DRUMMERS WHO INSPIRE & PROPEL JAZZ

By Dee Dee McNeil –  July 10, 2020
 

JEFF HAMILTON TRIO – “CATCH ME IF YOU CAN”  – Capri Records

Jeff Hamilton, drums; Tamir Hendelman, piano; Jon Hamar, bass.          

Whenever I see Jeff Hamilton’s name on a project, I know that recording is going to swing hard.  His current trio release, “Catch Me If You Can,” is no exception to this rule.  Hamilton opens with the John Williams composition, “Make Me Rainbows.”  

“I first became aware of this John Williams composition while recording Holly Hofmann’s CD.  Mike Wofford arranged it for that project and I haven’t been able to get the song out of my head since.  That’s the sure sign of a great song!”  Hamilton explains this song choice.

Hamilton has hand-picked songs that have touched his spirit and mean something special to him like “Helen’s Song” composed by his good friend and piano master, George Cables and “Big Dipper” by Thad Jones.  Jeff Hamilton recalls being a teenager and playing along with the Thad jones and Mel Lewis Jazz Orchestra recording of this song. 

“It was like my morning meditation that set the tone for the day.  Still does!” Jeff Hamilton explained.

Jeff’s drums introduce us to the familiar strains of “Bijou” written by Ralph Burns.  Hamilton stirs the pot with his drum licks creating a thick Latin groove for Tamir Hendelman’s piano fingers to dance upon.  Speaking of the piano player, Hendelman has penned the title tune for this exquisite album.

“Tamir Hendelman is starting his twenty-second year in the trio.  … We also are aware of his composing and arranging talents, as again witnessed here.  I asked him to come up with a medium, up- tempo piece.  Big mistake!  Here came the stops and starts and challenging figures to ‘stump the band.’  It is aptly titled, Catch Me if you Can,” Jeff Hamilton wrote in his liner notes.

Additionally, Hamilton’s gifted bass player has contributed two songs; “The Barn” and “Bucket ‘O Fat.”  The bassist is new to the group and brings a gutsy, blues feel to the production.  You hear it in both compositions.

One of Jeff Hamilton’s mentors was John Von Ohlen.  After studying two years at Indiana University, Hamilton left the academic world to study with Von Ohlen.  In eight months, he had progressed to the point of being hired as the new Tommy Dorsey Band drummer. 

“John Von Ohlen was a major influence on me musically and personally. … Aside from his unique drumming concept, few knew that he played the piano and was so deep harmonically.  ‘The Pond’ is his composition from his solo piano cd of the same title.  John spent many hours at the pond on his property.  In fact, he still does, as he wished for his ashes to be placed there,” Hamilton praised his mentor reverently.

Jeff Hamilton is a living legend and his trio is celebrated worldwide.  As they march into a new decade, they mirror the legacy of great jazz trio’s like The Three Sounds and the Oscar Peterson Trio.  Drummer Hamilton is one of the founders of the Clayton/Hamilton jazz Orchestra and the Akiko-Hamilton-Dechter trio.  He has been the driving force behind such luminaries as Ray Brown, Ella Fitzgerald, Lionel Hampton, Diana Krall and even the great Oscar Peterson himself.  He’s also fired up the Count Basie band and been a part of Woody Herman’s big band.  This release is another jewel in the jazz crown that Jeff Hamilton proudly wears.  He is certainly one of jazz music’s percussive kings!

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PURDIE / FABIAN / OSWANSKI – “MOVE ON!” – CAP Records

Bernard Purdie, drums; Christian Fabian, bass/arrangements; Ron Oswanski, organ.

Purdie, Fabian and Oswanski have united to use their trio power and put a fresh face on funk-driven jazz.  I became aware of the might, power and perfect time of Bernard Purdie in the early 1970’s.  Melvin Van Peebles was singing his praises and so was my old friend and A&M Record executive, Raina Taylor.  I believe I first met Bernard Purdie on the A&M Record Lot located on La Brea Ave in Hollywood where I was working in publicity. But I had heard his work much earlier.

Bernard Purdie played on a hit record from the late fifties that was one of my favorites.  The teen dance floor got crowded every time that recording by Mickey & Sylvia titled, “Love is Strange” spun on the turn-table.   The rhythm on that song was infectious.  Back then, Bernard Purdie’s reputation skyrocketed in New York and he was hired to be an East Coast studio musician on several important recording sessions.  He could play all styles, perhaps because of his early gigs playing with country bands and as a carnival drummer.  He loved to challenge himself and to learn new styles.  Amazingly, he was even called into the studio to spice up some Beatles releases for an American audience.   Unknown to most people, Bernard Purdie over-dubbed his drum licks on twenty-one Beatle songs.  How many drummers can say they played with the Beatles?   It was also his infectious drum licks that helped propel Aretha Franklin’s song, “Rock Steady” into a gold record success.  

One unique ability of this drummer is that Bernard Purdie created his own style of playing with specifics licks that have made him quite famous in both the R&B world, the funk world, the pop world and the jazz world.  He plays it all. One particular style is “Purdie’s half-time shuffle” that jazz folks think of as a percussive-blues-feel, but Purdie adds some syncopated ghost notes on his snare.  You can hear this groove that Purdie created on his recording of “Babylon Sisters,” a Steely Dan record.  He also knew how to seamlessly weave jazz swing and blues into pop music, rock and R&B.  He was the forceful drummer on the “Shaft” film soundtrack album.  His drum excellence and diversity crosses genres.  Purdie easily transitions, in either ‘live’ or studio circumstance, to enhance whoever’s project he’s drumming on.  For example, album jackets that sing his name include work with Ray Charles, Hall & Oates, Peter Frampton, King Curtis, Dizzy Gillespie, Steely Dan, Quincy Jones and even Cat Stevens to name just a few.  He played Reggae with Bob Marley and Latin drums with Mongo Santamaria.  Bernard Purdie even played on a Marvin Gaye track that skyrocketed up the charts.  Purdie told Drum Magazine:

“I cut about 500 tracks for Motown.  One of them was a wonderful one, “Can I Get A Witness” by Marvin Gaye.  We were doing tracks in New York and those were taken to Motown in Detroit.  Basically, they were doing overdubbing on tracks we already cut in New York.”

Bernard Purdie even worked with Otis Redding, who he said was an even stronger task-master than James Brown, a platinum R&B artist he also worked with.  He accompanied one of my idols, the amazing Nina Simone and played with Gabor Szabo.  Other’s he heralded as high points in his career was working with the great Jeff Beck and the queen of soul, Aretha Franklin.  He may be one of the most recorded drummers in the world.  Modern Drummer magazine called Purdie one of the fifty greatest drummers of all time. He is also listed in the book, “The Big Beat – Conversations with Rock’s Great Drummers.”

Now he has joined talents with Christian Fabian, who has composed for and arranged this entire ‘First Ever’ funky organ trio.  Christian is a native of Sweden and grew up in Germany.  Like so many talented international musicians, he attended Berklee College of Music, then became active playing on the New York jazz scene.  He’s co-leader of the New Lionel Hampton Band that features Jason Marsalis and he co-founded the Native Jazz Quartet and heads his own Fabian Zone Trio.  They’ve released six CDs.  Fabian is one of the in-demand bass players on the East coast and is respected worldwide.

The third member of this awesome trio is Ron Oswanski, a native of Toledo, Ohio.  His father had a polka band and young Ron grew up surrounded by music.  He began studying piano at an early age.  He also plays accordion and bass.  His love of piano and bass led him to study the organ, which clearly combines both instruments.  In 1992, he relocated to New York City and immediately joined Maynard Ferguson’s Big Bop Nouveau band playing piano, keyboards and the B-3 organ.  Ron Oswanski recorded on two of Ferguson’s Concord Record releases.  He stays busy as a studio session musician and also an inventor.  He helped develop a special microphone, specific to accordions for accurate, high quality sound.  In 2013, Oswanski released his own debut CD as bandleader titled, “December’s Moon.” 

“I’m not a traditional Jimmy Smith organ player.  I do play that style, but I’m a big ECM fan who’s listened to a lot of Keith Jarrett and Jan Garbarek.  I like open harmonies and being able to stretch harmonies from here to there. … Beautiful melodies are as important as aggressiveness,” Oswanski explained his musical motivation.

The combined talents of these three musicians bring us an exciting and entertaining album of funky tracks.  They play Duke Ellington’s famed “Love You Madly” at a slow speed, but just about every other tune on this project is energized. Christian Fabian is brightly featured on bass solos throughout and has composed five out of the nine songs.  Their bluesy rendition of “The Battle Hymn of the Republic” gives Oswanski an opportunity to stretch out on his organ.  On the ‘Glory, glory hallelujah’ verse, Fabian steps into the spotlight and takes over on his bass.  The constant and creative drums of Bernard Purdie create a strong basement for this trio to build upon.

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DYLAN JACK – “THE TALE OF THE TWELVE FOOT MAN”               Creative Nation Music (CNM)

Dylan Jack, drums; Jerry Sabatini, trumpet; Eric Hofbauer, guitar; Anthony Leva, bass & sintir.

Dylan Jack is a composer, trap drummer and improviser.  His quartet features trumpeter, Jerry Sabatini, guitarist Eric Hofbauer and Anthony Leva on bass.  Based in Boston, they have recorded four songs for this release that are more like suites than individual compositions.  Each song that Dylan Jack has written unfolds with various melodies and rhythmic patterns.  Beginning with “Gauchais Reaction, (the Art of Subconscious Mimicry),” Dylan allows his arrangement to introduce us to his bandmates.  On the first twelve minutes of the tune, he features a long solo by bassist Anthony Leva.  After four minutes, Sabatini enters on trumpet, followed shortly thereafter by Eric Hofbauer exploring the outer limits of his guitar.  This is Avant-garde, contemporary jazz.    The title tune, “The Twelve-foot man” is divided into two parts; (6-minutes and 9-minutes respectively).  The first part has a bluesy undertone, with Jerry Sabatini fluid on trumpet, sometimes screaming for our attention and other times sweetly singing the Dylan Jack melody. 

“The great thing about this band, although it’s under my name, it’s everyone’s band.  Everyone has a voice,” Dylan Jack asserts.
https://www.youtube.com/watch?v=On6mmgNiKj4

Behind the improvisational freedom of these musicians, you continuously hear Dylan Jack’s rolling drum sticks and inspired rhythm patterns that push the quartet to their limit.   

“The twelve-foot man represents a challenge that we individually face; a tall figure looming over our shoulder as we go about our lives,” Dylan Jack explains as he beats his way through “The Epitaph.”

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JASON KAO HWANG – “HUMAN RITES TRIO”  –  True Sound Recordings

Jason Kao Hwang, violin/composer; Ken Filiano, string bass; Andrew Drury, drums.

The music of violinist and composer, Jason Kao Hwang is totally Avant-garde.  His drummer, Andrew Drury, holds this trio tenaciously in his hands.  Within the harmonic texture of guitar or piano, Drury is a key figure controlling the motion and the structure on each tune.  From their interpretation of “Words Asleep Spoken Awake – Part 1 and 2” you hear Drury’s punctuation and crescendo-building phrasing on the trap drums.  While Jason is busy with improvisation and the melodic foundation, Andrew Drury pumps energy and excitement into the pieces.  Ken Filiano is solidly onboard, rowing his big bass sound through the waves of music, like a thick, directional oar.  Although they sometimes direct the vessel of their music into uncharted waters and often express chaos, like in a stormy sea, their musicianship is palpable.  if contemporary Avant-garde is your thing, you’ll put on your life jacket and dive into this project.

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JEFF COSGROVE – “HISTORY GETS AHEAD OF THE STORY”                        Independent Label

Jeff Cosgrove, drums; John Medeski, organ; Jeff Lederer, saxophones/flute.

Turn the pages of time back to 2017, when reedman, Jeff Lederer, took a short trip from New York city to play some gigs with drummer, Jeff Cosgrove, in his rural town of Middletown, Maryland.  Cosgrove loves the open space.  It inspires his connection to an uncluttered style on his trap drums.  He likes to let the drums breathe, the same way he, himself, feels in wide open spaces. 

“We (Lederer and Cosgrove) started brainstorming ideas for a new project.  I suggested an organ trio with Jeff and John Medeski.  Jeff (Lederer) agreed and was really the lynchpin to this whole thing.  He helped bring John on board, worked out the charts and had some great ideas on arrangements.  We went in the studio in late 2018.  Everything just fell into place.  … I think the results are pretty stellar.  This project took some time to come to fruition.  William Parker, Matthew Shipp and I had a trio for a while which dissolved around 2015.  In that time of free-form experimentation, we grew a lot playing together.  I was heavily focused on spontaneous composition then, but when I thought about future projects, I knew I wanted to explore the order and arrangements of a composer.  William Parker’s repertoire seemed like the obvious choice.  Many people focus on his bass playing, but his skill as a composer was really what fascinated me.  William’s music is full of wonder and surprise and I am so grateful to have been on this adventure with these musicians to help celebrate it,” Jeff Cosgrove explained how this album came about.

Choosing a composer and friend, who he had played with for a number of years, brings a comfort level to this project.  Jeff Cosgrove is familiar with these compositions and respectful of the composer.  His handpicked sidemen are expressive and supportive in interpreting the music, beginning with the first song, “O’Neal’s Porch,” that begins with a punchy, unison horn line to introduce John Medeski’s organ.  Then suddenly Lederer’s saxophone races into the atmosphere, testing the outer limits of the treble-range of his instrument.  This is followed by a very blues-driven organ solo.  My only criticism is that the mixologist did not spotlight the drums of Jeff Cosgrove more vividly.  After all, this is his project and he’s the structural pillar of this music.  He’s the driving force in every song, but he’s mixed down way below where I think he should be.  Cosgrove has composed the tune, “Ghost” and it opens with an eerie, ghostly arrangement, featuring the sticks rolling across Cosgrove’s cymbals.  Lederer flies like a frightened bird on his flute, elevating the piece.  On track eight, a composition titled, “Wood Flute Song,” we finally have an opportunity to hear Jeff Cosgrove solo on his drums during the introduction of this piece and it sounds as if they finally mixed the drums up where they belong on this song.  You can hear how proficient and creative Cosgrove is on his instrument.  He provides a steady stream of rhythm to support and enhance the flute solo.  This is one of my favorite compositions on this production.   

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One Response to “DRUMMERS WHO INSPIRE & PROPEL JAZZ”

  1. REVIEW: Dylan Jack "The Tale Of The Twelve Foot Man" Reviewed on Musicalmemoirs's Blog - LYDIALIEBMAN.COM Says:

    […] By Dee Dee McNeil, Musicalmemoirs’s Blog […]

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