Sadownick stopped by my office on April 8, 1999,
to discuss his career, his passions and influences.
started out a drumset player, became highly influenced
by the Santana band and while attending New York
University as a music major (he received a Master's
degree from this university) he would spend lunch
times jamming with the conga drummers in Washington
Square Park, across the street from the school.
The energy and emotion that was displayed by these
musicians made up for their lack of a complete
understanding of the clavé rhythm pattern.
This rhythmic bible of Afro-Carribean music was
something that Daniel learned from master conguero,
Malabe. Daniel loved the way Frankie taught
as he not only brought to the picture the folklore
basics, but was able to take this foundation and
bring it into other spheres and a higher level.
I asked about the way Daniel tunes his drums,
he referred to the tune A Love Supreme,
by his all time musical hero, John Coltrane who's
melody was how he tuned his drums. The drums he
played for the demo he did for me were still in
the studio from Patato's
visit the day before and it was the same tuning
as Patato uses. The root, to the minor third to
loves the roots but really prefers most to work
in the jazz idiom. He has recently been working
with the band Screaming Headless Torsos where
he gets to play a challenging combination of styles
in this fusion setting. What triggered my bringing
Daniel in for an interview was the outstanding
job he did on a Donald Brown jazz recording I
had heard on jazz station, WBGO.
to Daniel tell of his life and at the end
of the recording, he illustrates his approach
in a couple of styles.
learn more about Daniel Sadownick, CLICK