Reunited…
Like I said in my last Hittin’ post, I’m a sucker for an organ trio. When the anouncement came that L.A.’s most ubiquitous B3-master Larry Goldings would be re-uniting with Peter Bernstein and Bill Stewart at Vitello’s for two nights this past weekend, I puckered up.

The three made their name collectively and individually when they first teamed in 1988 for weekly gigs in NYC. The trio has continued to evolve for over twenty years now and earned recognition as one of the genre’s all-time greats. From those seminal shows, Stewart went on to acclaim and drum-hero status with Maceo Parker, John Scofield, Pat Metheny, and as prolific bandleader. Still based on the east coast, he is a somewhat rare sighting in L.A., and the opportunity to see him just up the street in this musical setting was not to be missed.

Upstairs at Vitello’s is a Hollywood Drum friend and favorite. We reviewed a show there before and subsequently filmed on-location for our first Hollywood Drum Before Dark segment. Bookings like this one add to the club’s growing reputation as one of L.A.’s best jazz rooms. We made the final late show Saturday, and easy curbside parking on the cool, wet night was a good start. As were seats with a straight eye-line to the Gretsch-inspired (wink) four-piece arrayed with three high-ish, tilted Zildjians. The room was mostly full.

…And It Feels So Good
I saw these guys play about five or six years ago at the old Jazz Bakery. The things that made them great then are still the things that make them great now: world-class musicianship, symbiotic chemistry, sharp composition, hip concept. It’s all there. The evolution is subtle yet discernible. If rock is like beer—best when fresh; jazz is more wine. Over simple? Clearly. But, where the raw energy and cocky surety of youth subsides, the refined wisdom and humble confidence of maturity unfolds…ideally. The process just seems to serve jazz musicians well. (Nothing personal against Mick Jagger.) Six years later, the trio exhibited a bit more relaxed approach to their instruments and a slightly heightened (deepened?) sense of purpose. It was interesting and satisfying to hear these musicians who have grown together and separately over twenty-three years reunite.

Balancing Act
As the trio winded their way trough a mix of Goldings’ originals and deconstructed standards, Stewart’s brilliant drumming lit the way. Improvisation, essentially, is spontaneous composition. Some improvising musicians tend to be more spontaneity-driven; some more composition-minded. Stewart manages a compelling balance—supreme control of the instrument and attention to detail complement trusting abandon and big-picture sensibility.

Heads are thoughtful and defined; time-keeping is dense, interactive (physically and musically) and unrelenting; solos are hypnotic, polyrhythmic, and contoured. Everything is round, deliberate, and suh-winging. He created vibey mood on the slower pieces; seamless propulsion on the mids and burners; spasmodic motion and color in the free sections; and hints of cold-sweat syncopation from the Maceo days on a loose, funky straight-eight tune. Square-jawed, stone-faced and serious from the neck up, his body language is circular, fluid and playful. The visual contrast seems fitting.

Open Mic
Goldings is funny. Forget all that talent and resume stuff. Perhaps final-show fatigue and a leaky roof just above his organ on a rainy night had something to do with it, but a bit of slap-happy humor overcame him. During a certain rather lengthy and tangential, hazy but witty, out-loud runaway train-of-thought about set order and song titles (or something) that had me giggling well into the next tune, he—somewhat genuinely confused—checked out the mic and asked, “Is this thing on ramble mode?” I kinda feel the same way right about now. Great show!

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Thanks to April Williams and Upstairs at Vitello’s.

Clink, Clink
We’re going to do things a little differently here. In place of a snappy editorial overview of the 2010 Guitar Center Drum Off Grand Finals held January 8th at The Music Box in Hollywood, we are presenting a snappy Q&A with GC’s national drum and percussion buyer, Glenn Noyes. Along with the promo team led by Dustin Hinz and Maria Brown, he helped throw quite a ceremony and celebration for the five national contestants and the L.A. drum community at-large, and we figured kinda like the fatherly uncle of the bride, he deserved to say a few words.

We’ve taken care of the photo album with our feature pictorial. And you can find additional details here.

Hollywood Drum: What is the history of the Drum Off and your involvement with it?

Glenn Noyes: The History of the Guitar Center Drum Off dates back to 1988 when the idea of a local annual competition to find the best drummer started at our Hollywood and South Bay stores. Dave Weiderman and I started hosting these local events which started as a simple in store event with 5-10 players and $500 in prizes. It has grown to what it is today involving over 4,000 drummers across the country each year with over $40K in cash and prizes.

HD: The Grand Finals is a big annual event that keeps getting bigger. Give us an idea of the planning and organization it takes to pull it off.

Glenn: The event is always held in the beginning of January, but initial planning starts weeks after the previous one has concluded and runs the entire year. The hardest part is securing and confirming the artists. For the level of artists we get, they are constantly touring and recording and it is hard to confirm that far in advance. Once we know the lineup of artists, we can then determine the right size theatre or concert hall and get that locked in. These are just two of the many things that have to happen to make this run smooth.

HD: The Drum Off is a learning experience for many young drummers; has launched professional careers; and gathers the drum community. What particularly excites you and drives your passion for it?

Glenn: There are several reasons, but mainly the fact that Guitar Center is able to give this opportunity to every drummer in the country. Because of how big we are (215 stores and counting), we can find that hidden talent in any part of the country and change their lives. So many of our previous winners were looking for that break when they entered our competition and now they play with the biggest bands in the world. Previous winners are now drumming for Prince, Jay-Z, Styx, Mars Volta, and many others.

HD: How do you foresee the Drum Off evolving in both the short and long terms? Three-day festival at old man Yasgur’s farm, perhaps?

Glenn: This is something we will continue to grow each and every year. There are always new undiscovered drummers and we are amazed at the talent level every time we get to the finals. It’s funny, each year we say “How are we going to top what we just did?” But we always find a way. Guitar Center Drum Off is here to stay and will be a huge part of giving back to the drumming community for many years to come.

HD: Open solo. Feel free to communicate whatever you feel inspired to share with the Los Angeles drum community…

Glenn: The one thing we are extremely proud of is the ability to be able to offer this and other amazing events to the drumming community. There have been many drum competitions over the years at local levels, but this is the biggest and best. Guitar Center strives to make this a fun and fair competition so anyone at any age or playing level has the opportunity to get up and play in front of a crowd without feeling pressured or left out. This is not about selling product, it is about playing drums. We need more kids and adults to pick up a pair of sticks and discover the excitement of playing drums. It is vital to the health and future of the drumming community.

Guitar Center also hosts many “Sessions” and clinics throughout the year at stores all around the country. The week after Drum Off, we hosted both Gavin Harrison and Jojo Mayer in back to back Session events in our Hollywood store! Contact your local store for information on the next upcoming event.

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