I am going to have to agree with our Finnish friend.
What a great read this thread is.
Jay Helfert
- Thread starter gulfportdoc
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What a great read this thread is.
middleofnowhere
Registered
Was just flipping and saw thisRight you are. But the guy I was referring to is David Matthews, keyboardist and arranger/composer:
and:David Matthews (keyboardist) - Wikipedia
en.wikipedia.org
David now lives, composes and performs in Japan.
대한민국 모든 전국 지역 오피 업체 모음, 오피사이트 추천 정보 - '오피랭킹' 국내 오피, 오피사이트 순위 정보
대한민국 모~든 전국 지역 오피, 오피사이트 추천 정보!오피랭킹에서 한눈에 비교하고 즐기세요! 대한민국 전국 지역의 오피와 오피사이트를 찾고 계신가요? '오피랭킹'에서는 전국 각 지역의 최고의 오피사이트들을 선별하여 여러분에게 추천합니다. 서울의 활기찬 오피부터 부산의 이색적인 오피 경험까지, 오피랭킹은 전국 각지의 다양한 오피 옵션을 제공합니다. 오피랭킹은 전국의 오피사이트들을 심도 있게 평가하고, 각 오피의 특징과 서비스를 자세히 소개합니다. 여기에서는 고객의davidmatthewsjazz.com
Stuff
i.stuff.co.nz
Alibi Al was a pretty strong shortstop, but also a very careful gamemaker. He was part of Popcorn's crew of players. When the shortstops (Al, Philly Joe Veasey, Ray Booth) couldn't take it off, Corn brought in the big guns - Mike Massey, Larry Lisciotti and Eddie Burton. The only guy I ever saw beat these three was Frank Tullos (and I was in with him for over 3K). We were probably lucky Don Watson wasn't around that day. I seriously doubt Frank could have beaten him. I would have probably pulled him up first. Later on I took a beating (yes, a physical one) over that score. I had brought Tullos out there to Five Points in El Monte, CA. So they blamed me for their loss.
Sunshine is mentioned in Fat's book. He was a good little hustler when he was a kid in New York. He always wore an NYU sweater so people thought he was a college kid. He became notorious as "The Kid in the NYU sweater." This was way back in the 1930's.
I knew Butch real well, maybe too well. There are things I know about him I can't talk about and won't. He did help me out a couple of times, helping me retrieve my stolen Szamboti cue (using sheer intimidation), and repossess a car that a guy had stiffed me on the payments. The guy came outside with a baseball bat, coming toward me as I got in the car (with the spare key) to get away. Butch told me to take off and he would handle it. In the rearview mirror I saw him swipe the bat away and break it over his knee. The guy backed down quick.
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veasy. cadillac joe some called him, he usually had some ratty old one. screwed over everyone he dealt with. was a good player though. as a person he was about the lowest in my book. rated with steve the whale. although steve was funny to be around if you could stand him.
alibi al, he was okay and generally fine to deal with but still a hustler. he played a good speed and it took someone he knew to beat him. he played 8 ball bar table the best for him. he survived because he was likeable and personable. and got into poker and traveled to where he could make a living.
alibi al, he was okay and generally fine to deal with but still a hustler. he played a good speed and it took someone he knew to beat him. he played 8 ball bar table the best for him. he survived because he was likeable and personable. and got into poker and traveled to where he could make a living.
Thanks for the link. I had noticed it was on Netflix, but haven't watched it yet. I don't know how they decided on which drummers to feature. Perhaps it was as simple as picking the producer's favorites. To feature any women drummers is strictly for PC/SJ purposes.
First, it was saddening to hear of Charlie Watts' demise. He wasn't a flashy drummer, but had superb "time", along with a feel that was absolutely integral to the Stone's sound and character. As for the greats, Buddy Rich was the greatest drummer of all time, and 99% of all drummers would agree with that. In the '60s and early '70s Mitch Mitchell (Hendrix) and Ginger Baker (Cream) topped the list, with Barrie Barlow (Jethro Tull), Neal Peart (Rush), and Terry Bozzio (Zappa) up there as well.
It's safe to say that any drummer who became famous knew what they were doing. I was a very good drummer, but I was equally adept at other percussion (marimba, vibraphone, timpani), so I was a bit of an anomaly in jazz/rock.
middleofnowhere
Registered
I think I saw you on a YouTube video last night with FZ and MOI. That was some weird stuff he was doing at least in that video.
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Steve the Whale…the lowest human being I’ve ever met. He made the Golden Q in Queens his “office”, stealing cues, cheating, and employing both new and old hustles on unsuspecting “civilians”. Truth be told, Steve could really play, but he preferred to rob anybody at any time. I think he met his maker in an unpleasant manner.
Jay needs to write more books and Doc needs to write his first!! Dayum!
What abut Gene Krupa? I saw a couple of his solos that were amazing. He could play at the speed of light!
He stole my Szamboti that Keith used to win the BC Open, and Butch got it back for me with one phone call!
It's impossible to overstate the effect that Krupa had on jazz drumming. His best era was the '30s through the '40s. In the late 1930s his exciting and beautiful drum solos on Sing, Sing, Sing with the Benny Goodman orchestra were to introduce the extended drum solo into jazz and, later, rock music. With his assistance, innovative design and inventions took basic primitive drum set equipment, and developed them into modern musical instruments, especially tom-toms, high hat cymbals and stands, and cymbal varieties. Throngs of the public flocked to dances and concerts to hear Krupa play.
Krupa was a uniquely stylish drummer, emphasizing musical aspects that had never before been done. He led most of his contemporaries in technique and artistry. But it was his infamous use of marijuana that titillated the public-- the idea that this "hop head" was beating out primitive rhythms and wild beats against the backdrop of a great big band catapulted him into fame. And he had the goods to be there.
By the time that he and Buddy Rich were featured together in drum "battles" during the early 1950s, Gene was in his 40s, and had slowed down just a shade. Buddy had idolized Gene, and even though Buddy's powerful technique and drive might have blown Krupa off the stage, Buddy always held back a little in deference to his idol. The public of course never knew that. Buddy was the Harold Worst or Efren Reyes of jazz drummers-- probably even more so in comparison to his contemporaries. But over the entire 20th Century, Gene Krupa was the most recognizable name in drumming, which of course, elevated all drummers.
For those that are interested, I'm sure that Gene's solos on Sing, Sing, Sing, and others, plus numerous examples of Buddy Rich's unparalled drumming, are available on YouTube.
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I just went and watched a YouTube of Sing Sing sing from the Ed Sullivan show
And the battle of the drummers from 1974 with Sammy Davis Junior on stage too
What tremendous virtuosity
Doc
you can answer this by p.m. if you want so as not to sidetrack the thread
But I noticed the drummers will sometimes hold the drumstick in their left hand similar to the way they do in the right hand
and other times grip the drumstick in their left hand across their palm ie palm up
Whats the difference/why/and is one way harder?
btw
i could never do "para diddle " very fast.....
And the battle of the drummers from 1974 with Sammy Davis Junior on stage too
What tremendous virtuosity
Doc
you can answer this by p.m. if you want so as not to sidetrack the thread
But I noticed the drummers will sometimes hold the drumstick in their left hand similar to the way they do in the right hand
and other times grip the drumstick in their left hand across their palm ie palm up
Whats the difference/why/and is one way harder?
btw
i could never do "para diddle " very fast.....
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You're very observant. There are two styles: "conventional grip", which grips the stick through the thumb and first & second fingers, with the thumb up; and "matched grip", in which both sticks are held the same, with the palm down.I just went and watched a YouTube of Sing Sing sing from the Ed Sullivan show
And the battle of the drummers from 1974 with Sammy Davis Junior on stage too
What tremendous virtuosity
Doc
you can answer this by p.m. if you want so as not to sidetrack the thread
But I noticed the drummers will sometimes hold the drumstick in their left hand similar to the way they do in the right hand
and other times grip the drumstick in their left hand across their palm ie palm up
Whats the difference/why/and is one way harder?
btw
i could never do "para diddle " very fast.....
Conventional grip has been around for hundreds of years. That left handed grip was developed when a drum was hung by a strap over the right shoulder across the body to march. The drum hangs at a natural angel (say 45 degrees), which would make it difficult for the drummer to hit the drum with the left hand palm down. Therefore a technique gradually developed which would allow the stick to angle down near to the same angel as the drum, thereby making it easier to play.
But when the modern snare drum stand allowed the drum to be parallel to the ground, or with the newer harness which can hold the drum flat (as with drum corps), there was no real need to use that left handed conventional grip. Still you can see pictures of early jazz drummers who adjusted the drum stand to an angle so that they could more easily use the conventional grip. And there are loads of drummers who continue to use conventional left hand grip even on a flat level snare drum, and I'm sure it continues to be taught.
However the other major disciplines in percussion instruments, such as timpani, marimba, vibraphone, and most miscellaneous percussion instruments all use matched grip. I learned to play with conventional grip, but at my first year at music conservatory it dawned on me that there was no good reason to play that way any more, so I switched. Then all percussion instruments could be played closely alike. It took me only a couple of days to become comfortable with it. After all, I had my own right hand to imitate. Later when I got back into playing the drum set, I learned that it freed me up considerably. For example most drummers play the hi-hat cymbals (which is to their left) with the right hand crossed over top of their left hand, which plays the snare drum. But with matched grip there is no need to cross over. Just play the hi-hat with the matched grip left hand.
This was a long winded answer to your question, but it does come up from time to time, and it makes sense why people would be confused.
thanks alot for the reply doc....
Buddy Rich's unparalled drumming, are available on YouTube
Along with the bus tapes. Lol
Along with the bus tapes. Lol