Andrew Dickeson's High 5

Historical article recovered from a Wayback capture dated 2018-02-24.

Andrew Dickeson was born in Newcastle, Australia in 1969. He grew up in a musical family and studied a number of instruments before taking up the drums at age ten. He was working professionally from age 13 in both classical and jazz settings.

He moved to Sydney in 1987 and studied at the New South Wales Conservatorium of Music. He quickly became one of the first-call drummers on the Sydney scene.

In 1991 he went to New York and commenced his studies with Jazz masters Art Taylor and Vernel Fournier. He performed with a variety of musicians during his time in New York City.

In 1992, still in New York, he was the only non-American finalist in the prestigious Thelonious Monk Institute International Jazz Drums Competition - judged by Roy Haynes, Jack DeJohnette, Alan Dawson, Ed Shaughnessy, Jeff “Tain” Watts and Dave Weckl.

On his return to Australia Andrew continued to perform regularly with the cream of Australia’s Jazz musicians as well as a great many visiting overseas Jazz artists.

Andrew has also performed in Europe, Brazil, Laos and Singapore.

He has led various incarnations of his own ensemble and is currently forming and shaping his latest, exciting band of talented young musicians.

As well as his performing schedule Andrew has a passionate interest in music education - focusing on Jazz. He is the lecturer in Jazz Drums at the Sydney Conservatorium of Music. His list of former and current students comprises the majority of the young, happening drummers on the Sydney scene. He is also involved in school and private tuition, clinics and workshops and as a visiting “artist in residence” for various institutions.

Andrew has continued his own personal studies. His current teacher - really more of a coach or even “guru” is the amazing Michael Carvin. He has also studied recently with Bernard Purdie and Brazilian master Vanderlai Pereira.

Andrew is proud to endorse and perform exclusively on Canopus Drums - from Tokyo, Japan.

Andrew has performed, toured and recorded with the following artists:

Trumpet - Bobby Shew, Eddie Henderson, Brian Lynch, Valery Ponamarev, Bob Montgomery, Leroy Jones, Jon Erik Kelso

Trombone - Bruce Paulson, Dan Barrett, Al Herman, Wycliffe Gordon

Saxophone - Johnny Griffin, Lee Konitz, Richie Cole, Red Holloway, Branford Marsalis, Ronnie Scott, Vincent Herring, Junior Cook, Justin Robinson, Willie Williams, Ned Goold, Jerry Weldon, Scott Robinson

Piano - Ronnie Matthews, Kirk Lightsey, Mickey Tucker, Stephen Scott, Peggy Stern, Norman Simmons, Jim McNeely

Bass - David Williams, John Clayton, Eugene “The Senator” Wright, Peter Ind, Pat O’Leary

Vocalists - Mark Murphy, Annie Ross, Barbara Morrison, Vanessa Rubin, Giacamo Gates, Dee Daniels, Claire Martin, Andy Bey, Lea DeLaria

Guitar - Martin Taylor, Howard Alden, Sheryl Bailey

Hammond Organ - Michel Benebig, Tony Monaco

He has worked with almost all leading Australian Jazz musicians in a variety of combinations including - Tom Baker’s Swing Orchestra, Tom Baker’s Chicago Seven, Dale Barlow Band, Gordon Brisker, Errol Buddle Quartet, Don Burrows Band, Brad Child Orchestra, Sandy Evans’ Clarion Fracture Zone, Roger Frampton’s Intersection, Bobby Gebert Trio - Winner MO award Best Jazz Group, Renee Geyer, Bernie McGann Band, James Morrison Band, Mike Nock Quartet, Don Rader Quintet, Andrew Speight’s - Now’s the Time, Monica Trapaga, George Washingmachine, John Harkins Trio, Dan Barnett Big Band, Steve McKenna Trio, Darren Heinrich Organ Trio

1. BILLY HIGGINS, RAY DRUMMOND, & CHRIS ANDERSON – Bradleys NYC, 1992

I heard Billy play a LOT during my time in NYC. This particular night I was with fellow drummer Torsten Zwingenberger. The first set was good, but we were going to go somewhere else. Suddenly we looked at each other for no reason and said “We better stay”. The next set was transcendent. The groove was so intense and joyous. I’ve never experienced anything like it since. Everything they played seemed “inevitable” – like it was simply meant to happen. Billy played some solos and “fours” which had people jumping out of their seats. At one point his playing was so deep that the entire room sung a 4 bar in unison with him as he played it!

2. ROY HAYNES QUARTET – Village Vanguard, NYC 1991

This particular night I had arranged to meet Art Taylor at the Vanguard- to celebrate Roy’s birthday. At the bar, before the gig, AT introduced me to Max Roach, Elvin Jones, Jimmy Cobb and Walter Bolden ALL at the same time!!! I was unable to speak! The music that night was incredible. Craig Handy, Dave Kikoski and Ed Howard joined Roy. The intensity and creativity was awesome. AT pulled me aside and told me to listen closely – he said the intensity was like when he used to hear Roy with Bird back in the day! I still have cassettes of that gig (and the following 5 nights too!)

3. MAX ROACH QUARTET – Sydney Opera House forecourt early 1990’s

The quartet was made up of Odean Pope, Cecil Bridgewater and Calvin Hill. I had idolised Max since I was 10 years old so to hear him in person was SO exciting. He had been provided with a terrible sounding rock drum kit but before my eyes he managed, within about 2 choruses, to get the “Max Roach Sound” out of it! It suddenly sounded just like classic Max on his own drums. At that moment I realised that the sound is in your mind not in the instrument! The gig was absolutely inspiring – the level of musicianship and mutual respect on stage was phenomenal. The next day I got to spend several hours with Mr Roach – I was the happiest guy alive.

4. JOE HENDERSON QUARTET – Fat Tuesdays NYC, 1991

With Kenny Barron, Rufus Reid and Victor Lewis or Al Foster. I remember this gig because Victor played the first three nights and Al did the next three. I was there every night. Joe’s level of creativity and inspiration was phenomenal – he never repeated himself and had a never-ending stream of ideas. The rhythm section was totally on fire. The difference in the feeling between Victor and Al really showed me how much effect the drummer could have on the band.

5. MILES DAVIS – North Sea Jazz Festival, 1991

Miles’ band played the same day as both Wayne Shorter’s and Herbie Hancock’s bands. This was in the 90s when Miles typically not playing a lot of notes and his solos were often brief and quite minimal. HOWEVER on this gig he came out totally on fire! He played long solos, incredible lines with a remarkable intensity. I would say it compared to his playing in the 67-68 period of his 2nd great Quintet! I couldn’t sleep for 2 days after this gig.

6. KEITH JARRETT – Carnegie Hall NYC 2007.

Keith played a solo version of “Stars Fell on Alabama” which was simply one of the most poignant, beautiful things I have ever heard. His sound, touch and melodic sense were simply magical.