|The Artists - Nasheet Waits|
Nasheet Waits American drummer, percussionist and educator
born 1971 in Manhattan, New York, played in Prize Winner Andrew Hill's
JAZZPAR 2003 Nonet and in the JAZZPAR 2004 Quartet with Jakob Dinesen,
Ben Besiakov and Eddie Gómez.
His interest in playing the drums was encouraged by his father, Frederick
Waits, who over the course of his career played with Ella Fitzgerald,
Sonny Rollins, McCoy Tyner and many other jazz legends.
My thing is about offering a representation of my experiences and playing something thats musically appropriate. Waits has said. Listening to Elvin Jones and John Coltrane for instance has been a part of Waits education. And other drummers have influenced Waits: Billy Higgins, Art Blakey, Tony Williams, Philly Joe Jones, and Billy Hart who was a friend of Nasheets father.
Besides being a member of various bands led by Andrew Hill (JAZZPAR Prize Winner 2003), Waits has been member of Fred Herchs trio, and Jason Morans Bandwagon, the latter proclaimed as one of the most exciting rhythm sections in jazz of this millennium.
Nasheet Waits recording and performing discography is developing into a whos who in Jazz, boasting stints with Geri Allen (JAZZPAR Prize Winner 1996 and JAZZPAR Artist 2003), Hamiett Bluiett, Jaki Byard, Ron Carter, Steve Coleman, Joe Lovano, Jackie McLean, Joshua Redman, Wallace Roney, Jacky Terrason, Mark Turner and many others.
Whether he teaches or plays, Nasheet Waitts stresses a personal approach
to the drums and the music. He finds it necessary to balance tradition
and modernism. He forms his detailed drumming from hard bop cymbal pointing,
atmospheric rhythm washes, and avant-garde, jab-and-punch interplay. Waits
reveals an intuitive understanding of complex rhythmic requirements. The
pulse is always there, yet he moves accents around it, making rhythm contract
and expand, changing his focus for stretches at a time from cymbals to
toms to bass drum and snare. The listener may not always be able to snap
fingers: one, two, three, four. Unique time divisions, displacements,
over-the-bar phrasing and dexterous cymbal work can feel like a roller-coaster
ride through jazz drumming past, present, and future. Sometimes its
like a swaying or circular swirl, like water moves. It has a lot to do
with manipulating energy.
|| Back to The Artists - Overview ||