Dominic Miller Project Salzau 2005

Dominic Miller Project Jazz Baltica Salzau 2005


Dominic Miller - Guitar
Trilok Gurtu - Percussion
Nicolas Fiszman - Bass
Mike Lindup - Piano
Till Bronner - Trumpet


01. Do You Want Me?
02. Baden
03. Eclipse
04. Rush Hour
05. Always
06. Air On A G-String (J.-S. Bach)
07. La Belle Sans Regrets
08. Ten Years
09. La Boca
10. Truco

Running Time 00:46:20

Spike & Norm

I got a kick out of this dialogue between two old Canadian Jazz drummers filmed at Spike McKendry's recent 75th birthday celebration:

I first met Spike in Montreal years ago as he would often pop his head into Biddle's or Upstairs during one of his visits to town. Andre White introduced us to each other and Spike was always keen to talk shop with me about Jazz drumming and would regale me with stories about Kenny Clarke, Philly Joe Jones and Buddy Rich from back in the day. We also talked over lunch a few years ago while I was in Toronto during the 2008 IAJE conference (Spike has since moved back to Montreal) and I think I learned more about about Tony Williams in an hour's conversation with Spike than all the drum books and magazines combined!

I didn't meet Norman Marshall Villeneuve until I moved to Toronto in 2007 (he and Spike would always hang out at the weekly jam session at the Rex) but I was certainly aware of his legacy and contributions from his days in Montreal. Incidentally, I played with pianist Oliver Jones this past weekend who is Norm's cousin (!) As you can see in the clips below Norman Villeneuve is a hard swinging drummer, very much in the spirit and style of the great Art Blakey (dig the sparkling/glow-in-dark drumsticks and his solo with a pair of maracas in the second clip!)

A particular quote brought a smile to my face from the very first clip above. When asked if those two were competitive with each other back in the day, Spike replied: "No, we were all friends. Montreal drummers were all friends with each other."

That says it all. Even today it's important that we remember that we're still all in this together!

James Farm Monterey Jazz Festival 2011

James Farm Featuring Joshua Redman September 17, 2011
Monterey Jazz Festival, Monterey, California
KUSP-FM Radio Broadcast of The 54th 
Annual Monterey Jazz Festival


Joshua Redman-sax
Aaron Parks-piano
Matt Penman-bass
Eric Harland-drums


1. Tim Jackson introduction
2. 1981
3. If By Air
4. -talking
5. Bijou
6. Chronos
7. -talking
8. Star Crossed
9. I Ten

320 Bitrate

Octagone Octet and Broken City Jazz Jam

Just a head's up for a couple of exciting events happening this week:

The Summit Jazz Series Presents


Saturday, June 2nd 2012
National Music Centre
(formerly known as Cantos)
134 11 Ave SE
$15/$10 Students


Al Muirhead - Trumpet
Mark DeJong - Alto Sax
Jim Brenan - Tenor Sax
Carsten Rubeling - Trombone
Sarah Matheson - Bari Sax
Jon Day - Piano
Jeff Gammon - Bass
Jon McCaslin - Drums

I'm looking forward to playing with this medium-sized ensemble on Saturday evening at the National Music Centre. We've managed to put together a size-able book of great music over the past few years (since my time working with a band such as this during my time at the University of Toronto). We'll be featuring Calgary's Jazz icon Al Muirhead on trumpet as well as pianist Jon Day who has recently returned to Calgary.

The Broken City Jazz Jam

Saturday, June 2nd 2012
613 11th Avenue SW


The McCaslin Vibraphone Project

Jon McCaslin - Vibraphone
Tricia Edwards - Piano
Bryan Niblock - Drums
Jeff Gammon - Bass

Yes, the Jazz jam session at Broken City is indeed still happening days. Ideally, I'm told that it will be held the 1st and 3rd weekends of every month unless there is a conflict (such as the upcoming Sled Island festival or the Stampede) which in that case they will try to re-schedule for a different weekend. I'm looking forward to another outing on the vibraphone and a good time will be had by all. Please come on by to support Calgary's longest running Jazz jam session. And once the session at Broken City wraps up, head on down to the National Music Centre to catch Octagone!

Sonny Rollins: Beyond the Notes

Thanks to the BBC here is a great documentary on the life and music of one of Jazz music's greatest icons:

John McLaughlin - The Heart of Things - Live in Paris

John McLaughlin's 1997 The Heart of Things studio album and subsequent tour saw him returning to the sort of electric band format that most listeners associated with his days in the Mahavishnu Orchestra of the 1970s. This live album features the same group, with the exception of the keyboard player, as Otmaro Ruiz replaces Jim Beard, and three of the selections are drawn from the studio release. "Seven Sisters," which is actually shorter than the studio version, makes for a fairly mellow opening, while the new "Mother Tongue" is full of extremely rapid solos by McLaughlin, Ruiz, bass player Matthew Garrison, and Gary Thomas, who switches saxophones during the course of the nearly 13-minute tune. "Fallen Angels," another song from the studio release, is a slow, contemplative work, while "Divide" makes use of funk rhythms to support some noisy guitar work from McLaughlin and a solo full of electronic burps from Ruiz. The album's showpiece song is "Tony," a stately tribute to the late drummer Tony Williams that, appropriately enough gives drummer Dennis Chambers his chance to shine. One might complain that "Acid Jazz," the fiery closer, has nothing to do with the musical style that goes by that name, but McLaughlin obviously means to suggest an evolution of 1960s acid rock by the title, and he deliberately evokes Jimi Hendrix in playing that brings him as close to the Mahavishnu Orchestra sound as he has been in many years. It makes a powerful ending to an album that should be welcomed by long-time fans. (As if to emphasize that this was only one of his interests, however, McLaughlin simultaneously released both this disc and The Believer, an album with his Indian unit Remember Shakti, on October 3, 2000.) - by William Ruhlmann, AMG

Artist: John McLaughlin
Album: The Heart of the Things - Live in Paris
Year: 1998
Label: Verve (2000)
Runtime: 77:49

1.  Acid Jazz 14:54
2.  Seven Sisters 10:37
3.  Mr D.C. 13:01
4.  Fallen Angels 8:34
5.  Healing Hands 16:45
6.  When Love Is Far Away 13:55
All compositions by John McLaughlin

John McLaughlin (Electric Guitar)
Dennis Chambers (Drums)
Gary Thomas (Tenor and Soprano Saxophone)
Matthew Garrison (Bass Guitar)
Otmaro Ruiz (Keyboards)
Victor Williams (Percussion)

The Monday Morning Paradiddle

It's been a few busy days here having participated in the first annual National Jazz Summit here in Calgary, a full day of workshops on Saturday and then a quick jaunt up to Edmonton to play at the Yardbird Suite for Ralf Buschmeyer's "Jazz Speak" CD release.

-A few more thank you's and shout out's are in order today to several great people I've had the pleasure of working with over the course of the past week:

Oliver Jones
Jim Brenan
Rubim de Toledo
Viijay Iyer
Dean McNeill
Ian Menzies
Andrew Moskar
Candace Elder
Tim Tamashiro
Ralf Buschmeyer
Doug Organ
Jeremiah McDade
Andrew Scott
Kevin Willms
Jonathan Bell and the students from E.P. Scarlett High School

-Here's a great clip of drummer Lewis Nash in action with alto saxophonist Antonio Hart and Michael Dease on trombone from a hit at the Blue Note with the Jimmy Heath big band:

-And here's a dynamic solo from Ian Froman (with a little help from Brad Turner!)

-Drummer Ralph Peterson Jr. turns 50 this week and celebrates the release of a new sextet CD. Check out this article on Ralph's recent happenings:

And this podcast interview with Ralph:

btw- if you haven't seen Ralph's latest instructional DVD from buy it NOW !!!

-Thanks to CBC Music Online, here's a great interview with Jack DeJohnette who recently turned 70 and was named an NEA Jazz Master:

-What am I listening to these days?

Joe Pass/Ray Brown/Milt Jackson/Mickey Roker "Quadrant" - Mickey Roker (drums) & Milt Jackson (vibraphone)

Elvin Jones/Jimmy Garrison Sextet "Illumination" - Elvin Jones (drums)

Jo Jones "The Jo Jones Trio" - Jo Jones (drums)

Oliver Jones "A Class Act" - Ed Thigpen (drums)

Rob Frayne & Chris McCann "Calypsony" - Chris McCann (drums)

Derrick Dickens "Search for the Cobra - Drum Duets" - Derrick Dickens & Matt Wilson (drums)

Thelonious Monk "Thelonious Monk with John Coltrane" - Shadow Wilson (drums)

-I've got a lot of interesting stuff on the go over the next while. If you are interested in hearing me play around town over the next month, here my are my upcoming gigs for the month of June:


1- Drum Workshop - Banff, AB

2 - Hosting the Broken City Jazz Jam (with the McCaslin Vibraphone Project) 3-6pm

2 - Octagone Octet @ The National Music Centre (formally known as Cantos) 7pm

6 - Ralf Buschmeyer Trio - Bragg Creek, AB 12pm

7 - Special guest with the Western Canada High School Jazz studies program 7pm

9 - Jeremy Coates Quartet @ The Beatniq Jazz & Social Club 9pm

18 - The McCaslin/Valdo Vibraphone & Bass duet project - Waves Coffee House (Calgary West location) 7:30pm

20 - The McCaslin Vibraphone Project (featuring pianist Lorna MacLachlan) - ProArts Noon Hour Music Series @ The Church of the Redeemer 12pm

20 - The Calgary Creative Arts Ensemble - Leacock Theatre, Mount Royal University

22 - Phil Dwyer Trio @ The Beatniq Jazz & Social Club 9pm

23 - The McCaslin Vibraphone Project - The Belfry 7pm

28 - The Jeff McGregor Trio - Kawa Espresso Bar 8:30pm

30 - Shane Statz Quartet "Plays Sonny Rollins" @ The Beatniq Jazz & Social Club 9pm


8 - 14 - Prairielands Summer Jazz Camp (Regina, SK)

Thanks again for visiting Four on the Floor and have a great week everybody!

Nat King Cole - Tell Me All About Yourself/Touch of Your Lips

As he'd done on the thoroughly excellent outing Welcome to the Club (1959), Nat King Cole (vocals/piano) once again teams up with Dave Cavanaugh (orchestral arranger) for a sublime slice of refined vocal-led jazz underscored by an equally sophisticated combo. Unlike their previous collaboration, Cavanaugh isn't directing the Count Basie band, but even a trained ear would be challenged to discern the difference as both the artist and conductor are heard here at the top of their games. The effort obviously translated to listeners, as Tell Me All About Yourself (1960) made it to a respectable number 33 on the Top 40 album survey. The project's title song "Tell Me All About Yourself" benefits from the vocalist's playfulness against the understated swing of the score. As it churns below the surface, Cole maneuvers his lead without ever having to compete with a brash brass section. There is a certain hearkening to a vintage sound on several selections. Among them are Cole's take on the Sammy Cahn staple "Until the Real Thing Comes Along" and the sweet simplicity of "Crazy She Calls Me," "Dedicated to You," and the closer "(I Would Do) Anything for You." Those back-to-basics versions are contrasted by comparatively modern interpretations of Irving Berlin's "What's the Best Thing for You" and the instrumental muted-trumpet regality that Cavanaugh infuses into the distinguished "When You Walked By." Cole ably displays his ability to jump and jive with the best of them. He goes head-to-head with the orchestra on the sassy and refreshingly politically incorrect "You've Got the Indian Sign on Me" and the similarly energized "For You." In 2007, Tell Me All About Yourself was coupled with the aforementioned Welcome to the Club on a two-fer CD by Collectors' Choice Music as part of their restoration of Cole's classic Capitol Records catalog. - by Lindsay Planner, AMG

If the front cover of the album, a close-up photograph of a young woman, her eyes closed, her red lips ready for a kiss, her cheek being brushed by a young man (both of them white, incidentally), didn't get the point across, the note on the back cover, beginning, "In the romantic mood of The Very Thought of You and Love Is the Thing...," surely did. Nat King Cole's first LP of 1961, The Touch of Your Lips, was another in a series of ballad collections devoted to the wonders of love. Arranger/conductor Ralph Carmichael supported Cole with a buoyant sea of strings and kept the tempos very slow, the better for the singer's rich tone to convey the bedroom ambience. This was music for the adults of 1961, adults who remembered many of these songs as swing standards of the 1930s and '40s when they were performed by the likes of Ray Noble (the title song and "You're Mine, You!"), Jimmy Dorsey ("I Remember You"), Glenn Miller ("A Nightingale Sang in Berkeley Square"), and Ozzie Nelson ("Lights Out"). Those were all bandleaders, of course, and Cole had little trouble putting his own stamp on songs sung earlier by band singers Al Bowlly, Bob Eberly, and Ray Eberle. But he also borrowed no less than three selections ("Poinciana [Song of the Tree]," "Sunday, Monday, or Always," "Only Forever") from the repertoire of Bing Crosby, and that was more of a challenge, one he did not entirely meet. Still, The Touch of Your Lips succeeded in taking its place alongside Cole's other effective ballad albums.- by William Ruhlmann, AMG

Artist: Nat King Cole
Album: Tell Me All Abou Yourself (1-12)/Touch of Your Lips (13-24)
Year: 1960/1961 (Capitol)
Label: EMI (1997)
Runtime: 69:27

1.  Tell Me About Yourself (Mel Leven/Hub Atwood) 2:08
2.  Until The Real Thing Comes Along (Sammy Cahn/Saul Chaplin/L.E. Freeman/Mann Holiner/Alberta) 3:10
3.  Best Thing For You (Irving Berlin) 2:01
4.  When You Walked By (Johnny Burke/Joe Bushkin) 2:49
5.  Crazy She Calls Me (Bob Russell/Carl Sigman) 2:37
6.  You've Got The Indian Sign On Me (Johnny Burke/Joe Bushkin) 1:49
7.  For You (Joe Burke/Al Dubin) 2:21
8.  Dedicated To You (Sammy Cahn/Saul Chaplin/Hy Zaret) 2:53
9.  You Are My Love (Bass/Sherman) 1:56
10.  This Is Always (Mack Gordon/Harry Warren) 2:57
11.  My Life (Nat King Cole/Nat Simon) 2:11
12.  (I Would Do) Anything For You (John Hill/Claude Hopkins/Bobby Williams) 1:47
13.  The Touch Of Your Lips (Ray Noble) 3:52
14.  I Remember You (Victor Schertzinger/Johnny Mercer) 3:13
15.  Illusion (Sol Parker/Lillian Moss/Barry Iver) 2:54
16.  You're Mine You (Johnny Green/Edward Heyman) 3:22
17.  Funny (Not Much) (Philip Broughton/Robert Merrill/Marcia Neil/Hughie Prince) 3:05
18.  Poinciana (Nat Simon/Buddy Bernier) 3:56
19.  Sunday Monday Or Always (Johnny Burke/James VanHeusen) 2:21
20.  Not So Long Ago (Fred Tobias/Al Frisch) 4:07
21.  A Nightingale Sung In Berkeley Square (Eric Maschwitz/Manning Sherwin) 4:46
22.  Only Forever (Johnny Burke/James V. Monaco) 3:19
23.  My Need For You (Allan Roberts/Al Frisch) 3:24
24.  Lights Out (John Hill) 2:29

Nat King Cole (Piano, Vocals)
David Cavanaugh (Arranged) - 1-12
Ralph Carmichael (Arranged) - 13-24

Marcus Miller Featuring Archie Shepp France 2012

Marcus Miller 2012-05-19 Jazz Sous les Pommiers
Coutances France late concert


Marcus Miller: bass, bass clarinet
Maurice Brown: trumpet
Alex Han: saxophone
Kris Bowers: keyboard
Adam Agati: guitar
Louis Cato: drums

+ Archie Shepp, saxophone


01- Mr Clean
02- Detroit
03- Redemption
04- February
05- Jeckyll and Hyde
06- UT
07- Gorée
08- Tutu
09- They say it's wonderful / Blast!
10- Interview

Running Time 99 minutes

Source FM Broadcast

Some Green Drums...

I'm kind of on the run for the next four days here so not much in terms of blog posting for the coming few days. In the meantime, for all the drum nerds out there, here's a few pictures of my drums and cymbals (and my shoes, if you look closely!) from today's rehearsal with Oliver Jones in advance of tomorrow evening's concert at the Grand Theatre in downtown Calgary as part of the National Jazz Summit.

Nueva Manteca - Afro Cuban Sanctus

The founder of Nueva Manteca is Jan L. Hartong who started the band in 1983. In the 90′s, journalist Raul Rico of the authoritative Latin Beat Magazine, praised the group as “Europe’s finest in Latin Jazz”. Many have followed him over the years, and not without reason. The group belongs to the top of the Latin scene as can be judged from USA radio playlists which regularly show a top ranking position for Nueva Manteca’s CD’s Nueva Manteca creates a synergy between Cuban music and Jazz music “pur sang”. The group is not “just another good latin jazz band” as there are so many these last few years, they are unique in performance, style and repertoire. Their – mostly own – arrangements and compositions show inventively, creativity and most all a musical spirit that’s really something! Nueva Manteca is the living example that the sum is more than the parts. And considering the parts resemble an international caliber and equally convincing soloist capacities of the individual member expect a sizzling and swinging show! Nueva Manteca shows what musical synergy is all about. - from

Artist: Nueva Manteca
Album: Afro Cuban Sanctus - Missa Salsa
Year: 1997
Label: Azucar
Runtime: 47:55

1.  Introitus 0:55
2.  Intro Rumba De Cajon 1:16
3.  Sanctus 1 4:33
4.  Kyrie 4:53
5.  Gloria 3:45
6.  Praise Song For Yemayea 4:48
7.  Credo 6:04
8.  Piano Intro De Crusificus 1:00
9.  Crusificus 3:21
10.  Togue De Bata Para Osun 0:46
11.  Praise Songs For Obatala 4:31
12.  Padre Nuestro 4:12
13.  Agnus Dei 5:18
14.  Sanctus 2 2:25

Mirjam Verheem (Vocals)
Delia Gonzalez (Vocals)
Miguel Montenegro (Vocals)
Hartog Eysman (Vocals)

Wim Both (Trumpet)
Rini Swinkels (Trumpet)
Jarmo Hoogendijk (Trumpet)
Ben van den Dungen (Tenor Saxophone)
Jan Laurens Hartong (Piano)
Leslie Lopez (Bass)
Claus Toft (Percussion)
Nils Fischer (Percussion)
Lucas van Merwijk (Drums and Percussion)
Guest musician:
Bart Platteau (Flute)

Eddie Gomez Trio We Love La Faro Italy 2011

Eddie Gomez Trio We Love La Faro recorded at Area Spettacoli
del Museo del Brigantaggio di Itri Latina, Italy monday
1 August  2011 for Formia Jazz Flirt festival


Eddie Gomez, bass
Joe La Barbera, drums
Salvatore Bonafede, piano


00-radio introduction by Pino Saulo 4.28
01-stage intro by Gomez 2.27
02- unannounced title, quite possibly by La Barbera 8.11
03-bass solo Gomez 3.38
04-Gloria's Steps La Faro 7.20
05-introductions by Gomez and Bonafede 2.22
06-We Love La Faro Bonafede 9.26
07-intros by Gomez 0.51
08-These Things Called Changes Evans 6.23
09-intros by Gomez 0.53
10-Very Early Evans 7.28
11-radio outro 0.17

FM radio broadcast Running Time 53:46

Ed Thigpen - C Jam Blues

In advance of my gigs with pianist Oliver Jones this week as part of the National Jazz Summit here in Calgary, I'm shifting gears somewhat from having played pretty much only my own original music for the past four weeks. This is not a bad thing as I thrive on being a drummer that can go both directions, between being a bandleader and a sideman...and I consider myself very lucky to have that opportunity these days!!!

Oliver is a pianist coming out the Oscar Peterson school of Jazz piano playing so what better way to get into that zone as a drummer than to listen to lots of Ed Thigpen!

Here's the classic trio featuring Thigpen with Oscar Peterson and Ray Brown on Ellington's "C Jam Blues":

In terms of this particular stylistic approach to piano trio drumming I've also been checking out Jeff Hamilton's trio as well as Lewis Nash's work with Tommy Flanagan.

The National Jazz Summit with Oliver Jones

I'm very excited to be participating this coming week in the first inaugural National Jazz Summit which is taking place in Calgary May 23-26. This is a co-production between the National Music Centre (formally known as the Cantos Music Foundation), the Banff Centre, CADME and JAZZ IS.

Along with my partners-in-crime Jim Brenan on tenor saxophone and Rubim de Toledo on bass (collectively known as the "Invertigo Trio") we'll be performing with Canadian Jazz legend and pianist Oliver Jones on Friday, May 25th at the Grand Theatre following three days of workshops and rehearsals. Pianist Vijay Iyer (who is currently taking over from Dave Douglas as head of the Jazz workshop at the Banff Centre) will also be sharing the bill with us that evening.

I'll also be presenting a workshop on the afternoon of Saturday, May 26th with visiting University of Saskatchewan Professor Dean McNeill. We'll be working with a student combo from E.P. Scarlett High School and discussing various aspects and dynamics of small group Jazz improvisation.

I have to say that I'm really looking to working with Oliver Jones. I first heard Jones during his performance in Regina, Saskatchewan around 1992-1993 when he and bassist Dave Young performed at the local Regina Jazz Society. After the show I purchased a copy of his album "A Class Act" which featured Jones with bassist  Steve Wallace and drummer Ed Thigpen and this CD got a lot of airplay around my house as a kid (my father particularly enjoyed this one as well!) This was actually my first introduction to Thigpen's drumming and I was mesmerized by his groove and solo on the Oliver Jones original calypso-inspired theme "Stan Pat".  Of course this led to a life-long appreciation and study of Thigpen's work with the Oscar Peterson trio.

For more information about the events taking place during the National Jazz Summit, please visit the National Music Centre's website:

The Adderley Brothers

Well, it's been a busy long weekend over here at Four on the Floor. Thanks to everyone who came out to my CD release at the Beatniq on Friday and Saturday nights. The band played great and your support is much appreciated. If you are interested, you can purchase my new album Sunalta

Just a few thank you's and a quick shout-out to:

Gordon Fick
Andrew Noakes
Kat Dorian at CJSW
Brad Turner
Jim Brenan
Rubim de Toledo
Tom Van Seters
Rob Young
Gerry Hebert
The staff at the Beatniq Jazz & Social Club
David Ward
Tim Tamashiro
John DeWaal
Kodi Hutchinson

Since today is a holiday (Victoria Day up here in Canada) just sit back and enjoy this one of the Adderley brothers from a Jazz Casual television spot featuring some, as always, great drumming from Louis Hayes:

Charlie Haden Quartet West London 2007

Charlie Haden Quartet West (w Ernie Watts) 
Live At Elisabeth Hall London 2007


Ernie Watts (tenor sax)
Alan Broadbent (piano)
Charlie Haden (bass)
Rodney Green (drums)


01. Passport
02. Hello My Lovely
03. Child's Play
04. Lonely Woman
05. Segment

Recorded "Live," 16 November 2007
at the Queen Elizabeth Hall
Southbank Centre, London
BBC Radio Broadcast

Total Time 58:57
MP3 @ 320

Thanks To Bennosh

Mike Nock - Ondas

At the time of this recording, New Zealand's Mike Nock was one of the great, unsung pianists in European stlyed jazz. His elegant phrasing and wildly inventive melodicism fly in the face of all notions that claim improvisation must be outside Western musical parameters and structures. On Ondas, Nock has assembled a rhythm section that, while never having played together before shared the ability to create the bedrock, however flexible, for the artist's crystalline compositions and solos. Eddie Gomez was a wise choice for this session because of his experience with Bill Evans, who is an obvious influence on Nock's own composing -- as is Keith Jarrett. His pizzicato flourishes and shifting timbres on "Forgotten Love" and "Visionary," while retaining an elemental sense of meter, are remarkable. Christensen is the greatest of all the drummers in the ECM stable. His style is one of paucity and sparse riffs, but his cymbal "dancing" is a trademark favorite of pianists and saxophonists everywhere. He has the ability to open up time, creating a window for improvisers to stretch each note, each interval, each mode, for all it's worth, suspending notions of time and space for the listener. Evidence is on the title track and "Land of the Long White Clouds." For his part, Nock is a magician of lyrical invention. His compositional architecture is created of minor modes and subtle textures. His chords are small enough to be their own rhythm section and large enough to fit all the notes in between them and the next octave in combinatory gestures of shimmering beauty. He does all of this in a manner in which tension and its resolution are in constant flux, never out of balance with one another. His solo on "Forgotten Love," that is based upon Gomez', is a case in point: towering ivy clusters of notes flex over darkened minor chords, up and through the middle and then upper registers of the instrument before inviting Gomez back in. In all, this is a glorious recording by a crack batch of musicians. It is also a stellar example of what Manfred Eicher's label and production offer to the world. - by Thom Jurek, AMG

"Manfred (Manfred Eicher) wrote me a letter after hearing In Out and Around, saying he wished that album had been on ECM and telling me he wanted to make a trio recording with Gomez, Christensen and myself.
I played quite often with Gomez on recordings and tours, but never with Christensen.
The first day in the studio the trio played quite differently - free high energy jazz, which was erased before I even heard it!  I loved the session but Manfred seemed disinterested.
The next morning he got up at dawn and we began recording around 9am.  By 11am we were finished as he knew he had what he wanted.
It was a very collaborative session.  The first piece; ‘Shadows of Forgotten Love’ was on In Out and Around but Manfred had his own vision for the piece, suggesting I just play the first 16 bars and forget about the bridge section.  We finished the first take and I saw Manfred gesticulating wildly in the control room for us to continue - which we did and which you can actually hear on the recording.  It was all very spontaneous and a wonderfully unusual collaborative experience for me.
I was very much into Brazilian music and culture at the time ('Ondas' means 'waves' in Portuguese) but interestingly enough I came up with the title while on one of my frequent visits to Nelson NZ, situated on Golden Bay.
Manfred loved the title, as apart from the sound of the word it also had a somewhat enigmatic quality, as he felt very few people would know what it actually meant". by Mike Nock - September 15, 2010

Artist: Mike Nock
Album: Ondas
Year: 1981
Label: ECM (1982)
Runtime: 51:10

1.  Forgotten Love 15:59
2.  Ondas 9:11
3.  Visionary 11:37
4.  Land Of The Long White Cloud 7:58
5.  Doors 6:23
All compositions - by Mike Nock 

Mike Nock (Piano)
Eddie Gomez (Double Bass)
Jon Christensen (Drums)

This Weekend! Sunalta CD Release - Calgary

Hey Calgary!

If you are in town, don't miss this weekends pair of gigs. I'm performing with my quintet at the Beatniq both Friday & Saturday evenings with an outstanding group of musicians. Come on out an enjoy the music from my new CD Sunalta. It's going to be epic!!!

The Jon McCaslin Quintet
Sunalta - Calgary CD Release

Appearing at:

The Beatniq Jazz & Social Club

811 - 1st Street SW 
Calgary, AB

Friday, May 18

Saturday, May 19



Jon McCaslin – Drums 

Brad Turner - Trumpet (Vancouver)

Jim Brenan - Tenor Saxophone

Tom Van Seters - Piano (Edmonton)

Rubim de Toledo – Bass

Canadian jazz drummer Jon McCaslin is proud to present his latest release Sunalta on the Cellar Live record label, a collection of 12 original contemporary jazz compositions that feature an all-star quintet comprised of Brad Turner (trumpet), Phil Dwyer (tenor saxophone), Tilden Webb (piano) and Jodi Proznick (bass) with additional special guests on two septet numbers. This recording is a highly anticipated sequel to McCaslin’s 2003 debut release McCallum’s Island and features his hard swinging cymbal beat, tight ensemble work and musical drum solos in the context of a diverse selection of melodic and dynamic original compositions. With all the tunes on this album penned by one of Canada’s emerging jazz drummers, these pieces are inspired by the people, places and journeys that have shaped his life over the past ten years.

CD available at:

Raul Midon Richard Bona Marciac 2011

Raul Midon Richard Bona Jazz in Marciac 2011


01 Don't Take It That Way
02 Good Times
03 Mbemba Mama
04 Don't Be a Silly Man
05 Invisible Chains
06 O Sen Sen Sen
07 State of Mind


Raul Midón Guitar - Vocals
Richard Bona Bass - Vocals
Lionel Cordew - drums
Etienne Stadwick - keyboards

Duration 49 min 59 sec

Bitrate 320

Alvin Fielder Plays

Thank you to Chad Anderson, cymbalholic guru and 16" inch bass drum lobbyist, for passing this one on to me last night. It was a pleasant surprise to find this clip in my inbox after coming home in the rain after grabbing a burger and a beer at my local pub following a very successful live radio broadcast with my trio promoting my new album and upcoming CD release at the Beatniq this weekend (thank you to Gordon Fick, Andrew Noakes, Kat Dornian and everybody at CJSW!)

I have to say that I'm not all that familiar with Fielder's drumming but I really dig what I have heard (largely in part to Chad's many writings and praise over the years).

See for yourself, the Master in action:

Thanks to here's an interesting article about this profound drummer worth reading:

And from 2009 here is a piece over at Destination Out on Fielder with some recommended music to check out:

I love this quote from Fielder (describing his style):

“I wanted to play my bebop as loose as possible and I wanted to play my free music as tight as possible.”
Works for me!

And here's a brief clip of Fielder talking about the great Billy Higgins:

Furthermore, here's what the all-knowing Wikipedia has to say about Alvin Fielder:

"Alvin Fielder (b. November 23, 1935, Meridian, Mississippi) is an American jazz drummer. He is a founding member of the Association for the Advancement of Creative Musicians, Black Arts Music Society, Jackson, Mississippi, Improvisational Arts Trio/Quartet/Quintet and is a founding faculty member of the Louis "Satchmo" Armstrong Summer Jazz Camp. William Butler Fielder, jazz and classical trumpeter, Rutgers University Jazz Professor is Fielder's only sibling.

Fielder began playing drums at age 12, heavily influenced by recordings of Max Roach. While a student at Xavier University in New Orleans, he studied under Ed Blackwell at the recommendation of Earl Palmer, jazz drummer. When he continued studying pharmacy at Texas Southern University in Houston, he "worked with the "Pluma" Davis sextet, which included Don Wilkerson, Richard "Dicky Boy" Lillie, John Browning, and Carl Lott. Backed such artists as Lowell Fulsom, Amos Milburn and other R&B artists with extended engagements in Houston. Also did several studio dates for Duke records. Active on Houston jazz scene with Jimmy Harrison Quintet, John Browning Quintet, and Eddie "Cleanhead" Vinson Sextet." He later went to graduate school in pharmacology. After taking his degree at the University of Illinois, he began playing in Chicago, co-founding the AACM in 1965. Over the next several years Fielder played with Sun Ra, Muhal Richard Abrams, Eddie Harris, Kalaparusha, Fred Anderson, Lester Lashley and Roscoe Mitchell. Fielder is among the musicians on Roscoe Mitchell's "Sound" recorded in 1966.

In 1969, due to his father's ill health, he returned to his home state of Mississippi. Fielder took responsibility for managing the family business, became active in school desegregation, and continued to pursue his passion for the music. In 1971 he met John Reese. Fielder became very active in and helped develop Reese's fledgling Black Arts Music Society (BAMS). Fielder was instrumental in bringing many important artists to Mississippi. The artists include Muhal Richard Abrams, Alvin Batiste, Ron Brown, Betty Carter, Teddy Edwards, Malachi Favors, Dexter Gordon, Dick Griffin, Johnny Griffin, Eddie Harris, the Heath Brothers, Billy Higgins, Joseph Jarman, Joseph Jennings, Clifford Jordan, Kidd Jordan, Oliver Lake, Mulgrew Miller, Woody Shaw, Robert Stewart, Kenneth Thomas, Henry Threadgill, Freddie Waits and Cassandra Wilson. Cassandra Wilson, a native of Jackson Mississippi, as a teenager was introduced to and encouraged to sing bebop by BAMS.

In 1975, Clifford Jordan and Fielder began working with Kidd Jordan in an improvisational ensemble. At times it was The Improvisational Arts Trio, Quartet and Quintet. Clyde Kerr, Alvin Thomas, Kent Jordan, Darryl Lavigne, Johnathan Bloom and Elton Herron have played with Improvisational Arts at various times. Fielder has appeared at the annual New Orleans Jazz and Heritage Festival every year from 1975 to 2008. In 1995, Fielder participated as a founding faculty member (the only non-Louisiana musician) in the Louis "Satchmo" Armstrong Summer Jazz Camp. He has taught every year until 2008.

He recorded in 1987 with Ahmed Abdullah, Charles Brackeen, and Dennis Gonzalez, and continued exploring in the free jazz vein in the 1990s with Joel Futterman, Kidd Jordan, and others. He toured with Andrew Lamb in 2002, and released the album A Measure of Vision under his own name in 2007.

In 2012, Fielder was awarded the Resounding Vision Award by Nameless Sound in Houston."

Perhaps Chad Anderson might be able to provide us with some insight to the method of the modern day master (?) : )

JATP All Stars Hamburg Germany 1956

1956 JATP All Stars Hamburg 1956-02-29
Planten und Blomen/ Festhalle
Hamburg, February 29, 1956.

FM Broadcast Bitrate 320 CBR


Dizzy Gillespie, Roy Eldridge (tp)
Flip Philips, Illinois Jacquet (ts)
Oscar Peterson (p)
Herb Ellis (g)
Ray Brown (b)
Gene Krupa (dr)


01. JATP Blues
02. My Man
03. It Don't Mean A Thing (If It Ain't Got That Swing)
04. Honeysuckle Rose
05. My Man (alternate version)
06. It Don't Mean A Thing (If It Ain't Got That Swing)
(alternate version)
07. Ballad Medley:
These Foolish Things (Flip Philips)
Ghost Of A Chance (Illinois Jacquet)
Rockin' Chair (Roy Eldridge)
Lullabye Of The Leaves (Dizzy Gillespie)

JATP All Stars Dusseldorf Germany 1960

JATP All Stars. From Fuji The Venue is Probably Rheinhalle 
Dusseldorf, Germany Taped from Radio


1. On Green Dolphin Street 9:08
2. Walkin’ - The Theme 10:41
3. JATP Feature Ballad Medley 8:49
4. Hackensack - Rifftide 8:14
5. Out Of Nowhere 10:21
6. The Thrill Is Gone 6:50
7. Out Of Nowhere 9:38
8. Woody’n You 7:42
9. Desconocido 8:03

Lineup: and what a truely amazing
superstar lineup !!!

Tracks 1 – 4

John Coltrane – Tenor Sax
Wynton Kelly – Piano
Paul Chambers – Bass
Jimmy Cobb – Drums
Stan Getz – Tenor Sax
Oscar Peterson – Piano
Tracks 5 – 9 :
Stan Getz – Saxo Tenor
Lou Levy – Piano
Ray Brown – Bass
Ed Thigpen – Drums       

Recorded At Rheinhalle Dusseldorf Germany 
On The 28th of March 1960

Bill Carrothers plays Clifford Brown w/Bill Stewart

Here's a good one featuring drummer Bill Stewart with pianist Bill Carrothers in a trio performing music from Carrother's latest Clifford Brown project:

I haven't heard his latest album yet but it's on my hit list and I look forward to hearing how these musicians interpret the music of trumpeter Clifford Brown's quintet music (this music holds a dear place in my heart as the albums that Clifford Brown and Max Roach did together are some of my all-time favorites going back to when I was a kid).

Stewart and Carrothers also have a history of playing together and I can highly recommend the duet album they did together several years ago.

Michael Spiro - Understanding the Triplet

Today's post features percussionist Michael Spiro's excellent masterclass from last year's PASIC conference in Indianapolis. Spiro is exceptional educator and really understands the rhythmic complexities of Afro-Cuban music. I wasn't able to attend last year's conference but the people at Vic Firth were and thanks to them the rest of us can learn a thing or two from Michael.

As Kenny Washington always says: "Watch, listen and learn!":

Steve Coleman - Def Trance Beat

This is certainly one of the best jazz records I've heard in the past 10 years. This band just smokes through these rhythmically complex, odd metered songs with an incredible energy while remaining tempered with melody, nuance and soul. They never turn into a soullessly technical machine like so many bands intent on showing off their chops. Coleman is the most innovative and technically awesome saxophone player working in jazz today but he is also one of the best composers. And it goes without saying that he refuses to make the neo-traditinalist records everybody else is churning out. - by a customer,

"Music is for me first and foremost a form of communication. Music can also communicate emotions in a direct and abstract manner. In all of these cases what is understood by anyone experiencing this music depends on that listener's personal experience. Improvisation in music allows the musician to communicate or express in real time in the same manner as one person talking to another (or to a group of people)". This quote from Steve Coleman exemplifies the approach of Steve Coleman and Five Elements. Since 1981 this group has been involved in a personal extension of the musical language of the Afrikan Diaspora. It is their aim to communicate these experiences to today's listeners. The group's current album Def Trance Beat documents the groups latest efforts in this arena. Following upon the success of the Five Elements' last release The Tao of Mad Phat, Def Trance Beat's musical form progresses with an intuitive flow while displaying insight into an ancient science, all within definitive creative musical structures. This particular way of expressing music and musical improvisation comes from the combination of individual and collective experiences and the general way the musicians vibrate spiritually in their environment. The compositions on the album are the result of the "collective meditations" approach that the group has explored on its last two releases. This recording represents the final phase in that cycle. At the time of this recording the concept of the group was already heading in a new direction, that of realizing in musical form, some of the developments of ancient Kam (Egypt). Some of the compositions on Def Trance Beat lead the way in this development (Dogon, Multiplicity Of Approaches, The Khu and The Mantra). The primary focus of the album is what Steve calls "Modalities of Rhythm", an attempt to rediscover the science of psychic energy and knowledge of the Ancients through specific rhythmic processes. The improvisations are then built through the musician's understanding of their common experiences, a documentation of the living process organically expressed through music. "Flint is from the movie Our Man Flint and is simply a melody that I liked and rearranged in our own peculiar style. In its own way it provides a bridge for the audience to enter into the more serious music to follow. Verifiable Pedagogy is a combination of drummer Gene Lake's imagination and saxophone great Charlie Parker's composition Confirmation, again with the Five Element stylistic stamp of approval! Dogon is named for a Sudanese people (in the Upper Niger region in present-day Mali) called by the name Dogon who possess an extraordinary cosmology. Multiplicity Of Approaches (The Afrikan Way Of knowing) is a composition which through music describes the cyclic approach towards knowledge demonstrated in ancient Africa. The Khu is the Universal Divine Will which in ancient Kamitic traditions initiates the manifestation of all things. Pad Thai is a noodle dish, the shape and quality of the lead melody reminded me of this dish. In Jeannine's Sizzling a composition called Jeannine (something I've heard performed by saxophonist Cannonball Adderly) is merged with a Five Elements' song called Fire Revisited. Patterns Of Force is a composition by our pianist Andy Milne. The Mantra is an Intonation Of Power drawing on the strength of the combined focus of the musicians. Salt Peanuts again is a Five Elements' arrangement of a Dizzy Gillespie & Kenny Clarke composition". - from

Artist: Steve Coleman & Five Elements
Album: Def Trance Beat (Modalites of Rhythm)
Year: 1994
Label: BMG (1995)
Runtime: 68:33

1.  Flint (Jerry Goldsmith) 10:44
2.  Verifiable Pedagogy (From Pedagogy And Confirmation) (Gene Lake/Charlie Parker) 3:34
3.  Dogon (Steve Coleman) 8:22
4.  Multiplicity Of Approaches (The Afrikan Way Of Knowing) (Steve Coleman) 6:20
5.  The Khu (Divine Will) (Steve Coleman) 8:19
6.  Pad Thai (Steve Coleman) 5:15
7.  Jeannine's Sizzling (From Fire Revisited And Jeannine I Dream Of Lilac Time) (Steve Coleman/Gilbert/Shilkret) 6:09
8.  Patterns Of Force (Andy Milne)  12:50
9.  The Mantra (Intonation Of Power) (Steve Coleman) 3:36
10.  Salt Peanuts (Dizzy Gillespie/Kenny Clarke)  3:19

Steve Coleman (Alto Saxophone)
Andy Milne (Piano and Keyboards)
Reggie Washington (Bass Guitar) - 1-4,6-10
Gene Lake (Drums and Percussion)
Ravi Coltrane (Tenor Saxophone) - 1,3,5
Craig Handy (Tenor Saxophone) - 8
Matthew Garrison (Bass Guitar) - 5
Michael Wimberly (Djembe, Cowbell) - 1,5
Jalal Sharriff (Djun Djun) - 5
Kwe Yao Agyapan (Bongo, Congas, Djun Djun and Djembe) - 1,5
Ronnie Roc (Bongo and Talkin Drum) - 5

The Collective New York City 2012

The Collective New York City 2012

The Iridium Jazz Club
New York City, NY, USA
April 8, 2012


01 There is no greater love 20:56
02 All blues 19:01
03 If I were a bell 17:41
04 Body and soul 14:15
05 Oleo 11:37


Mike Stern - Guitar
Jimmy Cobb - Drums
Buster Williams - Bass
Javon Jackson - Sax

The Monday Morning Paradiddle

It's hard to believe that three years and over a quarter-million hits later (!) that this blog is still going strong. Thank you all for your continued support.

(just a quick favor to ask of you: if you notice any links or clips that are inactive in any of my posts, please let me know!)

Well it's Monday and, as per usual, here's an assortment of random things on the go here at Four on the Floor:

- Thanks to everyone who came out to my CD release in Edmonton, AB at the Yardbird Suite last Saturday. There were lots of drummer's in the crowd that night! (good ones too!!! No pressure there haha...)

Special thanks and a quick shout-out to:

Jim Head
Jim Brenan
Tom Van Seters
Stefano Valdo
Jasiek Poznanski
Adrian Albert
Nicolas Arnaez
Curtis Jacobs
Roger Levesque
Jonathan Eng
Efa Etoroma Jr.
Shaquille Headley

- Congrats to Calgary bassist Kodi Hutchinson who recently took over as the on-air host of the radio program "A Time for Jazz" on Alberta's CKUA radio station. Tune in to Hutchinson's program every Saturday from 12:00-3:00pm and rebroadcast on Sundays from 12:00-3:00am at 93.7 fm.

- Speaking of radio, WBGO has a several great interviews and conversations with some great drummers archived on their website these days:

Here's Charlie Persip:

And here's Matt Wilson:

There is serious wisdom and inspiration to be heard from those two...

- Sundays are always an interesting day for me (and, in particular, Sunday evenings...there is something about that time of day and bringing a close to the week while preparing for the week ahead. I think I'm even going to compose a tune that affect haha!)

Here's a recent article on how Dafnis Prieto spends his Sunday's from the New York Times:

- What can I say? Bobby Hutcherson is my all-time hero on the vibraphone....Here he is unleashing on John Coltrane's "Moment's Notice":

- Here are a couple nice clips of my friend Johnathan Blake who's playing really great these days, as always.

From a recent performance in Toronto, here's Blake in a duet with Tom Harrell on "Blue n'Boogie":

And here he is in a solo spot playing with Kenny Barron's trio:

Dig Johnathan's very unique cymbal set-up (or should that be "set-down"?)

-I also admire Peter Erskine's beautiful touch and compositional flow on the drums, no matter what the context. Here's a nice feature for Erskine that demonstrates that:

- Billy Martin recently toured as part of a collection of instrumental solo performance artists entitled The Alone Together Tour. Here he is on his piece "Treehouse":

- What am I listening to these days?

Elvin Jones - "On The Mountain" - Elvin Jones (drums)

Herlin Riley - "Cream of the Crescent" - Herlin Riley (drums)

The Moving Instant - "The Moving Instant" - Gavin Sorochan (drums)

Oscar Peterson - "The Way I Really Play" - Bobby Durham (drums)

Matt Wilson's Arts and Crafts - "An Attitude for Gratitude" - Matt Wilson (drums)

Owen Howard - "Drum Lore" - Owen Howard (drums)

Louie Bellson - "East Side Suite" - Louis Bellson (drums)

Terry Gibbs - "Take It From Me" - Louis Hayes (drums), Terry Gibbs (vibraphone)

- My hometown CD release for my new album Sunalta (cellar live) is coming up very soon!

The Jon McCaslin Quintet - Sunalta CD Release

Appearing at:

The Beatniq Jazz & Social Club

811 - 1st Street SW 
Calgary, AB

Friday, May 18

Saturday, May 19



Jon McCaslin – Drums 

Brad Turner - Trumpet (Vancouver)

Jim Brenan - Tenor Saxophone

Tom Van Seters - Piano (Edmonton)

Rubim de Toledo – Bass

Canadian jazz drummer Jon McCaslin is proud to present his latest release Sunalta on the Cellar Live record label, a collection of 12 original contemporary jazz compositions that feature an all-star quintet comprised of Brad Turner (trumpet), Phil Dwyer (tenor saxophone), Tilden Webb (piano) and Jodi Proznick (bass) with additional special guests on two septet numbers. This recording is a highly anticipated sequel to McCaslin’s 2003 debut release McCallum’s Island and features his hard swinging cymbal beat, tight ensemble work and musical drum solos in the context of a diverse selection of melodic and dynamic original compositions. With all the tunes on this album penned by one of Canada’s emerging jazz drummers, these pieces are inspired by the people, places and journeys that have shaped his life over the past ten years.

CD available at:

Music for Pieces of Wood - Nexus

Thanks to Patrick Boyle who sent this one my way. Here's the percussion ensemble Nexus performing the seminal Steve Reich piece "Music for Pieces of Wood":

I consider myself very fortunate to have spent some time studying and working with percussionist Russell Hartenberger (who is seen performing in the very clip above) over the years. I first met Russell in 1999 while I was participating in a long-term residency at the Banff Centre for the Arts where we worked together. Specifically we spent a great deal of time dealing with the mechanics of getting a good sound out of the drums and dealing with West African and North Indian rhythms. I've also been fortunate to work with Russell during my time at the University of Toronto while working towards my doctorate. Russell's affinity for rhythm in all it's guises is quite impressive and he's a great teacher.

Also, the group Nexus itself has always been a tremendous source of inspiration for me. My father first gave me a CD that featured a compilation of Nexus' various percussion ensemble recordings when I was in high school. I've always been impressed with their ability to combine virtuosity on their instruments with such a high level of musicianship and a deep knowledge of all things rhythm and percussion that spans the globe.

I only had the opportunity to hear Nexus perform once while I lived in Toronto but it was exceptional concert that featured a completely improvised evening of percussion ensemble music that also featured pianist David Braid and Phil Nimmons on clarinet. When you put musicians of that caliber on stage together that know how to deal with sound and space on such a high, intimate level great things are always bound to happen.

Here's a few more of the group Nexus to enjoy (I've posted a few of these before...)

This one features Steve Gadd tap dancing!

And another of Nexus featuring Gadd on drum set and Ghanian Master drummer Abraham Adzenyah in a rudimental inspired piece entitled "Duke's Lullaby":

Happy Birthday Mel Lewis!

Well, my favorite big band drummer Mel Lewis is no longer around, but his influence is undeniable.

Here's a couple to remember the great Melvin Sokoloff who was born on May 10, 1929 in Buffalo, New York to Russian immigrant parents:

And if you're interested, here's Mel Lewis from a series of radio programs talking about the history of Jazz drumming that are really worth listening to:

Thanks to John Riley and the kind folks at the Percussive Arts Society who put that one together.

Kenny Washington with the Benny Green Trio

A late post today but it's a good's the modern day master Kenny Washington in action with Benny Green and Peter Washington courtesy of a strategically placed, clandestine camera recorded from the audience:

Elvin Jones with Earl "Fatha" Hines

And...we're back!

Things are busy and on the go these days (seems to be a trend these days but I'm not complaining!) and now I'm finally back home and catching up after a very productive and inspiring weekend playing in Vancouver. I had the time of my life playing my music with my quintet at the Cellar over the weekend, promoting my latest album "Sunalta". I also spent a very productive Sunday afternoon recording with pianist Tilden Webb and bassist Jodi Proznick over at Brad Turner's recording studio and I'm looking forward to hearing the results from that.

A few people I would like to thank and who deserve a quick shout-out:

Cory Weeds & the staff at the Cellar Jazz club
Brad Turner
Phil Dwyer
Tilden Webb
Jodi Proznick
Tristan Webb
Mr. & Mrs. Webb
Terry Deane & the staff at Pizzeria Barbarella
Nou Dadoun
Brent Mah
Jeremy Price
Scott Wannop
Dave Robbins
Jesse Cahill

Anyways, back our regularly scheduled's a few audio files via that feature Elvin Jones with Earl "Fatha" Hines on piano and Richard Davis on bass from a 1966 date entitled "Here Comes Earl "Fatha" Hines":

This date came as a pleasant surprise to me and I'm going to make a point of finding the entire recording either on CD or LP. These cuts are another testament to Elvin's exceptional brush playing (in fact, I wouldn't be surprised if he played the whole record date with just his brushes - I'll guess I'll have to wait to find out!)

Another similar record date that comes to mind is Tommy Flanagan's "Overseas" which is another earlier piano trio outing that features Elvin on brushes. Also highly recommended.

Hancock, Brecker, Hargrove - Directions in Music

A double-milestone year for jazz, 2001 marked the 75th anniversary of the births of both Miles Davis and John Coltrane. With that in mind, Herbie Hancock went on tour with a quintet modeled after his V.S.O.P. bands of the '70s and '80s and the Tribute to Miles band of the '90s, which in turn were modeled after the 1965-1968 Miles Davis Quintet. The question this disc proposes: Can you go home yet again? Hancock preferred to dodge that one, saying that he was attempting to push the music onward in the Davis/Coltrane spirit of adventure rather than play for nostalgia. But essentially, despite the often unblinkingly hard-nosed soloing and the sometimes radical reworking of the old tunes, the conception of this idiom is that of Miles, and Michael Brecker's often brilliant, searching tenor sax work owes its soul to the example of Trane. Although the quintet's Los Angeles gig on October 11, 2001, was rather disappointing, the Toronto concert recorded here was a big improvement, with two weeks of roadwork evidently having the desired tightening effect. Though Hancock's piano gradually became more abstract and disconnected with its surroundings over the years, here he is in touch with his colleagues. Brecker provides the most fervent individual statement with an unaccompanied rendition of "Naima" that amounts to a virtual encyclopedia of tenor saxophone technique. Roy Hargrove does a serviceable job on trumpet and flügelhorn, trying to fill some heavy shoes, and as accomplished as the rhythm team of John Patitucci (bass) and Brian Blade (drums) is, you miss the irreplaceable combustion of Ron Carter and especially the late Tony Williams (compare the original Davis recording of "The Sorcerer" with this inward, less dynamic, less driving version). The most strikingly reworked cover tune is a slow, drawn-out, mournful take on "Impressions," almost an elegy for Coltrane, and Brecker delivers the eulogy with fire in the belly. There is new material from Hargrove ("The Poet"), Brecker ("D Trane"), and the three headliners ("Misstery"), none of which expands much beyond the parameters of the Davis and Coltrane models. While this quintet does not kick over old boundaries, it does make good, uncompromisingly intelligent music. - by Richard S. Ginell, AMG

Artist: Herbie Hancock, Michael Brecker, Roy Hargrove
Album: Directions in Music: Live at Massey Hall
Year: 2001
Label: Verve (2002)
Runtime: 78:26

1.  The Sorcerer (Herbie Hancock) 8:54
2.  The Poet (Roy Hargrove) 6:36
3.  So What/ Impressions (Miles Davis/John Coltrane) 12:50
4.  Misstery (Herbie Hancock/Michael Brecker/Roy Hargrove) 8:16
5.  Naima (John Coltrane) 7:29
6.  Transition (John Coltrane) 10:25
7.  My Ship (Kurt Weill/Ira Gershwin) 8:41
8.  D Train (Michael Brecker) 15:10

Herbie Hancock (Piano)
Michael Brecker (Tenor Saxophone)
Roy Hargrove (Trumpet)
John Patitucci (Bass)
Brian Blade (Drums)

Victor Bailey Group Leverkusener Jazztage 2010

Victor Bailey Group Leverkusener Jazztage 2010
31.Leverkusener Jazztage November,13

01 Graham Cracker
02 Low Blow
03 Quiet Afternoon
04 Kid Logic
05 How Deep is Your Love

Victor Bailey Group

Victor Bailey - Bass Guitar, Vocals
Casey Benjamin - Tenor Saxophone, Vocoder
Peter Horvath - Keyboards
Poogie Bell - Drums

Highly Recommended 

Dick Heckstall-Smith - Live 1990

DHS, R.I.P, is in fine form here and in good company. John Etheridge's guitar is the perfect foil for Mr. Heckstall-Smith's jazz-blues-bop blowing and the rhythm section of Rainer Glas and Joe Nay keep it all swinging along nicely. The live recording is clean and sounds as if you're in the room with them (a small room by the sound of it, lucky punters) - no overdubs or tidying up here! The music ranges from angular and restrained to full blast blowing sessions over four tunes including a great 'Woza Nasu' and 'Mongoose', with its stuttering rhythms at the start that then slides effortlessly into a free flowing session led by Mr. Etheridge, who's album this is as much as it is DHS's. DHS then climbs out of a short but dynamic drum solo with some intense and building blowing that always brings a smile to my face. A great album and a worthy one for any fan of DHS. - by Noel Hodda,

Dick Heckstall-Smith - English tenor saxophonist, educated at Dartington/Devon, studied at Cambridge University, than freelancing with Ronnie Smoth, the drummer Ginger Baker. Later he played blues and blues-rock, with groups conducted by Alexis Korner (Alexis Korner's Blues Incorporated 1962-3), Graham Bond (The Graham Bond Organization 1963-7) and John Mayall (John Mayall's Bluesbreakers 1967-8) and with Jon Hiseman's Colosseum (1967-8); later he studied for a doctorate in sociology, he played with Bo Diddley, again freelancing with musicians like Jack Bruce. In his playing he is influenced by Sydney Bechet, Wardell Gray, Lester Young and other, "was one of the first musicians to commute successfully between jazz and blues-rock, at a time when such a move was less fashionable than it later became" (after Digby Fairweather). as you find it on the inner sleeve of his autobiography - what he calls a "personal history of British rhythm & blues" - Heckstall-Smith not only evokes, economically and hilariously, this period, but also illuminates it, reflecting on the "blues boom" in Britain, involving Alexis Korner, Graham Bond, Georgie Fame, John Mayall et al., it is of seminal importance both in turning its growing audience's attention to the music's American roots and in paving the way for R&B-influenced rock groups like Fleetwood Mac, the Yardbirds, the Animals and the Rolling Stones. Dick Heckstall-Smith, a very respected saxophonist, witnesses zhe whole of this fascinating period from its very heart. - from the CD cover

Artist: Dick Heckstall-Smith
Album: Live 1990
Year: 1990
Label: Bellaphon (1991)
Runtime: 50:49

1.  Venerable Bede (John Etheridge) 9:00
2.  Woza Nasu (Dick Heckstall-Smith) 18:43
3.  Moongoose (Dick Heckstall-Smith) 13:42
4.  Baire (John Etheridge) 9:23

Dick Heckstall-Smith (Saxophones)
John Etheridge (Guitar)
Rainer Glas (Bass)
Joe Nay (Drums)

Jon McCaslin Quintet - Live at the Cellar

Howdy folks,

I'm on the road for the next few days promoting my latest album Sunalta. If you are in the Vancouver area please drop by the Cellar and say hello this Friday and Saturday.

The Jon McCaslin Quintet - SUNALTA CD Release

Friday, May 4

Saturday, May 5


Cellar Jazz Club - 3611 West Broadway, Vancouver, British Columbia


Jon McCaslin - Drums

Brad Turner - Trumpet

Phil Dwyer - Tenor Saxophone

Tilden Webb - Piano

Jodi Proznick - Bass

If you are interested a copy of my latest album, please drop me a line and I'll set you up or visit

Marcus Miller Band Burghausen 2012

Marcus Miller Band Jazzwoche Burghausen 2012
Wackerhalle, Burghausen, Germany, 2012-03-16


Marcus Miller - bass
Alex Han - saxophone
Louis Cato - drums
Federico Gonzales Pena - keyboards
Sean Jones - trumpet


1 - Blast (Marcus Miller) - 9:50
2 - Aida / Goree / Tutu (Miles Davis/Marcus Miller/Marcus Miller) - 27:53

Total Time 38:36

broadcast Bayern 2
radioJazznacht extra
Date: 2012-04-22