Question For Peter Erskine

[Groovesmitty]

Okay friends. I'm putting an end to this jazz vocabulary discussion. I myself understand and agree with Rob. His words somewhat coincide with my jazz history courses at NYU. He makes logical sense to me along with musical sense.

Here's my question for the great Erskine.

Peter, I have heard you perform in many styles from Weather Report fusion, to Big Band with Joni and Stan, to the latest piano trio and small group with Diana and Alan Pasqua.

I purchased the Japanese release of Alan's trio recording on Steve Hass' word that I would love it. I did.

The trading in Stella to my ears is a great example of the jazz vocabulary I'm speaking of, and that which Rob is speaking of. You could have easily blown some terrifying technical solos, but you chose to play the language. You would be better at explaining it than I. It seems that everyone in this forum becomes angry at this topic.
Can you tell me why you didn't play for example, the way Vinnie Colaiuta played with Chick? Aside from the fact that this is a different situation. And can you also explain the depth and tradition behind the approach you took? To my ears, you were playing jazz like Peter Erskine but I could still hear Philly and Max Roach in there. You remain very creative but stay true to the tradition of jazz. Please explain the tradition to these folks so they can stop insulting Rob left and right.
Thank you

<font color="#a62a2a" size="1">[ August 09, 2005 02:07 PM: Message edited by: Groovesmitty ]</font>

[JoesMechanic]

Groove...

The thing you fail to miss is that we understand completely what you and your friends SDK, Flarob, Para, and yourself are saying. We understand completely. But I find it funny that the people in here that claim to know what they are talking about can't explain themselves technically as Zak asked you to on the other thread. Zak's a current "Jazz" student himself. Notice that none of you that claim to know and understand Jazz haven't given him a comprehensive answer in writing?? So far it's been a bunch of, listen to this CD or I could show you what I'm talking about.

Trad Jazz is cool for those that want to learn it. But for the most part, it's a stepping stone to more complex and contemporary styles.

[Henry II]

Originally posted by JoesMechanic:
. . . Trad Jazz is cool for those that want to learn it. But for the most part, it's a stepping stone to more complex and contemporary styles. . . .

<font size="2" face="Verdana, Helvetica, sans-serif">That's partially right. IMHO, it's not an option. You can learn it and become a specialist/devote like Jeff Hamilton. Or you can learn it and use your skills as a stepping stone to more evolved styles like Peter Erskine. But, one way or the other, you really gotta learn it.

<font color="#a62a2a" size="1">[ August 09, 2005 08:05 PM: Message edited by: Henry II ]</font>

[JoesMechanic]

Henry....

Again... I think it's more on where your focus is as a player. With todays working/session guys, I feel it's of the upmost importance, even if it's just to learn the independance it teaches. I like Haas' approach to music in general. I read he prefers the bottom up method which is a great fundamental way of learning anything. But some have done very well for themselves without learning Jazz music or drumming at all. It just depends on where their focus is.

Myran Grombocher is a great drummer. Laid down alot of fundamental stuff for us Rock drummers. But his focus is on managing an Auto Dealerships service dept now. Like I said. It depends on your focus in working and how far you want to take it.

[erskoman]

Hoo-Boy ... anyone remember the old standard that went: "Fools rush in, where angels fear to tread ..."? Nevertheless, here I go...

All I can say about the topic is this: I've come to realize that, as far as my own tastes are concerned, it's got to swing. The music can be traditional, it can be "inside," it can be "out," "far out," "outside," be-bop, modern ... even 'fusion' ... but, for the person listening to it as well as for the people playing it, the music has got to swing.

What's that? Well ... that's another can of worms, perhaps, but one that I enjoy reaching into. "Swing" is a quality of bouyancy and bounce ... forward motion,propulsion ... elegance ... intelligence and passion ... down and dirty ... a lot of things; but "swing" doesn't really like to show off too much or work too hard; unless "IT'S SWINGING ... hah!

I guess you could put it like this: if YOU think or feel that it swings, then the music is "jazz" for you. If you don't think or feel that it swings, then it isn't jazz, but rather some corny sh*t.

Personally, I think that a lot of 'fusion' music, including stuff that I've played in the past, would qualify as some "corny sh*t," at least as fay as my own tastes go now. I would not try to impose those tastes on any of you. I think that all of us need to arrive at our own conclusions about esthetics and art. I would venture to say that most jazz musicians I have known, however, would agree that the music HAS TO SWING. (And by "swing," I'm not restricting the definition to a medium-tempo 4/4 jazz standard, etc.).

When you watch Fred Astaire dance, you know it's good. Swing is like that for me. I also like watching a lot of the new dancing going on... it's pretty jazzy, don't you think?

re: recent video posts ... some amazing drumming here and there, but those particular excerpts don't really do it for me in the swing department. However, that's just my own taste; I couldn't do that type of drumming, technically, if my life depended on it. But, for reasons other than survival (!), I do prefer to leave more space in the music nowadays ... as well as to play beats that are more like serving the music up on a warm platter, as opposed to serving a tennis ball at 286 miles per hour, to the other musicians.

No disrespect meant or implied to any of my drumming colleagues or buddies, or to any of you good readers out there in HOD-Land.

"Different strokes," as they say ...!

Peace,
PE

[got_a_matchgrip]

That may or may not have been quite what everyone in here may have been looking for, but I for one thought it "ROCKED" - er, "SWUNG," that is! [img]graemlins/party.gif[/img] [img]cool.gif[/img]

[...just some "corny sh**"...HAHAHA! PE "busts a move all dead up!!" [img]tongue.gif[/img]
Guess they shoulda [ji]had more fibre in their diet instead...] [img]wink.gif[/img]

<font color="#a62a2a" size="1">[ August 09, 2005 10:39 PM: Message edited by: got_a_match_grip? ]</font>

[Henry II]

I'd like to be able to play like PE, but, I'll settle for being able to write like PE. Very well said.

As for tap dancers, I prefer Sammy Davis, Jr. [img]rolleyes.gif[/img]

[Flarobstix]

Thank God for Groovesmitty and Peter Erskine!

Peter just re-iterated my point with class. The one thing I may lack.

Great question Groove. I would have never thought to phrase it that way.

Also, Groove and I have never met, never exchanged emails. So I don't understand what makes us buddies Joe'sMech.
I don't even know what the man looks like.
I guess that "buddies" comment is just another one of your meaningless attempts to slander people who actually know what they're talking about.

[DrumClinician10]

Flarob,

You definitely lack class, not something to be proud of, by the way.

[Vdrummer]

Hey guys, no pissing in the pool, we all swim here!

I like Peter's choice of words to describe swing as having a bouyancy or bounce. I always think of it as having a kind of lift, but I like Peter's description better.

Brad