House of Drumming.com

I really like this guy's whole approach. Check out his lesson videos too.

Ian's fantastic. I was fortunate to study with him for a year during my one year at Berklee. He's a beautiful musician, wonderful teacher and a great guy.

The way he looks behind the kit makes me think to Dave DiCenso, you see what I mean ?

Thanks for sharing that... A very well-thought/well-spoken dude...

With Metalwood... I like that.

He sounds great. Really loose playing but swinging and gets great sounds. Those lesson clips were also really good. His approach and timefeel reminds me of kind of how Adam Nussbaum plays. They both have some of that Elvin thing down. I like Adam's playing also a lot.

there should be more videos like this on the Internet. Aside from John Riley's book, this is one of the top 3 video series on jazz playing that I've ever seen. A+

DSOP wrote:I really like this guy's whole approach. Check out his lesson videos too.

Forgive me because I've just taken a lot of cough syrup -- I don't mean to commit jazz heresy here -- but whenI hear this guy in this clip, it reminds me more of Weckl playing jazz than Tony or Elvin. The way he dices up the pulse in lazy triplets and sort of keeps them rolling around the kit. I know that's very Elvin, but his interpretation of the pulse is much more modern and not way in back of it.

My comments probably aren't fair either Froman or Weckl, but it did remind me how hard it is to copy Elvin's style. I think you pretty much have to sell out to it. If you bring Tony into the equation, you sort of tear at the fabric of the Elvin influence just because so much of what made Elvin ... Elvin was where he interpreted the pulse. Was just talking to Scott's friend Joel, who's a serious jazzer in his own right -- Elvin didn't play with others, others played with Elvin, because Elvin was going to dictate the feel of everything.

The closest guy I've ever heard to bring Elvin into other influences is Gadd, but Gadd sort of remains committed to that kind of interpretation of pulse. Maybe not so much on the pop hits, but definitely when he's playing anything that allows for his signature stuff, and especially on swing and shuffle tunes.

Just some thoughts. I dig Froman as a drummer based on these clips. Hope noone misinterprets me.

EDIT: Just wanted to add Erskine totally has an Elvin thing going on, but in a unique Erskoman way. There's an old Patitucci song called Searching, Finding where Peter pulls WAYYYYYYY in back of the pulse and it's this beautiful display of taste and feel -- very Elvin, but again in that unique Erskine way.

Gaddabout wrote:his interpretation of the pulse is much more modern and not way in back of it.

I don't think Ian is trying to "copy" Elvin or anyone else for that matter. He's just sharing his concepts and some tips about playing jazz. The fact that he studied with Elvin Jones and Bob Moses may lend some credibility, but I just take it for what it is; a great drummer sharing some ideas.

DSOP wrote:

Gaddabout wrote:his interpretation of the pulse is much more modern and not way in back of it.

I don't think Ian is trying to "copy" Elvin or anyone else for that matter. He's just sharing his concepts and some tips about playing jazz. The fact that he studied with Elvin Jones and Bob Moses may lend some credibility, but I just take it for what it is; a great drummer sharing some ideas.

Yes, and in hindsight, I went a bit overboard in an off-topic post to simply suggest copying Elvin is really hard to do.

I really like the way Ian plays- he sounds and feels very organic...

I don't think anyone sounds like Elvin...he is very hard to duplicate...no one could stomp a hi-hat like him, lol...his technique(wrong or right), physicality, spirit, etc. made him very unique...(I know, it makes us all unique)...I don't hear Elvin in Gadd at all...I just hear Gadd lol...sorry if this is off-topic...