The Monday Morning Paradiddle

Busy times these days.

-I had the pleasure of accompanying Vancouver tenor saxophonist and pianist Ross Taggart over the weekend at Calgary's premier Jazz venue, The Beatniq Jazz & Social Club along with Keith Smith on guitar, Rubim DeToledo on bass and Allistair Elliott on trumpet. The concerts were sponsored by the JAZZ IS Society of Alberta and Ross is truly one of Canada's national Jazz treasures. Vancouver is very lucky to have such a talented and world-class musician in their midst. The depth of his swing and creative ideas was inspiring and I think everyone rose to the occasion. Some of the weekend's highlights for me included Taggart's rendition of Cedar Walton's "Holy Land" and one of my all-time favorite bebop heads, Dexter Gordon's "Fried Bananas". His bluesy and harmonically/rhythmically angular solo piano introduction to the blues finishing off Saturday evening's show also had me shaking my head. Good times.

-Rehearsals start to get much more frequent and more intense this week for the upcoming Decidedly Jazz Danceworks production of Wilds choreographed by Kimberly Cooper with original music written by Rubim DeToledo and Chris Andrew. I'm really excited to be a part of this creative project. I have lots more to say about my involvement with this but I will save that for another later post...

Here's a brief little production video showing us workshopping some music for the show:

The making of the music for Wilds from Decidedly Jazz Danceworks on Vimeo.

For more information about this show and the company check out their website here: www.decidedlyjazz.com



-I learned a little about Newfoundland Jazz history today via these following two clips. Newfoundland vibraphonist (and tenor saxophonist) Jimmy Thomson was described to me by my trusted colleague Patrick Boyle as being an "institution" with regards to the history and development of Jazz music in the province of Newfoundland:





Apparently Thomson is recovering from recent heart surgery. I wish him all the best, a speedy recovery and I hope to someday meet him and pick up some vibraphone tips from him.

-Thanks to the kind people over at Evan's Drumheads, here's a great clip of Kim Thompson in action, a drummer who's definitely one of my favorite groove/swinging drummers these days who plays really great whether with Beyonce or Mike Stern or Kenny Barron:



-Oh yes, congratulations to Team Saskatchewan that recently claimed victory and demonstrated their curling dominance over at the Scottie's Tournament of Hearts this weekend (just a quick shout out here to all my readers who also happen to be fans of women's curling!)

More Jeff Ballard Trio

What better way to spend a Saturday afternoon than checking out Jeff Ballard?











Well I guess we could be practicing....but watching these is okay and a lesson in itself too!

Making Music: Dave King

A fantastic interview today with drummer Dave King of the acclaimed trio, The Bad Plus (it's a long one, so get comfortable!):



I heard King with the Bad Plus over at Ronnie Scott's in London during the fall of 2009. He plays with a very original identity, sound and vocabulary - all very enjoyable and inspiring to listen to. Here's a few other clips of Dave King in action:





And just a reminder, I'm playing tonight and tomorrow night at the Beatniq Jazz & Social Club in Calgary, AB with Vancouver saxophonist and pianist Ross Taggart:



JAZZ IS Society of Alberta Presents:

Ross Taggart - Vancouver Saxophonist & Pianist

Live @ The Beatniq Jazz & Social Club
811 - 1st SW Calgary, Alberta

Friday, February 25 - Saturday, February 26

9:00pm

Featuring:

Ross Taggart - Tenor Saxophone/Piano
Allistair Elliott - Trumpet
Keith Smith - Guitar
Rubim De Toledo - Bass
Jon McCaslin - Drums

Josh Rouse & Kurt Wagner - Chester

The follow-up to Josh Rouse's acclaimed debut is even more promising than its predecessor: for the five-song Chester, Rouse sought out lyrics from the great Kurt Wagner, the mastermind behind Nashville freakshow Lambchop, and the result is a gorgeously understated record that plays beautifully to the strengths of both artists. Despite the seeming schism between the two, Rouse's bright, chiming songs fit Wagner's darkly surreal vignettes like a glove, at times (as on the superb opener, "Something You Could Always Tell") even co-opting Lambchop's orchestral touches to stunning effect; here's hoping a full-length collaboration is in their future. - by Jason Ankeny, AMG

Artist: Josh Rouse and Kurt Wagner
Album: Chester
Year: 1999
Quality: eac-flac, cue, log, artw.
Label: Slow River
Runtime: 20:14

Tracks:
1.  Somehow You Could Always Tell 2:56 
2.  That's What I Know 3:31 
3.  Table Dance 6:11 
4.  65 3:30 
5.  I Couldn't Wait 4:04 
All songs written by Josh Rouse and Kurt Wagner

Personnel:
Josh Rouse (Vocals, Guitar, Melodica)
Kurt Wagner (Vibes, Ambient Noises)
Sharon Gilchrist (Bass Guitar)
Malcolm Travis (Drums)
David Henry (Cello, Backing Vocals)
Dennis Cronin (Trumpet)
Curt Perkins (Electric Piano)

Leo Kottke - Ice Water

This is a good record, though not the Leo Kottke album to start with, as it is not representative of his usual work -- it's mostly a vocal record, and a very country-flavored record at that, with Kottke's baritone, reminiscent in some ways of Leonard Cohen (and even moving into what one might consider Jim Morrison territory), serving as the dominant instrument on six of the ten tracks. His flashy 12-string playing and Cal Hand's Dobro do come to the fore on "Tilt Billings and the Student Prince." Tom T. Hall and Ron Elliott of the Beau Brummels are among the songwriters represented. Among the intrumentals, "A Good Egg" is just the kind of light-fingered, light-textured virtuoso piece that one buys a Leo Kottke album expecting to find, and much of the rest shows off his talents in some unexpected directions. The sound on the One Way label CD reissue is first rate as well. - by Bruce Eder, AMG


This album was my introduction to Leo Kottke,well over twenty years ago. He amazed me with his playing back then,and he amazes me still,after seeing him numerous times over the years. This album will always be special to me,not only be- cause of its excellence but also because of the wonderful memories that it brings me. The very first song,Morning is a Long Way Home,is a power- ful piece of guitar work and makes the most of Leo's weak singing voice. (It's a voice that Leo fans have learned to love,the way people feel about singers like Neil Young and Bob Dylan.) Leo's version of Pamela Brown is very sweet,and he is justifiably famous for it. The rest of the album is solid quality,the kind of stuff we have come to expect from this terrific musician. This is a fine album,and anyone who enjoys masterful guitar work and excellent songs should buy right away! - A Customer, Amazon.com

Artist: Leo Kottke
Album: Ice Water
Year: 1974
Quality: eac-flac, cue, log, artw.
Label: EMI Plus (2000)
Total time: 38:25

Tracks:
1.  Morning Is The Long Way Home (Leo Kottke) 6:27
2.  Pamela Brown (Tom T. Hall) 4:05
3.  A Good Egg (Leo Kottke) 3:12
4.  Tilt Billings And The Student Prince (Leo Kottke/Ron Nagle) 4:57
5.  All Through The Night (Traditional/arr. Leo Kottke) 1:40
6.  Short Stories (Leo Kottke/Cal Hand) 3:01
7.  You Tell Me Why (Ron Elliott) 3:58
8.  You Know I Know You Know (Leo Kottke) 4:08
9.  Born To Be With You (Don Robertson) 3:01
10.  A Child Should Be A Fish (Leo Kottke) 3:51

Personnel:
Leo Kottke (6 & 12 String Guitar and Vocals)
Bill Berg (Drums and Percussion)
Bill Peterson (Bass Guitar)
Bill Barber (Piano)
Cal Hand (Dobro and Steel Guitar)

2 Drummers, 1 Trumpet Player & Some Saxophone Guy

Some interesting music today featuring two drummers, Eric Harland & Ferenc Nemeth, with Avishai Cohen on trumpet and Joel Frahm on tenor saxophone:





I first heard Ferenc with Lionel Loueke's trio at the 2008 IAJE conference/funeral in Toronto. This guy is ridiculous !!!

Ben Webster - The Warm Moods

The veteran tenor Ben Webster had a very warm tone on ballads that contrasted with the aggressive biting sound he used on faster material. For this 1960 set Webster is joined by a string quartet (arranged by Johnny Richards) and a rhythm section for his melodic interpretations of a dozen standards. Even when simply stating the melody, Webster brings out unexpected beauty in the songs. His tone has never been accurately duplicated and is the main reason to pick up this CD reissue. - by Scott Yanow, AMG

Artist: Ben Webster
Album: The Warm Moods
Year: 1961 (Discovery)
Quality: eac-flac, cue, log, artw.
Label: Reprise (2003)
Total time: 36:04

Tracks:
1.  The Sweetheart Of Sigma Chi (Bryan Stokes/Dudley Vernor) 2:27
2.  Stella By Starlight (Ned Washington/Victor Young) 3:03
3.  With Every Breath I Take (Ralph Rainger/Leo Robin) 3:06
4.  Accent On Youth (Vee Lawnhurst/Tot Seymour) 3:01
5.  But Beautiful (Johnny Burke/James Van Heusen) 2:54
6.  Time After Time (Sammy Cahn/Jule Styne) 3:11
7.  Nancy (With The Laughing Face) (Phil Silvers/James Van Heusen) 3:13
8.  I'm Beginning To See The Light (Duke Ellington/Don George/Johnny Hodges/Harry James) 2:48
9.  It Was So Beautiful (Harry Barris/Arthur Freed) 3:25
10.  The Whiffenpoof Song (Tod Galloway/Meade Minnigerode/George S. Pomeroy) 2:27
11.  It's Easy To Remember (Lorenz Hart/Richard Rodgers) 3:12
12.  There's No You (Hal Hopper/Tom Adair) 3:17

Personnel:
Ben Webster (Tenor Saxophone)
Donn Trenner (Piano)
Don Bagley (Double Bass)
Frank Capp (Drums)
Armond Kaproff (Cello)
Cecil Figelski (Viola)
Alfred Lustgarten (Violin)
Lisa Minghetti (Violin)

Tomorrow Ben van Gelder guest soloist with DIG d'DIZ

Every last Thursday of the month DIG d'DIZ invites a special guest to perform with them in the charming Parooltheater  ( close to the Dam). Tomorrow night’s concert features Dutch Ben van Gelder as soloist.

A native of the Netherlands, Ben studied at the Amsterdam Conservatorium with Ferdinand Povel and Dick Oatts. At this time Ben started performing regularly throughout the country with some of the Netherlands most prominent musicians at venues including the Bimhuis and the North Sea Jazz Festival.

In 2006 Ben moved to New York to further his music and academic studies at the New School University. He received lessons from revered musicians such as Lee Konitz and George Garzone. During his three year stay in the city Ben has played or recorded with many prominent contemporary jazz musicians including David Binney, Ambrose Akinmusire, Nasheeet Waits, Aaron Parks, John Escreet, Ben Street, Thomas Morgan and

Rodney Green. Ben returned to the Netherlands to further his studies in 2010 however travels regularly to New York to perform and record.

DIG d'DIZ is  Jan Menu - baritone sax  | Jan Voogd - double Bass | Maarten van der Grinten  guitar.

Location - Het Parooltheater Sint Pieterpoortsteeg 33 Amsterdam

Entrance fee 7,50, reservations: 020-5584300 or theater@parool.nl

Concert starts at 21:00

For more information
www.benvangelder.com
www.myspace.com/digdiz

Vibes & Drums

Some nice duets today here brought to us by drummer Hamid Drake and vibraphonist Pasquale Mirra:









I really dig the drum/vibraphone duet combination and that particular sonic percussion texture. Reminds me of the Ed Blackwell and Karl Berger duet recordings from awhile ago. I also heard vibraphonist Jay Hoggard and drummer Yoron Israel play like this two years ago at the 2009 PASIC conference in Indianapolis. This is definitely a setting I intend to explore myself in the future as an aspiring vibraphonist.

Dexter Gordon - A Swingin' Affair

Dexter Gordon was on a roll in 1962 when he recorded A Swingin' Affair. Two days earlier he and this same quartet recorded his classic album Go!; the band included pianist Sonny Clark, bassist Butch Warren, and drummer Billy Higgins. Gordon wrote two of the set's six tunes, the first of which, the Afro-Cuban-flavored "Soy Califa," is a burner. Higgins' drumming double-times the band as Gordon lays out the melody -- even his solo doesn't stray far from it and he returns to it repetitively. Clark vamps with beautiful minor-key chords that he then adds to his own solo, moving all around the lyric with his right hand. And Higgins and Warren are truly wonderful on this one. There are also three standards here. Gordon was always a master of them because his own approach to improvisation was essentially one of melodic invention. "Don't Explain" is ushered in by Clark stating the changes; Gordon's low and slow playing is romantic and sensual. On "You Stepped Out of a Dream," Gordon and Clark take the melody and invert it in the bridge; they turn it into a kind of groove as Higgins plays Latin-tinged rhythms throughout. Warren's "The Backbone" is a hard bop groover with a bossa nova flavor, as he and Gordon twin on the tune's head before Dex moves off into his solo. It's easily the best thing here. This is a hot hard bop band, playing a program that's relaxed and mostly upbeat; they even manage to stretch a bit. The Rudy Van Gelder Edition features fine sound but no bonus material. - by Thom Yurek, AMG

Artist: Dexter Gordon
Album: A Swingin' Affair
Year: 1962
Quality: eac-flac, cue, log, artw.
Label: Blue Note (1987)
Total time: 38:34

Tracks:
1.  Soy Califa (Dexter Gordon) 6:29
2.  Don't Explain (Arthur Herzog Jr./Billie Holiday) 6:07
3.  You Stepped Out Of A Dream (Nacio Herb Brown/Gus Kahn) 6:34
4.  The Backbone (Butch Warren) 6:49
5.  (It Will Have To Do) Until The Real Thing Comes Along (Sammy Cahn/Saul Chaplin/L.E. Freeman/Mann Holiner/Alberta Nichols) 6:50
6.  Mc Splivens (Dexter Gordon) 5:42

Personnel:
Dexter Gordon (Tenor Saxophone)
Sonny Clark (Piano)
Butch Warren (Double Bass)
Billy Higgins (Drums)

Charlie Hunter & Pound for Pound - Return of the Candyman

After releasing Natty Dread, Charlie Hunter decided to form a new band, one without horns. The ensuing Pound For Pound features Hunter with a drummer, synthesizers, and vibraphonist Stefon Harris. Removing the horns puts Hunter's guitar in the spotlight, and he rises to the occasion, fulfilling the promise he's displayed on all of his previous releases. There's a stronger groove here than on any of Hunter's previous records, but what's remarkable about the album is the way he keeps the groove rolling while pushing the music into unpredictable, adventurous territory. That fusion of groove and challenging jazz makes Return of the Candyman a thoroughly rewarding listen. - by Stephen Thomas Erlewine, AMG

For his fifth release, Hunter points himself in a refreshing new direction. "I not only wanted to play in a more percussive setting this time out, but I also wanted to dig into new realms of tonality and timbre. Don't get me wrong. I love the horns, but I'd been doing that for so long that I wanted to go after something different. Above all I wanted to make a groove album which meant coming up with a strong rhythm section."
"I had been listening to alot of vibes players lately, people like Bobby Hutcherson, Milt Jackson, and especially Steve Nelson who sounds great on Dave Holland's latest album (Dream of the Elders). I was excited by the fresh tonal possibilities as well as the versatility of the instrument and how it would blend in with the rest of the rhythm section. The people at Blue Note had been hipping me to [Stefon Harris]. They sent me a tape of his music and Stefon was killing. I knew I had to get his sound and intensity of playing. He was so great to work with. Stefon's such an open-minded cool dude. Plus, he's got a great attitude. He gives 100% to the music."
Hunter sought out John Santos for his addition on percussion "to add extra funkification to the vibe," and with Scott Amendola on drums, Charlie found what he was searching for. "This is what I had in mind when I first started thinking about this album. I'm really pleased with the results. We recorded a great record for hip-hop DJ's to sample."
Why call this lineup Pound for Pound? "Catchy, isn't it? I just like how it sounds. I got the idea watching the boxer Roy Jones Jr. being interviewed on a talk show. He was saying that as a middleweight or light heavyweight boxer, he didn't make a whole lot of money, but pound for pound he claimed he was the best fighter in the land."
Why is the album called Return of the Candyman? Charlie smiles, "Because we wanted to have a creepy picture of a clown on the cover. It's so freaky. It's supposed to look like one of those black velvet paintings. Plus, I can't think of another jazz group that would ever put out an album with a cover like this." - from Charlie's website

Artist: Charlie Hunter & Pound for Pound
Album: Return of the Candyman
Year: 1998
Quality: eac-flac, cue, log, artw.
Label: Blue NOte
Total time: 52:23

Tracks:
1.  Bongo Confront (Charlie Hunter) 1:20
2.  Enter The Dragon (Charlie Hunter) 6:09
3.  Fly Like An Eagle (Steve Miller) 4:31
4.  Dope-a-licious (Charlie Hunter/Stefon Harris/Scott Amendola/John Santos) 4:46
5.  Mystic Relaxation (Charlie Hunter) 1:07
6.  Return Of The Candyman (Charlie Hunter) 5:11
7.  Pound For Pound (Charlie Hunter) 6:37
8.  Grinch Comfort (Charlie Hunter) 0:38
9.  People (Charlie Hunter) 6:41
10.  Shake, Shake It Baby (Charlie Hunter) 1:54
11.  Turn Me Loose (Charlie Hunter) 6:51
12.  Huggy Bear (Charlie Hunter) 5:09
13.  Of Things To Come (Stefon Harris) 1:23

Personnel:
Charlie Hunter (Guitar)
Stefon Harris (Vibraphone)
Scott Amendola (Drums)
John Santos (Percussion)

CD Review – Carlos Villoslada - Tabanqueando en la Plaza Nina

Carlos Villoslada

Tabanqueando en la Plaza Nina

Independent release – info via www.carlosvilloslada.com

Lineup

Carlos Villoslada: tenor saxophone | Raul Gálvez: vocals | Juan Galiardo: piano | Antonio Corrales: bass |Dani Dominguez: drums | Rubem Dantas: percussion | Diego Moatoya and Pedro de Chana: palmas.

Tabanqueando en la Plaza Nina is the latest CD from Spanish tenor player Carlos Villoslada. The CD is dedicated to the Plaza Niña in Huelva, a small town in southern Spain not far from Sevilla and Villoslada’s  birth place. In the press release Villoslada states “these ideas are inspired by the melodramatic atmosphere created by the great cantaor Paco Toronjo, the most representative fandango cantaor from Alonso (Huelva).”

The CD opens with the title track and begins with a tasteful cadenza by Villoslada leading seamlessly to the simple melody presented as a quasi fandango rhythm. This stylish introduction immediately sets the atmosphere for the rest of the CD. Particularly impressive on this track is the short but effective bass solo by Antonio Corrales. The haunting “Después de Tocar” follows introducing singer Raúl Gálvez. Gálvez shows a passion and lyricism rarely heard in the genre, his vocal contribution on the album is one of the many highpoints contained on this CD.

My favorite track on this CD is without a doubt the beautiful ballad “74 Pesetas de Whisky”. The rhythm section sets the feel providing room for Villoslada’s intimate tone to conger up that late night atmosphere in the well crafted melody. Both Villoslada and Galiardo (piano) play tasteful and melodic solo’s on this piece.   

This CD is full of surprises and held my attention throughout. With “Tabanqueando en la Plaza Nina” Carlos Villoslada successfully integrates his Spanish roots into the language of jazz, following in the footsteps of Paco de Lucia and Pedro Iturralde. Viloslada has built up a strong following in his native Spain but unfortunately is little known elsewhere. Hopefully this CD will assist in bringing Carlos Villoslada the attention he deserves.

Johan van Deeg

PS. While researching some background information on Carlos I stumbled on an earlier release “Kind of Cai”. This CD contains flamenco and Latin interpretations for the legendary “Kind of Blue”. You realy need to hear this. click here to hear some samples from “Kind of Cai”

MAC MILLER - SHE SAID LYRICS

better job then leave me your opinion Cause I love life, chilling for the night, case of budlight Small World for me but you, you know a bugs life Scared to track your dreams, scared to get a risk Think its make believe, so you detest the shit Valentine love it, grimier then rubbish You softer then a snuggie and you sweeter then a Sunkist Never eating beats on your thug shit Come with all the swagger but you lacking all the meat Cool, the fellow you used to wanna be in school spending money, drinking liquor, naked girls up in my pool [Chorus] Wake up in my bed gettin head she said The act so cool but she easily impressed I know to lay back watch her while she get dressed Put herself together, last night was a mess, yes Today a new day, a new start, if you didnt make mistakes you wouldnt get far Life get hard, so we get high, you aint shit till you try [Mac Miller- Verse 2] Ay Yo my herb smoke tasting like a nerds row bout to get rich so I can buy my bitch a fur coat Something like a millionaire in training Still my shit amazing we jumpin over puddles when its raining Planning on a tan Im in the grit and where we jam and do it bounce While we dancing on the clouds until Im landing on my house Remember when moms would hate me standing on the sofa But now Im making so much money I begin to lose count I try to pass it quick I got bills though Ya Im only 18 I got skills though Beats rhymes life tribe called chilled flow You been rapping 25 days and you still broke No disrespect the wealth is the arthttp://www.elyricsworld.com/she_said_lyrics_mac_miller.html Im just made at all these haters who was bitches from the beginning We simply do this reason we know it and its setting us asunder We was already gone while you was solely on your mark [Chorus] Wake up in my bed gettin head she said The act so cool but she easily impressed I know to lay back watch her while she get dressed Put herself together, last night was a mess, yes Today a new day, a new start, if you didnt make mistakes you wouldnt get far Life get hard, so we get high, you aint shit till you try [Mac Miller] Well I was riding in shotgun, speeding down the highway Listening to music, havent slept in like 5 years I tried to acquire a nap, lean my mind against the window It feels real I trust to God this shit pretend tho Cause me I get high and take medicine for a life If that aint the best job then leave me your opinion Cause I love life, chilling for the night, case of budlight Small World for me but you, you know a bugs life Scared to track your dreams, scared to make a risk Think its make believe, so you detest the shit Valentine love it, grimier then rubbish You softer then a snuggie and you sweeter then a Sunkist Never eating beats on your thug shit Come with all the swagger but you lacking all the meat Cool, the fellow you used to wanna be in school spending money, drinking liquor, naked girls up in my pool [Chorus] Wake up in my bed gettin head she said The act so cool but she easily impressed I know to lay back watch her while she get dressed Put herself together, last night was a mess, yes Today a new day, a new start, if you didnt make mistakes you wouldnt get far Life get hard, so we get high, you aint shit till you try [Mac Miller- Verse 2] Ay Yo my herb smoke tasting like a nerds row bout to get rich so I can buy my bitch a fur coat Something like a millionaire in training Still my shit amazing we jumpin over puddles when its raining Planning on a tan Im in the grit and where we jam and prepare it bounce While we dancing on the clouds until Im landing on my house Remember when moms would hate me standing on the sofa But now Im making so much money I begin to lose count I try to pass it quick I got bills though Ya Im only 18 I got skills though Beats rhymes life tribe called chilled flow You been rapping 25 days and you still broke No disrespect the wealth is the art Im just made at all these haters who was bitches from the beginning We simply do this reason we know it and its setting us asunder We was already gone while you was but on your mark [Chorus] Wake up in my bed gettin head she said The act so cool but she easily impressed I know to lay back watch her while she get dressed Put herself together, last night was a mess, yes Today a new day, a new start, if you didnt make mistakes you wouldnt get far Life get hard, so we get high, you aint shit till you try Send "She Said" Ringtone to your Cell[ Correct lyrics ]

Bookmark She Said lyrics by Mac Miller

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Up Close with Eric McPherson

More up close.....REALLY up close footage of drummer Eric McPherson today:

Dino Saluzzi - Cité de la Musique

Argentinean Dino Saluzzi manages to be a great bandeonist and sound different from great Astor Piazzolla. His music is much closer to new age than to "nuevo tango" invented by Piazzolla and Co, his approach is more "down-to-earth" and "minimalistic" yet still bears an influence on Argentinean music . That's what makes him interesting for me and I love this album in particular because of "chamber sound" if you know what I mean. Like you seat in a big dark room next to a fireplace and the guys are playing for you. Five stars. - by M. Grigoryan, Amazon.com

It seems pointless writing a review for this album. It's almost as if you will either come across it in the journey of your life or you will not. If the timing isn't right it will just waft past you like the scent of a beautiful flower that you pass walking along a darkened path that you can never find again. I was lucky enough to come across this album in late 1999 and I have a funny feeling that it will remain on my top-five-most-beautiful-albums list for a long time to come. It's not as if there's a particular person or event in my life that this album reminds me of, it's a sort of a collage of everything beautiful and tragic that has ever happened in my 42 years of living. It's a medium to a whole collection of memory-feelings all bundled up together. More than once I have dozed off (stone cold sober) while listening to this album and have "come to" sensing the most vivid yet indescribable feelings, particularly during the last two tracks.I agree with the other reviews of this album - each of which is personal. Unlike other reviewers I can't put any visual images to the music on this album. I can't even tell my closest friends what I feel some times when I listen to this album. I just feel it. This beautifully dark and sensual album is mood altering if you can allow it to get in. - by Sam Calder, Amazon.com

Artist: Dino Saluzzi
Album: Cité de la Musique
Year: 1996
Quality: eac-flac, cue, log, artw.
Label: ECM (1997)
Total time: 60:58

Tracks:
1.  Cité de la Musique 5:56 
2.  Introducción y Milonga del Ausente 8:16 
3.  El Rio y el Abuelo 7:06 
4.  Zurdo 8:25 
5.  Romance 5:11 
6.  Winter 8:46 
7.  How My Heart Sings (Earl Zindars) 5:28
8.  Gorrión 3:23 
9.  Coral para mi Pequeno y Lejano Pueblo 8:24 
All compositions - by Dino Saluzzi ecxept How My Heart Sings

Personnel:
Dino Saluzzi (Bandoneon)
Marc Johnson (Double Bass)
José M. Saluzzi (Acoustic Guitar)

The Monday Late Afternoon/Early Evening Paradiddle

It's been a long couple of days of rehearsing with the Decidedly Jazz Danceworks dance company but still time for a brief post today (if not a little late!) Here's a few random things on my mind:

-I've been listening to a lot of Dave Holland's recent quintet, octet and big band music lately, and of course in addition to being a real lesson in composing and playing over odd meters, it's also always an opportunity to appreciate the fine playing of vibraphonist Steve Nelson. Here is a nice interview with Nelson from an article at allaboutjazz.com:

www.allaboutjazz.com/php/article.php?id=22408

It's a great interview, but I had to chuckle when I read about his account of playing in George Shearing's band along with the Canadian Jazz musicians "Neil Swenson" and "Red Schwager" : )

Just a random thought...I'd love to hear Dave Holland record a trio date with Steve Nelson on vibes with Dafnis Prieto on drums.
An interesting combination to ponder!

-Speaking of Dave Holland, here's more inspiring footage of Al Foster with Joe Henderson's trio:



-Take the time to check out Billy Martin's masterclass/woodshed article in the latest issue of Downbeat magazine. He's a great musician but also very articulate as well and I find his overall philosophy and words of wisdom regarding music to be inspiring and motivating.

-And another interesting interview with Kendrick Scott thanks to the kind people over at Vater drumsticks:



-Check out this smoking footage of Eddie Palmieri via Conor Guilfoyle:



-I have an exciting weekend of gigs coming up with Vancouver saxophonist/pianist Ross Taggart:



JAZZ IS Society of Alberta Presents:

Ross Taggart - Vancouver Saxophonist & Pianist

Live @ The Beatniq Jazz & Social Club
811 - 1st SW Calgary, Alberta

Friday, February 25 - Saturday, February 26

9:00pm

Featuring:

Ross Taggart - Tenor Saxophone/Piano
Allistair Elliott - Trumpet
Keith Smith - Guitar
Rubim De Toledo - Bass
Jon McCaslin - Drums

See you there !

Bob James - One

Bob James's first recording for his Tappan Zee label, which has been reissued on CD along with virtually James' entire output by Warner Bros., is typically lightweight. Although Grover Washington, Jr. has two spots on soprano and trumpeter Jon Faddis is in the brass section, James' dated Fender Rhodes keyboard is the lead voice throughout the six pieces, which include two adaptations of classical works. Only a lightly funky version of "Feel Like Making Love" rises above the level of pleasant background music. - by Scott Yanow, AMG

Bob James had already had records out (in a standard acoustic jazz format) many years before this came out but for all intents and purposes this is the beginning of the Bob James solo career most people will remember. James had a nice little nitche for himself producing and arranging albums during the early 70's on CTI with everyone from Freddie Hubbard to Grover Washington Jr and it only seemed a matter of time before he branched out and began making records of his own. In fact many of these people among them Grover himself,Idris Mohammad and Thad Jones all return the favor by being happily active participants on this album. This album has some of the hallmarks of James' sound of this era such as strong string arrangements and his understated way on the fender rhodes. On the other hand no one is going to mistaken this album for Lucky Seven for example. At this particular point in his career Bob James was operating during the earlier years of the 70's jazz-funk era and therefore was making music that was a lot more eclectic and broad in scope in terms of arrangements than one might normally associate with him. This would gradually diminish as the decade wore on but when this and his next few albums came out in the mid 70's would embrace that style to a pretty big extent. "Valley Of The Shadows" gets the album off to a great start with a 9 minute song called "Valley Of The Shadows"-a very discordant,minor chorded and somewhat avante garde type of groove where Bob's gift for traditional melody doesn't show up until the conclusion of the songs. "In The Garden" is a traditional arrangement that has a unique sounding mixture of jazz-funk fusion with a country slide guitar sound. Two more originals in "Soulero","Nautilus" and a version of "Feel Like Making Love" are getting a little more into standard Bob James style and even these songs have longer improvisational solos than one might expect. Another major highlite is of course "Night On Bald Mountain" which transforms the Moussorgsky classic into this funky groove with some really deep beats,similar in tone but somewhat more dramatic than what Deodato had famously done to the "Theme From 2001". Taken as a whole I rank this album in the same general arena as Head Hunters or Bitches Brew in terms of it's place in innovating a certain variety of jazz-funk and it's pretty likely this album is somewhat overlooked,as are many such recordings in the same arena. - by Andre S. Grindle, Amazon.com

Artist: Bob James
Album: One
Year: 1974
Quality: eac-flac, cue, log, artw.
Label: Tappan Zee (1996)
Runtime: 33:49

Tracks:
1.  Valley Of The Shadows (Bob James) 9:42
2.  In The Garden (Pachelbel)  3:06
3.  Soulero (Bob James) 3:22
4.  Night On Bald Mountain (Modest Moussourgsky) 5:51
5.  Feel Like Making Love (Gene McGaniels) 6:40
6.  Nautilus (Bob James) 5:08

Personnel:
Bob James (Keyboards)
Gary King (Bass)
Steve Gadd (Drums) - 1-4
Romeo Penque (Alto Flute)
Ralph MacDonald (Percussion)
George Marge (Alto Flute) 
Wayne Andre (Trombone)
Alan Raph (Bass Trombone)
Jack Gale (Bass Trombone)
Paul Faulise (Bass Trombone)
Alan Rubin (Trumpet)
Lew Soloff (Trumpet)
Marvin Stamm (Trumpet)
Victor Paz (Trumpet)
Jon Faddis (Trumpet, Flugelhorn)
Thad Jones (Trumpet, Flugelhorn)
David Friedman (Vibraphone)
Idris Muhammad (Drums) - 5,6
Grover Washington, Jr. (Soprano Saxophone) - 1,3
Eric Weissberg (Pedal Steel Guitar) - 2
Hugh McCracken (Harmonica) - 1
Charles Libove (Violin)
David Nadien (Violin)
Emanuel Green (Violin)
Gene Orloff (Violin)
Harold Kohon (Violin)
Harry Lookofsky (Violin)
Joe Malin (Violin)
Max Ellen (Violin)
Paul Gershman (Violin)
Alan Shulman (Cello)
Anthony Sophos (Cello)
Charles McCracken (Cello)
George Ricci (Cello)
Jesse Levy (Cello)
Seymour Barab (Cello)

Paal Nilssen-Love

A few ones today of European drummer Paal Nilssen-Love, an exciting drummer with a very unique (and dare I say "Han Bennink"-like) approach to the drum set:

Speaking of Vulnerability

Just in case any of you are interested... Here is the my quintet playing Brahms a few weekends ago. This is the first time that we have played together, and the first time we have performed together. The Brahms quintet in F minor is an amazing piece (we are playing just the first movement). I think that we did fairly well for just a short amount of practice time. (Keep in mind that we are just amateurs--people who simply play for the love of the music... we are not the Emerson String Quartet--that is my tender vulnerability coming out...)

As you are watching, notice how we play off of one another. Try to trace how the melody moves from instrument to instrument. How does the piano interact with the string quartet? How do the string players interact with the piano and with one another? Sometimes we literally pass the tune on to the next player. Sometimes we are all playing the tune together. Other times we support another player, helping them to soar beautifully. In a few sections we are all playing at different times, playing just two or three notes of the tune, playing off of one another to make a unified melody. I hope you enjoy!

Regardless, you just gotta love Brahms...

Olu Dara - In the World

This is a rich mature effort from an artist who understands the connections between the various genres of music (blues, jazz, soul, etc.) that evolved from the African-American south. Listen closely and hear a horn player's phrasing in the vocals. The songs brim over with his sense of humanity, knowing and not without a sense of humor while his band is a groove monster. Highly reccomended. - by S.S.Sams, Amazon.com

In the World: From Natchez to New York is certainly a surprise. Well known as a lyrical avant-garde cornetist, Olu Dara emerges here as an effective country-blues singer and guitarist. Fortunately, Dara does not neglect his cornet but the music is definitely much different than one might expect. The material, all written by Dara, deals with country life, difficulties with love, and survival in today's society, and includes a tribute to the vegetable and fruit peddlers of yesteryear ("Okra"). A few numbers feature other vocalists and storytellers, but overall the multi-talented Dara is the main voice (both vocally and instrumentally) throughout the fascinating and successful effort. - by Scott Yanow, AMG

Artist: Olu Dara
Album: In the World. From Natchez to New York
Year: 1998
Quality: eac-flac, cue, log, artw.
Label: Atlantic (SACD, 1998)
Runtime: 47:00

Tracks:
1.  Okra (Olu Dara) 4:50
2.  Rain Shower (Olu Dara) 4:35
3.  Natchez Shopping Blues (Olu Dara) 3:36
4.  Your Lips (Olu Dara) 4:00
5.  Harlem Country Girl (Olu Dara) 5:48
6.  Zora (Olu Dara) 3:14
7.  Young Mama (Olu Dara) 4:45
8.  Bubber (If Only) (Olu Dara/Mayanna Lee) 3:04
9.  Father Blues (Olu Dara) 3:32
10.  Jungle Jay (Olu Dara/Nas) 5:02
11.  Kiane (Olu Dara) 4:30

Personnel:
Olu Dara (Vocals, Trumpet, Cornet, Guitar, Bass Drum)
Kwatei Jones-Quartey (Guitar, Percussion) - 1-5,7,8,10,11
Ivan Ramirez (Guitar) - 1,2,4,5,10,11
Rudy Herbert (Hammond Organ) - 1,2,4,7,10,11
Alonzo Gardner (Bass Guitar) - 1,2,4,5,7,8,10,11
Richard James (Congas) - 1,2,4,7,10
Greg Bandy (Drums and Percussion) - 1,2,4,5,7,8,10
Melba Joyce (Backing Vocals) - 1-3,5
Joyce Malone (Backing Vocals) - 1,2
Cantrese Allovay (Backing Vocals) - 1,2
Darada David (Backing Vocals) - 1,2
Mayanna Lee (Vocals) - 8
Nas (Vocals) - 10

James Farm featuring Joshua Redman in the LantarenVenster

Joshua Redman will be performing with his new band “James Farm” on Monday 30^th of May 2011 in the LantarenVenster. James Farm also features Aaron Parks - piano, Matt Penman - bass, and Eric Harland- drums.

The band infuses traditional acoustic jazz quartet instrumentation with a progressive attitude and modern sound, creating music that is rhythmically and technically complex and at the same time harmonically rich, melodically satisfying, and emotionally compelling. After debuting at the 2009 Montreal Jazz Festival to a packed house and rave reviews, James Farm is looking forward to riding their collective momentum.

Don’t miss this one. For more information regarding Jams Farm check out www.jamesfarmband.com . Tickets are available via the LantarenVenster website.

Otis Brown III on Cymbals

Today here's some footage of drummer Otis Brown III talking about his choice in cymbals brought to us by the fine people over at the Zildjian cymbal company:



Otis is a fine drummer that was first brought to my attention through his great playing with Joe Lovano's US Five project that features not one but two great drummers (along with his drum brother Francisco Mela holding down the rhythm fort). Brown is also a frequent accomplice of bassist Esperanza Spalding, the fine young musician who recently won the Grammy award for best new artist. Fine company to be in, indeed !

VIDEO: LINDSEY LOHAN'S E-HARMONY PROFILE THE Insane ASYLUM

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Our Vanishing Visual Record - Visual Journalism

Steve Parker at St. Louis Today, passes on a lament from the recent Order of News Design competition - the release of emotional images from our newspapers.

The comments lifted from the SND report ring too true:

Amid all our positive observations, we became concerned about the land of photojournalism in the pages we saw. We missed emotional photographs.

Glossy magazines and newspaper pages with vast, luxurious expanses of space were largely barren of powerful photojournalism.

The want of strong, documentary images puzzled us. We wondered if this has something to do with reduced investment. The manufacture has lost so many positions for picture editors and others, and yet great photographs can`t be made without time, care and commitment. Perhaps in places where the process is being done, print space to showcase it is no longer available.

Having had the lavishness of seeing hundreds of papers in the final few days, we`d like to produce a red flag on this issue. It`s one of print`s great powers to enable users to savor moments captured in the best photos. How can we recapture and have this respect to readers?

And it`s true - our readers have shied away from coverage of heavy things, relevant things, emotional things. They need it promptly and comfortable and happy. And if you don`t do that, they click away.

So what do we do? Well, I nonetheless think we want to recite stories that matter. But we can`t but have pictures of impoverishment and war and disasters - we want to refer those to our readers, we need to express them that poverty is an effect in India, it`s also an event in Peoria.

And that it`s an effect they can do something about. Don`t simply looking at the symptoms in your work. Go beyond the causes, too - go for the cure. Tell THAT report and people will pay attention.

It isn`t easy, but it is relevant and emotional. And that`s how we save storytelling.

Angelique Ionatos - D'un Bleu Tres Noir

Angélique Ionatos is a Greek singer produced by the French label Naïve. As far as I know she is unknown on the American side of the Atlantic. Her songs and her voice are melancholic and languorous, reminiscent of some other Mediterranean women singers. I am thinking in particular of the Portugese singer Bevinda. She has a similar feminine "grandeur". Ionatos's Greek roots give to her music a somewhat mystical feeling. She is being accompanied only by few instruments with arrangements that suit very the color of her melancholic voice. A discovery! - by Bruno Deschênes, AMG

Artist: Angélique Ionatos
Album: D'un Bleu Tres Noir
Year: 2000
Quality: eac-flac, cue, log, artw.
Label: Naive
Runtime: 50:27

Tracks:
1.  I aria tis rosas (Eleni Kraindrou/Christos Christofis) 3:52
2.  O Claros (Henri Angel/Michael Nick/Cesar Stroscio) 2:14
3.  To tragoudi tis limnis (Eleni Karaindrou/Arletta) 3:49
4.  I palami sou (Angélique Ionatos/Dimitris Mortoyas) 5:29
5.  Omnyl (Angélique Ionatos/Constantin Kavafy) 2:58
6.  Hymnos sti maria nefeli (Angélique Ionatos/Odysseus Elytis) 6:04
7.  Lygmos aggelon (Mikis Theodorakis/Dyonissis Karatzas) 3:41
8.  I poni tis panaghias (Angélique Ionatos/K. Varnalis) 6:01
9.  Nana (Christian Boissel/Christine Ferarios) 2:56
10.  Me kouleraki (Angélique Ionatos/Nikos Houliaras) 3:34
11.  Sta nissia (Angélique Ionatos/Miltos Sachtouris) 2:53
12.  Mavra matia (Angélique Ionatos) 6:27

Personnel:
Angélique Ionatos (Vocals, Acoustic Guitar) - 1,3-9,11,12
César Stroscio (Bandoneon)
Henri Angel (Classic Guitar, Perccussion) - 1,3-6,8,9,11,12
Eric Chalan (Double Bass) - 1-6,8,9,11,12
Michael Nick (Violin) - 1-6,8,9,11,12
Bruno Sansalone (Clarinet) - 1,6

Facebook Pages: Easier Said Than Done

Over the preceding couple of months, I`ve spent a lot of time working on Facebook Pages for clients. To say the least, it has been eye-opening, educational and enlightening.

From the outside looking in, creating a Facebook Page is a straightforward process for companies that need to build a bigger digital presence. With Facebook having more than 600 million registered users, Facebook Pages have become increasingly irresistible.

In some respects, it reminds me of when I was a reporter in Hong Kong in the early-1990s when China was starting to open to foreign companies. In theory, China was extremely tempting given the great amount of consumers. The reality, however, was that acquiring a beachhead was a huge challenge.

When it comes to Facebook, many companies are jumping into Facebook Pages because, well, they need one. After all, everyone`s getting one, and no one wants to be left behind. But one of the biggest problems with Facebook Pages is the rest of getting one. A few clicks and you`re safe to go.

Well, not really.

Creating a Facebook Page is the easiest move, which explains why there are so many of them. The dispute is the following steps - and I`m nottalking about creating content and engaging with your fans_er, I mean "Likes" (Editor`s note: "Like" is downright goofy.)

The most important consideration with a Facebook Page is determining what to do with it and the features it inevitably to have. While an out-of-the-box Facebook Page is okay if you want basic functionality, the real magic starts when a Facebook Page is customized. This generally involves the existence of tabs that offer a Facebook Page with more ways for consumers to take and use it. It could be e-commerce, contests, videos, activities or online services. The decent thing about a Facebook Page is the introduction of tabs is up to your imagination.

So if you buy into the theme of custom tabs, the following decision is determining what they are leaving to be and how they are passing to satisfy the needs of your direct audience. To realize that happen, these tabs need to be developed using FBML, Facebook`s version of HTML. It takes planning and clock to develop tabs so they do the job and engage users. As important, tabs should take a process that get people to do something - be it visit a Web site, make a purchase, enter a contest, "Like" or deal with friends. They can`t just be fluff with no upside for companies.

Now that you`ve created the tabs, the focus needs to go to content - contests, videos, photos, polls, update, links, etc. - that engage users and, as important, encourage them to fall back on a steady basis. To draw this happen efficiently, it is crucial to give an editorial calendar aligned with your selling and sales activity. An editorial calendar offers structure so content doesn`t want to be created on the fly. While being flexible and engaged is a right thing, it also helps to get a project of fire so content can pass on a sustained basis.

As well, a Facebook Page needs love and attention. It can`t be allowed to work as silo-ed activity that is somehow able to stand and elevate itself. Too often, companies make a Facebook Page, and so ask the tidings to get a way to its door. In reality, a Facebook Page is like any other marketing activity; it inevitably to be promoted in much of other places - Web sites, marketing collateral, business cards, e-mail signatures, packaging, etc.

Finally, a Facebook Page needs to happen pretty much every day. It needs a mortal or a squad to produce content, engage with users, and push it on daily basis. It`s a lot of mould and not terribly sexy but it`s a key ingredient - along with customized tabs, an editorial calendar and marketing support - if a Facebook Page is leaving to be anything more than simply another digital entity.

Gateway

Some footage today of one of my all-time favorite groups, the Gateway Trio featuring Jack DeJohnette, Dave Holland and John Abercrombie:



I have bassist Sage Reynolds to thank for turning me on to this great band during one of our many frequent excursions to the used CD and record store "Cheap Thrills" in Montreal on Rue Metcalfe during my time at McGill University during the mid 1990s.

Vulnerability and the Improvisational Life

Yesterday in class we were talking about the church and improvisation. One concept that really stood out to me was the question of whether or not we will accept or block the 'offer' to come play. Will we say 'Yes' or will we say 'No'. Sam Wells argues that those who say 'No' think that what is being offered is either "improbable, improper or dangerous" or really all of the above. It is much safer not to take the risk.

I believe that risk (vulnerability), freedom and contingency (that anything can happen) all go together. The other side of the coin is trust (whether in ourselves or others--including God), structure (some kind of ordered way of being and doing) and constraint (some kind of canvas on which to paint our lives). There has to be structure if we are to practice and live into freedom and contingency.

When I put that together with Sarah Coakley's ideas that the kenosis of Jesus Christ (that mysterious way of talking about Christ's self-emptying or his pouring out of himself) as 'vulnerability-in-power' I realize that vulnerability, especially a healthy understanding of vulnerability, is at the heart of the gospel. It is the way of Jesus Christ. It is who we are empowered to be through the Holy Spirit. This is not some 'touchy-feely' way of thinking about who we are as humans, much less the people of God. We are called to be persons before one another, before God and before the whole of the created order. Our freedom as persons (not individuals) is bound up in and even vested in our interplay with others. There is no freedom without vulnerability. Freedom is mediated to us through other people. This is the call of the Christian life. This the core of the Jesus way.

And so I wonder about the Church. Could we do work in this class that actually moves us to a less cynical place about the Church? About God? About one another? Is there a constructive way to imagine what it means to come together? What role does worship play in your life? What desires do you have? Can worship awaken your desire for God? For healthy relationship? For wholeness? Or is vulnerability, freedom, wholeness, desire, etc. antithetical to what Church is? What are you questions? How can you aks these questions? Are you asking these questions?

I think this could be a very powerful integrative space in this class. Anyone up for the challenge? Say 'Yes' to vulnerability, even if it involves the imperfect group of persons (even individuals) that make up the Church...

Here is video by Dr. Brene Brown on vulnerability. I think she gets to the heart of the matter. Let me know what you think:

Jorge y Obo - Decade

'Jorge y Obo - El Duo Flamenco', two musicians, who have won great recognition with their own arrangements and compositions of music from Andalusia and Latin-America between experts and an enthusiastic audience. Critics call them to be among the best exponents of this music.
'El Duo Flamenco' presents a very varied program, contenting Spanish music as well as melodies from South-America and even Arabian countries. Sound patterns, fragments and impressions compose a mosaic of music and the listener is invited to an imaginary journey across the original countries of this music. - from the CD cover

Artist: Jorge y Obo - El Duo Flamenco
Album: Decada
Year: 1987
Quality: eac-flac, cue, log, artw.
Label: EDF
Runtime: 64:15

Tracks:
1.  Fiesta Gitana 2:49 
2.  Patio Andaluz 4:49 
3.  Fandango de Mojacar 3:52 
4.  Silla del Moro 6:08 
5.  Sevillanas nostalgias 3:25 
6.  Aire Cubano 3:21 
7.  Aires del Norte 3:11 
8.  La Isla 2:40 
9.  Morera 4:41 
10.  En las Cuevas 4:16 
11.  Temas Indianas 4:07 
12.  Plaza de San Miguel 4:30 
13.  Recuerdos 3:12 
14.  Pajaro Campana 4:26 
15.  Toques Gitanos 5:48 
16.  Danza 3:00 

Personnel:
Jorge (Guitar)
Obo (Guitar)
Franco Latragna (Percussion)
Jesus Maldonado (Handclaps)
Luis Maldonado (Handclaps)
Pino Supertino (Bass, Guitar)
Ebrahim Shakoor (Flute)
Guillermo Torres (Percussion)

Dutch Jazz-day moves to Rotterdam

The fifth edition of the Dutch Jazz-day will take place in Rotterdam on Friday the 24^th of June 2011 in the LantarenVenster. Since the North Sea Jazz Festival moved from The Hague to Rotterdam in 2006 the city has become one of the major jazz centers in the Netherlands. The Jazz-day will mark the start of two weeks of jazz pleasure in Rotterdam including the festivals North Sea Round Town and the world famous North Sea Jazz festival.

Co-promoter of the Jazz-day, Alexander Beets stated recently that one of the goals of the Jazz-day is to promote the Dutch jazz scene both nationally and internationally and he believes that the move to Rotterdam will add value for all those participating.

This year’s event will be held in Rotterdam’s new jazz venue the LantarenVenster and will include seminars, workshops en presentations from organizations involved in the Dutch jazz industry. In the evening the venue will present a number of showcase concerts featuring local jazz artists. The organization expects more than 1000 national and international jazz professionals to attend including representatives from recording companies, booking agencies, venues and promoters.

Dutch bands can submit applications to perform in one of the showcase concerts via the Jazz-day website www.jazzdag.nl . Applications close on 10 March. A panel comprising promoters and A&R managers will select 25 acts that will then be invited to perform.

The Jazz-day is an initiative from Buma Cultuur and the JazzNL foundation.

Ruben Hein club tour

The first Dutch club tour by Ruben Hein kicks off on the 25^th of February in Cultuurpodium Groene Engel in Oss. Hein’s first CD after signing with the prestigious Blue Note Label titled “Loose Fit “ has been well received by the press and is receiving strong airplay on the commercial radio. Hein will also perform at the Java Jazz Festival.

Regarding his debut CD Hein states on his website “I want to develop further as a songwriter and I know I have the potential to do so. But I am already very proud of Loose Fit. I have tried to reach for the essence of a song in the way that Paul Simon and Ray Charles did. And I love a spatial quality in my music, of the kind you can hear on the album, Kind of Blue by Miles Davis.’ And Hein adds: ‘I have waited for this a long time. I am 28 now and fully ready for what lies ahead.” If the current buzz is anything to go by, we can expect to be hearing a lot more from this artist.

For complete tour dates see www.runenhein.com

How To Play A Jazz Samba

Here's a few great examples of how to translate Brazilian rhythms to the drum set in a very musical way.

Thanks to Mark Eisenman who brought this great clip to my attention via the Facebook, here's guitarist Ed Bickert with bassist
Dave Young and the masterful Terry Clarke on drums performing a great rendition of "Street of Dreams":



Terry has a real grasp of playing Samba and Bossa Nova on the drum set. From my time hanging out and studying with him in Toronto I know that he was very much influenced by Brazilian Jazz drummer Duduka Da Fonseca during his time in New York City. Duduka is also the author of the acclaimed book "Brazilian Rhythms for Drum set".

During our lessons Terry also sang the praises of Sergio Gomes' recent method book "New Ways of Brazilian Drumming" which everyone should definitely check out:



I caught Sergio's clinic at the 2008 IAJE convention in Toronto and his playing and method was outstanding.

And since I'm on a bit of a Steve Gadd kick these days, here's a few videos of Gadd demonstrating his fine approach to playing Brazilian rhythms on the drums: