American Revolution: Wet Drumheads Saved Lives

SKF NOTE: An interesting news report. I learned new information and concepts on the use of drums during the American Revolution. The idea of “hearing” history, of drums as communications technology, and of wet calfskin drumheads saving lives.

Drums of history sound off at Fort Meigs presentation
By EMILY GORDON, Sentinel Staff Writer | Posted: Tuesday, March 1, 2016 9:32 am

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Mark Logsdon and 1824 Drum

PERRYSBURG — History buffs read extensively about their favorite aspects of the past, but…don’t often get to actually hear them.

…Mark Logsdon…talked to local history fans about the importance of music in battle….

During his presentation, entitled “Music in the Military: The Story of Fifes and Drums,” Logsdon, director of the 1st Michigan Colonial Fife and Drum Corps, explained how musical instruments were used as disciplinary tools as well as ways to relay commands on and off the battlefield.

With a reproduction rope tension drum hooked onto the drumstick carrier slung over his shoulder, Logsdon described the thrill of hearing what soldiers and citizens would have heard in the late 18th century.

“Musically, sonically, what you’re about to hear are the kinds of things you would have heard over two centuries ago on the technology of the time period,” he said.

The loud, rapid sounds signalling soldiers around the time of the American Revolution were so loud, they could be heard…five miles away.

“Fifes and drums became so important as communication devices that some towns levied taxes on the colonists so they could be purchased,” he said.

Logsdon played songs and signals soldiers would have heard throughout the day from fifes…and drums, such as a call to wake, dress and stand at attention, a call to go to church and a call to dinner.

“Paul Revere never said ‘the British were coming.’ It wouldn’t have made any sense. We were British. What he did say was, ‘The regulation is coming.’ It was a scary time,” he said, referring not only to the looming presence of soldiers marching through a village on their way to war, but also the intimidating sounds of their drums.

Although historians have questioned whether drums were used during the battles themselves, Logsdon is confident they were, citing numerous anecdotes in diaries, letters, memoirs and pension applications.

He also relayed a story about how General Mad Anthony Wayne wanted to move out earlier than planned before the Battle of Fallen Timbers…but…the drummers’ calfskin drum heads were wet from the night before.

“He had to wait for them to dry out. There were campaigns that didn’t happen because drums were wet,” Logsdon said. “The drums were the voice of the battle.”

Drum and fife signals told soldiers which way to turn and how to get in formation.

…Logsdon played a restored Brown Family drum circa 1824, an almost entirely original solid shell drum made of tiger stripe maple and ash that was found in a garbage pile in Baltimore, Maryland, held together by its tack pattern.

Logsdon sent it to the Smithsonian, where it was “saved from having its voice silenced,” he said.

“You can be old and still have something to say. It’s a privilege to be able to hear history,” he said,

“Because of the Grand Army of the Republic, thanks to old veterans, drummer boys from both the Union and Confederate sides getting together to play, the tradition has carried on,” he said. “We speak for the dead. We honor the veterans we cannot thank in person. In playing these drums, we hope we make those ghosts happy,” Logsdon said.

Full Story and Photos

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Max Roach: A Favorite Photo of a Favorite Drummer

SKF NOTE: A favorite photo of a favorite drummer, Max Roach, from the March 22, 1979 Down Beat. Max looks so c-o-o-l in this shot. That said, I never quite understood Ludwig‘s “At last! Matching heads” campaign.

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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

UPDATER: Rolling 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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