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From a 1962 television broadcast of Jazz Scene USA
Not So Modern Drummer asked five distinguished drummers to share their ideas and opinions concerning the following quote attributed to Shelly Manne, "The ride beat is the easiest and the most difficult thing a drummer will ever play."
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In my high school study hall, I was reading the latest issue of Downbeat featuring Max Roach, Frank Capp, and Bobby Colomby who were featured on the cover. Bob Girouard noticed it immediately and asked if he could check it out. That very 1960s moment was the beginning of a lifelong friendship… We started talking drums, and the rest is History.
"Bob is an inspiration for all of us. His career has covered a lot of ground and his drive and love of drumming is something we can all learn from." - Rob Wallis
Over the years, I have seen Bob go through good times and bad. Musicians know the struggles to succeed. Bob understood this perfectly, yet never gave up. When stricken with Parkinson’s disease in 2003, the challenge became even greater. With each passing day, the God given drumming talents that Bob possessed were slowly fading away.
Previous to being diagnosed, Bob worked steadily with a number of successful groups. His greatest notoriety came with the band Forest. They toured on the East Coast circuit with a potent line-up of truly amazing musicians. At one point they were ready to sign with MCA records. A sudden change in company management caused the deal to fall through. It was a painful moment for the band so Forest took the master tapes and released their album independently. Although recorded in the 1970’s, their music remains fresh and vibrant to this very day. They were recently featured on the Atomic radio network with a Forest retrospective, coupled with live interviews. Based on listener calls, Forest’s album continues to be popular in both Germany and Japan.
I first met Bob Girouard when I was The Band's Road Manager in the 1990s. Bob worked for the City of Albany promoting cultural events. Being a drummer, Bob of course loved Levon Helm. Bob truly believed in the Brotherhood of the Drum, and still does to this day. He would book any band that Levon was part of, out of love and respect, plus a strong desire to be near Levon and Randy Ciarlante, our second drummer. His incredible devotion to drummers, drumming and good music is legendary in our circles. As Levon got sick, and our bookings dropped off, due to the fact that he wasn't singing Band songs, Bob never wavered. He would book Levon and the Barnburners (Levon's blues band) whenever he could. Oftentimes this helped Levon pay his mortgage. As Bob got sick himself, and his ability to drum waned, he took up writing about drummers. His devotion and loyalty to the brotherhood of the drum stayed strong. As my late friend Richie Hayward got sick, Bob wrote eloquently to help Richie's cause. After Richie passed Bob's eulogy was the most touching I ever read. Levon's health also declined and, whenever possible, Bob's writing would boost Levon's spirit and help in his struggle to live. Bob's devotion to drumming and drummers wasn't reserved for the big stars. Bob championed lesser known drummers, and always promoted quality music everywhere. Now Bob has resumed drumming even after brain surgery, and during his life's struggles. I, and the Brotherhood of the Drum, salute Bob Girouard's courage, strength and devotion.
Long may he wave.
Respectfully & Gratefully Butch Dener The Band (ret.)
A large contingent of upstate New York bands gathered to honor Bob with a fundraiser- “Boogie for Bob” to help defray his medical costs. The remaining portion, was donated to the Michael J. Fox Foundation for Parkinson’s Disease research.
Over 300 people attended the venue to help the cause. All the groups donated their performances.
“Boogie For Bob” featured:
Bob played and sang a few tunes throughout the show, although his condition made it difficult, His sheer determination helped him get through it. The event was a fitting tribute to a musician who continues to be loved by many.
"An excellent musician and accomplished writer...THE G-MAN RULES!! I'm proud to call him one of my best friends..." - Dino Danelli
As Bob’s disease continued to advance, he was determined to find another way to stay musically involved. He began writing for Classic Drummer, and Elmore Magazine, and is now writing for Modern Drummer; In 2013 he wrote the cover article on Dino Danelli. Another gathering of Forest alumni is scheduled for later this year, and all proceeds will be donated to the foundation for Parkinson’s research.
Bob Girouard is more determined than ever to keep on fighting. Even after recent brain surgery and a daily regimen of numerous medications, music is a constant presence in his life; he continues to remain optimistic about the future.
With a friendship that goes back over 45 years, Bob recently requested this author become a permanent member of the Forest family.
Musical Artists Interviewed by Bob Girouard: (2005-present)
Chapter six in an ongoing series of commentary from legendary drummer Mike Clark. His storied observations continue to inspire, and provide keen insight into ‘all things music’.
I was lucky my Mom loved jazz. At age five I would bring my Gretsch Broadcasters into the kitchen while she was cooking, play for her and she loved it. The neighbors would say, “how can you stand that noise”? She would say, “what noise”? He sounds like Gene Krupa.
My other heroes were Zutty Singleton, Cozy Cole, Lionel Hampton, Big Sid Catlett, Louie Bellson, and Buddy Rich. At eight I discovered Art Blakey.
My experience with Herbie Hancock happened when he became emotionally involved, and it was on the real. It was the most inspired and highly spirited music...Definitely not for the faint of heart. He would bring this to any genre...It was like John Coltrane as far as power, energy, emotion, and dialogue...Herbie is from that school in my humble opinion...Deepness Reigns!!
Don’t you just love it when you lose something and someone says -where did you lose it? If I knew that, I would know where it is and it wouldn’t be lost!
BB King… It is going to be weird without him. I am just so used to that sound. I know we can hear the music, but he has always been there. I’m glad I got to meet him.
BB King once asked the Headhunters to play a tune with him. Everybody plays some deep stuff trying to show BB they can play the blues. Hancock plays some totally avant-garde solos like something you would have heard on an Eric Dolphy record in 1963. After his solos BB takes the microphone with a confused look on his face and says…”Well, everybody has their own way of playing the blues”.
I once realized there was something missing deep in my life.... so I bought a cowbell!!
Chapter number five in an ongoing series of commentary from legendary drummer Mike Clark. His storied observations continue to inspire, and provide keen insight into ‘all things music’.
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I played double drums on a gig with Lenny White once and he took a solo all poly-outness while I held my place quietly on the 2 and 4. He took it so far out I was hanging on for dear life. But Lenny was right, and here is the kicker...I was proud of myself for keeping my place. But he was the dude that played everything. It was amazing, as Lenny knows where he is at all times… But it really sounded like he modulated into about 80 different time signatures at once.
I love Art Blakey’s playing, his bands, arrangements, his groove… When it comes to swingin’ – Is there anyone that can swing harder? Not for me.
Does anybody but me get tired of seeing and hearing the same 6 or 7 guys playing all the festivals and jazz joints over and over? Who's idea is that? Or if there is a new guy… He has to make up some wild way of playing that most of us had thought of and discarded.
When I play swing no matter how far out I go, I play it on the 2 and 4. Same with funk… No matter where I put the backbeat, the "Thing" if you will is on the 2 and 4. That’s what I do.
I remember when you had to play several different styles of jazz… Usually a few you really liked best. It was hard to make a living specializing in one area unless you had really good luck. Now it’s hard to make a living playing any of those styles. Now I see that several guys stay in one bag for a lifetime and do OK. For me, that would be like eating eggs every morning forever.
Elvin Jones said he wanted to be part of the scene, but didn’t want to play in a conventional way. Elvin really didn’t hear that, and he was severely criticized for it. Being with Coltrane solidified his concept, and his words. How would things be if he didn’t have the good fortune to get that gig? How would things sound today?
I went to a mix when Tony Williams played, I was listening to the playback and the time sounded a bit soupy, Tony walked by the board and pushed the fader up to the top and the track swung incredibly, and it sounded like Tony. The engineer cried and whined about the fact that it red lined. Tony said, “the red line - that’s how jazz is supposed to sound”.
I admit it - when I played with musicians having great careers, I would be kind of nervous since I wanted what they had. While playing with Herbie Hancock, there was none of that. He was so famous I guess my brain processed it differently. In the last five years I’m finally over it. I really enjoy playing with anyone, no matter how much they’ve got. As long as the music is cool… That’s the end of it…I am actually in the moment. It took a lifetime… But better late than never!
When mixing drums for jazz, I would suggest listening to some old Blue Note records as many times as possible. Now the drums are compressed like a pop record and the tuning seems to be in between what used to be jazz tuning and pop or fusion. Also, the groove is in the ride cymbal… So don't turn it down and have it sound like mush.
Drummers who use traditional grip...Some people use the index finger over the stick along with the second finger etc. or some guys use the thumb as it is a strong appendage, or kind of open which they used to call rabbit ears...I really think all have certain advantages so why use just one?
OK, My humble opinion. To have a James Brown movie without mentioning Fred Wesley’s name, is like making a John Coltrane film and not mentioning Elvin Jones.
Drummers who want to play jazz, or whatever you want to call it… Check out ‘Do The Math’, an interview with Billy Hart. He talks about history, and his history…The ride beat, which drummers did what, and all kinds of great stuff for musicians who love this music.
Can never stop paying my debt of gratitude to...Philly Joe Jones, Papa Jo Jones, Max Roach, Elvin Jones., Tony Williams, Art Blakey, Tootie Heath, Mickey Roker, Billy Hart, Billy Higgins, Roy McCurdy Lenny White, Kenny Clarke, Gene Krupa, Buddy Rich, Clyde Stubblefield, Louie Bellson, Sonny Payne, Sam Woodyard, Louis Hayes, Jabo Starks, Dave Garibaldi, Bernard Purdie, Clifford Jarvis, and Joe Chambers.... I think about what these cats did and why everyday...Many more, but it would take forever.
Lenny White and I are working on a book about what it was like when he was with Return to Forever, and I was with Herbie Hancock. It also addresses many other things… Even though I lived it, I enjoy the proofing as I’m learning from reading it. At any rate, it’s way cool...Not just drum talk…There’s so much more.
Shelly Manne said…“The ride beat is the easiest and the most difficult thing a drummer will ever play”…Or something like that.
I went to visit Eddie Knight at his Drum Studio in South Bend. I called him to ask if he had an email address because Mike Kaskell in England asked me. A Camco set with an “Eddie Knight” sticker was in England.
No, Eddie doesn’t have an email address. He did tell me he had a leather bound catalog cover that had belonged to U.G. Leedy. That’s like telling me he had George Washington’s uniform or Abe Lincoln’s hat. “I’ll be there”.
South Bend is over two hours from me and it took me a few months to come up with a second reason to get to that part of my state.
Eddie and I made an appointment and I went to his studio, up 23 steps from ground level and I walked into “Oz”.
Because I am old enough to remember great old drum stores, I am familiar with the sights of old Camcos laying around and snare drums sitting on the floor and stuff just everywhere. This was no chrome and glass and steel modern designed music store. This was no dainty well dusted showroom. This was not a Madison Avenue inspired anything. This was a dyed in the wool drum studio just like they used to be. I just wanted to breathe the air and get high on 50 years of everything.
There were more autographed pictures than I could count – stars on sets, old students on sets, black and white shots, vivid color, faded color, and old advertising pieces. My running statement was that I was on sensory overload.
Yes, I saw great drums, but for this piece, I will stay on topic. Eddie pulled out four leather bound Leedy catalogs – F & G. So we talked, prior to World War I.
Two of the catalogs had the gold embossed name of “U.G. Leedy” (the much revered president), one had the name “Alfred Kuerst”. Al, as he was known, was the VP of Leedy, really the second in command. Before George Way got there, Al was the guy quoted in trade magazines. He was also very popular because he paid each employee his/her wages in cash every week. The fourth catalog read “order clerk.”
So, these were the books taken to music stores and trade shows. The covers are permanent – the catalogs do not slip and out. This is what I came to see and they were just the start!
Somehow George Way got these special catalogs and his widow, Elsie, gave everything to Eddie over 40 years ago. Eddie had been a protégé of George, and George called him “Be-Bop”.
Well, Be-Bop has some other catalog treasures B and C and other Leedy catalogs. And every one I saw looked brand new. Leedy’s first catalog was not branded with a letter. It has the Cyclorama address in it, so that makes it before 1903. Therefore “B” has to have been published no sooner than 1904. And it looks new - uncreased, no spots, no loose pages, no cuts. Damn!
Eddie has boxes of his catalogs with many of them in plastic. We need an archivist, please!
I had a great albeit brief visit with Eddie who has taught drummers for 50 years. I’d like to go back, shoot the breeze and breathe the air.
His catalog collection is superb and while it was U.G. Leedy that got me there, it was Eddie Knight who kept me in riveted attention.
I never would have guessed we have a rival to the Library of Congress in downtown South Bend, Indiana.
"Mlasko American Classic Drums are made in Nashville, Tennessee for drummers who can appreciate refined classic drum design without the limitations of vintage instruments. Owner, Aaron Mlasko has been building drums since 1994. He’s also worked as an in-demand touring and studio drum tech for folks like Matt Chamberlain, Matt Cameron, Alan White, Mario Calire and many others."
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The accolades and praise for Hunt Sales’ abilities have never ceased. For some, he is simply a living legend. Hunt seriously began honing his chops at a very young age. Growing up in a well-known show business family gave him access to the finest drummers in New York City and Los Angeles. His dad, the legendary entertainer and comedian Soupy Sales, was a serious jazz aficionado. Soupy’s show business connections allowed Hunt to study and hang out with the likes of Buddy Rich, Louie Bellson, and Shelly Manne.
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In 1976, Bobby replaced Tommy Aldridge in Black Oak Arkansas. He also began the first of two stints with fellow New Haven native Michael Bolton. At the time, Michael’s career was exploding with two new RCA albums. Bobby was also touring extensively with Johnny Winter opening for Aerosmith, Lynyrd Skynyrd, Molly Hatchet, Ted Nugent, and ZZ Top. He also recorded two albums with Johnny Winter on Blue Sky Records – ‘White, Hot & Blue’ in 1978, and ‘Raisin’ Cain’ in 1980. Bobby also recorded an album with Jefferson Starship’s Grace Slick, 1981’s ‘Welcome to the Wrecking Ball’ on RCA.
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The iconic progressive rock front-man, keyboardist and songwriter Neal Morse will host a two-day music festival in his hometown of Nashville, TN on November 14-15 2014. Morse is best known for his mid-90's group "Spock's Beard" as well as his formation of the supergroup "Transatlantic" with former Dream Theater co-founder Mike Portnoy, Flower Kings' Roine Stolt and Marillion's Pete Trewavas.
Special guests, including Mike Portnoy and Randy George, will be joining Neal on the 14th and 15th in performances of the entire "One" and "Testimony 1" albums by Morse. From Radiant Records:
"Hear the music in the very place it was inspired! This weekend will be full of legendary status events such as an exclusive, free 'inner circle only' acoustic set, a VIP Meet and Greet with Neal and special guests, and a game of 'Name that Tune' - PROG style with Mike Portnoy. This is sure to be a once in a lifetime event that you do not want to miss! Make your travel plans to Nashville now!"
Tickets start at $60, $30 for students. More information can be found at: http://www.radiantrecords.com/products/500-morsefest-november-14-15-2014.aspx
WHEN:
November 14 - 15, 2014 Friday & Saturday shows: 7:30pm (Doors at 6:00 pm), Worship Service: Saturday 10:00 am (Doors at 9:00 am) IC Acoustic Set: Saturday 1:00pm (Doors at 12.00 pm), VIP session: Friday and Saturday 3:00pm (Doors at 2:30 pm)
WHERE:
New Life Fellowship 8655 Tennessee 25 Cross Plains, TN 37049
So the drum was given to Levon by Ringo, clearly played and signed by Levon to the son of another tremendously influential drummer, Richie Hayward. Four degrees of separation, perhaps? I was happy to win the auction, securing both drum for its history and the ability to help Seve in my own small way.
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"OK… So the snares broke on ‘God Make Me Funky’ and I continued to play it on Tom. The engineer Fred Catero takes a brass wastebasket, puts a mike in it and puts the now fixed snare on top of the basket. He then plays the track to the snare which makes a sound at each backbeat, but leaving out all the ghost notes. I hated that sound, and without the ghost notes the beat sounded pedestrian to my ears…Like anyone could have played it. Now it’s one of the most sampled drum loops ever. They dug it, and some drummers say Hey, Man - I worked hard to get my snare to sound like yours!"
Read moreT.S. Monk, son of virtuoso jazz pianist Thelonious Monk, has carved out his own niche as a respectable and identifiable voice in bop drumming circles. But, he never forgot where he came from.
T.S. had the good fortune of soaking in all the musical vibes surrounding him at home. From receiving his first drumset from Max Roach to listening to his father, Miles Davis, John Coltrane or Art Blakey upstairs in his living room, there was no escaping it – he was presented with the ‘gift’ at an early age.
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Over a year in the making, the much anticipated solo record by Virgil Donati arrived and has been creating buzz around musicians' circles since it's arrival. The album was produced, written and arranged by Donati, and mixed by Alex Argento, a close collaborator. Virgil’s drumming has arguably been at the leading edge for at least a decade, and as this record displays, his compositional and orchestration skills are also coming to the fore. Says Donati: “After all these years of playing, I still feel like I’ve barely scratched the surface!”
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