“On ‘IT’S A RAGGY WALTZ’, particularly, I feel all of us achieved the goal of playing polyrhythmically and polytonally in a swinging groove that was as natural as if we were in 4/4. ... I play best when Gene is happy, when Desmond is determined – and,” [he smiled] “Morello is recovering from the flu!”
~ Dave
Brubeck
Joe
Morello may have been just one pocket protector short of being classified as an
A-list nerd, but NO ONE played the drums better!
I was
raised on three things: Rock music, and the shouted demands, “Turn it down!” and “Comb
your hair!”
In my
day, in my musical era, John Bonham of Led Zeppelin was considered a beast when
it came to drumming. A little later, Neil Peart of the band Rush came to be
thought of as Rock music’s premier drummer. ...*YAWN*
I usually
drop right off to sleep, but I have trouble staying asleep. Maybe I should
keep a tape loop of John Bonham’s drumming playing next to my bed. That just
might keep me asleep.
I’ve only
owned one Rush album in my life. As a teenager, I purchased their 1977 release
‘A Farewell To Kings’ but I really couldn’t stand Donald Duck’s vocals, so I
never bought another Rush record. I’ve heard some of their later songs on radio
and I kept hearing how great Neil Peart was on drums, but... I just couldn’t
hear it.
So one
night, several years ago, I asked my buddy LC
to loan me a compact disc with what he considered to be Neil Peart’s best
drumming. He gave me (I think) a ‘Live’ recording and told me which track to
play. I played it. It was OK – better than I expected, but it still wasn’t
enough to convince me that Neil Peart was all that great.
The
problem was that in 1981, I discovered Jazz and began to realize how weak and
underdeveloped most of the Rock music I’d been raised on really was.
I had
already been exposed to Jazz from my childhood because my parents liked some of
it: From Pa I got Louis Prima; from Ma I got Cannonball Adderley. But it didn’t
really stick, because there were no electric guitars.
So what
happened in 1981? I went to see the movie ‘AMERICAN POP’ with my
buddy Marty. We both dug it, and shortly afterwards I bought the movie
soundtrack LP:
.
.
Included
on that album was an instrumental titled ‘TAKE FIVE’ by The Dave Brubeck
Quartet. The more I played that album, the more I began to notice the peculiar
drum solo in ‘Take Five’. After awhile it became my favorite cut on that album
because the drum solo was so unique. In fact, there was one particular place in
it that always made me laugh out loud... for real! I could scarcely believe it,
as this was the first time I’d ever found “humor” in an instrumental music
piece!
Even
though I had heard some fairly decent drum solos up to that point (most notably
on a Santana album I’d owned for a number of years), I always felt the drums
were meant to keep time and add a little texture to a song, but I had never
fully embraced the idea that drums could or should be considered solo
instruments. That was until I discovered JOE
MORELLO and his legendary solo in The
Dave Brubeck Quartet’s hit ‘Take Five’.
It was
‘Take Five’ on the ‘American Pop’ soundtrack album that really opened my ears to
Jazz and drums. As I began to explore more types of Jazz and the master
musicians of that form, I came to truly appreciate drumming that went well beyond
the rather boring hammering-away-at-the-skins that I had previously encountered
in the Rock genre.
I discovered
Buddy Rich, Shelly Manne, Billy Cobham, Jimmy Cobb, Wynton Kelly*, Steve Gadd, Art
Blakey, and Gene Krupa. But ultra-quirky Joe Morello has remained my all-time
favorite.
The other
day, my friend LC and I were discussing
some favorite record albums recorded “Live”. You’ll find that commentary HERE.
.
Earlier
today, I listened to both discs from ‘THE
DAVE BRUBECK QUARTET AT CARNEGIE HALL’, and I can say that without a shred
of doubt, this album would HAVE to make any list of ‘Favorite Live
Albums’ that I composed.
It’s not
entertaining in the way a Todd Snider album is because Todd says a lot of funny
things between songs. And it’s not high-octane electric like Thin Lizzy’s ‘Live
And Dangerous’ is.
But speaking
strictly about the music the album contains... nothing is better! I mean, we
are talking about some of the most accomplished, creative, and gifted musicians
on the planet. They improvise so creatively that even the band’s frontman, Dave
Brubeck, listening to the recording years later, is mystified about how he and
his 3 band companions managed to transcend the tunes, the esteemed forum, and
Joe Morello’s flu bug, and took these tunes, and the audience that heard them
that night, to some new, undiscovered territory of the mind. It’s not loud,
it’s not flashy and colorful; there are no smoke bombs and strobe lights but,
in my opinion, ‘THE DAVE BRUBECK QUARTET
AT CARNEGIE HALL’ is as good and complex as instrumental music can get! It
also includes what I consider the best drum solo I’ve ever heard.
Take it
away, Joe!...
‘CASTILIAN
DRUMS’ (Disc 2; Track 4)
Album: ‘THE
DAVE BRUBECK QUARTET AT CARNEGIE HALL’ (1963)
Drummer: JOE
MORELLO
~ Stephen T. McCarthy
Doggtor of Jazzological Studies,
Bourbon Street University
Doggtor of Jazzological Studies,
Bourbon Street University
POSTSCRIPT: In my opinion, Rock music’s most underrated drummer is probably TONY
BROCK of ‘The Babys’. Brock never overplayed, but he hit hard, had a great
beat, and always used the perfect amount of cowbell!
YE OLDE
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