Frankie Dunlop: We Never Rehearsed with Monk

SKF NOTEA snippet from my 1983-84 interview with Frankie Dunlop. What’s missing here is the sound of Frankie’s voice. He was an amazing impersonator. When he was quoting Thelonious Monk here, he became Thelonious Monk in speech and manner. Very funny to witness, and a great way to drive home a point.

Frankie Dunlop with Monk Quartet on T.V.

Frankie Dunlop with Monk Quartet on T.V.

Scott K Fish: Did you rehearse much with [Thelonious] Monk’s quartet?

Frankie Dunlop: Would you believe that we never had one rehearsal? I played with him for three years and we never rehearsed.

The first night Monk asked me to join his band I was anticipating a couple of months of rehearsals. But, I played my first job with him the next night.

I said, “Well, what will be our uniform?” Monk said, “Anything you put on is your uniform. I know you’re going to come presentable. You ain’t going to come n with your overalls on.” He says, “All I want you to do is swing like you’re swinging tonight.”

Another thing Monk told me, he said, “Y’know, cats come in here with their new horns, their new shiny trumpets. Usually I find that the shinier, the more beautiful the horns are, the sadder the cats sound. The less they can play, you know?

592910_down_beat_dorham_kenny“Even you, Frankie. When I first saw you play, if you had had cymbals that were sparkling and blinding me in the eye, I wouldn’t have hired you. You wouldn’t have had a chance to get into them and make them mellow.

“You can’t just buy a new horn. Look at Kenny Dorham. As much as he played, his horn needed an overhaul. It had turned green. And he played the shit out of that horn.”

In other words, you don’t have time to get adjusted to the instrument if you just bought it.

When I first heard things like that I laughed at them. And they’re still funny. But when you boil it down, these geniuses would say these things — and they do make sense. There’s a lot of truth in it.

But the way Monk put it — it’s funny. He was talking about musical instruments and musicians having the change to age and develop.

SKF: Do you still have the same cymbals and drums you used with Monk?

FD: I have the same cymbals, but not the same drums. I added a couple more cymbals when I was playing with [Lionel] Hampton.

I have a Sizzle Ride cymbal on my right side. I still have the Gretsch snare drum that Jake Hanna gave me when I joined Maynard’s band. It’s one of the first chrome snare drums Gretsch made. I have a Slingerland snare drum that I use too. My bass drum is a 20-inch Slingerland. My tom-toms are 8×12 and 16×16.

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Alan Dawson on Drum Endorsements

alandawson400

Alan Dawson

SKF NOTE: This interview circa 1985 is from my sit down with Alan Dawson in his Massachusetts home for Modern Drummer‘s 10th Anniversary issue. I was freelance writing again for MD. Some of what Alan says about drums he endorsed was published then, some is published here for the first time.

I was either still working, or recently stopped working, for Gretsch – which, I’m sure, is where my question to Alan about Gretsch hardware comes from. In my sales travels I was finding great respect and love for Gretsch drums, but not for Gretsch hardware.

Finally, Alan’s mention of the Martin Fleetfoot bass drum pedal was the first I had ever heard of it. My friend, T. Bruce Wittet, gives a nice history of that pedal here on his blog.

Alan Dawson: I’ve played on wooden shells that I liked; I’ve played on some that I didn’t like. The same with metal drums.

People said about fiberglass, “Oh, man. There’s no soul to that.” I loved them. I loved the Fibes that I was playing.

I hear some purists talking about older wooden drums that were made out of solid maple rather than the plies. I don’t think that makes a big difference. Not just a blanket issue. I’m sure you’d find an individual drum that sounds great, and an individual drum by the same maker that doesn’t sound great.

Ludwig is the third company I’ve been with. I was with Gretsch and I left them to go with Fibes. I didn’t leave Fibes to come with Ludwig. Fibes was gobbled up.

I do try not to endorse everything that comes along just because I get a chance to. It does strain your credibility. Even the youngest, most naive person out there is bound to say, “Wait a minute! I just heard him say that was great last month. Now he’s saying that this is fine now.”

I, along with many other jazz drummers, I’m sure, were influenced by Max [Roach], who first was with Ludwig, but then went with Gretsch. I was influenced by that and the fact that at one time Gretsch seemed to have just about every jazz drummer of note. So I wanted to played Gretsch.

I played them for a number of years before I endorsed them. The first brand new drumset I was able to afford, in 1950, was Gretsch. I enjoyed them. I was very much influenced by all these other Gretsch players, but I wasn’t sorry about it when I did play them.

Scott K Fish: Did you use Gretsch hardware?

Martin-Fleetfoot-Pedal

Martin Fleetfoot. Photo by T. Bruce Wittet

AD: No, but not by design. I had a golden Ludwig bass drum pedal that preceded the Speed King. It had twin springs outside of the posts. I bought the Speed King when that broke.

When I bought my first Gretsch set I already had cymbal stands and accessories. The Gretsch pedal was a good pedal though. I had the Gretsch first and then switched to a Camco pedal.

Later, I traded with someone who had a Martin Fleetfoot pedal — which was a prdecessor to Camco and Gretsch. It had a better action than the Gretsch and the Camco because of the shape of the cam on it, which was more rounded. It was similar to the DW chain drive pedal.

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Beatles Songs Will Start Streaming on Christmas Eve 

Starting Christmas Eve, all of the Beatles’ music, from 1963’s “Please Please Me” to 1970’s “Let It Be,” will be available on nine different streaming services.

The streaming services that will carry the Beatles’ tunes are as follows: Apple Music, Deezer, Google Play, Microsoft Groove, Amazon Prime, Rhapsody, Spotify, Slacker and Tidal.

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Neil Peart: Keep Those Dreams Alive

far_and_away“[T]here are so many small towns across American that are still dying…. The decline of these small towns, sadly, is measured in the death of dreams — every time I see a shuttered restaurant, a boarded-up gas station, or an abandoned Main Street store, I imagine it is someone’s dream that failed. Someone who always dreamed of having their own restaurant, their own gas station, their own little shop. Thus it always feels good to stop at a small-town diner, or stay at a Mom-and-Pop motel. Keep those dreams alive.”

Source: Far and Away: A Prize Every Time, by Neil Peart, ECW Press 2011.

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Jason Bonham Teams with Phil Collins

Jason will be busy in 2016 as he has been hired to work with Phil Collins as the former Genesis frontman makes a return to music.

“We got together for three weeks and I had an amazing time,” Jason told Billboard of his work with Phil. “It was an honour to be chosen by one of my real heroes.”

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