Thursday, December 04, 2014

Dig This - Pat Martino Trio live at Lotos Jazz Festival

A couple years back I had the great pleasure of seeing this trio up close and personal at Ronnie Scott's in London.  

Prior to the show I hadn't actually spent much time listening to Martino's work.  I was mostly familiar with his illness and remarkable recovery story.  Martino suffered a brain aneurysm in 1980, and after two brain surgeries was left with almost no recollection of his family, friends, or who he was, let alone how to play the guitar.  He rebuilt his career from the ground up, and learned how to play again by listening to his own records.

I had some friends coming to visit me in London, and they wanted to see a show at Ronnie's, so I figured, cool, why not check out Pat Martino?  That night ended up being one of those nights where you don't even notice the crowd around you, the waitress walking by, or the fact that your drink has gotten completed watered down.  I simply sat mesmerized and enjoyed the hell out of this SWINGIN' trio.

With Martino were Pat Bianchi on the B3 and Carmen Intorre on the drums.  Pat Bianchi came dangerously close to stealing the whole show.  His left hand alone was better than many bass players, all while playing intense solo lines with his right.  I'm surprised we don't see more of this guy, to be honest.

On the drums, Carmen Intorre wasn't particularly unique or inventive, but he swung his ass off.  Carmen has obviously done his homework.  Besides have a killer feel that locked in beautifully with Bianchi's bass lines, his solo vocabulary was classic.  Nothing all that flashy, but never for a second could the time not be felt, which is more than we can say for a lot of players today.

So, enjoy.  I'm sure there'll be some transcriptions coming from this in the future as well.

Wednesday, November 19, 2014

Groove Transcriptions - Kendrick Scott, "The Lost and Found"

I'm back!  We had an absolute blast in Korea and China, and now I'm back State side through the holidays, which should afford me the time to finish up a number of projects I've got in the works.

On this trip, my pianist, singer, and partner in crime, Joy Ellis brought along a Gretchen Parlato album from 2011 called "The Lost and Found".  While I was previously familiar with Gretchen, I had yet to hear this album.  It quickly became the soundtrack of the trip.

Upon first listen, not knowing who was drumming, I guessed Gregory Hutchinson, or possibly Damion Reed.  Somewhat to my surprise it turned out to be Kendrick Scott.  My surprise was due to the amount of patience and control he displays on the record.  Kendrick is an absolute monster, but I've seen him in person and in videos before and in the live setting he tends to be much busier, and, dare I say, overplay.  But here with Gretchen he's a groove machine, while still having some opportunities to let the reins out and open up.

Although he's very much in control, Scott does remain busy, but in a tasteful way.  There are grooves on this record that many of us mere mortals would throw a backbeat on and be done with that Kendrick liberally spices with subtle inflection.  He also seems to have a way of taking a 4/4 groove and almost giving the impression that it is in an odd time signature.

Check out a few of the grooves:

E-mail if you'd like a PDF, and be sure to check out the record.

Thursday, November 06, 2014

Dig This - The Bill Evans Trio on Jazz 625

As predicted, I haven’t had much chance to get any writing done while I’ve been here in Asia.  I have, however, got a few projects started that you should hopefully see in the coming weeks, one of which being a series of Larry Bunker transcriptions from this video.

I’ve been watching it a lot on my iPod while I’ve been away, and have found it really inspiring.  Among the many drummers that worked with Bill Evans (check out the cool timeline put together by a Dutch fellow named Rob Rijneke), I feel as though Larry Bunker is widely under-appreciated, probably due to all the attention and emphasis placed on Paul Motian and Joe LaBarbera.

I’ll be back home in a little over a week and will be getting back into posting on a regular basis, but until then dig on this video and wait patiently for the transcriptions and more information about Larry Bunker.

Sunday, October 12, 2014

Transcription - Jack DeJohnette, "One Note Samba"

Anymore, the seats on planes are so close together that you can’t even open a laptop far enough to see the screen.  Luckily for me, I had an empty seat next to me on the plane to Tokyo and was able to stretch out and get a little work done.

This album has special meaning to me.  It’s the first jazz record that I clearly remember blowing my mind.  And I mean to bits.  You may remember this story from a previous post.  As a young kid who was pretty good at the drums, but not quite understanding the breadth of the listening aspect, I had a teacher who started laying all kinds of records on me.  Each week he would give me a list of albums to check out, and one of the first ones I picked up (from Columbia House, thank you very much) was Eliane Elias Plays Jobim.  The second I hit play on this record I thought, “What the hell is happening?!”

DeJohnette, and the whole band, really, find the perfect blend of traditional samba with a modern jazz or ECM vibe.  There’s a subtle feeling of the samba swing and a definite emphasis on “e” and “a”, as well as syncopated phrases reminiscent of many Brazilian rhythms but without being overly idiomatic.

One of my favorite things about the playing on this whole record, and in much of Jack D’s stuff in general, is the connection between his limbs.  No one limb is carrying the groove while the others comp.  Rather, the time, feel, and comping come equally from all four limbs at the exact same time, which is what initially blew me away about it, and still does for that matter.

There is a lot of great practice material in here for developing your own sound, but I wouldn’t recommend trying to take the individual limbs apart as they are so connected, and each voice really relies on the other.  Instead, think of each measure as an exercise in itself.  Take the ones that you find particularly tasty and loop them until they’re comfortable.  Swap them around in different orders.  Mix part of one bar with part of another.  Once you’re comfortable with a handful of them, try to weaving in your own ideas.

The transcription starts at the pickup to the first chorus of piano solo.  Around 1:06.

Thursday, October 02, 2014

On the road again

Well, gang, in less than 24 hours I'll be on my way to Asia with my group The Georgetown Trio.  I'm flying from Pittsburgh to Hiroshima, Japan, and from there we'll be visiting 3 cities in Korea, 4 cities in China, and finally Hong Kong before heading home.

I'm going to try to finish some projects I've been working on during the travel time, but with gigs most nights, sight seeing, and eating killer food I'm not making any promises.  If nothing else I'll post some pictures from the road.

In the meantime, look over to the right hand side of your screen and dig through the archives for some posts you may have missed.  Shoot me an e-mail if you'd like any PDFs.

Monday, September 29, 2014

Weekly Wisdom

"There's always the danger of sounding inhuman.  You're not obliged to take a breath before you do something.  Wind players are obliged to be human, they have periods, questions marks, exclamation marks, phrases.  But there's always the danger, with people who play piano, percussion, or string instruments, of not creating phrases that speak out to people."
- Max Roach 

Friday, September 19, 2014

Philly Joe Jones - "Tadd's Delight"

We all love Philly Joe's Wilcoxon inspired soloing, but some of the greatest lessons I learned from listening to him over the years were not about soloing, but comping.

Beyond general vocabulary one of the best things I learned from listening to Jones was not what to play, but what NOT to play.  We all go through Syncopation, The Art of Bop Drumming books, and other such resources to practice our comping skills, and early in our training and development the temptation is there to stretch out and try all of these new ideas at once.  It's very easy to overdo.

The most obvious way to learn how to comp tastefully is listening and playing along with records.  For me, playing along with classic Philly Joe records was a great way to learn comping vocabulary.  But after awhile I noticed an interesting problem that I hadn't anticipated.  What I was actually doing was reacting to what I was hearing, which left me playing everything a beat or two behind Philly Joe.  He would play beat 1 and I would play beat 3.  He played the "and" of 2 and I'd play the "and" of 4.  Many people call this "Mickey Mousing", which is common among younger players.  So to combat this I began transcribing the comping patterns.

Here, I've transcribed Philly Joe's playing behind Sonny Clark's entire piano solo on "Tadd's Delight".  First, notice the ride pattern.  Save a few exceptions it does not change.  There are certain types of music where the ride cymbal should have a lot of variation, and that music certainly deserves our attention, but far too often I see younger drummers playing wildly busy ride cymbal patterns where they just don't belong, stylistically.  In this writer's opinion, this is of great detriment to the groove, at least in this style of music.  I also don't get the impression that these younger drummers are playing busy ride cymbal patterns because it's what they really want to play, but rather, they're playing it because they haven't put the time into learning how to comp with a steady ride cymbal pattern.

Next, let's look at the comping pattern itself.  Another common mistake younger players make is to get too busy and too loud far too quickly as a solo builds.  I like to think of a pot of water on the stove.  First there are a few tiny bubbles.  As the heat stays under it the water begins to steam and simmer.  Eventually you get a steady, rolling boil.  But what happens if we leave the heat under the pot, or turn it up more?  It's going to boil over and burn you or make a mess.  It's that rolling boil that we want to maintain, and we need to take our time getting there.  I remember Wynton talking about Miles and talking about the best jazz having a "sustained intensity".  That's what we're after.

One of the great advantages of writing out comping patterns is that it gives us a visual representation of the shape of the music.  With the idea of gradual increase to sustained intensity in mind, take a look at the chart.  Before we even hear a note, we can see this slow, controlled burn.  I've written one chorus per page to help highlight this.  If you just look at the snare drum you notice that with each passing chorus the phrases get slightly longer, busier, and closer together.  Emphasis on slightly.

You should also notice, that Jones isn't wildly improvising all over the place.  In fact, we see a select few phrases with slight variations played over, and over and over again.

They may get a little louder, he may start playing them closer together, and even connecting them, but for the most part it is the same handful of ideas.  And the comping never really gets any more "complex" that than.  That isn't to say that what Philly Joe is playing is easy, but notice that there are no toms, no rolls, no bashing of the cymbals, no crazy, over the bar line phrases.  Just a handful of ideas, tastefully placed and worked around one another while keeping strong, steady TIME.


Thursday, September 18, 2014

Transcription - Edison Machado, "Meu Fraco É Café Forte"

Edison Machado is one of those figures of jazz folklore to whom we owe a lot and don't know enough about.  There aren't many pictures or video of him.  Many of the records he played on are lost, and he often times wasn't credited for his work.  He is responsible for a lot of Brazilian music as we know it despite the fact that many people are much more familiar with the names Milton Banana and Paulinho Braga.

Legend has it that he was the first drummer ever to play samba on the drum set.  Apparently a broken drum head in the middle of a tune led him to jump on cymbals and go to town.  While this may be romanticized a bit, it is widely accepted that he was instrumental in the development of the drum set samba, and therefore, the entire bossa nova movement, having played on many of the first bossa nova records; those of Antonio Carlos Jobim, João Gilberto, Stan Getz, Sergio Mendes, Elis Regina, Edu Lobo, and so on.

At one point Machado lived in Europe before spending the final 14 years of his life in New York.  He died aged only 56, and practically forgotten.  There is, however, a Ron Carter album called Patrão which features Edison on one tune during his New York days.  The album also features Chet Baker, Naná Vasconcellos, and Kenny Barron.

For now, though, I'm more interested in his Brazil period.  Machado played in a trio with pianist Dom Salvador, and bassist Sérgio Barroso called Rio 65 Trio (I guess it was hip back then to have numbers in your band name).  The trio also released an album under the name "Salvador Trio", presumably led by Dom, and served as Elis Regina's band for a time.  As a side note, Dom Salvador is alive and well in New York City and plays 3 nights a week at the River Café in Brooklyn.

Checkout Machado's playing over the first chorus of Dom's piano solo on "Meu Fraco É Café Forte".  It's really quite a different vibe to your Milton Banana's and your Paulo Braga's.  I find Edison to have a particularly raw, bombastic feel, while still grooving really hard.  Sort of like a Brazilian Elvin Jones.  Check out the way he blows through some of these phrases.  He pushes on them so hard that they're practically out of time, and then WHAM!, right back in.  I've noticed Toninho Pinheiro do that kind of thing as well on the Som Três records.  Edison also seems to be more upbeat oriented than players like Milton Banana.  Of course samba in general has that underlying "e" "a" feel but Machado seems to really lay heavy on these, playing a lot of hands together stuff with a Teleco Teco sort of feel.  He even does this at medium/medium up tempos where Milton Banana would have a tendency to ride.  Also, I really don't think there's a steady bass drum pattern in there.  I EQ'ed this track to death looking for some sign of it beyond the punctuations I have notated.  At this speed and with the bassist thumping away I'm guessing he just went with hands and hats.