A Peek Behind the Curtain of “Rhythm Nation”
Amidst the rich tones of the bass and the higher-pitched sounds of the electric guitar that fill the space between the pulsing sounds from the drum kit and congas, Jamey Haddad sat behind the drum kit and smiled.
Jamey Haddad was clearly enjoying himself during a special rehearsal for the Cleveland Jazz Orchestra’s upcoming concert, Rhythm Nation. The CJO usually has two, three-hour rehearsals the week of the performance that often take place in large music rooms on the Metro campus of Cuyahoga Community College or Royalton Music in North Royalton.
Because much of the music for Rhythm Nation was composed by jazz musicians who regularly incorporate more global and indigenous sounds, Haddad thought it best to hold a special rehearsal for just the rhythm section. “We want to be sure we are all together,” Haddad offered during an August planning meeting. “We can rehearse at my house.”
And so we did.
Haddad hosted Theron Brown (piano), Dan Bruce (guitar), Aidan Plank (upright bass), and Patrick Graney and Haddad (percussion). “Patrick has studied with me since he was quite young,” Haddad shared, “He understands where I am going and is more than an extra set of hands.”
The private music room showcased percussive instruments from around the globe on the walls, mantels, and in the window boxes. The room was filled with the warmth of many cultures.
As with all CJO music, artistic director and arranger Paul Ferguson took the pieces he and Haddad chose for the upcoming October 16 performance, and created original arrangements befitting the talents and sound of the CJO. Playing through the music highlighted sections where the time signature changes—in one piece—from 2/2 to 7/8, to 12, back to 4. In short, the rhythms in the music Haddad selected requires everyone to be on point, especially the rhythm section.
Ferguson came to rehearsal as arranger and conductor and a man committed to playing many parts. With his trombone in hand, Ferguson played the trumpet solos, bass flute lines, trombone lines, and anything else needed to help the rhythm section hear how their beats support the solos or melodic lines.
Between exchanges that began with phrases like, “It’s a bit funky at ‘A’; can we just run ‘A’, a few more times?” Haddad and Ferguson often had conversations only musicians can have: “I think it should be a bit more like ‘kchktktktktktk’ rather than ‘kchuckuhchuckuhchuckuck’. Or “should it go, ‘takatakkktak’ or ‘tahkahtakahtakatttkkkt’?
Everyone understood the impact and import of the different rhythms and explored the options until settling on the patterns that best fit Ferguson’s new arrangements. When the rehearsal began to feel more like an extended jam session, it was clear the group had jelled and it was time to end for the night.
As we left, Jamey shared, “It’s been a long time since I played with a big band. I’m looking forward to this. This will be fun. This is going to be fun!”
- A LOOK INTO JAMEY HADDAD'S PRIVATE COLLECTION–
After rehearsal, Jamey shared some of the instruments he’s considering playing during the Rhythm Nation concert. Below, are a few photos of his amazing collection. Many instruments hold a cultural history of two or more millennia. Haddad also shared a few of the instruments he designed himself.
Many of the instruments emit multiple sounds simultaneously. First a hard, percussive sound that morphs into a warble reminding one of a metal spring that stretches and then transforms into a higher-pitched note that rounds everything out so that one instrument emits more of a rich and varying tone than a single note.
