Remembering Chico Hamilton’s Innovations

SKF NOTE: I came upon drummer Chico Hamilton by accident. Somewhere, many, many years ago, I picked up a Gerry Mulligan-Chet Baker Quartet album on the Pacific Jazz label. I’m sure I had read in at least one of many jazz books and/or magazine articles of this innovative pianoless quartet as part of my happily self-imposed self-study of jazz history.

But I don’t remember being aware of Chico’s playing before listening to my Mulligan-Baker Quartet album. Walkin’ Shoes, more than any other song on the album, immediately grabbed my attention. I loved the sound of Chico’s brush playing. The way he used his bass drum for accenting melody and soloists.

The Mulligan-Baker album led me to grab a Pacific Jazz album of Chico Hamilton’s own innovative group which included cellist Fred Katz. That group’s version of Topsy was one of my favorites.

I was reminded of those earlier days when I came across this Chico Hamilton Gretsch ad recently. Even Chico’s single-head, odd-size drums were innovative.

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Terri Lyne Carrington: Drums Isn’t Everything

Terri Lyne Carrington: “I want to be a total musician, which includes writing and arranging music. I don’t want to be known as just a drummer.

“To me, the most important thing is to do well in school, and to be with all my family members as much as possible. [T]hey’re very warm and supportive people. These things come before drums. I mean, drums isn’t everything.”

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Source: Terri Lyne Carrington, by Richard Brown, Down Beat, 3/22/79

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Phil Collins: Nobody Had Ever Heard Anything Like That’

Phil Collins Looks Back on the ‘In the Air Tonight’ Drum Break: ‘Nobody Had Ever Heard Anything Like That’
By Jeff Giles February 12, 2016 10:42 AM

That album’s landmark single, “In the Air Tonight,” contains one of rock’s most famous drum breaks — a moment Collins discussed with Digital Trends.

“When we had Eric Clapton and some of his guys come up to the studio, we played ‘In the Air Tonight’ for them. When the drums came in, everybody said, ‘F—ING HELL! What the f— is that?’ Nobody had ever heard anything like that. Frankly, drums were never that loud. But it was my album, and it worked,” argued Collins. “We were playing with psychological things. The audience is there going along with you, and then suddenly you knock them on the head with this thing: Bvoom-bvoom!”

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Maurice Purtill: I’m Not Dead

 

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Maurice “Moe” Purtill

SKF NOTE: After I had closed for the night the cheese shop I managed in Huntington, NY, I was standing outside with Andy, one of the meat cutters from the butcher shop next door. Somehow we got around to talking about drums, and Andy said Glenn Miller‘s drummer, Maurice Purtill was a Huntington, NY native.

“No kidding?” I said. “Is he still alive?”

“No,” said Andy. “He died.”

Fast forward a decade. I’m Managing Editor of Modern Drummer magazine. A letter from a reader arrives asking, “Whatever happened to Moe Purtill?” That letter was floated during an editorial meeting as a candidate for publication in an upcoming MD. Neither Publisher Ron Spagnardi nor Features Editor Rick Mattingly had an answer for the reader.

“Oh, Maurice Purtill is dead,” I said. “I use to work next to a butcher shop in Huntington, NY — where Purtill’s from. The butcher knew Purtill. He told me Purtill died.”

So, I penned the “Purtill is dead” answer which accompanied that reader’s letter in the magazine. And not too long after that month’s MD hit the newsstands I received another reader letter from a NJ town not too many miles from MD‘s office. The letter said, in essence, “I am not dead. Signed, Maurice Purtill.”

I wrote Mr. Purtill an apology — which included my Huntington, NY story. Published a correction in the next available MD. But, boy, that was a great lesson in fact-checking.

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Remembering Mickey Roker

Photo by Rene Speur http://bit.ly/2hrWEo8

Photo by Rene Speur http://bit.ly/2hrWEo8

SKF NOTE: Modern jazz first clicked for me at the 1970 Newport Jazz Festival in Rhode Island while I was listening to Charles Mingus‘s group. Included in that group was a skinny, long-haired saxophonist named Bobby Jones.

It was impossible at that time to find a Mingus album in the United States with Bobby Jones on it. A few years later, when Cobblestone records came out with The Arrival of Bobby Jones, I grabbed, loved it, and listened to it over and over.

This album was also my introduction to Mickey Roker whose playing on Track 1, Side A — Thanks to Trane — was frightening. The tempo seemed impossibly fast. How could I, an aspiring professional drummer, ever hope to play that well?

And a few years later still I saw Dizzy Gillespie in concert in Iowa. There was Mickey Roker in the drum chair. A nice surprise. He played superb.

Mr. Roker remains a favorite. I cannot recall hearing him not play very, very well.

And, as I said, this tune is where Mickey Roker and I first said hello.

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