1)    How have you personally worked on your time?

   I studied with Lennie Tristano for awhile and he insisted on playing with the metronome, always on 2nd and 4th beat of a measure. But more important, you get a great time feel from people who have it. I spent  time on the bandstand with Elvin Jones opening a universe of rhythm and next  with Miles who had metronomic time….if you weren’t playing on top of the beat with him (mostly the drummer) you were dragging!! It’s great to play with someone who has a patent on a certain feel.

 2)    How do you teach time?

I have students play with a metronome corresponding to different landing points, i.e., one, the and of one, two, the and of two, etc. I also instruct students of all instruments to practice playing with the ride cymbal “clave” (even a dish with a pencil!!). Most of all is to play along with great drummers.

 3)    Is swing metronomic?

 The beat is an area, not a point. Some elasticity is desirable.

4)    What should one do when someone in the ensemble is rushing or dragging?

Sometimes you have to agree to disagree, and that’s where things get really good, obviously up to a point. This can be a tacit agreement or the subject can be verbally discussed. Again, some elasticity is desirable….it’s better to be pliable than stiff. It is important to realize that certain tendencies are not the same across the spectrum of different tempos, which may result or suggest a different feel.

5)    Can you point to a few recordings that you consider to be examples of superb musical timing?

There is a version of Miles Davis playing “No Blues” live on the Steve Allen show that is available on YouTube… serious swinging with Ron Carter front and center-Wayne’s first or so gig with the band;  Frank Sinatra with Count Basie; “Live at the Sands,”… the whole thing, but especially “Fly Me to the Moon” John Coltrane  “Tunji”  “Four” on Miles Davis’  “Four and More” is a good example of rushing at it’s best.