Originally Posted by foursticks
Now this is the response needed to shut me up.
I guess, I haven't seen and heard that much of Erksine's playing to fully appreciate his talent. I didn't mean risks by crazy choppy stuff blah blah blah - I was just looking for that factor in his playing that makes me wanna stand up and shout 'yeah!'
It's not that he's boring or anything, just I haven't had any moments where it makes me want to listen to it over and over and over again.
That's what I mean't by Elvin over Erskine - Elvin really heats things up, builds this incredible tension and I just want to hear him over and over again, Erskine hasn't done that for me yet. Don't know if it's just me, but when a piece of music really connects - I get these random rushes of pure adrenaline and when a drummer or artist does that, I want to listen to them more. The two styles are very different though..
I can definately see Erksine's passion behind his playing, but like I keep saying - I've still got to hear more of his playing before I can fully make up my mind. Maybe, there is that mystery record out there, that'll turn me on to his playing. When I find it, I'll tell y'all.
Just my opinion in the end, doesn't make him any less of a musician or drummer. Besides, it's me who's missing out.. If he ever comes round here though, I'll defo check him out.
I know what you mean about the "yeah!" factor, I look for that in drummers (well, all musicians) too. But the first time I saw Erskine, he didn't make me stand up and say "yeah!", he made me sit down and say "wow". I saw his trio at the Jazz Kitchen in Indianapolis, and me and my buddy were expecting him to throw something wicked down. But they opened with a beautiful tune called "Surrender", a mellow straight-eighth tune with a haunting melody (this is the lead track on their album "Badlands"). We were stupified by how simple Erskine's playing was and even more stupified by how beautiful he made this stupidly simple playing sound. He was playing with brushes and didn't play anything other than the snare for what seemed like half the tune. On another tune called "On the Lake", he played half notes on the ride cymbal with a brush--NOTHING ELSE--for the first two minutes of the tune. There I was, thinking I had to play seven against thirteen with my hands while making a sandwich with my feet in order to get an audience to appreciate me or even take notice, and there he was, captivating a whole room full of people with...half notes on the ride cymbal.
As I watched him, it became obvious to me that he was feeling every single note he heard and played, and because he was feeling it, we were feeling it--I had never seen such passion, sensitivity and honesty. That night, and the many subsequent nights I spent listening to "Badlands", changed the way I play and think about the drums and music in general.