TJ Rehmi - Mera Therapy

TJ Rehmi (aka Jav Rehmi) is one of UK’s most creative and innovative musicians.
A critically acclaimed but reclusive artist who has often shunned the limelight, Rehmi’s unique style of music has inspired and influenced countless musicians, DJs and discerning fans around the world.
As a guitarist, composer and producer, he has been a pioneering figure who, from the early 1990’s in the UK, experimented with Asian influenced sounds that were later to become part of the international ‘Asian Underground’ movement. His work includes recording and performing as a session guitarist, producing experimental solo albums, performing as a DJ, remixing, collaboration work, co-writing and studio production. During the early 80’s, Rehmi studied and played guitar with local funk, rock and reggae bands before joining Saxophonist Andy Hamilton’s Jazz band as a rhythm guitarist. A few thousand chops later and with guitar in hand, Rehmi explored the burgeoning bhangra scene as a session player and soon was in high demand. Session after session, Rehmi became interested in recording and started producing and arranging for some of UK’s top bhangra bands from the mid ‘80s to the early ‘90s. Touring with these bands also gave Rehmi the opportunity of visiting other countries such as America, Canada, Germany, Holland, Denmark, France and Dubai, providing an ever-growing musical fodder. During the early 90’s, Rehmi went back into education to study Education and Music at Birmingham City University/Birmingham Conservatoire where he had the opportunity to study composition and play guitar with Indo Jazz fusion composer John Mayer. After a short time in the teaching profession, Rehmi went back into music full time and became heavily involved in studio recording. He began to incorporate all of the sounds, rhythms, and styles he heard into his own music and found himself getting more and more into technology. Progressing from tape machines to computers, he eventually built his own studio, the Mood N Bass Lab.- from Rehmi's Facebook profile

Artist: TJ Rehmi
Album: Mera Therapy
Year: 1999
Label: Nation
Runtime: 64:26

1.  Mera Therapy 5:30 
2.  Stepping Stones 5:23 
3.  Dil Mai Durad 4:38 
4.  Levitate 5:05 
5.  Reflection : mishra dub 5 6:41 
6.  Zindagi 5:27 
7.  Interzaar 5:45 
8.  Fear is the Enemy 4:28 
9.  A Path with a heart 5:09 
10.  Nothing Spoken 4:47 
11.  Zindagi : the other version 6:00 
12.  Herbal Therapy 5:29 
All compositions by TJ Rehmi

TJ Rehmi (Acoustic and Electric Guitars, Sitarguitar, Keyboards, Mixing, Programming)
S Man X (Tabla, Dholki)
Pali S Neer (Percussion)
Ustaad Dilbahar (Vocals) - 3
Ashwani (Vocals) - 8
Sona Sam Pal (Shenai)
Hari C Deeh (Flute)
Mustafa A (Sarangi)

Ed Thigpen on Brushes & A Lesson with Kenny Washington

More superb examples of brush playing brought to us today by the Master himself, Ed Thigpen:

These musical selections are excerpts from Thigpen's brush video "The Essence of Brushes" (also featuring Ron Carter on bass!) that was filmed as a companion to his instructional book "The Sound of Brushes". Thigpen's brush work with the Oscar Peterson Trio has always been a huge influence on me but I actually distinctly remember the first time that I saw this partiuclar video during the early 90s. One day I walked into the Long & McQuade store in Regina, Saskatchewan to purchase a pair of sticks or something and my good friend/store manager/local bassist Peter Dyksman pulled me aside, pointed to a monitor set up in the middle of the store and said: "Jon, now check THIS out!" So we ended up standing there and watching this video in its entirety right there in the middle of the sales floor! That moment really had a profound impact on me. Up to that point I had heard great drummers play the brushes, but this was the first time I had SEEN a great drummer play the brushes.

Incidently, I recently spent some quality time with Kenny Washington last week while he was in Calgary performing and teaching with baritone saxophonist Gary Smulyan and Ray Drummond on bass. In addition to a Sunday afternoon performance the band also spent four days giving workshops to some very lucky high school and university students.

Fortunately I was able to spend some considerable one-on-one time with Mr. Washington during his visit. When the topic of our lessons turned to his approach to brush playing, Kenny really stressed the importance of listening to great drummers play the brushes in order to get that distinctive SOUND ingrained in one's ear, thus influencing the conceptual and technical approach that you are aiming for.

While pointing to his forehead Washington commented: "You have to get the sound in the old dome, ya see?"

Specifically, these are the albums that Kenny described to me as being MUST have brush recordings to check out:

Enrico Pieranunzi Trio Sunside Club France 2006


01 - Je Ne Sais Quoi
02 - Leaves
03 - Sundays
04 - Trumpet to Chet
05 - Nefertiti
06 - One Lone Star-'Round Midnight
07 - Encore
08 - Suspense in Point


André Ceccarelli - Drums
Enrico Pieranunzi - Piano
Hein Van De Gein - Bass

Radio Broadcast

Kevin Mingus about “Mingus on Mingus”

“Mingus on Mingus” a grandson discovering the truths behind the legend of the grandfather he never knew.

Kevin Ellington Mingus was 3 years old when his grandfather, jazz legend,  Charles Mingus passed away. Born in Los Angeles, California in 1976, Kevin grew up distanced from the creative legacy of his grandfather. Kevin started his musical journey at age 10 on guitar switching to double bass a year later, in fact it was not until his early youth that he discovered his grandfather’s passion for the bass.

Kevin attended the University of California, Berkeley furthering his studies in music. While Kevin had a strong upbringing in jazz , it was during his time at UC Berkeley that he became interested in other genres leading to further studies in Argentina during the late 1990s at the Manuel de Falla Music Conservatory where he studied tango, bandoneon and composition with Nestor Marconi.  

Also while at Berkeley Kevin made his first steps into the world of film. Fascinated by the disconnect with reality, Kevin started to document on film the happenings on campus with a camera given to him by his Aunt.  Kevin’s passion for film continued after moving to Berlin in 2002 where he ventured into a number of cross media projects combining music with theatre and new media and gaining experience in filming and producing documentaries. Also during this period Kevin worked intensively with Croatian filmmaker Sasa Oreskovic in Soundless Fall of the Gravitation and Rio Pekos.

Kevin’s current project is a feature length documentary titled “Mingus on Mingus” a documentary of a grandson discovering the truths behind the legend of the grandfather he never knew. There has been so much written about Charles Mingus and many of these stories have been rather exaggerated during the years.  In speaking with Kevin recently he stated “with this film I hope to discover the real Charles Mingus, the man behind the legend”.

The documentary will include many interviews with musicians that knew and worked with Charles including among others Sonny Rollins, Joni Mitchell, Ornette Coleman and Charles McPherson.  When asked about their reaction to the project, Kevin stated that everyone is extremely positive about the project and believes that the fact that the documentary is being made by a member of the Mingus family certainly impacted on their reaction.  Kevin believes that there is a sense of urgency in the production of the project, with the passing of each year that generation is disappearing; we need to document this as soon as possible.
To this end Kevin’s production company “Orange then blue”(named after the famous composition by Charles) has launched a crowd funding campaign on to assist in the financing of the project. The project is currently live on Kickstarter and has 19 day to go. If you wish to assist in moving the project forward you can follow the link below and pledge your support.


Thanks to kind people over at Vic Firth here's a fun segment that also features some up-close performance footage of Greg Hutchinson, a man and his drumsticks:

Off To The Side with Matt Wilson

I can't think of a better way to start off this week than with a virtual up-close, in-performance drum lesson with Matt Wilson, seen here from a Boston performance with saxophonist Noah Preminger's Group on the classic Thelonious Monk composition "Four In One":

Matt is always an inspiration to watch and listen to play. He plays with a real sense of joyful purpose that permeates every musical situation he finds himself in. His highly groovy and often melodic and in-the-moment approach to playing jazz music really resonates with me and I consider myself very fortunate to have had the opportunity to study with him back in 2004 on a study project sponsored by the Canada Council for the Arts. Matt also plays with a really beautiful sound, a dynamic sense of flow, impeccable phrasing and he always seems to know exactly how much space to leave. Fortunately I have all my extensive lessons with Matt recorded and I often find myself going back to those recordings for renewal and inspiration. In many ways I like to think of Matt as the modern Billy Higgins of our time, someone who's joyful and exuberant spirit never fails to lift the bandstand and embrace the music around him at all times.

I actually just spent the weekend playing a ton Monk tunes myself (including this one) at the Beatniq Jazz & Social Club in Calgary with Toronto guitarist Alex Goodman who was nice enough to grace us with his presence and his music after having completed an extended residency at the Banff Centre. He's sounding pretty good these days, to say the least!

The St. Regis Doha set to be Home of Jazz in the Middle East

The St. Regis Doha today confirmed that it will be the first St. Regis hotel in the world – and the first venue outside of America  to host a Jazz at Lincoln Center (JALC) jazz club, as part of the unprecedented global partnership between St. Regis Hotels & Resorts and JALC.

Throughout the Jazz Age, The St. Regis Rooftop Ballroom in the landmark hotel in New York City played host to some of the finest jazz musicians in history. The rich musical legacy is now coming to Qatar thanks to the new agreement, which will bring a range of cultural and educational opportunities to the people of Qatar.

Jazz at Lincoln Center is a non-profit organization dedicated to inspiring and growing audiences for jazz. Through this partnership, jazz programming will be developed at The St. Regis Doha, led by Wynton Marsalis, Artistic Director of Jazz at Lincoln Center, providing both the novice and aficionado the opportunity to experience world-class jazz.

Tareq Derbas, General Manager, The St. Regis Doha, said: “We are delighted to welcome Jazz at Lincoln Center to its new home at The St. Regis Doha. We have promised our customers unmatched luxury and a rich range of entertainment options, and we believe that our signature venue, Jazz at Lincoln Center Doha, will delight and inspire our guests. I would like to thank our owner and the team responsible for beginning this exciting new era for jazz in the Middle East.”

The opening of Jazz at Lincoln Center Doha and The St. Regis Doha further solidifies Qatar as an emerging centre of culture, commerce and leisure in the Middle East. The hotel, scheduled to open early next year, promises to bring the legendary St. Regis luxury to this thriving commercial and business region.

Lisa Schiff, Chairman of JALC  stated “We are thrilled with the opportunity to work with St. Regis to reach new audiences and to support our mission of growing and inspiring audiences for jazz around the globe,”. The agreement is part of a wider global partnership, which will see the two New York icons together to jointly-conceptualise and create a series of jazz clubs around the world in multiple new St. Regis hotels.

For more information regarding Jazz at the Lincon Center check out their website

Pepper Spraying, The Aftermath

Gardens are a form of autobiography

Lt. Pike at home growing more peppers on paid leave...

Baden Powell - Minha Historia

Baden Powell is a Brazilian musician with a solid international reputation. A gifted instrumentalist and composer, he bridges the gap between classical artistry and popular warmth and was a key figure in the bossa nova movement. - by Alvaro Neder, AMG

This is a compilation of 14 compositions recorded by Baden Powell between 1966 and 1971. All tracks, except "Berimbau," are entirely instrumental. Most of the songs are Powell's own compositions -- for example, the three brilliant compositions "Apelo," "Deixa," and "Canto de Ossanha." There is also a beautiful version of Luiz Bonfá's famous "Manhã de Carnval" and Sílivio Caldas' classic "Chão de Estrelas." Some tracks have percussion backings, while others are performed solely on guitar. A flute is added on the two tracks written by Pixinguinha: "Lamento" and "Carinhoso." - by Philip Jandovsky, AMG

Artist: Baden Powell
Album: Minha Historia 14
Year: 1994
Label: Verve
Runtime: 52:12

1.  Lamento (Pixiguinha/Vinicius Morales) 3:24
2.  Canto de Ossanha (Vinicius de Moraes/Baden Powell) 6:49
3.  Deixa (Vinicius de Moraes/Baden Powell) 3:52
4.  Carinhoso (Pixinguinha /João de Barro) 3:37
5.  Euridice (Vinicius de Moraes) 4:10
6.  Apelo (Vinicius de Moraes/Baden Powell) 4:11
7.  Chao de Estrelas (Silvio Caldas /Orestes Barbosa) 3:19
8.  Deve Ser Amor (Vinicius de Moraes/Baden Powell) 2:26
9.  Berimbau (Vinicius de Moraes/Baden Powell) 3:24
10.  Garota de Ipanema (Tom Jobim /Vinicius de Moraes) 3:01
11.  Tempo Feliz (Vinicius de Moraes/Baden Powell) 4:19
12.  O Astronauta (Vinicius de Moraes/Baden Powell) 2:25
13.  Manha de Carnaval (Luiz Bonfá /Antonio Maria) 2:59
14.  Samba Triste (Baden Powell /Billy Blanco) 4:09

Baden Powell - guitar
others unknown

Eugen Cicero Trio Koln Germany 1997


01 Swinging Bach
02 Homage To Erroll Garner
03 Rokoko In Rock
04 Solfeggietto II
05 My Little Suede Shoes
06 Gershwin Medley
07 Laura
08 Glory-Glory Aka John Brown's Body


Eugen Cicero (p), Decebal Badila (b), Willi Ketzer (dr)

Total time: 57m 59s

Bitrate 320

The Calgary Scene - Tricia Edwards

It's been awhile since I've featured any Calgary musicians in my Calgary Scene column but I'm happy to be back at it today and feature the very talented and hard-working pianist Tricia Edwards.

Tricia Edwards is a Calgary area pianist. She was the recipient of the 2009 Richard Harold Cowie scholarship, given by the Calgary Musician’s Association and C-Jazz. She released her debut jazz CD “Joyspring” in March 2009. The Tricia Edwards Quartet performed as part of Calgary’s 2009 Jazz Festival and she also played as part of the 2010 Sylvan Lake Jazz Festival with vocalist Deanne Matley. Her most recent public performance was November 12, 2011 with the Latin jazz project “Quinteto Alegria” at the Beat Niq Jazz and Social Club. Tricia earned both Masters and Bachelors degrees in classical piano performance at theUniversity of Alberta. She then spent the next several years performing solo and chamber music, teaching and working as a free-lance accompanist in Edmonton, the Middle East, and Calgary. She was on faculty at both the Alberta College and Mount Royal College Conservatories.In the fall of 2003, she began studying jazz piano and bass. She now works primarily as a jazz and salsa pianist, playing with Quinteto Alegria, the Wednesday Night Big Band, Calgary Jazzwinds, Orquesta Latin Combo, and Tropicalgary, plays solo piano regularly at the Delta Bow Valley lounge, as well as freelancing with many local groups and musicians.

1) Can you tell us about your musical background?
How did you learn to play jazz?

I came to jazz by happy accident. I have spent most of my musical life in the classical realm. I started piano lessons in grade school, moved through the Royal Conservatory exam system and went on to do Bachelorʼs and Masterʼs degrees in piano performance at the University of Alberta. Right after graduating I moved with my husband to the Middle East for a couple of years and there had amazing opportunities to play with local and visiting musicians from all over the world, as well as teaching. After coming back to Canada, I taught at both Alberta College and Mount Royal College Conservatory and worked as a free-lance accompanist.

In 2003 I was preparing for a solo recital after a hiatus from playing, and...this story is such a cliché Iʼm embarrassed to tell it...I did too much too soon and ended up with tendinitis. So after taking some time off and still in the process of recovering, I started taking jazz lessons with Derek Stoll, on a lark, really. I hadnʼt tried improvisation before, but Derek is an inspiring teacher. I was instantly completely hooked. Since then I have taken lessons with local players, attended the Mount Royal College summer jazz camp, the Jamey Aebersold summer jazz program and this summer I went to New York for lessons and lots of listening. Also jam sessions and gigs often have the potential to be free lessons, and I am grateful for the generosity and support of the local musical community.

2) Who are your musical influences and why?

I did my Masterʼs degree with a great Canadian classical pianist, Stéphane Lemelin, and I have to say that even though Iʼm doing something very different now and itʼs many years later, I can still hear his voice in my head! And his playing is a standard I aspire to.Francois Bourrassaʼs quartet was one of the first jazz events I attended. I still go every time heʼs here and listen to his CDʼs regularly.

I love Bill Evans!

I remember one of my lessons with Derek Stoll - he played a montuno with a left hand tumbao (ok, I had really lived in a tiny musical bubble up to this point) and I remember it grabbing my brain. So I started listening to Latin jazz. Chucho Valdes, Michel Camilo, Rubalcaba, Danilo Perez - all favourites.

3) Name your top 5 favourite albums and how they have influenced you.

Top five is impossible, but hereʼs five that come quickly to mind. The only jazz album I owned up until about 7 years ago was Kind of Blue. Those tunes were floating around in my head before I understood anything. Anything by Bill Evans. Chucho Valdes, New Conceptions, Mstislav Rostropovich and the Bach solo cello suites. I keep coming back to this one. Right now Iʼm listening to Danilo Perez' "Central Avenue" and really enjoying it.

4) What sort of things are you practicing or developing musically these days?

My lessons in New York this summer (with Peter Zak and Michael Weiss) made me think about voicings more carefully than I had been. Itʼs like a big puzzle and I can sit for hours trying to figure things out. Also, transcribing wasnʼt a part of my training and it took me an embarrassing amount of time to figure out what the fuss was about. Now Iʼm trying to exercise that (weak!) musical muscle because I realize itʼs key. Also I was fortunate enough to get involved in the salsa scene in Calgary recently, so
Iʼve been working really hard at that. And then by extension, figuring out how that can feed into jazz.

5) What interesting projects do you have on the go at the moment?

Iʼm involved in a new Latin jazz quintet project, Quinteto Alegría. So much fun!

6) You are in a unique position by having such extensive training as a classical pianist that also plays jazz music. How would you describe how your classical training has influenced your jazz training and vice versa?

OK, so I havenʼt figured this out yet. Is it cheesily quoting “Fũr Elise” in my solos? (Yes, guilty.) Or just letting the subconscious stew of all past musical experiences come out how they will? I will keep you posted. And when I play classical music now, I now have a greater appreciation for and insight into the composerʼs mind.

7) Favourite place to eat in Calgary?

Una Pizza on 17th has amazing gluten-free pizzas.

The Rhythm Project

Thanks to Michele Moss from the Department of Dance at the University of Calgary who brought this incredible story to my attention:

"C'est le rhythme...TOUS les choses c'est le rhythme!"

Alan Dawson 3/8 Phrasing

Several years ago while I was still living in Montreal, I had the opportunity to teach an older drum student who had lived in Boston during the 1960s. During his time in Boston, while he was studying mathematics and computer engineering at MIT, he studied with the legendary and influential drum teacher, Alan Dawson. I think that I actually learned as much from my student as he did from me!

One interesting concept that he passed on to me was Alan Dawson's "3/8 figure":

Basically this phrase consists of dotted-quarter notes played continuously in 4/4 time and resolves after three bars. Alan would often use this phrase in the context of both soloing and timekeeping to generate interesting, over-the-bar-line ideas that flow very nicely.

Try the following exercises to start:

-Play the Jazz ride cymbal pattern and play the 3/8 pattern against it using different limbs and combinations thereof (snare, bass drum, hihat, etc.)

-Playing the pattern with accents on the snare drum, fill-in the missing eighth-notes and embellish the phrase with different rudiments (Dawson was big on the rudiments through his "Rudiment Ritual")

Remember, you don't necessarily have to start this phrase on the downbeat (!) and you can actually use any one of those three bars as your starting point.

The key, however, is to play this phrase in creative ways while still doing so in the context of four and eight bar phrases. It can get tricky if you're not careful!

Here's a few great clips of Alan Dawson with Sonny Rollins. If you listen carefully this phrase pops up several times:

For more insight into Alan Dawson's method, I would highly recommend this book by John Ramsay:

Lt. Pike Deserves Infamous Notoriety

"It is weakness rather than wickedness which renders men unfit to be trusted with unlimited power."
John Adams, 1788

"If a nation expects to be ignorant and free, it expects what never was and never will be."

Thomas Jefferson

The callous Lt. Pike who so willingly sprayed peaceful students at UC Davis deserves all the infamous notoriety. He was put on PAID administrative leave, which is akin to vacation.

John Coltrane - Ballads

Throughout John Coltrane's discography there are a handful of decisive and controversial albums that split his listening camp into factions. Generally, these occur in his later-period works such as Om and Ascension, which push into some pretty heady blowing. As a contrast, Ballads is often criticized as too easy and as too much of a compromise between Coltrane and Impulse! (the two had just entered into the first year of label representation). Seen as an answer to critics who found his work complicated with too many notes and too thin a concept, Ballads has even been accused of being a record that Coltrane didn't want to make. These conspiracy theories (and there are more) really just get in the way of enjoying a perfectly fine album of Coltrane doing what he always did -- exploring new avenues and modes in an inexhaustible search for personal and artistic enlightenment. With Ballads he looks into the warmer side of things, a path he would take with both Johnny Hartman (on John Coltrane and Johnny Hartman) and with Duke Ellington (on Duke Ellington and John Coltrane). Here he lays out for McCoy Tyner mostly, and the results positively shimmer at times. He's not aggressive, and he's not outwardly. Instead he's introspective and at times even predictable, but that is precisely Ballads' draw. - by Sam Samuelson, AMG

A musician's viruosity on his/her instrument of choice may be measured in many ways -- chiefly, I suppose, in the ability to make that instrument pour forth the notes that are in the musician's mind, slow or fast, loudly or softly, as the music being performed requires. Many musicians have been blessed with the ability to take this up a notch -- they miraculously transmit what they are feeling in their soul as they perform into the notes and phrases that the audience hears. John Coltrane was nothing short of a genius by the time he recorded these pieces -- joined by some of the finest musicians who ever played with him. Coltrane had learned the artistry of silence and restraint, coupling it with his sheer instrumental ability, bringing his music to a level rarely equalled before or since. This recording was begun in December of 1961 and finished in November 0f 1962 -- 40 years have passed, and it is still one of the premier jazz recordings ever made. The tunes on this recording are standards -- they were already classic examples of songwriting when Coltrane recorded them. His own compositions were without question groundbreaking, moving expressions of a man with deep feelings of spirituality and an unquenchable urge for exploration -- but when John Coltrane took these standards into his heart and played them out through his saxophone, they became his. This grouping was to become known as his quintisential quartet: McCoy Tyner (piano), Jimmy Garrison (bass) and Elvin Jones (drums) [Reggie Workman is heard on bass on track 7 only]. These four men had a playing empathy that most others only dream of. Every recording they made together shows stunning, unbelievable interplay -- and such respect for each other. After 40 years of listening to music of all types and genres, I can't think of any group more suited to playing together. I've been listening to this recording a lot lately, having been reminded of its lasting greatness by Karrin Allyson's vocal tribute recording of the same tracks (a fine recording also -- check it out). I was discussing the two albums one day at Waterloo Records with a friend who has worked there for many years -- he remarked that 'this is the album I sell to people who tell me they don't like jazz'. Far from being any sort of put-down of Coltrane -- for I know how much my friend admires his work -- it speaks to the universality of his appeal, his ability to touch literally ANYONE with an ear with the genius he possessed. - by Larry Looney,

Artist: John Coltrane Quartet
Album: Ballads
Year: 1962
Label: Impulse! (1987)
Runtime: 32:16

1.  Say It (Over and Over Again) (Frank Loesser/Jimmy McHugh) 4:19
2.  You Don't Know What Love Is (Gene DePaul/Don Raye) 5:15
3.  Too Young to Get Steady (Harold Adamson/Jimmy McHugh) 4:23
4.  All or Nothing at All (Arthur Altman/Jack Lawrence) 3:38
5.  I Wish I Knew (Mack Gordon/Harry Warren) 4:54
6.  What's New (Johnny Burke/Bob Haggart) 3:47
7.  It's Easy to Remember (Lorenz Hart/Richard Rodgers) 2:49
8.  Nancy (with the Laughing Face) (Phil Silvers/Jimmy Van Heusen) 3:11

John Coltrane (Tenor Saxophone)
McCoy Tyner (Piano)
Jimmy Garrison (Double Bass)
Elvin Jones (Drums)

Thank You Paul

Paul Motian 1931-2011

John Riley Plays Tenor Madness

Some footage today of John Riley performing Sonny Rollins' "Tenor Madness" from a recent drum set improvisation clinic at the PASIC 2011 conference in Indianapolis:

Here's another close up angle of the same solo (also some additional footage of Billy Martin and Joe McCarthy in this one):

Nice blue drums John!

EST Östersund Sweden 2007

Esbjörn Svensson Trio
Jazz Rhythm fest Östersund
Gamla Teatern Östersund
Sweden December 1, 2007


Esbjörn Svensson piano
Dan Berglund bass
Magnus Öström drums


01. Intro 0:38
02. Eighthundred Streets By Feet 9:27
03. The Rube Thing 12:27
04. The Goldhearted Miner 7:41
05. Definition Of A Dog / intro by Esbjörn Svensson 30:23
06. unknown title 9:33
07. unknown title 13:22
08. Radio announcement 0:44
09. Encore: unknown title/ applause 13:33
10. Encore: unknown title 9:57

TT 107:50

Source FM broadcast

EST Timisoara Jazz Festival Romania 2006

Esbjörn Svensson Trio Philharmonie Timisoara
Jazz Festival Romania 03.12.2006


Esbjörn Svensson: piano
Dan Berglund: acoustic bass
Magnus Öström: drums, percussion

Track List

01. Tuesday Wonderland 8:12
02. Improvisation #1 3:52
03. The Rube Thing 7:49
04. The Goldhearted Miner 6:31
05. In the Tail of her Eye 10:18
06. The unstable Table & The infamous Fable 13:39
07. Eighthundred Streets by Feet 10:57
08. Dolores in a Shoestand 13:57
09. Dodge the Dodo 13:07
10. Round Midnight 9:37

TT: 1:37:59

The Monday Morning Paradiddle

-Thanks to all the staff, students and volunteers at the University of Saskatchewan where I spent the past week adjudicating and working with student groups at the annual Unifest music festival. It was very cold in Saskatoon last week but there was much great music to be made. Keep up the great work everyone!

-I spent Sunday afternoon watching and learning from the master Kenny Washington at Calgary's Ironwood Stage & Grill in a show that also featured baritone saxophonist Gary Smulyan and bassist Ray Drummond. This fine trio is currently touring Western Canada with dates in Edmonton, Calgary and Vancouver.

Thanks to local drummer and educator John DeWaal who was nice enough to set Kenny up with his vintage 1970s Gretsch kit:

Watching and listening to Kenny Washington is always a lesson in itself.

-During a conversation with Kenny after the show our conversation turned to the weather (it's too cold here!), Recordland (Calgary's premier used record store which happened to be across the street), cymbals and the art of playing Charlie Wilcoxin snare drum solos (get those accents UP there). Kenny handed me a book and asked me if I had checked out this interesting one by Dominick Cuccia:

Dominick has a website of his own that features some of his rudimental snare drumming knowledge:

-Here's a few new blogs to check out that I've been enjoying lately:

Bassist Rubim DeToledo - Mount Royal Bass blog

Andrew Hare - The Melodic Drummer

-Finally, if you are in the need of a little inspiration to get your week off to a fresh start, here's an archived radio interview with Lewis Nash to take a listen to:

Up Close With Roy Haynes

Here's a clip with some nice angles and close up footage of the great Roy Haynes in action, the hippest man in the universe:

And here's a nice interview with Haynes and his neighbor Matt Wilson from last year's Litchfield Jazz Festival (Armando Slice wasn't available, I guess...)

Clayton Cameron Drum Clinic

Drummer Clayton Cameron is generally known for his impeccable brush technique but of course he also plays great with sticks too (!) Here's Clayton demonstrating his approach to soloing from a performance at the Chicago Drum Show (and for awhile with two sticks in each hand with a nod to the showmanship of the great Louis Bellson):

Keith Jarrett Trio - Standards Live

Keith Jarrett's Standards Trio spread their wings during live performance in as astute and dignified a manner as any group since the similarly sized Bill Evans ensembles of three decades prior. Bassist Gary Peacock and drummer Jack DeJohnette easily match the Evans bandmates Scott LaFaro and Paul Motian in terms of their telepathy, rhythmic savvy, harmonic ideas and supportive idealism. They propel Jarrett's advanced viewpoint in making well-known American popular songs all his own. While the incessant vocal whining of the leader in accord with his playing is an issue, the way he sensitively interprets a familiar song is not. The trio warms slowly as Jarrett's introduces "Stella by Starlight" with delicate precision, also keeping a cool head on Alec Wilder's "The Wrong Blues" with tempo in check. "Falling in Love with Love" hits third gear running, as Jarrett's fleet, lithe and flowing lines dismiss reckless abandon, and settles into a groove. A slight Latin hue on "Too Young to Go Steady" from the adept DeJohnette turns this composition to pure gold, while Jarrett does not hesitate getting right to the melody of "The Way You Look Tonight" because he knows and loves it all too well. DeJohnette is not only completely supportive, but undeniably is reinventing the jazz swing rhythm through this whole concert. A nice choice for a closer, Nat Adderley's soulful and spiritual "The Old Country" is tactfully portrayed, and because it is included on a record of standards, can be happily declared as official jazz orthodoxy. The trio is fairly concise, even for concert guidelines (nothing over 11 minutes), so the indulgence factor is virtually non-existent, and listenability is very high even for those who are challenged. Such stellar collective musicianship and their teamwork deems this recording worthy of any most recommended list. - by Michael G. Nastos, AMG

Artisz: Keith Jarrett Trio
Album: Standars Live
Year: 1985
Label: ECM (1986)
Runtime: 54:30

1.  Stella By Starlight (Ned Washington/Victor Young)  11:16
2.  The Wrong Blues (Alec Wilder/William Engvick) 8:05
3.  Falling In Love With Love (Richard Rodgers/Lorenz Hart) 8:46
4.  Too Young To Go Steady (Harold Adamson/Jimmy McHugh) 10:12
5.  The Way You Look Tonight (Dorothy Fields/Jerome Kern) 9:33
6.  The Old Country (Curtis Lewis/Nat Adderley) 6:35

Keith Jarrett (Piano)
Gary Peacock (Double Bass)
Jack DeJohnette (Drums)

Swinging with Half-Note Triplets

Today's drum lesson deals with using different permutations of half-note triplets as the basis for developing Jazz vocabulary and phrasing ideas on the drums.

Several years ago I attended a drum clinic with drummer Carl Allen, who is now the artistic director of the Jazz program at Juilliard and a very fine Jazz drummer and educator in his own right. Carl talked at length about the "Power of Three", his concept that illustrated the importance of feeling groupings of three in different ways while playing Jazz drums in the context of being a soloist and accompanist (whether that meant smaller combinations of triplets or larger groupings and subdivisions).

Based on that idea I've been messing around the idea of dealing with larger groupings of triplets lately, in particular the use of half-note triplets starting on different parts of the beat within the bar.

Here are the three variations of a half-note triplet in 4/4 time:

- In a timekeeping context I'll play the ride cymbal rhythm and then mess around with voicing these different rhythms around the drum set and splitting them up between the hands and the feet.

- In a soloing context I will improvise triplets around drums and accent those half-note triplet phrases within those phrases.

I like playing these rhythms because they take a bit longer to resolve evenly within a bar and, I think, allow my comping to open up and breath a bit. Often drummers, when they are comping, sometimes try to cram in all their ideas into a bar and the result is a very dense and unmusical sound. I've found that working with longer rhythms as a framework helps avoid this.

Steve Swallow Quintet London 2011

Steve Swallow Quintet Queen Elizabeth Hall London

Recorded: 13th November 2011
Broadcast: 14th November 2011

BBC Jazz on 3


Steve Swallow Electric Bass
Chris Cheek Tenor Saxophone
Carla Bley Hammond Organ
Steve Cardenas Guitar
Jorge Rossy Drums

Track listings

01 - Medley #1 (20.55)
Sad Old Candle
Into The Woodwork
From Whom It May Concern
Crowded In The Shower

02 - Medley #2 (16.08)
Grisly Business
Unnatural Causes
The Butler Did It

03 - Medley #3 (18.26)
Still There
Never Know
Exit Stage Left

Total time 55:29min

Bitrate 320

Explosive Drums

Someone recently posted these audio clips of the long out-of-print LP "Explosive Drums" that featured many of the greatest swing drummers of all time including the likes of Jo Jones, Panama Francis, Michael Silva, J.C. Heard, Ed Thigpen and Cozy Cole and Oliver Jackson.

It's nice to see and hear Oliver Jackson included in this compilation. Incidentally, Oliver was Ali Jackson Jr.'s uncle (Ali currently holds the drum chair with Wynton Marsalis and the Jazz at Lincoln Centre orchestra).

I recently had a great conversation with Montreal guitarist Greg Clayton while visiting Montreal last month. Greg has been around the Montreal scene for a long time and has also hosted the late-night jam sessions held during the Montreal Jazz Festival many times over the years. Greg has many great stories about all the legendary musicians that would come down to hang out and sit in with the house band night after night. In particular, Greg has many amazing tales about all the heavy drummers that would come and play (it's a long list!) Interestingly enough, Greg told me that the one guy who really lifted the band to another level when he played and really stood out from the others was, in fact, none other than Oliver "Bops" Jackson. And considering who else Greg and his band had the pleasure of playing with during those jam sessions, that's saying a lot!

Brecker Brothers Lugano Switzerland 1993


Michael Brecker - Tenor Saxophone
Randy Brecker - Trumpet
Dean Brown - Electric Guitar
George Whitty - Keyboards
James Genus - Electric Bass
Lenny White - Drums


01 - Above and Below (13:43)
02 - Spherical (18:12)
03 - Sozinho (9:25)
04 - Straphangin’(13:57)
05 - Song For Barry (23:28)

SoundBoard Recording

Bitrate 320