Salute to Howie Wyeth’s Drumming with Dylan

Posted on January 13, 2022 by Scott K Fish

SKF NOTE: I haven’t thought of it in awhile, but when I was managing editor at Modern Drummer magazine I wanted to write a feature story on The Drummers of Bob Dylan. At the time, the early 1980s, Jim Keltner was playing drums with Dylan in the studio and onstage.

One of my favorite characteristics of Bob Dylan, based on my listening to his albums, and seeing him perform on tv, was that he often changed how he presented his songs. He’d sing different lyrics. A ballad would be reborn as a reggae tune.

Because of his treatment of his songs, I imagined playing in Dylan’s band required a jazz spirit. Big ears and the ability and willingness to change in an instant. Keltner had that jazz spirit.

So did the drummer in Dylan’s band for his Rolling Thunder Review tour (1975-1976): Howie Wyeth. Earlier this week I was reminded of how much I liked Wyeth’s drumming when, for the first time in a long time, I listened to Dylan’s live Hard Rain album. Recorded during the Rolling Thunder Review tour, Wyeth goes for it right from the album’s opening tune, Maggie’s Farm.

Wyeth’s drums always sounded a bit boxy – but he sounds like he’s having fun, and his drums work perfect with Dylan and the rest of the band. When Wyeth lays into his Chinese cymbal, the sound is enormous. Listen to Howie’s cymbal crash on Hurricane, a song on Dylan’s Desire album.

Finally, you can enjoy Howie Wyeth on The Bootleg Series Vol. 5: Bob Dylan Live 1975, The Rolling Thunder Revue.

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Postcard from Neil (1984)

Posted on January 8, 2022 by Scott K Fish

SKF NOTE: Yesterday I emptied the third shelf of a red corner hutch in our guest room. My eight year-old grandson, Grafton, needed more space for the LEGO models he is so adept at building. Shelves one and two held old favorite books of mine. I will find another place for them.

Shelf three was cluttered with CD’s, external hard drives, books, newspaper clippings, drum keys and whatnot. Carefully piling it all into a sturdy shopping bag, the last item I reached for was this 37-year old postcard from Neil Peart with his reaction to our April 1984 Modern Drummer interview.

Dear Scott – I just saw the article yesterday, and I think it’s really good. I thank you very much for having made me look so good! Nice work, I think your preamble and the way you presented the flow of our conversation was very incisive and very ‘right on.” Thank you / You owe me a letter! Neil.

Only much later did I read a Tweet announcing that day, January 7, was the second anniversary of Neil’s death.

Neil was a great guy. That he played drums and wrote insightful lyrics was, of course, part of who Neil was as a human being. But even setting the drumming, the lyrics aside – Neil was a curious, wonderful human being. I miss our correspondence and I miss him.

Cherish remaining friends.

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Neil Peart Inside Maine State Prison

Posted on January 5, 2022 by Scott K Fish
Neil Peart with his Snakes and Arrows drumset.

SKF NOTE: I had this Neil Peart memory today.

Inside Maine State Prison, which is the State of Maine’s maximum security prison, there is a music room where prisoners play keyboards, guitars, and drums. Yes, access to instruments is limited and linked to good behavior.

The music room is built of concrete blocks painted glossy white. And one day, in my capacity as Communications Director for the Maine Department of Corrections, I visited the room and was surprised by a giant mural painted on one glossy white concrete wall.

It was a mural of Neil Peart behind his “Snakes and Arrows” drumset, painted by one of the prisoners.

I snapped a photo of the mural with my iPhone and sent it to Neil. He, in turn, replied saying nice things about the mural. If I can ever find the email or letter I will add Neil’s exact words here.

But when I was next at Maine State Prison I was able to track down the prisoner painter and let him read Neil’s email. He was thrilled. It was a nice gesture from Neil which really brightened a day for a prisoner who probably didn’t see too many bright days behind the razor wire, iron bars, and chain link fence.

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Info Wanted – Big Sid Playing Sonny Greer’s Drumset

Posted on December 29, 2021 by Scott K Fish

SKF NOTE: An interesting photo, new to me, from the University of Missouri-Kansas City. The University’s best guess is this photo of Big Sid Catlett was taken 1945-1950. It’s part of the Dave E. Dexter, Jr. Collection. The University is welcoming more information.

I wrote to tell them this is a photo of Big Sid behind Sonny Greer’s drumset. Perhaps Catlett was subbing for Greer, or sitting in on a Duke Ellington Orchestra appearance.

In any event, this is a cool photo. Thank you, UMKC.

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With Max Roach and His Drums

Posted on December 10, 2021 by Scott K Fish

SKF NOTE: What did it feel like, on July 15, 1981, standing with Max Roach next to his blonde Ludwig drum set in his home music room? I felt awe. Reverential respect and wonder.

Max said, “I’m playing a 22″ bass drum, 12″ and 13″ mounted toms, a 16″ floor tom, and a 14” [floor tom] which is a tunable floor tom with a Meazzi footpedal.”

I was sitting close to Max when I saw him in concerts in NY and Chicago clubs. But being within touching distance of his drums, with Max next to me, was a very different experience.

Yes, I wanted to sit at the drum set to know what that felt like; to look at Max Roach’s drum set from his perspective, notwithstanding Max was several inches taller than me.

Sitting behind them, what did Max’s drums and cymbals sound like? Was the tension on Max’s bass drum pedal loose or tight? Was playing the bass drum effortless or did it feel like a leg muscle toning machine?

Max never invited me to sit at or play his drum set. I never asked. Neither did he play his drums that day.

I wasn’t vain enough to want to sit at Max’s drums and try to impress him. It’s that I would have been fascinated to hear the sound of his drum set while seated behind them. That’s all.

Max Roach’s sound and style were a major influence on my playing and concept of drumming. To have the opportunity to interview him in his living room; and to then have him show me his drum set in his music room was heady stuff.

Forty years later it still feels that way.

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