© - Steven A. Cerra - copyright protected; all rights reserved.
“I gravitate to this kind of drumming. It doesn't feel lick-oriented. It feels organic, open, like you're playing off what you're hearing, as opposed to things in your repertoire.”
Terri Lyne Carrington
There are two things about the following Blindfold Test by drummer Terri Lyne Carrington that especially impressed me:  she nailed the identity of all but one of the drummers and  she describes their respective drumming styles with a vocabulary that is fresh, inventively descriptive while at the same time being expressively clear for those who are not conversant with drum speak.
“Drummer, composer, producer and Grammy winner Terri Lyne Carrington bedrocks her forward-looking musical output with an exhaustive knowledge of the roots and branches of jazz, world music and technology. She plays an array of instruments on her new CD, The Mosaic Project: Love And Soul (Concord).” [Ted Panken]
This is her first Blindfold Test. It was conducted by Ted Panken and appears in the February 2016 edition of Downbeat.
I have underlined those portions of Terri’s impressions that I found to be particularly new, different and helpful as descriptions of each drummer’s style of playing.
"Ali Got Rhythm" (Amalgamations, Sunnyside, 2013) Jackson, drums; Aaron Goldberg, piano; Carlos Henriquez, bass.
It's swinging hard. Something in the ride cymbal pattern reminds me of Ali Jackson. I love his forward motion on the beat. It doesn't feel rushed, but it's real edgy. I tend to play more behind the beat than that, but I appreciate when somebody does it well. Usually I'd rather listen to something that was done when the style was fresh, cutting-edge, pushing a boundary, but musicians who preserve a style from another time period are playing an important role. 31/2 stars overall; 41/2 for Ali, because I could pick up his ride cymbal.
"Never Catch Me" (We Are The Drum, Blue Note, 2015) Scott, drums; John EIlis, tenor saxophone, bass clarinet; Mike Moreno, guitar, Taylor Eigsti, Fender Rhodes; Joe Sanders, bass.
The toms and snare sound like Kendrick Scott, but the bass drum sounds heavier than Kendrick's. Some things remind me of Eric Harland, and there's a beat I've heard Jamire Williams play — there's a school of drumming that's pulled from the same sources. I enjoyed the counterpoint between the two melodies. I like the piano sound. The drums are featured, but aren't overwhelming. It's nice to hear something in 4. So much music now is in odd time signatures, which I like playing, too— but you have to balance it. I would buy this track for sure. 4 stars, [after] Kendrick's playing has grown. His articulation, ideas, everything feels more intentional.
Jeff "Tain" Watts
"Brilliant Corners" (Blu, Vol. 1, Dark Key, 2015) Watts, drums; Troy Roberts, tenor saxophone; David Budway, piano; Neal Caine, bass.
Jeff Watts. From the first beat. Jeff has a distinctive way he plays that swing-funk thing. His triplet is very distinct. With the metric modulations, the tune sounds like either something by [Thelonious] Monk that he arranged or wrote in Monk's style as a tribute. I'm not crazy about the sound of the recording, though it has a certain rawness I like, with everyone playing in a room. At one point, he started playing a hi-hat, and it was overwhelming. I don't know who the tenor player is, but he sounded great. The piano solo was great. 4 stars. The playing is strong enough that I can get past the sound.
"Fall" (Three Times Three, CamJazz, 2014) Sanchez, drums; John Scofield, guitar; Christian McBride, bass.
That's Antonio. That little sound, the bell, [bass solo] During the ostinato, I couldn't tell it was Christian, but the solo tells me. It sounds amazing. I'm used to hearing Sco play more lines; this is a pastoral sound. Antonio is playing very cinematically and texturally. I love the sound of the recording and his drums—full and powerful, so balanced. 5 stars. The song itself sucks you in; it isn't over-arranged, and it's the right combination of players. Antonio masterfully took up the right amount of space without overplaying. What he played was tasty, but also meaningful.
"Y Todavia La Queiro" (The Highest Mountain, Cellar Live, 2012} Nash, drums; Jimmy Greene, tenor saxophone; Jeremy Pelt, trumpet; Renee Rosnes, piano; Peter Washington, bass.
That song took me back. At first I wasn't sure it was Lewis Nash, with the fingers on the drums (though I've seen him do that), but I knew it was him when he picked up the sticks. He's steeped in the bebop tradition, and plays it in a way that sounds modern and has an excitement factor. It's the ferocity he puts on the tempo, undeniable, like a train. The track is a drum feature, done live, and it's so well-executed ... just great drumming. He's a master at what he does. 4l/2 stars.
"First Protest" (Snowy Egret, Enja-Yellowbird, 2015) Melford, piano; Tyshawn Sorey, drums; Ron Miles, trumpet; Liberty Ellman, guitar; Stomu Takeishi, bass guitar.
The drummer likes Jack Dejohnette. The sound of the snare makes me think of Brian Blade, though it's a little more on top, and the ride cymbal is brighter. I gravitate to this kind of drumming. It doesn't feel lick-oriented. It feels organic, open, like you're playing off what you're hearing, as opposed to things in your repertoire. When the piece started, the piano soloing with the drums, I thought it would stay in the vein of contemporary classical musicians who also improvise, but then it entered an area where I heard M-Base inflections—someone who has gone through that camp or been influenced by it. I like the loosey-goosey effect in this player's groove as opposed to some others from that school. 4 stars.
"Luxe" (Mehliana, Nonesuch, 2014) Mehldau, synthesizers, keyboards; Giuliana, drums, electronics.
I'd never heard Brad play electronic instruments; I'd never know it was him if I didn't know the record. I like it. Some elements remind me of Weather Report, a little Joe Zawinul creeping in. Mark is a strong, well-rounded drummer. I like the minimalism of the groove: I only heard the toms a few times in the piece, and he really held my interest with just the kick-snare and a hi-hat in the pattern, [keeping] a relentless feeling to the groove while improvising inside of it. His choices never took away from what's making me dance to the track. I like the '70s lope that pops into the beat. 4 stars.