Re: Tony Williams
Just got inside the Traps this evening. Nothing new but some interesing things who don't have every [i]Downbeat[i]with Tony on the cover. He talks about the difference between Beats and rhythms, and says how in the 1950s, drummers were still just beat keepers in rock and roll, so taht is what attracted him to jazz. Jazz was a language where you could develop a drumming syntax and not just be a beat keeper. I would wonder how Sister Cheryl played into that idea. The mag really doesn't explain it well; but it would seem that he is talking about a metamorphoses of some type where a beat is just a repetition of an basic pre-existing idea. But with Tony, not only is the groove original; it is elastic and flows in out and of the time with subtle changes in poly-rhythms, dynamics, accents and fills.
He also says that one of the strenths of Miles was that he did not get intimidated working with great players, and saw there success with the audience as a positive reflection on him as a leader.
Ken Marino Drum Teacher "It's not worth keeping score. You win some. You lose some, you let it go"