SKF NOTE: This is post #2 of my life’s drumming milestones; revisiting drummers/recordings having a major impact on how I gauge drums, drummers, and drumming. Hearing these milestones appreciably broadened my drumming perspective.

Drummer Charli Persip, in the early 1980s, came by bus from NYC to visit with the editorial staff at Modern Drummer‘s Cedar Grove, NJ offices .

As MD‘s designated driver, I met Charli at the NJ bus stop, Then we drove in my car to the office.

During our ride I told Charli about my introduction to his drumming. It was “The Jazz Soul of Porgy and Bess” big band date with brilliant arrangements by Bill Potts. Charlie was among a big band of “A” jazzmen:

Alto Saxophone – Gene Quill, Phil Woods
Baritone Saxophone – Sol Schlinger
Bass – George Duvivier
Drums – Charlie Persip
Guitar – Herbie Powell
Piano – Bill Evans
Tenor Saxophone – Al Cohn, Zoot Sims
Trombone – Bob Brookmeyer, Earl Swope, Frank Rehak, Jimmy Cleveland, Rod Levitt
Trumpet – Art Farmer, Bernie Glow, Charlie Shavers, Harry Edison, Marky Markowitz

I was given my original album copy circa 1968 by neighbor Ed Mathews. Ed was then head A&R man at CBS records. I was about age 17. “Jazz Soul” was first released in (1959) on the United Artists label.

If I’m precise, the album’s opening track, “Summertime,” was my introduction to Charli Persip..

What an introduction!

An album photo shows Charli playing a four-piece Gretsch drumset; probably 9×13 and 16×16 toms, a 22″ bass drum, 5.5×14 snare, two cymbals, a hi-hat.

Listening to “Summertime” at 17 I was impressed with how confidently Persip navigates the chart. No hesitation. His time is impeccable. His comping and fills beautifully weave the chart together.

Bonus! Charl’s drums sounded so friggin’ good. Fat, open sounding toms. His crisp, medium tuned snare. And a killer bass drum. Plastic drum heads were available in 1959, but I wouldn’t be surprised if Charli was using calf heads.

My respect for Charli’s drumming on “Jazz Soul” went up several notches when he told me during our drive that he remembered the songs on “Jazz Soul” as first takes.

“Washington City Paper’s” Eddie Dean has an interesting and informative piece of the “Jazz Soul” recording sessions. Dean tells us the recording budget was tight- no overtime-and there were three rehearsals. Dean mentions one first take, and that all the band members were “first-class sight readers.”

So, Charli Persip’s memory of “Summertime” as a first take could be spot on.

There is one more Charli Persip cut on a different album among my milestones. I will write about it up the road.

But, Charli Persip on this date remains a favorite 57 years after hearing this album for the first time.