Leon Parker

[rollhead]

Did the fall off the face of the earth?

He was coming on strong about 10 years ago:

http://www.observer.com/node/41017

http://www.newyorker.com/archive/199...ARDS_000376017

[shrugs]

Look at his credits over at AMG.com

I followed the last lead:

http://www.mirabassi.com/en/a-terra.html

« ...With Terra Furiosa, this disciple of Aldo Ciccolini and Enrico Pieranunzi records a new CD with the type of music formation he prefers, i.e piano-bass-drums, with which he started when he recorded his first CD (Architectures, 1998). The trio plays on quite a novel rhythm, with the Italian bass player Gianluca Renzi and the American drum player Leon Parker. In fact, when the three musicians meet up in the Studio of Meudon, on June 19, 2007, it is with the intention of recording only three titles for the next CD by Giovanni Mirabassi, for which Leon Parker is invited as a guest. After this short session, the musicians are thrilled : the combination of the three musicians’ talents operates very smoothly and the result is great. Listening to the recordings confirms this feeling of perfect harmony. The three musicians feel they want to prolong this moment together and decide to carry on playing.The session will last the night and they record six other tracks together. Giovanni Mirabassi thus produces an unexpected and spontaneous CD, born from shared enthusiasm. And like on his previous Cds, he has favoured the freshness of new compositions (seven out of nine titles). At 37 years old, he seems to have found the perfect partners to further his work on the jazz trio. They will both be performing with the pianist during the whole tour Terra Furiosa. »
Axel Matignon - Discograph

[Mike Schwartz]

Rollie,
Parker went to France a number of years ago.....a brief online search didn't find anything past 1999

[Ron Thorne]

Thanks for that information, shrugs. That's a most intriguing lineup, and the sound samples I just heard are enough for me to want to own it. Any disciple of Aldo Ciccolini and Enrico Pieranunzi is worthy of a critical ear, in my estimation.

Leon's spare and well-articulated approach to drumming is very complimentary to Mirabassi's and Renzi's styles.

I never tire of "the art of the trio".

Now, if I can just find a copy of this recording at a price which won't make me hurl ...



I could get it from Caimin for less if I lived in the U.K. than I can in the U.S. ($18.30 vs. $25.71), even though they ship to both locations from Florida.

[Peterdubya]

Leon, Jacky Terrasson, and Oganna Okegwo did reunite a year or so ago and did a short US tour, and a long European tour.

[rollhead]

Thanks, Shrugs.

Originally Posted by Mike Schwartz

Rollie,
Parker went to France a number of years ago.....a brief online search didn't find anything past 1999

Mike, yes... I hit a stonewall at about 1999.

Like Ron, I am going to try to track down a copy of the Terra Furiosa CD.

[Chris Kelsey]

I saw him with Terrasson and Okegwo at Iridium a couple of years ago. Good band.

[Tom Storer]

Parker is playing in Paris next Friday and Saturday with Donald Brown (p), Daryl Hall (b) and the excellent French trumpeter Stéphane Belmondo. Unfortunately I'm otherwise engaged on Friday and on Saturday I'm going to see Sheila Jordan (with a trio including Franck Avitabile (p) and the ever-popular Aldo Romano (d)). But the two clubs are on the same street. Maybe I'll see Jordan and then catch Brown's late set. Even though I'd have to stay up past my bedtime.

[Jimmy Cantiello]

My only Leon Parker cd

[Dr Dave]

Originally Posted by Tom Storer

Parker is playing in Paris next Friday and Saturday with Donald Brown (p), Daryl Hall (b) and the excellent French trumpeter Stéphane Belmondo. Unfortunately I'm otherwise engaged on Friday and on Saturday I'm going to see Sheila Jordan (with a trio including Franck Avitabile (p) and the ever-popular Aldo Romano (d)). But the two clubs are on the same street. Maybe I'll see Jordan and then catch Brown's late set. Even though I'd have to stay up past my bedtime.

You're just a doggone boulevardier, Tom.

[Dr Dave]

Originally Posted by Chris Kelsey

I saw him with Terrasson and Okegwo at Iridium a couple of years ago. Good band.

They made some good recordings, too.

[Gordon B]

Originally Posted by Tom Storer

Parker is playing in Paris next Friday and Saturday with Donald Brown (p), Daryl Hall (b) and the excellent French trumpeter Stéphane Belmondo. Unfortunately I'm otherwise engaged on Friday and on Saturday I'm going to see Sheila Jordan (with a trio including Franck Avitabile (p) and the ever-popular Aldo Romano (d)). But the two clubs are on the same street. Maybe I'll see Jordan and then catch Brown's late set. Even though I'd have to stay up past my bedtime.

The only Donald Brown I own is Keystone 3 by the Jazz Messengers. What's he been up to?

[Tom Storer]

They like him in Europe and he plays Paris once a year or so. I recall reading a review of a CD he made with (I think) the Knoxville Jazz Orchestra not long ago. He seems not to be recording very often but I'm under the impression he's an educator somewhere. I have also read that he suffers from arthritis, so that no doubt puts a damper on his performing career. He has a reputation as a fine composer, however.

[rollhead]

Originally Posted by Tom Storer

They like him in Europe and he plays Paris once a year or so. I recall reading a review of a CD he made with (I think) the Knoxville Jazz Orchestra not long ago. He seems not to be recording very often but I'm under the impression he's an educator somewhere. I have also read that he suffers from arthritis, so that no doubt puts a damper on his performing career. He has a reputation as a fine composer, however.

Donald Brown is an associate professor at the University of Tennessee at, um, Knoxville.

If you happen to catch Parker, Tom, kindly let me know what he was playing on. He was using a minimalist set 10 years ago or so.

According to the 1997 Whitney Balliett piece I posted above:

"Nowadays, his set usually consists of a three-inch snare; a floor tomtom tipped on its side and equipped with legs, a foot pedal, and a cowbell; and a thin, eighteen-inch, hand-hammered, flattop ride cymbal. He also uses wire brushes and amazingly light parade-size drumsticks."

Curious what people think about a 3" snare. Isn't that a piccolo snare?

[Pete C]

That was pretty much Parker's setup every time I saw him. The first time I saw him was as a sideman at an outdoor show at City Hall park, and I thought he was using a stripped-down kit to travel light.

I'm guessing the three inches was depth and not diameter, no?

[Ron Thorne]

Originally Posted by rollhead

Curious what people think about a 3" snare. Isn't that a piccolo snare?

Yes, that dimension is the depth (head-to-head) of the snare drum. Typically, snare drums which are 3-4" in depth are considered piccolo snares and have a higher pitch as a result of their shallow depth. Most other snare drums are 5½" in depth or greater.

Example:

[rollhead]

I am assuming if someone was looking for a "warm" sound out of a snare (if that is possible), you wouldn't play a piccolo snare.

I can kind of understand Parker wanting to use a foor tom as a bass, as I assume it would have a brighter (less muddy than a bass drum), but still provide a bottom. But it must have been a bitch to set up a floor tom to work as kick drum.

I like the idea of a flat ride cymbal to provide a "dry" sound without much wash. I've heard some ride cymbals that have so much wash it is hard to discern the beat. I don't know what the significance of a "thin" ride cymbal is, though.

This is a Istanbul Turk flat ride:

[Ron Thorne]

Originally Posted by rollhead

I am assuming if someone was looking for a "warm" sound out of a snare (if that is possible), you wouldn't play a piccolo snare.

It's definitely possible to get a "warm" sound out of a snare drum. In simplistic terms it's usually accomplished with deeper drums and thicker heads, which are also somewhat less crisp and responsive than shallower drums and thinner heads.

I can kind of understand Parker wanting to use a foor tom as a bass, as I assume it would have a brighter (less muddy than a bass drum), but still provide a bottom. But it must have been a bitch to set up a floor tom to work as kick drum.

First, a floor tom-tom is much smaller & lighter to transport than a bass drum (that's a good thing), but it will have a higher pitch as a result of the difference in drum volume.

The two most common floor tom sizes are 14"x14" and 16"x16", whereas bass drum sizes vary from 12"x20" to 16"x26" or so. My bass drum is 14"x22", for example. A floor tom-tom could be set up on its side in the same manner in which a bass drum is situated and a bass drum pedal attached in the normal manner. Or, it could be set up like a "cocktail drum" with the beater striking upward rather than in the conventional manner.

Example:

I like the idea of a flat ride cymbal to provide a "dry" sound without much wash. I've heard some ride cymbals that have so much wash it is hard to discern the beat. I don't know what the significance of a "thin" ride cymbal is, though.

While it's true that flat ride cymbals (little or no bell) often have a dry sound, it's not the only factor in achieving that sound. Thickness of the cymbal, depth & spacing of tone grooves, bow of cymbal from center hole to outer edge and other factors come into play. It's a very complex scenario.

As a matter of fact, at the request of the parents of one of my students, I chose a pro-level ride cymbal for him today as a Christmas gift. I played 30-40 different cymbals, mostly A. Zildjian, K. Zildjian and Sabian, before choosing this cymbal for this particular student. It has very crisp articulation with little build-up and wash, an overall medium-dark pitch, many different sonic "colors" and an amazing bell sound.



Sabian HH Series 21" Raw Bell Dry Ride

Edit: I also love Istanbul and Bosphorous cymbals!

[rollhead]

Ron...

I get Parker's minimalist setup, but isn't he precluding possibilities by leaving out the high-hat?

Wouldn't the optimal (minimalist) drumset be high-hat for the left foot and bass (or,floor tom pedal) for the right foot, then snare and ride cymbal?

Otherwise, he is losing the possibility of playing with all four limbs.

Or do you think he can do most everything he wants to do with the above mentioned drumset?

By the way, that "cocktail" set up looks VERY cool. Would the person have beaters on both the top and bottom of that floor tom-tom? using a thicker head on the bottom for the pedal-powered mallet and thinner head for the top for the drumsticks to beat on?

Finally, you said thickness partially determines the sound of a cymbal? Does it make it drier? wetter?

----------------------------------------------------------
Okay, I found the answer to one question:


What is a Cocktail Drum?
A cocktail drum typically looks like a tall floor tom 14" to 16" diameter by 16" to 25" height on shell mounted legs. There are usually snares mounted underneath the top head for a "snare sound" and a modified pedal to strike the bottom head for a "bass drum sound". They often have a shell mounted cymbal arm and occasionally a side mounted tom-tom or set of bongos for a very compact set up. There are also several variations which include single headed drums with or without snares, snare drums mounted directly attop a regular, small bass drum, a snare drum mounted to a floor-tom with the underneath bass drum beater, etc.

[Ron Thorne]

Originally Posted by rollhead

Ron...

I get Parker's minimalist setup, but isn't he precluding possibilities by leaving out the high-hat?

Yep.

In my minimalist setup I don't use a hi-hat, either. Do I miss it? Yep.

Does it cause me to think differently and make some changes in my approach? You bet!

There are always trade-offs when you make such dramatic changes.

Wouldn't the optimal (minimalist) drumset be high-hat for the left foot and bass (or,floor tom pedal) for the right foot, then snare and ride cymbal?

Perhaps, but then you have more "stuff" involved, so the "minimalism" is not so pronounced.

Otherwise, he is losing the possibility of playing with all four limbs.

Or do you think he can do most everything he wants to do with the above mentioned drumset?

I'm sure that Leon has come to grips with what he wants to bring to the musical table and how much he wants to haul around, too.

Finally, you said thickness partially determines the sound of a cymbal? Does it make it drier? wetter?

A thicker cymbal will tend to sound drier than a thinner one, but that's only one of several characteristics, as I mentioned. It will also sound lower in pitch, as will larger diameter cymbals. These are very complex sonic questions and considerations for which there is no simple response.

[rollhead]

As for that cocktail set, is that played standing up? The Metropolitan Drum Company says that it can be played standing up or "semi-seated" (whatever that means). I am guessing semi-seated means on a stool.

http://www.metrodrum.com/id4.html

[Ron Thorne]

Yes, cocktail drums are typically played standing or seated on a stool. It's easier and less tiring for most drummers to play the pedal from a stool.

[rollhead]

I could imagine it would be a bitch trying to work two pedals at once, too, standing up. Or is one pedal only generally used with a cocktail drum?

just a pedal for the bass drum, and not the high hat?

[John L]

Back to the original question, I recall an interesting interview with Leon Parker a while back where he expressed some major professional frustrations and declared something like "it's over. Jazz is dead." It sounded like he was looking for some other direction.

[Ron Thorne]

Based on what appears to be his latest recorded work, I don't think Leon's exactly written off jazz as "dead" just yet, John.

[John L]

Originally Posted by Ron Thorne

Based on what appears to be his latest recorded work, I don't think Leon's exactly written off jazz as "dead" just yet, John.

Or, at least, it appears that he has reconsidered.

[rollhead]

Here is another excerpt from the Whitney Balliett piece on Parker:

Unwittingly, Parker the progressive has gone back to the drums used in the thirties and forties by the pioneer New Orleans drummer Baby Dodds. The alto saxophonist, clarinetist, and jazz scholar Bob Wilber worked with Dodds in the late forties, and once said of him, "He was a percussionist more than a drummer. He thought of drums in terms of colors and how to mix them. ...His time was superb, and his whole playing was heavy and low. The tonality was down where it didn't get in the way, as so much modem drumming does." The exceptional pianist Bill Charlap says much the same of Parker: "He gets many different colors, and he's got brilliant time. ...And his sense of intricate rhythms never gets in the way of his grooving."

Do you (anyone) agree that Parker is more of a "percussionist"than a drummer?

Aren't other drummers interested in drums in "terms of colors and how to use them"?

[Tom Storer]

I'd call him a drummer. Colors or no colors, he's focused on the groove. But it's true he's a very light and clean drummer (or was a few years back, I haven't heard him in a while). You can hear all the tippy-taps.

[Ron Thorne]

Defining someone as a drummer vs. percussionist (or vice versa) can be a bit of a slippery slope. There is a lot of overlap in both categories.

Some drummers are more interested in nuances, articulation and a wider sound palette than others, as I've noted with Leon. Despite his spare "kit", he's not alone in his overall approach as a drummer, however.

Use of textures, colors and sonic curiosity beyond the "standard" approaches isn't limited to percussionists, that's for sure.

[rollhead]

The anti-Leon Parker:

http://www.youtube.com/watch?v=uV9WlgC5oWo