Another chapter in our ongoing series of conversations, quotes, commentary, and updates with jazz/funk drumming legend Mike Clark… Mike’s keen observations provide numerous insights into ‘All Things Music’. -- Mike always just tells it like it is.
“I used to be really proud when I played a major club or recorded with a major artist - almost like bragging rights, or look how good I am doing, The motive was not the music but some other neurosis. Nothing wrong with making a nice pay day, and getting some props for all your hard work... But at this age, I morphed all the way back into - 'I just want to play the music - I don't care if it's in a barn or an alley. I did the whole 360 degrees. I'm back where I started as long as its an acoustic jazz kind of way.
Here is my Philly Joe Jones story... I had just moved to New York and got a crib on West 27th Street. It was a loft, I moved in the day before and I looked out the window and there in a doorway was Philly Joe Jones, I was like WOW! - It was a jazz joint - I forget the name. I ran downstairs as it was a nice day and went right up to him and introduced myself. He seemed to be struggling and said, "Help the old man!" I picked up his cymbal bag and it was real light so I looked inside and there was a beat up 18" crash with a chunk taken out of it. Two sticks not a pair, one big parade stick, and another tooth pick Jazz 7A or something. I said let me go across the street and get you a bag of cymbals... He refused. We went upstairs and there was kind of an inappropriate funk kit with a big bass drum and no front head. He had a drink then played a set with a trio. He had no hi hats and just used the crash with the weird sticks and some really torn up brushes that looked like my hair when I wake up... Man, did he swing. It was a total lesson. I was like...."I LOVE NEW YORK" !!
So Max Roach lived on 104th street when I lived at 107th. I would wear drum T- shirts and a Drummers Collective Jacket so when he would see me waiting for a cab he would say 'Hey Drummer Man'! I would respond with "Max Roach!" Then we would shoot the BS. This happened now and then. I didn't want to burden our occasional hang with -' I used to play with Herbie Hancock', so it was fresh. I first met him while playing with Herbie but he didn't remember, so I left it that way. It was always fun and a really a cool vibe when I would see him. Without Max Roach, I wouldn't have had a career with all of those magical moments. Later, I played a show in his honor and was able to tell him that. I played one of his solo's for him. His response was ..."I heard ya' was tryin' to play my stuff.”
Some shuffles might be too nasty for some bands or players so you have to take some of the grease or looseness off of it - or change how it moves. Same with funk beats, some are too funky and cats don't get it. Am I the only one that has experienced this? It's like a 1958 Chevy with a big engine and glass pack muffler. It shook when you went through the gears. It felt like the body was fitting on the frame real loose. Some cats would drive it and think something was wrong.
I was on Drummers National Roll Call with Michael Vosbein and some greats were there. Adam Nussbaum - one of my favorites, and Ed Soph who I also really dig. Those cats can swing big time - and speaking of swinging, Harold Jones was also there... I knew him a bit from the Bay Area. I really dig Harold... I heard him with Count Basie back in the day and he was on fire. With small groups - he was always swinging and sounding really good as usual.
As a solid to some of you drummers I have finally transcribed the finale to Buddy Rich's West SIde Story! It took me years. Here it is...beedalie beedalie beedalie bodalie beedalie bodelie beedalie bodelie beedelie bodelie etc, done for about three minutes with occasional accents at an incredible rate of speed. If you have any questions feel free to hit me up for lessons!”