Daru Jones discusses his musical influences and career path. He found his "lane" in playing hip hop styles on drums, inspired by The Roots and Questlove. With Jack White, he channels the rock styles of John Bonham. Jones embraces many styles in his playing from jazz, funk, and rock. He brings showmanship to performances inspired by Gene Krupa. Jones collaborates closely with White, adapting his playing to White's visual cues without a setlist. Jones continues to work on projects with his group The Ruff Pack and others that pay homage to musical traditions while further innovating styles.
This is a list for my blog, https://bensmusicreviews250819854.wordpress.com, which covers the best albums of 2019, there has been some great music this year and this list is my personal favourites.
This is a list for my blog, https://bensmusicreviews250819854.wordpress.com, which covers the best albums of 2019, there has been some great music this year and this list is my personal favourites.
Fast or Feast? Rest or Reap? is a sermon on Mark 2:13-3:6 by Dr. Don L. Pahl, originally preached January 31, 2016 at Crosspoint Bible Church in Omaha, NE.
"Through the Roof!" is the third sermon in the "Marked As Disciples" series. It was originally preached January 24,2016 by Dr. Don L. Pahl at Crosspoint Bible Church in Omaha, NE. The text this week is Mark 2:1-12.
The sermon Do Not Be Alarmed, on Mark 16: 1-8, was originally preached at Crosspoint Bible Church on Easter Sunday, March 27, 2016 by Dr. Don Pahl. It was part of the Marked as Disciples series.
Christmas 2015 - Prince of Peace - You Called Him What?CrossPointBible
Prince of Peace is the fourth sermon in a series preached for Christmas 2015, titled "You Called Him WHAT?" at Crosspoint Bible Church in Omaha, Nebraska. It was originally preached on December 27, 2015.
Website Development for Crowdfunding Campaign / Roadmap to Success or FailureAurum IT
Is there a recipe for success in crowdfunding campaign?
There is, but no recipe guarantees success, though it helps you move towards it. Those who think crowdfunding is easy money, tend to be disappointed once the actual work on the campaign kicks in. Crowdfunding is only one of the funding options, and it requires an enormous effort from the team to be successful. Building a web page and campaign page is our speciality, but that is only one part of the complex project.
How will marketing evolve in 2015? It breaks down into 4 questions:
- Which marketing trends should I watch out for in 2015?
- How can I keep up evolving digital technology?
- How can I compete on a limited budget?
- What should I do differently in 2015?
This sermon titled "Joel - No Other Name" was preached by Pastor Don Pahl on January 18, 2015 at Crosspoint Bible Church in Omaha, NE. Joel 2 & 3 was the primary text. This was the third in a series titled "Burning Hearts."
In episode fourteen of the podcast, Adam interviews Dylan Owen, a renowned rap artist based in New York City. The interview begins with Dylan speaking about his childhood and how a love of rhyming transitioned into rap battles in school (01:57 – 09:43). He then discusses the genesis of A Living Inverse, his first rap EP (09:44 – 13:44), and how he initially promoted his new music (13:45 – 17:19). Dylan then speaks about his creative process, his decision to leave Cornell University and move to New York City, his journey as he continued releasing music, and when he became increasingly recognized for his work (17:20 – 30:38). The interview concludes with Dylan speaking about his upcoming album (30:39 – 37:32) and his thoughts on creativity in general and the music industry (37:33 – 47:03). For show notes, visit www.thepowerofbold.com. To listen to the entire episode, feel free to follow the links below:
iTunes: https://buff.ly/2WC6JTc
Google Play: https://buff.ly/2WCQxRP
Spotify: https://buff.ly/2WF1nGL
Stitcher: https://buff.ly/2WFC87B
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DARU JONESCATALYST FOR CHANGE
Interview: Eric T. Everett Photos: David James Swanson
POLITE & UNASSUMING, CONFIDENT & EXPLOSIVE: MEET DARU JONES
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EE: You once said, “Find a lane that you want to be in
and stick with it.” What’s your lane?
DJ: Basically, as musicians and drummers, we all evolve. During
different parts of my career, I played various styles of music. I’d
say the past ten years have been about playing a lot of hip hop.
I think that “lane” came about because of having a strong hip
hop influence since I was a teenager, and I liked to make beats.
As a musician as well, I admired hip hop production and
thought, “What would it be like to actually play these beats live,
versus using programmed beats?” Of course, I was hip to The
Roots and Questlove; they were the only band doing it on a
consistent basis at that time. But, I thought it would be a dream
if I was in that scenario and that was a lane I wanted to tap
into–eventually my dreams came true.
EE: You embrace many musical styles in your playing
and are directly influenced by legendary jazz and funk
drummers, as well as rock drummers, like Stewart
Copeland. With Jack White, you seem to be channeling
John Bonham in your playing. Can you explain this shift
in your approach?
DJ: It’s all music–I enjoy it. Take the jazz world; once I was
introduced to Tony Williams, Dave Weckl and Vinnie Colaiuta, I
was like, “Yo!” It’s cool that I’m able to contribute some of these
approaches. My situation with Jack White is unique because
with The White Stripes, he laid down such a cool foundation
using simplistic rhythms with Meg White. For me, my job is to
interpret the music as close to the original.
EE: What are your earliest memories of music in your
house as a child?
DJ: My parents are both musicians and choir directors. They both
owned a lot of vinyl records and always had the latest gospel
album at the time. I used to check out the Rance Allen Group’s
newest recordings before they were released because my dad
played with Rance Allen every year when he came into town.
EE: Your drum set-up is unique, with your bass drum and
extreme angles applied to your kit. Also, your playing style
is highly visual–you bring flash and showmanship to each
and every performance. It’s almost a throwback style to
swing drummers like Baby Dodds and Gene Krupa.
DJ: Gene is one of my favorites! Growing up in Michigan, I saw
many guys back when it was all about showmanship. Some of
the cats had a pocket, but they also had something that made
them stand out, so I learned that an early age.
EE: How do you play off of Jack’s visual cues, since you
don’t use a set list on stage?
DJ: A lot of times, we don’t know what’s going to happen, we’re
on a roller coaster, just like the audience. I’m always watching
Jack; I don’t know what he’s going to do. I try to be a team
player. With this tour, things are tighter because we play more
often. On the previous tour for Blunderbuss, we had two bands
that would alternate playing on different nights.
EE: Have you ever wanted to drop the straight-rock
playing and apply your syncopated beats in Jack’s live
shows?
DJ: I’ve done that before. There may be an empty space in the
music. And, many people do not know that Jack is a big hip hop
fan. The song, “Lazaretto” was inspired by listening to MC Lyte’s
song “Cha, Cha, Cha.” We were chiming into the images of that.
The beat on that track was totally inspired by hip hop.
Editor’s Note: Drum roll please...Jack White’s title track
“Lazaretto” received the Best Rock Performance award at
the 2015 Grammy Awards.
EE: How has your collaboration with Jack White affected
your approach? What are you going to take away from
this experience and apply to one of your own projects like
The Ruff Pack?
DJ: Ruff Pack is a whole different world. I’m always learning
something new with Jack; I’m learning more about organization.
He likes things to look a certain way with colors.
EE: Are you starting to pick up on that?
DJ: I’m like that anyway–that’s why my drums are set up the
way they are. That came about from me being a neat freak and
wanting all the drums and cymbals to be symmetrical with each
other. I started turning my snare forward, and I thought, “What
if I did that also with my floor tom?” And, my cymbals are also
turned forward.
Jones is riding in the fast lane, driving the beat for Jack White on his much-anticipated Lazaretto tour.
A Michigan native now based in Brooklyn, Daru heads his own boutique record label, Rusic Records, where
he creates beats, loops and grooves for solo projects, as well as collaborates with his sister Rena and channels
bebop jazz with his pet project, The Ruff Pack.
Daru’s talents are quickly getting noticed. While he has the innate ability to effortlessly recreate sampled or
programmed beats on a live kit, he can also morph his playing into any musical situation–from Americana hoedowns
to Jimmy Page meets Jimi Hendrix grooves.
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With this tour, I’m using all extra-big sizes and that changes
the tone. I’m still playing the same, but the sound changes–
that’s where the Bonham sound comes from.
EE: Why do you mount your toms off to the side of your
hi-hat?
DJ: It took me awhile to grow into it. My challenge is to do the
same amount of fills, but with less, and the drums are lower.
Sometimes, I get inspired by fusion players like Vinnie Colaiuta,
and I’ll bring in additional toms. I also use a 15” marching snare
built for me by DW.
EE: Do you have any vintage gear that you use?
DJ: I use a ride cymbal with rivets. Jack used a ride cymbal with
rivets on some of The White Stripes material and requested it.
Jack is a drummer too, so he can hear sounds like a drummer
would. I use Paiste and Dream cymbals. The Paiste cymbals
work great for this rock scenario because I hit harder and use
more aggression. I’m using an Evans Blue Hydraulic head on
my snare, which is a throwback, because Steve Gadd used to
use them. You can lay into them, and they have a pillow-type
sound.
EE: Do you like to travel?
DJ: I like travelling. But, you know, I like to go home after those
first couple days and relax. Lately, I’ve been taking on musical
projects during the breaks in the tour.
EE: You’ve established a reputation as being quite active
in the social media space, with your up-to-the-minute
blogs on Facebook and Twitter.
DJ: Nowadays, I can’t just be the drummer. I also have to be a
journalist and a photographer. So this has made the game more
intense for me because I do a lot of this on my own.
Being a producer has helped my skills, and I have been
sharpening them since first using Myspace for social media
posts. When you’re playing drums, you want to choose the right
fills, so when I post I still have to be selective about what I write.
EE: Most challenging gig?
DJ: I had a situation where I had to read charts, and I hadn’t done
this since I was a teenager, and it was a really big gig! But, I have
a good ear and memory. You can give me something, and I can
learn it by ear; but, if I had been sharper on being able to read the
charts, it would have made it more easier.
EE: Do you play jazz?
DJ: I can play fusion. I love Gary Novak and his playing with
Chick Corea.
EE: You’re getting noticed by some famous drummers
these days.
DJ: It’s a blessing. Some of the elder drummers have been at
our shows, like Lars Ulrich from Metallica, he’s a fan. It’s crazy.
I guess it evolves in music, and I’m grateful that I’m able to be a
catalyst to keep the traditional legends alive.
EE: You and Jack both pay respect to the musical
traditions, but also further them and make them your
own. That’s a tall order.
DJ: With me, I didn’t do it on purpose. I wasn’t out there saying,
“I’m going to be the next…” You just never know. I want to treat
others like I want to be treated. Regardless of how big or small
an interview is, it’s always going to reach somebody.
EE: Regrets?
DJ: I’m hard on myself. Sometimes, I feel like things are
seasonal–like I was placed in a certain situation for a season.
But when it’s time to move out of that season, because I’m a
loyal guy, it’s hard.
EE: What makes your production sound unique?
DJ: It’s because of the sampling. When I do sample, I try and
sample from gospel records because that’s my background.
When you’re the producer, you’re telling the story, and I want to
use all the resources.
EE: New projects?
DJ: I’m finishing projects with The Ruff Pack. One of the projects
is in tribute to Thelonious Monk. Another project I’m working on
is with singer China Moses from Paris. She is the daughter of
jazz vocalist Dee Dee Bridgewater.
Obviously, the fast lane shows no slowing for Daru, who
confidently blazes his own path forward while keeping an
eye in the rear view mirror to keep our musical traditions
alive.
rusicrecords.com
WEBFOOT
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