Charlie Watts: Drum Mentor

Rolling Stones’ Charlie Watts speechless over Jagger the 11-year-old drummer
November 13, 2014 – 8:23PM

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No one gets near the Rolling Stones…except a precocious 11-year-old Sydney boy called Jagger, who calls the band’s drummer, Charlie Watts, his mentor.

Jagger Alexander-Erber is the Australian drumming prodigy first seen on Australia’s Got Talent in 2012, and he has three drumming heroes: Keith Moon, John Bonham and Watts.

On Wednesday he…gave Watts, 73, a gift, a rare cymbal – once owned by Watts’ own hero, Jackie Dougan. He was repaid by being allowed to sit for photos at Watt’s 1963 Gretsch drum kit in front of a packed Allphones Arena minutes before the Stones four-star show began. Watts told Jagger the only other people allowed to sit there were his grandchildren.

Jagger says Watts looked amazed by the gift. “He just kept saying ‘Jackie Dougan! Jackie Dougan’ over and over. He was surprised, his eyes were really wide open and he said ‘How did you get this? It’s amazing’.”

“The best thing is Jagger will now have Charlie Watts as a mentor. The connection he made was incredible … [although] Charlie doesn’t have a phone or use email. [My son] is now known to the Stones camp,” Mr Alexander-Erber said.

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Elvin Jones’s “Puttin’ It Together” Available in MP3 Format

61Fk93FMW+L._SS280SKF NOTE: Finally! Blue Note releases this incredible album by the Elvin Jones Trio with Jimmy Garrison (bass) and Joe Farrell (sax, flute) in MP3 format. It has been out-of-print as a CD for years.

This was my introduction to Elvin when it was first released as an LP in 1968. Forty-six years later it remains one of my favorite jazz albums, and probably my favorite Elvin Jones album.

In my humblest opinion, Puttin’ It Together belongs in every serious drummer’s music collection.

Elvin Jones: Puttin’ It Together at Amazon

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The Significance of Reader’s Polls

602212_downbeatSKF NOTE: I have mixed feelings about musician’s readers polls. Always have. My great dislike is when players deserving of a spot in, say, a Hall of Fame, never get it because their heyday was too long ago, or the quality of their recordings are sub-standard to the ears of today’s listeners. Of course, when musicians I like win reader polls, I’m as happy as the next guy.

Down Beat Managing Editor Don DeMichael introduced DB’s 1960 Reader’s Poll results with an explanatory piece called, The Significance of the Poll. I re-read Mr. DeMichael’s piece this morning, pulled out its key points, and I’m posting them here. I think DeMichael  captures for all time the essence of all reader’s polls.

“To the casual reader, the poll is nothing but a list of names and figures. But the more astute and serious student of jazz will find it the reflection of the jazz population’s present tastes, trends in the making, dominant schools of thought, traces of fading eras. He will not find with musicians are ‘best,’ for there is no ‘best.’

“[T]he winners are those who are satisfying some emotional need in the greatest number of listeners, even if, by voting for certain men, the voter is merely conforming to others’ opinions – for conformity in itself is satisfaction of an emotional need.

“Exposure of the artist, of course, is a necessary and vital prerequisite to his obtaining votes. All the winners had ample exposure, including publicity, throughout the year.

“But more important than who won what is the undercurrent of the poll – the rise of new names, the decline of old ones. This is the heart throb, the real significance of the poll.

“As the new rises, the old falls. Most of the former winners are still listed in the categories – some… are strong contenders. Others have fallen to mediocre positions. And many…did not garner enough votes to be listed.

“How fleeting fame – how changing emotional needs.”

Source: Down Beat, The Significance of the Poll, by Don DeMichael, 12/22/60

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George Russell: Max Roach Made Me a Composer/Arranger

Composer George Russell“I came into music as a drummer, at 15, in 1938,” [George Russell] said. “The swing period was at its height…. I played many gigs around my home time [sic], Cincinnati, but mostly at the Cotton club. Two years later, at Wilberforce college on scholarship, I joined the college band….”

Three years at Wilberforce were followed by a stay with the Benny Carter Band, one of the more formidable units of the period.

[Trombonist J.J.] Johnson recalls Russell as a “fine big-band drummer, with excellent time and imagination.” The trombonist said he thought Russell would continue playing drums because he seemed so deeply interested in the instrument. But that was before Russell heard Max Roach.

“Max was nothing short of fantastic,” Russell said. “He seemed to have it all on drums. I felt it would be ridiculous to continue playing, feeling as I did. I decided to pursue another course – to arrange and compose – and returned to Cincinnati to start all over.”

Source: Who Is George Russell?, by Burt Korall, Down Beat, February 16, 1961

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Photo: Joe Morello and Buddy Rich Sharing Ideas 1961

rich_morello_dbSKF NOTE: This photo by an unidentified photographer is from the February 16, 1961 issue of Down Beat magazine.

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