*Ari Hoenig* "Take Five" for the 21st Century ;) Cool 5/4 Drum Solo Lesson: JazzHeaven.com Excerpt

Go to http://JazzHeaven.com/ytahfive for more FREE Ari Hoenig Videos! This was an excerpt from the Ari Hoenig Jazz Drumming Lesson/Masterclass video/DVD entitled "Melodic Drumming".
Jam-packed Jazz Improvisation Lessons: 2h 20min Lesson, 60min Interview, Performances and more

Get a rare look behind the scenes of this master jazz improviser & drummer.

Click on http://JazzHeaven.com/ytahfive also for other killer jazz drum instructional videos with Eric Harland, Ralph Peterson, Mike Clark & Portinho.
(Plus jazz instructional videos with MANY other great jazz artists like Kenny Werner, Lee Konitz, Jean-Michel Pilc, Walt Weiskopf, Vince Herring, Jerry Bergonzi Oz Noy, Lage Lund, Gilad Hekselman, Ingrid Jensen, Geoffrey Keezer, Enrico Pieranunzi & more.)

Go to http://JazzHeaven.com/ytahfive to check out the madness!

Born on November 13, 1973 in Philadelphia, Ari Hoenig, was exposed at an early age to a variety of musical experiences. His father is a conductor and classical singer, his mother a violinist and pianist. Accordingly, at 4 years of
age, Ari began studying the violin and piano. He began playing drums at age twelve, and by age fourteen he was
honing his skills with other young jazz musicians at Philly clubs such as Ortlieb's Jazz Haus.
Ari attended the prestigious University of North Texas for three years, where he studied with Ed Soph while playing with the "One O'Clock" Lab Band. Wanting to be closer to New York City, in 1995 Ari transferred to William
Patterson College in northern New Jersey. He soon found himself playing for legendary Philadelphia organist
Shirley Scott and working regularly in New York City.

Shortly thereafter, Ari moved into Brooklyn and found himself playing extensively with a variety of groups, including Jean-Michel Pilc Trio, Kenny Werner Trio, Chris Potter Underground, Kurt Rosenwinkel Group, Joshua Redman
Elastic band, Jazz Mandolin Project and bands led by Wayne Krantz, Mike Stern, Richard Bona, Pat Martino, Dave
Liebman, and Bojan Z. He has also shared the stage with such artists as Herbie Hancock, Ivan Lins, Wynton Marsalis, Toots Thielemans, Dave Holland, Joe Lovano, Pat Metheny, and Gerry Mulligan.

The Ari Hoenig Quartet was formed at the end of 2002 while playing every Monday night at the New York Village
jazz club Fat Cat. The band featured Jacques Schwarz-Bart on tenor sax, Jean Michel Pilc on piano, and Matt
Penman on bass. They released two records on the Smalls Records label: "The Painter" (2004) and the DVD "Kinetic
Hues" (2005)

In 2006 Ari signed a multi record deal with Dreyfus Records and released his "Inversations which features the trio of Jean Michel Pilc and Johannes Weidenmueller. "Bert's Playground"
(2008), Ari's second record for Dreyfus, features Ari's Punk Bop Band joined by Chris Potter. Highlights of this
record include Chris's solo on Moments Notice. Jonathan Kreisberg, Matt Penman, Will Vinson, Gilad Hekselman and Orlando le Fleming also represent on this one.

The next record project was for "Smalls Live" a record label set up in 2009 to document some of the music being
performed at the "Smalls Jazz Club" in New York where Ari has had a residency since 2003. Ari chose his Punk Bop
Band to make this live record "Punk Bop Live at Smalls". It features Will Vinson on alto, Jonathan
Kreisberg on guitar and fellow Jazz Mandolin Project alumni, Danton Boller on bass. Tigran Hamasyan is a special
guest on 4 tracks as well.
Ari's Quartet with Tigran Hamasyan, Gilad Hekselman, Orlando le Fleming and Chris Tordini released "Lines of
Oppression" (2011) on the Naïve label. This record represents a culmination of Ari's bandleading, composing and
accounting skills.

Currently Ari leads three groups which both play his original music. Besides the Ari Hoenig Quartet and "Punk
Bop" Ari also leads the Ari Hoenig Trio with Jonathan or Gilad covering guitar duties and with Matt Penman or
Orlando plucking on the bass. He also co-leads a variety of projects including Pilc, Moutin, Hoenig ("the three
headed monster"), Oscillations Quartet and various duo's with Chris Potter, Edmar Casteneda or Dan Weiss.
As an educator, Ari teaches privately and is on faculty at New York University at the New School for Social Research
in New York. He gives clinics and lectures at music schools and universities worldwide, and writes a regular educational column for Modern Drummer magazine. In collaboration with bassist Johannes Weidenmueller, Ari has
released "Intro to Polyrhythms, Expanding and Contracting Time within Form Vol 1". (Mel Bay 2009)
He has also recently released "Systems Book 1, Drumming Technique and Melodic Jazz Independence" (Alfred
Publishing 2011) and educational DVD"Melodic Drumming" (2011) on jazzheaven.com. "The Ari Hoenig
Songbook" (a book with the lead sheets of all of Ari's compositions (not just the easy ones) is available for download at lulu.com)

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[MrYAMUHAT]

The 21st century seems to be a mite...boring? I can imagine the ghost of Morellos snoring in the corner.

[bigxjon91]

1:53 to 1:57 was soo hip

[uriangatobataclan]

@shawoody you're welcome, although I don't really know why you thank me. :) I love this drum bass, by the way, I apreciate sustain and tone in a drum bass.

[shawoody]

@uriangatobataclan Thank you.

[rhythmjunky80]

I love Ari... His concepts are very fresh and unique. Listen to his albums and tell me the compositions are not arranged fantastically. musically, everything has been done and we all steal from the greats but when you internalize and are free with the phrasing and musicality then it's a part of YOU.

[flipadiddle]

@shawoody i agree with tony. i'm was just disagreeing with your original contention that "this is basically max's" solo. musicality and creativity aren't new, and math does not equal music. however, musical vocabulary does change.

[shawoody]

@flipadiddle Search for part 2 of 3 of the Tony Williams master class. If Tony argues that nothing is new and that he feels he is just reinterpreting ideas of the past, then how is Ari Hoenig possibly doing something original here by the mere use of odd numerical phrasings. Come on, man. Musicality, creativity, and originality are the sources of innovation in music, not math problems. This solo is a homage to Max Roach through Morello on Take Five, which was entirely based on Max's conception.

[flipadiddle]

@shawoody also, just to be be exhaustive, i could send some of my philly jo,blakey, jimmy cobb,billy higgins,mel lewis,frankie dunlop,roy haynes transcriptions to highlight the fact that none of them use some of the odd groupings that ari does.not that it's just ari who uses them, they just are part of a more modern drum vocabulary. i know my jazz drum language, dude. actually, i did come across cobb playing ONE grouping of 5 on miles davis sat night at the blackhawk! how about that shit.

[flipadiddle]

@shawoody i'll send you a transcription of both ari's and max's solos, if you like. i'll also send you a copy of a couple other max solos i've transcribed. i could write out a couple of his classic phrases and licks that i like to use too, i guess.

[shawoody]

@flipadiddle You're an idiot. Learn your history.

[flipadiddle]

@shawoody well....not really. certainly influenced by max, but this solo contains a lot of rhythmic devices that max just didn't fuck with. not a criticism of max, i love him, but ari is ari.

[SikwidCimbulz]

Haha, he wasn't ever my farvorite for technique. I've always found it forced and awkward-looking... That said most people say I look like I have a mental disorder when I get fully engrossed in what I'm doing. Feel free to disagree, but most technique issues drastically effect the sound, timing, and endurance of their victims. In my opinion, if it's got the sound, musicality, and overall quality that this does there's little to complain about (unless they're my student cus then I'd murder them).

[2015beast]

sounds great but o my god slicing!

[porgie66]

Very nice playing. Yes, so many drummers owe a debt of gratitude to Max Roach for thoughtful, melodic ideas on the drums. Even John Bonham frequently used "The Drum Also Waltzes" as an opening thematic idea for his solo on Moby Dick. Imagine that!

[Zaul2410]

Getting a little Max Roachy here

[SergeBach]

Beautiful ! Drum could be melodic ! Merci !

[miketalbot4]

True greatness!!

[NklsZldjn]

One person is too jealous to like this video!

[XASxxxxxxxxxxxx]

2:30 ... ????

[uriangatobataclan]

@lypunkdud20 I meant 5/4, but actually you could play a bar of four quintuplets, you know that kind of odd grouping notes. Anyway, I get your point, peace.

[lypunkdud20]

@uriangatobataclan 4/5 is impossible. just saying.

[TiteTrax]

Loved it!!!

[magikarpp]

heaviest thing in the universe and tight as hell :)))) thats real drum art.

[uriangatobataclan]

Isn't this Max Roach's "The Drums Also Waltzes"?? In 4/5!!! Damn!! It really gets very interesting when played in that odd timming and yet keeping the main line... This is just marvelous...

[Darkkurama0sannin]

Such a "dark" beat. Really amazing.