Jazz in Europe


On The Queen Mary ll with James Burton Jr, Xavier Davis, Jason Stewart, and myself.

Sorry I have not blogged in a while, as I sort of got loaded down with the summer activities. Basically I was 3 times to Europe for concerts since the last tour with Lenny White and Bob Franceschini.

From June 18-22 I had the privilege of teaching at The Juilliard summer jazz camp in Atlanta. I was selected to substitute for Carl Allen teaching drums at the camp, and of course playing on the final concert with the faculty. Many of you don’t know this , but I play a lot of drums as I studied with Elvin Jones as a youngster, and was and still am into Philly Joe Jones, Max Roach, Roy Haynes and all the there great jazz master drummers. So teaching and playing in Atlanta brought back many memories of playing with Kenny Kirkland and Rodney Jones when growing up. The camp was great as we taught many talented aspiring high school jazz players. On Friday night final day of camp the students performed in their combos, and the faculty band performed. What treat to play a concert with Ben Wolfe on bass, Frank Kimbrough, Miles Ozaki, Joe Magnarelli, Marc Vinci, and James Burton jr. I had a wonderful time. One of the highlights of the camp as well for me was Joe Magnarelli and I plunge for 45 minutes everyday during a free period we had. What ball jamming with Mags, trumpet and drums. It was wide open and free and left me with that great feeling of freedom in the music.

I returned to New York on June 23rd and had 4 days home before I departed for Europe. I flew to Napoli and spent 4 5 days there playing festivals. One of the festivals I did was the Marigliano Jazz Festival near Napoli Italy. I did several events at that festival. I played one night with the Craig Hartley Trio with Craig on piano, Carlo De Rosa on bass, and Curtis Florian on drums. A great trio. I had a great playing with these cats. They swing their asses off. Next day I rehearsed with the Antonio Ciacca Big Band, and then did my 2-hour workshop on “Language Skills Fro Jazz Improvisation”. The next night I performed as a guest artist with that big band for the final concert of the festival.

Next day I flew back to New York. It was good to get back to NYC as I had a few gigs and spent 3 weeks with my family, which was great. One of the gigs in New York was a tribute to Bobby Hutcherson at Birdland NYC. This event was sponsored by WBGO and I played with George Cables, Buster Williams, and Victor Lewis. Accompanied by 3 other vibes players Steve Nelson, Warren Wolfe, and Jay Hoggard. We played all Bobby Hutcherson tunes. It was a great night with an all star rhythm section. Then on August 3rd I departed on another Juilliard School event. I performed on the Queen Mary ll cruise ship for a week as it gave me a trans-Atlantic ride to Europe which was my destination for some more jazz festivals.

On the cruise I had a great time playing drums and vibes with James Burton Jr., Xavier Davis, and Jason Stewart. On this setting I did a really interesting thing that I really have never done before. I played drums and vibes. So I would start every tune on drums and when the bass player was soloing I would fade away from the drums and move to the vibes and then take a solo with piano and bass only for a while. Then when finished I would subtly move back tot the drums and finish out the tune. The crowds loved it, and it was a new experience for me as well. Usually it is one or the other. Not both.

After arriving in Southampton the car transported us all to Heathrow airport in London and everyone went their own ways. I went on to Italy where I had a few gigs. One of them was the Isbani Jazz Festival near Salerno. It was a great night of music and I sold lots of CD’s.

Anyway after a few hits in Italy I returned home. Easier said than done as the car my manager sent for me to drive the 2.5 hour drive to Rome was 4o minutes late and then when we finally got on the road we had a flat tire that the driver could not change, and I subsequently missed my flight from Rom-London where I needed to catch my return flight that the Queen Mary 2 had provided. Anyway it cost my manager 434 euro to get me on the last flight out of Pescara Airport, which was 30 km from where the car broke down. Pretty much one of those act of god nightmares we all go through sometimes. Either way I arrived safely home after many hours traveling, but really exhausted. I am off the planes until my California tour and residency on Oct 4th, and then off to Europe again in November with my new band with Bob Franceschini, and Adam Nussbaum called. (THEM)

All in all a great summer with great music. For now it is back to Juilliard Jazz and my other teaching gigs at New Jersey City University and The New York Jazz Workshop.

Played drums and vibes on the QE ll. WHat a ball!

James Burton Jr, Jason Stewart, Xavier Davis, mark Sherman on the Queen Mary ll

Bobby Huterson Tribute at Birdland in NYC with George Cables, Buster Williams, Victor Lewis, and 3 other vibes players. Warren Wolfe, Steve Nelson, and Joy Hoggard.

Marigliano Jazz Festival Napoli italy

 

 

Isbani Jazz festival view

Isbani Jazz Festival

MONDAY MAY 7  THE NEW YORK JAZZ WORKSHOP BEBOP/POST BOP COMBO BLOG MARK SHERMAN

I was the drummer for combo yesterday, but of course it does not hold the combo back as I love to play, and can control any situation from that vantage point. Having grown up studying with Elvin and playing a lot I can really give the combo the feel it needs, and spread the depth of the rhythmic structure of the music itself. Much of my concept on piano and vibes has arrived as a result of my rhythmic concept, which I got, from playing the drums.

We had Vinnie on bass, a newcomer who played very well, and our other normal diligent players. Dave, Rob, and Matt. We ran through Birdlike (Freddie Hubbard), Black Nile (Wayne Shorter), Beatrice (Sam Rivers), After You’ve Gone, and we attempted to play T Monk’s Pannonica. A difficult set of changes to master. After we played Black Nile the second tune we played, I stopped the band and began to talk about anticipation, and the technique of thinking ahead of the changes, and actually playing ahead in order to command the direction of the line. I demonstrated how being ahead of the changes is always best, and that falling behind is a terrible place to be. Trying to catch the train as it sails by. I demonstrated this a bit at the piano, and then instructed each player to take more choruses of soloing on Black Nile, but this time to play 1-2 quarter notes ahead of the changes. Well I never heard Matt Mayer sound so good. He was jumping ahead and resolving in a way that he never did before. This technique is a vital part of improvisation. Especially when dealing with lots of changes at fast tempos. Playing ahead of where the music actually is in real time is a very effective, and sensible way to be in control of the music and not to get caught by the changes. It has always worked for me, and it was a thrill to hear it change Matt and the others approach on negotiating the changes on the tunes. That anticipation drill helps you lead the direction of the music. After all the music will not stop, so it is easier to be ahead of the game, and use silence or resolution to allow the music to catch you, than for you to be behind the changes, trying to run after the music while negotiating the harmony. Sort of like being ahead of the ball game in the ninth inning, rather than playing catch up ball!!!

Deep stuff really if jazz improvisation is your life as it is mine!!!


Martin Gjakonovski, Lenny White, Mark Sherman, Bob Franceschini

Last night we played our second concert of the tour at “Pizza Express” in London’s Soho section. The music is growing as we dig in more and more. We did have an unfortunate problem at the airport in Cologne as we checked in for our flight. Martin Gjakonovski has been living in Germany for 20 years, but he has a Croatian passport as that is his birthplace. Well because Croatia is not part of the European Commission it is a real problem for him to enter London wither a special visa. My manger, and tour manager for this tour got the work permits for us all, but Martin’s visa had to be treated very carefully because of this problem. Well we got to the check in counter, and they would not give Martin his boarding pass, as something slipped by in the processing, or the airline did not know what they were doing regarding this matter. They said because his visa, and work permit were not stapled to his passport, he would not be permitted to board the plane in Cologne, as they would just send him back to Germany when he arrived in London. As I said in my last blog about the Germany gig, the stress level can really rise when situations like this occur, and it sure did. We were freaking out, and the airline is not in the business of making it easy for the passengers. We were flying on Easy Jet airlines, which really ought to be titled “Difficult Jet”. Of course if that was the name, nobody would buy tickets, so they lie and call it Easy Jet. Subsequently Martin was unable to come to London and make this concert. We arrived at the hotel in London 3 hours before the sound check after a very stressful check in, and I had to sort out a bass player for the gig. It was real drag as Martin has had the music for months and after the first gig he was deep in the music and the band was bonding. Anyway we got bass player named Arnie Somogyi. He did a great job and we made it through the concert ok. Actually it was really burning on the second set. It got to that comfortable place that we need it to be. The club is great, they treated us very well, especially as they understood what we had just gone through. These types of problems can happen, and I have learned over the years on the road that you must remain calm, and not allow it to raise your stress level too much, but it is very tough to control sometimes. I was quite aggravated with this problem, and of course Martin I am sure was devastated that he could not make the second concert. Anyway we made it through alright, but I must add that since the world trade center was bombed the world has really changed for the worse. Traveling is just become so stressful. When they search me sometimes I get the feeling that they are going to stick their hands down my pants. It is really annoying, and an invasion of privacy. The world has really changed!!

Beautiful Italia

Mark Sherman Quintet with Jerry Bergonzi @ The Kitano Jazz NYC

What an inspiring weekend of music at The Kitano jazz room in NYC with my band of 8 years with Tim Horner, Allen Farnham, and Dean Johnson. Jerry Bergonzi was a guest with us this weekend. In addition Jerry stayed at my house for the weekend so we played a lot of music at home, and at the club at night. He is flat out an incredible musician, and certainly one of the top 5 saxophone geniuses alive today. His playing is so fluid, and his language is so deeply rooted. It was a truly motivating to play and hang with him for 3 days. In addition he is just a great cat full of love, and music. Many colleagues, and friends came out to see us, as we tore up tunes like Quasimodo, Hot House, and many originals, and re-harmonized standards. It was a fantastic weekend.

file://localhost/Users/marksherman/Desktop/Cadence_Sherman.pdf

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.

 

Tim Horner recording date. The Band

 
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

The Quartet

Well we set off on tour for our first stop in Oldenburg Germany to perform at Jazz Club Alluvium on Feb 23rd. A nice venue run by a singer named Al Yasha Anderson. She is originally from Brooklyn New York, and now residing in Oldenburg. The concert was a nice start to our 6 concerts in Germany, and Switzerland. We are preparing new music for a recording in Switzerland on February 26+27 live at Chorus Jazz Club. We have been playing all new music by Tim Horner, Allen Farnham, and myself. Some very challenging stuff. On morning of the 24th we drove to Rostock Germany where we played for the second time at Upsprung, which is a nice little club in Rostock in the northeast of Germany. The music grows each night as we pour our hearts and souls deep into what we love to do. Next day we drove to Schwann Germany where we played at this really fantastic little place called Kulterschanke, run and owned by Sylva Tkotsch. We met Sylva last year when we performed in Rostock, and she absolutely insisted we come to perform at her venue this year. It was a great concert as it was completely acoustic with no microphones anywhere. A little stage which put us very close to each other. It felt great on the stage, as I could hear really well, and the usual monitor systems that these clubs have were not there to ruin the sound onstage. It was like playing in our living room. The music really took off that night. Before the concert, as the audience filed into the club, I noticed there were many older folks coming in as well as a younger crowd, so I felt that it would nice to give them a standard tune to start the set. We did that and then continued with our original music as we prepare for the recording on the 26-27th. Much to my surprise they were very enthusiastic about the original music. They really ate it up. We sold many CD’s and it ended as a great night.

Now comes the tough leg of the tour. We departed at 6am on the 26th, drove 2hours to Hamburg airport. Unloaded, returned the car, checked in, and took our flight to Zurich. We need to be in the Geneva area, but the flights from Hamburg to Geneva were so expensive I chose to go to Zurich as we had 85-euro flights. Upon arriving at Zurich we caught a train to Lausanne to arrive for the concert/live recording at Chorus Jazz Club. We got to the hotel at 4:40pm. Rested I hour and went to the sound check. Ate dinner and hit at 9pm. 2 burning sets to a packed club. This club has become our home away from home. We are so well received in Switzerland in general, but it is our 5th year playing at Chorus, and the same faces, and friends keep coming. Sold a load of CD’s and even though we were totally exhausted from the trip that day, and no sleep, we played our asses off. This band is incredible. For me it is a dream come true to work the music to this level, and simply to be on the stage performing at this level at this point in my life. I have dreamed of this path since I was 13 years old, when I first heard Elvin Jones play live at The Village Vanguard. I actually broke in tears during rehearsal of a ballad that Tim Horner wrote titled “I Wish I Knew You”, as I became over whelmed with the beauty of the music, and the gratitude I have for these musicians, the music, my family, thinking of lost friends, and the difficulties of life. Another song we play is a beautiful waltz dedicated to the bass player Bob Bowen who was tragically run over by a truck while riding his bike in New York. The song is titled “The Place I Feel Free”, composed by Tim Horner as well. It refers to Bob’s stories of his life, as he spoke to Tim, and said how the one place he feels free is when he is riding his bike, as the day-to-day problems of life disappear when riding. How sad, and ironic he was killed in that place he felt so free! Life is so fragile out here for us all, and we must continue to be grateful for what we have. I miss my family when on the road, but my road family keeps me moving, and I am very grateful for the music. It makes me feel free, alive, and continuously motivated to, play better today than I did yesterday!! Second night of recording at Chorus tonight. Can’t wait to hear it when finished!

Mark Sherman in Rostock

Allen Farnham

Dean Johnson

Tim Horner

The Quartet

The Quartet

It’s been two weeks since my return to the US from the month long Rhythm Road/US State Department tour of Russia, and Asia. It has been quite an emotional adjustment since on the  tour we were treated as if we were diplomats from the United States. Driving in embassy limos. Being wined and dined constantly, and of course the 50-100 people who mobbed us after concerts and master classes to get a picture or an autograph, or to just talk about music. Most importantly I miss the day to day music. We played over 30 events, Everyday was another bit of magic from the music. We drove the music to higher levels. That is what happens when you do many consecutive events. My dream since I was 13 years old has been to do just that. Back in New York it has been a small adjustment from playing concerts, and master classes daily, to more occasional opportunities to do this. I miss the daily hang with the band as well. We all bonded like family. I am looking forward to Europe upcoming in the fall, Australia in the spring, and back to teaching in the university, and conservatory I work in. Hats off to the band of Tim Horner, Jim Ridl, and Tom Dicarlo for the completion of that month in Asia. We all worked our butts off, but the music made it all worth while.

Tim in Europe

Tim in Europe

Tim Horner Korea

Tim Horner Korea

With all the blogging I have been doing about concerts and various other subjects I thought perhaps now would be a good time to talk out a friend, and musician who has certainly changed my life. That is Tim Horner. drummer, composer, educator, violist, a spiritual motivator, a gentle loving person, and one of my best friends. Maybe 20 plus years ago I met Tim while I was sitting in on a Joe Locke gig that Tim was playing. Joe invited me up to play a tune at the old Village Gate on Bleecker Street in New York City. I had heard Tim play a few times, but never had played with him. The next time I played with Tim was in 2002, when I started a new band after maybe a five-year lapse in my recording career. I had met Allen Farnham the great jazz pianist, and educator on a Liza Minelli tour, and we decided to get together when we returned to New York to run through some new compositions I had recently written. From that get together I formed a band for the recording “The Motive Series” with the late Michael Brecker as a guest artist. I called Tim, and asked him if he’d like to do it with Allen Farnham, Phil Palombi, and myself. Tim agreed, and that began a relationship that has truly altered my life in a really positive way. The record did well, and I was grateful of course to have Michael Brecker on it as he just burned up the two tunes he played on. Since then with a change in the bass slot to Dean Johnson, the band has made four memorable recordings, and been on five European tours as well as recorded a live DVD. These recordings have launched my solo career to place it has never been. I have been able to really get my name out there better than ever before. I owe it all to that band, but Tim and I have now gone off to co lead a band that is currently on a Russia/Asia tour for 4 weeks. It is the longest tour we have ever done together. Tim and I have become one on the stage. I play to my highest level with him as he encapsulates the essence of what jazz drumming has evolved to today. He has a true knowledge of music in every way. As a fine violist, Tim understands melody, and harmony quite well. Better than any drummer I have ever come across, and I have played with many of the finest in the world. He is ever supportive of the music, and lives the music with each and every note he plays. His groove is super deep, and his technique allows him to capture the feeling of all the greatest jazz drummers who ever lived. Players like Max Roach, Philly Joe Jones, Elvin Jones, Roy Haynes, Tony Williams, and Jack Dejohnette. Tim sounds like all of them, and most of all like himself. Some nights I look over to him in the midst of a performance, and I realize I am playing with one of the world’s greatest musicians. All the master drummers I have just mentioned cannot be mentioned without including Tim Horner. Actually he has something over all of them. He is a fine composer. He has written several songs for this tour that have really proved this to me. His tune “Museum Piece”, that he wrote while looking at a painting in a New York museum for three hours one day, captures everything music is about for me. A gorgeous melody, with deep harmony, and a deeply rooted concept. With an opening statement of the melody with just solo piano with the pedal down, begins this composition setting a mood, which is truly mesmerizing for me as a player. Every night I close my eyes as if in a chant, and reach deep in my heart for a heart wrenching performance of this piece. Then I state the melody as the rhythm section follows me into the highest level of spirituality in music I have ever reached. Then trading complete choruses nightly with Jim Ridl on piano raises my spirit every performance. We step the ladder with each chorus increasing in intensity as Tim builds and builds the feeling underneath us as we reach for uncharted territory nightly. This piece is simply why I live to play this music. I see god every time we perform it. Tim and I have stuck together with the music for 7-8 years now, and it has changed my life for the better. Of course with all this closeness in the music Tim Horner and I have become the closest of friends, and colleagues. The world should know Tim Horner is one of the finest all around musicians in the world. Bravo Tim, and thanks for the music. I will love you forever for the positive effect you have had on my life!

Check Tim’s web site for more biographical information! www.timhornermusic.com

Tim in Europe

v

An educator

An educator

Tim Horner Korea

Tim Horner Korea

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