Saturday, June 21, 2012 - 11 a.m. to 1 p.m.
Tickets: $25 (at the door)
Jim Blackley (www.jimblackley.com/): At 85 years young, Jim is one of the most sought after and respected drum teachers and authors in the music world today. Many of Canada's leading Jazz drummers have studied with Jim Blackley and he has undoubtedly had an important influence on Jazz drumming in this country.
His first publication, Syncopated Rolls for the Modern Drummer, has been called a "Musical Gem" by Elvin Jones. It has circled the world, embraced by teachers and musicians alike, and remained in print for over forty years. Jim's next masterwork, The Essence of Jazz Drumming, was proclaimed "Percussive Wisdom" by Down Beat magazine.
Jim lives and teaches in Barrie, Ontario, Canada, offering monthly sessions to Canadian students and 10 master classes to professional musicians from around the globe.
Jim's students have gone on to find success playing or recording with such world renowned artists as: Duke Ellington, Dizzie Gillespie, Count Basie, Woody Herman, Leonard Berstein, Miles Davis, John Coltrane, Herbie Hancock, Dexter Gordon, Oscar Peterson, Jim Hall, Clarke Terry, George Shearing, Frank Sinatra, Chick Corea, Mel Torme, Junior Mance, Joe Henderson, Zoot Sims, Kenny Wheeler, John Handy, Art Pepper, George Coleman, Herb Ellis, Fred Hersh, Norma Winstone, Sonny Rollins, Joe Williams, Helen Humes, George Benson, Charlie Hayden, Sonny Greenwhich, Diana Krall, Don Thompson, Ed Bickert, Paul McCartney, The Beatles, Mick Jagger, Brian Ferry, Elton John, Marvin Gaye, The Temptations, Todd Rundren, The Fifth Dimension, Linda Ronstadt, Hall and Oates, Elvis Costello, B.B. King, Diana Ross, The Supremes, Loreena McKennitt, Nellie Furtado, Michael Jackson, Quincy Jones, Gladys Knight, Roberta Flack, Smokey Robinson, The Four Tops and Patti Labelle, Sting, Feist, Peter Gabriel and Annie Lennox among others.
An excerpt from an Interview with Jim Blackley:
" . . .the important thing you must give the student is direction about understanding structure, listening to chord changes, listening to the bass line, how to play the time and punctuate the phrases - these are the things that the musical player must learn. It has nothing to do with playing the udiments. I could direct students into being outstanding jazz drummers without ever teaching one rudiment, yet I could cover everything that's being played in jazz, because everything develops from playing TIME. My whole concept is based on approaching everything from the TIME. All rhythms and figures are first developed as cymbal patterns. Students learn to hear the musical line, played over chord changes, the bass, and the melody line. And then, they learn how to take that single musical line and explore the total drumset.. They are playing musical lines, not rudiments!"
Read the full interview at gigspaceottawa.com/jim-blackley-masterclass-lessons