I had the pleasure of meeting and talking to Joe at a drum clinic in London about 1964, I was a young 16year old lad then and having only been playing drums for one year I was keen to soak up anything I could from the masters, he signed my drum book (which I still have obviously) and flicked through it looking at the photos of a mixture of drummers of all styles, jazz, pop, orchestral etc, he asked me who Dave Clark was and what he played like, Joe was a very polite and down to earth guy but I still remember his drum solo now, he asked us to close our eyes and imagine we were on a beach and the ocean tide was coming in , he started off peacefully with brushes and built the solo to a crescendo climax with sticks. Lovely guy and was voted best drummer in the world back then.
Kevin O"Brian...Nice story. I saw Joe Morello with the Brubeck Quartet in February 1975 at McCarter Theater, Princeton NJ . It was the reunion of the band which had broken up previously. Went to the dressing room and met Paul Desmond, and sat and talked to Dave Brubeck for a half hour in which Dave was drinking a Miller High Life can of beer in his T - shirt. !! Great guy ,that Dave. Joe had already taken off so did not meet him, darn.
The man who inspired me to study jazzdrumming, he's so much more sympathetic than Buddy Rich and tells more interesting storys on the drum set being on the same level like the notoriously ambitious Buddy.
That’s humiliating. Just because one a is great drummer, it doesn’t mean they’re a good person. But I’m sure Buddy had some moments where he was nice. Some….
I attended a Joe Morello clinic when I was a kid. I got to briefly meet him. I still have his autographed book "Off the record." I remember him as a friendly man and an amazing musician.
What a modest gentleman. He is never condescending to anyone when he talks. He shows respect for everyone whether they are fellow musicians or interviewers. In this respect, he was a 10 and Buddy Rich was a 1 in the scale of 1 to 10. I've followed both of them since the 1960's. Although I have many favorite drummers, Joe will always be at the top of the list. My favorite living drummer for jazz is Jeff Hamilton who has the same modest personality and wonderful skills.
MOST REALLY GREAT drummers, or just musician's in general, are modest and polite. Phil Keaggy is one of the most phenomenal guitar players in current history, and you will NOT MEET a more humble/modest human being!!!
All the greats used " The Awesome American Made in Chicago, ILS. Ludwig Drum Sets or Kits Quality Sound and Durability with the Awesome American Made Zuilgian Cymbals! Listen to "The Man" He was ahead of His Time!
Not really. 🙂 It's a self-sustaining thing. Its very existence guarantees its continuing existence and ensures that nothing changes the trad grip status quo. People are raised to play a certain thing a certain way and teach others what they were taught. They're told, "If you want to swing, you have to play this way. All of the greats did. All the modern greats still do because they're copying what they've seen and what they admire the most. If YOU want to be great, you should play like they do, too." That's a formula that precludes any form of deviation from the established norm. And if they question the jazz-swing trad grip dogma, if they want to do things differently, if they want to develop their matched grip to a similar level - even if they've already mastered matched grip left hand finger-rolls with all of the snap and fire and feel of a trad-grip player - they're shown examples of brilliant, wonderfully musical drummers who are masters of the trad grip, and are told that wanting to be different is heresy, blasphemy, and an insult to all those who've gone before. It's nonsense of course, but there's a lot of pressure to conform. With sufficient talent and dedication you can play anything with either hand any way you like, but there's a lot of 'snobbery' involved. You have to look a certain way on the stool; you have to set up your drums a certain way; you must - MUST - play trad grip if you want to be taken seriously. Anything else is WRONG because there are countless excellent, famous trad-grip technicians but not one famous matched grip jazz player... So nobody even dares to try. They're terrified of being dismissed as just one more four-on-the-floor 'rock' drummer. A caveman banging a block of wood with a thigh bone. Big band swing is THE definitive jazz drummer's role - everybody says so - and nobody ever got famous playing matched grip because... because nobody dared to try. There are sooooo many outstanding examples of trad grip virtuosity that even finding a tutor willing to teach you matched-grip jazz and swing is a near-impossible task. Ask me how I know... 😁
@@EleanorPeterson I'm not that much into playing jazz personally, more of listening , and attempting traditional slip once in a while, but Ari Hoeing seemed pretty awesome enough of a jazz player, but not in the traditional sense grip market. Maybe that's Jazz fusion? Also being from the south, another non-traditional grip Jazz-blues-fusion drummer named Doug Belote caught me by surprise, It might even be called jazz funk, I don't know.. Just to add, look at Steward Copeland's grip, it's a different traditional grip I'm told!
Could it be because it's the better grip. More flexible for sure. I have a drummer friend who plays match grip, and says he regrets only learning that way. Tried to switch back to traditional grip, but was too much trouble, because he was playing regular. Poopie.....
@@EleanorPeterson I think there's a lot of truth in what you say. I think the traditional grip comes from military drumming and rudiments. I had a book of instructional material, published by Ludwig, and that's what it taught. I must still have it somewhere. I found it quite useful and still play rudiments fairly often. However it's not the whole story by any means. There are so many other styles of drumming in all kinds of musical traditions, I think it's a shame to limit oneself to just one. I really like playing with just my hands best, but when I do use sticks (or mallets or whatever), I'll often use the underhand grip with both hands and also change grips often. Among other things, it depends on where I've placed a drum or a cymbal or whatever. I also set things up differently a lot, and usually try out everything right-handed and left-handed. Not that that would be the right approach for everybody, but there are so many different things one can do with percussion.
I read or heard somewhere that Mr Morello would play the bass pedal with the tension spring removed and was able to catch the beater from the head rebound; playing fast single foot "rolls" on the bass....has anyone else heard about this?
I've followed all the great drummers - jazz and rock - for decades and I've never heard this about anyone, even Buddy Rich, Jon Bonham or Ginger Baker. This technique would only work during forceful playing which creates a rebound. The spring is needed for softer playing and more control.
It's all a matter of personal taste. I've owned an American made Ludwig kit, and it was quite good in both sound and appearance. I later purchased a Gretsch Catalina maple kit that I think looks and sounds better. That is my personal opinion based on my personal experience, but hey, play whatever you like.
I had the pleasure of meeting and talking to Joe at a drum clinic in London about 1964, I was a young 16year old lad then and having only been playing drums for one year I was keen to soak up anything I could from the masters, he signed my drum book (which I still have obviously) and flicked through it looking at the photos of a mixture of drummers of all styles, jazz, pop, orchestral etc, he asked me who Dave Clark was and what he played like, Joe was a very polite and down to earth guy but I still remember his drum solo now, he asked us to close our eyes and imagine we were on a beach and the ocean tide was coming in , he started off peacefully with brushes and built the solo to a crescendo climax with sticks. Lovely guy and was voted best drummer in the world back then.
最高です。
Kevin O"Brian...Nice story.
I saw Joe Morello with the Brubeck
Quartet in February 1975 at McCarter Theater, Princeton NJ .
It was the reunion of the band which
had broken up previously.
Went to the dressing room and met Paul Desmond, and sat and talked to Dave Brubeck for a half
hour in which Dave was drinking a
Miller High Life can of beer in his
T - shirt. !! Great guy ,that Dave.
Joe had already taken off so did
not meet him, darn.
A wonderful memory. You lucky dog.
The man who inspired me to study jazzdrumming, he's so much more sympathetic than Buddy Rich and tells more interesting storys on the drum set being on the same level like the notoriously ambitious Buddy.
And SOOOOOO MUCH MORE MELODIC, without being so arrogant!!!!!
I could NEVER see Buddy Rich give ANY kind of Seminar on how to Play Drums.
Morrello have better improvisation than buddy.Buddy had better timing...always spot on
@@nickmalone3143 ......Morello is easier and more enjoyable to listen to! At least to me, and I'm a kit drummer since 1962. So I go back a few years!
That’s humiliating. Just because one a is great drummer, it doesn’t mean they’re a good person. But I’m sure Buddy had some moments where he was nice. Some….
He actually makes music on the drums
I attended a Joe Morello clinic when I was a kid. I got to briefly meet him. I still have his autographed book "Off the record." I remember him as a friendly man and an amazing musician.
What a gem this little clip is! Still one of my very favorite players ever. A combination of groove and technique achieved by very few others.
One of the Greats!
One of the greatest drummers of all time!!!!
RIP🙏
I love drum rolls , they’re the only ones that don’t cause my weight gain.
Joe Morello was and is one of the best with a humble attitude as well. Hard to beat that combination.
What a modest gentleman. He is never condescending to anyone when he talks. He shows respect for everyone whether they are fellow musicians or interviewers. In this respect, he was a 10 and Buddy Rich was a 1 in the scale of 1 to 10. I've followed both of them since the 1960's.
Although I have many favorite drummers, Joe will always be at the top of the list.
My favorite living drummer for jazz is Jeff Hamilton who has the same modest personality and wonderful skills.
MOST REALLY GREAT drummers, or just musician's in general, are modest and polite.
Phil Keaggy is one of the most phenomenal guitar players in current history, and you will NOT MEET a more humble/modest human being!!!
@@genewilliams617absolutely. all the way back to glass harp, saw him and Paul Clark late 70s in Seattle.
I met both of them twice. Joe was a very nice guy, and Buddy was an entertainer.
A true Master
Speechless, in awe.
Great chops, musicality, finesse and the sound of his Ludwigs extraordinaire.
Truly one of the best.
Amazing drummer!
Genius! Real Genius!
One of the best Jazz Bands in the History, the Dave Brubeck Quartet, His drum solo in Take Five is also amazing !
"Wipe Out"? 1963 5 drummers in the high school band. One, a doctor's son taking lessons from Joe Morello in Springfield. I have a Joe video
All the greats used " The Awesome American Made in Chicago, ILS. Ludwig Drum Sets or Kits Quality Sound and Durability with the Awesome American Made Zuilgian Cymbals! Listen to "The Man" He was ahead of His Time!
I now see where Jon Bonham got Moby Dick solo from. I am your new fan!
A Master at work!
Pure pleasure to watch and listen to.
YEAH!! ✌😎👍
Brilliant lesson
Great clip. Thanks.
Sweet drumming.
One of the greatest
Majestic Joe!
Magnifico.😭
Sensacional 😂
It’s great to see this virtuoso getting to display his immense talent.
A great drummer, he plays the instrument.
every great drummer loves to do something absolutely mind blowing and then say “that’s all i’m doing”
Awesome
Un pedazo de historia
Rhythm Master!
🌹
🙋❤️❤️🌹🌹
What hi-hats is this anyway? I noticed some jazz drummer go with thick heavy hi-hats, just like with Rock..
The greatest drummers like this genious almost always employ the traditional grip
Funny that
Not really. 🙂 It's a self-sustaining thing. Its very existence guarantees its continuing existence and ensures that nothing changes the trad grip status quo.
People are raised to play a certain thing a certain way and teach others what they were taught. They're told, "If you want to swing, you have to play this way. All of the greats did. All the modern greats still do because they're copying what they've seen and what they admire the most. If YOU want to be great, you should play like they do, too."
That's a formula that precludes any form of deviation from the established norm.
And if they question the jazz-swing trad grip dogma, if they want to do things differently, if they want to develop their matched grip to a similar level - even if they've already mastered matched grip left hand finger-rolls with all of the snap and fire and feel of a trad-grip player - they're shown examples of brilliant, wonderfully musical drummers who are masters of the trad grip, and are told that wanting to be different is heresy, blasphemy, and an insult to all those who've gone before.
It's nonsense of course, but there's a lot of pressure to conform. With sufficient talent and dedication you can play anything with either hand any way you like, but there's a lot of 'snobbery' involved. You have to look a certain way on the stool; you have to set up your drums a certain way; you must - MUST - play trad grip if you want to be taken seriously.
Anything else is WRONG because there are countless excellent, famous trad-grip technicians but not one famous matched grip jazz player...
So nobody even dares to try. They're terrified of being dismissed as just one more four-on-the-floor 'rock' drummer. A caveman banging a block of wood with a thigh bone. Big band swing is THE definitive jazz drummer's role - everybody says so - and nobody ever got famous playing matched grip because... because nobody dared to try.
There are sooooo many outstanding examples of trad grip virtuosity that even finding a tutor willing to teach you matched-grip jazz and swing is a near-impossible task. Ask me how I know... 😁
@@EleanorPeterson I'm not that much into playing jazz personally, more of listening , and attempting traditional slip once in a while, but Ari Hoeing seemed pretty awesome enough of a jazz player, but not in the traditional sense grip market. Maybe that's Jazz fusion? Also being from the south, another non-traditional grip Jazz-blues-fusion drummer named Doug Belote caught me by surprise, It might even be called jazz funk, I don't know.. Just to add, look at Steward Copeland's grip, it's a different traditional grip I'm told!
Could it be because it's the better grip. More flexible for sure. I have a drummer friend who plays match grip, and says he regrets only learning that way. Tried to switch back to traditional grip, but was too much trouble, because he was playing regular.
Poopie.....
@@EleanorPeterson ....sounds like you have been there, bought the T shirt, washed it, and it shrunk!!!!!!
@@EleanorPeterson I think there's a lot of truth in what you say. I think the traditional grip comes from military drumming and rudiments. I had a book of instructional material, published by Ludwig, and that's what it taught. I must still have it somewhere. I found it quite useful and still play rudiments fairly often. However it's not the whole story by any means. There are so many other styles of drumming in all kinds of musical traditions, I think it's a shame to limit oneself to just one.
I really like playing with just my hands best, but when I do use sticks (or mallets or whatever), I'll often use the underhand grip with both hands and also change grips often. Among other things, it depends on where I've placed a drum or a cymbal or whatever. I also set things up differently a lot, and usually try out everything right-handed and left-handed. Not that that would be the right approach for everybody, but there are so many different things one can do with percussion.
I read or heard somewhere that Mr Morello would play the bass pedal with the tension spring removed and was able to catch the beater from the head rebound; playing fast single foot "rolls" on the bass....has anyone else heard about this?
I've followed all the great drummers - jazz and rock - for decades and I've never heard this about anyone, even Buddy Rich, Jon Bonham or Ginger Baker.
This technique would only work during forceful playing which creates a rebound. The spring is needed for softer playing and more control.
Yes, its possible with enough tension on the batter head. I also saw someone using Rubber Bands instead of Metal springs, interesting to try .
Это что - то!!
Steve Gadd is the Joe Morello of rock. Amirite?
Lud-wiggy!
I swear I hear Bonzo in some of this.
Bonzo…same planet different times(pun intended)
Dave Brubeck was a tiny cosmos
In that there was an Irishman a wop a black and a Cherokee Jew
No what you hear is Joe Morello's influence shining through in Bonzo.
Indeed. I think he was an influence on Bonham, If I am not mistaken.
This guy looks like he should be sitting at the CAPCOM consul at mission control .
Qui c'est le patron 😅
Basically impossible
The blows are heavy ((... Solo on pots in a dark kitchen...
Ludwig. The only real kit. Everything else is a study.
It's all a matter of personal taste. I've owned an American made Ludwig kit, and it was quite good in both sound and appearance. I later purchased a Gretsch Catalina maple kit that I think looks and sounds better. That is my personal opinion based on my personal experience, but hey, play whatever you like.
The hue of that Supraphonic makes me believe it the Ludwig Supraphonic. I ahve one thay are so aesome sounding and looking.