1 Thread: Jazz Drummers on Record (Take 2)
Here's an extensively revised list of the most-recorded drummers I posted earlier. Many thanks to the numerous folks who alerted me to players I overlooked. I also dug deeper into my own memory banks to think of others I may have missed.
2 Reminder: These numbers come from The Jazz Discography by Tom Lord. They represent the total number of sessions, not individual records. They also include only jazz as defined by Lord. No pop/R&B/film/TV/jingles. They do include broadcasts and bootlegs that have been released.
3 I’m sure I still missed some folks, but this is a fairly comprehensive list. Ready? Splendid.
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1. Shelly Manne, 902 2. Grady Tate, 698 3. Osie Johnson, 692 (among the most impressive because his recording window was an insanely short 17 years, 1949-1966). 4. Mel Lewis, 690 5. Billy Hart, 646
6 Gene Krupa, 620 7. Buddy Rich, 606
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8. Sonny Greer, 589 (Ellington made a LOT of records – all but about 25 of these are with Duke) 9. Don Lamond, 569 10. Steve Gadd, 554 (and God knows how many pop records, TV/Film dates, and commercials) 11. Papa Jo Jones, 539 12. Peter Erskine, 536
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13. Kenny Clarke, 535 (woulda been higher had he not moved to Europe in the late ‘50s) 14. Jack DeJohnette, 502 15. Larry Bunker, 500 16. Billy Higgins, 498 17. Alvin Stoller, 497 (if you didn’t call Manne on the West Coast, you called Stoller). 18. Harvey Mason, 479
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19. Alex Acuna, 469 (percussionist) 20. Victor Lewis, 442 21. Lewis Nash, 421 (at 60, he’s obviously going to keep moving up the ladder.) 22. Elvin Jones, 417
23 (tie). Roy Haynes, 410
Ray McKinley, 410 25. Art Blakey, 402
26 (tie). Max Roach, 386
Jimmy Cobb, 386
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28. Airto Moreira, 377 (percussionist) 29. Sam Woodyard, 381 (Duke Ellington redux) 30. Ed Thigpen, 374 31. Bernard Purdie, 361 32. Al Foster, 357 33. Don Alias, 354 (percussionist) 34. Ralph Macdonald, 347 (percussionist) 35. Stan Levey, 343 36. Daniel Humair, 341
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37. Han Bennick, 339 38. Cozy Cole, 338 39. Gus Johnson, 336 40. Joe LaBarbera, 326 41. Art Taylor, 323 (also woulda been higher but for spending 20 years in Europe) 42. Idris Muhammad, 314 43. Connie Kay, 314 44. Kenny Washington 310 45. Ben Riley, 306 46. Adam Nussbaum, 303
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47. Hamid Drake, 301 48. Danny Gottlieb, 298 49. Paul Motian, 293 50. (tie). Billy Drummond, 284
Alex Riel, 284
52 (tie). Lenny White, 280
Matt Wilson, 280 54. Billy Cobham, 276 55. Louis Hayes, 274 56. Joey Baron, 273 57. Jeff Hamilton, 272
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58. Ed Shaugnessy, 271 59. Mickey Roker, 270 60. J.C. Heard, 268 61. Albert Tootie Heath, 267 62. Vinnie Colaiuta, 264 63. Dave Tough, 262 64. Philly Joe Jones, 261 65. Jeff Watts, 249 66. Sonny Payne, 248 67. Oliver Jackson, 246 68. Sid Catlett, 243 69. Gerry Hemingway, 242
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70. Charli Persip, 240 71. Tony Williams, 239 (only 51 at his death) 72. Minu Cinelu, 235 (percussionist) 73. Earl Palmer, 233 74. Jake Hanna, 231 75. Joe Morello, 220 76. (tie). Marvin Smitty Smith, 217
Brian Blade, 217 78. Bill Stewart, 215
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79. Ray Barretto, 205 (percussionist)
80 (tie). Bobby Rosengarden 199
Tom Rainey, 199
82 (tie). Cyro Baptista, 196
Dave Weckl, 196 84. Joe Farnsworth, 195 85. Emil Richards, 194 (percussionist)
86 (tie). Roy McCurdy, 193
Kenny Wolleson, 193
1. The Sage and Soul of Detroit and The Conscience of Jazz
My obituary for maestro Barry Harris has posted at npr.org/2021/12/08/106…. What follows is an annotated playlist of recordings & videos. As always, the music survives. It's all here: Truth and Beauty.
2 “Hopper Topper,” 1950. Barry’s debut record. “Cherokee” changes with no theme. Striking confidence for a 20-year-old. The even attack, precise beat & jabbing left hand remind me of Horace Silver. The young Frank Foster comes directly out of Sonny Stitt.
3 “All The Things You Are" (1958). Will Austin/Frank Gant. Barry’s first LP as a leader opens w/ a ballad at a walking tempo. Improvised curtains of lovely double-time melody. All-Detroit trio, produced for Argo in Chicago by another Detroiter, Dave Usher.
1. Greg Tate (1957--2021)
Greg Tate was a heavyweight champ among American cultural critics. There was nobody like him. Not his voice on the page nor the synapses in his brain that made supple and insightful connections nobody else would think of and at lightening speed.
2. He once said, "I have come to occupy a somewhat unique position in the constellation of African American writing by keeping one ear to the street, one ear to the academy & a phantom third hearing organ to my own little artsy-fartsy corner of Gotham & Brooklyn’s Black bohemia."
3. He was inimitable. As always, the work survives. His essay collections "Flyboy in the Buttermilk" and Flyboy 2" are an imposing legacy -- especially the former, which belongs on the shelf with Ellison, Baldwin, Murray, Crouch, and Baraka.
1. Alert! There's video of Elvin Jones w/Duke Ellington. I've heard audio of Elvin's brief post-Coltrane stint w/ Duke in 1966, but I've never seen video until today. Now, where the hell is the rest of this concert? (Skeets Marsh is the second drummer.)
2. There's a backstory (natch). Elvin's experience with Duke was not a happy one. Elvin spoke about it with Whitney Balliett of the New Yorker for an essential profile in the magazine in 1968, published under the title "A Walk to the Park."
3. "I joined him in Frankfurt, and my stay with him lasted just a week and a half, through Nuremberg and Paris and Italy and Switzerland. I was new. It was difficult for the band to adapt to my style and I had to do everything in a big hurry, trying to adapt to them.
Happy birthday to the innovative bassist Oscar Pettiford, born Sept. 30, 1922, and gone in 1960 at the tragically young age of 37 (viral infection). Here his is in 1959, playing his composition "The Gentle Art of Love."
Pettiford often gets overlooked -- he's namechecked perhaps but not often studied. When folks think about the development of the bass they often go from Blanton to Ray Brown, maybe a quick sidestep for Mingus, and then on to Paul Chambers. But Oscar is critical.
He was on the scene a little before Brown, and O.P. was the first to grasp the chromatic language of Bird and Dizzy and their rhythmic phrasing. He really played bebop. Ray is right in there too of course. But no Oscar, no PC -- and no Ron Carter.
1. Maestro @herbiehancock turns 81 today. Herbie is great in so many ways, but perhaps this doesn't get said enough: He's one of the best accompanists in jazz history. What are the greatest examples of Herbie "comping" on record? Please chime in with faves. I'll start with a few.
2. Stella by Starlight w/Miles, 1964. What an intro! 4 rubato bars of perfection. Telepathy w/Miles is off the charts, Herbie playing in the cracks. Harmony, touch, melodies & rhythms link Miles phrases in ballad or swing time. Same thing behind George.
3. Snuff w/JMac, 1964. 32-bar modal structure. B-flat minor for 8 bars, B-flat 7 for 8, chromatic bridge, then back to B flat 7. Herbie’s rhythmic hook up w/Roy Haynes--whew! He's alert to the blues behind Jackie but wanders harmonically behind Tolliver.
Word has come that the peripatetic composer-pianist Freddie Redd has died at 92. He hit a peak in 1960, recording two masterpieces, "The Connection" (February) & six months later the equally remarkable but more obscure "Shades of Redd." (Both LPs are on Blue Note.)
2 "The Connection" is Redd's score for Jack Gelber's play of the same name that ran in NY at the experimental Living Theatre, 1959-60. Redd's 4qt w/Jackie McLean appeared as actors, performing at regular intervals. (Gelber specifies music in the style of Charlie Parker.)
3 The play is a bleak, existential drama descended from "Waiting for Godot" and "The Iceman Cometh," with a play-within-in-a-play structure about a bunch of heroin addicts waiting around for their connection.