tag:davegoodman.com.au,2005:/blogs/blog?p=3
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2022-07-25T05:56:18+10:00
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Dave Goodman
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tag:davegoodman.com.au,2005:Post/4604562
2022-07-25T05:56:18+10:00
2023-10-17T01:47:19+11:00
My Bob Berg Story
<p><strong>Background</strong><br>When I started studying jazz at Sydney Conservatorium of Music in 1995, my knowledge of jazz history was nascent, and I was constantly inundated by my lecturers with the names of players and albums I hadn't heard of before, and that were essential listening for a burgeoning jazz drummer. I remember lecturer and brilliant tenor saxophonist Gordon Brisker once telling the student cohort to think of our minds as funnels in that it would take a long time for all the information that was pouring in at the time to drip through into our conscious awareness. Some pearls of wisdom from those times are still dripping through and starting to make sense for the first time only now, some 22 years later.<br><br><strong>Cedar Walton Quartet</strong><br>My combo lecturer that year was bassist Craig Scott. Craig was the first person to turn me onto Billy Higgins' drumming when he mentioned Cedar Walton's trio. I started listening fairly heavily to the trio with Sam Jones on bass, as well as to the Cedar Walton Quartet that featured a young Bob Berg alongside Jones and Higgins. In particular I was enjoying the incredible live sets that were recordings around the same year I was born - 1977. I loved Higgins' touch on the drums and cymbals, and for a few months I tried to craft my sound around replicating the way he sounded. The untouchably melodic sensibility he displayed in his solos still astonishes me.<br><br><strong>Chick Corea Quartet</strong><br>By 1997 I'd begun tracing the lineage through to contemporary times, and, as well as continuing to listen to Higgins, I also become obsessed with listening to Jack DeJohnette, Victor Lewis, Adam Nussbaum, Billy Hart, Peter Erskine, Jeff 'Tain' Watts, Jon Christenson, Al Foster, and Roy Haynes. I wanted so much to develop a sound on the drums for myself that was to somehow one day be a tasty synthesis of all their sounds combined. In April 1997 I read an interview with drummer Gary Novak in <em>Modern Drummer Magazine</em>, and, without having previously heard any recordings of him, there was something in the way he was talking about jazz drumming that made me want to check out some recordings he was on. He was talking about touch and improvising in a particular was that struck a resonant chord for me. I could relate to the names and sensibilities he described, and so I asked around The Con if anyone had a copy of the Chick Corea Quartet's 1995 release <em>Time Warp</em> that featured Novak alongside Bob Berg and bassist John Patitucci. Thankfully my tenor saxophone-playing buddy Ben Savage had a copy on CD, and so loaned me a cassette tape copy to check out.<br><br>I put the tape on in my car as I drove home from The Con that night, and by the time I was just around the corner from my house, the piece 'New Life' was playing. There was something wildly explosive about the energy forming the obvious bond between Berg and Novak that made me so excited I had to pull the car over and stop to listen. I was hearing an energy on a similarly high level to what I'd heard in recordings of John Coltrane and Elvin Jones playing together, but I'd never heard drumming quite like that before - it was as though that Novak interview I'd read had come to life in an aurally holographic spectrum of time, tone and touch on the drums!<br><br><strong>Antipodes</strong><br>I've already used the adjective 'untouchable' in relation to Billy Higgins' melodicism, but I feel like using it again here to describe my perception of pretty much everything to do with American jazz and its culture in general from where I see it: untouchable in just about every conceivable way. There's the sheer geographical distance between America and Australia that the Pacific Ocean represents; the gruelling 14-hour non-stop long-haul flight to get to and / or from America's west coast; and, amongst other things, the cost and immense organisation that goes into making just one of these trips. In my mind at the time, and still now to some extent, this perspective on America and American jazz has had two overwhelming effects on my psyche; one positive, and one negative. On the negative side, by all accounts the notion of establishing a career and making connections that involved American jazz musicians seemed all but impossible. On the positive side, from time to time, American jazz musicians would tour Australia and play in our local clubs. These experiences are still incredible highlights for me as they happen, although, seemingly fewer and far between these days for whatever reason. The most recent highlight for me at the time of this writing was seeing the Steve Gadd Band play at The Basement in Sydney in December 2016. It's really difficult to discern if my reception of these gigs is distorted by immense cognitive bias based on the perceived prohibitive difficulties I described just now, or if these experiences are truly on such an incredibly rare and high level that these guys are truly geniuses in their own ways. Either way or both, these are such exciting events for me and for most of my Sydney mates to experience that there's an exhilarating energy present whenever any high profile American jazz gigs take place in Sydney.<br><br><strong>Tribal Tech in Sydney</strong><br>The foregoing serves to set Bob Berg up as one of those gods in the sky whom, for a then 21-year-old Australian country boy relatively new to Sydney, was untouchable for all the reasons mentioned above, and the idea of ever meeting or engaging with him seemed an impossible dream. In January 1998, however, I received a surprise phone call from Gordon Brisker who said that Bob was to be in Sydney the following April and that he was going to give a workshop at The Con. Gordon asked if I could be the drummer for this workshop alongside pianist Peter Roberts, and bassist Mark Lau - also final year students at The Con. I dropped the phone. Well, actually, I don't think I dropped the phone, but, if I didn't, the feeling I remember being overwhelmed with at the time of the call was so intense that I don't remember what happened and so I might as well have dropped the phone. Bob was scheduled to play at The Basement for a week with Gary Willis, Scott Kinsey and Dennis Chambers in the band Tribal Tech.<br><br><strong>Workshop</strong><br>The day finally arrived in late April just short of my 22nd birthday when Bob Berg arrived to present his workshop at The Con, and to play with us. We met in Gordon's office and, after getting used to his serious and seemingly brash New York demeanour, he seemed pretty cool with us. We talked over a few tunes and decided to play 'Stella By Starlight', which he'd just been playing on tour with Corea. We also chose 'Soul Eyes', and 'Impressions'. He said at some point that he would never usually do one of these things with a student band, which only increased the feeling of the size of the lump that was already in my throat.<br><br>We walked into the performance space, and the room was full with what appeared to be maybe up to two hundred people. Looking around, it seemed that just about every saxophone player in Sydney was there, as well as other instrumentalists and enthusiasts. Bob called 'Stella' and we started playing. There's something that, for me, takes over when I get the all-too-rare chance to play with one of my heroes. It's an extra energy, a kind of psychic energy that seems latent the rest of the time. By hero, I mean a musician on a super high level of musical operation I deeply admire - a complete virtuoso, and a humanist; someone who can bring the best out of you simply by virtue of their playing alone. I'm not saying for a second that my playing rose to as high a level as a Higgins, a Novak or a Chambers is capable of rising to, but the power behind Bob's playing sure did draw out the maximum I was capable of during these three tunes. I still like to call 'Soul Eyes' if I'm calling a ballad on a jam session or a pick-up gig because of my memory of how beautiful it was to play that tune with Bob.<br><br><strong>Impressions</strong><br>'Stella' and 'Soul Eyes' were fairly straight ahead, and then came 'Impression'. Bob announced to the room that we were about to play 'Impressions', and then, before he counted it off, he turned to the band and said - loud enough for the room to hear - 'ok, after a while in my solo, let me and the drums have it.' So I got mentally as ready as I could for whatever was going to happen. He counted the tune in, and we were off. Bob started to solo first. After only two choruses, he stopped and let Peter solo on the piano. So that I could concentrate as fully as I could on what was coming in through my ears, I had my eyes shut. I simply thought something along the lines of 'oh gee, we mustn't be cooking enough for Bob to keep going into the two-out bit', and so I somewhat disappointedly played on.<br><br>Next thing, there's this bellowing voice in my left ear that shocked me into opening my eyes to see what was going on. Bob was right in my face, and he more or less yelled at me the following: '<em>When you play with me, don't play four on the hi-hat!</em>' Nervously, I nodded my head in compliance, and started to concentrate on only playing beats two and four with my left-foot hi-hat. You see, I'd just started getting into Tony Williams, and I was so used to exploring the colour of playing all four beats on the hi-hat like he did that I wasn't even aware that I was playing it like that at the time, and I wasn't so used to sticking with only two and four. My mind said to me, 'oh what's the point anyway, he's already played, so when are you ever going to get a chance to do it properly for him?' And, after Peter took a chorus or two on the piano, Bob came right back in to play a second solo. This is where the recording on the embedded YouTube clip below begins.<br><br>Bob played a chorus, and then signalled to the guys to lay out and let he and I 'have it'. I had no idea how long we were going to play together for, but he seemed to keep going for chorus after chorus until, at one point, I conceded that we may very well go on together for a very long time - perhaps it'll never end! I had never played with anyone of such formidable strength on the tenor saxophone, nor on any other instrument. And, when I think back to the experience whilst writing this, he may very well be the strongest musician I remember playing with. I remember feeling at the time that there was something in the propulsion of his time feel that felt stronger than any bass player I could remember having played with to that point. It was also a lesson in stamina and pacing.</p>
<p>To this day, those were five of the most highlight minutes of my life. Thankfully, Willow Nielson caught my duet with Bob on his minidisc recorder. Despite the lo-fi nature of the sound, I thought I'd put it up here so you could hear the great man again and to hear what he could pull out of a 21-year-old kid drummer with his tenor.</p>
<p>Thanks Gordon, and thanks Bob - both of whom left this world too soon.</p>
<div class="iframe-container" style="text-align: center;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/TD0l1lkHQPM" title="YouTube video player" width="560"></iframe></div>
Dave Goodman
tag:davegoodman.com.au,2005:Post/6954330
2022-04-22T17:27:57+10:00
2022-04-23T05:36:56+10:00
On Elden C. "Buster" Bailey's 100th Birthday
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/c8145acff9d18ae5581ae0fadfbe40a6d6c5ce74/original/elden-c-buster-bailey.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.jpg" class="size_l justify_center border_none" alt="Elden C. " />It’s Friday April 22, 2022 here in Sydney, marking what would have been Elden C. "Buster" Bailey’s 100th birthday, and I wish a very Happy Birthday in drum heaven to the great man.</p>
<p>For reasons I’ll never understand, most people will not previously have heard of Buster Bailey before, and so, if this includes you, I’ll provide a very brief biographical background here in stating that he had two of the most distinguished careers in music. One was as primary snare drummer in the New York Philharmonic for 42 years from 1949 to 1992. The other was on the faculty at The Juilliard School for 24 years from 1969 to 1993. Sadly, Mr Bailey died shortly before what would have been his 82nd birthday on April 13, 2004. More detailed information can be found at his entry into the Percussive Arts Society’s Hall of Fame, which I believe to have occurred in 1997: <a contents="https://www.pas.org/about/hall-of-fame/buster-bailey&nbsp;" data-link-label="" data-link-type="url" href="https://www.pas.org/about/hall-of-fame/buster-bailey" target="_blank">https://www.pas.org/about/hall-of-fame/buster-bailey </a></p>
<p>I haven’t been the same since first hearing him, and I thought that - to honour his legacy on this important centenary - I’d take a little time to offer an account of how his music entered my life, and what it means to me. </p>
<p>In early 2017, I started looking for an alternative way to play traditional grip on the drumset as I had some issues with my thumb that needed to be addressed in order not to be painful. Pretty quickly I discovered Scott Wilkinson’s video - <a contents="https://youtu.be/NMKHcxXUHJE" data-link-label="" data-link-type="url" href="https://youtu.be/NMKHcxXUHJE" target="_blank">https://youtu.be/NMKHcxXUHJE</a> - demonstrating Buster Bailey’s <strong>drop</strong>, <strong>THROW</strong>, and <strong>follow</strong> technique. Whilst I view the video today as being excellent, being an ignorant jazz drummer in Sydney who hadn’t previously been exposed to Mr Bailey nor his music at the time, I disregarded it, and I kept looking. But the name stuck in my head. Scott also wrote a great article going into a bit more detail about the technique, and about his history with Mr Bailey: <a contents="https://medium.com/@Scott_Wilkinson/learning-to-drum-for-real-3bb9d36bc190" data-link-label="" data-link-type="url" href="https://medium.com/@Scott_Wilkinson/learning-to-drum-for-real-3bb9d36bc190" target="_blank">https://medium.com/@Scott_Wilkinson/learning-to-drum-for-real-3bb9d36bc190</a></p>
<p>Fast forward to October 11, 2019, and I was in Canberra to present a drum clinic for Innovative Percussion at Canberra Drummer’s Day the following day. I stayed the night of the 11th at event host Gary France’s house. Gary and his wife Sandy put a lovely dinner on for me, and then after dinner, Gary and I went and talked about many aspects of drumming in his basement where all his drum and percussion books were stored on many long shelves. As I flicked through the titles on the shelves, I saw a book with a white spine only, and no printing on the spine. I pulled it out to see what it was. It was <em>Wrist Twisters</em> by Elden C. “Buster” Bailey. I blurted out to Gary, “oh, so <em>this</em> is Buster Bailey!” Gary said, “yeah man, that’s one of the greatest snare drum books ever written. Your hands just feel great after you work out if it for a little while!” I vowed to order it after returning home - not really knowing what was in store following its arrival. </p>
<p>Finally the book arrived in November 2019, and, to my surprise, it included a CD, which I wasn’t aware of when I was at Gary’s. The next morning, I was up early with headphones on as I’d decided to listen to the CD, which was said in the book to contain an eight-and-a-half minute solo improvisation on two drums that was recorded by a student attending a talk on snare drumming that Buster Bailey gave at the Osaka College of Music whilst the New York Philharmonic toured Japan in 1989. </p>
<p>Passing through the threshold of those eight-and-a-half minutes of listening to Buster Bailey for the very first time was as life-changing an event for me as any you could imagine, and I’ll never forget it. Afterward, I was still and silent for a little while - in absolute awe. I even said to myself, “that’s the greatest snare drum playing I’ve ever heard!” I’d heard a <em>lot</em> of snare drumming previously, mostly by drumset players. No one else came even remotely close to what I’d just heard. It was a religious experience for me to say the least. </p>
<p>I’ve listened to it hundreds and hundreds of times since. I’ve learned to play about the first minute or so of it so far too (although, of course, it doesn’t sound anything like Buster Bailey when I play it!). It’s helped me take better control of my own ability on a number of levels. </p>
<p>Firstly, I had to confess that, up to that point, I didn’t really know <i>anything</i> about rolling properly. </p>
<p>Secondly, he educated me more on the quality and variety of <em>sound</em> achievable on a snare drum. I’m still intrigued that the drum he played most of that solo on is a beautiful, wide open, ringy, and yet very crisp, punctual, and precise drum - not at all like the very muffled drums I hear being played in most orchestral music. To my sensibility, the muffled sound completely lacks the tone and nuance of expression that Mr Bailey achieves on his drum here. I’d previously thought that all orchestral and concert snare drumming was supposed to be played using the very dry, muffled sound that’s usually heard with gut wires, etc. I’m sure Mr Bailey frequently muffled his drum in orchestral settings, too - in fact, it’s easily heard on a lot of recordings that he did in fact muffle it. But I still can’t get past the openness of the sound here. He didn’t choose to muffle it here, and it’s just gorgeous! It’s as though his movements with the sticks in hand - as well as the tuning, dimensions and overall setup of the snare drum - are carefully and yet spontaneously and intuitively calibrated in the moment of every note in such a way that he moves at one with the stick, the drum, and his musical mind just as much as each moves as one with the other. I perceive not one iota of friction, space nor distance between what I imagine to be the intention of his original musical conception and the execution of that idea on the instrument in the room for that audience at that time. The audience hears it realised in real time right before their very ears in an immediate and very powerful connection to the source of music that’s also extremely subtle. </p>
<p>Thirdly, and perhaps most importantly, being an improvisation, this recording showed an immense degree of creative prowess that was orders of magnitude beyond anything else I’d ever heard anyone play on just two drums. And it’s not at all that it’s merely a virtuosic display of “fast” technique nor and kind of flashy prowess on display for its own sake, which always seems “improper” whenever I hear anyone playing that way. It was elegantly, wonderfully, and abundantly MUSICAL with a very precise and immense degree of <em>intensity</em> that’s achieved and maintained with coherence through great contrast and variation in dynamics, syncopation, timbre, and density amongst other qualities. The metric modulation was also an exhilarating surprise! A display of effortless musical mastery at its very finest. </p>
<p>Since first hearing that piece, I started getting up at 4:00 AM every day to practice and catch up on everything it appears I’ve been missing out on in my own drumming, including starting to work through <em>Wrist Twisters</em>. You could say I’ve almost become obsessed with the man and his music. I’ve adopted and personalised his technical terminology completely in my own understanding and teaching, and doing so has been such a welcome and refreshing upgrade from what I was doing previously. </p>
<p>I am intrigued by the drum shown in the photo shown here also. I’ve asked just about everyone about it, and no one seems to know. It’s definitely not the Gladstone drum #00 that’s in the Percussive Arts Society museum - <a contents="https://youtu.be/JxII7kNWzeM" data-link-label="" data-link-type="url" href="https://youtu.be/JxII7kNWzeM" target="_blank">https://youtu.be/JxII7kNWzeM</a> - as that’s a deeper drum. This one looks like it’s only 5” deep. Also, this drum is missing the muffler / tone-control dial that Gladstone drums had. It’s shallower, and doesn’t appear to have the Gladstone two-way tuning mechanism either. </p>
<p>I asked Mr Bailey’s NYP colleague (and maestro in his own right) Morris “Arnie” Lang about it, and he said that a gentleman named Walt Goodman in LA may have made it for Mr Bailey as Goodman may apparently have made a “knock-off” of the Gladstone throw. The only person I could find who had anything to do with a Walt Goodman was Chad Wackerman whom Murray Spivack had to sent to Goodman for further study. As I already knew Chad, I wrote to ask him about it, but, whilst he confirmed that Goodman made drums with some students on occasion, he was unaware of any particular drum made for Buster Bailey. I’ve written to other key figures I imagine would know about the drum from whom, sadly, at the time of writing, I’ve not yet heard back. To me personally, it’s the most mysterious drum in existence and I’d love to know its properties, history and current location. It’s the drum featured in most footage and photos I’ve been able to find of Buster Bailey playing, and, even though he was probably just using a drum from the school in his Osaka solo recording, this is the drum I imagine him playing when I listen to it, as well as to every other recording I hear him on today.</p>
<p>One other thing that intrigues me is that the remainder of the talk must surely be preserved in recorded format somewhere - unless the student only caught the solo. I would give anything to hear what Buster Bailey had to say about snare drumming in Osaka that day - or on any other day for that matter! </p>
<p>Also, I've learned that Mr Bailey enjoyed an enduring friendship with "the father of modern pipe band drumming" Alex Duthart. Apparently, Mr Duthart wrote a piece for Mr Bailey that was all but impossible to perform. The great Jim Kilpatrick - Mr Duthart's protégé - is said to have seen the composition. I'd love to know more about this piece - even to see, hear, and perhaps try playing it, as well as about their relationship as I can't help but think that Mr Bailey's style is highly informed by pipe band snare drumming.</p>
<p>All of this caused me to start an appreciation group on Facebook as - aside from what I’ve mentioned here - there seemed to be a dearth of information out there on this great man. I thought that over time I could meet a number of his students, friends and family - each to learn something new from the other. This is how I met most people whom I invited to be the original members of the group. Now the Facebook rules have changed, and the group is open to everyone, which is great. You can find it here: <a contents="https://www.facebook.com/groups/eldencbusterbaileyappsoc/&nbsp;" data-link-label="" data-link-type="url" href="https://www.facebook.com/groups/eldencbusterbaileyappsoc/" target="_blank">https://www.facebook.com/groups/eldencbusterbaileyappsoc/ </a></p>
<p>It makes me really pleased that forming the group led to a beautiful friendship with fellow admin of the group in Toronto’s great Stewart Hoffman, who studied with Buster Bailey at Juilliard. I’m also very pleased that Scott Wilkinson - my first point of contact - and Mr Bailey’s wife Barbara are both now members as well as a great many other important figures in the drumming world such as Peter Erskine, David Garibaldi, Pete Magadini, et al. There are also a number of other great friendships that have sprung up along the way from everything this quest has led me toward, particularly and most notably for me with the great Don Hennig, Mark Reilly, Claus Hessler, Jim Clark, and Michael Askill. For this I’m especially grateful. Of course, everyone in the group is playing a very special role in celebrating the life, music, and work of a great man. </p>
<p>I don’t think anyone who was previously unaware of Buster Bailey should have to wait until their early 40’s to hear him play for the first time like I did, and so that’s why I’m sharing here Nielsen’s beautiful <em>Symphony No. 5</em> recorded by the New York Philharmonic under Bernstein in 1962 with Mr Bailey as featured soloist. His solo begins at 14:43, but I urge you to listen to the entire piece in order to hear it in context rather than skip straight to it: <a contents="https://youtu.be/NUf67ycFhsU" data-link-label="" data-link-type="url" href="https://youtu.be/NUf67ycFhsU" target="_blank">https://youtu.be/NUf67ycFhsU</a> </p>
<p>I’ve listened to many, many of his other recordings, which are all outstanding. I try to post links to many of these here from time to time without spamming. I’ve also created playlists on Spotify and YouTube that I invite you to explore. </p>
<ul> <li>Spotify: <a contents="https://open.spotify.com/playlist/6kaFAyCRoOIxIW5j56QyuR?si=QFZeb8riSASljhVC-Jj53A" data-link-label="" data-link-type="url" href="https://open.spotify.com/playlist/6kaFAyCRoOIxIW5j56QyuR?si=QFZeb8riSASljhVC-Jj53A" target="_blank">https://open.spotify.com/playlist/6kaFAyCRoOIxIW5j56QyuR?si=QFZeb8riSASljhVC-Jj53A</a> </li> <li>YouTube: <a contents="https://youtube.com/playlist?list=PLhTVsDPOH5EFf3n9KLXjUOHNRb5jKXmdA&nbsp;" data-link-label="" data-link-type="url" href="https://youtube.com/playlist?list=PLhTVsDPOH5EFf3n9KLXjUOHNRb5jKXmdA" target="_blank">https://youtube.com/playlist?list=PLhTVsDPOH5EFf3n9KLXjUOHNRb5jKXmdA </a>
</li>
</ul>
<p>I’d love to hear the details of your own experiences with Buster Bailey in celebration of his 100th birthday - whether through your personal interactions with him, or through your experience with his recorded material. What does he mean to you? What have you learned from him? Feel free to leave a comment below. </p>
<p>Let’s proclaim today as Buster Bailey Day, and to share together in the joy with which he infused his life and music for all of us who remain to benefit from!</p>
Dave Goodman
tag:davegoodman.com.au,2005:Post/6511975
2021-01-02T14:55:51+11:00
2021-01-02T14:55:51+11:00
The Washington Tattoo 2021
<p><a contents="" data-link-label="" data-link-type="url" href="https://www.thewashingtontattoo.com/online-show" target="_blank"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/8037088a4b81eb938a16a75c33e2a72f13feec5b/original/grooves-of-service.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></a></p>
<p>Happy New Year!</p>
<p>I hope you can join in to see and hear yours truly playing amongst the world-class talents of some new friends as seen here for "A Call To Arms & Arts" by <em>The Washington Tattoo</em>, which will stream from Washington DC, USA on:</p>
<ul> <li>Sun 3 Jan 2021 @ 4:00 PM (American Eastern Time)</li> <li>Mon 4 Jan 2021 @ 8:00 AM (Australian Eastern Daylight Savings Time)</li>
</ul>
<p>This will be the world’s first “virtual tattoo”, and I’m honoured and humbled to play some music on the drums in such illustrious company as this. The invitation came toward the end of 2020 from <em>TWT</em> president Mark Reilly. Mark is the lead snare drummer, and Sergeant Major of the <em>US Army Old Guard Fife & Drum Corps</em>, a group with the title of "official ceremonial unit and escort to the President of the United States". All of the marching snare and bass drummers on static display here are either current or former members of the Old Guard. On drumset, I trade solos with the amazing Bill Bachman (USA), and Claus Hessler (Germany) over a great percussion ensemble piece written by <em>Cirque du Soleil</em>'s Kit Chatham who solos on percussion with us also. We're called <em>Grooves of Service</em> and it's been a great deal of fun - as well as a great deal of work - collaborating with everyone over three continents to get this thing together!</p>
<p><em>Grooves of Service </em>are shown in the photo here (clockwise in the photo from top left): Josh Salazar (USA), Mark Reilly (USA), Kit Chatham (USA), Matthew Bell (USA), Brendan Mason (USA), Claus Hessler (Germany), Bill Bachman (USA), Dave Loyal (centre, USA), and me (Australia).</p>
<p>Also featured in the show will be the amazing talents of Seán Heely, Kevin Elam & guests; OzScot Highland Dancers (World-renowned dance team from Australia); The Steel Band of the Royal Dutch Marines; and SFC(R) KC Armstrong (US Army Band) and King’s Cadence.</p>
<p><em>The Washington Tattoo </em>is a not-for-profit charitable organisation, and, as such, everyone here has donated their time, talent, and energy for the cause, which supports military veterans and first responders.</p>
<p>Tickets are available for purchase for only $10 USD by following the links at:</p>
<p><a contents="https://www.thewashingtontattoo.com/online-show" data-link-label="" data-link-type="url" href="https://www.thewashingtontattoo.com/online-show" target="_blank">https://www.thewashingtontattoo.com/online-show</a></p>
<p>I really do hope you're able to see our show, and I wish all the very best to you and yours for a great 2021!</p>
<p>Sincerely,</p>
<p>DG</p>
<p style="font-family: Helvetica, Arial, sans-serif; color: rgb(78, 78, 78); font-size: 9px; line-height: 12px;"> </p>
Dave Goodman
tag:davegoodman.com.au,2005:Post/5786623
2019-06-11T05:38:10+10:00
2022-10-24T20:55:34+11:00
Inspiration
<p><a contents="" data-link-label="" data-link-type="url" href="https://www.youtube.com/c/DaveGoodman/playlists" target="_blank"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/9a63116bdd18a3f28205b1cd6abc789e20342bea/original/tdh-playlists-thumbnail.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></a><br>By Dave Goodman | <em>Read time: approx. 4 mins</em><br><br><strong><em>"Who are your favourite drummers?"</em></strong></p>
<p>That's what I ask new students fairly early on in the piece. I find that it's rare, however, to receive an answer that demonstrates an awareness that it's even possible to have some favourite players. I believe strongly that when someone asks any young musician who their favourite players are on their instrument, they should be able to come up with a quick and coherent answer. This little article is an attempt to help you get in touch with the great drumming that has gone before you in an effort to steer you toward being inspired by the music. I want to help you learn to get into the habit of consulting the literature, as it were. Let me start with a brief story about how inspiration became a staple part of my own development.</p>
<p>For many years, as a teenager growing up in the regional Australian city of Tamworth, I depended on my monthly purchase of <em>Modern Drummer</em> magazine to find out all I could about drums, drummers and drumming. The first edition I bought was June 1989 with Michael Shrieve on the cover. I soon went back to the store and bought the May edition with Dennis Chambers on the cover, and so it began. It was great to read new interviews each month, and to find out how some of the world's greatest players thought about music, and about drumming. I've since spent a small fortune buying second-hand back-issues, including right back to when Steve Gadd was on the cover of the second edition, which was published in the late 1970s.<br><br>One of the best things about reading <em>Modern Drummer</em> in my youth was that each major interview featured a sidebar that listed recordings the featured drummer found most inspirational during their development. There was also a sidebar listing the albums that they felt best represented their own playing. With money saved from the paper run I used to do each day after school, I would go to the local record / tape / CD store and order as many of these as I could afford when not saving for some new piece of drum equipment. In those days, most of the albums listed were imports, and so they were expensive, and I had to wait for anywhere from six weeks to six months for them to arrive in the hope that I would love the way they sounded when they arrived. It was difficult, if not impossible, to preview anything before buying - I had to commit "blind". Whilst I did in fact love many of the albums when they arrived, I didn't necessarily love <em>all</em> of them, but this was also important for my development as it helped me to really distill my own tastes into what they are today.<br><br>Something that's difficult to convey to anyone who grew up already immersed in today's world with its instant, and mostly free accessibility to music recordings is just how difficult it was to acquire high quality recordings in regional Australia in the late 1980s and early 1990s. I had to really search and enquire to finally find something good. I felt as though I was searching for a flower in the desert, whereas today it's as easy as searching for a flower in the flower garden.<br><br>YouTube and Spotify today represent two of the greatest tools a student could ever wish for, and a reality that I only ever have dreamed of when I was growing up. I would read reviews and updates of tours that took place between what I thought to be obscure combinations of musicians, and I would try to dream up the way they might've sounded together. When people of my generation and older discovered YouTube in early 2006, our lives changed because it turns out that many of these tours were recorded and broadcast or telecast in America, Europe and / or Japan whilst not having been officially released. Many avid fans recorded these broadcasts, and YouTube provided the perfect platform for these to be published to the world for free! So, now, not only could I hear the truth of the sound, but I could also see it with professionally shot footage as though I were actually there - my dreams came true in vivid sound and in rich colour!<br><br>In talking about this, I don't condone infringements of intellectual property rights that occur when people illegally upload copies of officially released recordings, nor when they make and distribute recordings of artist performances without express permission from the artist. The nature of this is changing every day anyway, and, although I feel it is a long way off, hopefully, it will steer in a direction that will benefit the original content creators appropriately - perhaps even more appropriately than previously. But I digress...I excitedly started keeping playlists of my favourite clips categorised by drummers' names for myself on my own YouTube channel since I signed up in around 2008, and on Spotify since early 2019.<br><br>I've found that, despite the immediate and free access we're all able to enjoy by using today's incredibly advanced technology, many students are simply overwhelmed and overstimulated with information that may or may not be coming from a credible source as it seems that internet search engine optimisation trumps real world experience and credibility. In an effort to put impressionable young minds more directly in touch with the names and recordings of some of the truly great drummers of the present and the past, I've made these playlists on my YouTube and Spotify channels available to you here.<br><br>The playlists, therefore, are categorised by drummer names, and some by style too, in the hope that you might be able to one day name your favourite drummers if you can't already, and to be inspired by those great human beings who came before us and gave us so much. The playlists are always being updated, and what's there already is by no means exhaustive, but it's a start.</p>
<p>Before going on, however, let me give you a sidebar of my own that includes a list of recordings I've found to be most inspirational over the years so that you might search for them and find some inspiration in them yourself. Here they are in no particular order:</p>
<ul> <li>
<em>Modern Jazz Classics </em>by Art Pepper + Eleven (Mel Lewis on drums) | <a contents="YouTube" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=77vm5ZIRc1o&list=PLhTVsDPOH5EF8WwCgnJOSgSMhj2DcqUHq" target="_blank">YouTube</a> | <a contents="Spotify" data-link-label="" data-link-type="url" href="https://open.spotify.com/album/3eFjOkJT3CopSAGmfFIqaJ?si=sEFcRwWUTXy5Bf-lbQzRmg" target="_blank">Spotify</a> | <a contents="Apple Music" data-link-label="" data-link-type="url" href="https://apple.co/3gDLWxn" target="_blank">Apple Music</a>
</li> <li>
<em>Juju</em> by Wayne Shorter (Elvin Jones on drums) | <a contents="YouTube" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=-l8pkVPYykE&list=PLhTVsDPOH5EHBKC6u_jAZ_bdKH4yCEk-P" target="_blank">YouTube</a> | <a contents="Spotify" data-link-label="" data-link-type="url" href="https://open.spotify.com/album/46VoobaZCtFPReElOHFEqq?si=Z76QKFsKTX2844-VzBVglQ" target="_blank">Spotify</a> | <a contents="Apple Music" data-link-label="" data-link-type="url" href="https://apple.co/3FaEkwy" target="_blank">Apple Music</a>
</li> <li>
<i>Dear Old Stockholm </i>by John Coltrane (Roy Haynes on drums) | <a contents="YouTube" data-link-label="" data-link-type="url" href="https://youtu.be/bNwgEwZDSZo" target="_blank">YouTube</a> | <a contents="Spotify" data-link-label="" data-link-type="url" href="https://open.spotify.com/album/6P6XOKteZFhhaCs1duL40k?si=5vtLlGvIRlWBcS6jPCyyNQ" target="_blank">Spotify</a> | <a contents="Apple Music" data-link-label="" data-link-type="url" href="https://apple.co/3VUSmYZ" target="_blank">Apple Music</a>
</li> <li>
<em>Four & More</em> by Miles Davis (Tony Williams on drums) | <a contents="YouTube" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=mwHwlgBFVmM&list=PLhTVsDPOH5EHRTo4EHVdAW-ZUeF_F-bhJ" target="_blank">YouTube</a> | <a contents="Spotify" data-link-label="" data-link-type="url" href="https://open.spotify.com/album/1oIZBAdJ2QojYwnNCzGDNW?si=k73RJpozSK61QJIRuJLaMA" target="_blank">Spotify</a> | <a contents="Apple Music" data-link-label="" data-link-type="url" href="https://apple.co/3CVGBc2" target="_blank">Apple Music</a>
</li> <li>
<em>Question and Answer</em> by Pat Metheny (Roy Haynes on drums) | <a contents="YouTube" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=ooVwME18vMM&list=PLhTVsDPOH5EGJm35MN0n8O9W07xBqGbcf" target="_blank">YouTube</a> | <a contents="Spotify" data-link-label="" data-link-type="url" href="https://open.spotify.com/album/1kM7n3aiIKwS4FZqWLLdLv?si=9LrsL1AsQQSH7UXK-lfreg" target="_blank">Spotify</a> | <a contents="Apple Music" data-link-label="" data-link-type="url" href="https://apple.co/3Tyyp8I" target="_blank">Apple Music</a>
</li> <li>
<em>Kind of Blue</em> by Miles Davis (Jimmy Cobb on drums) | <a contents="YouTube" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=ylXk1LBvIqU&list=PLhTVsDPOH5EHYKDsgoqqZbRgJh2wdtGSh" target="_blank">YouTube</a> | <a contents="Spotify" data-link-label="" data-link-type="url" href="https://open.spotify.com/album/1weenld61qoidwYuZ1GESA?si=c0dXchm4Ty-7FGrSSbhgJg" target="_blank">Spotify</a> | <a contents="Apple Music" data-link-label="" data-link-type="url" href="https://apple.co/3D4thC2" target="_blank">Apple Music</a>
</li> <li>
<em>Bye Bye Blackbird</em> by Keith Jarrett (Jack DeJohnette on drums) | <a contents="YouTube" data-link-label="" data-link-type="url" href="https://youtu.be/3-JwTrY1QPg" target="_blank">YouTube</a> | <a contents="Spotify" data-link-label="" data-link-type="url" href="https://open.spotify.com/album/16djDDgFboJJaZqw59XTcI?si=qMg3r855SByRsywJAADAIg" target="_blank">Spotify</a> | <a contents="Apple Music" data-link-label="" data-link-type="url" href="https://apple.co/3z9uU0b" target="_blank">Apple Music</a>
</li> <li>
<em>Herbie Hancock Trio (with Ron Carter & Tony Williams) </em>(Tony Williams on drums) | <a contents="YouTube" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=uqMFMWq_9Cc&list=PLhTVsDPOH5EG-QEf3cCU8FmrtroVlOedb" target="_blank">YouTube</a> | <a contents="Spotify" data-link-label="" data-link-type="url" href="https://open.spotify.com/album/4UGdOcZQ5DhufH5czdFcfn?si=K_E9z82mRkSKhpImnihhtg" target="_blank">Spotify</a> | <a contents="Apple Music" data-link-label="" data-link-type="url" href="https://apple.co/3VWj6In" target="_blank">Apple Music</a>
</li> <li>
<em>Steps Ahead</em> by Steps Ahead (Peter Erskine on drums) | <a contents="YouTube" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=EV9ETmLzQus&list=PLhTVsDPOH5EHF6bEDjntTHUwL-K_2Y_4E" target="_blank">YouTube</a> | <a contents="Spotify" data-link-label="" data-link-type="url" href="https://open.spotify.com/album/2sXF6LPALMxqCjvcJOzJay?si=isLNVUxYTo6kLJotQYthpQ" target="_blank">Spotify</a> | <a contents="Apple Music" data-link-label="" data-link-type="url" href="https://apple.co/3D4X8KZ" target="_blank">Apple Music</a>
</li> <li>
<em>While We're Young</em> by John Abercrombie (Adam Nussbaum on drums) | <a contents="YouTube" data-link-label="" data-link-type="url" href="https://youtu.be/6kDt-_-nT-w" target="_blank">YouTube</a> | <a contents="Spotify" data-link-label="" data-link-type="url" href="https://open.spotify.com/album/0vnkfJC1VX4QekUDx0WntQ?si=LbSiHMa1QtGMSPxT9nM98A" target="_blank">Spotify</a> | <a contents="Apple Music" data-link-label="" data-link-type="url" href="https://apple.co/3z8vb3A" target="_blank">Apple Music</a>
</li> <li>
<em>On The Mountain</em> by Elvin Jones (Elvin Jones on drums) | <a contents="YouTube" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=q65xaJ1uo4E&list=PLhTVsDPOH5EFJxKSQXxDaH8vAy7UaPD1U" target="_blank">YouTube</a> | <a contents="Spotify" data-link-label="" data-link-type="url" href="https://open.spotify.com/album/7DwNg5AkuHEk4Of10oxrkZ?si=NY9QvjB0RAyulnQtn681YA" target="_blank">Spotify</a> | <a contents="Apple Music" data-link-label="" data-link-type="url" href="https://apple.co/3z8tO4Q" target="_blank">Apple Music</a>
</li> <li>
<em>Homecoming</em> by Roy Haynes (Roy Haynes on drums) - unavailable on streaming services, but the CD is worth searching for!</li> <li>
<em>John Abercrombie, Marc Johnson & Peter Erskine</em> by John Abercrombie, Marc Johnson & Peter Erskine (Peter Erskine on drums) | <a contents="YouTube" data-link-label="" data-link-type="url" href="https://youtu.be/QDPG6vItcmo" target="_blank">YouTube</a> | <a contents="Spotify" data-link-label="" data-link-type="url" href="https://open.spotify.com/album/50VzcP2SrIpSeNK1B3QwUA?si=kkXXFepDS8GY23VJATVsuw" target="_blank">Spotify</a> | <a contents="Apple Music" data-link-label="" data-link-type="url" href="https://apple.co/3TyU9S2" target="_blank">Apple Music</a>
</li> <li>
<em>In Person Friday and Saturday Nights at the Blackhawk, Complete </em>by Miles Davis (Jimmy Cobb on drums) | <a contents="YouTube" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=rezDozYlYJc&list=PLhTVsDPOH5EFn38CzR5u_FLHOh1SCzoL4" target="_blank">YouTube</a> | <a contents="Spotify" data-link-label="" data-link-type="url" href="https://open.spotify.com/album/1i44MGfNw8MEOQr7uQphAj?si=TV3hInEHSce70YciuvryiQ" target="_blank">Spotify</a> | <a contents="Apple Music" data-link-label="" data-link-type="url" href="https://apple.co/3N0Xg2z" target="_blank">Apple Music</a>
</li> <li>
<em>The Leprechaun</em> by Chick Corea (Steve Gadd on drums) | <a contents="YouTube" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=EB06AkhK2gE&list=PLhTVsDPOH5EEf7TDbU5QzxVkNmmSTSgqu" target="_blank">YouTube</a> | <a contents="Spotify" data-link-label="" data-link-type="url" href="https://open.spotify.com/album/6lXaMkJJ8pFwfcJA7r8fmW?si=9KyjMKq5RB2j6Dd6bnI9rQ" target="_blank">Spotify</a> | <a contents="Apple Music" data-link-label="" data-link-type="url" href="https://apple.co/3DnkyfR" target="_blank">Apple Music</a>
</li>
</ul>
<p><br>Subscribe to my YouTube channel here:</p>
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<p>Or visit the YouTube playlists directly here: <a contents="https://www.youtube.com/c/DaveGoodman/playlists" data-link-label="" data-link-type="url" href="https://www.youtube.com/c/DaveGoodman/playlists" target="_blank">https://www.youtube.com/c/DaveGoodman/playlists</a></p>
<p>Visit the Spotify playlists here: <a data-link-label="" data-link-type="url" href="https://open.spotify.com/user/qxe7bmlhmbebze6swnuxkjd2m?si=7EspxGRwSMGIXw7ardVW3Q" target="_blank">https://open.spotify.com/user/qxe7bmlhmbebze6swnuxkjd2m?si=7EspxGRwSMGIXw7ardVW3Q</a></p>
<p>Got any suggestions? Want to talk about the playlists? I'd love to hear your thoughts! Please leave a comment below, or <a contents="Please send me an email." data-link-label="" data-link-type="email" href="mailto:dave@mydrumpractice.com?subject=Inspiration" target="_blank">send me an email.</a></p>
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Dave Goodman
tag:davegoodman.com.au,2005:Post/5192017
2018-04-20T18:21:26+10:00
2018-04-28T00:12:47+10:00
Developing Creative Originality As A Drumset Soloist, Pts 1 & 2, DrumScene Education Feature
<p>Mid-2017, Frank Corniola, editor of <em>DrumScene</em> magazine came to my Bosphorus Cymbals clinic sponsored by Pro Music Australia at the inaugural Sydney Drum & Percussion Show. A few weeks later, Frank called and asked if I'd put some of what I covered in the clinic in the format of a two-part article for <em>DrumScene</em>, to which of course I said 'yes'.</p>
<p>Whilst it looks nice on the screen, the print quality in the magazine is so good that it'd be worth ordering some back issues.</p>
<p>Part One is in Issue 90 here (click on the thumbnail or <a contents="here" data-link-label="" data-link-type="url" href="http://drumscene.com.au/back-issues/item/688-drumscene-issue-90" target="_blank">here</a> to be taken to <em>DrumScene 90</em>):</p>
<p><a contents="" data-link-label="" data-link-type="url" href="http://drumscene.com.au/back-issues/item/688-drumscene-issue-90" target="_blank"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/4ca54c7ab1a432ab7dc08fa08c29dbe2a5f704ff/small/ds90-thumbnail.jpg" class="size_s justify_none border_" /></a></p>
<p>Part Two is in Issue 91 (click on the thumbnail below or <a contents="here" data-link-label="" data-link-type="url" href="http://drumscene.com.au/back-issues/item/714-drumscene-issue-91" target="_blank">here</a> to be taken to <em>DrumScene 91</em>):</p>
<p><a contents="" data-link-label="" data-link-type="url" href="http://drumscene.com.au/back-issues/item/714-drumscene-issue-91" target="_blank"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/1a03820aedf0a653f30113a017cae4c6b7a45e69/small/ds91-thumbnail.jpg" class="size_s justify_none border_" /></a></p>
<p>As explained in the article, the goal is to help you achieve greater skill and confidence in being more uniquely original as a drumset soloist. I present a system for developing simple, syncopated rhythms through nine steps of interpretation that go all around the drumset, including the bass drum, hi-hat, and toms, as well as addressing various dynamic and coordination concerns.</p>
<p>Below, you'll find some jpeg thumbnail images of the article I submitted in two parts. Click on the images to download a full-resolution PDF of each part of the article. I'm indebted to Uwe Ruppel at Sonor Drums in Germany for providing these gorgeous high-res images made with the new <a contents="3D SQ2&nbsp;Drum Configurator" data-link-label="" data-link-type="url" href="http://www.sq2-drumsystem.com/" target="_blank">3D SQ2 Drum Configurator</a>, as well as to Frank for the opportunity, and to Victor De Propertis for the formatting.</p>
<p><span class="font_large"><strong>PART 1</strong></span></p>
<p><a contents="" data-link-label="" data-link-type="url" href="https://davegoodman.com.au/files/332518/davegoodman-part1-page-1.pdf" target="_blank"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/3e6870014bc21b05b2d3735c487925b97f1005e9/original/davegoodman-part1-page-1-lr.jpg" class="size_orig justify_center border_" /></a>Part One, Page One (click on the image to download a full-resolution PDF of this page)</p>
<p><a contents="" data-link-label="" data-link-type="url" href="https://davegoodman.com.au/files/332519/davegoodman-part1-page-2.pdf" target="_blank"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/61107f3d237613696aa45abcf6abd585de56908c/original/davegoodman-part1-page-2-lr.jpg" class="size_orig justify_center border_" /></a>Part One, Page 2 (click on the image to download a full-resolution PDF of this page)</p>
<p>As mentioned in the article, to download a free video lesson on The Notes of the Drums as a reader of the article, please visit: <a contents="https://davegoodman.com.au/DS90" data-link-label="DS90" data-link-type="page" href="/ds90" target="_blank">https://davegoodman.com.au/DS90</a></p>
<p> </p>
<p><span class="font_large"><strong>PART 2</strong></span></p>
<p><a contents="" data-link-label="" data-link-type="url" href="https://davegoodman.com.au/files/332517/davegoodman-part2-page-1.pdf" target="_blank"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/938f5efcc2abdc256adc1967808daf92e3ebac2e/original/davegoodman-part2-page-1-lr.jpg" class="size_orig justify_center border_" /></a>Part Two, Page One (click on the image to download a full-resolution PDF of this page)</p>
<p><a contents="" data-link-label="" data-link-type="url" href="https://davegoodman.com.au/files/332516/davegoodman-part2-page2.pdf" target="_blank"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/77fb741c3fd99c4f625b571001d883d80140b7cb/original/davegoodman-part2-page-2-lr.jpg" class="size_orig justify_center border_" /></a>Part Two, Page Two (click on the image to download a full-resolution PDF of this page)</p>
<p>As mentioned in the article, to download a free video lesson on designing your own figures such as the one described here, as a reader of the article, please visit: <a contents="https://davegoodman.com.au/DS91" data-link-label="DS91" data-link-type="page" href="/ds91" target="_blank">https://davegoodman.com.au/DS91</a></p>
Dave Goodman
tag:davegoodman.com.au,2005:Post/5177523
2018-04-12T20:58:03+10:00
2018-04-12T20:58:03+10:00
The Deconstructed Drummer - Episode 13 Preview
<p><a contents="" data-link-label="" data-link-type="url" href="https://soundcloud.com/thedeconstructeddrummer/episode13preview" target="_blank"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/0f1cde2c0b1a8b520581363b65df4bc662aa7abc/original/deconstructed-drummer-episode-12-preview-dave-goodman.jpg" class="size_l justify_center border_" /></a>I had a very enjoyable chat with Jeff Doukakis a few weeks back - Jeff's a great conversationalist - and here's a preview of what's going to be released on his great podcast series The Deconstructed Drummer next week. It's the bit about the amazing time I spent with Jim Chapin and Joe Morello in New York in 2002. It's a fun story to tell, and I hope you get something out of it!</p>
<p><iframe allow="autoplay" frameborder="no" height="300" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/428529939&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true" width="100%"></iframe></p>
Dave Goodman
tag:davegoodman.com.au,2005:Post/5010009
2018-01-06T16:47:23+11:00
2020-09-22T04:56:49+10:00
DW Hardware and Pedals
<p><a contents="" data-link-label="DW Hardware and Pedals" data-link-type="page" href="/dw-hardware-and-pedals"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/fab00790fece96d193d024eee03cd76fd65275dc/original/dw-pedals-and-hardware.jpg" class="size_l justify_center border_" /></a>It pleased me greatly to start the New Year by announcing my new endorsement of DW Hardware and Pedals with thanks to Danny Boldiston from Australia's DW distributors D'Addario Australia. Visit <a contents="https://davegoodman.com.au/dw-hardware-and-pedals" data-link-label="" data-link-type="url" href="https://davegoodman.com.au/dw-hardware-and-pedals" target="_blank">https://davegoodman.com.au/dw-hardware-and-pedals</a> to read about why I love these amazing products.</p>
Dave Goodman
tag:davegoodman.com.au,2005:Post/4880074
2017-10-06T23:11:26+11:00
2017-10-06T23:11:26+11:00
Spring 2017 News
<p>Dear friends,</p>
<p>It's been many months since I've written to you, and I hope you've been well. There's been a lot going on, and so I thought I'd write to fill you in.</p>
<p> </p>
<p><span class="font_large"><strong>2017 Vintage & Custom Drum Expo</strong></span><br>I'll be playing with Steve Barry and Max Alduca for my Sonor clinic at the 2017 Vintage & Custom Drum Expo this Sunday 8th October at 1:15 PM. We'll be playing some of Steve's music, and some of my music as well as demonstrating some creativity exercises in the middle of the set. Jackie Barnes will be playing before us with Lachy Doley, and then master drummer David Jones will take the stage for a one-hour set of solo drumming once we're done. There will, of course, be many great exhibitors showing off their beautiful vintage and custom products. The expo keeps us up-to-date mostly via their Facebook page, so head on over there and give it a 'like' if you want to know more:</p>
<p><a contents="" data-link-label="" data-link-type="url" href="https://www.facebook.com/vintagecustomexpo/" target="_blank"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/11919894171e5bdfaef0b6d93606d95a0eecb1bf/medium/2017-vintage-custom-drum-expo-flier.jpg?1507210870" class="size_m justify_center border_" /></a></p>
<p style="text-align: center;"><a contents="https://www.facebook.com/vintagecustomexpo/" data-link-label="" data-link-type="url" href="https://www.facebook.com/vintagecustomexpo/" target="_blank">https://www.facebook.com/vintagecustomexpo/</a></p>
<p style="text-align: center;">This newly uploaded video shows the kinds of things I'll be talking about on the day: <a href="https://youtu.be/1ks7QPeJuy4" target="_blank">https://youtu.be/1ks7QPeJuy4</a></p>
<p> </p>
<p><span class="font_large"><b>Remo Drumheads</b></span><br>I'm pleased to announce here that I am now endorsing Remo Drumheads! If you'd like to know more, I've written a little blog article about my history with Remo products here:</p>
<p><a contents="" data-link-label="Remo Drumheads" data-link-type="page" href="/remo-drumheads" target="_blank"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/97cc49443aaba590b9da6d608bd19b6708a66f35/medium/remo-within-crown.jpg?1503102895" class="size_m justify_center border_" /></a></p>
<p style="text-align: center;"><a href="https://davegoodman.com.au/remo-drumheads" rel="nofollow" sl-processed="1">https://davegoodman.com.au/remo-drumheads</a></p>
<p> </p>
<p><span class="font_large"><strong>Vater Drumsticks</strong></span><br>I'm also pleased to announce here that I am now endorsing Vater Drumsticks! If you'd like to know more, I've written a little blog article about my history with Vater products here:</p>
<p><a contents="" data-link-label="Vater Drumsticks" data-link-type="page" href="/vater-drumsticks" target="_blank"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/cb3521323ca44741b27e8814a14dc8d3e4876d4d/medium/vater-logo.jpg?1502865381" class="size_m justify_center border_" /></a></p>
<p style="text-align: center;"><a contents="https://davegoodman.com.au/vater-drumsticks" data-link-label="Vater Drumsticks" data-link-type="page" href="/vater-drumsticks" target="_blank">https://davegoodman.com.au/vater-drumsticks</a></p>
<p> </p>
<p><span class="font_large"><strong>Bosphorus Cymbals</strong></span><br>I recently received a custom order from Bosphorus - the gorgeous 20" Master Vintage China cymbal. This piece sounds <em>great!</em></p>
<p><a contents="" data-link-label="Bosphorus Cymbals" data-link-type="page" href="/bosphorus-cymbals" target="_blank"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/34bec0cecc5294d1a48a3c5411678ae2789d3d17/medium/171006-dg-bosphorus-china-lr.jpg?1507239584" class="size_m justify_center border_" /></a></p>
<p style="text-align: center;"><a contents="https://davegoodman.com.au/bosphorus-cymbals" data-link-label="Bosphorus Cymbals" data-link-type="page" href="/bosphorus-cymbals" target="_blank">https://davegoodman.com.au/bosphorus-cymbals</a></p>
<p> </p>
<p><span class="font_large"><strong>2017 Sydney Drum & Percussion Show</strong></span><br>I enjoyed presenting a clinic for Bosphorus Cymbals Australia in May at the inaugural Sydney Drum & Percussion Show. I'll soon be publishing a video of my clinic on my <a contents="YouTube Channel" data-link-label="" data-link-type="url" href="https://www.youtube.com/user/davegoodmandrums" target="_blank">YouTube Channel</a>, but for now, here's a little showreel of highlights the organisers made after the event:</p>
<p><a contents="" data-link-label="" data-link-type="url" href="https://www.facebook.com/australianmusician/videos/vb.115351925192906/1458561904205228/?type=2&theater" target="_blank"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/cd50086cd8983f69458353e283a35b9024e18641/medium/dave-goodman-28-may-2017-2-by-aaron-blakey.jpg?1507124909" class="size_m justify_center border_" /></a></p>
<p style="text-align: center;"><a contents="https://www.facebook.com/australianmusician/videos/vb.115351925192906/1458561904205228/?type=2&amp;theater" data-link-label="" data-link-type="url" href="https://www.facebook.com/australianmusician/videos/vb.115351925192906/1458561904205228/?type=2&theater" target="_blank">https://www.facebook.com/australianmusician/videos/vb.115351925192906/1458561904205228/?type=2&theater</a></p>
<p> </p>
<p><span class="font_large"><strong>Steve Barry Quartet Recording & Touring</strong></span><br>I had the pleasure of recording new tunes for Steve's upcoming album, which looks like being launched in February 2018. It was one of the highlights of my life to learn and play this music in the fine company of Steve at the piano, Jeremy Rose on alto sax and bass clarinet, and Max Alduca on double bass. Steve's really onto something new with this compositional style that he developed during his doctoral candidacy at Sydney Con over the past few years.</p>
<p>We also went to Bali in August to play at the Ubud Village Jazz Festival with Nish Manjunath doing a wonderful job filling in for Jeremy. It was my first time in Indonesia, and I hope it's not the last. What a beautiful island! The festival organisers were very well-coordinated, and it was great to play there. I was lucky enough to chat with Gerald Clayton, Joe Sanders and Gregory Hutchinson from America for a little while in between sets. Check out Steve's site for more info.</p>
<p><a contents="" data-link-label="" data-link-type="url" href="http://www.stevebarrymusic.com/" target="_blank"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/8a66a062bd5b648b0eca1345c4ad921e9035649c/medium/171006-steve-barry-quartet-ubud-jazz-festival.jpg?1507239372" class="size_m justify_center border_" /></a></p>
<p style="text-align: center;"><a contents="http://www.stevebarrymusic.com/" data-link-label="" data-link-type="url" href="http://www.stevebarrymusic.com/" target="_blank">http://www.stevebarrymusic.com/</a></p>
<p> </p>
<p><strong><span class="font_large">Ten Part Invention</span></strong><br>Ten Part Invention played at City Recital Hall for the 2017 APRA-AMCOS Art Music Awards at which the band's founder, and original drummer John Pochée was awarded the 2017 APRA-AMCOS Lifetime Achievement Award for Distinguished Services to Music. John gave an hilarious acceptance speech, and the band keeps getting better and better with new music being consistently added to the book. Here's a photo of us at the awards, and a link to an article on John's award:</p>
<p><a contents="" data-link-label="" data-link-type="url" href="http://apraamcos.com.au/news/2017/august/art-music-awards-2017-distinguished-services-to-australian-music/" target="_blank"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/2fa3b46ef20ad4663c8bae0496a1f12bacbe2225/medium/171006-tpi-angel-pl.jpg?1507239949" class="size_m justify_center border_" /></a></p>
<p style="text-align: center;"><a contents="http://apraamcos.com.au/news/2017/august/art-music-awards-2017-distinguished-services-to-australian-music/" data-link-label="" data-link-type="url" href="http://apraamcos.com.au/news/2017/august/art-music-awards-2017-distinguished-services-to-australian-music/" target="_blank">http://apraamcos.com.au/news/2017/august/art-music-awards-2017-distinguished-services-to-australian-music/</a></p>
<p> </p>
<p><span class="font_large"><strong>Workshop at University of New South Wales</strong></span><br>I got an email from guitarist Eitan Moir earlier in the year - Eitan is pictured to my right in the photo below (I'm the old guy with grey hair!) - as he was interested in seeing some charts for my piece <em>Dark Sun</em>, and so I sent him some. Later on, I got a call from Sandy Evans who told me that a class of her students there were playing one of my tunes, and asked if I could go there to do a workshop with them on the tune. And so, in between soundchecking with Ten Part Invention doing the gig at City Recital Hall, I went over to UNSW with Sandy and chatted with these guys about music for two hours. They were an inspiring group to listen to, and they were playing <em>Dark Sun</em> as I arrived. Sandy and I stood outside in the hallway to listen until they finished, and I nearly fell over at how great the arrangement they'd come up with was - I would never have thought of those things! Thanks very much to Eitan and the guys for the inspiration!</p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/0ec73dd2af0fff5b48c56cf0acb4134b91cc9443/medium/171006-unsw-workshop-lr.jpg?1507290523" class="size_m justify_center border_" /></p>
<p>There are some nice gigs coming up with Sarah Sprowell, and with Cam McAllister's big band later in the year amongst other things, which I usually keep up-to-date at <a contents="https://davegoodman.com.au/gigs" data-link-label="Gigs" data-link-type="page" href="/gigs" target="_blank">https://davegoodman.com.au/gigs</a>.</p>
<p>That's about all for now. Thanks for reading! Until next time, stay well, and I hope music continues to inspire your life.</p>
<p>Bests,</p>
<p>DG</p>
<p>If you'd like this news delivered to your email inbox, please join my mailing list at <a contents="https://davegoodman.com.au/signup" data-link-label="Signup" data-link-type="page" href="/signup" target="_blank">https://davegoodman.com.au/signup</a> and I'll send you a free high resolution download of my track <i>Entelechies</i>.</p>
Dave Goodman
tag:davegoodman.com.au,2005:Post/4877971
2017-10-05T16:03:57+11:00
2017-10-06T21:53:34+11:00
Remo Drumheads
<p style="text-align: center;"> </p>
<p><a contents="" data-link-label="Remo Drumheads" data-link-type="page" href="/remo-drumheads"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/97cc49443aaba590b9da6d608bd19b6708a66f35/medium/remo-within-crown.jpg?1503102895" class="size_m justify_center border_" style="text-align: center;" /></a></p>
<p style="text-align: center;">I'm pleased to announce here that I am now endorsing Remo Drumheads!</p>
<p style="text-align: center;">If you'd like to know more, I've written a little blog article about my history with Remo products here:</p>
<p style="text-align: center;"><a contents="https://davegoodman.com.au/remo-drumheads" data-link-label="Remo Drumheads" data-link-type="page" href="/remo-drumheads">https://davegoodman.com.au/remo-drumheads</a></p>
Dave Goodman
tag:davegoodman.com.au,2005:Post/4721490
2017-05-25T13:34:56+10:00
2017-05-25T13:37:22+10:00
Sydney Drum & Percussion Show 2017
<p style="text-align: center;"><a contents="" data-link-label="" data-link-type="url" href="http://www.australianmusician.com.au/sydney-drum-percussion-show-2017/" target="_blank"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/7d6665fb2944924992a2747cfdb2d16656010c9f/large/sdpsfbcover.jpg?1495683157" class="size_xl justify_center border_" /></a></p>
<p>I'll be presenting a drum clinic for Bosphorus Cymbals and Pro Music Australia this Sunday...</p>
<p>10:30 - 11:30 AM, Sunday 28 May 2017<br>Sydney Drum & Percussion Show<br>Indoor Sessions, Rosehill Gardens Grand Pavilion</p>
<p>As well as performing on a couple of new pieces and soloing for a little while, my clinic will be in three parts on the following topics at the request of the organisers:</p>
<ul> <li>Part 1: <em>Techniques for Developing the Ability to Play Accents Amongst Different Sticking Patterns – What I Learned from Lessons with Jim Piesse</em>
</li> <li>Part 2: <em>Stick Control featuring the Moeller Technique – What I Learned from Lessons with Jim Chapin and Joe Morello</em>
</li> <li>Part 3: <em>Methods for Creatively Developing One’s Own Vocabulary for Improvisation</em>
</li>
</ul>
<div><p><a contents="For tickets, follow&nbsp;the links here" data-link-label="" data-link-type="url" href="http://www.australianmusician.com.au/sydney-drum-percussion-show-2017/" target="_blank">For more information and tickets, follow the links at this page</a>.</p></div>
<p>Virgil Donati and Thomas Lang will be performing in addition to lots of other local educators and talent. Many of your favourite drum brands will be exhibiting next to some of our amazing local boutique manufacturers and restorers.</p>
<p>As this will be the inaugural Sydney Drum & Percussion Show hosted by Australian Musician, please help spread the word amongst family, friends, colleagues and students by clicking on the 'share' button in the above linked page. It'd be great for the show to gain enough mass and momentum to be staged again next year. </p>
<p>I also did a little interview for What's My Scene in the build up to the event. <a contents="Check it out here" data-link-label="" data-link-type="url" href="http://whatsmyscene.com/qa-scene-drummers-special-dave-goodman/" target="_blank">You can read the interview here</a>.</p>
<p>I hope to see you there, and that you might get something out of it.</p>
<p>All the best,</p>
<p>DG</p>
Dave Goodman
tag:davegoodman.com.au,2005:Post/4576308
2017-02-16T02:00:00+11:00
2017-02-16T16:24:02+11:00
In Memory of Steve McKenna, 1958-2017
<img src="//d10j3mvrs1suex.cloudfront.net/u/150720/d4d2bb00cb59060964ce9791f0b9f4758bed7be1/original/steve-mckenna-quartet-may-2006.jpg?1486210737" class="size_l justify_center border_" /><div style="text-align: center;"><span class="font_small">Steve McKenna Quartet, Fri 2 June 2006, The Sound Lounge in Seymour Theatre Centre, Sydney for SIMA.<br>L-R: Dave Goodman (drums), Dale Barlow (saxophone), Brendan Clarke (bass), Steve McKenna (guitar). Original higher resolution copy of this photo lost in a corrupted photo library.<br>Photo by Liz McKenna</span></div><br>It's with great sadness that I write this elegy following receipt of the news of the death of one of Australia's great jazz guitarists, Steve McKenna. Steve died in early-February 2017 from complications due to alcoholism. There are many people who knew Steve much better than I, and for longer. This is, therefore, a tribute to Steve based on my experiences with him in an effort to preserve of the quality and extent of my memory of the positive influence he had on me.<br><br><strong>Background & First Impressions</strong><br>I first became aware of Steve after reading a brief interview by Dale Cleary with Andrew Gander - one of Australia's foremost drummers and one of my heroes - in a 1993 edition of <em>Skin Full</em> magazine. Although I was already familiar with, and immensely fond of, Gander's drumming from his prior work with 'Count' Paul Grabowsky and the Groovematics on Channel Seven's nightly TV variety show <em>Tonight Live with Steve Vizard</em> out of Melbourne in 1990 and 1991, I didn't know Gander's name. It wasn't until I met and became friends with brilliant drummer, percussionist and composer Jared Underwood at a NSW Performing Arts Unity State Music Camp in Narrabeen 1993. Jared and I got talking about drummers and I mentioned this amazing drummer from the Vizard show with yellow Sonor drums, and Jared told me that his name was Andrew Gander, that he knew Gnader personally - Jared was then a student of close Gander associate Daryl Pratt at Sydney Conservatorium High School - and that Gander was on the cover of the current edition of <em>Skin Full</em>.<br><br>After the camp, my parents took me to Billy Hyde Drumcraft in Surry Hills before returning home to Tamworth and we picked up a copy of <em>Skin Full</em>. In the interview, Gander mentioned that there were some new CDs coming out at that time by Carl Orr, Mark Isaacs and Steve McKenna. I couldn't find them immediately and so I vowed to find copies of these as soon as I could.<br><br><strong>ABC Studio 227</strong><br>Fast forward to early 1994 when I was 16 and just starting Year 12. I'd booked Gander for a drum lesson through Greg Johns at Drumcraft, which was to take place around Easter 1994. I caught a train to Sydney from Tamworth by myself on the day before the lesson and phoned Greg to let him know that I'd arrived in Sydney. Greg told me that, unfortunately, Gander had to cancel as a recording session had come up. Crestfallen, I asked Greg if he knew where it was and if maybe I could go and watch as I was in Sydney already anyway. Greg told me that he didn't actually know, but guessed that it might've been the ABC radio studio in Ultimo.<p>The next morning I opened the Yellow Pages and looked up the ABC's address. I caught a train to Central from my sister's apartment in Artarmon and caught a cab to the ABC in Ultimo. If only I'd have had enough local wits about me at the time to know that the ABC is right around the corner from Central, and that it could've saved a lot of time if I'd simply have walked as the cab driver took me for quite the scenic tour through Pyrmont and Ultimo before finally arriving at the ABC.<br><br>I got out of the cab, and walked through the revolving doors into the large entrance foyer of the impressive ABC Ultimo facility. Whilst there was a general hubbub of activity going on in the building, the foyer was relatively quiet. As I approached the round security desk in the middle, the older guard said, gruffly, "can I help you?" In my nervous, breaking teenage voice, I sheepishly asked if Andrew Gander was in the building today. "Who's that?" he snapped. I said, "he's a drummer, and he might be recording here today."<br><br>The guard said, "hang on a minute," and he left the security desk completely unattended as he went over to the lifts on the far wall and disappeared, leaving me, and the ABC security console, alone in the foyer. You have to remember that this was pre-September-11, when the world - especially security - was much more relaxed than it is today, and I don't see this kind of relaxed approach to security ever happening again in any of today's media outlets.<br><br>A few minutes went by, and, sure enough, the guard returned in the lift, with a perplexed looking man I recognised to be Gander following. Gander walked over to me and shook my hand saying, "hi, I'm Andrew." I very nervously introduced and explained myself. He seemed ok with this and invited me upstairs to the studio. Andy took me in to ABC Studio 227 and introduced me to the band and engineer he was recording with on that day. It was the last day of three for the recording of tenor saxophonist Tim Hopkins' upcoming release <em>Pandora's Box</em>. I met Tim, and then I met pianist Mark Isaacs, and bassist Cameron Undy before meeting engineer Neale Sandbach. I didn't really have a clear sense of the kind of royal Australian jazz company I'd just stepped into other than that I recognised Mark's name from the <em>Skin Full</em> interview. Plus, I figured that anyone recording with Andrew Gander at the ABC <em>must</em> be very good.<br><br>Andy took me into the drum booth where his gorgeous Yamaha 9000 Recording Custom Cherrywood drums featuring smaller 8" and 10" toms and an 18" bass drum were setup and flanked by his old K Zildjian cymbals. These were the drums pictured in <em>Skin Full</em> and seeing them was as venerable an experience for me as though approaching a shrine to the benevolence of the spirit of all creation. Then I returned to the control room as the band started to record a few takes of the album's title track; an uptempo, high-energy piece with some sections adding up to 15 beats, and going for a very long time, including a drum solo over the 15 beats toward the end. I was staring through the double glass in absolute awe of what I was witnessing, and it had a profound effect on me. I will always remember with crystal-clear clarity how inspired I was by watching that recording session that day.<br><br><strong><em>Sea View</em></strong><br>Tim Hopkins' album wasn't due out until Christmas of 1994. I wanted to be able to keep the spirit of what I'd heard that day alive, and so, after leaving the ABC on a high - as though in a dream - I walked to Pitt St Mall, and went downstairs into HMV Music to flick through the jazz album section and see what I could find. Mark Isaacs' album wasn't there, but I found Carl Orr's album <em>Mean It</em>, and Steve McKenna's album <em>Sea View</em> and bought them straight away. It turns out they were both recorded in the same iconic studio that I'd just met Gander in.<br><br>I stayed with some friends in Bellevue Hill that night, and so, when I got to their apartment, I put <em>Sea View</em> in the CD player and cranked it. The opening track 'Mike's Nocturne' was a medium-up tempo tune with a feel that was an elegant hybrid of Latin and swing, and Gander's drums sounded exactly as I remembered hearing them in person at the ABC earlier that day. I was happy to have found a thread of inspiration spanning the duration of the album that was going to keep the spirit of the day alive for me at least until, and ultimately beyond, the time when <em>Pandora's Box</em> would be released. 'Mike's Nocturne' still has a mystical quality to me in the sense of forward motion it exudes and it continues to draw me in today. Not only that, but I'd found a new sound and sensibility to get absorbed in.<br><br>Steve's nylon-string jazz guitar playing was exquisite to say the least. He had impeccable timing in the joyous bounce of his swinging quaver lines. He was melodically inventive and strong, playing lines that glided effortlessly over several bars. I hadn't heard his influences previously, but as I got to know about more and more guitarists in jazz, I began hearing a very clear connection in Steve's electric guitar playing with Mike Stern and John Abercrombie. I have to say, though, that, to this day, specifically Steve's nylon-string jazz guitar playing remains as one of my all-time favourites.<br><br>Steve's compositions featured long forms that I imagine appropriately fitting the headline bill of any jazz festival anywhere in the world. The rapport between McKenna, Gander, and bassist Adam Armstrong was also a force to be reckoned with. Sydney jazz folklore has it that, in those days, the rhythm section comprising Adam and Andy was affectionately dubbed 'The A-Team', and for good reason. They were everywhere. On ABC Classic FM's Jazz-rock later in 1994, Jim McLeod played a brand new track called 'Evening's Greeting' by Daryl Pratt's band Sonic Fiction. That was an amazing band featuring Steve, Adam and Andy. I recorded the program that night and listened over and over to 'Evening's Greeting', imbibing and further cementing the unmistakable sound of these virtuosi indelibly and archetypally in my musical mind - they represented the apex.<br><br><strong>Steve in Germany</strong><br>I moved permanently to Sydney in January 1995, and I was excited by the prospect of hearing the Steve McKenna Trio tear it up live on stage, but it didn't take long to find out that Steve had relocated to Germany in 1994. One of the first things I did was to pick up a copy of Steve's earlier album <em>Wall To Wall Cement</em> with Michael Bartolomei on keyboards, Alex Hewetson on bass and Gordon Rytmeister on drums. It has a markedly different sound to <em>Sea View</em> in that it had more of an electric fusion approach, and was compelling in its own way.<br><br>I'm not sure exactly when Steve returned to Sydney, but I remember that the first chance I had to see him play live was around 2001 when he played a couple of gigs for the Jazzgroove Association at the Lansdowne Hotel in Sydney's Chippendale. Phil Stack was bass both weeks, and James Muller also played guitar both weeks, but Andrew Gander played drums the first week, and Gordon Rytmeister played drums in the second week. So I finally got a chance to hear Gander play with McKenna - and, other than saying that it was absolutely electrifying, I don't really have the words to adequately describe the chemistry and deep rapport I observed going on that night.<br><br><strong>First Meeting</strong><br>Finally, I got a chance to play with Steve. I'm not sure exactly which year it was, but we played a New Years Eve gig with singer Gregg Arthur in the Sheraton on the Park in the city. We wore dinner suits with wing-tipped collars and bowties, and played mostly repertoire that Frank Sinatra and Tony Bennett made famous. After this gig, if my chronology is correct, Steve and I went to a pub with other friends in Leichhardt after this gig. I remember David Theak being there amongst others. I drove to the pub with Steve as a passenger in my car, and it was really the first time I had a chance to chat with him. I remember the conversation being mostly about the time he spent in Los Angeles at Guitar Institute of Technology (GIT) where he won the Player of the Year Award in 1981. Admirably, he opened up a modest side by talking about how he felt that, despite how well he was doing at GIT, it seemed his playing was eclipsed by ex-Canberra guitarist Frank Gambale who moved to LA shortly after Steve did.<br><br>Once we got to the pub, I remember the conversation had started to get a little more aggressive with Steve when he verbally chastised me for not doing what he believed to be adequate enough practise at the time. The notion of not practising for several hours daily as a musician seemed to be something he genuinely couldn't understand. Feeling intimidated by Steve's position, I walked away that night with a renewed resolve to be more properly dedicated to my art through more regular practise.<br><br><em><strong>New Times</strong></em><br>In late 2003 I got a phonecall from Andrew Gander - who'd moved to Melbourne in 2002 - telling me he was in town and that was going to record a new album with Steve at the ABC. Andy's drums were permanently set up at Star City Casino that week because the primary reason for him to be in Sydney was to play there with Rhonda Burchmore, and so he wanted to borrow my Sonor Designer drums for the session with Steve. Of course, I said that he could use them. Andy got a ride with Steve and they dropped in late one night after the Burchmore gig to pick up my drums and take them to the studio. I asked if it'd be ok to tag along the next day and to watch the session, and they said it'd be ok. So, I went back into ABC Studio 227 and watched them record a couple of tracks with Bernie McGann on alto, and Sean Wayland on organ. The album came out in around 2005. I was proud that Gander played my drums on that album, and watching the session was another memorably formative moment for me.<br><br><strong>Playing With Steve</strong><br>In 2006, I was living alone in an apartment in Redfern and I'd bought a set of Sonor Signature Ebony drums from a guy in Japan. This was a set that I'd been drooling over the possibility of owning for many, many years, and it took months to go through customs. Shortly after I ordered the drums, I got a phone call from Steve offering me a gig with his quartet on Friday 2nd June at The Sound Lounge for SIMA with Dale Barlow on tenor and Brendan Clarke on bass. I was buried deeply into my PhD work and hadn't been playing many gigs around that time, and so the call brought with it a renewed sense of motivation for playing. We rehearsed at Steve's place in Petersham where I met his wife Liz, and we went through the repertoire, many tunes from which I'd already heard a million times like 'Mike's Nocturne', 'Blues for Johns', 'New Times', 'Sea View', 'Reign', and 'Spring'. It was a beautiful experience for me to actually have the chance to play these tunes with Steve, reading his original hand-written charts for them. I remember feeling distinctly out of my depth knowing how great Gander sounded on the originals, and so, on one hand I committed myself to making more transcriptions of his amazing drumming from this album, and on the other hand, I had to forget that I'd ever heard those and to try and play in my own way as though they were brand new pieces that hadn't been played before.<br><br>We had a great time playing to a small, but dedicated crowd that night. It was the first gig on which I was able to play my new Sonor drums as they'd arrived earlier that week and I was happy to be using them with Steve. One of the funny things I remember is that a lot of the held chords at the end of the tunes went on for a long time with high-energy extended improvisations from the band. The audience started applauding enthusiastically as we hit the chord, but when the thing finally ended, it seemed the audience had long since stopped and there were very strangely awkward silences. We were cracking up on stage about it because it was an unusually hilarious experience. You'll here this on the audio track attached at the foot of this post. Steve told me that he really liked the recording I made of the gig and that he wanted to have it mastered and released as a live album. Unfortunately that album never surfaced. The audience response made me think about Steve's music and its place in the world. As I said earlier when I was talking about <em>Sea View</em>, the long form of Steve's music and energy would fit the bill more than adequately at any of the world's great jazz festivals, but perhaps this tiny club crowd were somewhat overwhelmed by Steve's energy on this night.<br><br>We had such a great time as a band that night that Dale asked us to form the Dale Barlow Quartet for a gig in the same venue the following week. We were all available, and so we did it, playing mostly on Dale's tunes. That night was a lot of fun too, and Steve was in good spirits in general. We did one more gig at the Sound Lounge later that year in September, and Bernie McGann played half the gig. Perhaps Steve's energy was tipping toward a more aggressive side on this gig, and it lacked a bit of the joyousness from our previous outings that year. Some time after this I bumped into Steve and Liz with their children Erin and Jacob on Norton St in Leichhardt. Steve seemed to be in genuinely good spirits, and we had a brief but nice chat.<br><br><strong>Lazybones</strong><br>I only played with Steve one more time after the 2006 run at the Sound Lounge. He called me to play in a trio with bassist Steve Hunter at Lazybones in Marrickville in February 2015. He was notably irritable that night, and, again, there was something about the energy he put out that had an aggressive character to it, and I admit to having had a hard time playing and being there that night. It was one of the loudest jazz gigs I remember playing, and I'm not very good at having to play acoustic drums hard enough in jazz to try and match the volume of a guitar amplifier that takes the guitar way above the volume level that, say, would blend with an acoustic grand piano. If the sound is set up ideally so that the whole band can play acoustically, and the engineer presents <em>that</em> blend of sound to the audience, then that's ok, but, it was just too loud on stage for me that night and I struggled. The overdriven aggression in Steve's sound on this gig stood in stark contrast to the gorgeous nylon-string jazz guitar sound I'd fallen in love with earlier on 'Mike's Nocturne'. Steve was argumentative and contrarian in conversation to the extent that, unfortunately, it wasn't a pleasant environment to be in. It was after this that I came to realise that, sadly, Steve had been struggling internally for a long time. Regrettably, this was the last time I saw Steve.<br><br><strong>Contemporary Music Advocate</strong><br>Steve was a true ambassador for, and devotee to what could be called contemporary jazz music, and I really admired his dedication to the spirit of that realm. As I said a couple of times already here, his music would've worked well on the big stage at any major jazz festival anywhere in the world.<br><br>There are a couple of bands I've heard about over the years that I'd love to hear recordings of if you or anyone you know has a copy I can hear. If you do, please let me know by commenting below or <a contents="send me an email" data-link-label="" data-link-type="email" href="mailto:dave@davegoodman.com.au" target="_blank">send me an email</a>. Warwick Alder told me about some footage of the Steve McKenna Quartet that was made at the Strawberry Hills Hotel in the early 1990s with Adam Armstrong and Andrew Gander. Warwick's VHS tape may not have survived the test of time though. Also, Steve played for a while at that time with the Mike Nock Electric Band and I wonder if there are any existing recordings of that band.<br><br>I've attached to this post a version of the 2006 Sound Lounge quartet playing on 'Mike's Nocturne', which features Steve on guitar, Dale Barlow on tenor, Brendan Clarke on double bass and myself on drums so that you can hear some of the fun we had that night.<br><br>Rest In Peace, Steve McKenna.<br><br>May the memory of Steve and the sweetness of his music remain alive in our hearts and in our ears.<br><br>My sincere condolences to Liz, Erin and Jacob.</p>
10:08
Dave Goodman
tag:davegoodman.com.au,2005:Post/4866893
2017-01-17T13:00:00+11:00
2017-09-27T15:15:06+10:00
Abby and Toby are On Their Way!
<p>Congratulations to long-term (and now former) drum students Abby Constable and Toby Brown! Abby and Toby were in Year 12 in 2016, and they were both accepted into their first-choice tertiary music institutions for 2017: Toby’s going to James Morrison Academy of Music at Uni SA, and Abby’s going to Sydney Conservatorium of Music, The University of Sydney. Everyone I’ve taught regularly in the last 10 years who’s aspired to study at these and similar institutions has made it through to their first choice, first time, every time. </p>
<p>Do you or someone you know aspire like Abby and Toby? The good news is that, because these guys are moving on, there are now some openings after school and on Saturdays when I’ll be able to take some new students for regular drum lessons. If you’re interested for yourself, or for your child, visit the link and register now. If you know a friend or family member who’s looking to start drum lessons, or is looking for a new teacher, please share this post, or the link with them.<br><br>Thanks,<br><br>DG</p>
<p><a contents="" data-link-label="Drum Lessons" data-link-type="page" href="/drum-lessons"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/068d7fbbba8a55f19f450a52baa1ef9d66fd47e6/original/drum-lessons-with-dave-goodman.jpg?1506489093" class="size_l justify_center border_" /></a></p>
<p style="text-align: center;"><a contents="https://thedrummershub.com/drum-lessons" data-link-label="Drum Lessons" data-link-type="page" href="/drum-lessons">https://davegoodman.com.au/drum-lessons</a></p>
Dave Goodman
tag:davegoodman.com.au,2005:Post/4304019
2016-08-01T15:38:15+10:00
2017-02-06T03:47:35+11:00
2016 Vintage & Custom Drum Expo, 14 August
Dear friends,<br><br>I hope you're well!<br><br>I'm writing to invite you to the 2016 Vintage & Custom Drum Expo.<br><br>When: 10:00 AM - 5:00 PM, Sunday 14 August<br>Where: The Factory Theatre, 105 Victoria Rd, Marrickville NSW 2204<br><br>At 12:20 PM, I'll be playing a 45 minute set for my friends at Bosphorus Cymbals and their Australian distributor Pro Music. I'm going to talk about these gorgeous cymbals for a while, as well as play some new pieces of music. My set will be flanked by some great, great drummers, namely Grant Gerathy (John Butler Trio), Corey Mills (Tanya George), Pete Drummond (Dragon & Thirsty Merc) & Roby Corelli's Groove Workshop (at least I don't have to follow Pete's set this time!). It'll also be a great chance for you to check out the cream of Australia's very passionate instrument makers.<br><br>Tickets are available from: <a contents="http://www.factorytheatre.com.au/events/2016/08/14/vintage-custom-drum-expo" data-link-label="" data-link-type="url" href="http://www.factorytheatre.com.au/events/2016/08/14/vintage-custom-drum-expo" target="_blank">http://www.factorytheatre.com.au/events/2016/08/14/vintage-custom-drum-expo</a> - click on the flier below to get to the VCDE Facebook page.<br><br>I'm really looking forward to being there as I missed last year's event, and I hope to see you there too!<br><br>Cheers,<br><br>DG<p style="font-family: Helvetica, Arial, sans-serif; color: rgb(78, 78, 78); font-size: 9px; line-height: 12px;"><a contents="" data-link-label="" data-link-type="url" href="https://www.facebook.com/vintagecustomexpo/" target="_blank"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/799347af98537a4e51d98569fa02c80806689e3c/large/2016-vintage-custom-drum-expo-flier.png?1470028116" class="size_xl justify_center border_" /></a></p>
Dave Goodman
tag:davegoodman.com.au,2005:Post/3941094
2015-12-01T01:38:33+11:00
2017-10-06T22:06:19+11:00
December 2015 - Christmas Edition
<p>Dear friends,<br><br>Christmas is drawing near, and here in Australia, December is known as the silly season. It's strange to think that we celebrate Christmas during summer here in the southern hemisphere in the style of northern hemisphere celebrations - lots of talk about snow; big men dressed in red suits, and so on. But the only truth is that December is a month of sweltering heat, and so my hat goes off to all those Australian men who are choosing to dress up as Santa Claus at this time of year for whatever reason.<br><br>2015 has been a year of great music for me, and I've enjoyed it very much - thanks for sharing in it with me. It's been very interesting to revisit and revise my composition methods, and to become a band leader again after a 13 year break from leading bands. With the public's big move to paid music streaming services, these are interesting times in which to start to produce an output of original music, and I've learned a lot. I'm optimistic about the future of music, and I'm grateful for the opportunity to be a musician in this life. It's also been a great experience to be more and more involved in music education. I feel the need to 'give back' and to do my best to keep alive some of the wonderful age-old musical ideas that were passed on to me.<br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/e526092c9d9987fecac7060444d7afdd68de766d/original/img-8678.jpg?1448887166" class="size_l justify_center border_" /><br><strong style="color: rgb(34, 34, 34)"><span style="color: rgb(118, 102, 102);"><span class="font_large"><a contents="" data-link-label="Dave Goodman Quartet" data-link-type="page" href="/dave-goodman-quartet" target="_blank"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/f1f6220dd4e159a459517c4dc51aa0240e02b3ee/small/11875448-1648171338783885-1957749647-n.jpg?1448889635" class="size_s justify_left border_" /></a>Dave Goodman Quartet</span></span></strong><br>As our final gig for the year, we enjoyed playing at the Wangaratta Festival of Jazz & Blues in St Patrick's Hall on Sun 1 Nov. The guys have always sounded great together on this material right from the start, but it was by far the best the band has sounded on the material yet, and it was an honour to be invited to play in Wang. Thanks to Lea Ebb for this pic. We're looking forward to playing more shows for you in the New Year, so to keep your eye on updates, <a contents="Click here..." data-link-label="Dave Goodman Quartet" data-link-type="page" href="/dave-goodman-quartet" target="_blank">click here...</a><br><br><a contents="" data-link-label="" data-link-type="url" href="http://trioflight.com/" target="_blank"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/f88096c0882ea33faef6a86f09c9cfe6e796b63f/small/trioflight-album-cover.jpg?1448891095" class="size_s justify_left border_" /></a><strong style="color: rgb(34, 34, 34)"><span style="color: rgb(118, 102, 102);"><span class="font_large">Trioflight</span></span></strong><br><em>The Rumour of Forests & Waves, a</em> brand new album by Trioflight has just arrived from the printers, and will be available soon. Trioflight is Nick Southcott (piano), Max Alduca (double bass) and me on drums. We were proud to record this album in the beautiful Cranbrook Music Studio as the winner of the studio's inaugural recording competition. We enjoyed playing in Tamworth on 20 Nov, and we'll be officially launching the album at Foundry 616 in Ultimo Thu 3 Dec with support from the brilliant Jo Fabro and Ben Hauptmann. We have some special giveaway options, and so it's probably best to visit our website to learn more. <a contents="Learn more..." data-link-label="" data-link-type="url" href="http://trioflight.com/" target="_blank">Click here...</a><br><br><a contents="" data-link-label="" data-link-type="url" href="https://www.stickytickets.com.au/32269" target="_blank"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/301c419c2c1b9135d71e2e6a91dabbf2c074cc3d/small/phillip-johnston.jpg?1448891822" class="size_s justify_left border_" /></a><strong style="color: rgb(34, 34, 34)"><span style="color: rgb(118, 102, 102);"><span class="font_large">Phillip Johnston Septet</span></span></strong><br>The Phillip Johnston 7tet will be making rare appearance at Foundry616 in Ultimo on Thursday evening, Dec 10th, 2 sets beginning at 8.30PM. It features an all-star band, featuring: Phillip Johnston: soprano saxophone, Peter Farrar: alto saxophone, Jeremy Rose: tenor saxophone, James Loughnan: baritone saxophone, Alister Spence: piano, Lloyd Swanton: bass, and Dave Goodman: drums. The music will be drawn from a wide range of Johnston's recent projects - early Ellington, Thelonious Monk, but mostly his original tunes ranging from classics from the Microscopic Septet repertoire to new material that has never been played in Australia before. <a contents="Click here for tickets..." data-link-label="" data-link-type="url" href="https://www.stickytickets.com.au/32269" target="_blank">Click here for tickets...</a><br><br><a contents="" data-link-label="" data-link-type="url" href="http://davegoodman.com.au/event/1402674/205523557/dave-goodman-drumming-workshop-teachers-edition-by-request-motivating-your-students-to-practise-well" target="_blank"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/5d23250eb4e606d07a04c26e9ce9ef1a71ee5b62/small/dgdw-151205.jpg?1447562346" class="size_s justify_left border_" /></a><span style="color: rgb(118, 102, 102)"><span class="font_large"><strong>Drumming Workshop (teachers' edition): 'Motivating Your Students to Practise Well' - 5 Dec, Sydney</strong></span></span><br>‘Motivating Your Students to Practise Well’ is a two-hour hands-on workshop designed to help teachers to help students practise better. Learn to improve your understanding of what, how, why, and when to practise in this friendly, supportive group environment. Although this is a special teachers' edition by request, students are welcome. Places are limited, and filling up. Discounts are available for group bookings, and student concessions. <a contents="Book now..." data-link-label="" data-link-type="url" href="http://davegoodman.com.au/event/1402674/205523557/dave-goodman-drumming-workshop-teachers-edition-by-request-motivating-your-students-to-practise-well" target="_blank">Book now...</a><br><br><br><br><strong style="color: rgb(34, 34, 34)"><span style="color: rgb(118, 102, 102);"><span class="font_large"><a contents="" data-link-label="Bosphorus Cymbals" data-link-type="page" href="/bosphorus-cymbals" target="_blank"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/5d893803bf317db98faab1ed09e37670dcad6d45/small/12237596-436561379860471-902253910-n.jpg?1448893830" class="size_s justify_left border_" /></a>New Bosphorus Cymbals</span></span></strong><br>I've been collecting Turkish hand-made Bosphorus Cymbals since mid-2009, and in early 2013 I began endorsing the brand. Simply put, Bosphorus make the best cymbals in the world using craftsmanship that's been passed along generations of cymbal artisans. I went to Brisbane in November to collect five beautiful new cymbals from the Pro Music Australia warehouse, and I had a great time sharing stories and opinions with Jules Foulkes who very graciously spent a few hours with me while I decided which cymbals to add to my collection. For more info about my obsession with these amazing cymbals, <a contents="click here...." data-link-label="" data-link-type="url" href="http://davegoodman.com.au/bosphorus-cymbals" target="_blank">click here....</a><br><br><a contents="" data-link-label="" data-link-type="url" href="http://www.coogeecarols.com.au/" target="_blank"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/1a269dfa3484189a7f88a0c0ce5a2807311e54ef/small/dg-designer-coogee-carols-1.jpg?1448892910" class="size_s justify_left border_" /></a><span style="color: rgb(118, 102, 102)"><span class="font_large"><strong>Coogee Carols</strong></span></span><br>In 2006 I started playing drums for the Coogee Carols, which means I'll be enjoying playing my tenth show this year, and I hope you can come and celebrate with me. It's always a lot of fun, and there's always a familiar cast of stars to sing along with. The band is one of my favourites, led by Murray Jackson. Join us for free on Sunday 20 Nov from 6:30 PM. For more info, <a contents="click here..." data-link-label="" data-link-type="url" href="http://www.coogeecarols.com.au/" target="_blank">click here...</a><br><br><br><br>Please enjoy a safe and happy holiday period with your family and friends, and I look forward to seeing you again in the New Year. If you'd like to receive these messages as well as special offers for mailing list members only delivered directly to your email inbox, please join my mailing list by visiting:<br><br><a contents="http://davegoodman.com.au/signup" data-link-label="Signup" data-link-type="page" href="/signup" target="_blank">http://davegoodman.com.au/signup</a><br><br>You'll also receive a free download copy of my new track 'Entelechies'.<br><br>Best regards,<br><br>DG</p>
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Dave Goodman
tag:davegoodman.com.au,2005:Post/4563101
2015-10-31T21:50:00+11:00
2017-10-06T22:08:45+11:00
November 2015 - Wangaratta Jazz Edition
<p><span style="color:#766666;"><strong><span class="font_xl">Dave Goodman Music News</span></strong></span><br> </p>
<table align="center" border="0" cellpadding="5" cellspacing="5" style="width:100%;"><tbody> <tr> <td style="vertical-align: top;"><a contents="" data-link-label="" data-link-type="url" href="https://youtu.be/Ll1S7CI7MhQ?list=PLhTVsDPOH5EH7h2ucwnE2M8GeUPVZGB0d" target="_blank"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/a305b0008b5d3213ea40e6d32568111edd5d9a1c/large/dg4tet-1511-yt.jpg?1446269869" class="size_xl justify_center border_" /></a></td> <td style="vertical-align: top;">
<span style="color:#766666;"><strong><span class="font_large">Dave Goodman Quartet</span></strong></span><br> We enjoyed playing at Foundry 616 in October. Click the photo for some footage from the gig. We're looking forward to playing the Wangaratta Festival of Jazz & Blues in St Patrick's Hall, 4:00 PM - 5:00 PM, Sum 1 Nov 2015. <a contents="Learn more..." data-link-label="Dave Goodman Quartet" data-link-type="page" href="/dave-goodman-quartet" target="_blank">Learn more...</a>
</td> </tr> <tr> <td style="vertical-align: top;"><a contents="" data-link-label="" data-link-type="url" href="http://trioflight.com" target="_blank"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/ea5366865936719a2cc7f660102c048ad6cb0172/large/trioflight-by-dusk.jpg?1446608614" class="size_xl justify_center border_" /></a></td> <td style="vertical-align: top;">
<span style="color:#766666;"><span class="font_large"><strong>Trioflight</strong></span></span><br> <em>The Rumour of Forests & Waves</em>, a brand new album by Trioflight will be available soon. Trioflight is Nock Southcott (piano), Max Alduca (double bass), and me on drums. We were proud to record this album in the beautiful Cranbrook Music Studio as the winner of the studio's inaugural recording competition. <a contents="Learn more..." data-link-label="" data-link-type="url" href="http://trioflight.com" target="_blank">Learn more...</a>
</td> </tr> <tr> <td style="vertical-align: top;"><a contents="" data-link-label="" data-link-type="url" href="http://youtu.be/3nZXg5ZXyPA?list=PLhTVsDPOH5EHCsqbcHUmwxWshDR0eyu-K" target="_blank"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/e9c17d0be4fe4a09ea25179e4a4bc26add0cfa66/large/nic-vardanega-youtube-button.jpg?1446281198" class="size_xl justify_center border_" /></a></td> <td style="vertical-align: top;">
<span style="color:#766666;"><span class="font_large"><strong>Nic Vardanega Trio</strong></span></span><br> I did a nice gig with guitarist Nic Vardanega & double bassist David Groves in July, and some footage has recently been uploaded to the Jazzgroove Association's YouTube channel. <a contents="Check out Nic's great vibe..." data-link-label="" data-link-type="url" href="http://youtu.be/3nZXg5ZXyPA?list=PLhTVsDPOH5EHCsqbcHUmwxWshDR0eyu-K" target="_blank">Check out Nic's great vibe...</a>
</td> </tr>
</tbody></table>
<p>Have a great month, and I hope to see you out and about. I'd love to hear from you, so please feel free to leave a comment below, or <a contents="send me an email" data-link-label="Contact" data-link-type="page" href="/contact" target="_blank">send me an email</a>. If you'd like to receive these messages as well as special offers for mailing list members only delivered directly to your email inbox, please join my mailing list by visiting:<br><br><a contents="http://davegoodman.com.au/signup" data-link-label="Signup" data-link-type="page" href="/signup" target="_blank">http://davegoodman.com.au/signup</a><br><br>You'll also receive a free download copy of my new track 'Entelechies'.<br><br>Best regards,<br><br>DG<br> </p>
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Dave Goodman
tag:davegoodman.com.au,2005:Post/3879238
2015-10-01T00:00:00+10:00
2018-03-06T21:33:03+11:00
October 2015
<p>Dear friends, </p>
<p>This month I have some exciting news to tell you about the Dave Goodman Quartet, including discount ticket offers, but first I want to congratulate Australian jazz legends Mike Nock and John Pochée for each reaching their 75th birthday last month. Mike and John have been a huge mentors to me over the past 20 years, and I wish them happiness and health for the next 75 years.<br> </p>
<div class="captioned justify_left"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/d6b0d3b87f7b483312043d0ceeaab693c6bdaaa3/medium/dg-mike-nock-in-wangaratta-1997.jpg?1443595509" class="size_orig justify_left border_" /><p class="caption">With Mike Nock in 1997</p></div>
<p>I first heard Mike play on a gig in Tim Hopkins' band with Cameron Undy and Andrew Gander at the Woollahra Hotel in mid-1994 when I was in Year 12 at school. My parents had brought me to Sydney from Tamworth for a weekend bonanza of Gander workshops and gigs. It was an unbelievable weekend for me, and I decided that night that Mike was someone I wanted to play with at some point in my life. Mike was then on my audition panel for Sydney Conservatorium later that year (how nervous was I?!), and then I was enrolled in his jazz improvisation class when I started my first year there in 1995. I thought that maybe I'd get to play a gig with Mike 10 years or more later, but, to my surprise, later that year (I was 18), Mike told me after one class that he had a gig for me if I was interested, and so I asked him what it was, thinking it would be some low-key setting. When he told me it was to be with Hopkins and Undy in his quartet at the Strawberry Hills Hotel, I nearly fell over. Of course, I said yes. That gig ended up not happening, but I did my first gig in Mike's band at the Harbourside Brasserie the following February with Roger Manins on saxophone, and Undy on bass. That night changed my life. I was lucky enough to play on and off in Mike's band until late 1998, winding up in a couple of documentaries with him, and on his album <a contents="Ozboppin'" data-link-label="" data-link-type="url" href="https://geo.itunes.apple.com/au/album/mike-nock-quintet-ozboppin/id364219162?at=1l3vuR2&app=itunes" target="_blank">Ozboppin'</a>. I've probably learned more about playing music on the drums from my experiences with Mike than from anyone else - anyone who's played with Tony Williams, Elvin Jones, Jack DeJohnette, Steve Gadd, Al Foster, and Terry Bozzio is going to have good advice for a drummer. He has that rare quality that we all strive for, and that is that he is recognisable worldwide as himself at the piano within two notes of playing. When I think about what kind of achievement that is for anyone, I start to feel dizzy. Happy birthday, Mike!<br> </p>
<div class="captioned justify_left"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/9235cdf23ab93e9f1f68ceee1f326a19843e1e4f/medium/img-4702.jpg?1443595303" class="size_orig justify_left border_" /><p class="caption">With Jimmy Shaw & John Pochée</p></div>
<p>John Pochée is someone who's contribution to the international jazz stage is unique and significant. I admit that when I used to go out to hear John play in the mid-1990s I had to close my eyes because I couldn't understand what I was seeing - his unorthodox self-determined-left-handed-person-playing-a-right-handed-drumset technique was totally baffling to look at. But when I closed my eyes and just listened, what I heard was as rich as I imagine it would've been to have heard any of the legendary drummers from earlier periods - such as Elvin Jones or Frank Butler - yet he was as uniquely identifiable at the drums amongst them, like Nock was at the piano. I was lucky, and privileged to fill in for John in his band Ten Part Invention during a three-week, 22-concert tour of Asia shortly after leaving Nock's band in 1998. This gave me the invaluable opportunity to play music, and to travel with people such as Bernie McGann and Roger Frampton - an opportunity I'll always remember, and for which I'll be forever grateful. Every record I've ever heard John play on sounds like an all-time classic. He records so beautifully. He's not playing anymore, and I'd give anything to watch that technique again now, and to enjoy its unique brilliance. Happy birthday to John!<br><br> </p>
<p><br><br><span style="color:#766666;"><span class="font_large"><strong><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/91a60b3d003999493abda4f6fb0b16727052ae18/medium/dgdw-the-magic-of-the-stick-151017-lr.jpg?1443963710" class="size_m justify_left border_none" alt="" />Monthly Hands-on Drumming Workshops in Sydney</strong></span></span><br>On Saturday 17 Oct at 1:00 PM in Sydney I'll be presenting the first of my monthly hands-on drumming workshops. I will cover a different topic each month. The first workshop is called <em>The Magic of the Stick</em>, which is a discussion and demonstration of the rebound, leverage, grip and motion I learned from my brilliant teachers Jim Piesse, Joe Morello, and Jim Chapin. If you're able to take part, you'll experience these techniques directly for yourself in an encouraging group-learning environment. Places are strictly limited, and so it would be wise to book in advance. You can find more information, book tickets or discount subscriptions here: <a contents="http://davegoodman.com.au/drumming-workshops" data-link-label="Drum Lessons" data-link-type="page" href="/drum-lessons" target="_blank">http://davegoodman.com.au/drumming-workshops</a><br><br><br><br><br><strong><span style="color: rgb(118, 102, 102);"><span class="font_xl">Dave Goodman Quartet</span></span></strong></p>
<p><span style="color:#766666;"><span class="font_large"><strong>Foundry 616, Wed 7 Oct, 8:30 PM</strong></span></span><br>As we prepare for our performance at this year's Wangaratta Festival of Jazz and Blues, Matt McMahon, Cameron Undy, Peter Koopman & I will be at Foundry 616 in Sydney's Ultimo on Wed 7 Oct from 8:30 PM playing my original music. If you've been to one of our gigs already, I'd love to invite you back, as well as to invite you to bring your friends. Each time we play I can't believe how much better these guys make my music sound - I really am lucky to have such a combination of amazing musicians to play my music.</p>
<p>As an exclusive offer to readers, you will be able to receive a $5 discount off advance tickets when entering the codeword OCTOBERFEST at the check out here: <a contents="https://www.stickytickets.com.au/30258" data-link-label="" data-link-type="url" href="https://www.stickytickets.com.au/30258" style="color: rgb(117, 98, 62);" target="_blank">https://www.stickytickets.com.au/30258</a>.</p>
<p><span style="color:#766666;"><span class="font_large"><strong>Wangaratta Festival of Jazz & Blues, St Pat's Hall (Kawai Stage), Sun 1 Nov 2015, 4:00 PM</strong></span></span><br>As I said, I'm extremely proud that the quartet will be making an appearance at this year's Wangaratta Festival of Jazz and Blues, Australia's premiere jazz festival. If you'd like to catch us - and other great performers - at this year’s festival, as another exclusive offer to you as a reader, quote the code ‘Artist01’ at the point of sale, to receive a significant discount: <a contents="http://wangarattajazz.com/artists/dave-goodman-quartet/" data-link-label="" data-link-type="url" href="http://wangarattajazz.com/artists/dave-goodman-quartet/" target="_blank">http://wangarattajazz.com/artists/dave-goodman-quartet/</a></p>
<p>The code will allow you to buy a Festival Pass (all venues, subject to capacity) for $145, or the Gold Pass (limited quantity, provides guaranteed access to all venues) for $290. That compares with the standard pre-September 30 prices of $165 ($150 concession) for the Festival Pass and $325 ($295 concession) for the Gold Pass; or the October prices of $185 ($165 concession) for the Festival Pass, and $350 ($325 concession) for the Gold Pass. What a great promotion from the festival organisers - I hope to see you there!</p>
<p>If you haven't heard us before, we look and sound like this:<br> </p>
<div style="text-align: center;"><iframe class="justify_inline" data-video-type="youtube" data-video-id="Ku6LlaH2gXg" data-video-thumb-url="https://img.youtube.com/vi/Ku6LlaH2gXg/0.jpg" type="text/html" src="https://www.youtube.com/embed/Ku6LlaH2gXg?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="315" width="560" allowfullscreen="true"></iframe></div>
<p><br><span style="color:#766666;"><strong><span class="font_xl">Other Gigs & Events</span></strong></span><br><br>Also this month, I'm looking forward to playing a couple of gigs with some of my favourite bands to play in:</p>
<ul> <li><a contents="Jazzgnostics @ Manly Jazz Festival, Sydney Rd Stage,&nbsp;Sun 4 Oct, 1:30 PM" data-link-label="" data-link-type="url" href="http://davegoodman.com.au/event/1355844/186475887/the-jazzgnostics" target="_blank">Jazzgnostics @ Manly Jazz Festival, Sydney Rd Stage, Sun 4 Oct, 1:30 PM</a></li> <li><a contents="Dave Goodman Quartet @ Foundry 616, Wed 7 Oct 2015, 8:30 PM" data-link-label="" data-link-type="url" href="https://www.stickytickets.com.au/30258" target="_blank">Dave Goodman Quartet @ Foundry 616, Wed 7 Oct 2015, 8:30 PM</a></li> <li><a data-link-label="" data-link-type="url" href="http://davegoodman.com.au/event/1355948/186694588/dave-goodman-drumming-workshop-the-magic-of-the-stick" target="_blank">Dave Goodman Drumming Workshop - 'The Magic of the Stick', Sat 17 Oct, 1:00 PM</a></li> <li><a contents="Nic Vardanega Quartet @ Foundry 616, Wed 21 Oct, 8:30 PM" data-link-label="" data-link-type="url" href="http://davegoodman.com.au/event/1346043/182571658/nic-vardanega-quartet" target="_blank">Nic Vardanega Quartet @ Foundry 616, Wed 21 Oct, 8:30 PM</a></li>
</ul>
<p>Have a great month, and I hope to see you out and about. I'd love to hear from you, so please feel free to leave a comment below, or <a contents="send me an email" data-link-label="Contact" data-link-type="page" href="/contact" target="_blank">send me an email</a>. If you'd like to receive these messages as well as special offers for mailing list members only delivered directly to your email inbox, please join my mailing list by visiting <a contents="http://davegoodman.com.au/signup" data-link-label="Signup" data-link-type="page" href="/signup" target="_blank">http://davegoodman.com.au/signup</a> - you'll also receive a free download copy of my new track 'Entelechies'.</p>
<div>
<br>Best regards,<br> <div>DG</div>
</div>
<p style="font-family: Helvetica, Arial, sans-serif; font-size: 10px; line-height: 12px; margin-bottom: 10px;"><a class="clink logo-container" href="http://davegoodman.com.au" style="text-decoration:none"><img src="https://htmlsigs.s3.amazonaws.com/logos/files/000/254/943/landscape/TDH-Logo-Web-Master-42.jpg" class="size_orig justify_inline border_" alt="Dave Goodman Music • The Drummers' Hub" height="80" width="80" /> </a></p>
<p><span style="color:#766666;"><strong>Dave Goodman Music</strong><br>Sydney, Australia</span><br><a href="http://davegoodman.com.au">http://davegoodman.com.au</a></p>
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Dave Goodman
tag:davegoodman.com.au,2005:Post/3830351
2015-09-01T02:42:03+10:00
2017-02-05T14:43:55+11:00
September 2015
Dear friends, <p>I trust all is well with you and yours!<br><br>Today marks five years since the day that I sent my doctoral thesis away to be marked. It took nearly six years to write, and the final product wound up containing 98,525 words in a book spanning 505 pages including about 100 pages of transcription. This occurred after three consecutive nights without sleep due to a major Microsoft Word style/formatting issue that nearly derailed the whole thing. Fortunately I recovered from the formatting issue and was able to submit.</p>
<p>Foolishly, I went teaching that afternoon after handing the thing in, and I kept dozing off in lessons. Would've been better off going straight to bed. When I was done teaching, and even more foolishly, I had to drive home. Why didn't I think of booking a cab or catching a train? Anyway, when I went into the nearest café to order a strong coffee, the barista took one look at me and said, 'let me guess, you need a triple shot, right?!' No one has ever offered me a triple shot before or since! So I drank my coffee, and as I was crossing the Harbour Bridge I started having aural hallucinations that the sound my car engine was making was in fact as though I were listening to a big band and string orchestra with arrangements by Penderecki, featuring Ornette Coleman & Freddie Mercury as soloists. I came to the sudden insight that my car had indeed sounded like that the whole ten years I'd been driving it!<br><br>Fortunately, shortly after I started hearing these sounds, I realised I was freaking out, and just concentrated on not running anyone off the road. I made it home safely & then passed out for a few days.<br><br>I can't wait to hear submission stories from all my current doctoral candidate friends :)</p>
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<span class="font_large"><span style="color:#766666;"><strong>What's the latest?</strong></span></span>
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<br>People often ask me, 'what's the latest?' Or, 'what's coming up?' I never really know how to answer those questions on the fly, so I'm happy to bring you an update on the latest, and on what's coming up with the aid of my trusty calendar.<br><br><span class="font_regular"><strong><span style="color:#766666;">August Gigs</span></strong></span><br> <div>The Dave Goodman Quartet played at The Sound Lounge in The Seymour Theatre Centre on Friday 21 August for Sydney Improvised Music Association (SIMA). We had a great time that night, making new friends, and welcoming back old friends. Here's a YouTube clip featuring a highlight from the night:<br> </div>
<div style="text-align: center;"><iframe class="justify_inline" data-video-type="youtube" data-video-id="Ku6LlaH2gXg" data-video-thumb-url="https://img.youtube.com/vi/Ku6LlaH2gXg/0.jpg" type="text/html" src="https://www.youtube.com/embed/Ku6LlaH2gXg?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="200" width="320" allowfullscreen="true"></iframe></div>
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<br>Read on for details of our next Sydney gig in early October at Foundry 616. It'll be our last gig before we play at the Wangaratta Jazz Festival on Melbourne Cup weekend.</div>
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<br>I also enjoyed filling in for the great Hamish Stuart with John Leigh Calder at Low 302 in Surry Hills. John is unique in the music world. He has a recognisable singing style that I really like. Coupled with his bass playing and you have a truly unique artist. Some weeks featured Mike Pensini on piano, and others featured Aaron Blakey - two great pianists. Each time, "The Major" David Glyde blew his tenor and soprano saxophones as though it were to be his last ever gig. What an inspiration.<br><br><span style="color:#766666;"><strong>Samsung Galaxy S6 edge and S6 edge+ : The 5 Percenters</strong></span><br><br>A couple of weeks ago I took my drums into the studio for an enjoyable session laying down some grooves and sounds under the direction of composer/maestro Hylton Mowday for Samsung's new '5 percent' ad campaign that you've probably by now seen pop up all over your social pages and on tele.<br><br>Check it out here - we had some fun that day!<br><br><iframe class="justify_inline" data-video-type="youtube" data-video-id="5v12eBiDFOs" data-video-thumb-url="http://img.youtube.com/vi/5v12eBiDFOs/0.jpg" type="text/html" src="https://www.youtube.com/embed/5v12eBiDFOs?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="315" width="560" allowfullscreen="true"></iframe>
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<br><span class="font_regular"><span style="color: rgb(118, 102, 102);"><strong>Trioflight album mixes underway</strong></span></span><br><br>One beautiful, collaborative piano trio that I'm particularly proud to be a part of is called Trioflight with Nick Southcott and Max Alduca - formerly Three Fall. We recorded our first album in June and those tracks are being mixed by Simon Todkill at Studio 301 as I write this. We were very lucky to win the Cranbrook Music Studio Recording Competition earlier in the year, which very generously provides us with a complete album production using the wonderful Cranbrook Studio facilities including a Steinway grand piano and some of the best microphones I've ever heard. All ably engineered by the amazing Roger Lock. We'll be launching the album later in the year, so please, <a contents="come on over and 'like' our Facebook musician/band page" data-link-label="" data-link-type="url" href="https://www.facebook.com/trioflight" target="_blank">come on over and 'like' our Facebook musician/band page</a> where we'll be keeping you up-to-date about the launch, and future gigs.<br> <div class="captioned justify_left"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/eae0b0a2078a9ad20677fc8227a5424567e79e40/small/percusscene-cover-issue-15.jpg?1438220258" class="size_orig justify_left border_" /><p class="caption">PERCUSScene #15</p></div>
<br><strong style="color: rgb(118, 102, 102); font-size: 1em;">PERCUSScene Interview</strong>
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<br>I'm proud to be featured on the cover of the current Jul/Aug/Sep edition <em>PERCUSScene</em> (#15) alongside my old friends Danny Susnjar and Darren Moore, as well as new friends Alex Stopa, Nat Grant, Vanessa Tomlinson, Tim Jones & Louise Devenish for the feature article 'Is there a doctor in the house' by Gary France. Each of us has a doctorate in music, and the interviews discuss different aspects of being a drummer engaged in doctoral study. <em>PERCUSScene #15</em> is a part of <em>DRUMScene #81</em> (featuring Grant Collins on the cover). You can find a print copy in your local newsagency, or order a print and/or digital copy here: <a contents="http://www.drumscene.com.au/" data-link-label="" data-link-type="url" href="http://www.drumscene.com.au/features/interviews/item/518-is-there-a-doctor-in-the-house?" target="_blank">http://www.drumscene.com.au/</a>
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<div> <div><strong style="color: rgb(118, 102, 102); font-size: 1.4em;">What's coming up?</strong></div>
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<div> <div class="captioned justify_center"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/c0a5e5d02cd0870343c82ca63b9ba04ef1e67f30/original/150314-tpi-foundry-616.jpg?1427769349" class="size_orig justify_center border_" /><p class="caption">Ten Part Invention, March 2015</p></div>
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<span style="color:#766666;"><strong>Ten Part Invention @ Foundry 616, Sydney, 12 Sep, 8:30 PM</strong></span><br><br>It'll be great to get together with Ten Part Invention again for our first gig since a triumphant return in March after a couple of years off. The band's founder and former drummer, the irrepressible, indefatigable and extraordinary John Pochée will be joining us on the night to celebrate his 75th birthday. Do come along and pinch me to remind me that I'm not dreaming, and I still won't believe that I have the honour and pleasure of trying to fill John's massively-un-fillable-by-anyone-else shoes. It's going to be a big night! <a contents="Tickets available here" data-link-label="" data-link-type="url" href="http://davegoodman.com.au/event/1245810/149359012/ten-part-invention" target="_blank">Tickets available here</a>.<br><br><span class="font_regular"><span style="color:#766666;"><strong>Dave Goodman Quartet @ Foundry 616, Sydney, 7 Oct, 8:30 PM</strong></span></span><br> </div>Matt McMahon, Cameron Undy, Peter Koopman & I will be at Foundry 616 in Sydney's inner city suburb of Ultimo in early October. If you've been to one of our gigs already, I'd love to invite you back, as well as to invite you to bring your friends. Each time we play I can't believe how much better these guys make my music sound - I really am lucky to have such a combination of amazing musicians to play my music. Tickets aren't on sale yet, but if you <a contents="keep checking here" data-link-label="" data-link-type="url" href="http://davegoodman.com.au/event/1335235/178978585/dave-goodman-quartet" target="_blank">keep checking here</a>, the ticket link will be open as soon as they become available. We'd love to play for you!</div>
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<br>Have a great month, and I hope to see you out and about. I'd love to hear from you, so please feel free to leave a comment below, or <a contents="send me an email" data-link-label="Contact" data-link-type="page" href="/contact" target="_blank">send me an email</a>. If you'd like to receive these messages as well as special offers for mailing list members only delivered directly to your email inbox, please join my mailing list by visiting <a contents="http://davegoodman.com.au/signup" data-link-label="Signup" data-link-type="page" href="/signup" target="_blank">http://davegoodman.com.au/signup</a> - you'll also receive a free download copy of my new track 'Entelechies'.</div>
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<br>Best regards,<br> <div>DG<br> <p class="social-list" style="font-size: 0px; line-height: 0; font-family: Helvetica, Arial, sans-serif;"><a class="social signature_twitter-target sig-hide" href="https://twitter.com/dgoodmanmusic" style="text-decoration: none; display: inline;"><img src="https://s3.amazonaws.com/htmlsig-assets/grey/twitter.png" class="size_orig justify_inline border_" alt="Twitter" height="32" style="margin-bottom:2px; border:none; display:inline;" width="32" /></a><span class="signature_twitter-sep" style="white-space:nowrap;"><img src="https://s3.amazonaws.com/htmlsig-assets/spacer.gif" class="size_orig justify_inline border_" width="2" /></span> <a class="social signature_facebook-target sig-hide" href="https://facebook.com/davegoodmandrummer" style="text-decoration: none; display: inline;"><img src="https://s3.amazonaws.com/htmlsig-assets/grey/facebook.png" class="size_orig justify_inline border_" alt="Facebook" height="32" style="margin-bottom:2px; border:none; 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Dave Goodman
tag:davegoodman.com.au,2005:Post/3795109
2015-08-01T02:00:00+10:00
2017-02-05T13:39:26+11:00
August 2015
<div>Dear friends,</div><br>I hope you're well, and that life is good for you and your family. I'd like to welcome you to the new look and feel of my website. My website now features updated banner photos taken by the piano virtuoso with a keen eye for musician photography, Mr Aaron Blakey. Have a look around by clicking on the menu buttons above, or by tapping the menu icon in the top left corner of your screen if you're on your mobile when you get a chance :)<br><br>August looks to be a nice month as I'll have my band out again in Sydney to play for SIMA on Fri 21st - more details below. The cool thing about 21 Aug is that it also brings with it the celebration of seven years with my wonderful wife Patrice.<div>
<br><span style="color:#3f5776;"><strong><span class="font_large">What's the latest?</span></strong></span>
<div> <div class="captioned justify_left"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/70634b4f651e566403fd93993782362001b156cd/medium/steve-barry-trio-150724-sound-lounge.jpg?1438219619" class="size_orig justify_left border_" /><p class="caption">Steve Barry Trio (photo by Cathy Kirkpatrick)</p></div>
<strong>July gigs</strong><br>I'm writing to you from onboard the P & O good ship Pacific Dawn, somewhere off the far north Queensland coast near Port Douglas as I ended July with a one-week gig on here with Karl Laskowski, Oliver Thorpe, and Tom Botting as 'Sydney Jazz Collective'.<br><br>It was great to stop off in Cairns a few days ago to catch up with my old pal Mike Rivett in his home town. Mike played superbly with his own band at Sydney Opera House Studio last month for the Freedman Jazz concert. Congrats to pianist Tal Cohen for winning the Freedman Jazz Fellowship this year.<br> <div>I enjoyed playing some great gigs in July around Sydney, including dates with Aaron Michael Band, Warwick Alder's Jazzgnostics, Andy Fiddes Trio, and the Steve Barry Trio. I enjoyed getting through Andy's challenging trio music playing double drums with Jamie Cameron for the first time. Jamie is a comprehensively gifted drummer, and I was inspired by his diligence and creativity leading up to, and during this gig. Steve Barry's trio with Max Alduca on bass played a couple of times, and here we're pictured playing in Sydney's beautiful Sound Lounge for SIMA.<br><br> </div>
<div class="captioned justify_left"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/eae0b0a2078a9ad20677fc8227a5424567e79e40/medium/percusscene-cover-issue-15.jpg?1438220258" class="size_orig justify_left border_" /><p class="caption">PERCUSScene #15</p></div>
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<strong>PERCUSScene Interview</strong><br>I'm proud to be featured on the cover of the current Jul/Aug/Sep edition <em>PERCUSScene</em> (#15) alongside my old friends Danny Susnjar and Darren Moore, as well as new friends Alex Stopa, Nat Grant, Vanessa Tomlinson, Tim Jones & Louise Devenish for the feature article 'Is there a doctor in the house' by Gary France. Each of us has a doctorate in music, and the interviews discuss different aspects of being a drummer engaged in doctoral study. <em>PERCUSScene #15</em> is a part of <em>DRUMScene #81</em> (featuring Grant Collins on the cover). You can find a print copy in your local newsagency, or order a print and/or digital copy here: <a contents="http://www.drumscene.com.au/" data-link-label="" data-link-type="url" href="http://www.drumscene.com.au/" target="_blank">http://www.drumscene.com.au/</a>
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<div> <div><strong>Sydney drum clinic from June now on YouTube</strong></div>In June I did a drum clinic on improving coordination and developing soloing repertoire at Sydney's Venue 505 with support from Sonor Drums & Bosphorus Cymbals. <a contents="Click here to see video footage of the clinic on YouTube" data-link-label="" data-link-type="url" href="https://youtu.be/AGHStdvSvac" target="_blank">Footage from the clinic is now on YouTube</a>. It's an hour-and-a-half long, and features an impromptu performance from Abby Constable, one of my current students. Joanne Kee also posted an interview about my clinics at <a contents="Jazz Australia" data-link-label="" data-link-type="url" href="http://jazz.org.au/music-is-infinite/" target="_blank">Jazz Australia</a>.</div>
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<br><strong>Three Fall now Trioflight</strong><br>One beautiful, collaborative piano trio that I'm particularly proud to be a part of is called Trioflight with Nick Southcott and Max Alduca - formerly Three Fall. We're working on building a website at the moment, and we're about to release our first album. <a contents="come on over and 'like' our Facebook musician/band page" data-link-label="" data-link-type="url" href="https://www.facebook.com/trioflight" target="_blank">Come on over and 'like' our Facebook musician/band page</a> where we'll be keeping you up-to-date about the album, and future gigs.</div>
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<span style="color:#3f5776;"><strong><span class="font_large">What's coming up?</span></strong></span><br> <div>
<div class="captioned justify_left"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/9440feb28cf7733d99c59709d89afd3625d2478f/medium/abc-1006-lr.jpeg?1435682713" class="size_orig justify_left border_" /><p class="caption">Dave Goodman Quartet</p></div>
<strong>Dave Goodman Quartet @ The Sound Lounge, Sydney, Aug 21, 8:30 PM</strong>
</div>Matt McMahon, Cameron Undy, Peter Koopman & I (pictured, L-R) will come together again as the Dave Goodman Quartet to play my music for Sydney Improvised Music Association (SIMA) in the Seymour Theatre Centre's Sound Lounge on Fri 21 Aug 2015. Check out a playlist of highlights from our previous gig at Venue 505 <a contents="check out a playlist of highlights from our last gig at 505 here on YouTube" data-link-label="" data-link-type="url" href="https://youtu.be/L-qsjtjGt-U?list=PLhTVsDPOH5EFmWmfbj1p1YqFcBgbrMr5r" target="_blank">here on YouTube</a>.</div>
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<br>As you can hear in the videos, the guys bring my music to life in really interesting ways. I really hope you can make it to our gig, and you can <a contents="order your tickets by clicking here" data-link-label="" data-link-type="url" href="http://davegoodman.com.au/event/1285112/159866461/dave-goodman-quartet" target="_blank">order tickets here</a>.<br><br>Thanks for reading, and I hope August is enjoyable for you. I'd love to hear from you, so please feel free to leave a comment below, or <a contents="send me an email" data-link-label="Contact" data-link-type="page" href="/contact" target="_blank">send me an email</a>. If you'd like to receive these messages and special offers delivered directly to your email inbox, please join my mailing list by visiting <a contents="http://davegoodman.com.au/signup" data-link-label="Signup" data-link-type="page" href="/signup" target="_blank">http://davegoodman.com.au/signup</a> - you'll also receive a free download copy of my new track 'Entelechies'.</div>
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<br>Best regards,<br> <div>DG</div>
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Dave Goodman
tag:davegoodman.com.au,2005:Post/4563074
2015-07-01T02:50:00+10:00
2017-02-06T09:00:25+11:00
July 2015 - A Tribute to Allan Browne
<div>Dear friends,</div><br>I hope you enjoyed June as much as I did! The fun, however, was not enjoyed without loss. The passing of Melbourne's Allan Browne - drummer, improviser, band leader and poet <em>par excellence</em> - cut deeply through Australia's jazz community.<br><br>I didn't know Allan all that well, but the ways that I knew him were particularly formative for me and my career. I first heard him play with late bassist Gary Costello on the sublime Paul Grabowsky trio album<em> 6 x 3</em>. And then my friend - the extraordinarily talented Danny Fischer - introduced me to Allan during my first visit to Melbourne in early 1999. Allan was very gracious, and it was a treat to hear him acoustically with my own ears at the now defunct Bennetts Lane club. My next and only other two encounters with Allan personally were at the Wangaratta Jazz Festival in 2004, and again in 2011. I was a contestant in the National Jazz Awards, and Allan, along with Ted Vining, was a judge.<br><br>On both occasions I didn't even expect to get into the top ten as I hadn't been playing the drums much leading up to the contest but I thought it'd be fun to put an entry in to see what happened. Not only was I pleasantly surprised get into the top ten, but I wound up winning third place both times. Unfortunately I didn't get a chance to converse with Allan for too long in 2011 except a brief exchange in a restaurant while Patrice and I were having dinner with John Morrison and Jacki Cooper the night before the contest. I'll always remember the brief interaction I shared with Allan in 2004 though.<br><br>At the time, I'd been thinking about ways of exploring some solo drumming ideas, and so I decided to play Thelonious Monk's <em>Round Midnight</em> as an unaccompanied drum solo in the heats that year. It seemed to go over really well, and I got into the finals. I then decided to take a big risk, and to play Monk's <em>Trinkle Tinkle </em>in the finals, but I ended up getting a little tongue-tied in that one, and it was more or less a failure. I felt pretty down about it as I felt like I'd disgraced myself in front of a packed Wangaratta Town Hall, but as I was walking back to the hotel that night, I passed Allan in the street, and all he said to me was, "we loved <em>Round Midnight</em>, mate!" Hearing him say it in his inimitably soft and endearing tone lifted my spirits, and I always keep that statement of his in the forefront of my mind whenever I have to approach any solo settings these days as I believe he knew I needed to hear that on a human level. Thank goodness for the recorded legacy he left us. I can't think of any other drummer whose aesthetic spanned so completely and authentically across the gamut from traditional New Orleans music to contemporary piano trio. He was an inspiration for sure, and my heartfelt condolences go out to his large and close family.<br><br><span style="color:#3f5776;"><strong><span class="font_large">What's the latest?</span></strong></span><br><br>It was a massive month for me, and here's a blow by blow account of what happened...<br> <div><strong>Dave Goodman Quartet launch at Venue 505 in Sydney</strong></div>Probably the most exciting event was the launch of my new band – the Dave Goodman Quartet – at Venue 505 in Sydney. Peter Koopman, Matt McMahon and Cameron Undy each played brilliantly on our first gig as a quartet, and I was very happy to finally present some of my new pieces to a live audience. What impresses me most about this combination of players is the uniqueness of the combined sound generated by our interactions. My pieces have not only now been played, but they've taken on new lives in so many exciting and interesting ways that I could not have planned. Our next gig is for the Sydney Improvised Music Association (SIMA) in the Sound Lounge at the Seymour Theatre Centre on Friday 21 August 2015 from 8:30 PM. I do hope you can join us that night, and you can <a contents="order your tickets by clicking here" data-link-label="" data-link-type="url" href="http://davegoodman.com.au/event/1285112/159866461/dave-goodman-quartet" target="_blank">order your tickets by clicking here</a>.<br><br>In the meantime, if you'd like to hear some of the highlights from our 505 gig, here's a playlist of tunes on YouTube:<br> <div style="text-align: center;"><iframe class="justify_inline" data-video-type="youtube" data-video-id="L-qsjtjGt-U" data-video-thumb-url="http://img.youtube.com/vi/L-qsjtjGt-U/0.jpg" type="text/html" src="https://www.youtube.com/embed/L-qsjtjGt-U?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="400" width="640" allowfullscreen="true"></iframe></div><br><br><strong>Dave Goodman Drum Clinic in Sydney</strong><br>I left my drums set up at 505 after my band finished on the Friday night to present a two-hour drum clinic. As well as being primarily educational in nature, I gave away a bunch of door prizes courtesy of Sonor Drums & Bosphorus Cymbals. There was a good turnout, and people were receptive to the ideas of improving coordination and developing soloing repertoire that I covered. Video footage of the clinic will be up on YouTube in the early days of the month. Once it's up, it will be featured on my <a contents="video page" data-link-label="" data-link-type="url" href="http://davegoodman.com.au/videos#clinics" target="_blank">video page</a>. Joanne Kee also interviewed me about my clinics for the Jazz Australia website. The interview is here: <a contents="http://jazz.org.au/music-is-infinite/" data-link-label="" data-link-type="url" href="http://jazz.org.au/music-is-infinite/" target="_blank">http://jazz.org.au/music-is-infinite/</a><br> <div class="captioned justify_center"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/f16e9c5665e2bba6c0052430e30251181ac38021/large/abc-068-lr.jpeg?1435680576" class="size_orig justify_center border_" /><p class="caption">Clinic photo by Aaron Blakey</p></div><br><br><strong>Steve Barry Trio at Wellington Jazz Festival (NZ)</strong><br>Max Alduca and I joined award-winning pianist Steve Barry to form his trio for a set of music at New Zealand's Wellington Jazz Festival. We played completely acoustically in the beautiful St Peters On Willis church hall. It was my first ever trip to New Zealand, and I loved it. I've never seen so many coffee shops within such close proximity to one another - I was in heaven!<br> <div><div class="captioned justify_center"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/360b0878a5b105658841a2c2cdc7a0b30531e32b/large/dsc-3549.jpeg?1435706895" class="size_orig justify_center border_" /><p class="caption">With Steve Barry Trio at Wellington Jazz Festival. Photo by Philippe Lasfargues.</p></div></div><br><br><strong>Three Fall album recording sessions</strong><br>I got off the plane from Wellington here in Sydney, and the next day went into the studio for a week-long series of album recording sessions for a trio I'm in with pianist Nick Southcott and bassist Max Alduca called Three Fall. It is a collaborative trio and each of us contributes our own music. The recording came about because Three Fall was announced as the winner of the 2015 Cranbrook Recording Studio Competition last month. We had a beautiful time recording some new music, and the album will be released and launched in August, so I'll give you some more details then.<br> <div class="captioned justify_center"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/745087ee022fe5b294157cd164e0aa8450cc6306/original/11417240-885823351456703-2011598501-n.jpg?1435675251" class="size_orig justify_center border_" /><p class="caption">Setup for Three Fall recording session.</p></div><br><br><strong>Francesca Prihasti Quartet</strong><br>Pianist/composer Francesca Prihasti continued her campaign for the launch of her new album <em>Night Trip</em> this time for NIMA in Newcastle. The album was recorded in New York with Ulyses Owens Jr. on drums and Marco Panascia on bass. Francesca writes some of my favourite music to play, and I had a great night playing with Francesca alongside Nic Vardanega on guitar and David Groves on bass. <a contents="get Night Trip on iTunes" data-link-label="" data-link-type="url" href="https://geo.itunes.apple.com/au/album/night-trip/id968366228?uo=6&at=1l3vuR2" target="_blank">Get <em>Night Trip</em> on iTunes</a>.
<div>
<br><strong>PERCUSscene #15</strong><br>I was interviewed by Gary France for the new edition (#15) of <em>PERCUSscene</em>, which will accompany Issue #81 of <em>DRUMscene</em>. The main thrust of the interview was on the nature of my PhD, and it will appear in the context of other Australian drumming PhDs. Should be an interesting read, and you can order a copy here: <a contents="http://www.drumscene.com.au/" data-link-label="" data-link-type="url" href="http://www.drumscene.com.au/" target="_blank">http://www.drumscene.com.au/</a><br><br><strong>Mike Rivett plays Freedman Jazz at Sydney Opera House</strong><br>You may remember from an earlier newsletter that I was asked by The Music Trust to be a nominator for this year's prestigious Freedman Jazz Fellowship. I'm pleased to announce that one of my nominees, the brilliant Cairns-based saxophonist and composer Mike Rivett, has made it into the finals, and will perform with his band at Sydney Opera House Studio on Monday 20 July along with the other finalists. I'm really looking forward to hearing this concert, and I hope to see you there - big congratulations to Mike!<br><br><span style="color:#3f5776;"><strong><span class="font_large">What's coming up?</span></strong></span><br><br>Lots of great gigs coming up in July. Here's an overview:</div>
<ul> <li>
<strong>Aaron Michael Band</strong>, <a contents="Wed 8 Jul @ Lazybones Lounge" data-link-label="" data-link-type="url" href="http://davegoodman.com.au/event/1287048/160770911/aaron-michael-band" target="_blank">Wed 8 Jul @ Lazybones Lounge</a>
</li> <li>
<strong>Steve Barry Trio</strong>, <a contents="Thu 9 Jul @ Venue 505" data-link-label="" data-link-type="url" href="http://davegoodman.com.au/event/1287079/160770996/steve-barry-trio" target="_blank">Thu 9 Jul @ Venue 505</a>
</li> <li>
<strong>Warwick Alder's Jazzgnostics</strong>, <a contents="Fri&nbsp;10 Jul @ The Sound Lounge (SIMA)" data-link-label="" data-link-type="url" href="http://davegoodman.com.au/event/1287043/160770906/the-jazzgnostics" target="_blank">Fri 10 Jul @ The Sound Lounge (SIMA)</a>
</li> <li>
<strong>Andy Fiddes Trio</strong>, <a contents="Tue14 Jul @ Foundry 616 (Jazzgroove)" data-link-label="" data-link-type="url" href="http://davegoodman.com.au/event/1287037/160770900/andy-fiddes-trio" target="_blank">Tue14 Jul @ Foundry 616 (Jazzgroove)</a>
</li> <li>
<strong>Steve Barry Trio</strong>, <a contents="Fri 24 Jul @ The Sound Lounge (SIMA)" data-link-label="" data-link-type="url" href="http://davegoodman.com.au/event/1275561/156259108/steve-barry-trio" target="_blank">Fri 24 Jul @ The Sound Lounge (SIMA)</a>
</li>
</ul>
<div>I really hope to see you and to play for you at one or a few of these gigs!<br><br>Thanks for reading. I'd love to hear from you, so please feel free to leave a comment below. If you'd like to receive these messages and special offers delivered directly to your email inbox, please join my mailing list by visiting <a contents="http://davegoodman.com.au/signup" data-link-label="Signup" data-link-type="page" href="/signup">http://davegoodman.com.au/signup</a> - you'll also receive a free download copy of my new track 'Entelechies'.</div>
<div>
<br>Enjoy July!<br><br>Best regards,<br> <div>DG<br><br> <hr>
</div>
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Dave Goodman
tag:davegoodman.com.au,2005:Post/3726637
2015-06-03T11:04:55+10:00
2017-01-25T20:55:40+11:00
'Music is Infinite' Interview by Joanne Kee on Jazz Australia
Here's an interview with Dave Goodman by Joanne Kee that was originally published on Jazz Australia, 2nd June 2015: <a contents="http://jazz.org.au/music-is-infinite/" data-link-label="" data-link-type="url" href="http://jazz.org.au/music-is-infinite/" target="_blank">http://jazz.org.au/music-is-infinite/</a>
<p><em>Dave Goodman talks about drums, drumming and workshops with Joanne Kee </em></p>
<p><strong><img src="//d10j3mvrs1suex.cloudfront.net/u/152425/43cf8f95b98551cfaff5b77cd209b602c89b3b2d/original/dgpics3.jpg?1485237988" class="size_l justify_left border_" />JK:</strong> Why are you doing this? </p>
<p><strong>DG:</strong> I’m doing this because I believe in doing as much as I can to enhance the culture of creativity around music and the performing arts in this country and around the world. I’ve been very fortunate to have learned a great deal after receiving music lessons and education from some of the world’s greatest teachers, and so I don’t want the flow of that particular information to stop with me when my life stops. It’s pretty easy to prove with simple mathematics that music is infinite, and over the last 20 years of professional practise and study, I’ve developed a number of systems for myself in order to imbue my work with as many tiny little fragments of this musical infinity as I possibly can. These are systems that anyone can learn. They help people to generate their own music and to keep working on it until they’re happy with it. I know these systems work because I’ve been teaching them to my private students since I graduated with my PhD, and what they’ve been coming up with sounds consistently unique and interesting. I really want to pass this information on intact to as many people around the world as possible, and drum clinics are a great forum in which to do so. </p>
<p><strong>JK:</strong> Is it only for jazz drummers? </p>
<p><strong>DG:</strong> I’m primarily known for my jazz drumming, and jazz drumming is what I’m particularly passionate about. My drum clinics, however, are aimed at anyone simply willing to learn more about drumming, and not just drummers. This is because, across all genres, drumming in general involves a reliable use of improvisation ninety-nine percent of the time, and what I like to talk about are the ways I’ve found helpful in developing my’s improvisational facilities. Improvisation includes a number of aspects such as honing good technique, building and maintaining good repertoire building blocks, and understanding general theoretical components. Although it’s not just for jazz drummers, certainly the material I’ll be covering regarding improvisation will resonate particularly well for anyone familiar with jazz drumming. </p>
<p><strong>JK:</strong> Who is the workshop aimed at? </p>
<p><strong>DG:</strong> Actually, I make a distinction between masterclasses, workshops and clinics. A masterclass is very hands on where each attendee receives individual personal attention and feedback from the instructor throughout. A workshop is more general in that attendees get hands on experience, but not necessarily the direct attention and feedback they’d get in a masterclass. This event is a clinic, and in a clinic, there’s minimal participation from attendees as it’s more about delivering new information in a lecture and demonstration format. One or two people may be asked to perform a thing or two during the afternoon if it helps with the delivery of information. Although anyone of any age and level of experience is welcome, I’m aiming particularly at presenting these ideas to students between 15 and 35 years who are involved in playing music with a band of some sort, be it professional or amateur, and/or who teach students of their own. Actually, ‘amateur’ originally meant ‘lover of something in particular’ and so, ideally, I’m aiming at the amateur drummer in everyone. Again, the main factor is the willingness to learn and to assimilate new things. </p>
<p><strong>JK:</strong> How is Sonor involved? </p>
<p><strong>DG:</strong> Sonor is involved at the core of what I do because they made my drums. I officially began endorsing Sonor drums in 1999 when I was playing every week on national television. My relationship with the company has endured since then, and it’s a partnership that I’m particularly proud of. Since I was very young, I always had a sense that Sonor made the best drums in the world. Since I started playing them, I’ve grown to simply just know this to be fact. Sonor supply me with my drums, which bring the membranophonic part of my musical voice to life. Same for Bosphorus Cymbals: they give life to the idiophonic part of my musical voice by supplying the cymbals that I love to play. In particular, for this event, Sonor and Bosphorus are involved at the level of providing some promotional door prizes for a handful of lucky attendees. </p>
<p><strong>JK:</strong> What can we expect? </p>
<p>DG: I intend to open and close the afternoon by playing along with a couple of pieces that I’ve composed and programmed into my computer. These serve to put a ‘musical frame’ around the ideas I’ll discuss in the middle, which are densely technical and theoretical in nature. I may play an unaccompanied solo depending on how I feel on the day, but my main interest in setting up such an event is in helping people get closer to their their own music through education, and not to try and bedazzle anyone with my drum solos. I’ll have a printed handout that everyone can take home to digest and I will demonstrate the material in those handouts. People can expect to come away with some concrete tools with which to become better drummers, and to get closer to the music they love to play. You can also expect this to be a great opportunity to hang out and rub shoulders with other like-minded drummers. </p>
<p><strong>JK:</strong> Plans for the future? </p>
<p><strong>DG</strong>: For the future, I plan to regularly and continually originate more of my own creative works, to lead my own bands, and to educate musicians as this is my vocation in life, and I really enjoy doing this kind of work. My jazz quartet will actually be performing at the same venue the night before the clinic, and I’ll be leaving my drums set up overnight. What a luxury! I’d like to keep developing new compositions for my band, and for my solo clinic presentations, and to take these around the country and around the world in a similar format. I’m also involved in producing a series of video lessons that are for sale exclusively through my website. These really give me the opportunity to preserve the essence of the best of everything I’ve been taught across a range of drumset disciplines, and I plan to make many more of these available over time. </p>
<p>I’m in the throes of recording and marketing my solo pieces, which I’m releasing one at a time exclusively on my website. When enough pieces have been produced, I will compile them into volumes of albums over time. </p>
<p>Currently I’m researching funding avenues that will help me to satisfactorily record, produce and release my quartet’s first album, as well as my first solo album. I also plan to set up a number of masterclasses and workshops for different applications as I described earlier. I could spend every waking minute of the rest of my life, and yours Joanne, on exploring the infinitude of what music truly has to offer us all, and I will not even have scratched the surface of what’s possible by the time I draw my last breath. It’s true that the best is yet to come. </p>
<p>Two-hour drum clinic in Sydney </p>
<p>from 1:00 PM on Saturday 20th June 2015 </p>
<p>Venue 505, 280 Cleveland St, Surry Hills. </p>
<p>Further details and tickets are available from: </p>
<p><a contents="http://davegoodman.com.au/event/1249754/150903030/dave-goodman-drum-clinic" data-link-label="" data-link-type="url" href="http://davegoodman.com.au/event/1249754/150903030/dave-goodman-drum-clinic" target="_blank">http://davegoodman.com.au/event/1249754/150903030/dave-goodman-drum-clinic</a></p>
Dave Goodman
tag:davegoodman.com.au,2005:Post/3717262
2015-06-01T02:00:00+10:00
2017-02-05T11:32:02+11:00
June 2015
<div>Dear friends,</div><br>May brought with it the opportunity to once again ask the eternal question: "where does the apostrophe go?" Ella and I had a nice time celebrating a happy day for Ella's mummy, and I celebrating a happy day for my own mother, so I like to use the plural possessive to celebrate mothers everywhere in wishing them a happy Mothers' Day. I hope you and all the mums around you had a nice day too.<br><br><br><span style="color:#5489b8;"><strong><span class="font_large">What's the latest?</span></strong></span><br><br><br><strong>New Track: <em>Maitreya</em> - Dave Goodman Solo</strong><br>I have released a new track called <em>Maitreya</em>, which is for sale exclusively from my website. <em>Maitreya</em> is a piece I wrote to perform at a Sydney Drummers Initiative drum clinic I did some years back (although it had a different title at that time), and I've also performed it at a handful of other clinics and events since. It features the great Matt McMahon playing a Moog solo. Matt is incredible on this one in that, after he got a feel for what the piece was all about, I captured this solo in what was, effectively, the first take.<br><br><em>Maitreya</em> is the first in a series of pieces that I'm composing for performance and recording with my computer under the guise of Dave Goodman Solo, or simply just Dave Goodman. My previously released track <em>Entelechies</em> is also a part of this series - composed later, but recorded earlier. This series is made up of stuff that I perhaps wouldn't play in my quartet, and that I don't place any artistic filters or limits on: total freedom of individual self-expression. The pieces are also typically for performance in drum clinics. When I wrote <em>Maitreya</em>, I had just finished writing my doctoral thesis and I was still under the spell of Tony Williams. There's a track called 'Eris' from his 1979 album <em>The Joy of Flying</em> on which he played in duet with Jan Hammer, and so this is my little homage to Tony & Jan. <a contents="Get Maitreya here." data-link-label="" data-link-type="url" href="http://davegoodman.com.au/maitreya" target="_blank">Get Maitreya here</a>.<br> <div style="text-align: center;"><iframe class="justify_inline" data-video-type="youtube" data-video-id="tuIkkaMOo9w" data-video-thumb-url="http://img.youtube.com/vi/tuIkkaMOo9w/0.jpg" type="text/html" src="https://www.youtube.com/embed/tuIkkaMOo9w?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="400" width="640" allowfullscreen="true"></iframe></div>
<div style="text-align: center;">View footage from the recording session</div><br><strong>Trioflight wins the 2015 Cranbrook Recording Studio Competition</strong><br>One trio I really enjoy playing in is Trioflight with pianist Nick Southcott and bassist Max Alduca. It is a collaborative trio and each of us contributes our own music to be played. We enjoyed playing alongside a collective of poets and other musical artists for new, regular event New Sounds New Words in Glebe in May.<br><br>Trioflight was announced as the winner of the 2015 Cranbrook Recording Studio Competition this month. We'll be taking advantage of nine days of recording time at the Cranbrook studio, mixing and mastering at Studios 301, and the printing of 400 CDs with artwork designed by the Cranbrook School Marketing and Communications Department. We'll also be presenting a masterclass for Cranbrook School music students, and launching the album at a Cranbrook event later in the year. I'll let you know about that closer to the date.<br> <div>
<img src="//d10j3mvrs1suex.cloudfront.net/u/150720/55f5041e96665bfa706c34744601ee7d39cb785c/medium/will-harpur-at-drumscene-live-2015.jpg?1433040440" class="size_m justify_left border_" /><em><strong>DRUMscene</strong></em>
</div>Will Harpur (pictured, left), one of my current students, opened the <em>DRUMscene Live Australian Tour 2015</em> in Sydney with an open drum solo. He was followed by some of the biggest drumming names in the world today: Jojo Mayer, Todd Sucherman, Jason Heerah and Dom Famularo. Will won Australia's Best Junior Drummer at The Ultimate Drummers' Weekend in Melbourne in 2013, and I recently interviewed him about his drumming in the lead up to the event. <a contents="Here's what he had to say." data-link-label="" data-link-type="url" href="http://davegoodman.com.au/home/blog/will-to-open-drumscene-live-sydney-2015" target="_blank">Here's what he had to say</a> along with some commentary from Dom Famularo, and <em>DRUMscene</em> managing director and founder Frank Corniola. I also feel privileged and honoured beyond words that Frank included my name amongst a list of many of my peers, mentors and heroes as being one of Australia's "brilliant and unique drummers" who has "contributed in their own way to the development of Australian drumming, our sound and our identity". This appears in the magazine's current 20th anniversary edition in which Frank also recalls a great many interesting anecdotes about his unique experiences over the past 20 years of running the magazine. Find your copy at the <a contents="Drumscene website" data-link-label="" data-link-type="url" href="http://www.drumscene.com.au/" target="_blank"><em>DRUMscene</em> website</a>.
<div> </div>
<div>
<strong>Other gigs</strong><br>Trumpeter Warwick Alder's band The Jazzgnostics played at The Grand Hotel in Newcastle again in May. I love the way this band is evolving, and look forward to playing some more dates later in the year. To me, as well as writing some interesting new pieces, playing great trumpet and being a fount of great stories and jokes, Warwick Alder plays the best ballad in the world.<br><br>I played a gig with legendary trombonist Dave Panichi (who filled in for saxophonist Aaron Michael at the last minute) at Lazybones Lounge in Marrickville with Matt McMahon on keyboards and Karl Dunnicliff on bass. Last year, saxophonist Aaron released a live album that I played on. I was filling in for Paul Derricott that night for the first time, and it turned out to be a great gig that Aaron decided to release the recording of. <a contents="Aaron Michael Band - Live at Venue 505" data-link-label="" data-link-type="url" href="https://geo.itunes.apple.com/au/album/live-at-venue-505/id907937023?uo=6&at=1l3vuR2" target="_blank">Get <em>Aaron Michael Band Live</em> on iTunes</a>.<br> </div>
<div><div>As part of guitarist/composer Nic Vardanega's Featured Artist residency for Jazzgroove over their April/May program, I played a very nice gig with Nic in trio format this month with David Groves on bass. Nic recently launched his beautiful new album <em>Inverno</em>, which features excellent drumming from James "Pug" Waples. <a data-link-label="" data-link-type="url" href="https://geo.itunes.apple.com/au/album/inverno/id950583048?uo=6&at=1l3vuR2" target="_blank">Get <em>Inverno</em> on iTunes</a>.</div></div>
<div>
<br><br><span style="color:#5489b8;"><strong><span class="font_large">What's coming up?</span></strong></span><br><br> <div><strong>Dave Goodman Quartet launches at Venue 505 in Sydney</strong></div>I’m excited to announce and invite you to the official launch of my new band – the Dave Goodman Quartet – at Venue 505 in Sydney from 8:00 PM on Friday 19th June. I’m very lucky to have Peter Koopman on guitar, Matt McMahon on piano, Cameron Undy on bass, and myself on drums to play through two sets of my original compositions, many of which are new. It’s been a long time in the making and the start of a whole phase in my career as a bandleader. Please feel free to share this link and/or to forward this email to any of your friends who would be interested in attending. I really hope you can join us on what will be a great night! <a data-link-label="" data-link-type="url" href="http://davegoodman.com.au/event/1232157/150903025/dave-goodman-quartet">Details and tickets available here</a>. <br><br><strong>Dave Goodman Drum Clinic in Sydney</strong><br>I'll be presenting a two-hour drum clinic in Sydney from 1:00 PM on Saturday 20th June at Venue 505 in Sydney. As well as being primarily educational in nature, I hope for the event to be a big drum hang, and door prizes will be courtesy of Sonor Drums & Bosphorus Cymbals. Non-drummers interested in gaining some insight into drumming are also welcome. <a href="http://davegoodman.com.au/event/1249754/150903030/dave-goodman-drum-clinic">Details and tickets available here</a>.<br><br><strong>Steve Barry Trio plays Wellington Jazz Festival (NZ)</strong><br>Max Alduca and I will join award-winning pianist Steve Barry to form his trio for a set of music at New Zealand's Wellington Jazz Festival on Friday 5th June. This will actually be my first-ever trip to New Zealand, so I'm super excited about this - not to mention that it's an exciting and rewarding challenge playing Steve's music with him. <a contents="http://davegoodman.com.au/event/1207389/144699019/steve-barry-trio" data-link-label="" data-link-type="url" href="http://davegoodman.com.au/event/1207389/144699019/steve-barry-trio" target="_blank">Details and tickets available here</a>.<br><br><strong>Francesca Prihasti Quartet</strong><br>Pianist/composer Francesca Prihasti continues her campaign for the launch of her new album <em>Night Trip</em> this time for NIMA in Newcastle, NSW on Tuesday 23rd June with Nic Vardanega on guitar and David Groves on bass. The album was recorded in New York with Ulyses Owens Jr. on drums and Marco Panascia on bass. Francesca writes some of my favourite music to play, so this will be a great night. <a contents="http://davegoodman.com.au/event/1262401/152401300/francesca-prihasti-quartet" data-link-label="" data-link-type="url" href="http://davegoodman.com.au/event/1262401/152401300/francesca-prihasti-quartet" target="_blank">Details and tickets available here</a>. You can also <a contents="get Night Trip on iTunes" data-link-label="" data-link-type="url" href="https://geo.itunes.apple.com/au/album/night-trip/id968366228?uo=6&at=1l3vuR2" target="_blank">get <em>Night Trip</em> on iTunes</a>.<br><br>That's all from me for now. Enjoy your June!</div>
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<br>Best regards,<br> <div>DG<br> <hr> <div style="text-align: center;"><span class="font_small">If you'd like to receive these messages and special offers delivered directly to your email inbox, please join my mailing list by visiting <a contents="http://davegoodman.com.au/signup" data-link-label="Signup" data-link-type="page" href="/signup">http://davegoodman.com.au/signup</a> - you'll also receive a free download copy of my new track 'Entelechies'.</span></div>
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Dave Goodman
tag:davegoodman.com.au,2005:Post/3682077
2015-05-01T02:00:00+10:00
2017-02-05T10:22:49+11:00
May 2015
<div><span style="text-align: left;">Dear friends,</span></div><br>I hope you enjoyed April and that it was a successfully productive month for you. If you're in Sydney, I hope you weren't adversely affected by the recent storms.<br><br>I celebrated the completion of my 38th orbit around the Sun in late April, which means I've now lived in Sydney for 20 years. What a great time it is to be alive, and it's great to be in Sydney. Birthdays sure are interesting times for reflection, but the future is so perennially brimming with new possibility that I find I'm much more interested in looking ahead to finding out as much as I can about what's possible, particularly in music.<br><br>As I grow older, I'm starting to find that I'm appreciating more and more of what is, for me, a relatively new aesthetic. It might sound a little cliché, but this aesthetic values more of the beautiful complexity that lies behind just one note, and how this one note relates to all other people, places and events in time, space and velocity. It seems there's a tiny glimpse of infinity behind each musical sound wave, and the more relaxed, clear and balanced one is, the more the infinite has a chance at shining through.<br><br><br><span class="font_large"><strong>What's the latest?</strong></span><br><br><strong>David Perry</strong><br>I was saddened to hear of the passing of artist, film maker and jazz enthusiast David Perry in April. I first met David in 1997 as I was featured as a soloist in a film he made called <a contents="Dr Jazz" data-link-label="" data-link-type="url" href="http://davegoodman.com.au/videos#dvds" target="_blank"><em>Dr Jazz</em></a>. It was my first gig in Mike Nock's quartet, and it was my first professional experience performing to cameras. There's a really nice montage in <em>Dr Jazz</em> in which one of my solos dovetails with solos by Toby Hall and John Pochée and I'm very proud to have been a part of that. My sincere condolences go out to David's family.<br> <div>
<strong>Nic Vardanega Quartet</strong><br>I played two very nice gigs this month with guitarist/composer Nic Vardanega and his quartet featuring pianist Steve Barry and bassist David Groves. These gigs served to help Nic launch his beautiful new album <em>Inverno</em>, which features excellent drumming from James "Pug" Waples. We played in Newcastle and then for Jazzgroove in Sydney to warm, receptive crowds. <a data-link-label="" data-link-type="url" href="https://itunes.apple.com/au/album/inverno/id950583048?uo=6&at=1l3vuR2&ct=" target="_blank">Get <em>Inverno</em> on iTunes.</a><br><br><strong>Canberra with Greg Stott and James Luke</strong><br>In between Nic's two dates I went to Canberra to play a gig with Canberra guitarist Greg Stott and bassist James Luke at The National Press Club. I've known Greg for a few years now, but this was our first gig together, and I'm going to make sure it's the first of many. It was also great to play with James again as the last time we played was at an informal jam with trombonist Dave Panichi way back in the early 2000s. I couldn't resist having my photo taken next at The Press Club to this classic photo of John Howard in Ian Sinclair's office featuring an unfortunate shadow cast over Howard's head:<br> <div><div><div class="captioned justify_center"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/a68b5632ecdbb482769cadfe89567d0b118ce11d/original/11176251-450636261760117-743263032-n.jpg?1430316439" class="size_orig justify_center border_" /><p class="caption">The National Press Club, Canberra, 10 Apr 2015</p></div></div></div>
<br><strong>New Track: <em>Maitreya</em> - Dave Goodman Solo</strong><br>Whilst in Canberra, I took the opportunity to go once again into <a contents="Hi Hat Music Studio" data-link-label="" data-link-type="url" href="http://hihat.com.au/" target="_blank">Hi Hat Music Studio</a> to record drums on the track <em>Maitreya</em>. <em>Maitreya</em> is a piece I wrote to perform at a Sydney Drummers Initiative drum clinic I did some years back, and I've also performed it at a handful of other clinics and events since. It features the great Matt McMahon playing a Moog solo. Matt is incredible on this one in that, after he got a feel for what the piece was all about, I captured this solo in what was, effectively, the first take.<br><br><em>Maitreya</em> is the first in a series of pieces that I'm composing for performance and recording with my computer under the guise of Dave Goodman Solo, or simply just Dave Goodman. My previously released track <em>Entelechies</em> is also a part of this series - composed later, but recorded earlier. This series is made up of stuff that I perhaps wouldn't play in my quartet, and that I don't place any artistic filters or limits on: total freedom of individual self-expression. The pieces are also typically for performance in drum clinics. When I wrote <em>Maitreya</em>, I had just finished writing my doctoral thesis and I was still under the spell of Tony Williams. There's a track called 'Eris' from his album <em>The Joy of Flying</em> on which he played in duet with Jan Hammer, and so this is my little homage to Tony & Jan. <a contents="Get Maitreya here." data-link-label="Maitreya" data-link-type="page" href="/maitreya" target="_blank">Get <em>Maitreya</em> here.</a><br> <div class="captioned justify_center"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/aa2bd3b525b514fa147ccd9aaa6484f0cc752fac/original/11116985-1712429355650672-1230128589-n.jpg?1430315912" class="size_orig justify_center border_" /><p class="caption">My setup for recording 'Maitreya' in Canberra</p></div>
<br><strong>Francesca Prihasti</strong><br>Pianist/composer Francesca Prihasti also launched her new album <em>Night Trip</em> at Jazzgroove in Sydney in April and I was lucky enough to play her music with her again that night. The album was recorded in New York with Ulysses Owens Jr. on drums and Marco Panascia on bass. Francesca writes some of my favourite music to play, and we had a great night at Jazzgroove.<br><br><em><strong>DRUMscene</strong></em><strong> mention</strong><br>I feel honoured to be mentioned amongst many of my peers and luminaries as one of Australia's great drummers by founder, editor and publisher of Australian drum magazine <em>DRUMscene</em> Frank Corniola in the magazine's current 20th anniversary edition. You can find a copy at the <a contents="Drumscene website" data-link-label="" data-link-type="url" href="http://www.drumscene.com.au/" target="_blank"><em>DRUMscene</em> website</a> in case you missed it.</div>
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<strong>The Music Trust - Freedman Jazz nominations and album reviews</strong><br>For this month's Music Trust review, I had the pleasure of writing about <em>Brotherhood</em>, a great new album by Perth trio Nick Abbey, Chris Foster & Ben Falle. The review is available to read on <a contents="my profile page at The Music Trust" data-link-label="" data-link-type="url" href="http://musictrust.com.au/author/dave-goodman/" target="_blank">my profile page at The Music Trust</a>, and you can <a contents="Abbey|Foster|Falle - Brotherhood" data-link-label="" data-link-type="url" href="https://itunes.apple.com/au/album/brotherhood/id828295583?uo=6&at=1l3vuR2&ct=" target="_blank">get <em>Brotherhood</em> on iTunes</a>.<br><br><br><span class="font_large"><strong>What's coming up?</strong></span><br><br><strong>Warwick Alder's Jazzgnostics</strong><br>The Jazzgnostics will be playing <a contents="Jazzgnostics at The Grand Hotel in Newcastle" data-link-label="" data-link-type="url" href="http://davegoodman.com.au/event/1167133/125063206/the-jazzgnostics" target="_blank">The Grand Hotel in Newcastle</a> again in May. I love the way this band is evolving, and look forward to playing some more dates later in the year. To me, as well as writing some interesting new pieces, playing great trumpet and being a fount of great stories and jokes, Warwick Alder plays the best ballad in the world.<br><br><strong>Aaron Michael Band</strong><br>Last year, saxophonist Aaron Michael released a live album that I played on. I was only filling in for Paul Derricott that night for the first time, and it turned out to be a great gig that Aaron decided to release the recording of. I'll be playing in Aaron's band again this month at <a contents="Lazybones Lounge in Marrickville" data-link-label="" data-link-type="url" href="http://davegoodman.com.au/event/1232154/144699021/aaron-michael-band" target="_blank">Lazybones Lounge in Marrickville</a> with Matt McMahon on keyboards and Karl Dunnicliff on bass. You can also <a contents="Aaron Michael Band - Live at Venue 505" data-link-label="" data-link-type="url" href="https://itunes.apple.com/au/album/live-at-venue-505/id907937023?uo=6&at=1l3vuR2&ct=" target="_blank">get the <em>Aaron Michael Band Live</em> album on iTunes</a>.<br><br><strong>Trioflight</strong><br>One trio I really enjoy playing in is Trioflight with pianist Nick Southcott and bassist Max Alduca. We've been together for about 18 months now and we have a handful of gigs under our belt. Nick's new original compositions are absolutely brilliant, and we're looking forward to playing at <a contents="New Sounds New Words #1 in Glebe on 7th May" data-link-label="" data-link-type="url" href="http://davegoodman.com.au/event/1237984/146810308/three-fall" target="_blank">New Sounds New Words #1 in Glebe on 7th May</a> alongside a collective of poets and other musical artists.<br><br><strong>Nic Vardanega Trio</strong><br>As part of Nic's Featured Artist residency for Jazzgroove over their April/May program, I'll be <a contents="back at Jazzgroove with Nic again later in the month" data-link-label="" data-link-type="url" href="http://davegoodman.com.au/event/1186555/130571063/nic-vardanega-trio-jazzgroove-featured-artist-for-april-may" target="_blank">back at Jazzgroove with Nic again later in the month</a>, but this time in trio format with David Groves on bass once again.<br> </div><strong>Will Harpur opens <em>DRUMscene Live 2015</em></strong><br>Will Harpur, one of my current students, will be opening the <a contents="DrumScene On Tour 2015&nbsp;Sydney show on 20 May" data-link-label="" data-link-type="url" href="http://www.drumscene.com.au/events/past-events/item/498-drumscene-live-australian-tour-2015" target="_blank">DRUMscene Live Australian Tour 2015 - Sydney on 20 May</a> with a ten minute open drum solo. He will then be followed by some of the biggest drumming names in the world today: Jojo Mayer, Todd Sucherman, Jason Heerah and Dom Famularo. Will won Australia's Best Junior Drummer at The Ultimate Drummers' Weekend in Melbourne in 2013. I recently interviewed Will about his drumming. <a contents="Here's what he had to say." data-link-label="" data-link-type="url" href="http://davegoodman.com.au/home/blog/will-to-open-drumscene-live-sydney-2015" target="_blank">Here's what he had to say</a> along with some commentary from Frank Corniola and Dom Famularo.<br><br><strong>Dave Goodman Quartet at Venue 505 in June</strong><br>I know I'm jumping ahead a month, but I wanted you to know that I will be officially launching my new quartet and repertoire with Peter Koopman on guitar, Matt McMahon on piano, and Cameron Undy on bass at <a contents="Venue 505 on Friday 19 June" data-link-label="" data-link-type="url" href="http://davegoodman.com.au/event/1232157/144699025/dave-goodman-quartet" target="_blank">Venue 505 on Friday 19 June</a> in case you're able to come. There'll be more details in next month's newsletter, but I wanted to give you the opportunity to "save the date".<br> <div>Thanks for reading and, as always, I'd love to hear from you, so please feel free to <a contents="write to me here" data-link-label="Contact" data-link-type="page" href="/contact" target="_blank">write to me here</a> and I'll get back to you as soon as I can.<br style="color: rgb(34, 34, 34); font-family: Arial, Verdana, sans-serif; font-size: 12px;"><br>Have a great month!<br><br>Best regards,<br><br>DG<br> <hr> <div style="text-align: center;"><span class="font_small">If you'd like to receive these messages and special offers delivered directly to your email inbox, please join my mailing list by visiting <a contents="http://davegoodman.com.au/signup" data-link-label="Signup" data-link-type="page" href="/signup">http://davegoodman.com.au/signup</a> - you'll also receive a free download copy of my new track 'Entelechies'.</span></div>
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Dave Goodman
tag:davegoodman.com.au,2005:Post/3682043
2015-04-30T21:18:44+10:00
2017-10-06T22:15:29+11:00
Will to Open DRUMscene Live - Sydney 2015
<p>Twelve-year-old drummer extraordinaire Will Harpur will open the DRUMscene Live - Sydney 2015 show on Sunday 24 May 2015 from 2:30 PM with a ten-minute drum solo. He'll share the bill that day with some of the most esteemed and original drummers alive today: Jojo Mayer, Todd Sucherman, Jason Heerah, and Dom Famularo. Prior to commencing his drumset studies with me in 2014, Will was initially taught by his father Mal before spending a few years with Gordon Rytmeister.<br><br>I asked Frank Corniola, managing director of Drumtek, <em>DRUMscene</em>, Musictek and Australia's Ultimate Drummers Weekend for his thoughts on Will and his participation in the DRUMscene Live show, and here's what he had to say:</p>
<p>"Since 1993 my team at Drumtek and I have proudly presented 'Australia’s Best Up & Coming Drummer’ competition in three categories: junior, intermediate and open. During this 22-year journey I have been very privileged to meet and hear hundreds of the most talented and dedicated young Australian drummers coming through the ranks. So many of the winners and runner ups have gone on to do big things in the global music industry.<br><br>"Will Harpur is one of these outstanding young drummers that made an enormous impact on all the judges during the 2013 competitions. As a result he was awarded first place in the junior division. When I was planning DRUMscene Live - Sydney, I invited Will to be part of the 'All Star' international line up to further highlight his great talent. Congrats Will on your wonderful achievement and we look forward to hearing you perform at DRUMscene Live".<br><br>Dom Famularo, drumming's global ambassador, took some time out of his current 14-day, 11-city tour of China to write the following about Will, and about <em>DRUMscene</em>:<br><br>"I had the chance to hear Will perform during one of my many visits to Australia for AUDW. Will won the up and coming and he for sure is...up and coming soon! Will is a very musical and talented musician. He really impressed me. He truly is one of the next generation of drum leaders.</p>
<p>"DrumScene Live is a powerful show that inspires people, entertains them and motivates the deep musician in all of us. DrumScene Live brings the magazine to life! Having Will join us will add a level of enthusiasm that will be contagious to all who attend. I look forward to hearing Will and seeing everyone there!!!"</p>
<p>The following is an interview I conducted with Will in the lead up to DRUMscene Live - Sydney 2015.</p>
<hr><div class="captioned justify_left"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/f0fdee97e3f25df79fa49c3fc22b7e5304cc1e64/medium/will-harpur-at-australian-ultimate-drummers-weekend-2013.jpg?1430390963" class="size_orig justify_left border_" /><p class="caption">Will Harpur</p></div>
<p><span class="s1"><b>DG: Will, you’ll be performing on the bill for the DRUMscene Live Australian Tour in Sydney and opening for some of the biggest names in drumming - Jojo Mayer, Todd Sucherman, Jason Heerah & Dom Famularo. How do you feel about this?</b></span><br>WH: I feel very happy and I'm excited to play the opening of the DRUMscene Live Australian Tour. I’m grateful to be able to open the show for Jojo Mayer, Dom Famularo, Todd Sucherman and Jason Heerah. I’m ready to have a chat with them and have a look at some of their great drumming ideas and techniques. And I’m hoping to take away some new ideas from those great drummers. And I’m working as hard as I possibly can to impress them and have a fun gig.<br><br><strong>DG: How did you start as a drummer?</strong><br>WH: When I was about five years old my dad would be drumming and doing gigs all the time, and I would go and watch him and his band play and rehearse. I thought it would be fun to start drumming, and so my dad started teaching me in the house. I would come home from school and watch the Brian Setzer Orchestra every single day for about three months. After that, my dad showed me Buddy Rich, and I would listen to his drumming all the time. Dad would teach me jazz and swing, and a few rock beats. One year later I was playing with the senior band in primary school at the age of seven.</p>
<p><strong>DG: What have you been working on lately?</strong><br>WH: I'm trying to challenge myself as I auditioned for the intermediate section of Australia’s Best Up and Coming Drummer Competition, which is held as part of the Australian Ultimate Drummers' Weekend. So lately I have been working on my solo for that in case I become a finalist. But Frank [Corniola] called and asked me to play at the DRUMscene Live - Sydney, and so I've also been working hard on some solo sections for that including Afro-Cuban, samba, songo, jazz, and some Tony Royster Jr. stuff.</p>
<p><strong>DG: Which recordings do you like to listen to for inspiration?</strong><br>WH: The main recordings that have inspired me include Virgil Donati, Tony Royster Jr., Jojo Mayer, Dom Famularo, Daniel Glass, Steve Smith and the Foo Fighters. I have listened to all of these musicians. They have inspired me to commit to the drumset, and they will continue to do so.</p>
<p><strong>DG: What are some of the highlights you’ve enjoyed as a performer so far?</strong><br>WH: Some highlights in my drumming career were when I got selected in the top three to play a three-minute solo in Melbourne for the junior division of Australia’s Best Up and Coming Drummer Competition 2013. I auditioned with a written song, a written marching piece, a written reading piece as well as an open three-minute open solo. I felt great about getting in at the age of ten as I had placed in the top ten the year before, but missed out on the top three. The main highlight was performing for the judges including Greg Bissonette, Daniel Glass, Dom Famularo, Mark Schulman, Gary France, and Graham Morgan, and of course winning the title of the competition. I was so inspired watching all of those drummers perform over the weekend. The upcoming DRUMscene gig will be a big highlight.</p>
<p><strong>DG: What are you working toward as a drummer in the long term?</strong><br>WH: In the future I want to be a professional drummer and a full-time drummer, and I want to eventually be sponsored by some of the great drum brands like Sabian, Vic Firth, and DW. I want to win the intermediate division for Australia’s Best Up and Coming Drummer Competition, and I also want to win the open division. I want to play with some of the greats like Tony Royster Jr., Virgil Donati, and many others and I want to tour and see around the world and show many drummers what I can do, either if I'm in a band or if I’m a solo artist. I would like to be a funk/fusion drummer like Virgil Donati and Tony Royster Jr., but I also want to have the jazz/up-beat funk hands like Daniel Glass, Dom Famularo, and Jojo Mayer. My long term goal is to be a professional well-known all round drummer.<br><br><strong>DG: Thanks for your time, Will, and all the best for DRUMscene Live - Sydney.</strong><br>WH: <span class="s1">Thanks for being a great teacher and helping me with my ideas!<br><br>For more info and to buy tickets, visit: </span><a contents="Drumscene Live Australian Tour 2015" data-link-label="" data-link-type="url" href="http://www.drumscene.com.au/events/past-events/item/498-drumscene-live-australian-tour-2015" target="_blank">http://www.drumscene.com.au/events/past-events/item/498-drumscene-live-australian-tour-2015</a><br><br>My sincere thanks to Frank Corniola, Dom Famularo, Mal and Will Harpur for their contributions to this article.</p>
Dave Goodman
tag:davegoodman.com.au,2005:Post/3657013
2015-04-01T02:00:00+11:00
2017-10-06T22:28:38+11:00
April 2015
<div><span style="text-align: left;">Dear friends,</span></div>
<p><br>I hope you're well, and that life is good for you. It's been an unprecedentedly productive and successful month for me, which has made me extremely busy with work. As such, I'm extremely grateful for being able to enjoy the understanding and support of my very loving family, whom I love very much. It was very nice to have my parents staying with us here in Sydney over the weekend, and it was great to just hang with them and relax for a couple of days.<br> </p>
<hr><p><br><span class="font_large"><strong>Review</strong></span><br>There were many big events and changes this month. Here's an outline of what happened:<br> </p>
<div class="captioned justify_left"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/9db46a25a1c478cfbc1aae99b870d9ae210437dd/medium/150313-dg3-wollongong-lr.jpg?1427768531" class="size_orig justify_left border_" /><p class="caption">Peter Koopman, DG & Cameron Undy</p></div>
<p><br><strong>Dave Goodman Quartet</strong><br>The Dave Goodman Quartet was booked to play its first ever gig for Wollongong Jazz at Wollongong Conservatorium of Music on Friday 13 March 2015. Twenty-four hours beforehand I received a message from my pianist Matt McMahon to say that he was too unwell to make the trip to Wollongong to play the gig. Rather than try and get a 'dep' at the last minute, I decided to go ahead and play the same material as the Dave Goodman Trio that night. Guitarist Peter Koopman and bassist Cameron Undy were simply stunning in the way they brought my new compositions to life for the first time that night. I am very fortunate to be surrounded by some of the world's greatest musicians in my band.<br><br>The night was recorded by Peter Nelson from Fine Music FM 102.5. Peter will be broadcasting the occasional piece on his program <em>The Australian Jazz Scene</em> with Susan-Gay Dowling on Mondays from 10:00 PM. If you're not in Sydney, you can stream the show from here: <a contents="http://www.finemusicfm.com/" data-link-label="" data-link-type="url" href="http://www.finemusicfm.com/" target="_blank">http://www.finemusicfm.com/</a></p>
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<br>In the lead up to the gig, I was also fortunate to enjoy a chat with the silken voice of legendary Graeme Lyndon on his Northside Radio 99.3 FM program <em>Milestones in Music</em>. Tune in to Graeme's show Wednesdays 2:00 - 4:00 PM and visit <a contents="http://northsideradio.com.au/" data-link-label="" data-link-type="url" href="http://northsideradio.com.au/" target="_blank">http://northsideradio.com.au/</a>
<div> <div>The Dave Goodman Quartet will be playing our first gig as the full quartet, therefore officially launching as a band, at a Sydney venue later in the year, but I'll tell you about that in a future edition.<br> </div>
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<div class="captioned justify_left"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/c0a5e5d02cd0870343c82ca63b9ba04ef1e67f30/medium/150314-tpi-foundry-616.jpg?1427769349" class="size_orig justify_left border_" /><p class="caption">Ten Part Invention circa 2015</p></div><strong>Ten Part Invention</strong><br>Ten Part Invention - "The Rolls Royce of Australian Jazz" - took to the stage the very next night after my Wollongong gig for our first gig in nearly two and a half years. It was an evening of great music. I want to make special mention here of the great Mr Paul Cutlan who premiered a brand new piece that he'd written especially for the band to play on this night. It's one of the most interesting and intricate pieces I've ever been asked to perform and I'm happy to say that the band did a great job in realising the full splendour of the piece. Paul really is a brilliant musician.<br><br>We were also lucky to be joined by the band's founder and former drummer, the pre-eminently distinguished Mr John Pochée AO. Donning a sharp three-piece suit, John showered us with some new rapid-fire witticisms delivered in his inimitable style of repartee as he introduced the band. I haven't laughed so hard in a long time. It was also bassist Karl Dunnicliff's first gig with the band, and we were really lucky to get him.<br><br><strong>Tim Draxl in Freeway - The Chet Baker Journey</strong><br>For the entire following week I enjoyed playing some beautiful swinging music in the style of Chet Baker in the intimate surrounds of the Hayes Theatre in Potts Point under the musical direction of the great Ray Alldridge. This is the third run I've done with Freeway and it was the most fun yet - I didn't touch a stick the whole week as it's strictly a brushes-only show, and I love playing brushes. With Dave Ellis on bass and Shannon Marshall flown in from Brisbane on trumpet, there's nothing more to do other than to enjoy the show. Tim Draxl is an incredible talent and the whole project owes its life to the extraordinary writing talents of Bryce Hallett. I'm looking forward to some more Freeway in the future. One nice review surfaced here in <a contents="Broadway World" data-link-label="" data-link-type="url" href="http://www.broadwayworld.com/cabaret/article/BWW-Reviews-Tim-Draxl-presents-a-moving-tribute-to-a-talent-lost-too-soon-in-FREEWAY-THE-CHET-BAKER-JOURNEY-20150319" target="_blank">Broadway World</a>.<br><br><strong>Drum clinic at Wollongong Con</strong><br>During the day between my quartet gig and Ten Part Invention, I presented a two-hour drum clinic as part of the Wollongong Jazz series to 23 enthusiastic drummers at Wollongong Conservatorium of Music coordinated by Eric Dunan. I took attendees through a worksheet for developing freedom as a soloist. I also took a number of intriguing questions and played along with a couple of my original compositions.<br><br>Here's a link to a video of highlights from the clinic:<div style="text-align: center;"><iframe class="justify_inline" data-video-type="youtube" data-video-id="1ks7QPeJuy4" data-video-thumb-url="https://img.youtube.com/vi/1ks7QPeJuy4/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/1ks7QPeJuy4?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="180" width="320" allowfullscreen="true"></iframe></div>
<br>Four lucky participants walked away with either a cap or a t-shirt very generously donated for the event by my friends at Bosphorus Cymbals. I think you'll agree that the drums and cymbals sound great in the video, and I'm grateful for my ongoing association with Sonor and Bosphorus. I've been with my ProLite drums now for just over a year, and they are still my favourite drums of all time.<br><br>There'll be more events around the country throughout the year, and you'll be the first to find out about those here.<br><br><strong>The Music Trust - Freedman Jazz nominations and album reviews</strong><br>I was invited by The Music Trust to be a nominator for this year's Freedman Jazz Fellowship, which required me to choose two outstanding candidates for the award. I decided to nominate Sydney-based pianist Casey Golden and Cairns-based saxophonist Mike Rivett. They are extremely different musicians and yet equally as brilliant. I couldn't possibly choose between them myself, and so I'm not envious of the task that lies ahead of the judges. If chosen for the short list, Mike and/or Casey will perform at the Freedman Jazz night in Sydney Opera House Studio in July. I will, of course, let you know how they go. You can read my justification for nominating these two brilliant musicians, and also keep abreast of the Freedman developments here: <a contents="http://musictrust.com.au/freedman/fellowships-in-2014/jazz-nominees/" data-link-label="" data-link-type="url" href="http://musictrust.com.au/freedman/fellowships-in-2014/jazz-nominees/" target="_blank">http://musictrust.com.au/freedman/fellowships-in-2014/jazz-nominees/</a><br><br>For this month's Music Trust review, I had a listen to <em>First Intersection</em> by the Daryl Pratt Band. The review is available to read on <a contents="my profile page at The Music Trust" data-link-label="" data-link-type="url" href="http://musictrust.com.au/author/dave-goodman/" target="_blank">my profile page at The Music Trust</a>.<br> <hr>
<br><span class="font_large"><strong>What's coming up?</strong></span><br>I'll be traveling a little bit to play some of my gigs this month.<br><br><strong>Nic Vardanega</strong><br>I'll be joining guitarist Nic Vardanega's quartet (including the formidable Steve Barry on piano and David Groves on bass) as he launches his new album <em>Inverno</em>. James "Pug" Waples plays drums beautifully on the album, but he unfortunately can't make the launch dates. First stop is <a contents="Newcastle on Tue 7 April" data-link-label="" data-link-type="url" href="http://davegoodman.com.au/event/1186537/130571044/nic-vardanega-quartet" target="_blank">Newcastle on Tue 7 April</a>, then we'll play in <a contents="Sydney for the Jazzgroove Association on Tue 14 April" data-link-label="" data-link-type="url" href="http://davegoodman.com.au/event/1186547/130571065/nic-vardanega-quartet-jazzgroove-featured-artist-for-april-may" target="_blank">Sydney for the Jazzgroove Association on Tue 14 April</a>.<br><br><strong>Canberra trio with Greg Stott</strong><br>In between Nic's two dates I'll be in <a contents="Canberra on Friday 10 April to play at The National Press Club" data-link-label="" data-link-type="url" href="http://davegoodman.com.au/event/1207390/137715315/dave-goodman-canberra-trio" target="_blank">Canberra on Friday 10 April to play at The National Press Club</a> with Canberra guitarist Greg Stott and bassist James Luke.<br><br><strong>Francesca Prihasti</strong><br>I'll be helping stunning Indonesian-born pianist Francesca Prihasti launch her new album <em>Night Trip</em> on<a contents=" Tuesday 28 April&nbsp;at Foundry 616 for Jazzgroove" data-link-label="" data-link-type="url" href="http://davegoodman.com.au/event/1167141/125063217/francesca-prihasti-quartet" target="_blank"> Tuesday 28 April at Foundry 616 for Jazzgroove</a>. Vardanega and Groves will be on this one too, so this will be a tight gig. Francesca writes some of my favourite music to play.<br><br><em><strong>DrumScene</strong></em><br>Look out for the April edition of the magazine <em>DrumScene</em> as it's the 20th anniversary edition. Founder, editor and publisher Frank Corniola told me in a recent email that his staff insisted they interview him for this historic issue and that he agreed. I'm flattered that he also included my name in one of his answers regarding a list of great Australian drummers. Keep an eye out for that edition on the <a contents="Drumscene website" data-link-label="" data-link-type="url" href="http://www.drumscene.com.au/" target="_blank"><em>DrumScene</em> website</a>.</div>
<p> </p>
<div>There are many more exciting projects being cooked up right now, and I'm looking forward to telling you about those in future editions. For now, thanks for reading and, as always, I'd love to hear from you, so please feel free to <a contents="write to me here" data-link-label="Contact" data-link-type="page" href="http://davegoodman.com.au/contact" target="_blank">write to me here</a> l and I'll get back to you as soon as I can.<br style="color: rgb(34, 34, 34); font-family: Arial, Verdana, sans-serif; font-size: 12px;"><br>Have a great month!<br><br>Best regards,<br><br>DG<br> <div class="captioned justify_center"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/3a02f5dd07825af11c54c66f3706d4acf03a6652/large/150313-dg3-wollongong-perf-lr.jpg?1427768681" class="size_orig justify_center border_" /><p class="caption">Dave Goodman Trio photos courtesy of Mike Lincoln</p></div>
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<div style="text-align: center;"><span class="font_small">If you'd like to receive these messages and special offers delivered directly to your email inbox, please join Dave's mailing list by visiting <a contents="http://davegoodman.com.au/signup" data-link-label="Signup" data-link-type="page" href="/signup">http://davegoodman.com.au/signup</a> - you'll also receive a free download copy of Dave's track 'Entelechies'.</span></div>
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Dave Goodman
tag:davegoodman.com.au,2005:Post/3657014
2015-03-01T02:00:00+11:00
2017-02-05T09:29:03+11:00
March 2015
<div><span style="text-align: left;">Dear friends,</span></div><br>I hope you, your friends and your families are well, and that life is good all around. Our gorgeous little Ella turned two years old in February. Patrice and I are still scratching our heads wondering how those two years slipped by so quickly. One thing's for sure, Ella certainly brings great perspective, clarity and joy to the purpose behind everything we do now, and we feel very privileged to be in the front seat, watching her grow into being more and more herself by the day, sometimes by the hour.<br><br><span class="font_large"><strong>Review</strong></span><br><br><strong>Jazz Research Symposium</strong><br>As I said last month, I sat on a panel of PhDs for a symposium on the importance of jazz research at Sydney Conservatorium of Music last December. I've since posted a blog containing the text from my five minute talk entitled <a contents="Why Jazz Research is Important" data-link-label="" data-link-type="url" href="http://davegoodman.com.au/blog/blog/why-jazz-research-is-important" target="_blank">Why Jazz Research is Important</a> and I'd like to invite you to have a read as I feel this point is a very important one to be in dialogue about with as many people as possible. Feel free to post your comments at the bottom of the article to get the dialogue rolling. You don't need to sign up to do so, just post your thoughts as you see fit.<br><br><strong>Entelechies</strong><br>You may have received a copy of my new 'single' called <em>Entelechies</em>, which I had a lot of fun recording in Canberra in early February with my old pals Mark Sutton and Greg Stott at <a contents="Hi Hat Music Studios" data-link-label="" data-link-type="url" href="http://hihat.com.au/" target="_blank">Hi Hat Music Studios</a>. In case you haven't received your free copy, you can receive your free copy when you join my mailing list. I worked with Jasmine Crittenden on an article called <a contents="Download Dave's compelling new Zappa-Metheny-inspired track for free" data-link-label="" data-link-type="url" href="http://davegoodman.com.au/home/blog/download-dave-s-compelling-new-zappa-metheny-inspired-track-for-free" target="_blank">Download Dave's compelling new Zappa-Metheny-inspired track for free</a>, which explains a bit of the background of the piece. I hope you have as much fun listening to it as I had creating it. <br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/f7a7c04cee1411fc5edba253e7f13b8fb49fa317/medium/dg-red-rock-deli-setup.jpg?1425116465" class="size_m justify_left border_" /><strong>Red Rock Deli Lime & Black Pepper ad campaign</strong><br>You may have seen this ad floating around Facebook since 22 Feb as it's already had over 70,000 hits. If you can hear the brushes on there, that's me! It was so much fun because the producer asked me to do my best impersonation of Jack DeJohnette playing freely all around the drumset with brushes. Cool! It was a tiny little booth, so I took this tiny little drumset.<br><br>If you haven't seen the ad yet, it's now posted on my page of videos alongside some of the other fun <a contents="television commercials" data-link-label="" data-link-type="url" href="http://davegoodman.com.au/videos#commercials" target="_blank">television commercials</a> I've done that you might enjoy watching.<br><br><strong>Drummer Talk 247 podcast</strong><br>My friend on the Gold Coast, and great drummer <a contents="Cvitan Barac" data-link-label="" data-link-type="url" href="http://www.cvitandrums.com/" target="_blank">Cvitan Barac</a> very generously told these American podcasters about my PhD thesis, and they decided to have a little rave about it in a recent podcast. When you land on the page, scroll down a bit (past Stevie Wonder) until you find the little 'play' button, and if you want to get straight to it, the segment opens at 13:08. <a contents="Check it out" data-link-label="" data-link-type="url" href="http://www.drummertalk.org/2015/02/26/drummer-talk-247-life-as-a-drummer-in-the-us-army/" target="_blank">Check it out</a>, they're pretty funny guys. Thanks Cvitan!<br><br><strong>Gigs</strong><br>I enjoyed playing a couple of very special gigs this month. In particular, one was with guitarist Steve McKenna, whose first gig it was after recovering for some 18 months after serious hand surgery, and electric bass virtuoso Steve Hunter. We played at Lazybones in Marrickville, and it was like hanging on to the caboose for dear life - so much energy and power. You'd never know McKenna had taken so much time off - he sounded great as always. Listening to his albums with the great Andrew Gander and Gordon Rytmeister on drums in the early 1990s was such a deeply formative part of my musical development, so it was a privilege to play with Steve.<br><br>Another enjoyable gig was at The Gods Café in Canberra with Mark Ginsburg's South African Project. This is a fun band that seems to have the magical power of building a solid following wherever we go. Mark's a pretty special guy though, so I can see why people like to come out and hear his band. Eamon Dilworth did a stunning job filling in for Simon Ferenci on trumpet at the last minute. What a great musician!<br><br><span class="font_large"><strong>What's coming up?</strong></span><br><br><strong>Dave Goodman Quartet</strong><br>Perhaps the news I'm most excited to tell you about this month is that my new band, the Dave Goodman Quartet plays its first ever gig for the <a contents="Wollongong Conservatorium of Music on Friday 13th March from 7:00 PM" data-link-label="" data-link-type="url" href="http://davegoodman.com.au/event/1158557/122483103/dave-goodman-quartet" target="_blank">Wollongong Conservatorium of Music on Friday 13th March from 7:00 PM</a>. It's taken a long time to get this quartet together, and we'll be playing music that I've been developing since late 1996. Half of it was written in the most recent 12 months.<br><br>The band is Peter Koopman on guitar, Matt McMahon on piano, and Cameron Undy on double bass. These guys are serious virtuosi, and they won't disappoint you. I'm very happy to have them on board, and we'd love to play for you if you can make it to Wollongong that night.<br><br>I've also been working with Eric Dunan on setting up some a drum clinic, a band workshop and some drum lessons while I'm down there. If you're interested, details will be posted at <a contents="The Drummers' Hub" data-link-label="" data-link-type="url" href="http://thedrummershub.com.au" target="_blank">The Drummers' Hub</a> once everything's locked down.<br><br><strong>Ten Part Invention</strong><br>I feel honoured that legendary Australian jazz ensemble Ten Part Invention - "The Rolls Royce of Australian Jazz" - invited me to be the full-time drummer, replacing the band's founder, the great John Pochée in 2011. Patrice and I were enjoying our honeymoon in Los Angeles. We were driving through the Hollywood Hills back to our apartment in Santa Monica on a high after seeing Donny McCaslin, Uri Caine, Fima Efron and Mark Guiliana play a gig when the phone rang. It was Sandy Evans calling to ask if I'd like to join the band - as if I wasn't already on a high at that exact time. I've been depping for John in the band since 1998 and toured overseas with them for three weeks, so, naturally, my answer was yes.<br><br>TPI hasn't played in just over two years so that we could make some decisions about the band's future, and I'm happy to say that we're "making a come back" (as Alan Turnbull would've said) at Peter Rechniewski's great club <a contents="Foundry 616 in Ultimo on Saturday 14th March from 8:30 PM" data-link-label="" data-link-type="url" href="http://davegoodman.com.au/event/1138995/117394265/ten-part-invention" target="_blank">Foundry 616 in Ultimo on Saturday 14th March from 8:30 PM</a>. We'd love to play for you that night. Joining us on bass this time will be the ever-dependable Karl Dunnicliff.<br><br><strong>Tim Draxl in Freeway - The Chet Baker Journey</strong><br>You might recognise Tim Draxl as the face of Vodafone's latest series of ads. He's a brilliant young actor who can hold his own in the company of veteran heavy-weights such as Olivia Newton-John. Tim does a brilliant job portraying the tortured genius of the late great Chet Baker in a story written by Bryce Hallett. With Ray Alldrige on piano and directing the music, alongside Dave Ellis on bass, and Shannon Marshall on trumpet, this is a series not to miss at beautiful <a contents="Hayes Theatre in Potts Point from Tue 17th to Sunday 22nd March" data-link-label="" data-link-type="url" href="http://www.hayestheatre.com.au/coming-soon/freeway-the-chet-baker-journey.html" target="_blank">Hayes Theatre in Potts Point from Tue 17th to Sunday 22nd March</a>. You can book directly through the theatre.<br><br><strong>The Music Trust - album reviews</strong><br>Finally, I'm very happy to announce that I was invited by Dr Dick Letts, director of The Music Trust, to be an album reviewer for their website starting this month. My first review is of pianist Marc Hannaford's new release <em>Can You See with Two Sets of Eyes?</em> You can read it on <a contents="my profile page at The Music Trust" data-link-label="" data-link-type="url" href="http://musictrust.com.au/author/dave-goodman/" target="_blank">my profile page at The Music Trust</a>. In future months I've be publishing two reviews a month.<br><br>Well, that's about all for now. Thanks for reading and, as always, I'd love to hear from you, to learn more about what you're up to, and to answer any questions you may have about anything in this message, so please feel free to <a contents="write to me here" data-link-label="Contact" data-link-type="page" href="http://davegoodman.com.au/contact" target="_blank">write to me here</a> and I'll get back to you as soon as I can.<br><br>Have a great month!<br><br>Best regards,<br><br>DG<br> <hr><div style="text-align: center;">
<br><span class="font_small">If you'd like to receive these messages and special offers delivered directly to your email inbox, please join Dave's mailing list by visiting <a contents="http://davegoodman.com.au/signup" data-link-label="Signup" data-link-type="page" href="/signup">http://davegoodman.com.au/signup</a> - you'll also receive a free download copy of Dave's track 'Entelechies'.</span>
</div>
Dave Goodman
tag:davegoodman.com.au,2005:Post/3490246
2015-02-24T00:07:54+11:00
2017-02-05T04:56:42+11:00
Download Dave's Compelling New Zappa-Metheny-Inspired Track for Free
<img src="//d10j3mvrs1suex.cloudfront.net/u/150720/006575442494258aca720b207a758b14062dcc98/original/dg-entelechies-150203-lr.jpg?1424728889" class="size_l justify_left border_" />Dave is excited to announce that brand new track ‘Entelechies’ is now ready for the world’s ears. And, by way of thanking his growing fan base, he’s giving it away via free download to his mailing list subscribers.<p>"For a long time, I've wanted to create a platform that would allow me to give away some of my music to listeners,” Dave says. </p>
<p>‘Entelechies’ is inspired by a number of sources – from Frank Zappa and Genesis to Vinnie Colaiuta and Pat Metheny. “I've been interested in playing drums along with my own sequenced compositions, ever since I started checking out my dad's Genesis and Mike Oldfield vinyl LPs in the late 1980s,” Dave explains. “Then, when I first saw Virgil Donati's <em>Obsessive Rhythms</em> video and heard Vinnie Colaiuta's solo album, I was hooked.</p>
<p>"Musically, I've also been profoundly inspired by Frank Zappa's work on the Synclavier, ever since hearing <em>Jazz From Hell</em>. And when I was studying for my doctorate, I learned a lot about Conlon Nancarrow's music for player piano. I love hearing those pieces. They are such elaborate compositions, deliberately designed to be impossible for any living performer to play.”<br><br>More recently, Dave was deeply affected by a 2014 Pat Metheny performance at the Sydney Opera House. "I was very lucky to get a free ticket at the last minute,” he recalls. “Pat and his Unity Band played along with a scaled down version of his new Orchestrion. I'd never heard anything like it. I also think it is the most complete and satisfying 'contemporary' concert I've ever heard at the Opera House. I’ve had <em>Orchestrion</em> on repeat ever since."</p>
<p>All of these influences and experiences have culminated in the writing of ‘Entelechies’, which represents the beginnings of Dave’s own offerings in writing using technology to aid performance.</p>
<p>The track was recorded at Canberra’s <a contents="Hi-Hat Music Studio" data-link-label="" data-link-type="url" href="http://hihat.com.au/" target="_blank">Hi-Hat Music Studio</a>. "[Hi-hat owner] Mark Sutton is a great drummer, and he's been a friend of mine for about twenty years. I met [engineer] Greg Stott when I was at Hi-Hat giving a drum clinic a few years ago for Canberra Drummers Guild,” Dave says. “I think they've got a great service going on, and so it was a no-brainer to record there. I'm super-happy with the beautiful sound they captured for me."</p>
<p>Dave will have more music coming your way this year – both sequenced and recorded with his new living, breathing quartet.</p>
<p><span class="s1">In the meantime, to hear ‘Entelechies’ for free, and to keep in the loop about Dave’s upcoming projects, </span><a contents="download your free track now" data-link-label="Signup" data-link-type="page" href="/signup">download your free track now</a>!</p>
Dave Goodman
tag:davegoodman.com.au,2005:Post/3683001
2015-02-11T23:50:44+11:00
2017-01-24T14:43:18+11:00
Why Jazz Research is Important
<span class="font_small">I was invited by Drs Michael Webb and Christopher Coady to sit on a panel of eight Australian jazz PhDs at the inaugural Jazz Research Symposium, Sydney Conservatorium of Music, Monday 8<sup>th</sup> December 2014. The following is the text from the five-minute talk I gave that day.</span><br> <br>"Thank you very much Dr Webb. I’d like to begin by expressing my gratitude for the invitation to speak to this interesting community today. And I want to start by saying – in the words of Elvin Jones from 1979 – that 'this art form of jazz should be something that we hear the first thing in the morning when we turn on our radios to make our breakfast. I would like to hear something beautiful coming over the airwaves and people can be stimulated by something artistic.'<br> <br>Yet today, even with the dramatically increased access to airwave and bandwidth signals in 2014 as compared to that of 1979, I feel now as Jones did then, that 'many of us will never see the pot of gold at the end of the rainbow but, nevertheless I think we know that what it is that we’re doing has tremendous value.' So my simple response to today’s topic is that the meaning and significance of jazz research finds its purpose in seeking to properly cultivate, perpetuate, position and propagate <em>more jazz</em> throughout the world by galvanising more vigorous and authentic participation from greater numbers and diversities of people.<br> <br>How do people participate in jazz? Broadly speaking, jazz participation is possible in, I think, one or more of at least three ways:<br> <br>The first is <em>to extend</em> jazz, and this is achieved by the act of composing and/or performing <em>new</em> jazz music.<br> <br>The second is to <em>present</em> new jazz, and this is achieved by gaining direct access to venues and to public media outlets.<br> <br>The third is to <em>respond</em> to new jazz, and jazz listeners achieve this with their consumption habits.<br> <br>Adopting good, functioning research methodologies should be at the heart of the participatory activities of jazz musicians, presenters and listeners alike – oftentimes this is one person taking on all three roles. These three ways of participating in jazz – extending, presenting and responding – go together to form a complete symbiotic system of artistic activity and, in my opinion, it is the role of the jazz researcher to gather and disseminate multi-linear insights into the complex relationships between these three ways of participating in jazz. The goal here should be to strive to establish and maintain appropriately complex and balanced infrastructures capable of enhancing and increasing flow between the various points within the system, thus forming an effective feedback loop for achieving <em>more jazz</em>.<br> <br>What do jazz composers and performers extend? What do jazz presenters present? And what do jazz listeners respond to that’s so compelling? Using the non-referential language of music, jazz composers and performers extend their <em>qualia</em>, that is, the expression of their unique experience of life – not only what it’s like to be alive, but what it’s like to be <em>that person</em> living in that time and place. When jazz composers and performers do this properly, a response is stimulated in the listener that invokes the listener’s own sense of qualia, inviting them to transcend their present set of local circumstances, and to enter the aesthetic world.<br> <br>What then are the problems here that, if they were to be solved, could help the Elvin Jones in each of us to find the pot of gold at the end of the rainbow? My thesis here is that the root of the problem lies in a lack of appropriate jazz education in the general public. I suggest that this may be resultant from the presence of <em>frivolity,</em> <em>incompetence</em> and <em>indifference</em> in the pedagogy of public and private secondary school music education programs with regard to jazz and improvised music. From this frivolity, incompetence and indifference manifests a <em>public misrepresentation</em> of jazz in at least two discouraging ways.<br> <br>One is that the general public often seems to associate jazz not with being the serious art form that it is, but with being a form of Muzak, or, background music and, at worst, elevator music. The other is that of jazz music being labelled, in a sense, with the stigma of being an <em>illegitimate</em> music because of its spontaneous and unwritten improvisational components.<br> <br>The flavour of originality in music, however, is no more present in a pre-written musical score than are the complexities involved in tasting a fine scotch whiskey perceptible in the mere set of instructions, ingredients and tools necessary for distilling that whiskey. The instructions and the tools, whilst fundamentally important to the distillation process, will never by themselves achieve the actual whiskey flavour sensation, and so one will simply never be able to savour the<em> written text</em> of music in any aurally palatable way.<br> <br>Both of these misrepresentations create significant problems for the goal of achieving <em>more jazz</em> and, overcoming these problems is, I believe, at least part of the purpose behind the importance of jazz research.<br> <br>Thank you."<style type="text/css">.fb-share-button > span:nth-child(1){vertical-align:initial !important}</style>
Dave Goodman
tag:davegoodman.com.au,2005:Post/3624995
2015-02-09T21:09:59+11:00
2017-10-06T22:30:19+11:00
Congratulations Abby!
<p>Drummer Abby Constable (pictured below) from Killara High School, a student taking regular private drum lessons with me for the past two years, has been awarded a scholarship to return to the Jazz Workshop Australia 2016 Jazz Camp. Abby was selected from amongst a cohort of around 80 enthusiastic learners on a wide variety of jazz instruments at this year's camp.<br><br>Jazz Camp drum teacher and musical director John Morrison had this to say:<br><br>"<span class="s1">For over 30 years the Sydney Jazz Camps have been a mecca for aspiring young Jazz musicians from all over Australia. Many go on to find professional careers in the music industry and cite jazz camp as being the inspiration behind their dreams. Of the many who have hailed from Killara High School, Abby is the latest to win our 'return to camp' scholarship for 2016. She joins a distinguished list of students who have demonstrated real commitment to their music studies with the promise of great things to come. Indeed Abby is already showing real skill on her instrument and I'm looking forward to seeing her grow alongside the many other talented youngsters from Barker."</span><br><br>Oli Nelson - o<span class="s1">ne of Abby's earlier teachers and recipient of the scholarship at the 2009 Jazz Camp - says he has "always been impressed with Abby's serious attitude towards the drums. She was always a pleasure to teach and would regularly inspire me with her progress. I think it's fantastic that she's the recipient of this year's Return Scholarship and I can't think of anyone more deserving."<br><br>Having received the same award after attending Jazz Camp in 1994, I remember the thrill of being such a </span>recipient<span class="s1">, and so I</span> asked Abby if she wouldn't mind taking the time to answer a few questions about her experience. Here's what she had to say.<br> </p>
<hr><p><br><img src="//d10j3mvrs1suex.cloudfront.net/u/152425/ae15637364a741ca9268ea1f0cae39266d09eb70/medium/abby-constable.jpeg?1422750875" class="size_orig justify_left border_" style="text-align: center;" /><strong>DG: Congratulations on your scholarship, Abby! How long have you been drumming and what inspires you in your drumming?</strong><br><br>AC: I started drumming in the school concert band almost eight years ago, when I was nine years old. The thing that has always inspired me to drum is listening to great music, and wishing I could create music of that caliber, for others to enjoy as much as I do. I’ve had three drum teachers, Derek Barg, Oli Nelson and Dave Goodman. Their endless help, encouragement and belief in my musical potential has undoubtedly played a large role in my inspiration to play music, and I cannot thank them enough for that. </p>
<p>As well as the professionals, I’ve always been inspired by other drummers at school, in particular those more experienced than me. The more you hear drummers that are better than you, the more you want to practice to match their expertise!</p>
<p><strong>DG: How do you feel about Jazz Camp?</strong><br><br>AC: There are no words to describe how incredible my experiences of Jazz Camp have been, both in 2013 and 2015. Constantly being surrounded by musicians for a five whole days who share the same desire to improve their musicianship is the most inspiring, positive environment to learn in. Not to mention being mentored by some of the greatest jazz musicians in the country such as John Morrison and Graeme Lyall. Leaving camp on the last day was very hard, as you become immersed in the musical environment and don’t want to leave! I feel extremely privileged to have attended this camp and would highly recommend it to any young musicians who are interested in playing jazz.<br><br><strong>DG: How do you feel about winning the scholarship?</strong><br><br>AC: Receiving the scholarship on the last day of camp was simply amazing and one of the proudest moments in my life. The scholarship has also served as added motivation to improve as much as I can before next year's Jazz Camp!<br><br><strong>DG: What do you plan to do with your drumming?</strong><br><br>AC: I am very interested in pursuing a career in music, as it is extremely fulfilling and enjoyable. Growing up in such a privileged situation and having such supportive parents has definitely helped me be able to have such great musical opportunities, and this makes me feel obliged to help those who don’t have those same advantages. So teaching/playing music in disadvantaged areas in Australia is a path that I’d be very interested to follow. Auditioning for the Sydney Conservatorium of Music is a likely option for a university course. Although I’m not certain what exactly I’ll use my drumming for career-wise, I know that it will always be an important part of my life.<br> </p>
<p style="text-align: center;"><span style="text-align: center;">You can check out Abby's drumming by visiting her YouTube channel <a contents="here" data-link-label="" data-link-type="url" href="https://www.youtube.com/channel/UCYvDDGyjagL5nVZhqjjQoaQ" target="_blank">here</a></span><span style="text-align: center;">.</span></p>
<div style="text-align: center;">Learn more about the annual Jazz Workshop Australia Jazz Camp <a contents="HERE" data-link-label="" data-link-type="url" href="http://jazzworkshopaustralia.com.au/jazz-camp" target="_blank">here</a>.</div>
Dave Goodman
tag:davegoodman.com.au,2005:Post/3657015
2015-02-01T02:00:00+11:00
2017-10-06T22:32:46+11:00
February 2015
<div>Dear friends,</div>
<p><br>I hope you enjoyed a bit of a break over the summer and that you were able to spend some quality time with your family and friends. I also hope that 2015 has gotten off to a great start for you as it has for me.</p>
<p><span class="font_regular"><strong>Jazz Research Symposium</strong></span><br>I enjoyed participating on a panel of eight PhDs in Dr Michael Webb & Dr Christopher Coady's Jazz Research Symposium in December at Sydney Conservatorium of Music. Their research will be published in the future and I'll let you know once it's out.<br><br><span class="font_regular"><strong>Coogee Carols</strong></span><br>It was great fun to be in the band for Coogee Carols again in 2014 - my eighth year in a row. We backed a bunch of great personalities including Simon from The Wiggles (much to my niece's delight!) playing nearly 40 Christmas Carol favourites. Every year it's been a chance for most of the O'Loghlin on Saturday Night band to reunite (with a different horn section). In the pic you can see Stu Hunter on keyboards and Carl Dewhurst on guitar.</p>
<div class="captioned justify_center"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/100a5cd39e29da5924fa1417a5abc3221030bcf3/large/dg-coogee-carols-2014.jpg?1422674612" class="size_orig justify_center border_" /><p class="caption">Coogee Carols 2014 with Carl Dewhurst (guitar) & Stu Hunter (keyboard)</p></div>
<p> </p>
<div><strong style="font-size: 1em;">Warwick Alder's Jazzgnostics</strong></div>
<p>Last year I joined brilliant trumpeter and old friend Warwick Alder's new band The JazzGnostics. It's a sextet featuring some brilliant players including Jason Morphett on saxophone, and we've played a handful of gigs. In January we played at the annual Jazz Workshop jazz camp in the beautiful Lane Cove National Park. I arrived early to hear the student concert, and I have to say that high school age students are playing great! It's a real inspiration to keep pressing on!</p>
<div class="captioned justify_center"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/540551583f90499a938bd468e3b0644aeaa96394/large/warwick-alder-sextet-2.jpg?1422674852" class="size_orig justify_center border_" /><p class="caption">With Warwick Alder (trumpet)</p></div>
<p><br><span class="font_regular"><strong>Cam McAllister Big Band</strong></span><br>I enjoyed playing with Cam McAllister's big band at Foundry 616 just last Thursday. Cam's a beautiful composer, arranger and trumpet player. He recorded and filmed the night, so I'll let you know if any of that documentation surfaces over time. So inspiring playing with this monster right behind me on guitar!</p>
<div class="captioned justify_center"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/be957821a141967d63b2e587574ec70fd2629370/large/img-8826-1024.jpg?1422706851" class="size_orig justify_center border_" /><p class="caption">Carl Morgan (guitar)</p></div>
<p> </p>
<hr><p><br><span class="font_large"><strong>Upcoming Gigs</strong></span><br>I'm off to Canberra on Tuesday 3rd to play with Mark Ginsburg's South African Project. It's a great band playing quite an eclectic repertoire inspired by Mark's South African roots as they relate to his residence in Sydney over the past 30 years. <strong><a href="http://davegoodman.com.au/event/1094904/103013353/mark-ginsburg-s-south-african-project">HERE</a></strong> are some details in case you're able to come along.<br><br>While I'm in Canberra I'm going to record a new track that I'll send you as a free download once it's done to say "thanks" for joining my mailing list! I'll post a blog article about it once it's up, so stay tuned for that.<br><br>There are more exciting developments that I'll be locking in for March and beyond, so I'll let you know about those in next month's newsletter.<br><br>That's all for now. Thanks for reading and, as always, I'd love to hear from you, so please feel free to write to me by replying to this email and let me know how you're doing.<br><br>Best regards,<br><br>DG<br> </p>
<hr><div style="text-align: center;">
<br><span class="font_small">If you'd like to receive these messages and special offers delivered directly to your email inbox, please join Dave's mailing list by visiting <a contents="http://davegoodman.com.au/signup" data-link-label="Signup" data-link-type="page" href="/signup">http://davegoodman.com.au/signup</a> - you'll also receive a free download copy of Dave's track 'Entelechies'.</span>
</div>
Dave Goodman
tag:davegoodman.com.au,2005:Post/3674929
2014-12-22T02:00:00+11:00
2017-01-24T14:18:59+11:00
Review: Francesca Prihasti Quartet Live
Colbourne Avenue, 4th December 2014<br><br>Reviewed by Lloyd Bradford Syke for <em>Syke On Stage,</em> published 22nd <abbr class="_5ptz" data-shorten="1" data-utime="1419241235" style="border-bottom-style: none;" title="Monday, December 22, 2014 at 8:40pm">December 2014</abbr>
<p>It’d been too long since I’d had the opportunity to visit Colbourne Avenue, the unassuming jazz space in Sydney’s inner west, so I was very glad of the invitation from young, Indonesian-born pianist, Francesca Prihasti, to come and hear her quartet, featuring Dave Goodman, drums; David Groves, double bass; Nic Vardanega, guitar.</p>
<p>Nockturne certainly begins in romantic, candlelit style with a solo opening of her original composition, soon accompanied by Goodman’s swooshing cymbals, tick-rocking percussion, Groves’ firm, but expressive, bassline and discreet, tasteful licks from Vardanega, as much a leader of the group, much of the time, as Prihasti. The tune picks up a little tempo and settles into a gently swinging groove, it’s vaguely classical disposition soon gliding into a true jazz mode. It’s a showcase for the sophistication and maturity of Prihasti’s pianism, which effortlessly matches the experience of Goodman, as does the playing of the other cohorts. But perhaps most impressive of all is Prihasti’s compositional skill: this is the very loveliest of tunes (one which, like so many of the best tunes, has that inescapable sense of being very familiar), affording a generous solo to Vardanega, who hold forth with a long break entirely sympathetic to the free-flowing, laidback vibe of the piece.</p>
<p>Fee Fi Fo Fum was one of two Wayne Shorter numbers that featured (the other, in the second set, being Juju). It proves a suitable segue from Prihasti’s own, which honestly loses nothing to Shorter’s: Prihasti has already found her ‘voice’, but a couple of years after graduating the Con. Prihasti and co’s rendition is a little more emphatic, devoid of the boldly bluesy homage of the mid-sixties original. The Prihasti quartet inflects a driving rhythm, fleshed-out with fills and bursts from the busy body and mind of Goodman, master of invention, but very much steered by Prihasti’s patient piano: she never sounds like she’s in a hurry, or anxious to impress, which is what makes her playing all the more impressive. Again, too, there’s a clean break from Vardanega and supportive, characterful bass on Groves’ behalf, who also gets his chance to solo, which he does with understated aplomb. Both these compositions, interestingly, tread an uncertain line between melancholic and optimistic: maybe it’s a key to successful composition. Just a thought. it does make them very like life.</p>
<p>Evolving begins and is led with a bass figure that makes room for more of Goodman’s constantly shifting percussive textures and mischievous excursions in tempo-bending. Prihasti’s clearly stated piano chords set it up, but it’s arguably Vardanega’s piece, given his extended soloing, which floats over the top; again pointing to Prihasti’s generosity. You almost feel like you’re flying. Prihasti takes her turn, playing relatively softly, almost as if shunning her spot. It’s not that, though, I don’t think: merely her style, rather more demure than one or two virtuosic, but incorrigible showoffs who easily spring to mind. Groves’ playing was especially inspired, too.</p>
<p>Again, this tune follows Shorter’s just as well as Nokturne precedes it. Indeed, the fit is so snug, it’s as if all three were penned by the same composer. And, a way in, you come in to land, after your flight of very melodic fancy.</p>
<p>Summer Sky is a newbie and has more of Prihasti’s apparently trademark wistfulness, intermingled with the sunnier disposition evident in Evolving. Piano and guitar work swimmingly together, underpinned by a simple bassline and more of Goodman’s tip-top, tap-tap, drip-drop, swishing soundscaping. There’s some ravishing arpeggiation from Prihasti, followed by a very fresh solo (just this side of blistering, really) from Vardanega, a serious young man who may very well prove the next big thing in jazz guitar circles. Actually, I think he already has. It was Buddy Holly who declared his love wouldn’t fade away, but this lovingly crafted tune evanesces into the ether from which it came.</p>
<p>Sleepless Night is, again, very much in the same ballpark as Prihasti’s other compositions. No wonder there’s no shuteye to be had: it really kicks up some dust when it gets going, with all the players pushing it along; not least bass and drums. It sounds like a little too much caffeine before bedtime to me.</p>
<p>From Sleepless Night to Night Trip. And it is. It’s almost like a train rattling across an expansive landscape, such as one might readily find in a wide, brown land like Australia. Then again, there are phrases more like a trickle of traffic. Take your pick. Public or personal transportation. The real carriage here is the momentum of drums and bass, with cascades of piano giving a little more urge still. Again, I was taken with the harmonising of guitar and piano. A good look. Well, sound. This is a trip well worth taking.</p>
<p>The second set opened with Colours, which is interesting, as it reminds me, just an incy-wincy bit, of Ice T’s Colors (there’s something vaguely hip-hop about the rhythm), but it has a rather sweeter flavour than a song about gang identifiers, not least by way, once again, of Vardanega’s mellow tone and easy exposition. But it’s Prihasti that sets it up, melodically; she, too, takes a solo: a tinkling, toe-tickling, but bluesy one. Groves’ bass is just right: he goes for a funky feel, but lays it back a little; Goodman’s splashing cymbals and big, high-pitched snare sound adds layers of impasto, ‘so-chunky-you-could-carve-it’ textures. It’s one groovy little tune; very lazy Sunday afternoon. Get that cocktail shaker out. And the little umbrellas. Something like a gin sling’s probably the thing.</p>
<p>Unfolding is pensive, really stretches out, unfurling like a mast in a headwind. Spacious and a very free-spirited platform for soloing, it’s one of those soul-seductive excursions you never want to end, as it has a wily way of exfoliating persona so you might rediscover the real you, the one yearning to escape the shackles of that epidermal veneer, used to front the world-at-large. Yeah, I’m getting carried away; but that’s just the point, this is the tune to carry you away, a magic carpet ride to wherever you want to go. Definitely one of the best from Prihasti’s reasonably extensive canon. But never mind the width of her chart folder, just listen to the quality.</p>
<p>Here and Now picked it up a bit, with Goodman still shuffling busily around the kit, making for a musical bed that’s never short-sheeted. Groves’ collaborative empathy can hardly be overestimated, either: like many bassists, his presence is often best felt in being almost unfelt. He finds all the right pockets to put his notes. It’s another tune you can just lay back and enjoy. But you might think of, say, a tropical twilight, rather than England. Vardanega gave us yet more evidence of his feeling for the composer’s work; Prihasti arguably put in her very best, most self-assured solo of the evening; Goodman’s big break and rhythmic demeanour throughout were a blast. By this time, we were really getting just how robust is Prihasti’s talent for contriving memorable, lyrical motifs.</p>
<p>Juju was the other Shorter composition of the night. The saxless arrangement changes the mood distinctly, giving it a more mysterious, furtive, groping-in-the-dark character; certainly not sinister, but the hue is, arguably, darkened and intensified. Not black. Not blue. Chocolate, maybe. All very in keeping with the West African allusion of its title, I reckon. No, I’m not talking about ethnic complexion, but the musical one. In contrast to Prihasti’s compositional style, it’s a little bent, which likely pleases aficionados, while Prihasti’s tunes have, essentially, broader appeal.</p>
<p>Phrydge finally gave Groves an opening. It springs to life with a brisk guitar chord, punctuated by Goodman’s subtle homage to reggae, before Prihasti enters with a solo that stems from a single, insistent note. There seemed to be references to classical and Spanish music, the latter thread picked-up by Vardanega, insinuating a little flamenco, with quite a quantum of reverb, as well as the merest hint of distortion, here and there, for street cred and sheer attack. Just when the players are experimenting, pushing the envelope, it returns to its melodic centre, only to reach out to the edges again, reprising the smack of reggae. My companion has rated it pick o’ the bunch and, I have to agree, it’s an outstanding piece: the melody is barely more than intimated and the structure is urbane and nuanced. To boot, the playing, all around, bristles and brims with style and mastery.</p>
<p>Francesca Prihasti, especially with these cohorts, is the Judy Bailey of her generation. Not the same, but as prodigious.</p>
<p>And, even at this nascent stage, she’s a composer of distinction and truly great promise.<br><br>Source: <a contents="https://www.facebook.com/sykeonstage/posts/1533999053522416" data-link-label="" data-link-type="url" href="https://www.facebook.com/sykeonstage/posts/1533999053522416" target="_blank">https://www.facebook.com/sykeonstage/posts/1533999053522416</a></p>
Dave Goodman
tag:davegoodman.com.au,2005:Post/3683002
2014-09-02T11:49:51+10:00
2017-02-05T10:24:32+11:00
Career Highlight: Trio with Jann Rutherford and Paul Cutlan
<p style="text-align: left;"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/0b479586459d3b00ec8725c11b9be687198e2bc7/original/jann-rutherford-quintet.jpg?1416756560" class="size_l justify_left border_" />In early 2003, Jann Rutherford, Roger Manins, Paul Cutlan, Craig Scott and I went into Sony Studios in East Sydney where Ross A’hern recorded what would be Jann’s final album, <em>The Scented Garden</em>. Jann was one of the best and most interesting jazz pianists and composers I’ve ever met. Being blind since birth, her ability is all that much more remarkable.</p>
<p style="text-align: left;">At the time of this recording though, very ill from advanced cancer, Jann was unable to speak and was struggling to maintain physical strength, so we knew that everything on the album had to be the first take – warts and all. We recorded an album’s worth of Jann’s original material that day, knowing that this may be the last chance we had to play together as Jann was scheduled to fly back to New Zealand as soon as we were done to be with her mother and to rest.</p>
<p style="text-align: left;">Jann spoke more clearly through the piano that day than I’d ever heard her and, as she was unable to speak clearly with her voice, I decided early on in the session that I would get all the information I needed purely and simply by listening to her piano playing.</p>
<p style="text-align: left;">At the end of the session, I was delighted when Jann suggested recording a free duet recording with me, so we played what’s now called <em>Keep Following Me</em> on the album. I was astonished by what I heard coming from the piano during that take because, to my ears, it sounded like Arnold Schoenberg had crept in and sat on the piano bench and given his best and most sophisticated material. But it was Jann as I’d never heard her before and it blew my mind. I thought that was our last chance to play together until Paul Cutlan, who was still present in the control room, spoke to us through the headphones saying “I want to come and do one with you!” So Paul set his soprano saxophone up and came back into the studio to play one more with us as a trio.</p>
<p style="text-align: left;">The result wound up as a piece with a name that resonates with an element of truth as recording it was one of the highlights of my playing career: <em>And A Good Time Was Had By All</em>. Unfortunately, the track didn’t make the album, but it is available on the album: <a contents="Trans Tasman - A Journey Into New Zealand Jazz" data-link-label="" data-link-type="url" href="http://sounz.org.nz/manifestations/show/14575" target="_blank">Trans Tasman - A Journey Into New Zealand Jazz</a> - I hope you enjoy hearing it as much as we enjoyed playing it. </p>
<p style="text-align: left;">We did get one more chance to play together a few days after the recording as the Jazzgroove Association kindly opened up a spot for the band to play at The Excelsior in Surry Hills where Karen Steaines took this photo.</p>
<p style="text-align: left;">Sadly, Jann Rutherford passed away at home in New Zealand about six weeks after this was recorded.</p>
Dave Goodman
tag:davegoodman.com.au,2005:Post/3683003
2014-09-01T23:14:48+10:00
2018-06-01T20:11:25+10:00
In Memory of Alan Turnbull, 1943 – 2014
<p style="text-align: left;"><span class="font_large"><strong><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/491fc45344717848504baeefb343c5a867683499/original/thumb-alan-turnbull-1-1024.jpg?1424731820" class="size_l justify_left border_" />Preface</strong></span></p>
<p style="text-align: left;">Given immediate access to the kinds of communications technology we usually have in one of our pockets throughout the duration of most of our waking lives these days, it’s difficult to avoid sensationalising and trivialising the occurrence of significant events by posting a quick tweet or status update about it on one or more forms of social media. Another difficulty on social media platforms lies in not drawing too much attention to oneself when such events arise. Invariably, these events are more important than we are. When we draw too much attention to ourselves in the face of such events, we run the risk of being insufferable, at least to some extent, to our readers. One problem trumping each of these difficulties, though, is receiving news of a significant event that involves the death of someone you knew. This is intensely difficult news to receive and assimilate.</p>
<p style="text-align: left;">That Australian drummer extraordinaire Alan Turnbull, one of the greatest jazz drummers of all time, died this morning is significant to the world, especially to the Australian jazz community. Receiving the news of Al’s death is, I’m sure, deeply significant and intensely felt by all who knew him.</p>
<p style="text-align: left;">I’m ashamed to admit, though, that, as soon as I read Grahame Conlon’s Facebook post that Al had died, which I read about one minute after it was posted, I lost all sense of the world around me and, most likely in a subconscious manner, I immediately posted a Facebook status update of my own about it. Although I made it as brief as possible and tried not to draw attention to myself, I fear that the very act of me posting anything at all may have come across as though I were sensationalising and trivialising the death of a man, which is a very personal matter to those who were close to him and should be treated with great sensitivity, dignity, respect and care. I felt insensitive and so I decided to take my original post down. I then decided to repost with a link to Grahame’s original post so that I was clear about my source of information. After speaking with John Pochée this evening, who was with Alan’s grieving son Michael all day, I can now sadly confirm for myself that Grahame was right: Alan Turnbull has indeed left us.</p>
<p style="text-align: left;">This blog is a memorial of Al mainly for the purpose of providing another perspective, i.e. mine, on Al’s life for those who knew him so as perhaps to make him grow to be even richer in memory than he already would be, as well as to provide those who never met him with a few short stories about one of Australia’s greatest men.</p>
<p style="text-align: left;">There are many scores of people around the world who knew Al far better and for far longer than I did. I don’t claim to have known Al any better than anyone else, nor do I intend to make this a definitive chronicle of Al’s life other than as he was known uniquely to me. I simply just need to pay the man my respects by doing my best to remember the good times for the benefit of anyone who might be reading.</p>
<p style="text-align: left;">I’d love to read anyone else’s recollections of their time with Al so that I can gain yet a deeper appreciation of the man myself as I realise now, after writing this, that I only really had dealings with him on a couple of dozen occasions or so. I know people who spent a lot of time touring with him, etc, from whom I’d love to hear more stories. These few occasions were significantly memorable and formative to me and so I thought I’d share them here. My stories mainly concern the effect that Al’s drumming had on me.</p>
<p style="text-align: left;"><span class="font_large"><strong>Alan Turnbull: the legend</strong></span></p>
<p style="text-align: left;">You would scarcely find an Australian jazz musician active after 1958 or so who didn’t know about Alan Turnbull. Anyone claiming to be even remotely interested in Australian jazz and who doesn’t know the name is living in a bubble and had better take a refresher course in reinvigorating their research skills because they should know “Big Al” or “Tom Terrific” – as he was known – as the best of the best!</p>
<p style="text-align: left;">I first discovered Al in around 1993 when his name appeared in the liner notes of the Don Burrows CD, <em>Jazz Bros.</em>, an ABC release. I had this CD because I knew that Andrew Gander played drums on there and Gander was, to me at that time, the greatest drummer in the world. Gander had mentioned in an interview around that time that Al had been influential on him and so I paid attention. There were some lovely swinging drums on the tracks that featured Al, but it wasn’t until my first night out as a new resident of Sydney in January 1995 that I realised that there was a justifiably high degree of legend about him.</p>
<p style="text-align: left;">It was a Sunday night and I met up with my friend, pianist Nick Southcott, who took me to Café de Lane just off Oxford St in Surry Hills to see Cathy Harley play her music with Warwick Alder, Bernie McGann, Craig Scott and Alan Turnbull. With me being 17 years old and straight out of Tamworth High School, I witnessed the band play a simmering set of music that imbued me with an excitement I’d never experienced before when listening to music. There was a glorious freshness and sparkle in Al’s time feel and touch that was incredibly engaging. I heard everyone in the band riding the magical sound waves that emanated from the drumset with a deftly sublime balance, underlying and framing the band’s sound beautifully, lending a tremendously buoyant and insistently propulsive sense of forward motion with every note.</p>
<p style="text-align: left;">I met Al and the rest of the band after the gig. Al asked a few questions about what I was doing and I told him I was about to start studying at The Con. He told me that all I need to do is to get Jim Chapin’s book, listen to the accompanying tape and learn to play like that because Chapin plays the exercises very fast on the tape. I already had the book, but I had not yet heard the tape. Barry Stewart, my teacher at The Con ended up giving me a copy of the tape and then I understood what Al was talking about. Perhaps this is why I ended up seeking Chapin out in New York and studying with him for a few months in 2002? If so, thanks Al for planting the seed!</p>
<p style="text-align: left;">I began my studies at The Con the very next day floating high on a cloud of pure inspiration.</p>
<p style="text-align: left;"><span class="font_large"><strong>Time and touch</strong></span></p>
<p style="text-align: left;">I saw Al play play a bunch of gigs with Cathy and with others at that time, but the next most significant memory comes from Armidale, July 1995. I’d been invited to teach alongside Al (although I’m not really sure how that’s possible) by Pax (Paul) Andrews for a jazz camp in Armidale. Willow Neilson, Ben Savage, Alfredo Lopez, Nick Southcott and I got to hang out with Al for about a week, as well as with Warwick Alder, Rolf Stube, Rebecca Smith, Cathy Harley. What a great week! The most interesting thing occurred during the closing gig at the local pub in Armidale.</p>
<p style="text-align: left;">Al had flown to Armidale and so he didn’t have his drums, only his cymbals. I drove from Sydney with my drums and so he was able to play these whenever he needed to. I had as identical a cymbal set up to Al as I could in those days, with the exception of the famous cut-out “triangular” Chinese sizzle cymbal on his left. The two cymbals that I had were an 18” A Zildjian flat ride (his was an older 18” Paiste 602 flat), and an 18” Sabian sizzle cymbal (his was an older 18” A Zildjian sizzle). I just loved the sound he got from those cymbals. So, for this gig in Armidale, I had my drums and cymbals set up for the night. Al played before me and I was in the bathroom when he was setting up and adjusting the drums to his preference. When I came out of the bathroom I noticed that Al had his Chinese sizzle set up on his left and, surely enough, there were the accompanying two 18” cymbals on his right. So I sat and enjoyed hearing him play again with a stream of great players. Finally, it was <em>my</em> turn to play, and, apart from being incredibly nervous, I thought to myself “wow, I get to play Alan Turnbull’s cymbals” because he left them set up when he got off the drums and we did an immediate changeover. To my utter surprise, when I sat down at my drums, I realised that Al hadn’t switched the other two cymbals at all, and that he’d been playing <em>my</em> cymbals all along, except for the Chinese sizzle on the left! I couldn’t believe it, but continued to play, sounding pathetically like myself.</p>
<p style="text-align: left;">It still boggles my mind that Al Turnbull managed to get his own sound <em>completely</em> using my cymbals, and that I couldn’t get that same sound when I played them. When people talk about Alan’s ride cymbal, they’re talking about this: <em>it’s his touch and time that makes the difference</em>, and this is transferrable onto any artefact. His was perhaps the clearest in the world. The only drummer who comes close in my estimation is Jack de Johnette sometimes. But the unique “tippiness” of Al’s sound was even more distinct. I’ve heard other drummers achieve a kind of facsimile of this sound by holding the stick really tight and creating a kind of “cupping” shape in their hand that acts as a resonating chamber, but this is not it because, to watch Al was to see the loosest, most relaxed drummer I’ve ever seen in person except, say, Vinnie Colaiuta. It really was a phenomenon unto itself that is now gone, never to be repeated. It’s interesting to note, too, that he used great big sticks, like Rock or 2B models, thereby dispelling the myth of jazz drummers needing to get the “tipping” sound only with tiny little sticks.</p><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/e27dd3df0d825d07c94b0d190bdac6fdfa6d37ac/large/dg-at-cymbal-armidale-1995.jpg?1424731468" class="size_orig justify_left border_" style="text-align: center;" /><p style="text-align: left;">I have a picture attached from that night. The picture contains two photos: the photo at the top is of Al with Pax, Warwick, Cathy, Rolf and guitarist Andrew French-Northam; and on the bottom is Nick Southcott and me. You can see my drums and Al’s Chinese sizzle cymbal in both photos. You can also see the mental gymnastics running through the expression of incredulity on my face as I try to come to terms with the magic of Al’s touch that night – I really didn’t know how to cope with this new realisation about touch.<em> I still don’t!</em></p>
<p style="text-align: left;">I was also lucky to see Al do a recording with Pax, Becky, Warwick and Rolf some time during this camp. I sat right behind him and remember the look of sheer concentration on his profile as he had his head turned toward the cymbal. He appeared to be listening like crazy. He also appeared to have the occasional look of disappointment on his face, but to my ears, there was nothing to be disappointed about. Perhaps he was so deeply attuned to the most subtle nuances that he had already edited out in advance what wouldn’t sound good so that what remained only sounded great? I wonder if anyone has a copy of this?!</p>
<p style="text-align: left;"><span class="font_large"><strong>Sheer skill and relaxation</strong></span></p>
<p style="text-align: left;">One night in around 1997 or so, I went to Nick Southcott’s parents’ house in Fairlight to be in the audience for one of a series of soirées they used to hold at the house with their beautiful Yamaha C7 grand in the living room. This particular night featured the great Andrew Speight with a bass player from Michigan (whose name I now forget), John Harkins on piano, and Alan Turnbull on the drums. This was exciting! On one particularly uptempo piece, and I’m talking “Max Roach tempo” in the vicinity of 350 – 400 beats per minute, I nearly fell out of my seat. Al was as relaxed as ever and the piece was <em>cooking!</em> He sat there with his buck teeth, peering over his orange lens glasses as casually as though he were reading the morning paper. He was totally relaxed, not struggling at all and it sounded delightful! At one point, he played a line of consecutive quavers (8th-notes) on the snare drum in counterpoint with his lovely ride feel and this went on for a few bars. The strangest thing is that his hand didn’t move in a “push-pull” technique reminiscent of the Moeller technique that many drummers successfully get that “one-handed-roll” effect from. It was kind of stationary and yet not stiff. In fact, he appeared not to be doing anything at all with his hand, and yet the snare drum sounded like a machine gun for a few bars! Astonished by this, I ran right up to him at the end of the set in disbelief and asked, “Al, Al, Al, what was that thing you did with your left hand on the burner: it looked like you weren’t doing <em>anything!?</em>” In his usual, inimitable fashion, he peered over those glasses at me and simply remarked, “mate, I haven’t done anything since 1958!”</p>
<p style="text-align: left;"><span class="font_large"><strong>Other memories</strong></span></p>
<p style="text-align: left;">I remember standing next to Al at the side of stage at what was probably the 1995 or 1996 Manly Jazz Festival. We were watching Andrew Gander play his arse off in Daryl Pratt’s band Sonic Fiction. Al leaned over at one point and said, “mate, this guy plays the shit out of the drums!”</p>
<p style="text-align: left;">I remember seeing Al getting around that same festival in his tracksuit and thongs, playing with everyone. He had the whole logistics/portability thing concerning the drums <em>down!</em> He had a “pack and roll” case with the lightest possible hardware configuration imaginable inside – all flat base cymbal stands as well as a tiny little cymbal arm that was fixed to the bass drum – as well as his snare drum. He took the front head off of the bass drum of his old red Rogers set and used to nest the toms and snare in there. With the bass drum sitting on top of the pack and roll, he would wheel around from gig to gig. I’ve heard similar such reports of Al getting around Wangaratta in this manner.</p>
<p style="text-align: left;">I used to live with Sean Wayland, Nick McBride and Phil Slater in a jazz share house in Maroubra in 1996. We were known as The ‘Bra Boys, or, they were really, as I was just a young kid who couldn’t cook. Anyway, Alan lived with his son Michael just down the road and I believe that’s where he still lived when he died this morning. One night I was able to give Al a ride home from the city and he told me how much he loved Jack de Johnette’s drumming. He also said that “you can see Tony Williams play, you can see Elvin Jones play, you can see Jack de Johnette play, but mate, you can never forget seeing Roy Haynes play!” Maybe a year after that ride I saw Roy Haynes play for a week at The Basement – I even got to be Roy’s assistant for the week – and I’m glad I’d heard Al say what he said because, not that I got to see Tony or Elvin before they died, but I’ll never forget seeing Roy play that week. The same could be said for Alan Turnbull: you can see all the best drummers in the world play, but you’ll never forget seeing Alan Turnbull play!</p>
<p style="text-align: left;">I went over to his house around that time for a lesson and that’s when I met Michael. Al enjoyed a few beers and told me about how amazing it was when he saw Miles Davis play at Sydney Entertainment Centre in the early 1980s with John Scofield.</p>
<p style="text-align: left;">Pianist and friend Darrin Archer and I still remember being completely gobsmacked after seeing Al and Craig Scott play with George Cables at the Strawberry Hills Hotel in the mid-’90s.</p>
<p style="text-align: left;">The great Billy Field once said to me, “mate, I’ve only ever met two geniuses: Barry Humphries and Alan Turnbull!”</p>
<p style="text-align: left;">The last time I saw Al play was at The Side On Café in 2002 with Con Campbell and Phil Stack. It was beautiful to hear him again after having not heard him for a few years. At the end of the night I went to offer him some help getting his drums off the stage and he said “mate, relax!” Later that night, I remember being with Sean Wayland and a couple of others, sitting around a table while Big Al had all of us, particularly Sean, in stitches as he went on to elaborate on the ways in which he’s “got the tax office fucked!”</p>
<p style="text-align: left;">The last time I saw him alive was in 2012 at Ken James’ wake at Paddington RSL. I was playing with Ten Part Invention and with Steve Hunter. I knew that Alan Turnbull, John Pochée and Gordon Rytmeister were in the audience during these sets and I was incredibly nervous about playing for them, as well as for the other great musicians who were there, including Billy Field. Anyway, at the endif the gig I was glad to be able to introduce Alan to my wife Patrice, although I regret that we neglected to take a photo. When Al met Patrice, he said, “ah, so you married The Boy Wonder!” I felt incredibly proud of such a compliment coming from him, but as I reflect on Al today, I realised he talked about <em>everyone</em> like that, not just me. Whenever I saw him talk with anyone, or whenever I’d see him after some time, he’d invariably say something like “so mate, how’s life at the top?” and so on. What a great man. He told me that day that he’d happily retired and when I asked him why he said, “well, my son Michael looked in my 1981 diary once and noticed that I’d only had two days off that year and he said to me, ‘Dad, you’ve gotta take a fucken <em>break!</em>‘ My doctor looked at my 1982 diary and noticed that I’d only had two nights off that year and he said to me, ‘Al, you’ve gotta take a fucken <em>break!</em>‘ So now I’ve retired and I’m taking a fucken break.” I wish he were somehow able to come back from <em>this</em> break and “make another comeback.”</p>
<p style="text-align: left;"><span class="font_large"><strong>Recordings</strong></span></p>
<p style="text-align: left;">Thank goodness there are a bunch of really great albums featuring Al’s drumming! There are many more than I’ve got listed here, but these are the ones I know and that made a big impact on me. In no particular order, they are:</p>
<p style="text-align: left;">Cathy Harley Quintet, <em>Tuesday’s Tune</em></p>
<p style="text-align: left;">Graeme Norris, <em>Pentatomic</em></p>
<p style="text-align: left;">Rolf Stube, <em>Jazz Police</em></p>
<p style="text-align: left;">Dale Barlow, <em>Horn</em></p>
<p style="text-align: left;"><span class="font_large"><strong>Conclusion</strong></span></p>
<p style="text-align: left;">I guess I can sum up my overall feeling about Al’s influence on my life in his words, “mate, relax!”</p>
<p style="text-align: left;">Some nice tributes from others include Sean Wayland’s quote from Al on Facebook just now:</p>
<p style="text-align: left;">“I listen to the other guys play. That’s the most important thing when you are on a gig. Just sit there and enjoy hearing your friends play. I listen to where they put the beat and I try and play around it, a little bit ahead sometimes and a little bit behind sometimes. That way you can make them feel really comfortable.”</p>
<p style="text-align: left;">Andrew Gander had these words to say about his first experience of hearing Al play at Sydney Opera House:</p>
<p style="text-align: left;">“By about the five minute mark I was experiencing the proverbial ‘moment of clarity’ along with a feeling of mounting uneasiness about my own playing prospects as the sheer weight of the guy’s chops and drumming intellect descended on me and I began to grasp the scale of the problem facing me. It was a genuinely mind altering experience that opened the door to everything else, and that first feeling of contact not only with Allan’s technical depth, but with his whole overarching concept of time and accompaniment, has stayed with me ever since. My teacher :-)” - Source: <a contents="http://www.jazzandbeyond.com.au/bitmaps/bestgigs.html#AndrewGander" data-link-label="" data-link-type="url" href="http://www.jazzandbeyond.com.au/bitmaps/bestgigs.html#AndrewGander" target="_blank">http://www.jazzandbeyond.com.au/bitmaps/bestgigs.html#AndrewGander</a></p>
<p style="text-align: left;">Thanks for the memories, and for the inspiration, Al. Enjoy the break, and Rest In Peace.</p>
<p style="text-align: left;">Check Alan Turnbull, Craig Scott and Paul McNamara playing with the great Joe Henderson here:<br><br><iframe class="justify_inline" data-video-type="youtube" data-video-id="N4jhGBZE2kY" data-video-thumb-url="http://img.youtube.com/vi/N4jhGBZE2kY/0.jpg" type="text/html" src="https://www.youtube.com/embed/N4jhGBZE2kY?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="315" width="420" allowfullscreen="true"></iframe><br><br><span class="font_large"><strong>Post Script</strong></span><br><br>Here's a photo showing the incredible wealth of Australian drumming talent that got together to send Al off at his funeral:</p>
<div class="captioned justify_center"><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/e1b2e45b307ea32f1efe1ff0c465eabeec33ef37/original/al-turnbull-funeral-drummer-turnout.jpg?1424835406" class="size_orig justify_center border_" /><p class="caption">Drummers turn out to send Al off, L-R: John Pochée, unknown (background), John Morrison, unknown (background), Monique Lysiak (pianist, foreground), Barry Canham, unknown (foreground), Frank Corniola (background), Dave Goodman (background), Warren Daly, Ian Bloxsom (background), Graham Morgan, Jim Piesse, Martin Highland (background), Andrew Dickeson, Toby Hall (background), Miles Thomas & unknown.</p></div>
Dave Goodman
tag:davegoodman.com.au,2005:Post/3674931
2013-04-06T14:00:00+11:00
2017-02-05T10:08:30+11:00
Review: David Ades & Friends Live
Venue 505, 4th July 2012<br><br>Reviewed by Andrew Gander on <em>Jazz & Beyond</em>, published 6th April 2013<br><br><strong>Andrew Gander's High Five<br><br><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/ee5b8a28dcbded988d7db66a8e5590dfe17d54ac/medium/ades-friends-505-4th-july-2012.jpg?1417488359" class="size_m justify_left border_" />...1. DAVE ADES - Venue 505: (David Goodman, drums; Cameron Undy, bass; Dave Ades, alto; Zach Hurren, tenor)</strong><br><br>Chordless ensembles allow increased space for the drummer’s improvisational dialogue with bass and horns, pushing him/her to expand the time-functioning and comping roles beyond conventional formulae. The context also necessarily tends to entail a more vivid portrayal of form by means of alluding to changes and outlining structural markers in the absence of piano or guitar. David Goodman’s masterful playing with the Dave Ades Quartet delivered on all those requirements in spades. Moreover, he has forged a coherent voice that integrates a wide palette of diverse drumming influences - from Motian, DeJohnette and Higgins to Colaiuta, Novak and Rossy – with a self-consistent concept of drum tuning (Sonor Designer Maple Light: toms & snare - mid to upper-mid range head tension; bass drum - low-mid range tension, controlled resonance) and cymbal sound (Bosphorus Masters Series Turks: 22” & 20” – mid-light weight, focused, dry, warm, clean attack, low pitched wash, some with one rivet) that yielded a very satisfying & cohesive sonic blend, both within the music and the room, across a wide textural and dynamic spectrum.<br><br>Following the lead of Buell Neidlinger’s ‘Big Drum’ CD, David’s compelling take on polymetric interaction with this quartet reconciles the unbounded, angular territory of a-rhythmical ‘free’ drumming with what Colaiuta called ‘a scholarly approach to the axe’(i.e. one whose processes operate within certain parameters of math & meter). Dave’s overall angle of approach then is informed by a mature musicianship and technical discipline with a sensibility that is both visceral and cerebral, in that he manages as an improviser to loosely yet cogently deploy layers of rhythmic displacement, artificial subdivision and metric modulation while tactfully supporting the band’s dynamic/emotional contours and sustaining an open, organic, connection with the often highly abstract and emotionally free-ranging cross-conversations that characterize this quartet’s music....<br><br>Source: <a contents="http://www.jazzandbeyond.com.au/bitmaps/bestgigs.html#AndrewGander" data-link-label="" data-link-type="url" href="http://www.jazzandbeyond.com.au/bitmaps/bestgigs.html#AndrewGander" target="_blank">http://www.jazzandbeyond.com.au/bitmaps/bestgigs.html#AndrewGander</a><style type="text/css">.fb-share-button > span:nth-child(1){vertical-align:initial !important}</style>
Dave Goodman
tag:davegoodman.com.au,2005:Post/3671053
2012-11-17T02:00:00+11:00
2017-02-05T10:00:04+11:00
Prized for his Talent
<div>
<img src="//d10j3mvrs1suex.cloudfront.net/u/150720/7e54b0de1a29160cf7598ec1016d46a0e3ee3a54/medium/goodman-2011wangawards12.jpg?1415180794" class="size_m justify_left border_" />Article by Robert Kennard originally appearing in <em>Northern District Times</em>, 17th Nov 2011<br> </div>
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<div>WEST Ryde drumming maestro Dave Goodman (pictured) won a third prize of $2000 in the 2011 National Jazz Awards.</div>
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<div>The award comes less than a month after the Northern District Times featured Goodman. He said he felt “extremely fortunate” to receive the award after playing Thelonious Monk’s <em>Little Rootie Tootie</em>, <em>Lover Man</em> by Ramirez and his original composition, <em>Enter The Tenth Wave</em>.</div>
<p>Held alongside the Wangaratta Jazz Festival, the competition showcased the top 10 jazz drummers in the country. Tim Firth won first place and Ben Falle came second.</p>
<p>Past winners include ARIA award-winning artist Katie Noonan and Grammy award-nominated pianist Barney McAll.</p>
<p>Percussionists have featured every seven years at the awards, with Mr Goodman also winning a place in 1997 (2nd) and 2004 (3rd).</p>
<p>Goodman said the victory money would be used for his own musical pursuits.</p>
<p>“I’m going to put the money toward developing future musical tours and recordings with my own band playing original music,” he said.</p>
<p>The awards are designed to contribute to the development and recognition of young musicians aged up to 35, with entries received across Australia, New Zealand and Japan.</p>
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Dave Goodman
tag:davegoodman.com.au,2005:Post/3674944
2012-07-23T02:00:00+10:00
2017-02-05T10:08:33+11:00
Review: Freeway - The Chet Baker Journey Live
<div>Sydney Opera House, 20th July 2012<br><br>Reviewed by John Shand in <em>The Sydney Morning Herald, </em>23rd July 2012<br><br><strong>Glorious songs lift homage to fragile star</strong>
</div>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/39ef1142bc184f640e50467302b79ceec5f152e0/small/art-353-draxl-300x0.jpg?1414925872" class="size_s justify_left border_" />IN THE 1950s Chet Baker was jazz's pin-up boy. He absorbed New York's blazing bebop, and responded with restrained, lyrical, Los Angeles trumpet playing. When he took to singing, his voice was unfashionably light and boyish, but disarmingly candid and affecting.</p>
<p>Written by Bryce Hallett and Tim Draxl, Freeway is as fine a piece of cabaret as has been hatched in Australia. Already good when it premiered in 2010, it has banished any slight awkwardness in the interaction between the spoken-word material and the glorious songs associated with Baker.</p>
<p>The information imparted by Draxl - who also stars - colours and contextualises the songs. When he becomes Baker he draws us into the mind of the man who produced such music; who, perhaps too delicate a spirit to endure a ruthless world, found solace in heroin.</p>
<p>While Draxl does not seek to impersonate Baker when singing, the natural timbre of their voices is eerily similar. Draxl's could ride high on the slightest puff of a rhythmic updraught, and float across bar-lines as serenely as a hot-air balloon might traverse craggy ranges.</p>
<p>He phrased <em>My Funny Valentine</em> so each note was a little climax, while the feeling remained relaxed. Like Baker he eschewed drilling home emotions, instead using coolness and restraint to compound poignancy, as did Warwick Alder in his trumpet playing.</p>
<p><em>You Don't Know What Love Is</em> began with ghostly piano from Ray Alldridge, against which Draxl's voice was at its most fragile, echoed by the vulnerability seeping from each trumpet note.</p>
<p><em>These Foolish Things</em> had singing to shame most of our specialist jazz vocalists over lovely, cascading piano figures. The starkness of <em>The Thrill Is Gone</em> was intensified by Dave Goodman's diaphanous drumming, and Dave Ellis's bass solo on <em>Born To Be Blue</em> was magnificent in its invention, honesty and luxuriant sound.</p>
<p>Although Draxl may be a more assertive singer than Baker, the show generated that singular combination of emotional brittleness and tender romance.</p>
<div><div>Source: <a contents="Freeway - The Chet Baker Story | Jazz Review | The Sydney Morning Herald" data-link-label="" data-link-type="url" href="http://www.smh.com.au/entertainment/music/glorious-songs-lift-homage-to-fragile-star-20120722-22i0c.html" target="_blank">http://www.smh.com.au/entertainment/music/glorious-songs-lift-homage-to-fragile-star-20120722-22i0c.html</a>
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Dave Goodman
tag:davegoodman.com.au,2005:Post/3671055
2011-10-07T02:00:00+11:00
2017-02-05T10:00:04+11:00
Musical Exploration of Life
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<p><img src="//d10j3mvrs1suex.cloudfront.net/u/150720/ba363be0da006b09f54faa83cb05c7fae9c964bf/medium/mg-9043-small.jpg?1415181428" class="size_m justify_left border_" />Article by Robert Kennard for <em>Northern District Times</em>, 7th Oct 2011</p>
<p>FOR drumming maestro Dave Goodman, playing music is more than just time-keeping.<br><br>“I’m a musician because I think music is the one profession that has everything in it,” he said.</p>
<p>“If you like maths, art, science, language, psychology, philosophy and so on, you’ll be able to explore these areas in full splendour if you immerse yourself in music.”</p>
<p>The West Ryde resident (pictured) has been named as one of the top 10 finalists for the National Jazz Awards at the Wangaratta Festival of Jazz and Blues.</p>
<p>If he wins, Goodman will receive an $8000 cash prize and a studio recording session.</p>
<p>Beginning his musical training in a primary school classroom in the NSW country town of Tamworth, Goodman was recently awarded the degree of Doctor of Philosophy from the Sydney Conservatorium of Music.</p>
<p>He said his life is almost entirely defined by his passion for music.</p>
<p>“I neglected many aspects of my personal and social life before I met my wife. It was just music, music, music,” Goodman said.</p>
<p>“Now I love learning about philosophy and psychology, and I’m a big fan of visual art.”<br><br>Goodman likened the creative expression of music to that of artists such as Bosch, Dali and Escher.</p>
<p>However, the 34-year-old had harsh criticism for the popular music industry, identifying it as the “fast-food” of “fine dining” music.</p>
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<div><div><p>“Pop music is a whole other animal, more akin to advertising, marketing and merchandising than it is to art,” he said.</p></div></div>
<div><p>“You don’t go to KFC to enjoy fine dining (but) people partake as a result of the subconscious hold that has been taken of them by a very powerful and subtle advertising psychology.”</p></div>
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Dave Goodman
tag:davegoodman.com.au,2005:Post/3671064
2011-09-24T02:00:00+10:00
2017-02-05T10:00:06+11:00
Q&A with Dave Goodman – 2011 NJA finalist
<div>Article by Miriam Zolin for <em><a contents="AustralianJazz.Net" data-link-label="" data-link-type="url" href="http://australianjazz.net/2011/09/qa-with-dave-goodman-2011-nja-finalist/" target="_blank">AustralianJazz.Net</a>,</em> 24th September 2011</div>
<p><br>Each year since 2005, in the month leading up to the jazz festival in Wangaratta, Miriam Zolin interviews the finalists in the National Jazz Awards. The awards are decided at Wangaratta in a series of heats culminating in a finals performance on the Sunday of the festival. <a href="http://www.wangarattajazz.com/" target="_blank" title="Wangaratta Jazz Festival">Wangaratta Jazz Festival</a> this year runs from Friday 28 to Monday 31 October.</p>
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<p>The National Jazz Awards have been presented at the festival since it began in 1990 and were designed to contribute to the development and recognition of young jazz and blues musicians up to the age 35. The Awards have become a much anticipated highlight of the Wangaratta Festival of Jazz and Blues.</p>
<p>This year’s top ten finalists are: Ben Falle, 25, Perth | Graham Hunt, 27, Sydney | James Waples, 28, Sydney | Tim Firth, 29, Sydney | Hugh Harvey, 30, Melbourne | Evan Mannell, 32, Sydney | Sam Bates, 33, Melbourne | Craig Simon, 34, Melbourne | Dave Goodman, 34, Sydney | Cameron Reid, 34, Sydney<br>Dave Goodman</p>
<img src="//d10j3mvrs1suex.cloudfront.net/u/150720/ba363be0da006b09f54faa83cb05c7fae9c964bf/original/mg-9043-small.jpg?1415181428" class="size_l justify_left border_" /><p><strong>When did you start playing jazz and why? For example, was there a ‘moment’ when it came to you as a calling or vocation?</strong></p>
<p>Well, to answer this, I need to explain what I mean when I use the term ‘jazz’. Jazz, to me, is an ‘inside job’ and it’s really quite subjective. What it is to me, firstly, is an enthusiasm, a yearning and a motivation to get behind the drums as much as possible and to do the best I can to master the instrument. This means that I have to do all the work necessary to exercise absolute clarity in thinking and perception as well as in the coordinated use of my body over finite periods of time. Secondly, it’s the internal feeling that can be encapsulated by saying that when you’re playing in a band and the music is ‘on’ or you’re ‘in the zone’, you’re swinging. It’s the same in rock music: when you’re ‘on’, you’re rocking! All I remember is these two feelings beginning to grow inside as I gained more and more experience playing. A constant and consistent challenge is presented as one strives to inculcate the idea of swinging and / or rocking into one’s life after deciding to become a professional musician.</p>
<p>Although there’s absolutely no question that playing jazz drums is my vocation, I don’t think there was ever a moment in my life when I woke up and thought ‘gee, I’m now I’m playing jazz, whereas before I wasn’t’. All I’m doing is striving toward the realisation of an ideal. Whether or not I achieve this realisation is inconsequential as I’m thoroughly digging the process. Sometimes I play and I feel invincible. Other times I feel as though everything I’ve done in my life has been a complete waste of time. In both cases, how I feel doesn’t really matter when an audience is involved. What matters is how it sounds to them, no matter how I felt about it as I played. I try to feel nothing when I play anyway and to just listen. I’ll always remember the complete elation I felt when I first played a set of drums. I also remember the feeling of responsibility that came about once I decided to answer to my ‘vocation’ and to be a professional musician. These feelings continue to grow inside me by the day and I love it. To me, the essence of what jazz is all about is in there somewhere.</p>
<p><strong>Which musicians (jazz or otherwise) have been your greatest influences? What about them stood or stands out for you?</strong></p>
<p><a href="http://www.facebook.com/pages/Andy-Gander-Tracks/193854287327017" target="_blank" title="Andrew Gander on Facebook">Andrew Gander</a> is one of the world’s greatest drummers and I feel extremely fortunate that I’ve had the opportunity to listen to his music live and on record, and to get to know him personally as a friend for most of my drumming life. This has had possibly the greatest influence on me. Andy has the most exquisite touch and swing feel of any drummer I’ve ever heard. The expansive immensity of his improvisational musical vocabulary and syntax can sometimes be daunting and overwhelming and I feel that personally and intellectually he’s one of the most articulate, intelligent, genuine and hilarious people I’ve ever had the good fortune to meet. I’ve heard him play in just about every kind of musical context and I’ve paid attention to the consummate aplomb with which he applied his musicality to each of those situations. I really miss him these days. Thank goodness for contemporary technology that enables us to stay in touch via social networking platforms these days, such as Facebook.</p>
<p>Professionally, I’m influenced by the people I work with in just about every situation. People who spring to mind immediately as being most influential are Mike Nock, the members of <a href="http://www.tenpartinvention.com/" target="_blank" title="Ten Part Invention">Ten Part Invention</a>, <a href="http://www.myspace.com/mattkeegantrio" target="_blank" title="Matt Keegan on Myspace">Matt Keegan</a>, Cameron Undy, Cameron Deyell, <a href="http://abcjazz.net.au/artist/phil-stack" target="_blank" title="Phil Stack on ABC Jazz">Phil Stack</a>, <a href="http://www.jamesmorrison.com.au/" target="_blank" title="James Morrison">James Morrison</a>, <a href="http://www.myspace.com/httpwwwmyspacecommattmcmahonmusic" target="_blank" title="Matt McMahon on Myspace">Matt McMahon</a>, <a href="http://www.seanwayland.com/" target="_blank" title="Sean Wayland">Sean Wayland</a> and <a href="http://www.jamesmuller.com/" target="_blank" title="James Muller">James Muller</a>. I look to each of these people for guidance, even if only through listening to them play. I’m constantly learning a lot from them about how to and how not to conduct myself musically. I think I might be conflating the term ‘influence’ with ‘inspiration’ here, but to me, if there’s no inspiration, there’s no influence. I’m most inspired by these people and so they must have influenced me the most, whether they know it or not.</p>
<p><strong>When composing or arranging, where do you get your inspiration?</strong></p>
<p>Inspiration comes to me with the need to meet deadlines. I’m not one of those people who sits at the piano fancifully and romantically sculpting pieces into existence in my spare time. It’s usually because I have no spare time that I find myself cranking material out to meet with compositional deadlines in the first place! I like this kind of challenge. Schönberg says that there is no one time or place where you can actually view a composer ‘composing’ and I find this to be true. Stuff just happens and either you have the skill and patience to flesh it out or you don’t. The late Neale Sandbach commissioned me to put together an album’s worth of music with my own band and with only three months notice in early 2002 for Jim McLeod’s Jazztrack on ABC Classic FM. At that time I had no band and only two tunes to my name. So I put in some calls, chained myself to the piano with a room full of manuscript, sharpened up forty pencils, stocked even more erasers and set to work. I nearly had a nervous breakdown by the end of those three months, but I am happy to have been put under such pressure as it equipped me with the tools to better-handle similar projects that have arisen since.</p>
<p>I’m fascinated with the potential for developing new forms and structures in music, particularly by means of enfolding complex rhythmic and polymetric superstructures into the overall form of the piece in ways that are not immediately perceptible to the listener. I’m not particularly good at it yet, but I enjoy chipping away at it, so perhaps one day I’ll be happy with the results. Sometimes just hearing someone play can give me an idea for putting an entire project together. It really is just hard work and time spent that produces results for me, whether I enjoy it or not.</p>
<p><strong>What’s your favourite place to play or practise?</strong></p>
<p>I don’t have a favourite place to play or practise. I have favourite kinds of places to play and practise. For playing, I love to play in well-appointed, properly managed and maintained recording studios. There really is no better place to play because all the sonic qualities of such spaces are optimised and everyone involved is usually very respectful and professional in the way they interact and share similar visions and goals for the task at hand. Again, there are deadlines involved here and this makes for productivity.</p>
<p>Playing live can be problematic for a number of reasons. I love to play my own drums because my technique is geared to require very specific kinds of responses from the instrument when I strike it. My drums give me such a response. I also prefer to use what seems to be a larger drumset than what most cats are playing around town these days because of the melodicism it offers me. Some rooms however are too small to allow me to set up my drums and others are so acoustically inadequate that I don’t feel like playing there at all. Cameron Undy’s new <a href="http://venue505.com/" target="_blank" title="Venue 505">Venue 505</a> in Surry Hills is a great room to play in!</p>
<p>Often these days when I travel I’m playing on some loaner or rental set of drums that is usually not to my specifications or that is not adequately maintained to be an instrument capable of producing musical art. This is not the case in Japan though. I love playing in Japan because everyone involved over there pays attention to detail and really seems to care about your comfort as a performer. Generally, I love certain theatre settings that have a nice, dry sound for the drums and that utilise a large enough space to cope with a broad variety of dynamic playing, from extremely loud, to extremely soft, but not too large. Such rooms are rare, but I think The Studio at Sydney Opera House comes closest to being the best in my experience. Some concert halls across Asia were astonishingly fun to play in too.</p>
<p>Despite all the potential difficulties, it’s more about overcoming adverse conditions and achieving a collective feeling of connectedness within the particular ensemble I’m performing with at any given time. This is what makes performances enjoyable for an audience, and the more dedicated and appreciative people who are there to hear it, the better. My intent is for each performance to be my favourite, no matter where it is, and then to move on forget about it. When I practise though, I practise better when I have the absolute assurance that not a single person is listening.</p>
<p><strong>What does the Wangaratta Jazz Festival represent for you?</strong></p>
<p>The Wangaratta Jazz Festival represents challenge for me. I’ve been a very active drummer in Sydney and around the country with a certain kind of jazz bent since 1995 and yet I’ve only ever performed at Wangaratta once as a professional since then, and that was with the <a href="http://judybailey.com.au/" target="_blank" title="Judy Bailey">Judy Bailey</a> Trio in 2001. At the times I was performing in bands led by <a href="http://www.mikenock.com/" target="_blank" title="Mike Nock">Mike Nock</a>, <a href="http://www.markisaacs.com/" target="_blank" title="Mark Isaacs">Mark Isaacs</a> or <a href="http://www.dalebarlow.com/" target="_blank" title="Dale Barlow">Dale Barlow</a>, each of whom are regulars in Wangaratta, none of those bands were really traveling around the country and most of the work we did was in Sydney or at other festivals. So, a challenge that Wangaratta represents for me is to put together my own ensemble that is busy enough playing music of high enough quality to perform on the bill at the festival there one day. That would be a dream come true for me!</p>
<p>Wangaratta represents challenge in another area for me because the only other two times I performed there were for the heats and finals in the National Jazz Awards in 1997 and 2004. Both of those events represented the kind of compositional and arranging challenges I mentioned earlier because it was very important to me to perform original material where possible within the guidelines of the competition. I came second in 1997 and third in 2004. Although I had a great time performing on both occasions, I really was underprepared in 2004, but I had just come out of a very strange period in my life where you could say I didn’t really have it together at all. I’m in a much better situation these days: I just completed my doctorate and I very recently got married. So here I am challenging myself once again as a finalist in 2011; my third and final opportunity to perform in the National Jazz Awards because of my age. I really am looking forward to playing my arrangements and compositions with the great band that’s been put together to accompany the finalists this year and I’m really only going there to enjoy playing, composing and arranging as much as I possibly can.</p>
<p><strong>What are you listening to now?</strong></p>
<p>Right now I’m listening to the cacophony taking place in and around the lounge at San Francisco International Airport as my wife and I wait for our flight to New York this afternoon – we’re on our honeymoon. Other than that, I’m not listening to anything in particular. We heard <a href="http://www.donnymccaslin.com/" target="_blank" title="Donny McCaslin">Donny McCaslin</a>‘s band in LA the other night with Uri Caine, Fima Ephron and Mark Guiliana. That was pretty cool. When we arrived here in San Fran we happened upon the <a href="http://www.stantonmoore.com/" target="_blank" title="Stanton Moore">Stanton Moore</a> trio around the corner from our apartment at The Independent. That was an amazing show. Kind of life-changing for me! We heard<a href="http://www.elianeelias.com/" target="_blank" title="Eliane Elias">Eliane Elias</a> with her Brazilian quartet last night at Yoshi’s and Marc Johnson was on bass. I’ve loved his playing for years, but to sit ten feet in front of him and to watch him comport himself musically on stage was really an eye opener. He’s one of the greats of our time, that’s for sure. We bought all their CDs and we’ve been enjoying listening to them in the car.<br><br>Source: <a contents="http://australianjazz.net/2011/09/qa-with-dave-goodman-2011-nja-finalist/" data-link-label="" data-link-type="url" href="http://australianjazz.net/2011/09/qa-with-dave-goodman-2011-nja-finalist/" target="_blank">http://australianjazz.net/2011/09/qa-with-dave-goodman-2011-nja-finalist/</a></p>
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Dave Goodman