Nasheet Waits Research Paper

Reinforcing his credentials as a bandleader, Nasheet Waits, an impressive drummer from New York, releases a stimulating album on the French label Laborie Jazz.

The percussionist has a flair for straight-ahead jazz and avant-garde categories but moves with equal confidence in post and neo-bop styles. His father, Freddie Waits, was also a respected percussionist who played with jazz giants such as McCoy Tyner, Pharoah Sanders, Lee Morgan, Kenny Barron, and Andrew Hill. However, he never officially recorded as a leader.

Nasheet, commonly called “Heavy” Waits, collaborated with Antonio Hart, Mark Turner, Andrew Hill, Fred Hersch, David Murray, Jason Moran, and Steve Lehman, while more recently, his groundbreaking drumming techniques were put at the service of Logan Richardson, Miroslav Vitous, Avishai Cohen, Tony Malaby, and Ralph Alessi.

In his new album, philosophically entitled Between Nothingness and

Helias’s “Story Line” flows through African-tinged percussive spells. The theme statement is supplied in unison by sax and piano, and the riveting improvisations make us alert at all times. Jones, whose slightly dissonant contortions are never gratuitous or frivolous, proves he’s a quick-witted explorer while Ortiz’s rhythmic sense and levels of inventiveness thrust him into the limelight of modern pianism. An uncanny dark mood envelops the title track, a solemn piece composed by the bandleader to be performed by piano trio formation. It opposes to the Parisian charm of Andrew Hill’s “Snake Hip Waltz” whose bohemian feel is instantly absorbed. The amiable melodies blown by Jones, who opts for a post-bop language, encounter Ortiz’s titillating voicings. The pianist’s movements demand clever and intuitive responses from Waits, who nails