Tony Williams

Additional info to my post #211...the 3rd listed cymbal set-up was in 1997, shortly before Tony Williams was gone too soon. Sorry I originally forgot to enter the year for that set-up.
The first cymbal set-up was prior to 1994, but not sure what date there or how long before that. Being that there were A Customs in that set-up, it was TW's later period there, maybe others here can pin the beginning of that date range down better, based on entry of A Customs into the market.
Would like to learn of TW's specific cymbal set-up from 1974 onward to any dates.

The Zildjian A Custom line was introduced at the January 1992 NAMM gathering.

In 1990, Zildjian ran an ad in which Tony used 15" K Hihats, 18", 15" and 20" K Dark Crashes, and a 22" K Ride. It looks like he used this set-up on the Tony Williams Live In New York DVD (Dec 1989).

I guess Tony played old Turkish K cymbals up until Zildjian started making American K cymbals in 81/82.
 
For the Tony die-hards: Have you cats checked this out? http://bigozine2.com/roio/?p=1650

Back in the late-1990s, Bill Laswell, who played with Tony in Arcana, was asked by Verve to choose an album from their catalog that he could remaster. He chose Turn It Over, the second Lifetime recording. Bill knew Tony was never happy with the way the record was mixed and that a lot of the music was left off to make it fit on one album (Tony envisioned a double album).

Well, the project was shelved before Laswell could finish, but someone found a way to release them and you can download the album from the link I posted.

For me, it's like discovering the album all over again. It's just a different animal. The production is more rock and roll and it just sounds more bombastic and has more attitude than the original. There are tracks here that were never released, but you realize even the familiar ones had been edited down, because here they are restored here to full length. It's interesting how there are entire sections of these tunes that were just chopped off but you can hear them now. Really very cool.

I just discovered this recently, along with the Barbarians stuff (PM me if you're interested and haven't already checked that out), and it's been playing constantly in my car and on my phone. Hope you dig it.
 
Alex, that's amazing. Between you and Anthony, you guys make me so jealous of the musicians you've worked with.
 
Alex, that's amazing. Between you and Anthony, you guys make me so jealous of the musicians you've worked with.

Recently checked out Nefertiti by Miles Davis

LOVE the little(and large) licks on Pinocchio. Had to reply that numbers as soon as it ended.

What a Drummer.
 
Tony Williams was a great and visionary drummer. He really did change everything about how drums could function in a jazz group.

I recently saw these drum clinic videos from 1985, and I was a little surprised by his comments about not using rebound (part 2, 7:15). But Tony Williams is a legend, and should be understood, no matter what he says. I'm still trying to assess what he meant.

https://www.youtube.com/watch?v=uFCJs_WvsG4
https://www.youtube.com/watch?v=7x5bAyLvzoE
https://www.youtube.com/watch?v=rAw2f_n0-h0
 
There's a Facebook page called "Dirty Old Boston", that shows pictures of the Hub going back to the turn of the 20th century. Somehow, I missed this one from yesterday, Tony's birthday:

"Nestled in its final days between the Whittier Street housing projects, the Boston Police Department and a dry, dead and abandoned lot, Connolly's Star Dust Room seemed at first glance to be an inconspicuous home for one of Boston's most famous jazz venues. Connolly's--where patrons once listened to such greats as Duke Ellington, Coleman Hawkins, Dexter Gordon and Stan Getz--closed its doors at 1184 Tremont St, Roxbury for good on March 1, 1998. The single-story building fragment that was Connolly's was the only legacy remaining from a five story Victorian Gothic Tenement, otherwise demolished in 1959. The building's distinctive sign which read "Connolly's Liquors & Cocktails" spanned 27 feet in width and stood at five feet. It was mounted in 1960. A profile of a martini glass appeared ghostly at the end of Connolly's reign, its neon tubing lost to time. In the autumn of its years, an illuminated "Bud Light" sign was projected over the entry.
This interior shot was probably taken by Boston Bernie Moss and it shows Tony Williams, with Jackie McLean and Ray Santisi at their first gig together at Connelly's Star Dust Room. Jackie took Tony to NYC, introduced him to Miles Davis and the rest is history.
THANKS: Jack Woker, Steve Schwartz, Boston Landmarks Commission and the Harvard Crimson for background information.
"
 

Attachments

  • Tony Williams.jpg
    Tony Williams.jpg
    133.7 KB · Views: 1,117
There's a Facebook page called "Dirty Old Boston", that shows pictures of the Hub going back to the turn of the 20th century. Somehow, I missed this one from yesterday, Tony's birthday:

"Nestled in its final days between the Whittier Street housing projects, the Boston Police Department and a dry, dead and abandoned lot, Connolly's Star Dust Room seemed at first glance to be an inconspicuous home for one of Boston's most famous jazz venues. Connolly's--where patrons once listened to such greats as Duke Ellington, Coleman Hawkins, Dexter Gordon and Stan Getz--closed its doors at 1184 Tremont St, Roxbury for good on March 1, 1998. The single-story building fragment that was Connolly's was the only legacy remaining from a five story Victorian Gothic Tenement, otherwise demolished in 1959. The building's distinctive sign which read "Connolly's Liquors & Cocktails" spanned 27 feet in width and stood at five feet. It was mounted in 1960. A profile of a martini glass appeared ghostly at the end of Connolly's reign, its neon tubing lost to time. In the autumn of its years, an illuminated "Bud Light" sign was projected over the entry.
This interior shot was probably taken by Boston Bernie Moss and it shows Tony Williams, with Jackie McLean and Ray Santisi at their first gig together at Connelly's Star Dust Room. Jackie took Tony to NYC, introduced him to Miles Davis and the rest is history.
THANKS: Jack Woker, Steve Schwartz, Boston Landmarks Commission and the Harvard Crimson for background information.
"
Great picture, I know exactly where that is. Tony must be what 17-18 there? 1963?
 
For over 30 years, the track 'Fred' has been a part of the soundtrack of my life (thanks to Phil Collins.)

Was it ever documented anywhere as to what kit and cymbal set up he used to record it? Possibly a long shot, but I'd love to know.

If you look at the back cover of that album, his first tom is most definitely a 12", not the 13" that he used throughout the rest of his career.
 
Over the years much has been written about the various Gretsch kits and K Zildjian cymbals that Tony Williams played. As many of you know, towards the end of his life, Williams made the switch to DW drums. He also decided to go for a whole new cymbal sound. Below this picture of his double bass "Ronald McDonald" setup are the drum and cymbal specs that his tech shared with me. Dig the eye glasses laying on the floor tom :)
Tony_Williams_DW.jpg



The Stadium Kit
============
-Drums:
2-18x24
1-9x12
1-9x13
1-10x13
1-12x14 floor
1-14x14-floor
1-14x16 floor
1-14x18 floor
6.5x14 Snare-12 lug
4x14 Snare

-The Full Scale A-Custom Cymbal Set:
22" A Custom Ride
18" Med/thin Crash
18" K Pre aged dry lite ride
18" K dark Crash Med/Thin
17" K China Boy –Brilliant Finish
15" Pair-Rock Hat
15” 2-K Bottoms to make 1 pair
15” A Custom Crash
12” EFX #1
10” Splash
8” Splash

and...

The Main Kit
=========
-Drums:
18x24K
9x13
10x13
14x14
14x16
14x18
6.5x14 12 lug snare

-The Smaller Cymbal Set:
22” A custom ride
18” Pre Aged K dry/lite ride
18” Avedis Med/thin crash
15” A custom Crash center of toms
2-15” K Bottoms-to make 1 pair hat
10” Avedis Platinum splash mounted above 18”
8” splash mounted above 18”
 
I've never to subscribed to the "best ever" debates but I'll tell you this.......There was never anyone like Tony Williams before and there hasn't been anyone like him since. He is absolutely my favorite drummer of all time. The only thing I don't like about his playing is how inadequate it makes me feel about mine. I was fortunate to see him play live with The New Tony Williams Lifetime at a small jazz club in CLE ( The Smiling Dog ), sitting about 10 feet away from him. All I can say is at the very least he was a generational talent. If there was a drummers' Mt Rushmore, he'd be on it.
 
I've never to subscribed to the "best ever" debates but I'll tell you this.......There was never anyone like Tony Williams before and there hasn't been anyone like him since. He is absolutely my favorite drummer of all time. The only thing I don't like about his playing is how inadequate it makes me feel about mine. I was fortunate to see him play live with The New Tony Williams Lifetime at a small jazz club in CLE ( The Smiling Dog ), sitting about 10 feet away from him. All I can say is at the very least he was a generational talent. If there was a drummers' Mt Rushmore, he'd be on it.

A "Drummer's Mt. Rushmore"...I like that!

I was lucky to see him in a small/medium size venue in the early 90s and it was the most "embodied" experience I've ever had witnessing a performance. Kind of hard to explain but physically and emotionally, I felt it in my gut, in my body in a powerful way. I've had great concert experiences before and after that but I've never "felt" any of them in quite the same way.

https://www.youtube.com/watch?v=095URl2SJI4

Tony Williams - Live in Stuttgart 1989

Yes, I just watched that the other day. So good! And, evocative of the rich experience I described above.
 
Man, I really wish he was still around. Taken way too soon.

Thanks for posting that video.
 
Well it has been some years since I posted in this thread, a long tour, new business and ill health saw me off the radar, so my sincere apologies to those I failed to answer. :(

I finally have a wonderful 1980's Gretsch set in my collection and by chance, realised I already had some very 'Tony'-esque cymbals while I now also have one of the Istanbul Mehmet Tony Williams Tribute cymbals on route to complete the set.

With an added turntable and lots of time now on my hands, I listen to a lot of records and drummers, so Tony is very much back in my thoughts.

Thank you to all those that responded about his 'Fred' set, I really do appreciate that.

I have also been wondering of late if anyone know what the likes of Gene Krupa and Buddy Rich made of Tony's playing?

I've seen images of Tony and Buddy together, but know nothing of the interactions.

Would anyone know?
 
Back
Top