Fred Below: The Drum is a Beautiful Instrument if Played Correctly

SKF NOTE: This is an excerpt from my interview with drummer Fred Below, arguably the father of Chicago electric blues drumming. Mr. Below recorded with Muddy Waters, Sonny Boy Williamson, The Aces, Little Walter, Chuck Berry, and other pivotal blues musicians.  The interview was published in Modern Drummer‘s September 9, 1983 issue as, Fred Below: Magic Maker.

Mr. Below is shown in this blog post behind Ludwig and Sonor drumsets. He was playing the Sonor kit when we had this interview. In fact, the Sonor photo here is one of several MD used for this interview. 

Fred_Below
Fred Below

Scott K Fish: Do you have a preference between matched grip and traditional grip?

Fred Below: I use traditional myself because it works good. But, I’ve seen guys use drumsticks like mallets. To me, that gives off a different sound and a different beat. It’s harder. It’s not soft enough.

I like my way best, the traditional, because of the technique and the pressure. You’re no so much slamming/bang, slamming/bang.

The drum is a beautiful instrument if you play it correctly. You can get beautiful sounds. And your drums should be tuned so that you can hear different tones coming out of all the different sizes.

You can be playing in a band, and all of a sudden you hear that their tones are going up. You can’t reach it up if your drums are flat. You just have a plop sound that don’t have no tone. But if you’ve got tone, if the band goes up, you can go right up with it.

SKF: Was there any one person that taught you how to tune drums?

FB: That was back when I was going to DuSable [High School]. Way back in the early ‘40s.

SKF: How do you like to tune your drums?

FB: I tune my drums left to right, so that the two tom-toms have different tones. My floor tom has the lowest tone. My hardest, flat tone would be my bass drum.

Fred Below

My snare drum has an intermediate tone. That is, it’s between the two tom-toms on the top so that, when you flick the snares off, you’ve got three tones. The two tom-tom tones and the snare drum in the middle of both of them.

I never put anything inside the drums. I never understood why drummers want to stack all that stuff in there. It’s okay for recording purposes — putting padding in the drums. But not for when you’re playing! God! That just kills all the tone. You don’t know what you’re playing. I don’t put no foreign matter whatsoever in there.

SKF: Are you using a wood beater on your bass drum?

FB: No. Felt. Hard felt.

SKF: Obviously you were using calfskin heads when you first started playing and recording. Did you mind switching to plastic heads?

FB: No. I think I liked it better. It’s a different tone. The calfskin gave a little sharper tone. The plastic heads are better for different weather conditions. That’s the main thing. When it got damp and muggy and bad weather them calfskin heads would go up and down. They’d be flabby and all other kind of stuff.

With the plastic heads you don’t have that problem.

Then it was the way you had them tuned. The part that you beat on is the only part of the drum that you tune. The part that you do not beat on — you do not tune it. Like, on the bass drum, you loosen the part that you’re playing on and that’s all.

But when you’re playing on the top head, you keep the top head for tuning. Tighten the bottom head of all the drums. You just tune from the top. You never tune from the bottom. The bottom stays like it is. Once you tighten it up, then it stays. The top head is what you tune. You can loosen it or tighten it.

end

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Freddie Gruber – Teaching Saved My Life

SKF NOTE: This excerpt is from audiocassette Side B of my Modern Drummer Freddie Gruber interview. Gruber was a respected drum teacher whose students include Neil Peart, Steve Smith, Dave Weckl, and Vinnie Colaiuta.

Gruber, a product of post-World War 2 NYC, is known by his peers of that era as a visionary jazz drummer. Perhaps the best example is drummer Jim Chapin‘s description of Gruber’s drumming circa 1949:

Gruber is admittedly a controversial figure. His critics point to Gruber’s lack of a discography. If Freddie Gruber’s so great, why isn’t he on any records, say his critics.

In fact, there is plenty of evidence of Gruber on record, and of Gruber’s ability to play drums, and to teach drumming. Here’s a great example from former Gruber student, Neal Sausen:

So, here’s Gruber on his journey from player, to non-player, to teacher. Teaching, he told me, saved his life.

As I’ve mentioned before, we were at Buddy Rich’s NYC apartment kitchen table. Buddy was not home, but I was in awe at being so close to Buddy’s presence.

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Freddie Gruber’s Influences

SKF NOTE: Respected drum teacher Freddie Gruber’s drum students include Neil Peart, Steve Smith, Dave Weckl, and Vinnie Colaiuta.

Gruber, a product of post-World War 2 NYC, is known by his peers of that era as a visionary jazz drummer. Perhaps the best example is drummer Jim Chapin‘s description of Gruber’s drumming circa 1949:

Gruber grew up, he explains in this excerpt from my 1982 Modern Drummer interview, influenced by his environment, and by his associations with, and observations of, the great drummers of the Big Band and BeBop years.

Why, then, I asked Gruber, did he study with classical/legitimate percussionists Fred E. Albright and Morris Goldenberg, and not study with jazz drummers? And is what he learned from his legit teachers valuable in how Gruber taught students in 1982?

Gruber answers me in this 1982 Modern Drummer interview excerpt.

We were sitting at the kitchen table in Buddy Rich‘s NYC apartment. Buddy was not home, but I was in awe at being so close to Buddy’s presence.

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Fred Below: The Spiritual Side

SKF NOTE: Fred Below is arguably the father of Chicago electric blues drumming. Any one who wants to know how to play drums in a Blues band needs to listen thoroughly to Fred Below.

This July 9, 1982 interview was published in Modern Drummer‘s September 9, 1983 issue as, “Fred Below: Magic Maker.”

In this excerpt, I ask Below if he works on the spiritual side of his life. I’ve long believed musicians play what we are; that what we are is an inner or spiritual matter. And most of my MD interviews include at least one question on the spiritual side of life.

I recorded this interview at my MD desk in NJ using a suction cup mic on a telephone land line connected to a small audio cassette recorder. Below was on a land line in his Chicago home.

Part A of this full interview, plus several excerpts from the full interview, are on my YouTube channel.

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Barry Keane’s Journey: The Lightfoot Band’s Opera House Show

SKF NOTE: Drummer Barry Keane and co-members of The Lightfoot Band (TLB), almost didn’t make their Opera House at Boothbay Harbor gig Thursday, July 23.

I asked Barry by email if this year’s Boothbay Harbor concert was still a go. Last year TLB’s Boothbay Harbor show was canceled because of a family emergency.

Tuesday night, two days before this year’s show, TLB in Canada had not been granted work visas to come to the States.

Barry replied, “We will be leaving tomorrow (July 22) for Maine, however, we are still waiting for visas. …[Y]ou may want to check with the venue on Thursday to make sure the show is on.”

I checked the Opera House events page a few times. No mention of a cancelled show.

On Thursday, Eileen and I drove 90-minutes and arrived early at the concert venue.

Ticket holders were already in line outside waiting for the doors to open.

When Gordon Lightfoot toured, he and the band flew to gigs. A road crew set up, broke down, and transported the instruments and sound gear.

The Lightfoot Band travels in large SUVs with minimal gear. I didn’t find out exactly what each band member carries, or what equipment is supplied locally.

Barry traveled with his sleigh bells (“Song For A Winter’s Night”) and his chimes. That’s it. The unfamiliar drums, cymbals, and hardware he played that night came and went with the venue.

When the Opera House doors weren’t opened on time, venue staffers outside told people in line, TLB was finishing its sound check.

Not ten minutes later, a black minivan stopped near the Opera House entrance. New TLB guitarist, Bill Bell, stepped out on the passenger’s side. The van hatch opened. Bell grabbed two travel cases – one, a guitar case – and hurried inside.

A few minutes later, the Opera House doors open, ticket holders filed in.

With everyone seated, a woman onstage introducing TLB, told the audience they had Maine U.S. Senator Angus King to thank for getting the musicians their work visas.

As Barry told me, except for Bill Bell, TLB band members left home, driving east towards Maine, with no work visas, hoping for the best.

Bill Bell, we learned during the concert, was working on three hours sleep. He performed Wednesday in Calgary, Alberta, Canada. Then he flew four hours to Montreal where airport authorities would not let him board his plane to Boston. No work visa.

Twenty minutes before takeoff, Bell’s visa was cleared through a phone call.

After a 90-minute flight to Logan Airport from Montreal, Bell hired an Uber driver for the three-hour trip to Boothbay Harbor from Logan Airport.

Dedication?

Eileen and I sat in the balcony, stage left, to the side of, and slightly in front of, Barry’s drums.

Instead of Barry’s signature seven-piece black Premier kit, I was surprised to see a five-piece red-sparkle Yamaha kit. But Barry’s familiar folded white cloth on the snare batter head was comforting.

Between songs, Rick Haynes, Mike Heffernan, Andy Mauck, and Barry shared Gordon Lightfoot stories with the audience. Musicians would call them “road stories.”

Hopefully, someone is keeping a record of these memories. Otherwise, once they’re gone, they’re gone.

The band sets included songs familiar to Gordon Lightfoot concert goers, and favorite Lightfoot songs not often played in public.

For example, TLB’s second set opened with the trio of singer/guitarist Andy Mauck, bassist Rick Haynes, and Bill Bell playing Lightfoot songs done originally by the trio of Gordon, Haynes, and either Red Shea or Terry Clements on guitar.

Talking after the show with Barry, I learned the red-sparkle drums were provided by the Opera House.

“Did you tune them?” I asked Barry.

“I did what I could,” he said. “How do they sound?”

“They sounded good,” I answered.

When I first took my seat and looked over at the five-piece drum set, my first thought was, “How’s Barry going to play his tom-tom drum intro on “Wreck of the Edmund Fitzgerald”?

But, as you can see and hear on the accompanying video, Barry nailed it.

When The Lightfoot Band performs in your area, do whatever it takes to see them.

Because The Lightfoot Band will do whatever it takes to see you.

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Staying Sane as a Drummer

SKF NOTE: Fred Below is arguably the father of Chicago electric blues drumming. Any one who wants to know how to play drums in a Blues band needs to listen thoroughly to Fred Below.

This July 9, 1982 interview was published in Modern Drummer‘s September 9, 1983 issue as, “Fred Below: Magic Maker.”

In this excerpt, I ask Below what he does to keep his mind, body, and spirit whole. In response, Below doesn’t miss a beat. (No pun intended.) Early in his career, a conductor in the US Army band gave Below advice about creating a healthy “pressure valve” to ease the rigidity that can plague musicians. Especially people who try to do nothing but music 24-hours a day.

As you will hear in this excerpt, Below took the band conductor’s advice to heart.

I recorded this interview at my MD desk in New Jersey using a suction cup mic on a telephone land line connected to a small audio cassette recorder. Mr. Below was on a land line in his Chicago home.

Among my drummer interviews a few are the drummer’s only known full length interviews. Fred Below is included in that group.

Part A of this full interview, plus several excerpts from the full interview, are on my YouTube channel. https://www.youtube.com/@scottkfish4292

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