Drummer Andrew Cyrille will be performing in a trio with Elliott Sharp and Richard Teitelbaum on Interpretations upcoming event on October 13!  This will be our second visit to Roulette’s NEW SPACE in downtown Brooklyn!

Below is an excerpt from an interview with Cyrille from Intakt Records.

Ted Panken: Do you approach the interactive aspect of playing drums differently in different configurations?

Andrew Cyrille:
It depends upon the music. The composer dictates my information on what to do. If David Murray’s Big Band is playing Billy Strayhorn’s “Passion Flower” and Carmen Bradford is singing, I’ve got to play in a way that allows them to deliver something in the Ellington mode. I do that with everything, regardless of the concept.

Ted Panken: A lot of pianists say they think of the piano as an orchestra. Do you think of the drumkit as an orchestra?

Andrew Cyrille: You could very well say that. The set has so many different parts, and you can get so many combinations out of the different pieces of sound you can find within those parts, and generate the sounds in a way that isn’t what some people might consider noise. I guess it has to do with the drummer’s attitude, too. If you think it’s noise, then perhaps you won’t make any music. But if you think it’s music, then it’s a different story.

Another thing you’ve got to remember is that the “jazz drummer” ­ and the Rock and Fusion people, too ­ comes out of a metrical sense of time, and the rhythms the Africans play are a lot of the basis of the feeling that jazz musicians play off of, like the shuffle beat. For example, many jazz pieces still are written off the rhythmic motif called the quarter-note, and I’d say that damn near 85 % of all the music written in jazz is based on the dotted eighth and sixteenth beat.

Check out the full interview


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