gretsch drums 140th celebratory concert at the cutting room, nyc, may 23
photography by ©Clara Pereira; text by Filipe Freitas
Gretsch Drums, the iconic American brand that got the preference of mighty jazz drummers such as Max Roach, Elvin Jones and Art Blakey, celebrated 140 years of existence at The Cutting Room in New York City.
The event, hosted by the company’s artists relation manager Andrew Shreve, had the fourth-generation executives Fred and Dinah Gretsch on stage prior to the exhibition of a documentary titled The Round Badge Stories. Following this introduction, we were gifted with music performed by four rhythm wizards and consummate artists affiliated with these trademark drums: Bill Stewart (Pat Metheny, John Scofield), Will Calhoun (Living Colour), Mark Guiliana (David Bowie, Donny McCaslin) and Nate Wood (Kneebody).
Stewart opened the proceedings in trio format with Immanuel Wilkins on alto and Vicente Archer on bass. “Space Acres”, a beautiful original limned with folk innuendo and angular modernity, was followed by Duke Ellington’s “Take the Coltrane”, with which they spread effusive hard-bop vibes with that swinging feel and language we all relate with.
Nate Wood was next, leading a quartet with Ben Wendel on tenor saxophone, James Francies on keyboards, and Matt Brewer on bass. Using their refined musical taste and balance, they blended rock and jazz colors while toggling between tranquility and vigorous motion.
The next two drummers shared the same accompanists as Wood. Mark Guiliana starts off with the soulful “The Path to Bliss”, taken from his latest album, The Sound of Listening. He wielded mallets and worked gorgeously on those bright cymbals before setting up a loping rhythm over which Francies’ exquisite chords shone through. They finalized with “Inter-Are”, the volcanic opening track of his 2017 album, Jersey. The nature of the music required Brewer to switch from acoustic to electric bass, and inspired Wendel for an inventive solo, this time with no effects.
Will Calhoun framed the two pieces he brought with striking solos upfront, introducing Afro-Latin flavors into the mix. The last of which, Wayne Shorter’s “Nefertiti”, was evocatively adjusted to fusion mode.
Lastly, Wood, Calhoun, and Guiliana went on stage to cook up a metronomic percussive feast. After playing alternately for a couple of rounds, they immersed themselves in a collective Brazilian-infused rhythm delivered with incredible energy and powerful accents. A jubilant conclusion for a big celebration.