Buddy Rich
Bernard "Buddy" Rich was an American jazz drummer, songwriter, conductor, and bandleader. He is considered one of the most influential drummers of all time.
Rich was born and raised in Brooklyn, New York, United States. He discovered his affinity for jazz music at a young age and began drumming at the age of two. He began playing jazz in 1937, working with acts such as Bunny Berigan, Artie Shaw, Tommy Dorsey, Count Basie, and Harry James. From 1942 to 1944, Rich served in the U.S. Marines. From 1945 to 1948, he led the Buddy Rich Orchestra. In 1966, he recorded a big-band style arrangement of songs from West Side Story. He found lasting success in 1966 with the formation of the Buddy Rich Big Band, also billed as The Buddy Rich Band and The Big Band Machine.
Rich was known for his virtuoso technique, power, and speed. He was an advocate of the traditional grip, though he occasionally used matched grip when playing the toms. Despite his commercial success and musical talent, Rich never learned how to read sheet music, preferring to listen to the drum parts played in rehearsal by his drum roadie and rely on his memory.
Early life and career
Rich was born in Sheepshead Bay, Brooklyn, New York, to Jewish parents Bess Skolnik and Robert Rich who were both American vaudevillians. At 18 months old, he became part of his parents' vaudeville act, dressed in a sailor suit playing an arrangement of "The Stars and Stripes Forever" behind a large bass and snare drum – an act which concluded with him emerging from behind the drums tap-dancing to thunderous applause. By the age of four, he was headlining Broadway, billed as "Baby Traps the Drum Wonder". In his teens, he led a band and toured in the U.S. and Australia. By the age of 15, he was earning a weekly salary of $1,000 and was the second-highest-paid child entertainer during the 1930s, behind actor Jackie Coogan. Rich would sneak into jazz clubs at an age when he looked old enough to sit on the drum set, and fell in love with jazz.Career
Jazz career
His jazz career began in 1937 with clarinetist Joe Marsala. He became a member of the big bands led by Bunny Berigan and Artie Shaw. Rich considered himself a featured performer and disliked bandleaders. He claimed that the musicians "hardly look at the bandleader", and that the drummer is the real "quarterback" of the band. For Shaw's part, he felt that Rich did not follow direction and finally asked the drummer, "Who are you playing for? Me, yourself, who?" Rich admitted that he played for himself and his audience, whereupon Shaw suggested that Rich should accept the offer he had received from Tommy Dorsey: "I think you'd be happier there." Rich took Shaw's advice as a dismissal.When Rich was home from touring with Shaw, he gave drum lessons to a 14-year-old Mel Brooks for six months. At 21, he participated in his first major recording with the Vic Schoen Orchestra who backed the Andrews Sisters.
In 1939, Rich joined the Dorsey band, leaving in 1942 to join the United States Marine Corps, in which he served as a Judo instructor and never saw combat. He was discharged in 1944 for medical reasons. After leaving the Marines, he returned to the Dorsey band. In 1946, with financial support from Frank Sinatra, he formed a band and continued to lead bands intermittently until the early 1950s.
Following the war, Rich formed his own big band, which often played at the Apollo Theater and featured backing vocals from Frank Sinatra.
In addition to playing with Tommy Dorsey, Rich played with Benny Carter, Harry James, Les Brown, Charlie Ventura, Jazz at the Philharmonic, and Charlie Parker.
In 1956, Gene Krupa and Buddy Rich recorded the collaboration album titled Krupa and Rich, which featured the song "Bernie's Tune", in which they traded drum solos for a total of six minutes.
In 1959 Buddy Rich and Max Roach recorded Rich versus Roach with their respective bands of the time.
From 1966 until his death, he led successful big bands in an era when their popularity had waned. He continued to play clubs but stated in interviews that the majority of his band's performances were at high schools, colleges, and universities rather than clubs. He was a session drummer for many recordings, where his playing was often less prominent than in his big-band performances. Especially notable were sessions for Ella Fitzgerald and Louis Armstrong, and the Oscar Peterson trio with bassist Ray Brown and guitarist Herb Ellis. In 1968, Rich collaborated with the Indian tabla player Ustad Alla Rakha on the album Rich à la Rakha.
He performed a big-band arrangement of a medley from West Side Story that was released on the 1966 album Swingin' New Big Band. The "West Side Story Medley", arranged by Bill Reddie, highlighted Rich's ability to blend his drumming into the band. Rich received the West Side Story arrangement of Leonard Bernstein's melodies from the musical in the mid-1960s; he found the music quite challenging and it took him almost a month of constant rehearsal to perfect. It later became a staple of his live performances. A six-minute performance of "Prologue/Jet Song" from the suite, performed during Frank Sinatra's portion of the Concert for the Americas on August 20, 1982, is on the DVD "Frank Sinatra: Concert for the Americas". In 2002, a DVD was released called The Lost West Side Story Tapes that captured a 1985 performance of this along with other numbers.
A live recording of the "Channel One Suite" is on the album Mercy, Mercy recorded at Caesars Palace in 1968. The album was acclaimed as the "finest all-round recording by Buddy Rich's big band".
TV appearances
In the 1950s, Rich was a frequent guest on The Steve Allen Show and other television variety shows, most notably on The Tonight Show Starring Johnny Carson. Rich and Carson were lifelong friends, and Carson was himself a drum enthusiast.In 1973 PBS broadcast and syndicated Rich's February 6, 1973, performance at the Top of the Plaza in Rochester, New York. It was the first time thousands of drummers were exposed to Buddy in a full-length concert setting, and many drummers continue to name this program as a prime influence on their own playing. One of his most widely seen television performances was in a 1981 episode of The Muppet Show in which he engaged Muppet drummer Animal in a drum battle. Rich's famous televised drum battles also included Gene Krupa, Ed Shaughnessy and Louie Bellson. Perhaps his most viewed television appearance was on Here's Lucy in the 1970 episode "Lucy And The Drum Contest".
Influences, technique, and performances
Rich cited Gene Krupa, Jo Jones, Chick Webb, Ray McKinley, Ray Bauduc, and Sid Catlett as influences.He usually held his sticks with the traditional grip. He used the matched grip when playing floor toms around the drum set while performing cross-stickings, which was one of his party tricks, often leading to loud cheers from the audience. Another technique he used to impress was the stick-trick, a fast roll performed by slapping two drumsticks together in a circular motion using "taps" or single-stroke stickings. He often used contrasting techniques to keep long drum solos from getting mundane. Aside from his energetic, explosive displays, he would go into quieter passages.
One passage he would use in most solos started with a simple single-stroke roll on the snare drum picking up speed and power, then slowly moving his sticks closer to the rim as he got quieter, and eventually playing on the rim itself while still maintaining speed. Then he would reverse the effect and slowly move towards the center of the snare while increasing power. Though well known as a powerful drummer, he did use brushes. On the album The Lionel Hampton Art Tatum Buddy Rich Trio he played with brushes almost exclusively.
In 1942, Rich and Henry Adler wrote Buddy Rich's Modern Interpretation of Snare Drum Rudiments, which is regarded as one of the more popular snare drum rudiment books. Adler met Rich through a former student. Adler said, "The kid told me he played better than Krupa. Buddy was only in his teens at the time and his friend was my first pupil. Buddy played and I watched his hands. Well, he knocked me right out. He did everything I wanted to do, and he did it with such ease. When I met his folks, I asked them who his teacher was. 'He never studied', they told me. That made me feel very good. I realized that it was something physical, not only mental, that you had to have."
Adler denied the rumor that he taught Rich how to play. "Sure, he studied with me, but he didn't come to me to learn how to hold the drumsticks. I set out to teach Buddy to read. He'd take six lessons, go on the road for six weeks and come back. He didn't practice. He couldn't, because wherever the guy went, he was followed around by admiring drummers. He didn't have time to practice....Tommy Dorsey wanted Buddy to write a book and he told him to get in touch with me. I did the book and Tommy wrote the foreword. Technically, I was Buddy's teacher, but I came along after he had already acquired his technique."
When asked if Rich could read music, Bobby Shew, lead trumpeter in Rich's mid-1960s big band replied, "No. He'd always have a drummer there during rehearsals to read and play the parts initially on new arrangements. Buddy would just sit in the empty audience seats in the afternoon and listen to the band.... He'd only have to listen to a chart once and he'd have it memorized. We'd run through it and he'd know exactly how it went, how many measures it ran and what he'd have to do to drive it."
In a Modern Drummer interview, Rich had this to say about practicing: "I don't put much emphasis on practice anyhow. I think it's a fallacy to believe that the more you practice, the better you become. You can only get better by playing. You can sit in a basement with a set of drums and practice rudiments all day long, but if you don't play with a band, you won't learn style, technique, and taste, and you won't learn how to play for a band and with a band. It's like getting a job, any kind of job, it's an opportunity to develop. And practice, besides that, is boring. I know teachers who tell their students to practice three, four, six hours a day. If you can't get what you want after an hour of practice, you're not going to get it in four days."
In the same article, Rich also discourages playing drums with one's bare hands. When asked if he could do such a thing, he replied, "Yes, but why destroy your hands? I could think of a hundred ways to use my hands rather than to break them on the rim of a drum."