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Michael Carvin: The Making of a Master

Bob Kenselaar By

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Breathing and listening, breathing and listening. It’s not about you, it’s about the music. Have patience.
With a career that spans half a century, master drummer Michael Carvin has plenty to look back on, although he's mostly a forward-looking man. To say he's been prolific puts it mildly. By his own count, he's made some 250 recordings and toured the world five times. He has worked with such major jazz luminaries as Jackie McLean, Dizzy Gillespie, Pharoah Sanders, and Freddie Hubbard, among many others, in addition to fronting his own bands and recording ten albums as a leader. His strong influence on jazz drumming is clear through his long teaching career as well, both through the Michael Carvin School of Drumming he founded in the early 1970s and through work at Rutgers University, the University of Hartford, the New School, and elsewhere. He estimates that he's taught as many as 300 students, notably including Camille Gainer, Allison Miller, Ralph Peterson, Eric McPherson, E.J. Strickland, Kimberly Thompson, and Max Tucker.

Carvin clearly feels at home in just about any musical context, and he has a very holistic view of music, preferring not to use terms and labels that compartmentalize it. His early professional experience included stints with Motown Records and blues icon B.B. King, and he has fond memories of being drum captain in his high school marching band. In his long career in jazz, his work has ranged from the avant garde to straight ahead and much that lies in between. His own last two records albums reflect both ends of that spectrum—the explorative Lost and Found Project 2065 (Mr. Buddy, 2010) and the swinging, post-bop Michael Carvin, part of the Marsalis Music Honors Series (Marsalis Music, 2006).

The band he's formed in mid-2012—set for a major venue debut at the Jazz Standard in New York July 31 and August 1—takes on a musical approach similar to his Marsalis Music outing, but with new personnel that has an East- meets-West sort of flavoring. The quartet includes bassist Jansen Cinco, from the Philippines, pianist Yayoi Ikawa, from Japan, and tenor saxophonist Keith Loftis, who, like Carvin, hails from Texas—Dallas in his case, whereas the drummer/leader is from Houston. "The way I'm thinking at this time, I don't want to have a band full of Americans. Because that allows me to learn and to adjust. I want to help them get comfortable with their blood and their ancestors and the smell of their country. Then, they're going to play something that I've never heard."

Carvin met each of the musicians in their student days and has focused on mentoring them in a number of ways. "Until you put a band together of younger cats that are unknown and you develop them, then you have a band, in my opinion. To put a band together with a lot of cats who are already established is not your band. You're just the leader on the date. There's no developing. There's no giving it up. There's no encouraging."

Jansen Cinco collaborated with the drummer on the Lost and Found Project 2065. "He's a great bassist," says Carvin. "I first met Jansen at the New School when he was 19, maybe about ten years ago. I really like him. Jansen is cool. I had him come by my drum school one day, and I said, play as fast as you can play, but relax. He got all nervous at first, but I said, man, don't worry about that. So, I taught Jansen how to play fast, how to relax and breathe and understand what breaking points are in the tempo. Because in every tempo there are air pockets. You just have to know where they are. And that's where you break your time so, for the bassist, the forearm muscles can slide. And once the forearm muscles can slide and come back, then you won't tense up." Carvin also encouraged Cinco to draw from his roots. "He was into Ron Carter, all the guys are, and I said, man, where are you from? He said, 'I'm from the Philippines.' I said, 'Well, play the bass like you're from the Philippines. You don't have Ron Carter's fingerprints. Play that Filipino feel and style. Now, he really developed that, even though we're playing in a jazz context."


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