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“New York defines whoyou are as a musicianbecause you realizepretty quickly thateveryone here can play”at the University of Denver. His study of poetryundoubtedly informed the thematic nature ofhis drumming and the impressive structure of hismusical compositions. “When I read LangstonHughes at DU,” Royston said, “I realized, ‘Thisis music, the rhythm of it, the development of it,the theme of it—the whole beauty of a blank pieceof paper that you are going to create a timelesswork on. It’s a canvas for you to work with. I fellin love with the beauty of words, and it remindedme of the beauty of melody. Poetry is like music.Music is like poetry.”Performing in May with guitarist JeffMcLaughlin’s trio at the tiny Bar Next Door inGreenwich Village, Royston injected “Stella ByStarlight” with dizzying layers of rhythmic complexity,gracefully shifting the rhythm betweenhalf-time and 4/4, dissecting the pulse and thendigging into a deep, wide groove. Royston’s playingprovided a lesson in musicality and possibility,like a poet grooving high. This elasticityof approach also informs 303, especially itssuite-like title track.“I didn’t want to have a conventional songform, like AABA for ‘303,’” Royston said. “I wantedit to be more like AA, and then we went intoa completely different feel. We don’t return to thefirst melody; we transition in the middle and gosomewhere else. We didn’t have to return to thetop of the tune. It went in another direction, into adifferent realm. Then the song ends.”303 ranges from tranquil original compositions(“Mimi Sunrise”) to Mozart (“AveVerum Corpus”) to an interpretation ofRadiohead’s “High And Dry.”“Rudy had a vision for this band, and itworked,” Felder said. “Rudy’s tunes are verythrough-composed and very sectional and hetrusts his musicians. He let us do our own thingand sound like ourselves. It’s always good when abandleader trusts you to play who you are. I don’tthink [this music] would have worked with a differentdrummer or a different bandleader. Like alot of great drummers, Rudy is a texturalist.”Nine years on, Royston still appreciates thetrial by fire he experienced as a drummer landingin New York City. Perhaps his next albumwill be titled 212.“New York defines who you are as a musicianbecause you realize pretty quickly that everyonehere can play,” Royston explained. “But whatcan you say that will make you different fromthese other 20 drummers? If you don’t figure thatout, you’re going to get lost in the swirl of drumsounds. You find out where you are and whoyou are; it refines you because you’re in the middleof all that. Iron sharpens iron. You’re immediatelyplaying better because you’re around allthese great musicians. After that initial shock ofgetting better, then the work comes. Then youget it together.”DBAUGUST 2014 DOWNBEAT 51