Other choices for drummers

[Ian Derby <csc2imd@cabell.vcu.edu>]

> I have a slightly mellowed opinion of Kenny Jones' drumming, and Simon Phillips I always hated.  Sorry, 
> please don't flame me.  You might burn my IP link.  I mean I don't hate the dude; I'm sure he's a fine fellow,but I just can't frickin' possibly believe what anyone can see in the dude's drumming.  Maybe it was the 
> mix, but the drum rolls seemed kinda eighties techno whatever... It's just my impression, but I can't shake
> it....   C'mon folks, do you think Moon got that snappy crispy drumming and the mix as it showed up in various
> records by mistake?  Hell f**kfire no!  Premier drums have, in the style Moon used, thin shells, combined with
> a tight and thin drum head, almost a tympani-like sound.  It was the perfect blend to somewhat mimic the
> orchestral sound Townshend was after in some incarnations of his music... Even the very early R&B stuff had
> hints of it... The only think lacking back then was a consistent mix, but that was cured after a few years..
> Read the RS review of the Metropolitan Opera house show in late '70.  Kinda sums it all up.... I don't give
> a rat's ass if it's 40s, 50s, 60s, 70s, 80s, or 90s, that agile, snappy, crisp sound makes for great percussive accompaniment (sp?) to about any form of music.... 
> 


The reason why Keith's drums sound the way they do is he took his
sound from prominent jazz drummers of the late 40's and 50's. Little
muffling as possible (the opposite popular today among many drummers, Simon
Phillips not immune) which produces great tone and resonance. Listen
to drummers like Joe Morello, Art Blakey, Max Roach, Roy Haynes, and
Elvin Jones.  This isn't a well kept secret.  Actually his direct
influence from Gene Krupa and Louis Bellson (in terms of showmanship
and Bellson's kit arangement) is probably the cause.  Even before
synthetic heads were readily available, a tight calf head would give
a great ring with lots of depth.