Ronald Shannon Jackson died at his home in Fort Worth, Texas, this past October 19. Jackson was a renowned drummer, composer, and bandleader who supported some of the giants of avant-garde jazz, including Cecil Taylor, Ornette Coleman, and Albert Ayler. As a leader, he was instrumental in launching the careers of Bill Frisell, Billy Bang, Robin Eubanks, Vernon Reid, and Melvin Gibbs, among others. In recent years he continued pushing boundaries with adventurous players like Vijay Iyer, Joseph Bowie, and James “Blood” Ulmer.
- Date. January 8, 9, 10, 1987 Place. Radio City Recording Studio, New York City Cover Photo (Courtesy Pace/MacGill Gallery, New York City) Thanks. Rachel Bones Urquhart, John Zorn, Kathy Robbins, Jeff Hafer Made in The U.S.A. Power Tools: Strange Meeting.
- Power Tools was a project from 1987 consisting of Bill Frisell on guitar, Melvin Gibbs on bass & Ronald Shannon Jackson on drums. They only recorded this one album, but it features some of Frisell's most brilliant playing outside of his own projects, imo.
In the May 1991 issue of Modern Drummer magazine, Jackson responded to reader Derek Scruggs, who asked him about the origins of his “stuttering groove” at the beginning of the track “Howard Beach Memoirs,” from Power Tools’ 1987 album Strange Meeting. The drummer’s answer provides insight into his musical and personal priorities.
Free for iphone5. More places to buy POWER TOOLS music online. DOUG LARSON IMPORTS — Buy prog rock music and rarities (Free shipping on orders over 10 cds) Buy POWER TOOLS & Prog Rock Digital Music online: AmazonMP3: Search for POWER TOOLS DRM-Free MP3 Downloads @ Amazon.com MP3; Try Amazon Prime Music (30-day free trial) POWER TOOLS Strange Meeting ratings. Date: January 8, 9, 10, 1987 Place: Radio City Recording Studio New York City Ⓟ1987 Island Records Inc. Power Tools: Strange Meeting. Strange Meeting is without doubt the most exciting album Bill Frisell has ever made and the trio is just so powerful and together - I was just in awe of this record when released in 1987 (my vinyl copy strangely disappeared about fifteen years ago).
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“The figure you refer to in the opening of ‘Howard Beach Memoirs’ is created by playing African flams. Melvin Gibbs, the composer of this composition, is a towering, graceful man who grew up near the area of the nasty racial conflict [the piece was named after], which left one man dead and several young men having to live the rest of their lives with a needless killing on their consciences.
Power Tools Strange Meeting 1987 Full
“African flams are the conscious projection of rhythmic fluids converted to a solid state—yin-yang, right side to left, left to right. The left hand playing the left mounted tom…the right hand playing the right mounted tom…divided flams accentuated with compound 8th notes on the bass drum…the hi-hat playing modulating 2 and 4. Idea, emotion, and projections moving like a suspended cloud.
Power Tools Strange Meeting 1987 Vhs
“To breathe life into a rhythmic idea is the challenge. Anger is, at the surface level, very easy to trigger during these ‘nothing for sure’ days. Violence, in the air, is African flams on the drums. The Howard Beach conflict is the emotional material. Melvin Gibbs is the observer, historian, and reporter of this event. Bill Frisell is the angelic interpreter who weaves a harmonic collage that says ‘Shame, shame, shame’ from the left and ‘All sins are forgiven’ from the right. The overall mental auditory picture is a statement of life.”