Scott K Fish Interview: James Black

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SKF NOTE: My James Black interview appeared in the December 1982 Modern Drummer. The first person to get me excited about James Black’s drumming was Jaimoe. We were listening to records and Jaimoe asked me if I’d ever heard James Black. I said, “No.” He pulled out an old Riverside record of the Adderley Brothers, placed it on the turntable, put the needle on the record and said, “Listen to this!”

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Jaimoe also raved about James Black’s drumming on Yusef Lateef‘s Live at Pep’s album.

Many months later, Jim Keltner called me from New Orleans where he was touring with Bob Dylan. One of the first people Jim called when he was there was James Black. James came to the Dylan concert and he and Jim stayed up until the wee hours talking drums.

And in an MD interview (Colloquim III) with Freddie Waits, Billy Hart and Horacee Arnold, Billy Hart said, “I don’t care who goes to New Orleans, they’re in for a shock as long as James Black is there.”

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The challenge for me at the time was I couldn’t find any of the James Black albums drummers were raving about. They were out-of-print and iTunes and Amazon weren’t invented. Outside of the albums I heard at Jaimoe’s house, the only James Black album I could get my hands on and study was Wynton Marsalis‘s Fathers and Sons album. Why the producers put James on a heavily muffled drumset is a mystery and a disappointment. He plays well, but to my ears he sounds as if he’s uncomfortable, forced to compensate for the deadened drums. As if, in split second timing, Mr. Black is hearing open drum sounds, creating open drum sounds; then compensating when his drumset doesn’t sound or respond the way he’s hearing.

A couple of caveats to the 1982 interview. Jaimoe’s name is spelled “Jaimoe Johanson” because that was his preference at the time I wrote the introduction to this interview. Jaimoe no longer uses a last name.

This was the first (and only?) time I worked with New Orleans based photographer Pat Jolly. She did a very good job.

This interview was done in two phone sessions. I was in my MD office. James Black was home, I believe, in New Orleans.

[SKF NOTE: 6/17/17 – James Black’s full interview is now available on MD‘s Archive Page.]

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Steve Gadd Smiling

SKF NOTE: This week I came across this 8×10 glossy of a smiling Steve Gadd given to me by Rick Mattingly circa 1982. Rick took a number of good photos when he was Features Editor at Modern Drummer. I remember admiring this one and Rick giving me a copy. Thank you, Rick.

Steve Gadd (Photo by Rick Mattingly)

Steve Gadd (Photo by Rick Mattingly)

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Scott K Fish Interview: Paul T. Riddle

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SKF NOTE: Paul T. Riddle (aka “P.T.”) was my first interview as Modern Drummer‘s Managing Editor. We conducted the bulk of this interview in his hotel room in New Jersey. The Marshall Tucker Band was playing at what was then the Garden State Arts Center. Today it is the PNC Bank Arts Center in Holmdel, NJ.

From the instant P.T. opened his Sheraton Hotel room door it felt like I was visiting an old friend. He was 26 and I was 29 — more than half a lifetime ago. We have remained close friends over the years. Indeed, Riddle is among my very best friends.

Since MTB Paul has created and recorded a couple of his own bands: The Throbbers and then Watson Riddle. He’s built an amazing drum teaching practice in South Carolina. And he has almost 3,500 “Friends” on his Facebook page!

Paul is a jazzer at heart. That first time we met for his interview, Paul had on Ron Carter’s Carnaval album with Hank Jones, Sadao Watanabe, and Tony Williams. Among the stories Paul tells with fond memories is meeting Buddy Rich on his band bus, or the time Paul and I and a couple of MTB members went to see Mel Lewis‘s Big Band at the Village Vanguard in New York City.

I introduced Mel and Paul. After his first set of the night, Mel came over to Paul, arms folded across his chest, and said, “Well, that’s what I do.” I visited Paul at home this past June. We still laughed recounting how g-r-e-a-t Mel’s bass drum sounded that night.

Paul was a good friend to Modern Drummer. I’m sure he helped us secure the Jaimo/Butch Trucks interview. Also, MD‘s interview with Lynyrd Skynyrd‘s Artimus Pyle. In fact, Paul was with me interviewing Artimus. And David Dix of The Outlaws.

These days Riddle is playing Palmetto Drums made in Greenville, South Carolina. In this promo video, Paul does a great job bringing us up-to-speed on what he’s been doing since leaving the Marshall Tucker Band.

For years and years Riddle and I have talked about teaming up on a book. I’m ready when he is! And I hope it happens.

[SKF NOTE: 6/17/17 – Paul T. Riddle’s full interview is now available on MD‘s Archive Page.]

Paul T. Riddle with Scott K Fish
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Only Able to Play The Piano Well When….

“A long time ago, when I was just a child and my mother was forcing me to learn the piano, I said to myself that I would only be able to play it well when I was in love.”

Source: Veronika Decides to Die, by Paulo Coelho, One Spirit Publisher 2003

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Frankie Dunlop’s Christmas Card

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SKF NOTE: Going through some boxes of writings, photos, and other leftovers last night, I found some items, like this Christmas card from Frankie Dunlop, that bring back good memories.

This was probably Christmas 1984. I met two or three times with Frankie, interviewing him for Modern Drummer. The last time we met was at my house in Connecticut – which Frankie refers to in his Christmas card note. I moved to Connecticut after I left MD in the fall of 1983.

I don’t remember if photographer Chuck Stewart took Frankie’s MD interview photos. I hope so! From his note, Frankie clearly had an appointment with Chuck.

Frankie’s “Apple Juice Fizz” reference is to a concoction Frankie had with him, a simple mixture of plain seltzer and apple juice. I still drink it from time-to-time, except I call that drink a Frankie Dunlop.

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