Fred Gruber on Dave Tough: ‘I Have a Great Love for this Man’

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Freddie Gruber

SKF NOTE: Excerpted from my interview with Freddie Gruber in late 1983 or early 1984. This is an instance where I recommended a drummer have a feature interview and the rest of the Modern Drummer editorial staff outvoted me. That means much of this interview was never published, while some of it was published as an MD Focus on Teachers interview. 

This exchange took place at Buddy Rich‘s kitchen table in Buddy’s New York City apartment. Buddy was not present. In this part of the interview Freddie and I were talking about drummers he met during his lifetime. Freddie had just finished talking about Big Sid Catlett. I asked Freddie next about Dave Tough. Freddie’s whole demeanor changed. He became very reflective.

Dave Tough had a major impact on Freddie. Part of me was wishing Freddie would share specifics of his time with Dave Tough. Maybe what Mr. Tough said could help others. But the greater part of me respected Freddie enough not to pry.

Still, this Gruber/Tough exchange is one moment from all of my drummer interviews I have thought about many times since.

Scott K Fish: How about Dave Tough?

Freddie Gruber: Extraordinary! Extraordinary with a band. His feel. His ability to be sympathetic to the arrangements, to play with a band.

I mean, as a teacher, what is it you can say about Dave Tough that’s not really good? He exemplifies what you should really do with a band. And I’m sure if you took the time to interview all the great big band drummers of toay, I can’t imagine in my right mind any one of them not saying how really marvelous the magic – the magic – of Dave Tough was.

He was only unsung to a degree. Not within the confines of the business or any conscious drummer. But, unsung to the public because Gene Krupa brought the attention and focus….

SKF: Because [Dave Tough] wasn’t a soloist?

FG: It isn’t just that. Gene had such an ability to bring attention to himself. In fact, he did that for drummers.

I did an interview recently, somewhat of a documentary of Gene, and I’ll say exactly what I said at that time: Gene Krupa alone was solely responsible for bringing attention to the drummer and his role within the orchestra to the world at large! He alone did that. More than anything, Gene brought focus and attention to the drummer. Not to take away from his validity as a drummer and what he did as a drummer.

SKF: Did Dave Tough ever speak to you about his own approach to the drumset?

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Dave Tough

FG: This is, more or less, personal. I did get to meet Dave on more than a casual level during the very last years of his life. In fact, almost down to the last moments.

I found him to be, throughout a lifetime of knowing drummers, probably — possibly — the most sensitive; certainly one of the more intellectual, as a man, of all the drummers I ever knew. And it was displayed in his sympathetic playing with an orchestra.

But, when I speak of him I really have real strong feelings because I was privileged enough for him — in a special situation which I’d rather not elaborate on — for him to say some things to me at a very young age…. He may or may not have spotted some things in my personality. And he was trying to tell me something, at a very young age, as to some of the pitfalls of the business and the industry. And [telling me] to look out for certain things.

He really said some petinent things to me which I think I was to young to hear in perspective. I did hear what he was saying. But not in perspective. I was in my teens. I wish he could have stenciled them into my head.

But, for him to have said some of the things that he said to me showed, in general, the kind of man he was and how concerned a person — that’s it! — He was a concerned man in general. Sensitive.

I could go on for another hour about how I feel during the short period of time that I was privileged enough to get close enough to have some conversations with [Dave Tough] at that last period of his life. His concern.

And I don’t think I was that special. I think he would have been that way with almost anyone. He said some nice things to me. He said if I handled things correctly, maybe some nice things would happen.

Now, in retrospect, I see that I have a great love for this man. I think the keynote word for a man like Dave is: special. Not just from the standpoint of another accomplished drummer in the industry who makes [an] impact by virtue of the amounts of money he’s earned, by the amount of notoriety he receives, by all the applause he gets from the fans he has, and from all the other things that go along with th ends of the business that you already know about.

I’m talking again about something that goes with that word special that has nothing to do with — you have to pardon my expression — bullshit. Everything was real.

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Stones Playing Free Concert in Cuba

Mar 1, 2016
MUSIC
The Rolling Stones Announce Free Concert in Cuba
By MIKE AYERS

The Rolling Stones will play a free concert in Havana on March 25. Dubbed the “Concert for Amity,” the show will take place at the Ciudad Deportiva de la Habana. The Associated Press notes that they are the biggest act to play Cuba since its 1959 revolution.

“We have performed in many special places during our long career, but this show in Havana is going to be a landmark event for us, and, we hope, for all our friends in Cuba too,” the band said in a statement. A press release says the band will perform their hits, along with “special gems” from their catalog, and has been in the works for months.

Full Story

UPDATER: The Stones will (fittingly) be the first British band to perform an open air concert in Cuba

UPDATERRolling Stones tell giant crowd “times are changing” at Cuba debut
Source: Reuters – Sat, 26 Mar 2016 03:54 GMT

The band’s advancing years did not stop the youngsters in the audience enjoying the show, however.

“Don’t let anybody tell you different, this is the best concert in the history of Cuba,” said Cristian, 18, a reggaeton fan who this month saw electronic music act Major Lazer in another free gig.

 

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Duke Ellington vs Chick Webb: ‘We Tore Them Up, Man’

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Sonny Greer

SKF NOTE: Sonny Greer was Duke Ellington‘s drummer 1924-1951 when he was replaced by Louis Bellson. This exchange about a Savoy Ballroom Battle of the Bands between the Duke Ellington and Chick Webb Orchestras is from my interview with Sonny Greer on March 4, 1981 at his New York home.

One source puts the date of this Battle as March 7, 1937.

Sonny Greer: Every week they would feature a guest band at the Savoy Ballroom. All the big bands would go up there. But Chick Webb’s band would cut them.

So, now it’s our turn to go up there. Millie [Sonny Greer’s wife] was up there. Chick had such strong men. He’d cut them all down. We played the Apollo Theater the week before we went up there to play against Chick.

So, man, everybody’s running out of the Apollo Theater saying, “Man, ain’t nobody ever cut the Duke, but Chick can do it ’cause they been rehearsing all week.”

So, Duke just laughed. Duke ain’t paid it no mind. We didn’t rehearse. We just played the show. We had enough to worry about there at the Apollo. We didn’t have time to rehearse no band.

Chick opened up. The place was packed and jammed. And they was saying that was Chick’s home-ground. Chick’s cats got a big ovation. We sit back and listened to it.

Duke ain’t never called no number. We went up there [onstage] and Duke played a little piano, just me and him ’til it go down to the last four bars, until he played the tonic and we knew what [song] he was going to play, see?

Man, we opened up with Rockin’ in Rhythm. Man, the people in the place stood up and cheered. People wouldn’t dance! The place was packed and jammed. They just stood around the bandstand.

That was the first number we played. And from then on — where Chick left off? — we kept going higher. Chick shook his head. “Why you got to play all that music when you’re up there?” The guy that booked us there said, “Chick, I guess you’d better play the waltzes now.”

Duke and I, we were crazy about Chick. He was crazy about Duke. Chick asked, “Duke, what’d you do that to me for?” Duke said, “Man, we’re just playing a gig. That’s all.” But we didn’t have long [before] we had to go back to the Cotton Club.

We tore them up, man!

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Prayers for Ginger Baker: Tour Dates Cancelled

SKF NOTE: Prayers for Ginger Baker.

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Cream drummer Ginger Baker cancels tour dates due to ‘serious heart problems’
Doctors have insisted that the musician have “complete rest” as a result of his diagnosis

Baker confirmed the news on his official blog in a post titled ‘Ginger is shocked by the news of his health’, writing: “Just seen doctor… big shock… no more gigs for this old drummer… everything is off… of all things I never thought it would be my heart…”

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Buddy Rich’s Secret Solved

Buddy_Rich

Buddy Rich

SKF NOTE: I cannot remember a time in my life when this Great Music Mystery wasn’t unsolved: How did Buddy Rich become the world’s greatest drummer without taking drum lessons?

I grew up, like a million other aspiring drummers, being told I had to learn the 13 Essential Drum Rudiments and I had to learn how to read music. These were necessary for becoming a successful drummer.

And all the while I was struggling with paradiddle variations and ratamacues, and the often mind numbing task of converting notes on drum charts into music — there was always the World’s Greatest Drummer. He never took a drum lesson. He couldn’t read music.

If Buddy Rich could be as good as he was without lessons and reading – why couldn’t I? Why couldn’t other aspiring drummers?

What was Buddy Rich’s secret?

A few weeks ago I came across a letter written by drum teacher Stanley Spector, published in the March 7, 1968 Down Beat that — lo and behold! — solves the Great Music Mystery. At least to a large degree. I’ve posted a photo of Mr. Spector’s letter below. But here’s the part of Spector’s letter that caught my eye:

Buddy Rich is reported to have stated that he never took a drum lesson in his life, that he took to drumming like a fish takes to water, so to speak. Really? If one understands Buddy the R and his special background, he probably had more man-hours of the only relevant drum instruction available in his time than any other drummer who ever appeared before the public.

In face, you could say that his childhood was one perpetual drum lesson.

As I understand it, Rich’s parents were in vaudeville and toured the country with son Buddy in tow. Master Rich had the opportunity, the time and the interest to sit in the front row of theaters and take daily drum lessons by watching and talking with every first rate pit band drummer in America.

Apparently when your total environment has been a drumming school the tendency is not to take notice that you ever attended classes. Does the fish notice that its environment is water?

About one year later I came across podcast, a 1981 BBC Radio Show, Desert Island Discs, hosted by Roy Plomley with Buddy Rich as Mr. Plomley’s guest.

Mr. Plomley asks Buddy about the Great Music Mystery. Buddy’s answer, which I have transcribed here verbatim, confirms what Stanley Spector suspected 13 years earlier in his Down Beat letter.

Roy Plomley: Had anybody ever taught your drumming? Or are you entirely self-taught?

Buddy Rich: I think that at the age of 2 it would be very difficult to teach. And because I pay attention to things I listened to so many pit drummers, at my early age, who played great vaudeville shows, that I learned a great deal from them. But I’ve never beent to a school. I’ve never had a particular drum teacher.

And so, as I got older, my talent evolved and I suppose I got better. I don’t know how much better, but I think I got a little better.

RP: Who among jazz drummers influenced you most?

BR: I think everyone I’ve ever listened to. From Chick Webb, Krupa — and I could go on and name a hundred drummers — Dave Tough, Zutty Singleton, a couple of drummers over here [England] who were…. I was very impressed by Ronnie Verrill. One of my very good friends today is Kenny Clare.

There are many guys that I’ve admired and listened to a great deal, but finally, when I decided that that’s what I wanted to do, I think I evolved into my own personality.

It makes sense, doesn’t it? And yet, these answers to one Great Music Mystery create another: All the times I’ve read or listened to Buddy Rich interviews, I never recall Buddy being asked, or voluntarily speaking, about his childhood experience learning from the world’s greatest pit drummers. That seems such a loss, such a missed opportunity.

If Buddy Rich’s experience studying pit drummers does exist in print or audio — I would love to read it or listen to it.

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