John Densmore: ‘Ever Hear of The Doors?’

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SKF NOTE: Tom McLaughlin is a friend, newspaper columnist, and a retired history teacher. He’s been writing his blog a long, long time. I enjoyed Tom’s recent story, Window on The Doors, about his chance meeting with John Densmore and Jim Morrison in 1967, when Tom was age 16, and The Doors weren’t famous.

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Tom McLaughlin

Fifty years ago, I worked at the newly-built Holiday Inn at the intersection of Interstate 495 and Route 38 in Tewksbury, Massachusetts,  the town in which I grew up. I’d started in the summer of 1966 as a dishwasher, then a groundskeeper, and ultimately a porter carrying room service trays, vacuuming the lobby, setting up tables in function rooms, and emptying ashtrays. My father would often pick me up on his way home from work. I had my learner’s permit and he’d let me drive the rest of the way in our 1966 Chevrolet Biscayne.

Rock-and-roll groups stayed there when playing concerts at the Commodore Ballroom in Lowell. One of my jobs was putting red plastic letters up on the marquee to welcome them. Sometimes my father couldn’t drive me home and I’d hitchhike. One such evening in 1967, a late-model Buick Riviera pulled over and I hopped in. Driving was the drummer of The Doors, John Densmore.

Read Tom McLaughlin’s account of what happens next.

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Magnificent Ed Thigpen Live (1960)

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SKF NOTE: Now and then I find online wonderful music at a great price. Such is the case with the Oscar Peterson Trio’s Live at CBC Studios 1960.

Once upon a time I listened to this group as often as possible. Especially the albums Affinity, and Night Train. Oscar Peterson (piano), Ray Brown (bass), and Ed Thigpen (drums). This trio was, and still is, one of the golden jazz piano trios of all time.

For $5.00 dollars, at least until August 2017, Amazon is offering (MP3 format) almost 37-minutes of live Oscar Peterson Trio that’s new to me, but was released by Justin Time Records on April 1, 2016.

Justin Time Records says of this date:

After recording a ton of music in 1959, the Oscar Peterson Trio only made one studio album in 1960 (The Music from Fiorello) and was not documented again until July 28, 1961. This 1997 CD has ten selections recorded for the Canadian Broadcasting Corporation but not released commercially until decades later.

This trio played song arrangements. They would stretch out at times within songs, but, it was not a group that would play the song melodies, improvise, return to the melody, and end.

Drummer Ed Thigpen plays and sounds superb on this date. What a joy to hear Thigpen’s clean, musical playing on his easy-to-identify Ludwig drums. Looking for a crash course in brush playing? Thigpen’s your man.

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Drum Soloists vs Service Drummers

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SKF NOTE: Drum soloists vs service drummers. That’s a distinction I don’t hear much about anymore. Growing up the two were discussed almost as separate career paths.

Q. What do you want to do with your life?

A. I want to be a professional drummer.

Q. Okay, do you want to be a drum soloist or a service drummer?

In general, drum soloists had more technique, more chops. They spent more time practicing rudiments and playing in school band, marching band — musical situations requiring solid reading and chops.

Service drummers – again, in general – had less technique, less chops. They gravitated toward garage bands, pickup groups — environments where good ears, sufficient technique, and an ability to make the other band members feel and sound good were requisite.

The best drummers from both camps knew about song structures, even song lyrics. And, of course, there were all sorts of exceptions to the rule. Drummers with oodles of chops might find themselves chronically out-of-work if they couldn’t also slip into service drummer mode.

Service drummers were rarely out-of-work, unless the only gig available was playing mega-chops music.

To be continued….

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Ed Shaugnessy: Non-Stop Believer in Teaching Drumming Traditions

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SKF NOTE: The Who Reads Modern Drummer? ad campaign is still one of my favorite ideas. I’m glad founder/publisher Ron Spagnardi agreed. And I’m glad well-known drummers agreed. Here’s the ad campaign back story.

Along with Ed Shaughnessy’s letter I’ve posted consent letters from Joe Morello and Louis Bellson. Mr. Shaughnessy – along with his drumming skill – was a non-stop believer in passing along drumming traditions to other drummers. Especially younger drummers. Shaughnessy’s support of the up-and-coming Modern Drummer is a case in point.

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Hal Blaine: Drum Fills Come From Within

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SKF NOTE: Hal Blaine’s thoughts on drum fills. From a Hal Blaine letter written about 35-years ago. Good advice that still holds true.

Fills…come from within. Somehow the [brain] puts it all together. It takes the song you’re working on, listens to the lyrics, computes a feel, and calls upon all the years of experience…and comes up with a fill.

I invented today’s drumset in order to have a broader range of fills: more musical, more dazzling, more show offy. It worked!

When we run down a new song, [product commercial, or tv/movie music], I try to rehearse it rather cooly. I watch the film and see what it does to me. Then when the [recording] machine gets turned on — so do I.

As far as repeating fills? Sure. Why not, if they fit and feel natural?

Remember: when there’s an opening in a song and they ask you to fill [that opening], you are contributing something that will live forever on tape or film. Make [your fill] something you would want to hear time after time.

The fill, to a drummer, is his spot. Fill it comfortably.

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