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I've got all the Paul Carman drum tracks. My teacher had me buy them years back. I haven't used them much though since I don't have a bass track.

Dave, the ECM disc is supposedly coming soon. Check the end of the page.

Those Carman drum tracks are absolutely horrible. If I had played that badly when I was gigging, I would never have had a gig. It is a bit frightening that people can think that is acceptable as jazz drumming.

aww way to [censored] on my parade, anyway I like them. the freebop ones, they're grittier and kind of mysterious.

LOL -- Klink I had to hit quote to see what [Censored] was. I have a lot to learn on what good drumming is for sure. All I know is that sometimes it's hard to get my band to swing.

Yeah Kendall is terrible. I often wonder why all these hacks like- Clare Fischer, Alan Broadbent, Jack Jones, Kim Richmond, Bob Sheppard, Cecilia Coleman, Steve Hufstetter, Kenny Burrell, Phil Upchurch, Jeff Beale, Bobby Shew, Putter Smith, Kyle Eastwood, Frank Strazzeri, Jeff Colella, Ron Eschete, John Pisano, Bill Perkins, Larry Karush Ensemble, Rickie Lee Jones, Andy Suzuki and Nick Manson (to name a few)- are actually hiring him all the time.

Dave,

I studied with Cecilia for a while, she is great!! There are so many great players in LA who are relatively unknown outside the LA scene, and Kendall is definitely one of them. I usually saw him playing with people like Ron Eschete and Tom Rainier.

Last night was one of our regular gig nights and due to holiday conflicts I wasn't expecting anyone to show up. I thought we'd be lucky with 10 people in the audience.

So for days I was doing an email blast to everyone I knew to fill up the place since I didn't want to lose face. We're supposed to be a popular band, you see. Anyway, ZERO of my friends showed up.

I was resigned to a jam session night and I warned the bartender not to expect anything. And sure enough by the time the first set started, it was light traffic. We were already paid and just planned on having a grand musical time.

Well, I don't know what happened but suddenly people came trickling in, probably after dinner. There were big groups showing up. Someone had us play happy birthday. When one big group left, another arrived. And the bartender confirmed: it was a big night.

I thought that was incredible. At that point, I realized we had some really hardcore fans and there's enough of them to keep us at the venue without any promotional help on my part. Well, that's good because I have a ton of (low paying ) gigs already pre-booked for next year. Our little band apparently has legs.

Recordings --

Footprints (in 6/8 and 4/4)
http://www.box.com/s/n9fyqctrn2f4554gkvvv

My Favorite Things
http://www.box.com/s/nar2qelldeqd93tgiu1x

Lullaby of Birdland
http://www.box.com/s/ss0ifqzcht4m1sp46za1

Recordame
http://www.box.com/s/buz6kfjejn7p0jijf2jp

So What (I got lost so many times here, starting with the head)
http://www.box.com/s/3p1hn005a4xmgi8u331g

you guys are looking pretty hot!

That's weird. I didn't know you're black.

Are you really that hideous that we shouldn't see your face? Would we take you less seriously if we knew you had a shock of orange hair and a big red nose? Come on, let's see the real JW.

I fixed the play along track if anyone is interested it was kinda out of sync http://www.box.com/s/43dt9aa3lv2si1pt3ijn

That's my real face

And we're all wearing our "uniform" black attire.

I'm not a big blues guy as you all know but we did give it a shot.

Tenor Madness
http://www.box.com/s/25y9o2ch6x6a1bohahr8

So can someone explain to me what ECM style is in some precise way?

I was talking to my drummer about perhaps trying ECM style but I don't think both of are clear and the characteristics of the style. Perhaps some comparison to what is NOT ECM would be helpful too.

.

An example of the ECM style (at least in the '70's):
http://www.box.com/s/qk057a800ad0hbjo377y

Two more:
http://www.box.com/s/2i1ns1cp437vbjgxbq3o

http://www.box.com/s/6yzayef0sglys3xjc8dl

ps: translated from French: "Their music, if it is deemed "cool" by some, is considered by some as the most advanced form of jazz, bringing together the best of the Post-Bop, World music and European classical influences. It has been the impression that ECM has kept the soul of every style, while ridding it of its matrix, its non-essential ornaments. It's a bit that calls the currency of the label: "The most beautiful sound after silence".

To me, the post-bop + world music + classical sums the ECM style up.

the ecm sound is a record that doesn't start until 00:08 of the first track.

At least mid 70's to early 80's, the cliché ECM style could be defined as: no II-V-I's, no standards, Major7(#5)'s, Minor(add9)'s, Major7(b2), the cycle of fifths - the other way, straight 8's with sometimes swing 16ths, no walking bass, Natural minor, melodic material from Africa and the middle-east, extensive use of space coupled with judicious use of the Lexicon reverb, etc on the other hand the Standards trio played II-V's and The Art Ensemble of Chicago was an ECM artist. As Don Cherry . . . Egberto Gismonti, and a whole bunch of Euro-Free-Jazz players.