Fantastic drummer, great timing and versatility. Thanks, Morris, for your musical heritage - your talents and achievements are still being enjoyed all around the world. Peace, love & light. 🕊❤️🌟
Morris "The Human Metronome" is one of the great unsung musicians of the last 30 years or so. When I was struggling in Chicago, he gave me a bunch of his smaller gigs so I could eat and pay rent. He even gave me new drumheads. One of the greatest players, and a very nice human being!
A foot note to this story as told to me by my unlce Marty Lishon: During the lesson Marty and Maurie my grandfather, and a few other employees had their ears pressed up against the door of the studio eavesdroping in on this hysterical event where they heard Buddy cursing and throwing sticks, and at some point Buddy opened the door and everyone fell in on him like a Marx Brothers movie. That was FRANKS DRUM SHOP! Michael Dubin I loved hearing this story direct from Morris the source!
I worked at Franks Drum Shop and remember the day very well. Glen and I kept our ears to the wall every chance we got. Not much work got done that day. They used the last studio before you got to Clarance's repair station. The Bob Tillis studio.
@GUpNu He used to be the house drummer for Chess records, played with all the blues & R&B stars of his day. He's the drummer on all tracks except one on Curtis Mayfield's "Superfly." He also played on one of the earliest all-out jazz-rock fusion albums, "Blowin' Gold" by John Klemmer which had Phil Upchurch on bass & Pete Cosey (later in Miles Davis) on guitar. This record came out in 1969 before Bitches Brew & is already total balls-to-the-wall fusion of the type heard in so many 70s groups.
There is something to be said that sometimes it is harder to play or do something simple than it is to be more complex. Though it is kind of hard to believe that as gifted as Buddy was that he had a hard time playing basic rock beats. Most of the rock type stuff i've heard him play, he played the rhythm on the ride cymbal instead of the hi-hats. That made it more jazzy, which of course he liked better and was used to. He often used other drummers when there was a new chart or arrangement to work out. Amazing how he could hear some other drummer play a new chart as it was written and then step in and play it his way ( better ) and have it in memory forever.
Unawares, Buddy's old "One Trick Pony Roll" Albums were not selling. Soul Music carried the day in the new Superfly Era, where public demand was geared toward pocket rhythm patterns, married to beautiful melodic and harmonic content. My Man Morris was integral to the development of this Soul Music , that only comes from; The Soul. Love Always Brother. Your most grateful Student, Kenny Tams
Not everyone can feel the same. A great rock guitar player to a jazz to a blues all can be great but because you're great doesn't mean you're great at everything but let's make no mistake Buddy Rich was and will forever far surpass any drummer of any style he was a Million TImes far advanced at what he did as to what any other drummer could do of any style. Pure magic that will never be duplicated ....LONG LIVE BUDDY RICH WORLDS GREATEST DRUMMER THEN NOW AND FOREVER.
He certainly couldn’t play rock better than John Bonham, and he couldn’t play blues better than Odie Payne or Clifton James, and he definitely couldn’t play funk better than Morris Jennings or Clyde Stubblefield.
@adrianpeek I just got back from Chicago opening for Gumbohead a band that Morris is the drummer in. The band I play in is cousins to the band leader that Mo is in. I got to sit hours with him one on one and listen to stories of music, musicians, making albums and so on. No lies from this kat he is truly a heavy hitter. So I made contact with a person after hearing one of his stories & was told believe what comes out his mouth. Morris is a blessing to us! Going back to hang with him!
@metamorphosis67 Yeah I loved his stories about being on chess records. I love his work with Donny Hathaway! Everything is everything.... Its so funny cause while talking with him I told him that I would practice to that album as a kid and would have never believed that I would meet the drummer behind the music! Also never knew he was from my city! We know so many of the same musicians the connection is unreal! I've had many other visits with him and I get a drum lesson everytime......
I'm not buying Moe's story about Buddy having trouble with a straight 8, the guy was a master of rhythm and control of the sticks, I think Moe is embellishing a bit here.
I know some of you think this is bullshit, but I for one, believe it's true. In 1976, I was doing well as a jazz drummer. (not bragging, just a big fish in my small local pond) When I went on the road, disco was becoming big, and I suddenly had to start playing those things. I found it totally disorienting, and had a very rough time with it for a while. Later, it became so easy I could do it my sleep, of course, but it wouldn't surprise me to learn that Buddy, or any other jazz-oriented drummer had a temporary problem doing it.
Sorry, it strains credibility to the breaking point to suggest that one of the most accomplished drummers in history couldn't listen to a record and imitate it.
Does anyone know what he means at 2:50 when he says " no 55 55 " ? Is that term used for a certain time keeping style on the hi hat...or ? If anyone could help me with that, I'd be very gald.
"55" or sometimes framed as "69" is the rhythm that many if not most jazz drummers play on the ride cymbal [the middling-sized cymbal mounted at the right side of the bass drum) or which is often played on the hi-hat when a piece calls for a more quiet timing, all of which when played sounds as if you were murmuring to yourself '55'~~~ or '69' ~~~ over and over again. It is a stable in jazz, first derived by the great jazz drummer Jo Jones, which innovation is in itself sheer genius, because it became the hallmark rhythm used among drummers worldwide -- and still is. In 4-4 or 2-4 time [the time signature], it is a series of dotted eighth- or sixteenth- or thirty-second notes ( depending upon how fast a piece is ].
I'm a play tabla player and a drumset player and it is highly unlikely that BR could play the tabla without serious heavy duty practice. The whole structure of the art form and instrument is different and requires a completely different skillset.
Aditya Tyagi I agree ,I studied Indian music with the great Indian composer from Calcutta , John Mayer who was the pioneer and invented Indian jazz fusion music in the 60s . I studied classical Indian tabla for a year and a half and even though I played drum kit in most styles including jazz,Latin ,funk etc... It was so difficult to play tabla even though I was practicing the tabla 2 hours a day .. Even just getting correct sound with your fingers can take weeks if not months I agree that Buddy rich could not play tabla . I think there is a recording of him playing with the world's best Indian tabla player Allah Rakka ? On an album? I think he is just jamming on kit ?
still. they're no buddy. personally, i think it was just a moment of temporary frustration at being chained to something as simple as mr Jennings's was describing, not any technical difficulties with the concepts. i mean, buddy was, perhaps, the greatest natural drummer of all time.
I'm not calling this guy a liar but this story makes no sense. What is the name of this album where Buddy is playing disco? Of course Buddy could play disco or any other kind f music but he never just played what people wanted to hear or he would have started playing rock music instead of forming a big band. He never wanted to do what everyone else was doing and in fact thought that most pop music sucked and wouldn't be caught dead playing it.
by the 1970s rolled around buddy had been playing big band jazz for 50 years hardcore I can see buddy being stuck in some old habits cant blame him for it listen to the roar of 74 albums funky as can be
Anything this guy says about Buddy's temper is believable. When Buddy chewed out his band backstage between sets, he made the drill instructor in Full Metal Jacket look like an angel.
Are you telling me that buddy had go and get lessons in how to play some straight grooves? The man remembered entire scores because he was not big on sight reading. If he had heard disco or funk ONCE, he would have sat down and just played it. This story seems to be utter nonsense.
It's more likely that Buddy didn't WANT to play that simplistic. I had a drum student once that was fascinated with odd time signatures and also Keith Moon was one of his favorite drummers and like Keith, my student always had to be filling in every bar. So Since he was going on to Berkley and wanted to eventually be a professional drummer I thought shit I better make sure this kid realizes that sometimes less is more so I had him play to some James Brown. He would pick up the beat in no time but then be adding stuff on top even though I made it very clear to just play the exact beat and nothing else. I was trying to get him to focus all his attention on the groove itself and forget about adding more notes but it was damn near impossible for this kid to do that. I finally realized you have to WANT to pay like that. You can't force someone to play what is not natural to them.
Not taking away anything from his talents but laying down a danceable R&B groove just wasn't Buddy's strength. Listen to Buddy's versions of "Big Mama Cass" and "Soul Lady", two charts by Don Sebesky. He's struggling to make something of them the whole time. Then listen to Don's own versions of them which, arguably, are the way they are supposed to be played. The difference is startling.
I have a very hard time believing this story. He played all kinds of 4/4 stuff a decade earlier. Although I did hear that DaVinci couldn't figure out how to use a Sharpie...
I quite agree about Buddy's mastery of drums. But it is true that Jennings probably was trying to teach some of the newer 70s funk styles which are different from other straight 8th notes. And you can here that Buddy DID do it on some of those late 70s records.
Very interesting. cant quite beleive it though. Buddy played rock influenced things on albums such as "mercy, mercy", "Buddy&Soul", "BIg Swing Face" etc. All from the 60s. Another side of this is the demand from record companies to be more commercial and to sell more records. the worst Buddy record(according to himself) must be "Buddy Rich Band" from around 1980. Marcus Miller was called to overdub slap bass to make it more commercial. Buddy drums sounds like cardboard boxes.
It's one thing to be a fan of the great Buddy Rich, but Buddy wasn't the best drummer in the world when it came to all different styles and feels. Morris Jennings knows what he is talking about. Don't diss him just because you are a Buddy Rich fan.
I am a huge Buddy Rich fan Kenny, but rest assured I agree with you 100% that Morris should not be dissed simply for that reason. Instead I will be objective by looking at one example to demonstrate that - to some extent at least - Morris is either remembering incorrectly or simply not telling the truth (about what took place prior to the Speak No Evil recording sessions in 1976). Starting at around 2:00 on this interview Morris discusses how Buddy was "not disciplined enough" to be able to keep the 8th notes on the hi hat straight while playing basic rock beats. Instead, Morris says, Buddy would quickly shift to a 55 55 shuffle on the hi hat. Very important: Morris states that Buddy "could not" keep the 8th notes straight. Okay Kenny let's take the first 3 minutes of the song Uncle Albert/Admiral Halsey on the 1972 album Stick It - which was 4 years prior. Granted Buddy embellishes with an occasional 5 stroke roll, double roll, paradiddle, etc between the hi hat and the snare; however, not once do I hear him shifting to a 55 55 shuffle on the hi hat. He demonstrates on this tune without question that he was entirely capable of maintaining straight 8ths on the hi hat for any period of time he wanted. Here's my best guess: Maybe Buddy was unable, as Morris says, to play the disco off-beats on the hi hat effectively at that point (1976), because he had never done so before. He would soon master the technique, but because it would take a little longer to do so, and because RCA was pressuring right then, perhaps that is the sole reason why Buddy asked Morris to go to the sessions in New York?
I think what were talking about here is "feel." You can teach rudiments and thoery but its the god given "intangibles" are what make a groove. This has nothing to due with the whole "simplicity vs complex" debate. IMHO anyway, Very interesting topic.
I met Buddy years ago (worked a jazz festival) & one thing is certain: if Buddy was in the mood to "play you" he would do it in a manner where you wouldn't even suspect he was. I think he could play anything -- understood everything -- and he played this professional drummer. Entertained his ego so to speak. It was one of the old school approaches. Play stupid...seriously. Keep it going as long as you can. Buddy did it on The Johnny Carson Show. Buddy didn't care for certain music (hated country) & he probably just wanted to take someone on an ego trip. Morris Jennings went along. Now Morris is good -- but this is Buddy Rich mentality here & I suspect Buddy liked Morris. What did Morris say at the end? "Eventually he (Buddy Rich) played rock and roll...real good." Gee, I wonder why Morris? Buddy was a sarcastic, obnoxious bastard but -- he usually knew what was going on better than everyone around him. Most great & talented drummers today with mountains of drums & cymbals still can't play with the finesse, speed, & cleanliness that Rich possessed on a small kit. I played jazz for years but when I had to play rock I found myself "unintentionally" throwing in rolls & fancy stuff & the rock musicians would grimace. Maybe they couldn't follow it, too intricate, too flashy. Or maybe they just preferred the steady hammer that was basically monotonous. Keith Moon & John Bonham threw in jazzy things, The Young Rascals' Dino Danelli did, Procol Harum's BJ Wilson even held his sticks in jazz fashion. Danny Seraphine of Chicago....well, Chicago wasn't a rock band. Buddy Rich once complimented Danny's performance. I would say Buddy's problem with rock drums was that Rich wanted to let loose. One rock drummer who was jazz-influenced & managed to navigate that territory was Mike Giles (the original King Crimson) -- check the original 1968 version of "21st Century Schizoid Man." More jazz on that track than rock & years before Neil Peart, Phil Collins & all the other prog drummers. Morris' interview was interesting -- I enjoyed it.
I have one of the albums he's talking about. The drum sound and the playing was so totally un-Buddy that it's embarrassing to listen to. I fully believe that someone else was playing in the foreground along with Buddy playing well in the background. Later in his life Buddy got much better at rock and funk playing, but this '70's era disco trash was truly out of his comfort zone.
This seems like a realistic story. It’s sort of like teaching a tennis player how to play racquetball. Similar but totally different. Eddie Van Halen would have struggled with George Harrison guitar parts.
I'm not a drummer but I think in general rock might be easier to play. But there are subtle differences between the boogaloo and rock kind of things from the late 60s that Rich had played and 70s funk, which I think Jennings was trying to teach. And 70s funk can be quite complex. I mean Cobham, Mike Clark Dennis Chambers are real masters.
@AAA4509 Everyone is a creature of habit, even especially the most technical drummer in the world. This story totally rings true. Try to get someone who sings opera to sing pop without putting too many operatic touches in there that make it sound like opera, same thing. As great as they are, they have to learn to sing the different 'easier' style and often they can't, too set in their habits.
@MrDrumsdrumsdrums That's not the point. He's not saying he can play what Buddy Rich plays, he's saying Rich couldn't play what he played without tutoring despite it being simple. Simplicity has to be learned or re-learned by people too used to complexity or set in their habits. That's true in everything. Buddy's roots weren't rock so he had to learn to play it. Just because you're a great tap dancer or Gene Kelly, that doesn't mean you can dance disco lke John Travolta without lessons, etc.
Buddy did an ensemble song with Moe on the drums called ‘ Chic on the side “ but it’s terrible. It’s so bad I can here Moe playing this song. I’m glad Buddy does not take credit for this simple “ Disco Song “. Why would he ????
I Think buddy can be forgiven because think about...this man started way back and was so used to playing a certain way...every one has a thing or groove they get stuck into that they can do without too much effort and thats what buddy did...but he was still a great drummer...ok moe had to teach him to play modern but at the end of the day how often do you hear moe jennings being mentioned?
I have no idea why Morris would say something so insanely stupid and disrespectful about a musician of the caliber of Buddy Rich. What a sad sack he must of been
traps1 I guess you have no idea who Morris was. Only the drummer for Muddy Waters' album Electric Mud, Howlin' Wolf electric album, and Curtis Mayfield Superfly, just to name a few. He was known as "the clock" because he was so solid. You can be a technically amazing drummer and still have a hard time with a simple pocket, which I guess was Rich's issue. I know amazing jazz guitarists that can't play a simple reggae skank. Plus, I knew Morris personally, he was one of the most humble honest souls I ever met. You should do more research before making idiotic comments. Peace
@JacqueShredo Yup, in exactly the same way that Baryshnikov or Gene Kelly can't dance like John Travolta without disco lessons, irrelevant of whether John Travolta can dance ballet or tap. It's not a 4/4 beat that he was learning but a certain style of 4/4 beat. Style is different than technique or is a special aspect of technique, not having to do with physical ability but habit, background & outlook & has to be learned.
I believe it as great as Buddy Rich was he was a big band drummer.Not the modern complementary drummer.Not saying that Buddy couldn't learn it but it's not easy to change something that you been doing since the big band era.But I would 've luv to see Buddy play drums behind rock groups of the time like Cream or the Jimi HendrIx...LOL
Jennings is talking NONSENSE he never even met Buddy Rich just trying to make himself sound bigger than what he's not he's lying Rich still is the Worlds No1. could do anything.
I guess you have no idea who Morris was. Only the drummer for Muddy Waters' album Electric Mud, Howlin' Wolf electric album, and Curtis Mayfield Superfly, just to name a few. He was known as "the clock" because he was so solid. You can be a technically amazing drummer and still have a hard time with a simple pocket, which I guess was Rich's issue. I know amazing jazz guitarists that can't play a simple reggae skank. Plus, I knew Morris personally, he was one of the most humble honest souls I ever met. You should do more research before making idiotic comments. Peace
Man, I do not think Morris Jennings is bullshitting. Any great master would be open to learning a new style or way of playing. Notice that Mo is totally talking about getting Buddy to shift from a swing groove to a straight eight feel. That is exactly the kind of thing BR might want to have some discussion with a younger guy about. Now, if he was saying I taught Buddy to play a double paradiddle, you know that would be BS, but this story rings true and it should be a lesson to us all to be open to new sounds and grooves IMO.
Buddy was puffed up man ,unlikable personality to stay with. A super fast drummer in his solo there is scarcity of musicality , but his technic was unique.
I worked at Franks at that time.
Our ears were glued to the wall.
A memorable moment.
Fantastic drummer, great timing and versatility. Thanks, Morris, for your musical heritage - your talents and achievements are still being enjoyed all around the world. Peace, love & light. 🕊❤️🌟
Morris "The Human Metronome" is one of the great unsung musicians of the last 30 years or so. When I was struggling in Chicago, he gave me a bunch of his smaller gigs so I could eat and pay rent. He even gave me new drumheads. One of the greatest players, and a very nice human being!
I'm here in 2022 to say the same thing..
The Ghetto Live..
unbelievably on the money.
A foot note to this story as told to me by my unlce Marty Lishon: During the lesson Marty and Maurie my grandfather, and a few other employees had their ears pressed up against the door of the studio eavesdroping in on this hysterical event where they heard Buddy cursing and throwing sticks, and at some point Buddy opened the door and everyone fell in on him like a Marx Brothers movie. That was FRANKS DRUM SHOP!
Michael Dubin
I loved hearing this story direct from Morris the source!
I heard this story as well! I miss Mo, sweetest cat.
I worked at Franks Drum Shop and remember the day very well. Glen and I kept our ears to the wall every chance we got. Not much work got done that day. They used the last studio before you got to Clarance's repair station. The Bob Tillis studio.
Franks place was wonderful - he sold me my Gretsch bop set (Elvin style) in early '76.
It was Ed Soph that Mo dubbed for on Woody Herman's "Heavy Exposure" album
@GUpNu He used to be the house drummer for Chess records, played with all the blues & R&B stars of his day. He's the drummer on all tracks except one on Curtis Mayfield's "Superfly." He also played on one of the earliest all-out jazz-rock fusion albums, "Blowin' Gold" by John Klemmer which had Phil Upchurch on bass & Pete Cosey (later in Miles Davis) on guitar. This record came out in 1969 before Bitches Brew & is already total balls-to-the-wall fusion of the type heard in so many 70s groups.
There is something to be said that sometimes it is harder to play or do something simple than it is to be more complex. Though it is kind of hard to believe that as gifted as Buddy was that he had a hard time playing basic rock beats. Most of the rock type stuff i've heard him play, he played the rhythm on the ride cymbal instead of the hi-hats. That made it more jazzy, which of course he liked better and was used to. He often used other drummers when there was a new chart or arrangement to work out. Amazing how he could hear some other drummer play a new chart as it was written and then step in and play it his way ( better ) and have it in memory forever.
Unawares, Buddy's old "One Trick Pony Roll" Albums were not selling. Soul Music carried the day in the new Superfly Era, where public demand was geared toward pocket rhythm patterns, married to beautiful melodic and harmonic content. My Man Morris was integral to the development of this Soul Music , that only comes from; The Soul. Love Always Brother. Your most grateful Student, Kenny Tams
Woodys drummer who taught was Ed Soph
Mo is a legend - heard him on so many tracks before putting his name to them.
Not everyone can feel the same. A great rock guitar player to a jazz to a blues all can be great but because you're great doesn't mean you're great at everything but let's make no mistake Buddy Rich was and will forever far surpass any drummer of any style he was a Million TImes far advanced at what he did as to what any other drummer could do of any style. Pure magic that will never be duplicated ....LONG LIVE BUDDY RICH WORLDS GREATEST DRUMMER THEN NOW AND FOREVER.
He certainly couldn’t play rock better than John Bonham, and he couldn’t play blues better than Odie Payne or Clifton James, and he definitely couldn’t play funk better than Morris Jennings or Clyde Stubblefield.
@@jordanposnik6663 FACTS!!!!
In 1969 Buddy rich released an album called (in the UK) "Buddy and Soul". Every track had a straight 8 rock/funk feel. Who was the drummer on that?
@adrianpeek I just got back from Chicago opening for Gumbohead a band that Morris is the drummer in. The band I play in is cousins to the band leader that Mo is in. I got to sit hours with him one on one and listen to stories of music, musicians, making albums and so on. No lies from this kat he is truly a heavy hitter. So I made contact with a person after hearing one of his stories & was told believe what comes out his mouth. Morris is a blessing to us! Going back to hang with him!
did Morris play on the dreaded "Speak No Evil" album?
@metamorphosis67 Yeah I loved his stories about being on chess records. I love his work with Donny Hathaway! Everything is everything.... Its so funny cause while talking with him I told him that I would practice to that album as a kid and would have never believed that I would meet the drummer behind the music! Also never knew he was from my city! We know so many of the same musicians the connection is unreal! I've had many other visits with him and I get a drum lesson everytime......
I'm not buying Moe's story about Buddy having trouble with a straight 8, the guy was a master of rhythm and control of the sticks, I think Moe is embellishing a bit here.
You just want to believe him!
I know some of you think this is bullshit, but I for one, believe it's true. In 1976, I was doing well as a jazz drummer. (not bragging, just a big fish in my small local pond) When I went on the road, disco was becoming big, and I suddenly had to start playing those things. I found it totally disorienting, and had a very rough time with it for a while. Later, it became so easy I could do it my sleep, of course, but it wouldn't surprise me to learn that Buddy, or any other jazz-oriented drummer had a temporary problem doing it.
Agreed, Mike! But just a short temporary problem.
Right!
Sorry, it strains credibility to the breaking point to suggest that one of the most accomplished drummers in history couldn't listen to a record and imitate it.
Does anyone know what he means at 2:50 when he says " no 55 55 " ? Is that term used for a certain time keeping style on the hi hat...or ? If anyone could help me with that, I'd be very gald.
"55" or sometimes framed as "69" is the rhythm that many if not most jazz drummers play on the ride cymbal [the middling-sized cymbal mounted at the right side of the bass drum) or which is often played on the hi-hat when a piece calls for a more quiet timing, all of which when played sounds as if you were murmuring to yourself '55'~~~ or '69' ~~~ over and over again. It is a stable in jazz, first derived by the great jazz drummer Jo Jones, which innovation is in itself sheer genius, because it became the hallmark rhythm used among drummers worldwide -- and still is. In 4-4 or 2-4 time [the time signature], it is a series of dotted eighth- or sixteenth- or thirty-second notes ( depending upon how fast a piece is ].
I think Buddy could play anything
I KNOW Buddy could play anything
Even Indian raga music on the Tabla
I'm a play tabla player and a drumset player and it is highly unlikely that BR could play the tabla without serious heavy duty practice. The whole structure of the art form and instrument is different and requires a completely different skillset.
Aditya Tyagi I agree ,I studied Indian music with the great Indian composer from Calcutta , John Mayer who was the pioneer and invented Indian jazz fusion music in the 60s . I studied classical Indian tabla for a year and a half and even though I played drum kit in most styles including jazz,Latin ,funk etc... It was so difficult to play tabla even though I was practicing the tabla 2 hours a day .. Even just getting correct sound with your fingers can take weeks if not months I agree that Buddy rich could not play tabla . I think there is a recording of him playing with the world's best Indian tabla player Allah Rakka ? On an album? I think he is just jamming on kit ?
Just not in Locked Time.
Fascinating!
Same album was released in USA on Pacific Jazz, same title. Mostly rock arrangements. BR played on all of it.
still.
they're no buddy.
personally, i think it was just a moment of temporary frustration at being chained to something as simple as mr Jennings's was describing, not any technical difficulties with the concepts. i mean, buddy was, perhaps, the greatest natural drummer of all time.
I'm not calling this guy a liar but this story makes no sense. What is the name of this album where Buddy is playing disco? Of course Buddy could play disco or any other kind f music but he never just played what people wanted to hear or he would have started playing rock music instead of forming a big band. He never wanted to do what everyone else was doing and in fact thought that most pop music sucked and wouldn't be caught dead playing it.
Steve Percoco speak no evil
by the 1970s rolled around buddy had been playing big band jazz for 50 years hardcore
I can see buddy being stuck in some old habits cant blame him for it listen to the roar of 74 albums funky as can be
Anything this guy says about Buddy's temper is believable. When Buddy chewed out his band backstage between sets, he made the drill instructor in Full Metal Jacket look like an angel.
Are you telling me that buddy had go and get lessons in how to play some straight grooves? The man remembered entire scores because he was not big on sight reading. If he had heard disco or funk ONCE, he would have sat down and just played it. This story seems to be utter nonsense.
It's more likely that Buddy didn't WANT to play that simplistic. I had a drum student once that was fascinated with odd time signatures and also Keith Moon was one of his favorite drummers and like Keith, my student always had to be filling in every bar. So Since he was going on to Berkley and wanted to eventually be a professional drummer I thought shit I better make sure this kid realizes that sometimes less is more so I had him play to some James Brown. He would pick up the beat in no time but then be adding stuff on top even though I made it very clear to just play the exact beat and nothing else. I was trying to get him to focus all his attention on the groove itself and forget about adding more notes but it was damn near impossible for this kid to do that. I finally realized you have to WANT to pay like that. You can't force someone to play what is not natural to them.
Not taking away anything from his talents but laying down a danceable R&B groove just wasn't Buddy's strength. Listen to Buddy's versions of "Big Mama Cass" and "Soul Lady", two charts by Don Sebesky. He's struggling to make something of them the whole time. Then listen to Don's own versions of them which, arguably, are the way they are supposed to be played. The difference is startling.
Saying 55 sounds like the jazz Ride Pattern
Love Morris Jennings!
So exactly which Buddy Rich Band album did Morris Jennings play on? I'm skeptical.
I have a very hard time believing this story. He played all kinds of 4/4 stuff a decade earlier.
Although I did hear that DaVinci couldn't figure out how to use a Sharpie...
I quite agree about Buddy's mastery of drums. But it is true that Jennings probably was trying to teach some of the newer 70s funk styles which are different from other straight 8th notes. And you can here that Buddy DID do it on some of those late 70s records.
Moe only played on the one song “ Chic on the side “
I'm not sure Speak No Evil sold
And Buddy was playing rock way b4 1976
Very interesting. cant quite beleive it though. Buddy played rock influenced things on albums such as "mercy, mercy", "Buddy&Soul", "BIg Swing Face" etc. All from the 60s. Another side of this is the demand from record companies to be more commercial and to sell more records. the worst Buddy record(according to himself) must be "Buddy Rich Band" from around 1980. Marcus Miller was called to overdub slap bass to make it more commercial. Buddy drums sounds like cardboard boxes.
It's one thing to be a fan of the great Buddy Rich, but Buddy wasn't the best drummer in the world when it came to all different styles and feels. Morris Jennings knows what he is talking about. Don't diss him just because you are a Buddy Rich fan.
I am a huge Buddy Rich fan Kenny, but rest assured I agree with you 100% that Morris should not be dissed simply for that reason. Instead I will be objective by looking at one example to demonstrate that - to some extent at least - Morris is either remembering incorrectly or simply not telling the truth (about what took place prior to the Speak No Evil recording sessions in 1976).
Starting at around 2:00 on this interview Morris discusses how Buddy was "not disciplined enough" to be able to keep the 8th notes on the hi hat straight while playing basic rock beats. Instead, Morris says, Buddy would quickly shift to a 55 55 shuffle on the hi hat. Very important: Morris states that Buddy "could not" keep the 8th notes straight.
Okay Kenny let's take the first 3 minutes of the song Uncle Albert/Admiral Halsey on the 1972 album Stick It - which was 4 years prior. Granted Buddy embellishes with an occasional 5 stroke roll, double roll, paradiddle, etc between the hi hat and the snare; however, not once do I hear him shifting to a 55 55 shuffle on the hi hat. He demonstrates on this tune without question that he was entirely capable of maintaining straight 8ths on the hi hat for any period of time he wanted.
Here's my best guess: Maybe Buddy was unable, as Morris says, to play the disco off-beats on the hi hat effectively at that point (1976), because he had never done so before. He would soon master the technique, but because it would take a little longer to do so, and because RCA was pressuring right then, perhaps that is the sole reason why Buddy asked Morris to go to the sessions in New York?
FACTS!!!
I think what were talking about here is "feel." You can teach rudiments and thoery but its the god given "intangibles" are what make a groove. This has nothing to due with the whole "simplicity vs complex" debate. IMHO anyway, Very interesting topic.
I met Buddy years ago (worked a jazz festival) & one thing is certain: if Buddy was in the mood to "play you" he would do it in a manner where you wouldn't even suspect he was. I think he could play anything -- understood everything -- and he played this professional drummer. Entertained his ego so to speak. It was one of the old school approaches. Play stupid...seriously. Keep it going as long as you can. Buddy did it on The Johnny Carson Show.
Buddy didn't care for certain music (hated country) & he probably just wanted to take someone on an ego trip. Morris Jennings went along. Now Morris is good -- but this is Buddy Rich mentality here & I suspect Buddy liked Morris.
What did Morris say at the end? "Eventually he (Buddy Rich) played rock and roll...real good." Gee, I wonder why Morris?
Buddy was a sarcastic, obnoxious bastard but -- he usually knew what was going on better than everyone around him. Most great & talented drummers today with mountains of drums & cymbals still can't play with the finesse, speed, & cleanliness that Rich possessed on a small kit.
I played jazz for years but when I had to play rock I found myself "unintentionally" throwing in rolls & fancy stuff & the rock musicians would grimace. Maybe they couldn't follow it, too intricate, too flashy. Or maybe they just preferred the steady hammer that was basically monotonous. Keith Moon & John Bonham threw in jazzy things, The Young Rascals' Dino Danelli did, Procol Harum's BJ Wilson even held his sticks in jazz fashion. Danny Seraphine of Chicago....well, Chicago wasn't a rock band. Buddy Rich once complimented Danny's performance.
I would say Buddy's problem with rock drums was that Rich wanted to let loose. One rock drummer who was jazz-influenced & managed to navigate that territory was Mike Giles (the original King Crimson) -- check the original 1968 version of "21st Century Schizoid Man." More jazz on that track than rock & years before Neil Peart, Phil Collins & all the other prog drummers. Morris' interview was interesting -- I enjoyed it.
I think this BS is related to the speak no evil record
Down beat mag called it Play No Shit
R.I.P. Moe Jennings
When did he pass away?
I have one of the albums he's talking about. The drum sound and the playing was so totally un-Buddy that it's embarrassing to listen to. I fully believe that someone else was playing in the foreground along with Buddy playing well in the background. Later in his life Buddy got much better at rock and funk playing, but this '70's era disco trash was truly out of his comfort zone.
This seems like a realistic story. It’s sort of like teaching a tennis player how to play racquetball. Similar but totally different.
Eddie Van Halen would have struggled with George Harrison guitar parts.
I'm not a drummer but I think in general rock might be easier to play. But there are subtle differences between the boogaloo and rock kind of things from the late 60s that Rich had played and 70s funk, which I think Jennings was trying to teach. And 70s funk can be quite complex. I mean Cobham, Mike Clark Dennis Chambers are real masters.
So this is the guy who showed Buddy Rich some "basic simple beats" I dare anyone to tell me that with a straight face....
@AAA4509 Everyone is a creature of habit, even especially the most technical drummer in the world. This story totally rings true. Try to get someone who sings opera to sing pop without putting too many operatic touches in there that make it sound like opera, same thing. As great as they are, they have to learn to sing the different 'easier' style and often they can't, too set in their habits.
The Funk Master! No BS!
@MrDrumsdrumsdrums That's not the point. He's not saying he can play what Buddy Rich plays, he's saying Rich couldn't play what he played without tutoring despite it being simple. Simplicity has to be learned or re-learned by people too used to complexity or set in their habits. That's true in everything. Buddy's roots weren't rock so he had to learn to play it. Just because you're a great tap dancer or Gene Kelly, that doesn't mean you can dance disco lke John Travolta without lessons, etc.
What is meant by fifty-five?
swing time (55) - get it?
Buddy did an ensemble song with Moe on the drums called ‘ Chic on the side “ but it’s terrible. It’s so bad I can here Moe playing this song. I’m glad Buddy does not take credit for this simple “ Disco Song “. Why would he ????
So, from what I'm hearing, Buddy took a lesson from Morris. Thats cool.
This is crap, i dont believe one word, ..l,m wondering if you tried to play like BR.
www.discogs.com/Buddy-Rich-And-The-Big-Band-Machine-Speak-No-Evil/release/1805948
I Think buddy can be forgiven because think about...this man started way back and was so used to playing a certain way...every one has a thing or groove they get stuck into that they can do without too much effort and thats what buddy did...but he was still a great drummer...ok moe had to teach him to play modern but at the end of the day
how often do you hear moe jennings being mentioned?
I have no idea why Morris would say something so insanely stupid and disrespectful about a musician of the caliber of Buddy Rich. What a sad sack he must of been
traps1 I guess you have no idea who Morris was. Only the drummer for Muddy Waters' album Electric Mud, Howlin' Wolf electric album, and Curtis Mayfield Superfly, just to name a few. He was known as "the clock" because he was so solid. You can be a technically amazing drummer and still have a hard time with a simple pocket, which I guess was Rich's issue. I know amazing jazz guitarists that can't play a simple reggae skank. Plus, I knew Morris personally, he was one of the most humble honest souls I ever met. You should do more research before making idiotic comments. Peace
@@DoumSound Again??? Good god, move on already.
@JacqueShredo Yup, in exactly the same way that Baryshnikov or Gene Kelly can't dance like John Travolta without disco lessons, irrelevant of whether John Travolta can dance ballet or tap. It's not a 4/4 beat that he was learning but a certain style of 4/4 beat. Style is different than technique or is a special aspect of technique, not having to do with physical ability but habit, background & outlook & has to be learned.
@mcposaune76 He was friggin brutal. There are recorded tapes online of him having a psychotic shitfit over people in the band not playing up to par.
I don't believe a word of this.
This is not disparaging about Buddy, if you hear the song “ Chic on the side “ it’s terrible
What a crock of nonsense.
😱
I believe it as great as Buddy Rich was he was a big band drummer.Not the modern complementary drummer.Not saying that Buddy couldn't learn it but it's not easy to change something that you been doing since the big band era.But I would 've luv to see Buddy play drums behind rock groups of the time like Cream or the Jimi HendrIx...LOL
Jennings is talking NONSENSE he never even met Buddy Rich just trying to make himself sound bigger than what he's not he's lying Rich still is the Worlds No1. could do anything.
www.discogs.com/Buddy-Rich-And-The-Big-Band-Machine-Speak-No-Evil/release/1805948
I guess you have no idea who Morris was. Only the drummer for Muddy Waters' album Electric Mud, Howlin' Wolf electric album, and Curtis Mayfield Superfly, just to name a few. He was known as "the clock" because he was so solid. You can be a technically amazing drummer and still have a hard time with a simple pocket, which I guess was Rich's issue. I know amazing jazz guitarists that can't play a simple reggae skank. Plus, I knew Morris personally, he was one of the most humble honest souls I ever met. You should do more research before making idiotic comments. Peace
@@DoumSound You're here, too, Mr. Cut and Paste?
BS!!!
Nlb Jones No this one song “ Chic on the side “ is Moe and it’s terrible.
Man, I do not think Morris Jennings is bullshitting. Any great master would be open to learning a new style or way of playing. Notice that Mo is totally talking about getting Buddy to shift from a swing groove to a straight eight feel. That is exactly the kind of thing BR might want to have some discussion with a younger guy about. Now, if he was saying I taught Buddy to play a double paradiddle, you know that would be BS, but this story rings true and it should be a lesson to us all to be open to new sounds and grooves IMO.
Buddy was bored . Simple a swing era guy gets bored.
Buddy was puffed up man ,unlikable personality to stay with.
A super fast drummer in his solo there is scarcity of musicality , but his technic was unique.