Miles Davis on Philly Joe Jones

SKF NOTE: Nat Hentoff‘s “Jazz Is” was a Christmas present to me from my sister, Maribeth, in 1978. Her inscription says, “Hope you don’t already have this. I can’t wait ’til you’re on the pages of a book like this. Love, Maribeth.”

Can we ever have too many family members who believe in our dreams? I don’t think so.

Each time I pull one of my old music books from my book case, and flip through the pages, passages I underlined when first reading the books, appear as little jewels of wisdom. Keepers. Ideas that, at the time, made sense. I underlined them to make it easy to find the passages again.

Over the years I have not come across one of my underlined passages that now seems dated, irrelevant.

Mr. Hentoff’s recollection of Miles and Philly Joe Jones is a good example.

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Miles Davis telling me some years ago that he was turning down an engagement in a jazz club in Toronto. I asked him why. “Because that m*** who owns it told me to fire Philly Joe because he’s too loud! Nobody can tell me what to do with my music.”

Philly Joe Jones, Miles’s drummer at the time, was a brilliant, cracklingly aggressive, polyrhythmically swinging mesmerist who often did indeed play loud. “Shee-it,” said Miles, “I wouldn’t care if he came up on the bandstand in his B.V.D’s and with one arm, and shouting his head off, just so long as he was there.

“He’s got the fire I want. There’s nothing more terrible than playing with a dull rhythm section. Jazz has got to have that thing. You have to be born with it. You can’t learn it, you can’t buy it. You have it or you don’t. And no critic can put it into any words. It speaks in the music. It speaks for itself.”

Source: “Jazz Is,” by Nat Hentoff (Avon Books, 1978)

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Fred Below: I’m Thinking Melodically All the Time

SKF NOTE: Fred Below had been an inspiration to me for many years before this interview. I was surprised, because it was not typical of blues drummers, to hear Fred Below outline his extensive musical background and his influence in shaping the forms and phrasing of Chicago blues. Mr. Below was key in moving blues players from “haphazard” odd number phrasing to the standard blues phrasing of 8 bars, 12 bars and so forth.

In this excerpt, I ask Below a question I often ask(ed) drummers: When you’re drumming, are you thinking rhythmically or melodically? It was, and still is, my belief, that the best drummers think melodically.

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Teena Lyle: Genderless Hands

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Teena Lyle (Photo courtesy DRUM Magazine)

SKF NOTE: Great advice from percussionist Teena Lyle, now on her third tour with Van Morrison.

#WCW: Van Morrison’s Touring Percussionist Teena Lyle
December 5, 2018

Q. Any advice for girls contemplating getting started and making it in this arena?

A. Just see yourself as a set of hands. They are genderless. Don’t go in with a “it’s not fair, the boys get all the work” chip on your shoulder. That’s a bad vibe and people pick up on it. Love working with men as well as women. Music is for everyone. Hustle hard for work and don’t be put off by a “no.” Just dust yourself off and try again. Read Mary Beard’s Women and Power: A Manifesto. That can help empower you through the tough times when you risk losing the faith.

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Taking a Chance on Fish

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Taking a chance on Fish
Scott K. Fish, Special to the Piscataquis Observer • November 30, 2018

Looking back almost 40 years I can’t imagine not crossing paths with Ron Spagnardi, founder and publisher of Modern Drummer magazine. We were both drummers, entrepreneurs. Ron in New Jersey, me in New York. At about age 34, Spagnardi saw the success of a 10-year-old magazine devoted to guitarists, Guitar Player, and wondered, why not publish a magazine devoted to drummers?

Next, Ron bought two small subscription ads. One in Down Beat magazine, and one ad in the New York Musician Union Local 802 newspaper. Spagnardi’s ad copy was pretty basic, something like: Interested in subscribing to a new quarterly magazine exclusively for drummers? Send $10 to: Modern Drummer, 47 Harrison St., Nutley, NJ. (I don’t remember the exact amount for a subscription.)

These ads were Ron testing the waters. He told me he had a separate bank account for subscriber’s money. If at least 2,000 people subscribed, Ron said, he could afford to publish the magazine. He didn’t know what he was doing was illegal. Without a Modern Drummer product, soliciting paid subscriptions was a no-no.

Spagnardi’s said his plan was, “If I don’t get at least 2,000 subscribers, I’ll send back their money.”

I was excited to subscribe to this new magazine for drummers. More than 1,999 other drummers and drum enthusiasts felt the same. Ron’s next task was figuring out how to publish a magazine — which he did.

Fish and Spagnardi crossed paths about a year later after Ron published an in-house ad seeking drummers interested in freelance writing for MD.

I submitted my letter and resume and — to my surprise and joy — was hired as a freelancer. Ron told me later he received plenty of requests from drummers with no writing experience, and writers with no drumming experience. I was the magic combination of drummer/writer.

Freelancing for MD opened for me a door to meet my drum heroes face-to-face. It was an opportunity far beyond seeing drum heroes in concert, asking them a question or two at drum clinics. I felt as if I was holding the key to a treasure chest. And in many ways I was.

My March 8, 2015 blog entry describes my first in-person meeting with Ron.

“I first met…Ron Spagnardi probably in the summer of 1978. MD‘s office was the basement of the Spagnardi home…. MD was still a quarterly publication. Nothing fancy about the basement. I remember it as an unfinished basement with desks, tables, and lighting sufficient to produce and ship a magazine. MD Features Editor Karen Larcombe was there. So were Ron’s father, Leo Spagnardi handling shipping and receiving, and Carol Padner and Jean Mazza were responsible for MD‘s circulation.”

By then, Ron had published my first two freelance MD interviews, using my Carmine Appice interview as MD’s October 1978 cover story.

“Ron seemed a bit apprehensive about what I might be thinking of MD‘s office/basement. But, I thought it was all great and exciting,” I wrote in my blog.

My first freelance MD drummer interview with Mel Lewis turned inside out everything I believed about becoming a pro drummer. It literally prompted a total reassessment of my lifelong goal. Depressing, frightening, and necessary.

In October 1980 Ron Spagnardi’s hired me as MD’s Managing Editor.

The job was fun, full of opportunities, lousy pay, living in a rooming house. I wouldn’t trade the experience for the world.

I left MD, October 1983, having written 48-percent of MD’s feature stories plus my managing editor tasks. And MD grew to 12 issues a year, from 9 issues when I was hired.

Ron, I think, would say I earned my keep. We remained friends. I am forever grateful to Ron Spagnardi, for taking two chances: One on publishing a drummer magazine, and one on hiring me to help him.

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Barry Keane — Studio Drumming in Toronto 1981

SKF NOTE: Modern Drummer’s first decade was a time for discovery. Never before in my lifetime, and I think the same is true of most MD readers, had we so much indepth access to great drummers. And pro drummers never before had an opportunity to speak at length to the drummer community. That was especially true of MD’s feature interview drummers.

Having a career as a studio drummer held strong appeal to many drummers in 1981, when I interviewed Barry Keane. When we met, Barry was touring with Gordon Lightfoot. As of this writing Barry Keane is still Lightfoot’s drummer. Lightfoot’s is an amazing band of listening musicians.

In addition to his concert work with Lightfoot, Barry earned his living as a studio drummer. Likely on August 2, 1980, backstage at the Saratoga Performing Arts Center in upstate NY, I interviewed Barry for his Modern Drummer feature interview. Here I ask him about the reality — as opposed to rumors and guesswork — of being a studio drummer.

Clarifying that his answer pertains to Toronto, this is Barry Keane’s answer.

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