Vernel Fournier on Poinciana

For any jazz drummer playing hotels, function gigs, and weddings, the low-down playing of the Ahmed Jamal Trio at the Pershing is where it’s at. Actually, for any jazz drummer. Period.

Jamal received some criticism at the time for his trio stylings, but his influence has been immense. The trio is tight, and grooves. Really grooves. They don’t seem so interested in expansive, or extended expression, rather they are content to sit on something that sounds good. Almost minimalist, less is more has never been truer.

Nothing exemplifies this more than the trio’s take on Poinciana, which at the time of its release it became a massive hit. It is all built around the bass and Vernel Fournier’s lilting latin-esque groove.

The first iteration is played between the hands. The right-hand plays off-beats on the hi-hat and the left-hand plays a Bossanova bass drum pattern. The last off-best on the floor tom is key to the whole groove.

The second iteration gets a bit more involved. The off-beat pattern moves to the ride cymbal and the groove moves between the bass drum and snare drum. Fournier adds a few variations at the end of the pattern but varies very little from the main groove. A lesson in disciplined grooving.

Add this groove to your toolbox and spend some time listening to Jamal’s “At the Pershing: But Not for Me”. Essential stuff.

Have fun. Make music.