jazz drums


 http://www.youtube.com/watch?v=61engPoZg1c

AT The AES show in NYC

On my recent California tour I had the good fortune of  getting offered to record at The Apogee Electronics recording studios. Apogee is known for their high end A-D converters, and microphone pre amps. They are globally recognized as the number one digital audio solution. Anyway it was the first recording where the Mic pre amos from the new unit called the Symphony IO were used. ANyway it is the best recording I have done to date. Sonically it is out of this world. Musically the same. Bill Cunliffe, Charles Ruggiero, and John Chiodini are the 3 of LA’s finest players that helped me live the dream of recording some of my favorite tunes growing up in music. Tunes by the great jazz masters Charlie Parker, Bud Powell, Dizzy Gillespie,  John Coltrane etc. These musicians brought the music to life in an organ trio setting. The result is  greater than I ever expected. Apogee used my tracks to demonstrate the sonic brilliance, and warmth of the Symphony IO with the attached video, and audio at the recent Audio Engineering Societies show in New York City this weekend. Anyway it is a true honor to be an Apogee artist, and to have recorded at the Apogee studio (Berkeley Street Studios) in LA last week.

John Chiodini

John Chiodini

Charles Ruggiero

Bill Cunliffe

Advertisements

The Places We Feel Free / The Tim Horner Ensemble

2011 Miles High Records  www.mileshighrecords.com

Featuring : Tim Horner – All Compositions, Drums, Percussion, Voice & Viola / Jim Ridl – Piano & Electric Piano / John Hart – Guitar / Martin Wind – Bass / Mark Sherman – Vibes / Ron Horton – Trumpet & Flugelhorn / Marc Mommaas – Tenor & Soprano Saxes / Scott Robinson – Tenor Sax

Tracks:

A Room Full of Shoes

Invisible Heroes

Museum Piece

Mountain River Dream

A Precious Soul Fanfare for the Common

Jims

‘Tis

Spirit

Tha Places We Feel Free

Passion Dancer

 

The Places We Feel Free is the debut recording of drummer Tim Horner, out of NYC. Tim is one of New York City’s finest drummers and Jazz musicians. His disc, ‘The Places We Feel Free’ displays Tim’s musicianship as muti-faceted. He is a wonderful performer, composer and ensemble musician. His compositions (like his playing) are rhythmically vibrant. The tunes are melodically sophisticated, brushed with modern 20th century harmonies. You canhear the thoughtfulness behind each composition. The result is a release that unveils modern mainstream music, performed by an experienced group of NYC veterans that will surely excite the listeners, musicians and all who appreciate modern Jazz.

Everyone who participates on this disc has shining moments. It is so nice to hear Scott Robinson on tenor. If you are not familiar with his tenor playing, he unveils a richness of tone, blended with modern, creative touches in his improvisations. On ‘Fanfare for the Common Jims’, written for Robinson, Scott just rips through the form with ease and excitement! He then turns around plays with great sensitivity on ‘Tis’. He and trumpeter, Ron Horton provide Horner with a front-line that swings, combined with oneness of ensemble. Congrads Jims!

I love vibraphonist, Mark Sherman’s contributions. He plays with a rhythmic urgency that caught my attention—as in right away on ‘The Room Full of Shoes’. The opening cut. The unison’s and trades with guitarist John Hart are melodically sparring and enjoyable to listen to. I love how the rhythm section swings so hard—it gives the soloists the cushion and the necessary creative energy to just play ripping solos! Jim Ridl (piano) swings hard on that opening track on piano as well, creating an exciting and enjoyable listen.

Ron Horton, (Trumpet and Flugelhorn), plays with a richness of ‘sound’ on this recording. He plays with a big and full ‘sound’. His ‘pitch’ and ‘time’ are very good. On a ‘Precious Soul’ and ‘Tis’, his ensemble, and inventive solo’s are a welcome addition to this music.

Guitarist, John Hart on guitar is superb throughout. His electric playing flows, and he is well versed harmonically. I might note–not all electric players can turn the corner and play convincingly on a nylon classical guitar.  His training and experience are well noted. On Horner’s, ‘Passion Dancer’, his execution of Flamenco style is fluid and musical!

The disc is also programmed very well, with an assortment of time feels and variations of ensemble. The compositions also display beautiful variation. For example, listening to ‘The Places We Feel Free’, (dedicated to bassist, Bob Bowen), (a ¾ metered tune), ‘Places’ features nice open harmonies as it features a section for bassist Martin Wind to improvise. His solo is set up nicely by guitarist, Hart and vibraphonist, Sherman as their unison melody leads to the conversation with Wind. It is beautifully done. Sherman is great once again and Tim’s cymbal work is superb!

Horner not only writes in an assortment of time feels, he plays each style with the up-most capability. He is one of our modern masters when it comes knowing what the music needs from the rhythm section. His contributions are played with passion and conviction! His time feels so good. It makes you want to play if you’re a musician. It makes you want to move if you’re a listener. He is a superb musician!

You will listen to this disc multiple times, I can promise you if you are a lover of creative mainstream Jazz. Tim’s debut is not successful on one level, but on many levels. He has waited to release a musical statement, which clearly demonstrates his great understanding of the Jazz idiom! Congrads Jims!!

Tim Horner recording date. The Band


Time To Practice, And Write

I have one week until I depart for Napoli, and then Germany for festivals in the north. I reside for the next week in my house in Colledimezzo Italy. My vibes are set up in the garage of my father in law here, and I will practice, and write for one week. It is rare in my life when I have this much down time to practice, and write, and relax a bit. When I was attending The Juilliard School in my college years I used to practice, or shed as we musicians say for 6 hours a day. It always amazes me how even at my age of 54 years old, I still have the desire to practice my craft. To perfect the many diminished, and altered patterns, and scales. To search for new ideas, and possibilities, as well as to simply write a few new tunes, and learn new tunes that I still don’t know. The motivation in the music is for life, and I expect to play until I literally drop. Hopefully that is a long time from now.

The art of jazz improvisation is a continuous quest. It never seems to get old, and the constant searching for new stuff to play on the vast amount of standards, blues, and rhythm changes written by all the music masters. Of course these days I work a lot out of the Nicolai Slonimsky book titled “Thesaurus Of Scales And Melodic Patterns”. This book was Coltrane’s handbook. It has a huge amount of information in which he dissects the octave into multiple parts. The “Sesquiquadritone  section is the division of the octave into 4 parts, and gives you many different diminished patterns, and scales that are all applicable in the jazz genre, and the classical genre as a composer. So I practice a lot from this book , and learn the different scales, and patterns in all keys, but of course I try to live by the advice I give to my many students, and that is, “Practice does not make perfect”. PERFECT PRACTICE MAKES PERFECT”!!!  Practice everything slowly and correct. Not fast and wrong.

Fast and wrong 1000 times will give you no results. Slow and perfect  10 or 20 times will give you major results!

Mark Sherman

The Orsara Jazz Festival Faculty Band

The Orsara Jazz Festival Faculty Band

I had just an amazing week in Orsara Italy from August 2-7. The faculty and band for the festival was Jerry Bergonzi, Jim Rotundi, Mark Sherman, Antonio Ciacca, Lucio Ferrara, John Webber, and Joe Farnsworth. Everyday we taught workshops, private lessons, and ran combos for 100 students at the camp. At night there were concerts, and all night jam sessions, and of course the food as usual in Italy is amazing. We ate incredible meals every night and lots of wine. I am not a huge drinker, but it is impossible to turn down. In fact if you try to say, “no thanks I don’t want any”, people look at you like your nuts. Anyway, I want to say something about each faculty musician individually.

Jerry Bergonzi is a musician, and saxophonist who I personally have looked up for many years. Especially since the death of my colleague Michael Brecker, Jerry is certainly the closest living sax player to Coltrane. Clearly he is deeply influenced by Coltrane, and of course all the great masters on his instrument. He has a deep understanding of the language, a fat fat sound on tenor sax, and the heart of giant. Deeply sensitive, and in touch with all the positive, and negative things happening in the world today. I truly enjoyed bonding with Jerry, and of course sharing the bandstand, and the music with him. He is gentle giant in the music, and his presence made it a very special week for me. It was really an honor, and I look forward to touring with him next year in a quartet setting.

Jim Rotundi is trumpet player that I certainly knew of as he has a huge reputation as a great player, but I had never really worked with him on the bandstand. It was great to meet him and play quartet with him on a separate concert in Foggia Italy sponsored by the festival. Jim is a humble, yet powerful player with incredible technique, and sound. And of course his language, and solo concept comes straight from the heart. I consider him one of the best trumpet players in the world. In addition he is a great guy, who clearly cared about the students, and bonding with all the musicians. A great guy to have on the bandstand, or on the road. Currently he is a professor of trumpet in Graz Austria, where he has relocated, and surely is bringing his genius to that program.

Antonio Ciacca is a truly fine pianist, arranger, and composer, and it was because of Antonio’s recommendation that I was chosen as a teacher, and performer at the Orsara Jazz Festival. I am quite grateful for this. Heavily influenced by all the bebop piano masters like Bud Powell, Sonny Clarke, Tommy Flanagan, Red Garland, Oscar Peterson etc. Antonio and his wife Giusy have for many years been on the forefront of the jazz world as they together have a jazz booking agency call C-Jam productions, and have promoted many huge jazz concerts, and tours with the likes of Elvin Jones and the Jazz Machine, and many others. Because of Antonio’s extensive knowledge of the music history, and business, he was chosen by Wynton Marsalis to be the director of programming for Jazz At Lincoln Center in New York City for the last 5 years. He is also on the Juilliard faculty with me, where he teaches the business of music. These days however Antonio is all about playing as he has stepped up to performing, and composing full-time. On Saturday August 6th the faculty band of the Orsara Jazz Festival played a work Antonio wrote specifically for the festival, entitled “The Orsara Suite”, in which each musician was featured in a movement. A well-calculated work with great purpose that gave each of us many solos on all the movements, but between each movement each one of us had an extended solo feature. We rehearsed it several times during the week, culminating with a kick ass performance, and recording of the Suite on the Saturday night concert on the big stage. It was mobbed with maybe 1500-2000 people as we ripped through this piece. Antonio used a composing technique that we all often apply, in which he takes well-known tunes like “Woody And You”, or “Like Sonny”, and changes the melody, and or chord changes a bit, and turns it into his own version. It is quite effective, and of course we all had a ball playing this extended suite. It has been my great pleasure to work with, and befriend Antonio since I recently met him at the beginning of last school year at The Juilliard School. He is a fine musician.

Lucio Ferrara guitarist, and director of the Orsara festival has only recently become one of my colleagues. He is a fine guitarist, influenced heavily by guitar master Wes Montgomery, and truly plays as if he loves the music deeply. On Friday night August 5th Jim Rotundi, and myself were driven about 30 minutes away from Orsara to the city of Foggia, where we played quartet with Luca Santaniello, and Joe La Piore, two fine Italian jazz players currently living in New York. Lucio played trio with Luca, and Joe before Jim, and I did our quartet segment of the evening’s festivities. I loved the deeply rooted bebop approach that Lucio takes towards the music. Much like my close friend and colleague Rodney Jones who also comes out of Wes Montgomery, and Kenny Burrell. What better place to come from as a jazz guitarist today. As a director Lucio did an incredible job managing, and administrating the day to day activities of the festival, as his cell phone never stopped ringing, as with 100 students, and the faculty he had to constantly deal with many issues that had nothing to do with playing the music, but when it was time to play Lucio really sounded great. A crisp clear sound, with great command of the jazz language.

John Webber is clearly one of the finest bass players around having performed with just about every big name in the business. I know him from his work the great tenor saxophonist Eric Alexander. I really enjoyed hanging with John as he has a great sense of humor, and many great stories of his experiences having played with Benny Golson, George Coleman, Cecil Payne, Pharaoh Sanders Jon Hendriks, and list of jazz masters that goes on and on. He plays immaculately in tune with a great feel that sends the message of authentic jazz. Flat out a fun guy to have around. His playing made me feel very comfortable which I see as the goal of any musician. When you walk into a playing situation make those around you feel comfortable. John quietly does a great job of just that.

Joe Farnsworth is a drummer deeply rooted in the tradition of jazz. As a drummer myself having studied with Elvin Jones as a youngster, I am always in touch with what the drummer along side of me is doing. If I can swing harder than the drummer on the bandstand, then it is the wrong guy. Joe is absolutely the right guy, super experienced having played with many of the same jazz masters that John Webber has played with in Eric Alexander, George Coleman, Junior Cook, Johnny Griffin, Pharaoh Sanders, and the list goes on. Actually the two of them are truly a great combination. They fit together stylistically like a glove. Joe sounds to me as if you mixed Art Blakey, Philly Joe Jones, and Elvin Jones all together. He clearly loves to play as do all of us, but when you mix the three drummers styles together that I just mentioned you get magic. Joe is an original player that creates that authentic sound of jazz. A fun guy who deeply loves the music. He is just a ball to play and hang with.

Saturday morning before the big concert I did a solo vibraphone concert in an unbelievably beautiful 1000-year-old church in Orsara. The acoustics, and the physical setting were enough to make one see god. I played solo versions of “Along Came Betty”, “My One And Only Love”, “Celia”, and one of my originals entitled “Solitude”. I felt it was a very spiritual and motivating performance for me as 50-70 people showed and listened very eagerly to what I brought musically.

I look forward to returning to the Orsara Jazz Festival and jazz camp for years to come. It was an incredibly motivating, and rewarding musical week.

Jerry Bergonzi

Jim Rotundi

Mark Sherman

Antonio Ciacca

Lucio Ferrara

John Webber

Joe Farnsworth

Jerry Bergonzi and Mark Sherman

Great concert in Fara In Sabina just 40 km north of Roma. Wow way up high in the mountain above Roma with the most amazing view. I was a guest artist with the Antonio Ciacca trio. We played Antonio’s well calculated re-harmonizations of standards and a few normal standards like “Bolivia” by Cedar Walton. Antonio opened up trio with his bass player and drummer from Italy of many years, Nicola Muresu from Sardinia, and the drummer Nicola Angelucci. They were really relaxed, swinging players. It all swung real hard from the opening standard “You’re My Everything” until the final Antonio Ciacca composition Lago’s Blues, a straight eighth tune that any great player could dig into. I had visions of what my colleague and friend the late Michael Brecker might have done to this tune. He would have torn it up, as it combines and F vamp, and F blues. I had a blast playing it. The great a show with Antonio Ciacca is it is packed with music that is deeply rooted in the jazz tradition, filled with standards, blues, and rhythm changes, as well as Antonio speaks before the tunes about the history of the music. He is so knowledgable about jazz. There is a lot info music history information behind each description of the tunes. I can see why Jazz At Lincoln Center, and Wynton Marsalis chose Antonio as the director of programming. A position Antonio held for the last 5 years. So each show is filled with the great performances, and the music history. Something I myself could incorporate more of in my own shows as a leader.

After the concert we slept in a Monestery that looked to be thousands of years old. Just a spooky, maze of rooms that I guess the nuns, and priests from the church stayed in. Really an amazing looking place. All in all a great night.

Antonio Ciacca Quartet

I played a really nice concert as guest artist with pianist/composer Antonio Ciacca and his 4tet last night. in Lanciano Italy as part of  Estate Musicale Frentana 2011. We played many of Antonio’s compositions, and a few standards as well. Antonio is a fine writer, who takes already known songs, and song forms and makes them his own, by re-harmonizing, and re-arranging them. A very effective technique that many of us jazz musicians do. The musicians in the band played really well. Saxophonist Paulo Recchia, bassist Giuseppe Bassi, and drummer Francesco Ciniglio all swung really hard for the entire concert with Antonio, and I. It was a pleasure to work with them all for the first time. Those first time playing experiences are really the ones I love, as it reaffirms how the music is a universal language, and you can get on the stage with musicians you don’t know, never played with, did not rehearse with, can barely speak with because of the language barrier, and the magic can happen. It is what makes me excited about music. It is was what is so motivating about playing jazz. In the classical world there are always many rehearsals before a concert. In the jazz world, if you have good players, you need not even rehearse sometimes, and the music can just evolve. it is a beautiful thing. I love what I do. I wouldn’t trade it for anything in the world. Thursday the 21rst of July I will do the Farro Sabina Jazz Festival near Rome, with Antonio and a completely different rhythm section. I am sure this will a similar or even more powerful experience. Can’t wait!!

I will blog it after the concert.

 

I was hit by a taxi cab while crossing 42nd street, and 6th avenue in New York City on April 22nd. I suffered a nasty head shot with a bad hematoma, concussion, and 25 stitches,  2 broken fingers, a broken shoulder in 2 places, and a terrible cut down to the bone on my left thumb. Actually I am lucky to be alive. It is a humbling experience to be walking across the street, and then to wake up from being knocked out to a stranger holding your head saying, “don’t move, your head is bleeding really badly”. Anyway I have healed up pretty well since the accident except for my left hand which is still messed up. I can play, but I feel I am still working at 60%.

Last week was the first week I worked in 8 weeks as a jazz player playing vibes. The great Italian pianist, Antonio Ciacca a big figure in the jazz world, was kind enough to give me 6 nights at The Setai Hotel “Bar on Fifth” on 36th street and 5th avenue in New York.  I played trio and quartet with various different drummers, and bass players. Antonio played with me to make it a quartet for 3 of the nights, and the bass players were David Wong(Roy Haynes band, and Jimmy Heath), Martin Wind, and Mike Karn who is as good a saxophonist as a bass player. A super talent he is!! The drummers were Pete Van Nostrand (Kenny Barron band, Jimmy Heath band) for 5 nights , and Quincy Davis for 1 night.  The music was rewarding, motivating, and spiritual all the way through. These players are all at the top of their game, and we just ripped through many standards, blues, and rhythm changes all week. I am truly grateful to Antonio Ciacca for this opportunity to come back playing strong. I play 3 sets a night for 6 nights which allowed me to test my stamina, and of course have a great time playing, which I live for. Of course after each night I was on ice like an athlete, and in physical therapy in the mornings. I was really hurting, and swollen after each night, but the music keeps me going, and I am grateful to still be here to play. It is like being an athlete without the 15 million dollars a year, whirlpools, massage and 24/7 physical maintenance. Not easy. Thanks to Antonio Ciacca for a great week!

« Previous PageNext Page »