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Adam Pache's High 5
Adam Pache's High 5 Adam was first exposed to jazz during his high school years, which led to his studies at the Sydney Conservatorium of Music. During…
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Adam was first exposed to jazz during his high school years, which led to his studies at the Sydney Conservatorium of Music. During this time his reputation grew as he began working with established musicians such as Bobby Gebert, Tom Baker and Cathy Harley.
Adam’s passion, professionalism and knowledge of the various jazz idioms have kept him in high demand, having performed and recorded with many of Australia’s most respected musicians, including Don Burrows, Mike Nock, Dale Barlow, Janet Seidel, Emma Pask, Bernie McGann, James Muller, Jonathan Zwartz and Barney McCall, as well as the Sydney Symphony Orchestra, and the Adelaide Symphony Orchestra.
In 2001, Adam featured in the Australian Broadcasting Corporation television series The Pulse that documented Australia’s finest jazz musicians.
Adam has toured extensively around Australia and also internationally to Japan, London, Denmark, Norway, Thailand, The Philippines, New Caledonia, Kuwait, The United Arab Emirates, Lebanon and The United States of America. In 2004, Adam was invited to perform at the prestigious Montreux Jazz Festival, Switzerland. He has also conducted workshops nationally and internationally for Musica Viva.
In the pursuit of greater knowledge and experience, Adam has spent a great deal of time studying in New York City, where he now resides, with drummers Carl Allen (Jackie McLean, Freddie Hubbard), Greg Hutchinson (Betty Carter, Ray Brown) and Rodney Green (Christian McBride, Greg Osby).
1. THE DETROIT CONNECTION – Darling Harbour 1997
Andrew Speight brought out Donald Walden, Marcus Belgrave and Karriem Riggins from Detroit, to play with John Harkins and Jonathan Zwartz. It was my first taste of how good a drummer can sound in person. Karriem was 21, and playing on such a high level, with the slickest, funkiest beat I had ever heard. He was also the first drummer I heard bridge hip-hop phrasing with a jazz sound and sensibility. I am still trying to capture that feeling when I play!
2. THE LINCOLN CENTRE ORCHESTRA/JOSHUA REDMAN QUARTET JAM – Winebanq March 2000
This was when the Lincoln Centre Orchestra and Joshua Redman’s quartet were in Sydney at the same time. The music that took place at Winebanq that night was in the true spirit of a “jam”, with one of my all time favourite rhythm sections: Rodney Whitaker and Greg Hutchinson. Possibly the best feeling I have ever had from live music. The highlight for me was the last tune, when Wynton Marsalis played duo with Greg on a blues.
3. ELVIN JONES – Alice Tully Hall, Lincoln Centre 2003
I had never seen Elvin Jones play before, but everything I could have hoped to witness was there on this night. Elvin came out in a white tuxedo, with a beaming smile that lit up the entire theatre. It was like seeing God come down to play a set, to define the history of the drums, and show how far drumming can be taken. It was incredible to me how dynamically he played, whether with brushes, mallets or sticks. He was capable of caressing the softest, sweetest sound out of his drums and cymbals, or the most thunderous, primal onslaught.
4. UNKNOWN IRAQI MUSICIAN – Kuwait April 2006
This was an informal performance in the living room of a Kuwaiti architect’s house. The man was in his 60s, dressed immaculately in a suit and tie, and was introduced as one of Iraq’s finest musicians and composers. He sung and accompanied himself on the oud on “Mwashah”, a traditional Arabian song that is at once about a beautiful woman and Allah. It felt to me that he was crying out to God for his people in Iraq.
5. THE ROBERT GLASPER EXPERIMENT – The 55 Bar NYC February 2006
I had heard Glasper, Derrick Hodge, Chris Dave and Lionel Louke before, but this was one of the first gigs they had done together. I was sitting with Jasper Leak, and we kept looking at each other in disbelief. It felt as if we were witnessing a new wave in music being born before our eyes. More hip hop than anything, but their gospel, r&b and jazz background was always there. The way Chris Dave and Hodge played was like listening to a live version of J Dilla or Madlib beats funky as hell! Personally, I think THIS is the new direction in jazz.
