Transcription - Cuca Teixeira, "Recado"

Everybody knows that Brazil is a hot spot of rhythm and percussion.  Besides the amazing pandeiristas and percussionists, as well as the bateria sections of Rio's samba schools, Brazil has got some absolutely killer drum set players; players who we in the northern hemisphere often don't get to see or hear much from. I would venture to say that some of the greatest drummers alive today are from Brazil.  Guys like Marcio Bahia, Kiko Freitas and Edu Ribeiro are at the top of their game.

One of the most in demand drummers in Brazil today is Cuca Teixeira.  He's a highly sought side man, having worked with Hermeto Pascoal, Marina Lima, Paula Lima, Michel Leme, Thiago Espírito Santo, and Jane Duboc.  Arguably his biggest gig for the past ten years, however, and the one he is probably most known for, has been as drummer for Maria Rita.

Rita is the daughter of the late singer Elis Regina, and pianist/composer/producer extraordinaire César Camargo Mariano, and is an absolute super star in Brazil at the moment.  And rightfully so.

Cuca's first recording with Maria Rita was her second release, aptly titled "Segundo".  The album's second track, titled "Recado" features some of Cuca's best work.  Check out the way he splits the syncopated Partito Alto rhythm between the rim click and accents on the hi-hat.  I think my favorite aspect of his playing here, besides the incredibly deep pocket, is the patience with which he gets through the tune.  As the song intensifies from the piano solo to the end many of us would be tempted to open up to a ride cymbal and snare drum.  But Teixeira stays right at home on the hi-hat and rim click, building intensity with a confident subtlety that many drummers lack.  This track certainly changed the way I think when someone calls a samba.

For a PDF version of the transcription, please send me an e-mail.

Weekly Wisdom

There is debate over exactly who said this quote.  Most people say that it was South African golfer Gary Player.  Others say that he got the phrase from fellow golfer Jerry Barber.  There are also variations on the quote.  Regardless of who said it, and what the exact wording is, the idea is the same, and oh so true.

"The harder I work, the luckier I get."

Weekly Wisdom

Let's stay humble, folks.

Solo Transcription - Art Blakey, "Alison's Uncle"

Here is a solo by fellow Pittsburgher, Art Blakey.  The tune, "Alison's Uncle" appears on a reissue of Cannonball Adderley's album Somethin' Else.  If you have the record, the track might also be titled "Bangoon".  Many of those "Top 100", "Most Important Jazz Albums", or "1000 to Hear Before You Die" lists puts Somethin' Else right up near the top.

                             



Besides Blakey - as if you need anyone else - it features Miles in one of his rare sideman gigs.  From the mid-50s onward, he mostly led his own groups, and didn't appear on many other musicians' recordings.  It also features bassist Sam Jones, and pianist Hank Jones.  The two are not related, but the latter is the big brother of drummer, Elvin, and big band legend, Thad.

Blakey plays through the end of most of the phrases here and into the first few beats, or even full bar, of the next section.  However, the same figure he plays at the end of the first bar - three up-beats, followed by a triplet - appears in the same place at the top of the bridge, and again halfway through the bridge, marking out the form quite nicely.

I'm not 100% sure of the stickings here.  Personally, I play the majority of the triplet figures as paradiddlediddles, but it could well be singles.  What do you think?

Weekly Wisdom

"I pay no attention whatever to anybody's praise or blame.  I simply follow my own feelings."

- Wolfgang Amadeus Mozart

Album of the Week - Plantation Lullabies, Me'shell Ndegéocello

One of my initial ideas with this blog was to have an “Album of the Week”, but up to this point I’ve been working on the other posts to get this thing off the ground and just kind of forgot about it.  But as I sat here grading some papers, and listening to tunes I found a great one to start with.

I’ll often close my eyes and spin my thumb a few times around the iPod wheel and just play whatever pops up.  Today it landed on an album I haven’t listened to for quite a few years.  Plantation Lullabies is Me’shell Ndegéocello’s debut album.  And while it may not be her absolute best work, it’s still a total gem.  It features a young Joshua Redman and Geri Allen, as well as Luis Conté, and legendary Motown guitarist Melvin “Wah-Wah Watson” Ragin (the “Papa Was a Rollin’ Stone” guy).

Released in 1993, it still has remnants of the New Jack Swing sound to it which will surely pique your nostalgia.  It also reminds me of some U.K. Acid Jazz, like 4Hero.  For those of you who dig Erykah Badu, The Roots, etc., but haven’t yet checked out Me’shell, start here.  There are some killer play-along grooves to work with; and by “some” I mean pretty much the whole album.

Four Limb Triplet Warm-up

This exercise had a huge impact on my playing.  It was shown to me by a fantastic drummer in Pittsburgh named Lou Ross.  He is also a pro at refurbishing drums and he builds some beautiful custom sets.  Check him out.

Coming out of grad school I was feeling quite confident about my playing.  I had been studying hard, practicing for hours on end, reading, writing a thesis, and came out the other side with a piece of paper declaring me a MASTER of music.  Riiiight.  Less than three months later I was on tour in Malaysia and Singapore with pianist Cher Siang Tay, and bassist Jon Cavendish, with whom I had worked a lot in school and had great musical chemistry.  We put together a lot of new repertoire, played gig after gig, and recorded an album.  It was the most satisfying period of my musical career up to that point.  Then, before I knew it I was back home, in Pittsburgh, saying to myself “now what?”

Weekly Wisdom

This great, anonymous quote was first said to me by Christopher Hestin while I was marching with the Glassmen Drum and Bugle Corps.

"Amateurs practice until they get it right;

Professionals practice until they can't get it wrong."

- Unknown