Check out "Willow Weep for Me" on Dexter Gordon's OUR MAN IN PARIS. Klook's ride pattern is a mixture of dotted-eighth-sixteenth and eighth-note triplet subdivisions. Unique, to say the least!
Great point about a legendary track-- you can hear Kook, thinking. I'm cycling through his 1954 recordings with Miles now, there are moments on those with similar variety, though not as extensive as "Willow Weep For Me". Thank you Ed! Keep the comments coming, that's what this is all about.
Thank you so much for this post! A story I never tire of telling is when I moved to Paris in 1979 and, looking in the local music listings, saw that Kenny Clarke would soon be playing at a little club, Le Dreher. In those pre-Internet days I knew of him only as a name in books and had assumed he was dead. I went along and there he was, in a trio with organist Lou Bennett and guitarist Christian Escoudé. He seemed personally warm, affable, humorous and urbane, chatting and joking with the bartender in French between sets. And the drumming was joyous and charismatic, so swinging I literally got a cramp from tapping my foot. I think the single luckiest break in my life as a jazz fan was serendipitously ending up in the same city as Klook. I saw him often in the clubs during the five years or so between my arrival there and his death. I love your insights into how he arrived at that brilliantly effective style.
Norman “Tiny” Kahn was born in 1923, nine years after Klook. Check him out on Stan Getz’s “Live at Storyville”. He was way ahead with a buoyant non-repetitive ride and subtle bass drum. He played from the top down, not the bottom up. Terry Gibbs, who grew up with Tiny, said the he was a genius who passed too soon. He was also an accomplished composer and arranger. Long live Tiny!
Yes, me too…Jacob Sacks and I have listened to that Getz Storyville and marveled at Kahn…but we need these comments to get him in context. Thanks for commenting and reading Nate!
Interestingly, Clarke said that it was his awareness of Jimmy Blanton’s role in the Duke Ellington band that inspired his approach to the ride cymbal. “… But when Duke Ellington introduced the bass fiddle into his band, it became the INSTRUMENT OF TEMPO (emphasis mine), and this induced the drummer to play more lightly. Or, at any rate, it should have done.” [Mike Hennessy, Klook: The Story of Kenny Clarke. Quartet Books, London; New York, 1990. P. 14. See also pp. 20-21.]
Kenny Clarke was the drummer on the first jazz LP I owned: "East Meets West -- The Birdland All Stars on Tour Vol 2", recorded (not live) in 1956 with Kenny Dorham and Conte Candoli (trumpets), Phil Woods (alto), Al Cohn (tenor), Hank Jones (piano) and John Simmons (bass). Bought used from a market stall in, I think, 1961. Not the greatest album overall but it certainly established a standard of drumming for me. Sadly, I never saw Klook live with a small group: only at Ronnie Scott's a few times with the large ensemble he co-led with Francy Boland in the late 60s/early 70s, featuring him alongside a second drummer: the English big-band specialist amusingly named Kenny Clare (1929-85).
Yes Richard-- In the MD interview Clarke did with Thigpen, he's wildly enthusiastic about Kenny Clare; Klook appreciates his musicianship and his very humble attitude, a tiny window into Clarke's worldview. Beautiful memory, thanks for reading and commenting Richard!
thanks vinnie... good overview! so who are the brave and uncompromising musicians of today, or are we left to reminisce about the past only?? name a few if you are feeling adventurous, lol... they can be musicians i don't know - preferably musicians i don't know!
There are so many…need to ponder…no reason to reminisce…there’s so much meaningful music being made today…a look back helps us see the present, that’s why I’m doing it…thank you James! I’ll get back to you with a list of important names…
RE : P 7 clave comments on the snare drum . Kenny Clarke was a long time resident of NYC , a friend of Chick Webb whose band included Mario Bauza ( Machito orchestra ). and a Dizzy Gillespie associate later in the Cab Calloway band . Kenny was in the Gillespie big band with Chano Pozo , and made an early Milt Jackson record with Chano ,
the MJQ and Sonny Stitt . One can imagine the lessons from the school of NYC .
Yeah, those cats would say I want to go for a ride on it or I want it to sound like a crash . I want it to sound like a rock in the water, like a “Splash”. These names were not made up by the Arminian’s that were baking and hammering these new instruments. This was a “ Jazz” invention that is at the very heart of all of our music in the U. S.
Concise and direct. This evolution revolution laid the groundwork for every single rock drummer as well. The very concept of leading with the Ride belongs to Kenny. In fact all of the cymbals the Zildjian family made were directly linked to the requests of this generation of masters.
Thank you Mr. Hamilton...I didn't exactly put that together, but you're right: the Zildjian family was working with drummers, so the very design of the instruments reflects the social and musical innovations of the cats...
I’m late to this discussion. JC Heard was a mentor of sorts to me. I was at almost every gig he did with his big band in Detroit. I also saw him with many of the name people he played with; Teddy Wilson, Herb Ellis, Benny Carter et,al.
Max Roach named Heard as an influence and as a tribute sent flowers for JCs funeral.
As a drummer JC was comfortable in a modern setting. His name is one that has been all but forgotten but he could hold his own with any.
Check out "Willow Weep for Me" on Dexter Gordon's OUR MAN IN PARIS. Klook's ride pattern is a mixture of dotted-eighth-sixteenth and eighth-note triplet subdivisions. Unique, to say the least!
Great point about a legendary track-- you can hear Kook, thinking. I'm cycling through his 1954 recordings with Miles now, there are moments on those with similar variety, though not as extensive as "Willow Weep For Me". Thank you Ed! Keep the comments coming, that's what this is all about.
Thank you so much for this post! A story I never tire of telling is when I moved to Paris in 1979 and, looking in the local music listings, saw that Kenny Clarke would soon be playing at a little club, Le Dreher. In those pre-Internet days I knew of him only as a name in books and had assumed he was dead. I went along and there he was, in a trio with organist Lou Bennett and guitarist Christian Escoudé. He seemed personally warm, affable, humorous and urbane, chatting and joking with the bartender in French between sets. And the drumming was joyous and charismatic, so swinging I literally got a cramp from tapping my foot. I think the single luckiest break in my life as a jazz fan was serendipitously ending up in the same city as Klook. I saw him often in the clubs during the five years or so between my arrival there and his death. I love your insights into how he arrived at that brilliantly effective style.
What a beautiful story Tom, thanks so much for sharing…never stop telling this story!!!
Norman “Tiny” Kahn was born in 1923, nine years after Klook. Check him out on Stan Getz’s “Live at Storyville”. He was way ahead with a buoyant non-repetitive ride and subtle bass drum. He played from the top down, not the bottom up. Terry Gibbs, who grew up with Tiny, said the he was a genius who passed too soon. He was also an accomplished composer and arranger. Long live Tiny!
I’ve always *loved* that Tiny Kahn performance on Live at Storyville. So glad to see it placed in this context, by someone who really knows.
Yes, me too…Jacob Sacks and I have listened to that Getz Storyville and marveled at Kahn…but we need these comments to get him in context. Thanks for commenting and reading Nate!
Thank you Mr. Soph, this is a great comment. Tiny Kahn must be included in any sort of picture of the rapidly evolving drum situation of the 1940's.
Thanks for all your work and for reading and commenting Ed!
Interestingly, Clarke said that it was his awareness of Jimmy Blanton’s role in the Duke Ellington band that inspired his approach to the ride cymbal. “… But when Duke Ellington introduced the bass fiddle into his band, it became the INSTRUMENT OF TEMPO (emphasis mine), and this induced the drummer to play more lightly. Or, at any rate, it should have done.” [Mike Hennessy, Klook: The Story of Kenny Clarke. Quartet Books, London; New York, 1990. P. 14. See also pp. 20-21.]
Kenny had Freddy Green in his after hours small band before John Hammond brought Freddie to Count Basie .
I didn't know that! Keep these comments coming....this is what it's all about....
Thanks for sharing this great info! What a comment from Clarke-- there it is. Amazing.
This is simply amazing! Profound, and brilliant Vinnie. Thank you.
Thank you Rob! I just did a once-over and fixed a few syntax and style things-- thanks for your patience as I learn this gig, and so glad you enjoyed!
Kenny Clarke was the drummer on the first jazz LP I owned: "East Meets West -- The Birdland All Stars on Tour Vol 2", recorded (not live) in 1956 with Kenny Dorham and Conte Candoli (trumpets), Phil Woods (alto), Al Cohn (tenor), Hank Jones (piano) and John Simmons (bass). Bought used from a market stall in, I think, 1961. Not the greatest album overall but it certainly established a standard of drumming for me. Sadly, I never saw Klook live with a small group: only at Ronnie Scott's a few times with the large ensemble he co-led with Francy Boland in the late 60s/early 70s, featuring him alongside a second drummer: the English big-band specialist amusingly named Kenny Clare (1929-85).
Yes Richard-- In the MD interview Clarke did with Thigpen, he's wildly enthusiastic about Kenny Clare; Klook appreciates his musicianship and his very humble attitude, a tiny window into Clarke's worldview. Beautiful memory, thanks for reading and commenting Richard!
Everything I know about Kenny Clarke I learned from my son.
Thanks Vince!!!!
thanks vinnie... good overview! so who are the brave and uncompromising musicians of today, or are we left to reminisce about the past only?? name a few if you are feeling adventurous, lol... they can be musicians i don't know - preferably musicians i don't know!
There are so many…need to ponder…no reason to reminisce…there’s so much meaningful music being made today…a look back helps us see the present, that’s why I’m doing it…thank you James! I’ll get back to you with a list of important names…
thanks vinnie! they don't have to be ''important'' at the moment, but they might be in the future! take your time...
RE : P 7 clave comments on the snare drum . Kenny Clarke was a long time resident of NYC , a friend of Chick Webb whose band included Mario Bauza ( Machito orchestra ). and a Dizzy Gillespie associate later in the Cab Calloway band . Kenny was in the Gillespie big band with Chano Pozo , and made an early Milt Jackson record with Chano ,
the MJQ and Sonny Stitt . One can imagine the lessons from the school of NYC .
YES!! That's exactly it. Bauza, Pozo with Calloway and Dizzy; Milt Jackson, MJQ, Stitt.....one big melting pot, clavè a main ingredient....
Thanks for the comment John-- this is a great discussion, you've really helped.
And how would drumming have evolved in the U.S. if he didn’t leave for Europe and was ubiquitous on the scene?
We can only wonder....great question...
Yeah, those cats would say I want to go for a ride on it or I want it to sound like a crash . I want it to sound like a rock in the water, like a “Splash”. These names were not made up by the Arminian’s that were baking and hammering these new instruments. This was a “ Jazz” invention that is at the very heart of all of our music in the U. S.
Yes!!! Keep posting Jim....great stuff....
Concise and direct. This evolution revolution laid the groundwork for every single rock drummer as well. The very concept of leading with the Ride belongs to Kenny. In fact all of the cymbals the Zildjian family made were directly linked to the requests of this generation of masters.
Thank you Mr. Hamilton...I didn't exactly put that together, but you're right: the Zildjian family was working with drummers, so the very design of the instruments reflects the social and musical innovations of the cats...
fabulous post, Vin!
Thanks Ethan!!
I’m late to this discussion. JC Heard was a mentor of sorts to me. I was at almost every gig he did with his big band in Detroit. I also saw him with many of the name people he played with; Teddy Wilson, Herb Ellis, Benny Carter et,al.
Max Roach named Heard as an influence and as a tribute sent flowers for JCs funeral.
As a drummer JC was comfortable in a modern setting. His name is one that has been all but forgotten but he could hold his own with any.