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Old Drumsets
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2 Re: Old Drumsets Sun Feb 26, 2012 8:05 am
Asaph
Chick Webb! He was the man for many drummers back in that day.
I believe these types of set-ups are where the term "Trap set" comes from, based on people calling these set ups "contraptions."
I believe these types of set-ups are where the term "Trap set" comes from, based on people calling these set ups "contraptions."
3 Re: Old Drumsets Sun Feb 26, 2012 8:07 am
Asaph
Nothing new under the sun. Bass drum art work, rack systems, gongs, percussion ... I've even seen youtube vids of huge bass drums coming back.
I may be wrong here, but I seem to recall Papa Jo being part of the move to bring the "sock" cymbals up higher into the first hi-hat stands of that time period.
I may be wrong here, but I seem to recall Papa Jo being part of the move to bring the "sock" cymbals up higher into the first hi-hat stands of that time period.
4 Re: Old Drumsets Sun Feb 26, 2012 10:27 am
spanky
I thought that was Gene Krupa that did that, I am trying to remember. I am talking about bringing up the hi hat, I think I posted something about that on this forum months ago. I might be wrong I found what I saw below a while back, it is the contributions that Krupa made ti the development of the modern drumset. And really thank Krupa for the tunable toms, and the hi hat development.
In the 1930s, Krupa prominently featured Slingerland drums. At Krupa's urging, Slingerland developed tom-toms with tuneable top and bottom heads, which immediately became important elements of virtually every drummer's set-up. Krupa developed and popularised many of the cymbal techniques that became standards. His collaboration with Armand Zildjian of the Avedis Zildjian Company developed the modern hi-hat cymbals and standardized the names and uses of the ride cymbal, the crash cymbal, the splash cymbal, the pang cymbal and the swish cymbal. One of his drum sets, a Slingerland inscribed with Benny Goodman's and Krupa's initials, is preserved at the Smithsonian museum in Washington, D.C.[]
In the 1930s, Krupa prominently featured Slingerland drums. At Krupa's urging, Slingerland developed tom-toms with tuneable top and bottom heads, which immediately became important elements of virtually every drummer's set-up. Krupa developed and popularised many of the cymbal techniques that became standards. His collaboration with Armand Zildjian of the Avedis Zildjian Company developed the modern hi-hat cymbals and standardized the names and uses of the ride cymbal, the crash cymbal, the splash cymbal, the pang cymbal and the swish cymbal. One of his drum sets, a Slingerland inscribed with Benny Goodman's and Krupa's initials, is preserved at the Smithsonian museum in Washington, D.C.[]
5 Re: Old Drumsets Sun Feb 26, 2012 10:57 am
Asaph
That is probably true about Gene and the hihat cymbals. The first ones as you can see were little flying saucer units. I thought I read that papa Jo was instrumental in the development of the hihat stand, up from the floor mechanism seen in your photos.
Funny how all through history people come up with the most logical ideas and many say, So simple. Why didn't someone think of that before?
Funny how all through history people come up with the most logical ideas and many say, So simple. Why didn't someone think of that before?
6 Re: Old Drumsets Sun Feb 26, 2012 11:07 am
spanky
Born as "Jonathan David Samuel Jones" in Chicago, Illinois, he moved to Alabama where he learned to play several instruments, including saxophone, piano, and drums. He worked as a drummer and tap-dancer at carnival shows until joining Walter Page's band, the Blue Devils in Oklahoma City in the late 1920s. He recorded with trumpeter Lloyd Hunter's Serenaders in 1931, and later joined pianist Count Basie's band in 1934. Jones, Basie, guitarist Freddie Green and bassist Walter Page were sometimes billed as an 'all-American Rhythm section'. Jones took a brief break for two years when he was in the military, but he remained with Basie until 1948. He participated in the Jazz at the Philharmonic concert series.
He was one of the first drummers to promote the use of brushes on drums and shifting the role of timekeeping from the bass drum to the hi-hat cymbal. Jones had a major influence on later drummers such as Buddy Rich, Kenny Clarke, Roy Haynes, Max Roach, and Louie Bellson. He also starred in several films, most notably the musical short Jammin' the Blues (1944).
Jones performed regularly in later years at the West End jazz club at 116th and Broadway in New York City. These performances were generally very well attended by other drummers such as Max Roach and Roy Haynes. In addition to his artistry on the drums, Jones was known for his irascible, combative temperament.
In contrast to drummer Gene Krupa's loud, insistent pounding of the bass drum on each beat, Jones often omitted bass drum playing altogether. Jones also continued a ride rhythm on hi-hat while it was continuously opening and closing instead of the common practice of striking it while it was closed. Jones's style influenced the modern jazz drummer's tendency to play timekeeping rhythms on a suspended cymbal that is now known as the ride cymbal.
In 1979, Jones was inducted into the Alabama Jazz Hall of Fame for his contribution to the Birmingham, Alabama musical heritage. Jones was the 1985 recipient of an American Jazz Masters fellowship awarded by the National Endowment for the Arts.
He was one of the first drummers to promote the use of brushes on drums and shifting the role of timekeeping from the bass drum to the hi-hat cymbal. Jones had a major influence on later drummers such as Buddy Rich, Kenny Clarke, Roy Haynes, Max Roach, and Louie Bellson. He also starred in several films, most notably the musical short Jammin' the Blues (1944).
Jones performed regularly in later years at the West End jazz club at 116th and Broadway in New York City. These performances were generally very well attended by other drummers such as Max Roach and Roy Haynes. In addition to his artistry on the drums, Jones was known for his irascible, combative temperament.
In contrast to drummer Gene Krupa's loud, insistent pounding of the bass drum on each beat, Jones often omitted bass drum playing altogether. Jones also continued a ride rhythm on hi-hat while it was continuously opening and closing instead of the common practice of striking it while it was closed. Jones's style influenced the modern jazz drummer's tendency to play timekeeping rhythms on a suspended cymbal that is now known as the ride cymbal.
In 1979, Jones was inducted into the Alabama Jazz Hall of Fame for his contribution to the Birmingham, Alabama musical heritage. Jones was the 1985 recipient of an American Jazz Masters fellowship awarded by the National Endowment for the Arts.
8 Re: Old Drumsets Sun Feb 26, 2012 3:39 pm
D. Slam
The end of that video was incredible!
Papa was really movin! Magnificent
brush work!!!
Papa was really movin! Magnificent
brush work!!!
9 Re: Old Drumsets Mon Feb 27, 2012 10:50 am
spanky
I got a good laugh out of the facial expressions of Papa Joe on this one, when he solos. It was just to funny. And is that the Count that I see there on sax ? And if it is I did not know he played sax.
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