Johnathan Blake was born under the lucky star of jazz. When he was
born on July 1, 1976 in Philadelphia, his father, the
violinist John Blake, Jr., joined
Grover Washington, Jr.'s band (1976–1979) and three years later
McCoy Tyner's (1979–1984). Johnathan Blake grew up around
Philadelphia's top-notch jazz musicians and he never forgot them, as
in the title of his new leader album Gone,
but not Forgotten, a celebration of the
musicians he knew and loved.
a leader, he took extreme care to record his two excellent albums
(the first one was The Eleventh Hour
in 2012). As a sideman, he remains a very busy musician as Tom
Harrell’s regular drummer since 2005, Kenny Barron’s since 2008,
Ravi Coltrane’s since 2012 and gradually Dr. Lonnie Smith’s; not
to mention the other gigs, tours and recording sessions. Before that,
he honed his skills while working with Oliver Lake Big Band and
Mingus Big Band.
38, the drummer has already a very strong experience. With his
passionate, subtle style and accomplished
technique, Johnathan Blake has a
deep understanding of the history of jazz and continues to deepen his
creativity as a leader and a sideman.
met Johnathan Blake while he was in Paris with Tom Harrell's quintet,
an opportunity to talk about his experience as a musician and to
reflect on the most memorable encounters of his life, starting with
his father John Blake, Jr., who passed away on August 15, 2014 at the
age of 67 (Jazz Hot
#668). Gone, but not Forgotten...
Interview by Mathieu Perez Photos Umberto Germinale, Jos Knaepen, Mathieu Perez
Jazz Hot : What was the
inspiration for your new album Gone,
but not Forgotten?
It’s a tribute to musicians that have passed away. It’s a
celebration to them and to their music. And it was a tribute to the
musicians that I’ve had a chance to play with. There’s a tune by
Jim Hall (Jazz
Hot #571). I
had the opportunity to work
with him not too long before he passed away, maybe a year or so. It’s
also a tribute to the Philly musicians who passed away and with whom
I also had the honor of sharing the bandstand One of them was Charles
Fambrough. He and my father used to work together in McCoy Tyner’s
band. Charles was responsible for getting my father the gig with
McCoy. Charles also gave me my first gig.
I also had the pleasure to play with Philly musicians like Trudy
Were you closer to any
of those musicians in particular?
I consider Charles almost
like an uncle. He would come to my parents’ house and we would get
together for dinner. He was a close friend. I also got closer to
Trudy and to her son TC III who’s a great vocalist. Trudy played at
my grandmother’s funeral. They were all family. I consider them
The album also features
two of your originals, "Born Yesterday” and "The Shadower.”
Yes, there are older
pieces. One of them is called "Born Yesterday” and is dedicated
to Jimmy Greene’s (Jazz Hot
#578) daughter Ana Grace1.
The second piece is "The Shadower” and is dedicated to Dwayne
He was another Philadelphian who I had the pleasure to play with.
Actually I picked that tune because the last time I played it before
I recorded was at a concert at Dizzy’s and Dwayne was the bassist
on it. I felt it was the right tune to pay tribute to him. He was
such a great musician and a lover of the music. He ate, slept and
breathed music. He’s definitely a hero of mine. It’s an honor for
me to call him my friend. His family and I are really tight. His wife
Wendy and their son Quinn are very good friends.
Sometimes we talk about
these musicians for a while and then months later we don’t talk
about them anymore. I wanted to do this record and make a point to
really have their music and their legacy live on. I also wanted to
connect the younger generation to some music and to some musicians
that they might not be familiar with. I wanted to do it that way. I
hope that when people listen to it they get that sense of a
celebration of these people.
You chose tunes by
Eddie Harris, Cedar Walton, Sid Simmons, to name a few; did you play
the tunes their way or make it your own? What was your approach?
Not necessarily but
it naturally happens when you’re playing the music of people you
knew. At the same time it’s important to put your own stamp on it
so to speak. I wanted to find the tunes that were right in this
configuration, reeds, bass and drums. I picked up tunes and kind of
revamped them so to speak. My version of "Firm Roots” is more fit
for the two horns so you don’t miss the chords much.
#520) passed away a year ago, what memories do you keep from him?
I saw Cedar’s very last
set at the Vanguard before he passed away. The music was still there
though he was weak. That night, my wife and I went to see Chris
Potter and it was packed. For Cedar’s gig, there was hardly anybody
in the audience. This is a living legend, why aren’t there some of
the younger musicians hanging out here? The lesson is if you have the
opportunity to do something, don’t put it off. I was always brought
up around older musicians. You show your respect and you go and check
those guys out. That’s how you learn about this music.
Did you ever have
a chance to play with Horace Silver (Jazz
I got to see Horace Silver
play several times. He actually called me when I was still in school,
at William Paterson, and he wanted me to try out with his band. This
was like in 1996. I think I was out of town at the time. When I came
back, I got this message on my answering machine: "This is Horace
Silver. I’m starting out auditions in New York and I would really
like you to be a part of it. Please come out. You might be the
drummer for me.” I remember calling him right back… But he got
sick and it all got cancelled. But I cherish this message on one of
my cassette tapes.
You picked Chris
Potter (ts, as, fl, Jazz Hot
#585), Mark Turner (ts, ss) and Ben
Street (b), the same musicians
as in your first album, The
Eleventh Hour, with the
exception of Kevin Hayes (p) and Jaleel Shaw (as). Why
do you consider them to be the best musicians for you?
I respect them so much as
musicians and I knew they would bring to life what I was trying to do
in the set of music that we chose. I knew these guys would capture
what I wanted. They have such a wide melodic and harmonic pallet when
they play. They went beyond what I could think of. It was an amazing
session. Mark and Ben and I played trio before. I loved playing in
What kind of a leader
are you? Did you give them much direction during that session?
I didn’t say too much.
When you’re leading a band, you pick the musicians that you know.
And they know what to bring to the table. That’s what you call
these musicians for. I don’t like putting too many restraints on
people or tell them to play a certain way. I want them to feel free
to do what they want. I know I’m going to be pleased with whatever
they do. And that’s was happened with this recording. It was a
great experience. A lot of the tunes that we did were first takes. We
caught the idea right away.
Have you all played
this album in concert yet?
We haven’t done a CD
release party yet. We’re all kind of busy! I’ve been out of town
for the last month. Chris works with Pat Metheny. Mark and Ben are
doing various things. We’re looking to September to do a release.
Do you play together
I haven’t played with
Chris that much. We have done some gigs in the past but I play more
regularly with Mark and Ben.
When you record an
album as leader, how much do you take from the leaders that you work
with, like Tom Harrell and Kenny Barron?
I take a lot. Tom Harrell
and Kenny Barron have been around for a long time so I watch how they
build sets. Someone like Kenny Barron reads the audience right away.
He knows when to play a standard or an original. So I watch how they
engage with the audience. When I’m going to the studio, I guess I
have that in my subconscious and it helps. With this particular
record, I really thought about what song I wanted to start with. We
started with "Cryin’ Blues” by Eddie Harris. It’s a blues and
then we can go to some other things. It’s open. I watch how those
musicians make their sidemen feel comfortable. Once you’re relaxed,
it makes everything so much easier. The session really went smoothly.
Nobody was uptight. It was all about making some music.
When did you first put
a band together?
Early 2000, I got together
musicians that I think would work well. I didn’t want to hurry up
and put a band together. That’s the natural progression. I wanted
to think about each individual that I chose. And I wanted to make
sure that we would work well together. It’s not just about getting
together and making music. It’s about a relationship, creating a
family and a sense of brotherhood. I saw a lot of my peers making
records right away but I didn’t want to do that. I wanted to put
together a band that sounded like a band. I wanted to have a
distinctive sound and I think we really captured that.
Your dad being a
musician, John Blake, Jr., you were exposed to jazz at an early age.
When I was born in 1976,
my father got a gig with Grover Washington, Jr. I was being
strollered to these concerts at an early age. We were close to the
band. There was Tyrone Brown on bass, Richard Lee Steacker on guitar,
Leonard Gibbs on percussion, Pete Vinson on drums, Sid Simmons on
keyboard and my father on keyboard and violin. All these guys were a
family on the road because they were so tight. And it extended.
Grover was a family oriented person. So as much as he could, he would
try to invite all the wives and the children out when there were
tours. Everybody became very close. And that band stayed together for
about three years. Even after the band broke up, my father remained
close with most of the musicians in the band. Some of the musicians
in Grover’s band appeared in his records when my father recorded as
a leader. So these guys knew me from when I was born. It’s the same
with McCoy Tyner’s band. I think my dad when through two different
bands with McCoy. He would come to the house with his wife and son
from time to time and have dinner with the family. I was surrounded
with music at an early age.
Were you always drawn
I was always
fascinated with rhythm. First I started with violin but my parents
always tell me that when I would hear music on the radio or on a
record I would take out spoons and start beating the rhythm. It took
a while for them to buy me a drum set (laughs).
At age 10, I started taking lessons. I was really serious about it.
In the ninth or tenth grade, I decided to stop playing the violin
that I had been playing since age 3. I wanted to focus on drums.
Who were your heroes at
If we’re talking
specifically about drummers, the first influences were the Philly
drummers of that time like Mickey Roker, Edgar Bateman, Bobby Durham
(Jazz Hot #647), Leon Jordan, Philly
Joe Jones, etc. I grew up listening to the drummers that played in
Grover’s band or in McCoy’s band. I was drawn to them and also to
the drummers of the 1970s like Idris Muhammad.
Is there a specific
sound to Philly musicians?
People always say there is
a certain sound of Philly. Just like there is a certain sound of New
Orleans or Chicago. All these areas have specific ways to internalize
how to play with straight ahead jazz music. It’s hard to explain.
It’s not tangible.
Someone tried to
explain one time in an interview. He said it’s like being behind
the beat but with the urge of getting to the next measure. But even
that is not very convincing. Sometimes I don’t even have to say
where I’m from. People hear it. I just played with Benny Golson for
the first time at the North Sea Jazz Festival. After we played, the
first thing he said to me was "That Philly sound!” (Laughs)
It was the first words out of his mouth. We just laughed about it
afterwards! So I guess you can hear it right away!
It was great! He
tells a lot of stories. It’s such an education to be around him.
It’s fun to see how he connects with people. I had the opportunity
to work with a lot of older musicians, Tom Harrell, Kenny Barron and
most recently with Dr. Lonnie Smith. They are from the same
generation. I’ve been learning a lot from them. You can’t put a
price on these situations that I’ve had the opportunity to be in.
It’s such a learning experience.
Were you always drawn
to the veterans?
Of course! You need to
know what came before in order to get a grasp of the current stuff.
And these guys were on the forefront of that. When I was growing up,
I wanted to learn where this music was coming from. And when I became
serious about making my career and my way of life, I felt it was my
duty to study this history.
You studied at William
Paterson with Rufus Reid, John Riley, Horace Arnold and Steve Wilson.
What have you learned from them?
I learned so much
especially with Rufus. He really helped put focus on my playing.
He’s a hands-on teacher.
One day I came to combo class and all he had for drums was a cymbal
and a hi-hat. He said: "You’re gonna play with a cymbal and a
hi-hat and nothing else. And you’re gonna make the band swing. So I
want you to focus on your playing, get the clarity of the cymbal beat
and lock that in with the hi-hat.” So for months that’s all I
did. That hands-on teaching really helped me to focus on my playing
and to shape the sound. He wanted me to be aware of the sound that
was getting out of the instrument.
What about John Riley?
John Riley was also
very instructive. I was very familiar with his books but we never
worked on any of them. We talked a lot about developing your own
sound on an instrument.
Horace was my first
teacher when I got to William Paterson. He was also a very hands-on
teacher. We talked about the clarity of the playing and how to pay
attention to the sound of the instrument. We worked a lot on time
issues. Those lessons still remain with me to this day.
Steve Wilson was a combo
teacher. I like the type of musician that can play a gig but also
explain very well what they do on stage and convey to the students so
that they understand what’s going on. If you’re going to do this
as your profession, these are the steps you need to take. He took me
under his wing so to speak. Eventually he started calling me for
gigs. Being on stage with him was like a class! I was learning.
He’s one of those
musicians that whenever he was in town, I would go and see him and
hang out with afterwards. The first time I met him I was 13 or 14. My
dad was playing with Steve Turre’s band at the Blue Note. Elvin had
his Jazz Machine. After the set, my dad took me to meet him. Elvin
was my hero. My dad took me upstairs and introduced me as an aspiring
drummer. And right away, Elvin said: "Come here! Give me a hug!”
He was one of those people when you met them for the first time you
felt you knew them forever. We sat and talked for a while. My dad
left. It was just he and I. And then he said I was going to sit on
stage with him. He pulled me up on stage and I sat next to him for
the whole set.
Who else was in the
There was Willie Pickens
on piano, Chip Jackson on bass, Ravi Coltrane, Sonny Fortune and I
think someone else. Elvin asked me what I wanted to play. At that
time, my favorite tune of his was "Three Car Molly.” So that’s
the first tune we played! It was an amazing experience! That night,
we took a picture with Elvin. When I look at it, it brings back so
many memories. It feels like yesterday.
Was your first
professional experience with Oliver Lake (Jazz
Yes, it was around 1994,
1995. Oliver Lake had a weekly gig with his big band at the Knitting
Factory. He asked me to join his band. It was a great experience. It
was challenging music.
Did you know him before
I had met Oliver 3
or 4 years prior to that. I used to do every summer the Jazz Camp in
Montclair3run by bassist Chris White. I was 15
or 16. I got to meet Oliver there. Chris White, Steve Turre, Jimmy
Owens, etc, lived in the area at the time. Later on, when I moved to
the area to go to school, Oliver found out I was in town. He started
calling me for rehearsals at his house and eventually I joined the
Were you playing all
It was all his original
music for his big band and I learned how to play with a big band.
What was his style
directing a big band?
It was interesting.
He gave a lot of direction but it was open at the same time. It was
amazing. Actually the way I wound up playing with the Mingus Band
(Jazz Hot #532) was because of
Oliver’s big band. John Stubblefield (Jazz Hot #623)
was one of the saxophone players. He had heard of
me and contacted Sue Mingus. He told her to check me out. That’s
how I got the gig.
What was your knowledge
of Mingus’ music at the time?
I had studied a lot
of his music. At William Paterson, bassist Adam Linz had started a
Mingus band group with some of the students. He had arrangements of
Mingus. But even prior to college, I had checked out a lot of his
music, records like Ah Um.
I was very curious and I loved Dannie Richmond. So when I started
playing with the Mingus Band, I felt like I had some references. I
had to figure out how to play with a big band, how to drive the band
and give them that push and energy. For me, it was a challenge.
What did it teach you
about the role of the drummer?
Your job is not to
be just a timekeeper. It’s about giving that extra energy to the
musicians. And they rely on that. So if you’re sluggish, the band
is going to sound sluggish. If you’re powerful and you give them
the energy, the band is going to be full of energy. I learned at an
early age that this is how you drive a band. Later on, when I started
to work with smaller groups, I learned my role and what it means to
be a drummer in these bands.
At some point, while you were still in college,
McCoy Tyner (Jazz
Hot #618) asked
you to join his band. Is thatcorrect?
He asked my father
I had started to work with the Mingus Band. It must have been during
my second year of college. We had a tour in Japan. It was around
1997. McCoy was on the bill. He had never seen me play. I remember
him being there sitting on the side of the stage watching me play.
Every night they had like an all-stars jam session. I got picked to
play drums with McCoy, Maceo Parker, Makoto Ozone and Michael
Brecker. It was crazy! After that tour, I went back to school. One
day, my father picked me up. While driving, he told me that McCoy had
called him and that he was really impressed by me and he’d like to
put me on his band. My father told him no. It was more important to
finish school. I was devastated! (Laughs)
It just wasn’t the time.
When did you
become of a member of Tom Harrell’s band (Jazz
I joined Tom’s
band in 2005. I went to see him play with his quintet at the Village
Vanguard. At the time, the band was Jimmy Greene, Ugonna Okegwo,
Xavier Davis and Quincy Davis. But when I got there, it was a
different band. Then Ugonna suggested to Angela, Tom’s wife, to
check me out. For my first gig with Tom, it was another completely
different band. We played in Marblehead, MA. Then I got asked to play
a week with him at the Vanguard. That’s when the band started to
come together. There was still Jimmy Greene at the time. We did a
couple tours and then about six months after that Wayne Escoffery
(Jazz Hot #619) joined the band.
Ugonna remained steady in the band. Xavier Davis left and Danny
Grissett came in.
Is there any rehearsal
when working with Tom Harrell?
Sometimes we’ll get
together and do one rehearsal like a week before an engagement at the
Vanguard or something.
How much new material
do you play?
Tom is always
writing music, in the airplane, at the airport, everywhere. It’s a
Sometimes you get attached to certain tunes and the next time you
play, the music is completely different! But I love it! I respect him
so much as a composer and as a player. I’ve learned so much with
How challenging is it
to play his music?
Some of it is very
challenging. It sometimes takes a while to get under your belt. After
a while, you start to see certain aspects of his writing that makes
it a little easier to get inside. But it’s still a challenge! Some
tunes are more complicated than others. He writes for the members of
the band. It’s got to a point where he can’t hear anybody else
play this except for the members of his band just like Duke Ellington
and Billy Strayhorn wrote pieces for Johnny Hodges and the other
musicians that they knew so well. Tom trusts us and knows what we are
capable of as musicians.
How much direction does
His charts are very
clear. Everything is right there. He writes the perfect charts!
He should have his own notation program.
Do you prepare your
solos with him differently than you do with others?
I try to have a melodic
idea in mind but I don’t like to play the same thing night after
night. Tom is inspiring. He really challenges himself as a player. He
can play the same tune night after night but it’s always going to
How early did you start
encouraged us to start writing. I think my first composition dates
back to junior high school. Lovett taught me how to formulate chords
and melodies. And then it expanded with time. I really enjoy
How do you approach
composing as a drummer?
I used the piano to write.
I’ll start a melodic idea or I’ll have a rhythmic groove of mine.
Do you have any
technical discussion with your dad about the process of making the
Totally! I’m so
fortunate to have him and he was exposed to a lot of things at a
young age too. He equipped me with the knowledge that he had. My
father is a well-educated man and he always put heavy emphasis on
education. He always encouraged me to study.
In 2005, you studied at
Rutgers University, why did you choose to go back to school?
Rutgers has this great
program where they give you an aid. It’s a way to keep you in town
because you have to turn down some jobs. Also I had been travelling
so much, I felt that I needed to take some time off. My wife was
pregnant with our first child and I wanted to be around. And I wanted
to deal more with composition. At some point, I felt like I wasn’t
producing music the way I wanted to. I got to study with Stanley
Cowell and Conrad Herwig.
I took a private
composition course with Stanley. Each week he would give me a certain
compositional device to try to use. And each week, I was coming back
with some tunes. It was challenging and it was hard to come back to
school after 6 years of graduation. I also studied with Victor Lewis
(Jazz Hot #584), Ralph Bowen and
Conrad Herwig. I value my time there. It was a beautiful experience.
Afterwards, I had a better idea on how to shape songs. And around
that time I started to work with Tom Harrell.
Do you teach?
I teach privately. I had a
couple students but I have a tight schedule. When I teach lessons, it
helps me to focus. Sometimes when you play so much you don’t have
the time to think on what you are doing. I wouldn’t mind having a
regular teaching gig but I like travelling at the same time.
He was using Ben Riley for
a while and then he needed some time off. And Kenny’s wife
suggested that I work with him. My first gig with him was for a
European tour with Ray Drummond. It was an amazing experience. After
that he started calling me more. Around 2007, 2008, I became a
regular member of his trio and eventually his quintet.
What is his style?
I love it! Sometimes
his trio will do more standards. With Kiyoshi Kitagawa (Jazz
Hot #638),we always encourage him to perform
more some of his originals because he has some great tunes. Sometimes
he’ll save his originals if we’re playing in quartet or a quintet
setting. I love his way of leading a band. He is very open. He has a
reason why he calls you. He expects you to be able to play. If you
couldn’t play, he wouldn’t use you. He leaves you to your own
judgment about what’s going to feel good on a bandstand. He is a
very opened bandleader. He doesn’t dictate what you are supposed to
do. He expects you to know it.
Did you prepare
to work with musicians such as Tom Harrell, Kenny Barron and Dr.
Lonnie Smith (Jazz Hot
#580) before joining their band?
I always try to do some
form of preparation. I was familiar with Kenny’s music but I did go
back to studying more his compositions.
Why do you think Kenny
Barron doesn’t play more originals?
I’m not sure. Kenny is
such a laid back person. He might feel more at home playing
standards. Like any artist, sometimes you are shy about playing your
own compositions. Maybe those musicians feel they don’t measure up
to whatever their expectation is. Musicians are so exposed. One time
with Kiyoshi we were talking him out to some originals. So for the
first set we did all standards and for the second one we played all
originals. It was amazing.
How much space does he
He sits the music in front
of you and allows you to create. For us, improvising musicians,
creating on the spot, that’s our job. That’s Kenny belief: you do
what you want with this, just make it feel good. I could count how
many rehearsals I’ve had with him since I joined the band. There
has been about two. He might have a couple new tunes or ask us to
bring some music. And even there, he won’t tell you how to play.
You’ll see what you come up with. If it’s something he is really
not feeling, he’ll ask you to try something different. It’s very
open. I’ve been in some situations where the leaders give a lot of
directions. But, you know, that’s their take on how they want their
music to sound. I don’t necessarily like playing like that that
What is your most
challenging experience as a sideman?
a challenging gig for me was to play with Clarence Penn (Jazz
Hot #527) and Maria Schneider (Jazz
Hot #597) for two nights at the Allen Room. I
had to learn all that music and play it like if I had been in the
band for a long time. At least that’s my approach. It was
challenging but it was also beautiful experience. In terms of musical
styles, I played 5 years with Russell Malone (Jazz Hot
#629). Sometimes he would put more limitations on
me. But this is how he chose to lead his band and that’s what he
wanted. That’s cool. When you’re a sideman, you’re at the mercy
of the leader. You have to make them feel comfortable. Playing with
the Mingus Band was also a challenge. We were trying to play the
music of a man who already had passed away. And it’s a big band, 14
people that have different ideas how the music should sound and they
are not afraid to say what they think.
After working with big
bands and different units for years, what is your approach of rhythm
I gain inspiration from
African and Brazilian rhythms and try to incorporate all those styles
with jazz. I listen to everything that surrounds me.
1. Twenty-six people were
killed at the Sandy Hook Elementary School in Newtown, CT, on
December 14, 2012. Among them was Ana Grace (2006-2012), the daughter
of saxophonist Jimmy Greene and Nelba Márquez-Greene. 2. Bassist Dwayne Burno died on
December 28, 2013 at the age of 43 from complications of kidney
disease. 3. Jazz Opportunity for Youth at Montclair
State College, NJ 4. Saxophonist Lovett Hines (Jazz Hot
#658) created the Lovett Hines Youth Ensemble in Philadelphia.
Leader CD 2012. The
Eleventh Hour, Sunnyside Communications 1304 CD 2014. Gone, but not Forgotten, Criss
Cross Jazz 1368
Sideman CD 1996. Norman Simmons, The Heat And The Sweet, Milljac 5637686635 CD 1999. Mingus Big Band, Blues & Politics, Dreyfus 36603 2 CD 2001. Mingus Big Band, Tonight at Noon… Three of Four Shades of
Love, Dreyfus 36633 2 CD 2001. Monday Michiru, Episodes In Color, Sony Music Associated
Records 1388 CD 2002. Q-Tip, Kamaal The Abstract, Jive 88697-55519-1, Battery
Records 88697-55519-1 CD 2002. Alex Sipiagin, Mirrors, Criss Cross Jazz 1236
CD 2003. Mingus Big Band, The Essential Mingus Big Band, Dreyfus 36628 2 CD 2003. Jordan Hall, Something Different, Artist One-Stop 54422 CD 2004. Mingus Big Band, I Am Thee, Sunnyside 3029 CD 2004. Jaleel Shaw, Perspective, Fresh Sound 222 CD 2004. Rob Schneiderman, Back In Town, Reservoir 178 CD 2004. John Blake, The Traveller, autoproduit CD 2005. Monday Michiru, Routes, Geneon 1048 CD 2006. Mingus Big Band, Live in Tokyo at the Blue Note, Sue Mingus
Music 3042 CD 2006. George Colligan, Blood Pressure, Ultimatum 619922 CD 2006. Russell Malone, Live at Jazz Standard (Volume One), Max Jazz
602 CD 2007. Russell Malone, Live At Jazz Standard (Volume Two), Max Jazz
604 CD 2007. Omer Avital, Arrival, Fresh Sound World Jazz 035 CD 2007. Tom Harrell, Light On, HighNote 7171
CD 2008. Jaleel Shaw, Optimism, Changu Records 43987 CD 2008. Wayne Escoffery & Veneration, Hopes & Dreams, Savant
Records 2090 CD 2008. Paul Olenick, Contact, Fresh Sound New Talent 315
CD 2008. Jack Walrath, Ballroom, Steeplechase 120341 CD 2008. Donny McCaslin, Recommended Tools, Greenleaf Music
8698001008 CD 2008. Hans Glawischnig, Panorama, Sunnyside 1179 CD 2008. Oliver Lake Organ Trio, Makin' It, Passin' Thru Records
CD 2008. Joe Locke, Force of Four, Origin Records 82511 CD 2009. Ronnie Cuber, Ronnie, Steeplechase 31680 CD 2009. Tom Harrell, Prana Dance, HighNote 7192 CD 2009. Alex Sipiagin, Mirages, Criss Cross Jazz 1311 CD 2010. Tom Harrell, Roman Nights, HighNote 7207 CD 2010. Michael Janisch, Purpose Built, Whirlwind Recordings 4613 CD 2010. Oliver Lake Organ Quartet, Plan, Passin' Thru Records 41226 CD 2011. Tom Harrell, The Time of the Sun, HighNote 757222 CD 2011. Benjamin Koppel, Brooklyn Jazz Session, Cowbell Music 61 CD 2012. Ronnie Cuber, Boplicity, Steeplechase 31734 CD 2012. Tom Harrell, Number Five, HighNote 7236 CD 2012. Marianne Solivan, Prisoner of Love, Hipnotic Records
5637921808 CD 2013. Tom Harrell, Colors of a Dream, HighNote 7254