Joshua Redman

[mrjazzman]

Caught James Farm (Joshua Redman-Ts, Aaron Parks-P, Eric Harland-D, Matt Pennman-B, I hate these group names, why can't it be The Joshua Redman Quartet)at Yoshi's in Oakland, CA. tonight Thur 05-25-2012 10pm show. I couldn't hear JR in the beginning, I purchased "Wish" and "Joshua Redman" just because I'm a collector, he was a young lion, and he had a name from his dad, but there's nothing like hearing someone live to change one's mind. I just want to say, the reason I felt compelled to report this is because of ERIC HARLAND. Prior to tonight my favorite drummers who are still alive would be Louis Nash and Jeff Tain Watts, but after tonight, sorry Louis/Jeff, ts ERIC HARLAND, what a phenominal drummer, I got the feeling that he was soloing when he wasn't actually soloing, his drumming is that strong, thoughrouly versed in modern hard bob drumming. Not a lot of dates with drummers as leader but Im definitely going to purchase "Voyager: Live By Night"............

Edited May 26, 2012 by mrjazzman

[JETman]

Caught James Farm (Joshua Redman-Ts, Aaron Parks-P, Eric Harland-D, Matt Pennman-B, I hate these group names, why can't it be The Joshua Redman Quartet)at Yoshi's in Oakland, CA. tonight Thur 05-25-2012 10pm show. I couldn't hear JR in the beginning, I purchased "Wish" and "Joshua Redman" just because I'm a collector, he was a young lion, and he had a name from his dad, but there's nothing like hearing someone live to change one's mind. I just want to say, the reason I felt compelled to report this is because of ERIC HARLAND. Prior to tonight my favorite drummers who are still alive would be Louis Nash and Jeff Tain Watts, but after tonight, sorry Louis/Jeff, ts ERIC HARLAND, what a phenominal drummer, I got the feeling that he was soloing when he wasn't actually soloing, his drumming is that strong, thoughrouly versed in modern hard bob drumming. Not a lot of dates with drummers as leader but Im definitely going to purchase "Voyager: Live By Night"............

Harland's date is a good one. Btw, JAME is an anagram consisting of the first initial of each guy in the group.

[CJ Shearn]

Harland is a MONSTER. Saw him with the SF Jazz Collective. Great guy, talked to him after the show.

[mrjazzman]

Harland is a MONSTER. Saw him with the SF Jazz Collective. Great guy, talked to him after the show.

I had hear the name before along with all the other young fellows of his generation, but man, I didn't know what I was missing. Like I said, it's as if he's soloing but he's not soloing and when he does take the official solo, it's pure delight.........

[king ubu]

Haven't seen Harland live yet - but sounds like you got to check out Nasheet Waits in person if you get a chance!

[JETman]

There are many great young drummers around today. Gerald Cleaver impresses for his ability to play in any musical situation, inside and out.

[robertoart]

There are many great young drummers around today. Gerald Cleaver impresses for his ability to play in any musical situation, inside and out.

Is there a difference anymore?

[JETman]

There are many great young drummers around today. Gerald Cleaver impresses for his ability to play in any musical situation, inside and out.

Is there a difference anymore?

You haven't been paying attention. Listen to Cleaver on Farmers by Nature or any Lotte Anker cd VS. his appearances on any of the last few Jeremy Pelt cd's.

[robertoart]

There are many great young drummers around today. Gerald Cleaver impresses for his ability to play in any musical situation, inside and out.

Is there a difference anymore?

You haven't been paying attention. Listen to Cleaver on Farmers by Nature or any Lotte Anker cd VS. his appearances on any of the last few Jeremy Pelt cd's.

No. What I am saying is the old dichotomy between inside and outside playing is not so much a matter of capacity for contemporary players anymore, but a matter of choice. It is a much more fluid thing for musicians (who from a drummers perspective) have absorbed people like Jack Dejohnette as second nature. The revolutions and discoveries of form (at least) were traversed ages ago.

Edited May 28, 2012 by freelancer

[CJ Shearn]

Harland really does something different in the age of post Tain drummers. Along with Terreon Gully and Chris Dave he brings the influence of hip hop drumming into jazz in a really fresh way, and he does play things that aren't often heard. After the SFJazz gig, my friend who is a jazz drummer and percussion teacher at Binghamton high school remarked to Eric he heard a new way of playing he's never heard from anyone. Been a big fan since he appeared on the title track of Kenny Garrett "Standard of Language". Harland's a great writer as his SF Jazz compositions show, and he's also a quirky, unique voice on his hip hop projects.

[robertoart]

Harland really does something different in the age of post Tain drummers. Along with Terreon Gully and Chris Dave he brings the influence of hip hop drumming into jazz in a really fresh way, and he does play things that aren't often heard. After the SFJazz gig, my friend who is a jazz drummer and percussion teacher at Binghamton high school remarked to Eric he heard a new way of playing he's never heard from anyone. Been a big fan since he appeared on the title track of Kenny Garrett "Standard of Language". Harland's a great writer as his SF Jazz compositions show, and he's also a quirky, unique voice on his hip hop projects.

Yes. I would say the information in this post is what interests contemporary players these days. Not 'inside/outside' so much.

[CJ Shearn]

Harland really does something different in the age of post Tain drummers. Along with Terreon Gully and Chris Dave he brings the influence of hip hop drumming into jazz in a really fresh way, and he does play things that aren't often heard. After the SFJazz gig, my friend who is a jazz drummer and percussion teacher at Binghamton high school remarked to Eric he heard a new way of playing he's never heard from anyone. Been a big fan since he appeared on the title track of Kenny Garrett "Standard of Language". Harland's a great writer as his SF Jazz compositions show, and he's also a quirky, unique voice on his hip hop projects.

Yes. I would say the information in this post is what interests contemporary players these days. Not 'inside/outside' so much.

I think ?uestlove has had a impact on younger jazz drummers even though he doesn't play jazz all that often, he's pretty encyclopedic. The influence of integrating drum machine like patterns into acoustic drum set playing has become a part of the expanding the language. Thats difficult for older jazz fans, who love Blakey, Philly Joe, Tony, Elvin and Jack to swallow; the whole drum machine thing is my generation and younger and easier to relate with. On Pat Metheny's forthcoming "Unity Band" album, Antonio Sanchez adds a drum n bass groove to "Signals" the debut of the Orchestrion improv Pat played each night on that tour, but in the case of the record, incorporating the live players into the mix. Its really really cool what Antonio plays on that track, but for people who like swinging, its not all that interesting.

[mrjazzman]

Harland really does something different in the age of post Tain drummers. Along with Terreon Gully and Chris Dave he brings the influence of hip hop drumming into jazz in a really fresh way, and he does play things that aren't often heard. After the SFJazz gig, my friend who is a jazz drummer and percussion teacher at Binghamton high school remarked to Eric he heard a new way of playing he's never heard from anyone. Been a big fan since he appeared on the title track of Kenny Garrett "Standard of Language". Harland's a great writer as his SF Jazz compositions show, and he's also a quirky, unique voice on his hip hop projects.

Yes. I would say the information in this post is what interests contemporary players these days. Not 'inside/outside' so much.

I think ?uestlove has had a impact on younger jazz drummers even though he doesn't play jazz all that often, he's pretty encyclopedic. The influence of integrating drum machine like patterns into acoustic drum set playing has become a part of the expanding the language. Thats difficult for older jazz fans, who love Blakey, Philly Joe, Tony, Elvin and Jack to swallow; the whole drum machine thing is my generation and younger and easier to relate with. On Pat Metheny's forthcoming "Unity Band" album, Antonio Sanchez adds a drum n bass groove to "Signals" the debut of the Orchestrion improv Pat played each night on that tour, but in the case of the record, incorporating the live players into the mix. Its really really cool what Antonio plays on that track, but for people who like swinging, its not all that interesting.

Funny you should mention drum kits or whatever their called because I absolutely HATE them. I refuse to listen to/purchase any music that has drum kit, imho a dumb invention like the electric piano and bass..........

[Pete C]

No. What I am saying is the old dichotomy between inside and outside playing is not so much a matter of capacity for contemporary players anymore, but a matter of choice. It is a much more fluid thing for musicians (who from a drummers perspective) have absorbed people like Jack Dejohnette as second nature. The revolutions and discoveries of form (at least) were traversed ages ago.

I agree; as well, a number of older drummers who made their name in "out" contexts have also proven themselves to be equally fine inside players, e.g. Cyrille, Rashied Ali, Barry Altschul among others.

Funny you should mention drum kits or whatever their called because I absolutely HATE them. I refuse to listen to/purchase any music that has drum kit, imho a dumb invention like the electric piano and bass..........

"Drum kit" normally refers to a standard trap drum setup. I think drum machine or electronic percussion is what you're talking about.

My only really major peeve about drummers is when they bow a cymbal producing an excruciating sound that I just don't get. Just because you "can" do something doesn't mean you "should" do it.

Edited June 1, 2012 by Pete C

[robertoart]

Harland really does something different in the age of post Tain drummers. Along with Terreon Gully and Chris Dave he brings the influence of hip hop drumming into jazz in a really fresh way, and he does play things that aren't often heard. After the SFJazz gig, my friend who is a jazz drummer and percussion teacher at Binghamton high school remarked to Eric he heard a new way of playing he's never heard from anyone. Been a big fan since he appeared on the title track of Kenny Garrett "Standard of Language". Harland's a great writer as his SF Jazz compositions show, and he's also a quirky, unique voice on his hip hop projects.

Yes. I would say the information in this post is what interests contemporary players these days. Not 'inside/outside' so much.

I think ?uestlove has had a impact on younger jazz drummers even though he doesn't play jazz all that often, he's pretty encyclopedic. The influence of integrating drum machine like patterns into acoustic drum set playing has become a part of the expanding the language. Thats difficult for older jazz fans, who love Blakey, Philly Joe, Tony, Elvin and Jack to swallow; the whole drum machine thing is my generation and younger and easier to relate with. On Pat Metheny's forthcoming "Unity Band" album, Antonio Sanchez adds a drum n bass groove to "Signals" the debut of the Orchestrion improv Pat played each night on that tour, but in the case of the record, incorporating the live players into the mix. Its really really cool what Antonio plays on that track, but for people who like swinging, its not all that interesting.

Thanks for this. Good info there again.

Something useful for the 'emerging' old buggers like me to think about