The 2008 Summer NAMM (National Association of Music Merchants) exhibition has been here in Nashville this past week.  That event made way for all sorts of parties and special musical performances every night. For me the very coolest was a surprise special performance by Hammond Organ endorser/artist, Tony Monaco.  The show was at a small intimate Nashville jazz venue last night (Saturday).  Tony played selections from his recordings, and was accompanied by guitarist, Jack Pearson and Nashville jazz drummer, Jim White.

I want to discuss Jim White and his performance last night because it bears real examples several comments I have made in some of my other blogs on this website about drummers and jazz playing.

First, a little background about Jim White.  He is already well on his way to being a major league jazz player.  Though Nashville is now home for Jim since 1995, he is originally from Atlanta, Georgia.  He holds a Bachelor of Music degree from the University of North Texas and a Master of Arts degree in Jazz Studies/Composition from Middle Tennessee State University.   These are impressive credentials in my opinion.

Jim has performed with many top jazz artists including Maynard Ferguson, Rufus Reid, Joey Defrancesco, Bela Fleck, Jeff Coffin, Rich Perry, George Kirk Whalum, Annie Sellick, Charlie Peacock, Kevin Mahogany, Steve Wilson, Art Lande, Bob Sheppard, Benny Golson, Jim McNeely, the North German Radio (N.D.R.) Big Band, Eric Alexander and many others.  He is also an active educator, performing clinics at many universities and jazz festivals throughout the country. In 2005, he joined the faculty at the University of Northern Colorado, where he is currently Assistant Professor of Jazz Studies.  I think we can all be equally impressed with these career accomplishments he has already. 

Last night Jim performed on a very cool four-piece set of old 1980’s  era “Series 9000” Yamaha drums……14x18, 8x12, 14x14, 5x14 sizes and his selection of Bosphorus cymbals for the gig.  His technique was amazing.  His time was firm but with room for Tony's emotion and mood interpretation.  His solos were blazing with intensity, and his subtle brush work flowed so perfect. He used no microphones.  The room was very old with hardwood floors and a high ceiling that let the sound fill the room with a very natural…unprocessed feeling. 

When playing the funk/blues/jazz style drums in an organ trio, the drummer must keep pulse and feel moving without a bass player.  Since the organ player is  doing both chord structures and playing the bass lines…the drummer must hold the time firm, yet still allow some very slight wiggle room for the organist to express himself.  That’s a fine line skill that comes from experience and careful listening.   Jim handled all of that so well last night.

To tell you the truth, it is that slight time variance that gives the music some genuine human emotions that can be experienced by the listner.  Maybe, you haven't thought about it, but you have most likely seen symphonic conductors do this in a much more obvious way.  So, in an organ trio, the organist might be analogous to the conductor, as far a setting the musical moods.  That's something for you to think about as you listen to some of the famous artists in their small ensemble jazz recordings.

As I have written in another blog, jazz, and especially jazz organ trios, place the drummer in a unique “sound mix” situation too.  Drums that are not tuned (pitched) to handle this musical genre can get lost in the organ’s complex multi-layered wall of sound.  In an intimate jazz setting, you don't slam the drums into the mix with muscle.  No, you tune the drums to have tones that are distinct at all dynamc levels.  It's not only tempo and dynamics, it is also about tones...textures....and sound colors.

Jim was hip to all of this.  He had his drums tuned up higher than he would normally use for contemporary pop/rock pitches, aided by the fact that he used a smaller diameter bass drum.  That works to assure his “drum voices” are not lost in the overall mix.  He was therefore, able to play his drums at volumes that allowed their beautiful tones to layer into the music. 

On each tune, Jim displayed his amazing chops and his mastery of this style of drumming to everyone there last night.  You could hear the expected historic influences in Jim’s playing, yet his own definite bluesy funk groove was right there when the music needed it. To my ear, Jim’s powerful passages had the energetic passion of drummers like Tony Williams and Elvin Jones, although in a more bluesy context (in keeping with Tony Monaco's music).  But his ability to also play those delicate passages with such finesse stirred memories of Jo Jones and Max Roach.  Add to that Jim’s own very cool stylings, and maybe you can start to understand just what a remarkable drummer he is.  Seriously....very cool.

In other blogs, I've discussed the importance of having a well-rounded knowledge of all kinds of music.  Jim was well prepared to perform these styles needed last night from a combination of his objective study of music; his focused listening skills; and certainly his ability to practice and master the techniques.   Then the real acid test…..using his talent and taste; as well as, his confidence to bring out the ideas stored away in his mind’s drumming arsenal….to immediately and effortlessly translate them to his hands and feet to produce “just the right” drum/cymbal sounds in “just the right” places in the music.  That takes all of the skills to which you add your own impressions and reactions.

Jim's performance, in my opinion, was a great example of the real beauty of this American musical art form we call jazz.  The creation of improvisational music……interacting with the other musicians…….performing original variations of tunes…..and it is all created right before your eyes and ears.  That to me is very magical……and I thank all the wonderful musicians who spend a lifetime preparing to make those special moments happen……and make them feel so good.

Keep the name Jim White in mind.  You will certainly hear his name again and again in the future. 

Well, until the next time.....CHEERS!

Ken Sanders

IBJAMN in Nashville

Tags: Jazz Drummer Jim White