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0-89724-921-6 Isbn-13 Copyright © MCMXCV, MMVI by Alfred Music All rights reserved ISBN-10: 0-89724-921-6 1 ISBN-13: 978-0-89724-921-8 CONTENTS UP FROM CONGO SQUARE: 6 New Orl,eans Drummers and Their Influence RAGTIME & BEYOND: 10 Berlin Riley RAGTIME 12 "High Society" 14 BRASS BANDS 16 "Oh, Didn't He Ramble" Nicholas Payton 22 Warren "Baby" Dodds: Biff Shots and Shimmy Beats 24 Paul Barbarin and Arthur "Zutty" Singleton 27 SPASM BANDS 28 THE HI-HAT 29 BRUSHES 30 GOSPEL 31 "Glory, Glory Hallelujah" 34 "Will the Circle Be Unbroken" 34 David Torkanowsky JAZZ FUNERALS 37 "POINCIANA" 40 Vemel Fournier: Dancing in the Sixth Ward 42 Edward Blackwell: The Drum and Dance are One so MODERN INFLUENCES 53 "Magnolia Triangle" 54 fames Black and Freddie Kohlman by Val Wilmer 62 In Search of James Black 66 Herlin Riley: Live at the Village Vanguard, New York City 70 Roll Call with Bassist Bill Huntington: 72 Reflections and Observations on New Orleans Drummers 4 STREET BEATS: MODERN APPLICATIONS 75 Johnny Vidacovich SECOND LINE 76 "Carnival" 80 SYNCOPATION EXERCISES 83 PROFESSOR LONGHAIR 87 "Her Mind is Gone" 88 "Big Chief" 92 Tony Dagradi Joseph "Smokey" Johnson: From Sugarboy to the Fatman 94 "OPEN SHUFFLE" FEEL 98 "New Orleans Cakewalk" 99 INFLUENCES 101 David Lee: Evolution 103 "YOU ARE MY SUNSHINE " 106 "NEW DAY" 108 "BONGO JOE" 112 James Singleton Johnny Vidacovich: Wide Open, WWOZ Jazz Tent, New Orleans 114 Jazz and Heritage Festival Photo Credits 116 Index 11 7 5 RAGTIME D.T.: You grew up in New Orleans, so you have a lot of different influences. If we can cover EVOLUTION OF some of the earlier jazz styles, the music of the jazz fUnerals, some of the street beats, THE "TRAPS" and some of your jazz influences, maybe we can trace some of your influences. 1890-1920 H.R.: All right. Let's begin with ragtime. Can you explain a little bit about the stylistic elements of the drumming of that period? The older musicians would say that to "rag" something is to syncopate it. For elements of surprise they would play breaks on the downbeats as well as on off-beats. CD l RACI\ 2 ·=staccato So a lot of the rags had syncopated rhythms in them. And in playing rag, different RAGTIME parts of the drumset were used for playing time. They played time on the wood block, the rim of the drum, and they also used splash cymbals. A lot of times there would be a crash cymbal, or a choke cymbal as they called it, that was usually played with a mallet. They would strike the cymbal with one hand and choke it with the other hand. And there were different techniques used for choking the cymbals. Sometimes, they would really cut off the cymbal and make it real staccato, like this: CD 1 RACI'\ o Or they would play other styles where they would let the cymbal ring a little bit and sustain itself, and then catch it: CDTRACK4 I j j i1 I j j j j I j ' II 0 c 0 c 0 c 0 cococo c 0 cocococo c 0 c 0 c o=open c =close with hand So if they let it sustain, would that be used more for time playing, and the "chokes" for accents? Well, I think it was just a matter of how they wanted to color the music at that particular spot by getting different nuances out of a certain part of the kit. 12 So what would be some of the typical patterns that would be played? TRAPS OK, a lot of times there would be typical march patterns that they would play on the wood block- CD lRACf\ 13 On woodblock is ! 13 . t frJ ...... i:J nJ'-' J J J J oI - i - R RR LR LLR L R L R L R R RRL L R L R L R L R > > > > > J tJ m J n_J frJ = II R RL LLR L R L R L R R RRL R L R L R R R L R L LR They would also play on the rim of the drums and back then, the rims or hoops were wood. So that produced a different kind of sound, it was a little softer than the wood block. I'll give you an example on these metal rims: CD 1 RACf\ 14 >- :::> :::> > >- >- ::> :::::> fr:n J j j JfrJ j j Jfrm 5 J JfrJ j JfrJ j JfrJ j j Jfrm 5 DI > > > > 5 > 9 5 J - frJ- - ]: J ! J tj frJ 1 R RRL L RLL R LLR L R LLR L R R R LR L > > > > > js j 15 J J J nJ J - J = R RRL L R R R R LLR L R L R R R L R R L R L R LLR LLR LLR > 9 > 9 > 9 J ! J t J 1 J 8 -- -- II R L R L R R L R L R R L R L R R * 20.
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