• A Review of Jamison Ross’s Debut Album Jamison

    On June 23, 2015, drummer Jamison Ross celebrated the release of his debut album, Jamison. The album, released on Concord Jazz, not only features the young artists talents as a drummer and composer, but as a vocalist as well.

    The album is the perfect blend of jazz, blues, and soul and Jamison’s voice has a subtle power to it that captivates the listener, making this debut a very enjoyable listen.

    Jamison is a combination of original music with covers such as Muddy Waters’ “Deep Down in Florida”, refreshed as a new orleans-style tune driven by grungy guitar over a blues form. “Sack Full of Dreams” from Louis Savary and Eddie Harris’ and Les McCann’s “Set Us Free”, and Carmen Lundy’s “These Things You Are to Me” round up the covers on the project, making the album a pleasant blend of classics and new material.

    Jamison Ross is accompanied by his college mates on the project including guitarist Rick Lollar, bassist Corcoran Holt, saxophonist Dayve Stewart, pianist Chris Pattishall, organist Cory Irvin, and trumpet player Alphonso Horne III. Jonathan Batiste also performs piano on four of the tracks.


    Jamison Ross was the winner the 2012 Thelonious Monk International Jazz Award for drums in 2012.

    Get Jamison on Amazon.

    Title: Jamison
    Artist: Jamison Ross
    Date: June 23, 2015
    Genre: Jazz,
    Label: Concord Jazz


    01 Deep Down in Florida
    02 Martha’s Prize – Instrumental
    03 Emotions
    04 Sack Full of Dreams
    05 Set Us Free – Instrumental
    06 Sweet Surrender (The Hook) – Interlude
    07 My One and Only Love
    08 These Things You Are to Me
    09 Jazz (Aubrielle Ross) – Interlude
    10 Epiphany
    11 Bye Bye Blues – Part I
    12 Bye Bye Blues – Part II

    Get Jamison on Amazon.

    August 12, 2015 • Reviews • Views: 1941

  • Bastian Weinhold “Cityscape” Review

    On May 28, 2014, New York City based drummer Bastian Weinhold released his sophomore project, Cityscape, a collection of original compositions with a fantastic lineup of musicians.

    Cityscape opens with the first in a series of interludes, “Interlude I,” where each of the musicians check their instruments over the sounds of the city before delving into the title track, “Cityscape.”

    The album has an edgy fusion-influenced feel with tunes like “Mole Hunt” but is well-balanced with a few jazzier compositions and ballads like “Home to Home.” “One for the Doctor,” however, with its intricate melody is the standout track on the album for me.

    Overall the album is a great listen with fantastic performances from Bastian Weinhold on drums, Nils Weinhold on guitar, Adam Larson on saxophone and Raviv Markovitz on bass. It’s wonderful to hear how a new generation of artists are taking hold of the jazz idiom and making it their own, and this album is a fine example of just that.

    Get Cityscape on Amazon.

    Title: Cityscape
    Artist: Bastian Weinhold
    Date: May 28, 2014
    Genre: Jazz
    Label: FRAME Music


    01 Interlude I
    02 Cityscape
    03 The Snowman
    04 Alone
    05 Interlude II
    06 Mole Hunt
    07 Home To Home
    08 Everyday List
    09 One for the doctor
    10 Interlude III

    Get Cityscape on Amazon.

    September 9, 2014 • Reviews • Views: 3303

  • Drummer Tony Cooper | Teen Jazz Artist

    Setup/Gear/Manufacturer of Instruments:

    Ludwig, Sabian, Gibraltar, Gretsch, Fender, Rickenbacker, Takamine

    Why did you begin studying music?

    I started studying drums at age 9 just for the sake of having another hobby but music took over my life. Now, 9 years and 4 instruments later, I study music to help me develop as an artist and songwriter.

    Drummer Tony Cooper

    Located in Newfoundland, Canada

    • Drums
    • 9 years of playing

    Teen Jazz Artist Badge

    [What’s this?]

    What are you doing with music right now?

    I am currently playing and recording songs with a band, as well as teaching drums, guitar, and writing at a music school in my hometown.

    Who are some of your influences?

    The Beatles (band and solo), Bob Dylan, Neil Young, Mumford and Sons, Eagles, Simon and Garfunkel, Bruce Springsteen, etc.

    Who do you/have you studied with?

    I am currently studying with my long-term mentor and friend and various other teachers at Frequency Music Studios in my hometown.

    What do you plan on doing with music in the future?

    I aspire to be a recording and performing artist with my band and to find success and peace of mind in the music industry.


    Interested in having your profile featured on our site?

    Teen Jazz is also looking for young Jazz Artist features, so you could become a feature if you apply. You will be notified by email of the status of your application.

    Terms and Conditions:

    (A) You cannot submit one sentence answers to the Teen Jazz Artist Application form questions, they must be a short paragraph.

    (B) You must respond to the confirmation email that you receive from Shannon Kennedy after you submit your profile or your profile will not be published on Teen Jazz.

    (C) Pictures and Contact Information on your page are optional, but let us at Teen Jazz know if you would like to have both or either on your profile.

    Apply Here

    May 24, 2014 • Up and Coming Musicians • Views: 1846

  • Drummer Kayleigh Moyer | Teen Jazz Artist

    Where did you go to school?

    I am a junior at Belmont University majoring in Commercial Music Percussion with an emphasis in Performance.

    How long have you been playing?

    I have been playing for 10 years. I got my first drum set for Christmas when I was ten years old and this past Christmas was my ten-year anniversary.

    Drummer Kayleigh Moyer

    Located in Nashville, TN, USA

    • Drums
    • Endorsements: Humes & Berg Mfg Co Inc // Drumtacs


    Teen Jazz Artist Badge

    [What’s this?]

    Setup/Gear/Manufacturer of Instruments:

    I have a maple 6-piece Drum Workshop Collector’s Series drum kit in a silver sparkle finish with 9000 series hardware. I also have a Tama Starclassic drum kit in a Diamond Dust finish. I use DW 9000 series pedals or my Mapex Falcon pedal depending on the situation. I have a mixture of brands for cymbals that includes Sabian, Zildjian, Diril, Dream, and Wuhan. My snare drum collection consists of mostly Drum Workshop and Slingerland drums.

    I sing and often get work singing background vocals while playing drum set.

    Kayleigh Moyer | Teen Jazz ArtistWhy did you begin studying music?

    My mom is a big fan of Rush so I grew up listening to Neil Peart’s drumming. One day during the summer before 5th grade I went with my dad to a party at his friend’s house. Since it was mostly adults at the party, I was really bored and started playing around on a drum set I found in the barn. Things started clicking and I realized that drumming felt very natural to me. I joined the 5th grade band that fall and I got my first drum set that Christmas.

    What are you doing with music right now?

    I am studying music in college as well as playing as much as possible. I play with several groups and artists in and around Nashville, record as much as I can, and make lots of YouTube videos in a duet I’m in called the Khromatiks.

    Who are some of your influences?

    Neil Peart, Chester Thompson, Phil Collins, Art Blakey, Buddy Rich, Zoro, Eddie Bayers, Larrie Londin, and John Blackwell are some of my biggest influences. I admire their playing, musicianship, and musical choices.

    Who do you/have you studied with?

    I have studied with Chester Thompson, Zoro, Eric Schmitz, John Bletch, and Todd London.

    What do you plan on doing with music in the future?

    I want to play with many different artists and do a combination of live performances/touring and session work. I would also like to see myself fit in some songwriting and producing. I want to fill my future with as many things that keep me drumming and involved with music as I can.

    What are your thoughts on what it takes to become a successful performer?

    I think that it takes a combination of preparedness, professionalism, and passion to be successful as a performer. If you get a list of tunes to learn in advance for a gig, make sure you prepare by learning the tunes and charting them out if necessary. If you aren’t given a set-list, try to be as fluent in the style of music you will be playing as you can and listen to music of that genre to prepare. Finally, having a passion for what you do and the music you play is essential for being a successful performer. It will come through in your stage presence and in your playing, as well as draw people into the songs you play and emotions you are trying to convey through your music.

    Good listening skills and reading skills are just as important as your ability to play your instrument well. By listening to the other players you are working with, you can have a whole musical conversation during the songs and greatly improve your comping and accompanying with artists. Listening can also help you to decide when to add fills and stand out as well as when to lie back and blend. Being able to read music and different kinds of charts will make you more marketable and help you get gigs, especially if you want to do studio work.

    What is your advice to an up and coming musician?

    Put yourself in as many uncomfortable music situations as possible. By this I mean sit in with musicians you’ve never played with before or try learning about a new genre of music you’ve never played before. Forcing yourself into these situations can only help you grow as a musician by improving your listening skills, stage presence, reading skills, and confidence.

    New releases and projects coming up:

    I’m recording drum tracks for Wes Harllee, an artist I work with in Nashville, for his album that is set to be done later this year. I also recorded drums on tracks for Luke Caccetta, another artist in Nashville, that is set to be released in April. I recorded drum set and percussion tracks for Nathanael Meda, a Christian artist, on his new album Solo Contigo that was just released onto Itunes.


    Interested in having your profile featured on our site?

    Teen Jazz is also looking for young Jazz Artist features, so you could become a feature if you apply. You will be notified by email of the status of your application.

    Terms and Conditions:

    (A) You cannot submit one sentence answers to the Teen Jazz Artist Application form questions, they must be a short paragraph.

    (B) You must respond to the confirmation email that you receive from Shannon Kennedy after you submit your profile or your profile will not be published on Teen Jazz.

    (C) Pictures and Contact Information on your page are optional, but let us at Teen Jazz know if you would like to have both or either on your profile.

    Apply Here

    February 15, 2014 • Up and Coming Musicians • Views: 2296

  • Drummer Ricky Lawson | Teen Jazz Legend

    Drummer Ricky Lawson | Teen Jazz Legend This article is a little bit late because it took me a while to write it. I knew what I wanted to say, but each time I tried to get it down, the words came out in an incoherent mess and so I kept putting it off. There are so many things to say about this talented musician, educator, and friend whom we’ve recently lost and I know there are others who can say it much more eloquently than I, but I wanted to get it down and share it with you.

    The first time I met Ricky Lawson was out on the front steps of a hotel in Galveston as we waited for the artist bus to shuttle us from the hotel to the performance venue. As we stood waiting, I couldn’t help but notice that he was wearing a Steely Dan jacket. At the time I was really into the band, so I looked at him and told him just that.

    He smiled politely at me and said, “thank you, it was given to me when I went on tour with them.”

    I was floored. Little did I know at that time that I was speaking to a prolific performer who had not only toured with Steely Dan, but Michael Jackson, Whitney Houston, Stevie Wonder, and countless other talented artists.

    I didn’t perform with him that night, but it wasn’t long after. In 2007, we each performed as part of the Brian Culbertson Smooth Jazz Cruise. The cruise was really my first big performance opportunity and I was somewhat nervous. When I saw Ricky backstage and told him that I was there to perform, he said he would keep an eye out for me (the first night was a jam session). It was both intimidating and encouraging, but it was that little push of support I needed that night. It also lead to my discovering that Ricky was as amazing at being an educator as he was in his role as a performer.

    Over the years I would have several more opportunities to perform with Ricky and each time he would offer me advice to not only improve my playing, but my overall performance. His comments were always sincere, well-meaning and infinitely helpful. He was a great friend, mentor and musician and he will be greatly missed by many.

    Throughout his career, Ricky Lawson performed and recorded with artists including Michael Jackson, Whitney Houston, Eric Clapton, Phil Collins, George Benson, Al Jarreau, Bette Midler, Quincy Jones, Steely Dan, and the list goes on.

    He began playing drums at the age of 16, borrowing his uncle’s drum set and taking the local Detroit bus system to travel to his performances. Lawson attended college for one year before leaving to tour with Stevie Wonder. In 1986 he was awarded with a Grammy for his performance on “And You Know That” with the Yellowjackets.

    He passed away due to a brain aneurism at the age of 59 in December 2013.

    January 17, 2014 • Interviews • Views: 2320

  • Drummer Nathan Bohach | Teen Jazz Artist

    Setup/Gear/Manufacturer of Instruments:

    A 4 and a 3.5 Musser marimba. Mallatech Jazz Classics JC12, Mainieri MM17, and Mainieri MM13 mallets. iRealbook app and amp.

    A red Sonar S class fusion drum kit. Zildjian 16″ A custom Rezo crash and 18″ K custom Hybrid crash,20″ Custom Dry ride, 10″ A splash,14″ Meinl Benny Grebb series sand hats. A DW collectors series black snare. DW 500 double peddel. DW 500 hi-hat stand, LP Jam Block, Remo active snare dampening system, Pearl Firecracker snare, Evans G1 plus coated heads. Roc -n- Soc seat, Innovative Percussion Ed Soph’s, Pro-mark sticks. Regal Tip classic brush.

    Drummer Nathan Bohach

    Located in Bellaire, Ohio

    • Vibraphone, percussion
    • 5 years of playing
    • vibeguynate@aol.com

    Nate on: YouTube | SoundCloud

    Teen Jazz Artist Badge

    [What’s this?]

    Why did you begin studying music?

    My Mom teaches elementary and middle school band, choir, and general music. My aunt does elementary and middle school choir. I grew up around music. When I was little I would march with my moms band in her Christmas parade playing my little tikes toy snare drum. I love music and couldn’t imagine doing anything else.

    What are you doing with music now?

    I am preparing to study Jazz Performance at Marshall University where I have almost full tuition scholership. I have hopes to tour and play jazz. I am currently active in the school jazz, concert, marching, and pit orchestra.

    Who are some of your influences?

    Gary Burton, Mike Mainieri, Dave Samuels, Milt Jackson, Stefon Harris and Blackout, Spyro Gyra, Jeff Hamilton (trio), Elvan Jones, Philly Jo Jones, Roy Hains, Benny Grebb, Miles Davis, John Coletrane, Cannoball Adderley, Michael Brecker, Charlie Parker, Oscar Peterson, Louis Armstrong, and many more.

    Who have you studied with?

    Jay Ware- head of percussion and jazz percussion at West Liberty University. (Graduate of Jacobs school of music).
    Rick Parsons- Local jazz artist. Plays with Pittsburgh River City Brass band.

    What would you like to do with music in the future?

    Completing my degree in jazz performance with plans of traveling and playing. Also Possibly something with music tech.


    Interested in having your profile featured on our site?

    Teen Jazz is also looking for young Jazz Artist features, so you could become a feature if you apply. You will be notified by email of the status of your application.

    Terms and Conditions:

    (A) You cannot submit one sentence answers to the Teen Jazz Artist Application form questions, they must be a short paragraph.

    (B) You must respond to the confirmation email that you receive from Shannon Kennedy after you submit your profile or your profile will not be published on Teen Jazz.

    (C) Pictures and Contact Information on your page are optional, but let us at Teen Jazz know if you would like to have both or either on your profile.

    Apply Here

    June 17, 2013 • Up and Coming Musicians • Views: 2113

  • Review of Terri Lyne Carrington’s Album Money Jungle: Provocative in Blue

    A few years ago we had the opportunity to interview Grammy-winning drummer Terri Lyne Carrington on Teen Jazz. This week, we’re excited to bring you a review of her latest release on Concord Jazz, Money Jungle: Provocative in Blue.

    Money Jungle: Provocative in Blue features Gerald Clayton on keys, Christian McBride on bass and Terri Lyne Carrington on drums, encapsulating the essence of the album’s inspiration – Duke Ellington’s album Money Jungle (with Charles Mingus and Max Roach). The original album is a commentary on the battle between art and profit and the more recent release continues with that message.

    And yet, while still maintaining the essence of the original, Carrington has made Money Jungle her own. The album includes eight fresh arrangements of Ellington’s music and three originals (one by Clayton and two by Carrington).

    Guests on the album include Robin Eubanks on trombone, Clark Terry on voice and trumpet on “Fleurette Africain,” Tia Fuller on alto flute, Antonio Hart on flute, Nir Felder on guitar, Shea Rose and Lizz Wright on vocals, Herbie Hancock as the voice of Ellington on “Rem Blues/Music”, and Arturo Stable on percussion.

    Carrington discovered the original Ellington album in the discount in at a record store, and upon hearing it the first time was immediately inspired. Once she decided to take on recreating the project, she completely immersed herself in research and preparation. “I felt like a method actor, she says. “I just dug as deep as I could in the time that I had to get a glimpse of his perspective on things. When you start rearranging music by someone like Duke Ellington, you better feel really good about what you’re doing. In the end, I felt confident that I didn’t do him a disservice, because he was a very open-minded artist, and he was very much about moving forward.”

    The album opens with the title track, Money Jungle, a stirring piece that begins with Carrington accompanying a voice over (the voice overs on the track are of Bill Clinton, Martin Luther King and Obama). The album is as diverse as it is interesting – the songs range from the funky blues of “Backward Country Boy Blues” to the R&B influenced “REM Blues/Music.”

    The three originals on the album are “Grass Roots” and “No Boxes (Nor Words) by Carrington and “Cut Off” by Clayton. The tracks take the place of Ellington’s “Warm Valley”, “Caravan” and “Solitude.”

    Money Jungle may be a remake of an already existing project, but Carrington’s additions and fresh approach make it an interesting and well arranged tribute to the great Duke Ellington. In Carrington’s own words: “There’s always something that’s new, if you know how to listen to it. You have to be able to appreciate the past if you want to have a future. I think that’s a big part of our job as artists and entertainers and educators – to keep reminding the younger musicians how important our predecessors were – especially the people who made the music what it is today. So it was my goal to bring some fresh light and fresh energy to some of Duke’s music in general and this recording in particular.”

    Terri Lyne Carrington was born in Massachutsetts. Her credits include touring with Herbir Hancock, Wayne Shorter, Al Jarreau, Stan Getz and several other great artists. She has more recently collaborated with all star performers such as Patrice Rushen and Esperanza Spalding to create the Grammy Award winning release The Mosaic Project.

    Get Money Jungle: Provocative in Blue on Amazon

    Title: Money Jungle: Provocative in Blue
    Artist: Terri Lyne Carrington
    Date: February 05, 2013
    Genre: Jazz
    Label: Concord Jazz


    01 Money Jungle
    02 Fleurette Africain
    03 Backward Country Boy Blues
    04 Very Special
    05 Wig Wise
    06 Grass Roots
    07 No Boxes (Nor Words)
    08 A Little Max (Parfait)
    09 Switch Blade
    10 Cut Off
    11 REM Blues/Music

    Get Money Jungle: Provocative in Blue on Amazon

    May 16, 2013 • Reviews • Views: 1945

  • Drummer Terri Lyne Carrington | Teen Jazz Influence Interview

    Name: Terri Lyne Carrington
    Instrument: Drums
    Years Playing: started when she was 7, professionally when she was 10
    College/Major/Degree: Berklee College of Music, Full Scholarship, Full Time for a year and a half

    *Note: This interview is a compilation of information attained from a telephone interview as well as bio content taken from Terri Lyne Carrington’s site with permission.

    Terri Lyne Carrington seriously started studying music when she was seven. Her father knew about musicians, so whenever they came through town he would take her to go see them. At a young age, she was already listening to players like Dizzy, Clarke Terry, and Grover Washington Jr.

    Born in Medford, Massachusetts in 1965, Terri developed a reputation as a child prodigy, jamming with jazz veterans Dizzy Gillespie, Rahsaan Roland Kirk, Oscar Peterson, Joe Williams, and many more. At 7, she was given her first set of drums, which had belonged to her grandfather, Matt Carrington. After studying privately for three years, she played her first major performance at the Wichita Jazz Festival with Clarke Terry. Shortly afterward she received a full scholarship at age 11 to Berklee College of Music where she started playing with such people as Kevin Eubanks, Mike Stern, Branford Marsalis, Greg Osby and others. She also studied under master drum instructor Alan Dawson and made a private recording entitled, “TLC and Friends”, with Kenny Barron, Buster Williams, George Coleman and her dad, Sonny Carrington, before turning 17.

    Throughout high school Terri traveled across the country doing clinics at schools and colleges and in 1983, encouraged by her mentor, Jack DeJohnette, moved to New York and started working with Stan Getz, James Moody, Lester Bowie, Pharoah Sanders, Cassandra Wilson, and David Sanborn.

    In 1989, Terri moved to Los Angeles where she became the drummer for the “Arsenio Hall Show”. She has also toured the globe with Mike Stern, Joe Sample, Al Jarreau, Herbie Hancock and spiritual mentor, Wayne Shorter. Her debut release on Polygram, “Real Life Story”, was nominated for a Grammy Award and featured Carlos Santana, Patrice Rushen, John Scofield, Grover Washington, Jr., and Gerald Albright.

    Recently, she has concentrated her efforts on writing and producing with various artists including Gino Vannelli, Dianne Reeves, etc. Her production of Dianne Reeves’ Grammy-nominated CD, “That Day”, hovered at the top of the charts for many months. Terri was also the drummer on the late night TV show, “VIBE”, hosted by Sinbad.

    At the time of writing her latest solo CD, “Jazz Is A Spirit”, (released in March 2002 on the ACT Music label) has enjoyed considerable media attention. Since she has released Grammy winning album “The Mosaic Project” and “Money Jungle: Provocative in Blue.”



    Jack Dejohnette – his way of looking at music is really open, multi-directional. Her family would always take her to his concerts.


    “Don’t let anything deter you from what you want to do, but make sure you are good at it. Don’t let anything cripple you. Just have the determination to be the best that you can be.”


    “There are so many male musicians who won’t necessarily hire any female players because they don’t want to be out on the road with women.” But Terri Lyne Carrington doesn’t really let it bother her because her career is doing okay.


    Terri Lyne Carrington has never had any trouble maintaining her identity. She only went through a period of not wanting to be called a jazz musician because she played so many styles.


    “It’s okay. Some people it works really well for, but others it doesn’t. A lot of times there are issues with jealousy. It really depends on the people. It doesn’t really matter as long as you find someone that you have a connection with.”


    “It can be a bit of a novelty to be a woman playing drums, and it creates diversity in the band. Sometimes it can work to your advantage, but other times not so much. One person’s poison is another person’s medicine.”


    Terri Lyne Carrington finds pleasure in writing her own bios and articles, maintaining a household, while trying to have a social life. She is going to start teaching a lot more and she is looking forward to that. Terri Lyne Carrington also wants to write some books and record more as a leader. She is going to start teaching at Berklee College of Music.




    She tries not to look at what could have been or should have been. She has always thought it important to move forward constantly and not stay in one place for too long. “You have to be happy with where you are”.


    “It is what it is….. I hope that people become more educated about great music from the past as well as demand a stronger integrity for the music of today. It’s all good if it is creative and meaningful. But so much is watered down for commercial success that the good gets lost. We need to bring the standard back up. Not sure if that is possible, but that is what needs to happen to save our musical future. And as far as the music business goes, that has always been more than questionable, though now it seems people are becoming more conscious due to the market changing and more self produced projects AND the knowledge that we can own our own music. That is a good thing!”

    “There is always interesting things with people trying to push the envelope and be as interesting a possible. That is always going to be the hardest thing to find – you have to be in a mindset to look for cutting edge music if that is what you are into.” When she meets musicians who are doing something different, she appreciates them. “You have people who are always going to remain true to their music and people that are going to combine styles – so the direction of music is always going to be both positive and negative.”


    Joni Mitchell, Stevie Wonder, Santana, Herbie Hancock and Head Hunters 2005, Wayne Shorter, Dianne Reeves, Rufus Reid, Eric Marienthal, James Moody


    Just played in Rome last month with Herbie Hancock and Carlos Santana for 500,000 people. It was Quincy Jones MTV benefit, “We Are The Future.” But our portion did not make the edited MTV airing.


    “I try hard to forget those…”


    Hiking or just walks in a natural environment, playing pool, being outside and being social with friends, read metaphysical books, go to movies


    “Always remain humble. Learn. Realize we are going to drop into the ocean one day.”


    She doesn’t embarrass easy. Once when she played with Art Farmer – they played a slow tune, but the next tune they played was so fast she could only play it in half time. “As a kid it was pretty embarrassing.”


    Coltrane – Ballads
    Miles – Kind Of Blue
    Joni Mitchell – Don Juan’s Reckless Daughter
    Hendrix – Band Of Gypsies
    Wayne Shorter – Native Dancer


    Terri Lyne Carrington endorses Yamaha Drums, Zildjian Cymbals & Sticks, and Remo Drum Heads.


    “Be a complete person. Stay up on political awareness, realize that what you do reaches a lot of people. Create values with what you do in your career. You are going to touch some one with what you do, and that is a lot of responsibility. Stay grounded. Strive to better at every juncture. Be in touch with one’s spirituality…”

    For more information visit Terri Lyne Carrington’s web site.

    October 29, 2012 • Interviews • Views: 2234

  • Drummer Evan Stone | Teen Jazz Influence Interview

    Name: Evan Stone
    Profession: Drummer
    Years Playing: since the age of 8
    College/Major/Degree: none
    Location: Los Angeles, CA


    I first met Evan Stone at a Greg Adams gig in 2004. He and I have played together a few times since then and have remained in contact. The idea for Teen Jazz Influences was actually inspired by Evan himself. We were talking about our websites one day, and I wanted to do an article on him. Since he didn’t really qualify as a Teen Artist, I created this series so I could feature Evan Stone. Evan is a very interesting and talented person and I feel very honored to have had the opportunity to play with him and call him a friend. After reading this article, if you are interested in learning more about Evan Stone, you can visit his website.


    Evan Stone has studied with Peter Erskine, Jeff Hamilton, Roy Burns. He first began seriously studying drums at the age of 12 and began playing in clubs at the age of 13 .


    Drummers: Peter Erskine, Jeff Hamilton, Roy Burns, Elvin Jones, Tony Williams, Jack Dejohnette, John Bonham, Stewart Copland, Vinnie Colaiuta, Max Roach, Philly Jo Jones, Phil Collins, Art Blakey

    Non Drummers: Miles Davis, John Coltrane, Frank Zappa, Beatles, Police, Stevie Wonder, the Meters, Tower of Power, Dexter Gordon, Billie Holiday, Joni Mitchell, Steely Dan, Bjork, Radiohead, James Taylor, and many others

    Styles: Everything from folk to progressive rock to swing


    Evan Stone’s parents were largely responsible for allowing him the opportunity to pursue drumming and music without any restrictions. They told him to do what was in his heart and if he wanted to be a musician to be the best he could be and not to settle for second best. Evan picked things up quickly and was able to play rock beats on the drum set without any formal training at first. He then began studying with drum instructors and still studies with other musicians to this day.

    Evan believes that “confidence can be built through people telling you that you are progressing and that they really like your sound/style.” Evan Stone feels that being your own critic also will help you make better choices. “You need to monitor if you are making progress or not to determine if you can develop and establish a musical career.”


    “Success can be defined in many ways. If you find yourself in a situation that is less than desirable, that may be selling out. If you just want to play the music that you love which is in your heart and which is not particularly the most popular music on the scene at the current time, then it is very difficult to create a successful career from that if you are defining your success in making a lot of money from the music you created. If money is not the be all end all, and you are getting by and are happy with your life doing whatever it is that you do, then that could also be considered success.

    I feel that as long as you are doing what is in your heart that keeps you satisfied, and as a result of that, you are earning enough money to make a living from that, than that is the ultimate success. If the music you create is also the music that you love, and appears to be what everyone else loves too, then you are in an ideal situation. I would not consider that selling out if it happens to be the popular music of the day. I believe that would put you among a very small percentage of creative people. If you are in music solely for the purpose of making tons of money, than chances are you are going to wind up playing music that you do not love.”

    Evan Stone always wanted to play music that he created or helped to create part of the overall sound. He likes to be involved in groups that are trying to do something different. “When you try to create something new, you are a true artist because you are attempting music that hasn’t been done before.” If he was called for a gig he didn’t want to do, he would do it if it helped him pay the bills. He feels that sometimes you have to take gigs you don’t Necessarily love to keep doing what you do love.

    The gigs that he does for love and the gigs that he does for money are very rarely the same.


    “Unfortunately, the music business today is extremely image driven. More so now than ever before. In the jazz world it never used to be that way; in the 40’s, 50’s ,60’s and 70’s, you were respected for your playing and not for what you looked like. MTV changed the value of image versus talent because you had to look good while you were playing. It has a lot to do with marketing – sex sells and it also sells in the music industry which is why you see Britney Spears, etc. The record companies want that image to create teen idols.”

    It has even spread into the world of Jazz today. Although there is not much of a world of jazz left, certain artists who play music that I think better fits under the category of “Pop” or “R&B” who call themselves jazz musicians seem more concerned about how they look on the cover of their CD than they do about the integrity of the music they are making. Perhaps some of them really love that kind of music but I don’t call it jazz. Jazz for me is music that is improvised and in the moment. Remember, Jazz music was created out of the desire for personal freedom. It has little to do with how hot you look when you are playing your axe.

    Evan Stone feels he might only have lost a couple gigs because he didn’t look the part of what they were looking for. He hopes people don’t care about what he is wearing and only what he is playing. But he feels that musicians should still dress nice to respect the music and show that it is a serious art form. You don’t want the audience to feel like they are watching bums on stage. Also, as a drummer, it doesn’t matter as much because we are in the back. He listens to musicians because they sound good and he feels that people need to close their eyes and use their ears more.


    Evan Stone is a free lance drummer. He produces other artists, and is writing music for television and film with the drummer for Offspring. Evan Stone has his own jazz quartet that he leads and has been performing around LA the last 16 years working with many groups of musicians. He just recorded his first solo record that will be out in the fall.

    In the future he would like to do some jazz festivals and continue doing local bands playing funk, rock, and jazz. He feels that he needs to play jazz to feel complete.

    Money hasn’t really changed his initial career plans – but he just has to be able to pay his bills. You are generating your own income as a self employed musician, you are constantly struggling to get new gigs, to keep gigs. He feels as a musician you are on a constant job search – with no security blanket. There are pros and cons – you are your own boss but when you take time off you aren’t getting any income. You have to take the leap of faith and not let money be your driving influence.


    Evan Stone’s inspiration lies in the fact that learning an instrument and trying to master it is never ending for anyone who wants to continue their craft and keep developing. He is always trying to come up with a new direction in music. The musicians that are around him also inspire him. He has never minded being the weakest link in a group because it forces him to grow. He is also inspired knowing that there is so much to learn.

    He has wanted to quit at times in the past as a young musician – when he used to see great drummers perform, it was hard not to walk away feeling inspired but also feeling a bit like quitting because it seemed impossible to reach their level. Every artist who is serious about their craft deals with this at some point. He has also gotten pretty burnt out on drums – so to prevent this, he has picked up guitar and keyboards. In the last three years Evan Stone has bought a saxophone and has been practicing. He is self taught and practices with Aebersolds. Evan started playing sax to get interested in music again so he would not be burnt out on drums. It worked because he started learning the melodic side of music rather than the rhythmic side. It was another perspective on music – how a horn player hears a drummer.


    Evan Stone’s coolest gig – ” I think some nights when I am playing with my quartet and things are really flowing and everyone is listening well and playing at a very high level that those are some of my coolest gigs. Some nights are absolutely euphoric. “Part of the allure of being a musician is when you are completely aligned with your musical thoughts – it is the ultimate high. They don’t happen often which is why they are special.

    Lamest Gig – Any gig where he has to put on a tuxedo to play music for people who aren’t listening to the music.


    Some of Evan Stone’s other hobbies include chess, baseball, and traveling.


    “Get with a good teacher and learn how to manage your time effectively so you can practice, perform and look for gigs. Have a smart business sense on top of being a good player so you can have a successful career. Surround yourself with great players who will push you to become what you have always expected of yourself.”


    His most embarrassing moment was when he was playing with Maynard Ferguson and he couldn’t read music well yet. At the time, Evan Stone was 21. Maynard Ferguson pulled a new chart out on a gig. Evan had all the music in the book memorized, and was not able to sight read the new chart. Since he couldn’t read, the band almost folded on stage because of it. After that gig, he made it a goal for that to never happen again, so he learned how to read music better.


    Solo record “Evan Stone Sticks & Stone” – all straight ahead jazz


    What did the drummer get on his IQ test? Drool


    His first instrument was a trumpet – he played trumpet for five years. His dream instrument are the Drums – the ones he is playing now they are the best drums he has ever played in his life


    Evan Stone is an artist for Canopus Drums, Vic Firth drumsticks, Aquarian drum heads, Bosphorus Cymbals.


    Evan Stone has his own website with sound clips, a blog, and much more.

    October 18, 2012 • Interviews • Views: 2476