Joel Ross - The Parable of the Poet (April 15, 2022 Blue Note)

Vibraphonist and composer Joel Ross returns with stunning conviction on The Parable of the Poet, an expansive album-length suite composed by Ross which marks his 3rd release for Blue Note following his 2019 debut KingMaker and 2020’s Who Are You?. The Parable of the Poet will be released April 15 on vinyl, CD, and digital formats, and is introduced today with the sublime opening movement “PRAYER” which is available to stream or download now.

Steadfast in his commitment to skewing perceptions of improvisation and written composition, Ross explores new territory with his 8-piece Parables band, bringing together young artists of sharply defined expression: Blue Note labelmate Immanuel Wilkins on alto saxophone, Maria Grand on tenor saxophone, Marquis Hill on trumpet, Kalia Vandever on trombone, Sean Mason on piano, Rick Rosato on bass, Craig Weinrib on drums, and special guest Gabrielle Garo on flute.

The album embodies Ross’ collaborative spirit. His lyrical aesthetic activates an ebb and flow from one movement to the next. Moments of intentional discourse drive sections of collective melody and spontaneous counterpoint. “This band is more than just the instruments,” says the Chicago-born, New York City-based artist. “Every person on here means something to me. They’re all my friends. Everybody involved committed themselves to the vision.”

Ross’ vision for the music is at once explicit and mysterious. He seeks to express themes present in parable tellings and retellings, while leaving each story’s particulars open to interpretation. Each title of the 7-movement suite references an emotional decision or experience for Ross. But in the studio he focused on fresh interpretations, allowing his past experiences to exist without dictating the band’s present treatment of the music. “I told them, ‘This is what the music is and this is how I want you to approach it — let everything we play be inspired by the melody.’ Not much else was decided,” says Ross, who enjoys “blurring the lines between melody and improvisation,” in part, as a way to facilitate communication and meaningful musical discourse.

Obscuring divisions between scripted and spontaneous is more than a romantic notion. For Ross, it’s truthful and intrinsic. Each composition he explores on The Parable of the Poet represents a near intact improvisation, some dating back to 2017, all of which emerged during creative sessions with his friend and colleague, saxophonist Sergio Tabanico. “We would record it, then I would go back and flesh out the composition,” he says. “I tried my best not to change any harmonic information or add too much more than what was already there. I just tried to organize the information in a manner that would yield sensible improvised group interaction, while giving enough direction.”

That choice prompts striking moments of deep listening and self-orchestrating among Ross and his fellow artists. The first movement “PRAYER” sets a tone of rumination and collective inquiry. Apart from Ross’ tender solo introduction, the piece exercises restraint. “There’s no one person who’s taking the mic,” says Ross. “Everyone has a moment of playing the theme,” kindling shared navigation and discourse.

1. PRAYER

2. GUILT

3. CHOICES

4. WAIL

5. THE IMPETUS (To Be And Do Better)

6. DOXOLOGY (Hope)

7. BENEDICTION

Joel Ross - Vibraphone

Immanuel Wilkins - Alto Saxophone 

Marquis Hill - Trumpet

Maria Grand - Tenor Saxophone

Kalia Vandever - Trombone

Gabrielle Garo - Flute

Sean Mason - Piano

Rick Rosato - Bass

Craig Weinrib - Drums

JOEL ROSS – 2022 TOUR DATES:

April 8: Annenberg Center – Philadelphia, PA

April 9: Kupferberg Center for the Arts – Flushing, Queens

April 14: Jefferson Center – Roanoke, VA

April 15: Christina Cultural Arts Center – Wilmington, DE

April 16: BlackRock Center for the Arts – Germantown, MD

April 23: Cullen Theater at Wortham Theater Center – Houston, TX

April 24: Duet – Tulsa, OK

May 7: Capitol Bop – Washington, DC

May 8: Creative Alliance – Baltimore, MD

May 10: Robin Hixon Theater – Norfolk, VA

May 13-14: The Jazz Gallery – New York, NY

June 25: The Cube – Detroit, MI

June 28: Victoria Jazz Festival – Victoria, BC

June 29: Vancouver Jazz Festival – Vancouver, BC

June 30: Earshot Jazz Festival – Seattle, WA

July 6-24: European Tour TBA

August 11: The Lodge Room – Los Angeles, CA

August 12: San Jose Jazz Festival – San Jose, CA

August 13-14: Telluride Jazz Festival – Telluride, CO

August 17: Myrna Loy Center – Helena, MT

September 20: Musical Instrument Museum – Phoenix, AZ

September 22: Outpost Performance Space – Albuquerque, NM

September 23: SFJAZZ – San Francisco, CA

September 24: Monterey Jazz Festival – Monterey, CA

September 26: For the Love of Jazz – Reno, NV

October 14: University of Chicago – Chicago, IL

October 16: Wisconsin Union Theater – Madison, WI

PRE-ORDER

Christopher Hoffman - Asp Nimbus (March 2021 Out Of Your Head Records)

1. Discretionary 04:03

2. Dylan George 06:00

3. Asp Nimbus 03:40

4. Angles Of Influence 03:33

5. Orb 02:49

6. Non-Submersible 04:25

7. For You 03:14

8. The Heights Of Spectacle 03:46

Christopher Hoffman - cello, compositions

Bryan Carrott - vibraphone

Rashaan Carter - bass

Craig Weinrib - drums

David Virelles - piano (track 2 only)

All Compositions By Christopher Hoffman

Recorded January 8 & 9 2020 by Lily Wen at Figure 8 Studios

Produced, Mixed & Mastered By Christopher Hoffman

Pre-order

Christopher Hoffman - Asp Nimbus (Friday, March 26th 2021 Out Of Your Head Records)

“Somehow, he manages to contribute a unique, fresh voice in a field that is crowded with excellent recordings.” --Avant Music News

Christopher Hoffman - Asp Nimbus (OOYH 009): With Asp Nimbus, cellist Christopher Hoffman very intentionally sought to make a more straight-forward recording than his 2018 release, Multifariam. Multifariam was an electro-acoustic tour de force in the vein of Miles Davis’ electric years, MF Doom, and the horror/sci-fi composer John Carpenter. Hoffman played mad scientist, chopping and pasting studio recorded snippets from Gerald Cleaver, Tony Malaby, Christina Courtin, Craig Weinrib and a slew of others into what was a 16-track masterpiece. Asp Nimbus is not that kind of album. Inspired by Bobby Hutcherson's Oblique and Happenings, and Henry Threadgill's Everybody’s Mouth's a Book (Hoffman is a mainstay in a number of Threadgill’s ensembles of the past 10 years), Asp Nimbus was recorded in January 2020 with the goal of capturing the group dynamic and raw live energy of their quartet performances.

That is a surprisingly difficult feat to achieve in the studio, yet this album exceedingly succeeds in doing so. With the exception of the piano contribution of David Virelles on Dylan George there are no overdubs, and we hear the music exactly as it was performed. The recording presented a new kind of challenge for Hoffman as a soloist, as he previously tended to write music that was predominantly collective in nature. Since Asp Nimbus is a more traditionally jazz-oriented album, Hoffman is featured heavily as a leading voice. He absolutely shines when placed front and center, and this recording is sure to further cement his place in the top-tier of improvising cellist/composers active today.

Hoffman chooses the title of each piece to reflect the vibratory state that he finds in the music. For instance, the first track Discretionary reflects a growing attitude in the world today--the idea of acting on one's own authority or judgment. The second track, Dylan George, was written for his late brother who passed unexpectedly in 2016. By chance they overdubbed David Virelles’ part on Dylan George while on break during a studio session for a new Henry Threadgill composition. Hoffman considered it an added blessing to have Henry in the room listening while they recorded. To hear Chris speak of it, it is obvious that this piece in particular means a lot of things to him, and ultimately it's a tribute to Dylan.

Knowing that he wanted vibraphone when forming the quartet in Fall of 2018, Bryan Carrott was an immediate and obvious choice, as Hoffman has long loved his playing in Threadgill's Make A Move, on Dave Douglas' Witness, and as a part of The Lounge Lizards. Hoffman and drummer Craig Weinrib play together a lot, most notably in Henry Threadgill’s Double Up, and are frequently recruited in tandem as side-people by the likes of Jonathan Finlayson and Roman Filiu for their deep connection. Bassist Rashaan Carter and Weinrib have a similar special relationship, and together are a propulsive force throughout Asp Nimbus. Cello, vibraphone, bass, and drums are an atypical instrumentation for what Hoffman considers to be a more traditional jazz album (in fact, I can’t cite one recorded example of this exact instrumentation).

By default the combination will pull your ear towards chamber music and contemporary classical, and Hoffman’s work in film, whether intentional or not, surely contributed to the cinematic arc that is present over these 8 tracks and 32-minutes. There aren’t many recordings of any genre to compare it to, and whatever the inspiration was for Asp Nimbus the result is unique. That alone makes it an album worthy of repeated listening, but the masterful performance of these four world-class improvisers, and the compositional maturity on display is sure to demand attention as one of the finest recordings of 2021. Asp Nimbus is due out March 26, 2021 on Out Of Your Head Records in both digital and vinyl formats.

“...a great example of how advanced and complex in great hands can sound simply great.” --Jazz Music Archives

 

1) Discretionary

2) Dylan George

3) Asp Nimbus

4) Angles Of Influence

5) Orb

6) Non-Submersible

7) For You

8) The Heights Of Spectacle

Christopher Hoffman - cello, compositions

Bryan Carrott - vibraphone

Rashaan Carter - bass

Craig Weinrib - drums

David Virelles - piano (track 2 only)

All Compositions By Christopher Hoffman

Produced, Mixed & Mastered By Christopher Hoffman

Recorded January 8 & 9 2020 by Lily Wen at Figure 8 Studios

Pre-order

Christopher Hoffman is a cellist and film-maker. He has the honor of performing in Henry Threadgill’s Pulitzer Prize winning ensemble Zooid as well as Double Up & 14 or 15 Kestra: Agg. Chris regularly performs with the Grammy nominated Anat Cohen Tentet, Anna Webber Septet (featured on her critically acclaimed Clockwise), Rudy Royston’s Flatbed Buggy, Michael Blake string band, Tony Malaby, and the Christopher Hoffman Quartet. He has worked with Martin Scorsese (Shutter Island) and has performed with Yoko Ono, Bleachers, Butch Morris, Marc Ribot, Christina Courtin, Spring Awakening, Anthony Coleman, Marianne Faithfull, Ryan Adams, Iron & Wine, Jeremiah Cymerman, Michael Pitt & many others He has performed at the Kennedy Center, Library of Congress, Newport Jazz Festival, Carnegie Hall, David Letterman, North Sea Jazz Festival, Umbria Jazz Festival, Saalfelden, SF Jazz, Chicago’s Symphony Center, Walker Arts Center and all over western Europe & the United States. christopherhoffman.com

Román Filiú - Quarteria (SUNNYSIDE RECORDS May 11, 2018)

Six buildings in close proximity with families living one on top of another within a constant melee of sound, including music of all sorts. This is the public housing of Santiago de Cuba, known locally as cuartería. These apartments and their confederation of people and sounds serve as the inspiration to saxophonist and composer Román Filiú’s new musical suite and subsequent recording, Quarteria. 

Growing up in the far eastern province of Cuba, Filiú was aware of music all around him. His father was a music theory teacher who encouraged his son to explore classical music scores. Filiú’s own musical studies began with classical piano before he focused on the saxophone. While visiting his friends who lived in the local cuartería, the budding musician was exposed to a wide variety of sounds of Cuban extraction, including liturgical music for Bembé, conga oriental, tumba francesa, classical, jazz, and popular music, the cuartería was Filiú’s own musical Tower of Babel. 

Filiú left Santiago de Cuba some time ago. He continued his studies in Camagüey and at the Instituto Superior de Arte in Havana. He lived and played locally in Havana, including a stint in jazz super group Irakere, before he moved to Madrid, where he lived for seven years. Filiú has been in New York since 2011 and has made his mark on the jazz scene as a bandleader, composer, instrumentalist and collaborator of note, playing alongside well-known musicians like Henry Threadgill, Steve Coleman and Dafnis Prieto. 

Upon receiving a commissioning and residency grant from The Jazz Gallery of New York City, Filiú was able to compose his Quarteria. His goal was to create a suite of music that involved an eclectic range of musical styles performed by a diverse group of musicians. In composing, Filiú utilized a number of methods, including writing by transcribing piano improvisations, playing his saxophone, singing the melody or even without the influence of an instrument, putting his thoughts straight to paper. Through the entire process, Filiú made sure that the pieces served improvisation. 

The ensemble grew out of Filiú’s intention to have as full a sound as possible with as compact an assemblage as he could muster. The ensemble ended up as a septet with an additional horn on two pieces, all members being brilliant stylists and improvisers well-versed in a variety of musical traditions.

Trumpeter Ralph Alessi has been a frequent collaborator with Filiú in Dafnis Prieto’s band, the two having originally met while the trumpeter traveled with Steve Coleman to Havana. Dayna Stephens’ s sonorous tenor saxophone is a perfect foil for Filiú’s alto. Also from Santiago de Cuba, pianist David Virelles has been a long time collaborator and is responsible here for widening the ensemble’s panoramic sound. Bassist Matt Brewer was a must for his steady rhythm and expert time, while drummer Craig Weinrib is equally adept in support and widely steeped in rhythmic traditions from all over the world. 

The suite begins with the staggering “Fulcanelli,” the piece inspired by its namesake’s study of the sacred geometry of cathedrals and which utilizes symmetry within its compositional makeup. Olivier Messiaen’s compositional style informed “Grass,” which was written away from the piano and utilizes expanded voicings between the three horns and the piano. The title of “Harina Con Arena” refers to the period of Russian withdrawal from Cuba in the 1990s and the food crisis that followed where there developed a common practice of adding sand to the cornmeal sold to the population. The piece is meant to have the jilting feeling of biting into that unexpected texture. 

Utilizing hints from his choir director brother, Filiú wrote the beautiful “Choral” with formal voice leading, lending to the shifting harmonies within the instruments. On his week long Jazz Gallery residency at the Pocantico Center in Tarrytown, New York, Filiú composed three danzas at the piano: the improvised “Danza #5,” the Messiaen influenced “Danza #1,” and “Danza #3,” which was inspired by the rhythms of his childhood neighborhood comparsa ensemble, San Pedrito. The wonderfully disjointed “Glass” uses one melody, which is delayed a half beat between the parts, creating a unique counterpoint. 

The stately “Imperator” mirrors the walk of an old Haitian refugee who lived near Filiú’s childhood home and who used to help the young saxophonist carry his horn home from school. Saxophonist Maria Grand appears on “For Horns and Bells,” which is a chorale and an experiment in conduction and voice leading. The final two pieces came from an idea to create crazy names and then write music for them. “Tursten” is a mysteriously laconic piece, while “Kaijufrem” is aggressive and utilizes a compositional system devised by Filiú in which he assigns a note to each letter of the name but then allows the structure to mutate from there. 

The metaphor of a large edifice with people from of all walks of life comingling with the soundtrack of the music of Cuba is fitting for Roman Filiú’s Quarteria, which is an exceptional example of a lifetime’s exposure and dedication to the study of music in all its forms, coalescing into a moving musical experience. 

1. Fulcanelli

2. Grass

3. Harina Con Arena

4. Choral

5. Danza 5

6. Danza 1

7. Glass

8. Danza 3

9. Imperator

10. For Horns and Bells

11. Tursten

12. Kaijufrem

Román Filiú - alto saxophone

Ralph Alessi - trumpet

Dayna Stephens - tenor saxophone

Maria Grand - tenor saxophone (10 & 11)

David Virelles - piano

Matt Brewer - bass

Craig Weinrib - drums

Yusnier Sanchez - percussion

Henry Threadgill - Double Up, Plays Double Up Plus (PI RECORDINGS May 18, 2018)

Game Is Up 22:48

Clear And Distinct From The Other A 9:56

Clear And Distinct From The Other B 6:15

Clear And Distinct 8:38

Henry Threadgill saxophone

Curtis Macdonald saxophone

Román Filiú saxophone

David Virelles piano

Luis Perdomo piano

David Bryant piano

Christopher Hoffman cello

Jose Davila tuba

Craig Weinrib drums

Henry Threadgill 14 or 15 Kestra: Agg - Dirt… And More Dirt (PI RECORDINGS May 12, 2018)

Comprised of two full-length works, Dirt… And More Dirt, is composed for Henry Threadgill’s band 14 or 15 Kestra: Agg, which features 15 musicians (guitar, bass, drummers (2), cello, tuba, alto saxophone (3), flute (2), trumpet (2), trombone (2), and piano (2). The works are part of Threadgill’s ongoing exploration for integrating composition with group improvisation, in particular an entirely new system of improvisation based on preconceived series of intervals. They bear the unmistakable stamp of all Threadgill compositions: complex forms, multi-layered counterpoint, rigorous polyphony, and timbral contrasts all wrapped up in a swirl of rhythmic convolution. The use of multiple horns and woodwinds on Dirt… vastly expands the music’s harmonic and tonal palette at Threadgill’s disposal, adding a much wider range of color, texture, and weight. At the age of 73, Threadgill remains at the peak of his powers, yet remains completely open to all possibilities in expanding and refining his craft.

1. Dirt - Part I

2. Dirt - Part II

3. Dirt - Part III

4. Dirt - Part IV

5. Dirt - Part V

6. Dirt - Part VI

7. And More Dirt - Part I

8. And More Dirt - Part II

9. And More Dirt - Part III

10. And More Dirt - Part IV

11. Credits

Henry Threadgill - alto saxophone, flute, bass flute

Chris Hoffman - cello

Liberty Ellman - guitar

Jose Davila - tuba

Ben Gerstein – trombone

Jacob Garchik – trombone

Jonathan Finlayson - Bb trumpet, F trumpet

Stephanie Richards –Bb trumpet

Curtis Robert Macdonald – alto saxophone

Roman Filiú - alto saxophone, alto flute

David Bryant - piano

David Virelles – piano

Thomas Morgan - bass

Elliott Humberto Kavee

Craig Weinrib - drums, percussion

Glenn Zaleski - Fellowship (SUNNYSIDE RECORDS 2017)

Through the act of improvisation, the jazz musician is continually composing. When it comes to formal composing of pieces for a jazz ensemble, the jazz musician must be able to not only write a good melody but also to provide a “springboard” for the ensemble to communicate and improvise. Pianist Glenn Zaleski’s second recording for Sunnyside, Fellowship, reconvenes his trio, featuring bassist Dezron Douglas and drummer Craig Weinrib, to play a program of original compositions and a couple of insightfully arranged standards. 

Zaleski’s first trio recording for Sunnyside, My Ideal, came out in 2015 and was a collection of standards and cover songs performed in a highly individual and energetic manner. For Fellowship, Zaleski wanted to bring the same musical approach to compositions from his own pen, challenging his trio mates to new creative heights on new, unfamiliar pieces. 

In writing these new pieces, Zaleski paid special attention in crafting compositions that walked a fine line, as he says: “Overwriting can stifle improvisation, but underwriting can result in monotony or chaos.” His ideal composition being one that is both tuneful and a good harmonic/rhythmic vehicle for inspired solos from him and his band mates. The program is accentuated by two pieces by legendary jazz composers, Duke Pearson and John Coltrane, that help illustrate the continuum in the development of jazz composition and improvisation from the 1950s until now. 

The recording begins with the highly interactive and inventive “Table Talk,” named for the pie company based near his hometown of Boylston, Massachusetts. The ruminative “Westinghouse” is a poetic tribute to composer Billy Strayhorn, while Duke Pearson’s toe tapping “Is That So?” is played to a quietly stirring effect. The title track is a wonderfully composed (both in form and esthetic), a true meditation in music. 

Douglas’s tremendous intro bass solo on “Out Front” leads to the harmonic underpinning of the cyclic and longingly propulsive “Homestead,” a song about the frustrations of being on the road. Zaleski’s dynamic blues piece “Lifetime” is dedicated to a club in Shizuoka, Japan of the same name, the piece as joyful and warmhearted as his recollections of the club. The wonderful take on John Coltrane’s “Central Park West” puts the trio’s sensitive artistry on full display. The program concludes with the abstractly grooving “P.S.,” a knotty dedication to friend, vibraphonist and composer Peter Schlamb. 

Pianist Glenn Zaleski continues to show his maturity and expertise as an instrumentalist and bandleader. On Fellowship, he proves his meddle as a composer of note, one who is capable of bending ears toward beautiful melodies and intriguing compositional ideas.

1. Table Talk - (G. Zaleski)

2. Westinghouse - (G. Zaleski)

3. Is That So? - (Duke Pearson)

4. Fellowship - (G. Zaleski) 

5. Out Front - (G. Zaleski)

6. Homestead - (G. Zaleski)

7. Lifetime - (G. Zaleski)

8. Central Park West - (John Coltrane)

9. P.S. - (G. Zaleski)

Glenn Zaleski - piano

Dezron Douglas - bass

Craig Weinrib - drums

Jonathan Finlayson & Sicilian Defense - Moving Still (PI RECORDINGS 2016)

Moving Still is the eagerly-awaited follow-up to trumpeter Jonathan Finlayson’s Moment and the Message (Pi 2013), which was voted the top Album by a Debut Artist in the 2013 NPR Jazz Critics Poll and proclaimed “intricate and alluring, melodic but daring, riveting and rare” by Popmatters. Well regarded among fellow musicians for his ability to negotiate complex musical material and his decidedly personal sound and improvisational style, Finlayson was named the Number One Rising Star Trumpeter in the 2014 Downbeat Critics Poll. He has been a member of alto saxophonist Steve Coleman’s Five Elements for over 15 years, while also playing regularly with the likes of such cutting-edge artists as Steve Lehman, Mary Halvorson, Muhal Richard Abrams and Henry Threadgill.

Moving Still is filled with enthralling twists and turns, a hallmark of Finlayson’s compositional style. As usual, there is far more to his work than might readily appear. Even though the pieces move forward with a clear thrust, instrumental voices rarely move in unison and counterpoint almost always holds sway. This is apparent on “Flank and Center,” where the melody utilizes hockets - a series of three and two notes played in turn by three voices, a pointillistic effect that is carried throughout the piece. “Space And” is based on a traditional bell pattern of the Dagomba of present-day Northern Ghana while “Folk Song” is inspired by an Afro Cuban melody from the song cycle devoted to Oshun, a deity that reflects one of the manifestations of God in the Ifá and Yoruba religions. “Cap vs Nim” is based on a celebrated chess match between the grandmasters José Raúl Capablanca and Aron Nimzowitsch wherein Finlayson assigned harmonic values to positions on the board with the melody determined by the origin and destination of each move. Guitarist Mile Okazaki states of the music: “It demands restraint and balance. It breathes and moves along unencumbered. You join in for the trip, but travel light and watch your step, because Finlayson will surely take a turn that you don’t expect.”

Finlayson’s band, Sicilian Defense, is named after the popular chess opening counter move, and most of the composition titles on Moving Still are also allusions to some aspect of the game of chess, which he plays with great zeal. This latest iteration of the band includes guitarist Miles Okazaki, who is also a member of Steve Coleman’s Five Elements and with whom Finlayson has played with consistently for ten years. Trickster, his next release, will be out on Pi in 2017. Pianist Matt Mitchell (Tim Berne, Dave Douglas, Rudresh Mahanthappa, John Hollenbeck) has also released two of his albums on Pi. Finlayson has played alongside bassist John Hebert (Andrew Hill, Fred Hersch) for years, most recently in the bands of guitarist Mary Halvorson. And the young drummer Craig Weinrib, best known for tackling the challenges of Henry Threadgill’s music as a member of his Ensemble Double up, a band that released the acclaimed Old Locks and Irregular Verbs earlier this year.

Finlayson has been a professional musician for a decade and a half despite being only 34 years of age. It’s not uncommon for musicians years younger with far less experience to have multiple albums as leaders under their belt already yet Moving Still is just the second release under his own name. According to Okazaki: “You can’t rush Finlayson. He’s not concerned with expectations. He has confidence that his preparation will allow things to fall into place when the time is right. It has to do with timing and nuance, and allowing the story to reveal itself to those who are leaning in and paying attention.” Or as Steve Coleman puts it: “Jonathan was aware of the entire spectrum of this music from a young age and he’s always taken a panoramic view of what has come before. But for him it’s not about imitating the great players. He has the patience to find his own way and it’s important to him for his music to reflect his own personality and philosophy, to create his own style and sound. He has made a conscious choice to be on the cutting edge so that he continues to make an individual contribution to the continuum of this music.” The result is a daring work with a firm sense of purpose.

1. All of the Pieces 11:15

2. Flank and Center 04:34

3. Space And 08:33

4. Cap vs. Nim 08:58

5. Between Moves 08:08

6. Folk Song 10:47

Jonathan Finlayson - trumpet

Miles Okazaki - guitar

Matt Mitchell - piano

John Hébert – bass

Craig Weinrib - drums