Mark Guiliana

Rik_Everglade

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So, first you claim Chris Dave "loses the beat" (he doesn't), and is "constantly recovering from mistakes" (uh, no), and now you somehow have a better grasp on musicality and the placement of subdivisions than Chris Dave, who is literally known (and hired) for his other-worldly command of time, rhythm, and groove (both on and off the "grid"), not to mention his ground-breaking creativity, originality, and awe-inspiring facility on the drums.

Then you continue by saying his comping 'steps all over somebody's solo' (link, please), and, not to be outdone by any of your previous ridiculous statements, you assert that, because he plays with many different people, it may be because "he isn't asked back". This is where it became clear that one of three things is true: 1) You have absolutely no idea what you're talking about, 2) You're trolling, or 3) Both.

Listen to Robert Glasper's "Double Booked" or check out Robert Glasper with Chris Dave - North Sea Jazz Festival 2019 and then come back and tell us with a straight face that anything you've said holds a drop of water. By the way, for some clearly "non-musical" reason, Glasper (who can hire anyone he wants) keeps "asking him back", as did Mint Condition, Kenny Garrett, and Meshell Ndegeocello, among others. Oh yeah, the podium at the Grammy Awards asked him back, too (2 time winner, 5 time nominee).

Whatever the case, people have different tastes and Chris Dave may not be your cup of tea, but objectively, he is at the forefront of the styles he plays and is held in the highest regard by his peers.

I watch them. There are stretches of very nice drumming. I can conclude that you think that the herky-jerky stuff is musical. All the other words you typed don't really add up. Other worldly is one way to put it. Some day, if we hear his influence on others, then I'll start to worry.
 

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I don't think that there's any question that Chris Dave is a great drummer and that the kind of liberties that he takes with the fundamental rhythms of the tunes that he plays aren't anything like random. He isn't making those tunes fall apart and the folks that he plays with are more than good enough players to follow him. Still, for me, even though I know that the kind of stuff that he and his band are doing are purposeful, they often come off as more theoretical type experiments rather than anything that seems to add to the mood, energy, etc of the music. Ultimately I prefer when really great players don't just come off as if they're experimenting with some advanced concepts but when those concepts are able to further the mood of the music. I think of folks like John Coltrane or John McLaughlin who though they often played incredibly fast, with non-traditional choices of notes, it all seemed to be in service of the spiritual, searching nature of their music.

I feel like with certain musicians what they present to the public often comes off as experiments that have the potential to be be used in service of truly compelling music, but that they haven't really gotten to or maybe haven't even bothered getting it to that stage. It's like the stuff is more "look at us try this thing" rather than "this technique has a really amazing effect on the music."
 

E.L.

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It's hard to choose between the recors with Cohen or McCaslin, since Mark played divinely in both projects...but JESUS CHRIST what he did on Casting For Gravity is kinda unmatchable by most of the drummers of the present:
 

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I got to see Donny McCaslin's band (with Mark) perform at my local club the day after they accepted a Grammy for the Blackstar work. This is also Donny's hometown, so there was a full house and local hero comes home vibe in the room, it was a stage he grew up playing on as he was coming up as a kid/teenager in various local band camps. Great show.
 
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marc3k

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Woah - this one blew me away: sounds like those classic drum and bass songs with the sampled apache or amen brother breaks!

 

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I got to see Donny McCaslin's band (with Mark) perform at my local club the day after they accepted a Grammy for the Blackstar work. This is also Donny's hometown, so there was a full house and local hero comes home vibe in the room, it was a stage he grew up playing on as he was coming up as a kid/teenager in various local band camps. Great show.
I saw that group play a few years ago and they were great. They did a Bowie tune, but not one on the Blackstar album that they were a part of. It was an oldie, "Look Back in Anger" and they really made it cook, as they did with all of the stuff that they played. The show was part of a jazz festival and I remember that when everything started with a really oud keyboard drone kind of a thing, that a number of folks who I would guess were season ticket holders left. As far as what jazz music has sounded like historically, this band didn't have much in common, but they were great. I saw Guiliana's own group a few years later, an acoustic quartet and they were great too...
 
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