet - Live at The Cellar

Friday, May 13th
Saturday, May 14th

The Cellar Jazz Club
3611 West Broadway
Vancouver, Britsh Columbia



Jon McCaslin - Drums

Brad Turner - Trumpet
Phil Dwyer - Tenor Saxophone
Tilden Webb - Piano
Jodi Proznick - Bass

Smitty Plays...

Some recent footage here of Marvin "Smitty" Smith demonstrating some new hybrid electro-acoustic cymbals made by Zildjian:

Mel says...

‎"How much you stick in depends on how much you can hear. If you're really hearing, you'll put in only what is necessary...If you can't hear or you're not listening, then you'll put in a whole bunch of nonsense, and that's what's gonna come out..." - Mel Lewis

*Thanks to Richard Piasetski who posted this great quote on his Facebook account this afternoon.

Wise words to ponder indeed !

Impressions with Billy Hart

Here's drummer Billy Hart having some fun backing up an all-star cast at Birdland with saxophonists Michael Brecker, Dave Liebman and Joe Lovano on John Coltrane's modal anthem "Impressions":

I love all the reverse, piggy-back chinas in his cymbal set-up!

Paul Motian Trio - Sound of Love

This live 1995 recording from New York's Village Vanguard club features drummer Paul Motian, guitarist Bill Frisell, and tenor saxophonist Joe Lovano turning in a stellar set of jazz covers and Motian originals (this is the same trio the drummer led in the late '80s and recorded high-profile tributes to Bill Evans, Thelonious Monk, and Tin Pan Alley with). As the premium sound quality of the recording makes clear, this trio had an almost telepathic rapport on stage, inspiring each other in both ensemble playing and solo flights. This kind of hand-in-glove chemistry is certainly due in part to the group's many stints on the road, but also comes from the individual player's complimentary styles: Frisell and Lovano (albeit less subtly) both dig into the structure of the songs, producing clever and dynamic statements, while Motian contains the proceedings with his steady, yet elastic time keeping and provocative accents. The covers here include extended readings of Monk's "Misterioso" and Charles Mingus' beautiful ballad "Duke Ellington's Sound of Love," in addition to a loose and bittersweet rendition of the jazz standard "Good Morning Heartache." Motian balances out the set with originals like the thorny, Latin rhythms-based "Mumbo Jumbo," the lightly swinging waltz number "Once Around the Park," and the dark-hewn, yet beguiling closer "Play." This is a great recording of some of the best jazz combo playing from the '80s to 2000. - by Stephen Cook, AMG

Artist: Paul Motian Trio
Album: Sound of Love
Year: 1995
Label: Winter & Winter (1997)
Runtime: 59:27

1.  Misterioso (Thelonious Monk) 13:27
2.  Duke Ellington's Sound Of Love (Charles Mingus) 9:13
3.  Mumbo Jumbo (Paul Motian) 7:31
4.  Once Around The Park (Paul Motian) 6:52
5.  Good Morning Heartache (Ervin Drake/Dan Fisher/Irene Higginbotham) 8:59
6.  Epistrophy (Kenny Clarke/Thelonious Monk) 7:15
7.  Play (Paul Motian) 6:07

Paul Motian (Drums)
Bill Frisell (Guitar)
Joe Lovano (Tenor Saxophone)

ISIS To Release Five Posthumous Live Albums

We reported one year ago that popular post-metal band ISIS parted ways and likewise gave tour dates for the band's final farewell tour. For those who weren't able to get the band work on their final tour, or any turn for that matter, you will soon get a prospect to add a bit of live performances by the isthmus to your digital music collection.

Throughout the summer, ISIS will be banking on the fact that their enduring popularity is big enough to trade music a twelvemonth later the band's break up. Beginning with an EP containing four songs taken from a 2003 performance at The Fillmore in San Francisco, the accumulation of live albums will span five different releases with the final installment arriving on July 26th of this year.

If you've been curious as to where the boys of ISIS have been keeping themselves over the preceding year, we give the low down. Jeff Caxide has formed CRONE with a departure from his new project expected in the close future, Clifford Meyer has kept busy working with Red Sparowes, Taiga and Windmills By The Ocean, Aaron Harris is settling into a producers roll and Aaron Turner has continued to form with the ultra talented Faith Coloccia and her Mamiffer project as good as working with the House of Low Culture.

If you'd rather revisit the preceding sound of ISIS rather than explore the band's newest endeavors, the first live EP will see the fall of the web on May 31st. All five live albums can be purchased and pre-ordered at the band's still active website, You can fit out the details on each upcoming posthumous live album below.

ISIS Live I 9.23.03
Release date: May 31, 2011
Recorded at The Fillmore (San Francisco)
Track list:
1. Carry
2. Weight
3. Hym
4. The First and the End

ISIS Live II 03.19.03
Release date: June 14, 2011
Recorded in Stockholm, Sweden
Track list:
1. From Sinking
2. Glisten
3. Carry
4. Weight
5. The First and the End
6. Celestial (Ext./Alt. Version)

ISIS Live III 12.17.04
Release date: June 28, 2011
Recorded at The Launchpad (Albuquerque)
Track list:
1. So Did We
2. Backlit
3. The First and the End
4. In Fiction
5. Wills Dissolve
6. Grinning Mouths
7. Altered Course

ISIS Live IV Selections 2001 - 2005
Release date: July 12, 2011
Recorded: Various dates (2001, 2002 and 2005) at WMBR (Boston), TheTroubadour (Los Angeles), CBGB's (New York), The Rotunda (Philadelphia)and The Middle East (Boston)
Track list:
1. Gentle Time
2. Glisten
3. CFT
4. Celestial
5. Improv 1 (Endless Nameless)
6. False Light
7. The Weight (Feat. Justin Chancellor and Troy Ziegler)

ISIS Live V 07.23.06
Release date: July 26, 2011
Recorded at Koko's (London)
Track list:
1. The First and the End
2. The Other
3. False Light
4. Carry
5. -/Maritime
6. Weight
7. From Sinking
8. Hym
View the discussion thread.