Jazz drummers, so who do you rate?

[BLUESNIK'S REVOX]

Well in the case of straight ahead jazz, an ability to maintain strict time without speeding up or slowing down unless required - as in some Mingus works - should go without saying. I can't remember which famous musician it was who claimed Tony Williams was often apt to speed up. But Tony Williams would go down for me as my favourite in his early Blue Notes, under his own name and with others, for the reason that he loved the sheer sound of brushes or sticks on surfaces. In handing that gift onto the likes of Tony Oxley I would have to say that Oxley can produce ravishing sounds from the kit, whether acoustic or some of his home-designed electronically modified kits from the 1970s. I once told Elton Dean that some of those electronically extended solos were wonderfully relaxing if played at low volume before bedtime, to which he replied, "I'm not so sure Tony would like to hear you say that!"

There is a great solo by Jack DeJohnette on Kenny Wheeler's celebrated "Gnu High", in which he plays only on the cymbals: it is a study in subtle timbral differences and blendings. The "obvious" favourites are the Americans everyone will refer to: many think to be American is a since qua non for adequacy as a jazz drummer, let alone greatness, but I would cite the Dutch drummer Han Bennink as exemplifying what non-Americans can be capable of giving the music - there is also Paul Lovens in Germany, associated with Globe Unity; and of the Britons my favourites besides Oxo are Tony Levin and Tony Marsh, both no longer with us and greatly missed. Both acquired greatness imv in the freer areas of the music, and have no equals today, even though Mark Sanders seems to be flavour of the era with such leading free players as Paul Dunmall and Evan Parker. Generally I go for uncluttered approaches with lots of space in them, rather than the all-over-the-kit approach developed by some Fusion drummers and those who have been influenced by them, such as Martin France.

Hans plays Edam (2005)....."Beat out that rhythm on a cheese"...

http://youtu.be/JL9BrZ-zUpQ

[MrGongGong]

Serious Q: what makes a 'great drummer'?

Someone who has

1: A kit
2: Somewhere to store it
3: A means to transport it to the gig
4: The ability to play and more importantly LISTEN


(far too many folks with only #1 in my experience)

[Joseph K]

Serious Q: what makes a 'great drummer'?

Aside from what S_A said, I'd say sense of groove, awareness of the colouristic possibilities of drums and the ability to respond to and complement the music that's happening around them. Of course it helps to have technique and the ability to juggle polyrhythms...

I've thought before what my favourite drum record would be - but it is difficult to disentangle that from the whole musical situation, of course. But this takes some beating:

https://www.youtube.com/watch?v=ihmuO4iQspI

As does this:

https://www.youtube.com/watch?v=yJ11cArknek

But all five musicians are complete mofos on these albums, which helps.

[Quarky]

Someone who has

1: A kit
2: Somewhere to store it
3: A means to transport it to the gig
4: The ability to play and more importantly LISTEN


(far too many folks with only #1 in my experience)

Once heard that Max Roach had to catch a bus to a gig with Charlie Parker, and was only able to take part of his kit - was it the hi-hat or the bass drum he left behind? (can't find confirmation)

[BLUESNIK'S REVOX]

Once heard that Max Roach had to catch a bus to a gig with Charlie Parker, and was only able to take part of his kit - was it the hi-hat or the bass drum he left behind? (can't find confirmation)

Art Blakey turned up at Sonny Rollins's "Moving Out" 50s Prestige date, minus his hi hat, that? A key part of the Blakey style but he managed pretty well.

Best Max Roach story, told by Max himself, was when he got the Parker gig, he was young 19?, very hip and now considered himself the best in town, so started showing up later and later. Until one night he arrived on the job and to find Bird sat at his drums, band in full flight, Bird playing perfectly "with total hand/feet independence!". Bird finished out the tune saying nothing, just nodded to Roach and picked up his alto. As Roach said, "The lesson which I never forgot is that NO ONE is irreplaceable!"

BN.

[Serial_Apologist]

Art Blakey turned up at Sonny Rollins's "Moving Out" 50s Prestige date, minus his hi hat, that? A key part of the Blakey style but he managed pretty well.

Best Max Roach story, told by Max himself, was when he got the Parker gig, he was young 19?, very hip and now considered himself the best in town, so started showing up later and later. Until one night he arrived on the job and to find Bird sat at his drums, band in full flight, Bird playing perfectly "with total hand/feet independence!". Bird finished out the tune saying nothing, just nodded to Roach and picked up his alto. As Roach said, "The lesson which I never forgot is that NO ONE is irreplaceable!"

BN.

There's the one I've doubtless mentioned here before about The Bonzos backing of Cream at the Marquee. The Bonzos' drummer (probably Sam Spoons) was given to apeing Ginger Baker's solos, and at one of these occasions Ginger is said to have burst out from behind the band, knocked the kit over, (and no doubt the person playing them), and proceeded to stamp all over them, saying "Before you learn to play the drums you've first got to learn to dance!"