I mean, I went through drum shit, I started playing when I was about twelve years old, I went through drum books and I played all that shit. Here they started swinging and I didn't feel like it so I didn't. ", Chuck: On ballads most drummers just play quarter notes on the snare drum and two and four on the hi-hat. ), Keith Jarrett Life Between The Exit Signs (1967). Chuck: Because when I think of a pulse, I think a pulse is either there, or it's not. Paul: Yeah, well I think that was the influence of the times too, you know? Sure. The primitivism is, of course, deceptive; the complexity, subtle. Paul: Well, thank god I don't never think about that. Now in the nineties he is more prominent than ever. And it's all sort of within this one bubble, all of these great people, all at the same fuckin' time, man! Chuck: There's a philosophy prevalent now where younger players are placing a lot of importance on learning the styles of older musicians. The same thing with the drums, man. Chuck: Do you consciously think when you are playing to not do some of those things? The first was an extension of the bebop drumming style whose roots extended back to the innovations of Joe Jones and Dave Tough in the 1930s. It's strange to me that that band never got more recognition. May 29, 2012 Masabumi Kikuchi's fully improvised album Sunrise features late, like-minded drummer Paul Motian. You have to remember that Kenny Clarke was before Max Roach. I signed up with a class to take guitar lessons because I loved cowboy movies and people like the cowboys that were singing. Left to right: Masabumi Kikuchi, Thomas Morgan, Paul Motian. What did you like about him? It's really good.
What's your own assessment of that band and that music? hide caption. They convene once again at the club. As a matter of fact I remember sending away for records that had Max on it, 78 [RPM] records, got 'em through the mail.
Chuck: But what's your assessment of that kind of music? I find myself still playing new things, new ideas, I'm phrasing differently, and shit keep's getting better. That just comes out.
But, if you listen to that tune, you could say "here's the time, check it out." After I talked to Charlie and he said to me whatever I do is OK., and I should be in control, then I felt free to do what I wanted to do. It seemed to me that Bill Evans at that time was standing still, and we weren't going anywhere. I mean I loved that shit too. It should satisfy me. And it's not. I was trying to create music from what was happening around me, and I was not in control of that. And to me that was kind of an extension⦠well, I don't know, it was different, I don't know if extension is the right word. What you played for me, what it ended up as is not what I heard before the song starts. And playing with Paul and with Gary Peacock just seemed to open it up more, I just played what I heard and what these guys were playing, and I kind of went along with that and played⦠Some of the things we were doing with Paul, all of a sudden there was no restrictions, you know, there was not even any form, it was completely free, almost chaotic, you know? I'm doing thatâ¦, Chuck: That it's in the context of the tune makes it more appropriate to youâ¦, Paul: Sure. Maybe I played a little roll there; maybe I wouldn't do it this time. That's automatic. I know what I'm doing more now than I did then, it's not as chaotic, it's more controlled. (laughs) People'd be steppin' all over my ass, man! Chuck: But you didn't have to go with Dewey Redman and get more and more abstract. All the sort of Middle Eastern or mostly Turkish 78s that my parents played on the wind-up phonograph.
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