‘Twas a Drummer Invented Country Rock: Jon Corneal

SKF NOTE: Interesting news story. I’ve listened to – and like – a lot of country rock since I owned an advance copy of The Byrds’s Sweetheart of the Rodeo in 1968. But I confess I was not familiar with drummer Jon Corneal until reading this item. Looking forward to learning more about his music and career.

The Byrds drummer, country-rock pioneer plays Fort Myers show
CHARLES RUNNELLS, CRUNNELLS@NEWS-PRESS.COM

You’ve probably never heard of Jon Corneal. But if you’re a fan of ‘60s and ‘70s country rock, you’ve almost certainly heard his music.

The Auburndale, Florida, native is often name-checked as the genre’s very first drummer, and you can hear his playing on classic country-rock albums by…The Flying Burrito Brothers (“Gilded Palace of Sin”) and The International Submarine Band (“Safe at Home”).

Corneal’s friend Gram Parsons often gets credit for inventing the genre, but Corneal insists he’s the one who came up with the idea first.

Corneal…says he introduced Parsons to country music and played with him in early ‘60s rock band The Legends and later pioneering country-rockers….

Corneal, 68, says he came up with the idea of combining country and rock while touring in the ‘60s. His band and crew members often played country radio stations on the road, and they’d usually stop at country bars to listen to the jukebox and live bands. Then, when he returned home, he’d go back to listening to rock ‘n’ roll.

Soon, the two sounds started to merge in his mind, and “country rock” was born: Country songs with electric guitars, pop melodies, a driving drum beat and a rock ‘n’ roll attitude.

Corneal…says he’ll play “some of the authentic sounds of country rock” — music from what he calls the “canon” of ‘50s and ‘60s country songs that all the great country-rock bands pulled from. Songs such as Ray Price’s “I’ve Got a New Heartache” and Dale Noe’s “It’s Such a Pretty World Today.”

“I’ve been doing this for 55 years!” Corneal says. “People don’t believe me when I tell them I’ve been doing this for 55 years.”

Corneal blames his anonymity largely on his chosen instrument: The drums. Drummers are almost always pushed to the back of the stage and hidden from music fans — who usually pay more attention to the singer and guitarist, anyway.

Corneal says he’s not bitter about being ignored by music historians and country-rock fans, but he’d still like to get some credit.

“I hate to toot my horn, but I’ve paid my dues,” he says. “Gram gets all the press. Which is crazy, because he’s dead and he doesn’t need the acknowledgment!”

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Doudou N’diaye Rose: The Very Precise Language of Drums

SKF NOTE: Truly amazing drumming. “The very precise language of drums,” indeed. RIP.

MUSIC
Doudou N’diaye Rose, 85, Senegalese Drummer and ‘Human Treasure,’ Dies
By BRUCE WEBERAUG. 23, 2015

Doudou N’diaye Rose, a master drummer and bandleader from Senegal who became an emissary of his native culture’s joyous and complex rhythms to the rest of the world, touring with percussion orchestras in Europe, Asia and the United States, died on Wednesday in Dakar, Senegal. He was 85.

Mr. Rose was skilled on a variety of native African drums, but he was especially known as a virtuoso of the sabar. A tall wooden drum covered with goatskin and circled with pegs, the sabar, which is usually played with one bare hand and one stick, was traditionally used for communication between villages and to accompany myriad social occasions. Mr. Rose studied those traditions, absorbing what he called “the very precise language of drums,” in travels throughout Senegal and expanded the language, creating numerous riffs of his own.

…Rose appeared onstage or on the bill with Miles Davis, Dizzy Gillespie, the Rolling Stones and Peter Gabriel….

“I never wanted to play blindly,” Mr. Rose said. “I met the elders so that they could teach me the very precise language of drums that everybody recognized then: how to announce a bush fire, that a snake has bitten someone and what kind of snake, that a woman who has just got married has gone to the conjugal home and that the husband is happy with her.”

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Jon Fishman: Jazz Was This Monster Around the Corner

Relix.com
Little Drummer Boy: Local Hero Jon Fishman Reconnects with His Syracuse Drum Teacher
by Jess Novak on August 22, 2015

Jon Fishman

Jon Fishman

Jess Novak: You took lessons from [Syracuse, NY drummer] Dave (Hanlon) when you were 13. Why drums?

Jon Fishman: My mom took me to see Buddy Rich when I was 10. I was all [into] Buddy Rich at that time, but then Dave had a picture of Louis Bellson on the wall, so I checked him out and was introduced to this whole world of big-band drumming. Then Sonny Payne. I discovered all that through Dave.

JN: What about rock drummers?

JF: I heard “When the Levee Breaks” (Led Zeppelin) on the radio when I was a kid. Something about it—the articulation of that beat and how it goes with the song. There are a lot of Zeppelin songs where the drums go along so well with the melody. I was learning Zeppelin from the time I was eight to 13. Zeppelin, Hendrix, The Who. I was a closet guitar player, too. Zappa—all his drummers are their own category.

JN: What changed after you took lessons with Dave?

JF: When I was 13, jazz was this monster around the corner. It was an entirely different level of coordination. You know, “Jazz is the teacher, funk is the preacher and one without the other, you have nothing but the blues.” I think that’s true. For drummers, or any instrument, it seems like with jazz and classical, or Afro-Cuban music—you stretch your limits. You get independence and coordination you won’t from just rock drumming. I wanted to learn how to play a swing ride and the other figures you play on a snare and hi-hat. I went to Dave for that.

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Carmine Appice: Where My Style Came From

SKF NOTE: From my interview with Carmine Appice circa 1980-81.

carminenikon 114

Carmine Appice: Basically my style came from listening to a cross between Sandy Nelson, Wipe Out, and all that stuff, and listening to people like Krupa and Rich and Joe Morello.

My drum teacher, Dick Bennett, was a big band teacher. He taught me how to tune my drums real low and deep to get a real big sound out of them.

When I joined Vanilla Fudge we were called The Pigeons. They were the first band that I played with that — for that time — used big amplifiers. That’s when I first switched my sticks around to backhanded. I started developing these blisters which later turned into callouses.

From playing and studying I learned actual percussion. In school I played tympani, bass drum, snare drum, and all those instruments in the percussion section.

When we started getting into the Vanilla Fudge sound — that classical rock symphonic sound — I utilized the drumset as a percussion section.

I had the first gong in rock and roll in 1968. I started the big drum fad in ’68 also. The reasoning was, I figured if you had bigger drums they’d be louder and also sound more like tympani. I even had a couple of chimes hanging from a boom microphone stand. Nowadays, people like Neil Peart have the whole set of chimes.

That’s really where the style came from. A cross between the big band rock and the symphonic. I was studying big band, playing rock, and when I was in school I was doing all the symphonic stuff.

end

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Tony Williams’s Textbook Perfect Drum Solo

SKF NOTE: Tony Williams‘s drum solo on Moose the Mooche with The Great Jazz Trio [Hank Jones, piano and Ron Carter, bass] at the Village Vanguard, February 1977, is textbook perfect. Beautiful.

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