Summer Intensive begins June 1st. Enjoy and replenish your soul with Rhythm Adaption
Pheeroan akLaff believes that the arts are a way to give thanks and to work for change. He is a musician who has kept New York vibrant with live music and emerging performance art for over thirty years. His personal style of drumming with adventuresome composers has been documented in several areas of Creative Music. As a young artist Pheeroan akLaff toured countries of Africa Asia and Europe. His associations with Wadada Leo Smith, Oliver Lake, Anthony Davis, Henry Threadgill, Sonny Sharrock, and eventually Yamashita Yosuke, Liu Sola Henry Brant, and Andrew Hill presented him with opportunities to perform and record challenging musical systems.
He lived and worked in Abidjan, Cote D”Ivoire with Marie Rose Guiraud’s dance troupe. He met Fela Anikulapo Kuti, Sonny Okosun, and Steve Rhodes with Dr. Frank T. Fairfax III, in Lagos Nigeria. He participated in U.S. State Department tours of Malawi, Liberia, Ivory Coast, Togo and Swaziland, India, Jordan, Egypt, Morocco, Sudan and Syria in. He has recently conducted workshops in Japan, Korea, Colombia, Poland, and Denmark.
Intensives have begun online, and internationally!
Rhythm Adaption develops and supports rhythmic fluency and gives students a context for broadening musical awareness. Active centering, and refining kinesthetic coordination , reading standard notation for drum-set, fitness, and confidence are bi-products of this study.
In drum-set lessons with Pheeroan akLaff students say they have enjoyed: Advancing their music appreciation, learning to improvise, acquiring methods to build a library of "grooves", composing and recording music tracks for the percussion ,release of tension, and use creative imagination.
As I have over 600 personal stories and accounts of learning processes from my 27 years of teaching private lessons. Some of them have been remarkable enough to remember and important enough to share. Here are two with simple and uniquely noteworthy outcomes.
Two memorable breakthrough moments for a drum-set student. The names are fictional for anonymity.
Georgette and cross-referenced coordination: I once had an adult student who heard me in a performance and approached with with a request for lessons. At the time she maintained a career as an executive at a well know women's apparel company. Her enthusiasm was fueled by the fact that her mother had an onset of an early Alzheimer condition. She was intent on using some kind of preventative method to fortify her mental activity with complex motor skills. She had been a semi-professional ice skater, and imagined that there was a similar coordination used in playing the American drum-set. Georgette took weekly drum-set lessons with me for approximately one year, and gained remarkable skills. She adapted at a rate that was fairly advanced to reach a beginner/intermediate position. I am not sure that the ice skating ability was the only factor, as she was an avid listener to recorded music as well. Though I can assuredly bet on her ability to easily recall this information with refreshing her study, or joining a recreational music activity on short notice.
Kohe and the 8am lesson: I often tell this story to students who imagine that early morning is anytime before 10am. Kohe came to me late in the semester's audition process. He was a complete beginner. My schedule was full, though I do not always put more experienced students before beginners. I asked him if he could see himself making it to class at 8am. He agreed. We began promptly on most of our Tuesdays at 8am. In my years of teaching I have occasionally come across a pupil who struggles to retain the information learned in class and advance in the subsequent lessons. This seemed to be the case with Kohe. Each lesson took a toll on both of us. If there was any progress during the lesson or in his practice time that followed in that week, it surely did not stick enough for him to display any results. This went on for twelve weeks. In the mid-term period I had begun to wonder if this early meeting time was a mistake. I also began to question my teaching methods or his individual capacity for memory. In our final last meeting of the semester Kohe did something that I had never seen, and have not seen since. He regurgitated every one of the fundamental four part patterns in his repertoire. He played these apparently locked up bits of complex information with ease. He not only shocked me, but visibly shocked himself, as he bandied about effortlessly on the drum-set with a grin that I can still see in my mind's eye today.
FREEDOM OF SOUND FESTIVAL 2014 presented by Seed Artists LEFT to RIGHT Jerome Harris, Andy McKee, Jay Hoggard, James Brandon Lewis, Ted Daniel, James Newton, not visible; Alfred Patterson, James Newton (conductor) not visible; Pheeroan akLaff, Jun Miyake, Marty Ehrlich
Artist Residency, and Performance - Par Do Tu, Warsaw Poland
Jazz workshop - Nagoya Japan
"Dear Freedom Suite"で来日します。check it out!
Jazz students University De Javierna - Bogota July 2012
Drum-set students - Nagoya, Japan Summer 2012
Professor Sunny Kim ensemble at Jazz club "Monk" Changwon, Korea Summer 2012
Youth Workshop in Iida village, Nagoya prefecture Japan August 2008