Ccp 2749

Solo Concert Artist

"Lomax has a knack for creating dynamic rhythmic palettes that extend the usual drummer's role of mere timekeeping..." - Down Beat

"Like Max Roach and Tony Williams, Lomax approaches his instrument like a musical instrument, something especially evident in his solos which eschew grandstanding for story-telling."- Textura

"...his shimmering cymbals and chattering drums sound as if two percussionists were collaborating." - Dayton Daily News

"A conceptualized groove of explorations of music that have been tried before but never at this high level of proficiency...Lomax plays with an innate finesse."- Bop-N-Jazz

The above comments reflect a growing consensus that Lomax is emerging as a powerful solo voice on the drum set in the tradition of Max Roach, Milford Graves, and Michael Carvin. Preferring to base his compositions and improvisations on a mixture of singable melodies and complex rhythms instead of fancy 'chops,' Lomax is proving that the drum set is still capable of telling stories once spoken by the drums of pre-colonial Africa. His performances are enchanting and intriguing as he bridges past, present, and future through the creation of a vibrant rhythmic soundscape.
Mcar cover

Modern Communications In Ancient Rhythms

Mark Lomax, II

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Recorded in 2013, this is the first in a series of recordings placing Lomax in the direct lineage of master drummers Max Roach and Michael Carvin who have worked to develop a highly musical solo language on the instrument.

"The Blues People must remember the language of the Drum to truly be free”

Utilizing a single non-transposing pitch class represents the infiniteness of the Spirit which is always creating and never changes, even though the manifestation of its creation changes. This differing manifestation is represented by the blues section where the rhythm changes to a more African-American/Black sensibility but is made of the same essence/spirit. There is no other instrument under the Sun created by man that speaks to the feet and soul, like the sound of the DRUM!

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  1. 1 Ancestral March 03:16
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  2. 2 The Drum Waltzes Again 03:06 Info
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  3. 3 The Book Of Becoming 03:24
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  4. 4 Ma'at 03:54
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  5. 5 On Being 03:09
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  6. 6 Blue Drummin' 02:55
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  7. 7 Griot Love Song 05:50
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More of Mark's work for solo drum set

More of Mark's work for solo drum set

Solo Meditations

Mark Lomax, II

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As modern humanity has moved away from striving toward its essential self, the voice and language of the Drum has lost its meaning. In his 1992 article, Drum is the Ear of the Gods: Africa’s Inner World Of Music, Richard Hodges asserts that “[s]ubtle verbal expressions may be encoded in drum language. Almost everybody can understand this language at a basic level; often there will be other levels of meaning woven in which can be understood only by drumming initiates of a certain level of experience. This is the source of the concept of the “talking drum.” Drum language can be used for reciting history and myth, for praising kings and patrons, for topical social commentary, for long-distance communication.” This concept of the Drums talking, “reciting history” and “topical social commentary,” is the basis for this series of recordings.

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  1. 1 Meditation No. 1: Charleston and Memphis 33:08
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  2. 2 Meditation No. 2: Fire Baptized 20:14
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  3. 3 Meditation No. 3: July The Fourth 05:24 Free
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  4. 4 Meditation No. 4: Visions For Black Men 11:50 Info
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  5. 5 Meditation No. 5: Joy 07:11 Info
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  6. 6 Meditation No. 6: Rhetorical 01:17
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  7. 7 Meditation No. 7: Awakening 15:57
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  8. 8 Meditation No. 8: KEMunity 15:26
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  9. 9 Meditation No. 9: Hope 12:46
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lomax-stage-plot.pdf Stage plot for solo performances 43.3 KB
Lomax EPK 13.7 MB