TALKING AND DRUM SOLOS

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CARELESS LOVE BLUES MARYLAND TOM· TOM WORKOUT
! SPOOKY DRUMS ONE AND TWO
NERVEBEATS
F 0 0 T NOT EST 0

RUDIMENTS WITH DRUMSTICK

SHIMMY BEAT AND PRESS ROLL DEMONSTRATION
J A Z Z, VOL. 1 Illustrated Notes .re Inside Pocket

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Library of Congress card Catalogue f R 59-651
C> 1959 Folkways Record & Service Corp.• 701 Seventh Ave. , N. Y. 10036
FOLKWAYS RECORDS Album No. FJ 2290
© 1951, 1960 Folkways Records and Service Corp. ,
701 Seventh Ave., NYC USA

BABY DODDS
Talking and Drum Solos
FOOTNOTES TO JAZZ, UOL. 1
INTROOUCT10N AND NOTES ON THE RECORDINGS HE YAWNED, SPRAWLED IN HIS CHAIR. SUT WH"E'N
BV FREDERIC RAMSEY ,..R. THE 8HOW ENDED, HE ,JUMPED UP, RAN OVER TO THE
DRUMMER AND GRABBED HIS HAND. "SAY L.ISTEN,
lI
ON A MIDWINTER DAY EARll' IN 1948, THE vAZZ SASy , HE BEGAN, HIS EYES SPARKL.ING, III ..JUST
DRU ....ER BABY oooni CAY[ TO A REOORDI NG STUDIO GOT A CHANCE rOR A ..JOB. IT'S GOODiI. OI WELL ,
II TH THE SAME 8ET or CRUWS THAT HAD BEEN LUGGED NOW, THAT'S rlNEl AND WHOIS IT WITH?lI "t GOT
INTO MANY SIMILAR STUDIOS ON MANY SIMILAR. 00- AN orrER TO GO ON TOUR WI TH BUDDY ROGERS'
OA810NS. HE SET uP rOOT PEDAL, SNARE, CYMBAL, BI G BANDI. I N THE MIDDLE WEST. ONLY, I GOT TO
WOODBLOCK, AND TOM TOMS AI HE HAD DONE HUNDREDS PLAY IN SHO'NS, WATCH A CONDUCTOR, AND PICK
OF' TIllES BEF"OAE. WAKING RECORDS WAS AN OLD
S1OO'l 11TH aABY DODDS; SIX OR EIGHT Ul)SICIANS
IN A SYALL STUDIO, A QUICk, LA8T-W'NUTE RUN-
UP CUES.
THINGS?II II.
I \!IONDER COULD 'tOU 8HO'N ME THOSE
Hy SURE, GENE. ,JUST SIT RIGHT HERE
'1H I LE IE PLAY THE NEXT SET. YOU SEE, THE SAllE
THROUGH, THEN THE RED LIGHT. BUT ON THIS DAY, SORT or SHOW THEY PUT ON 1 N THEATRES, THEY
THE OTHER MUSICIANS WERE ABSENT. AND WHEN THE PUT ON IN DANCEHALlS AND NIGHTCLUBS. YOU GOT
RED LIGHT WENT ON, THERE WAS NO TRUMPET MAN TO
GIVE THE BEAT BY TAPPING HIS rOOT, NO CLARINET
OR TROMBONE TO OOME I N ArTER THE n RST f"EW BARS.
IT WAS SIMP,I.Y BABY DQDDS, TALKING. HE SPGKE
ABOuT EACH PI ECE OF HIS PERCUSS I ON BATTERY,
THEN WENT ON TO'DlsCUS6 DIFFERENT DRUM STYLES
HE HAD KNOWN, THE TEMPI or EARLY ,JAZI BANDS,
AND SUCH r I HE POI NTS OF IooIAZZ DRUWo.tI NG AS THE
SHIMMY BEAT AND PRESS ROLL. AS HE TALKED,
WORDS AND PERCUSS ION BLENDED; THEN THE SHORT
DEMONSTRATIONS GRUI INTO LONGER SOLOS.

BABY IJ(])DS
ONE NIGHT LATE IN THE FALL OF 1933, A LANKY
YOUTH WITH A MOP OF DARK HAIR ENTERED A NIGHT-
CL.UB ON CHICAGO'S NORTH SIDE AND ASKED THE
WAITER rOR II TABLE NEARoTHE BAND. HE SAT
DOWN AND TOOK OUT A STICK OF GUM, POPPING IT
I N HIS MOUTH. AS HE WATCHED THE SHO'N, HE
DRUMMED ON THE TABLE WITH HIS F'I NGERS. THE
DANCERS WEAE AUNNI NG THROUGH A ROUTI NE BASED
ON THE BAND'S SPECIAL VERSION OF' L.lSZTtS
F'I RBT, SECOND AND F'I rTH HUNGAR I AN RHAPSODI ES.
TO WATCH YOUR DANCERS, ANn WATCH THE OONDUCTOR, - WI1H NO DRUM, NO BASS DRUM AT ALL., NO SNARE
TOO. IN IHOW WORK, EVERYTHING DEPENDS ON THE DRUM - rR OM PAD TO DRUMS. fROM DRUUB TO ST REr T
DRUMS ••• " ~EHE KRUPA STAYED LATE THAT NIGHT, n ll UIltS, rROM STREET DRUMS TO OACtlESTFtA WORK,
EVEN THOUGH HE HAD TO GET UP FOR A REHEARSAL FROM ORCHESTRA WORK TO PI1 WOAK, fROM Pll WOR K
NEXT MORNING. LIKE MANY OF' TODAY'S GREAT fC.' CONCERT WORK, TO SHOW WORK, FROM SHOW WORK
DRUMMERS, KRUPA WAS 8ERVING HI8 EXTRA-CURRICU- TO NOV/II.
LAR APPRENTIOESHIP WITH BABY DODDS. 8A8y
WON'T CLAIM HE ACTUALLY "TAUGHT" ANY or THEM. THUS 11 HAS TA KEU A 1I FET I ME TO PRODUCE nil S
IIDRUWER8 JU8T GET POI HTERI FROM EACH OTHER, SET or DRUM SOLOS .. 11 If\CLUDES ALL THAT HIS
THAT'S ALL", HE IAY8, "AND I DON'T WANT TO GO EARLY TEACHERS, THE PIONEER NEW OALEMlS
AROUND eLA,IMING I TAUGHT THE .... I GOT THAT DRUMMERS DAVE PERKII\S, l OlJlS CONTRELLE AND
ITurF I N BACK OF "., HEAD, AND I" THEY WANT TO
ASK FOR IT, I GIVE IT TO THEyll.
WALTER BRUNnY, COULD PASS ON TO ""'4.
PERHAPS
IT GOES BACr. BEYO~ID ONE LIF E TIME; fOR BABY
REMEt.4BERS THAT HIS GRANDfATHER DHUIIHED IN CONGO
AMONG THE DRU ......ERS WHO HAVE uASKED f'OR THAT SQUARE, I flO THE DAYS BEFORE ANY ,JAZZ!UND9 HAD
STUFF II ARE DAVE TOUGH, OF THE EDDI E OONDON BEEN rOAMED ..
BAND; GEORGE WETTLING, DRU ....ER WITH PAUL WHITE-
",AN; RAY SAUDUO, WALLY 818HOP AND BEN POLLACK
HAYE ALL SAT AT BABY'S IIDE. WHEN lUTTY SINGLE- OOWSET
TON FIRST HEAA.D BABY ON AN EXOUA.8ION BOAT OUT IN EQUIPMENT A8 EVERYTHI~G ELSE, BABy . . INDIVID-
OF NE" ORLEAN8, HE W[NT HOME AND ASKED HIS UAL. H18 SET 18 CHOSEN rCA EXACTLY THE EFFECTS HE
UNCLE, III WONDER Ir I COULD EVER DRUM LIKE WANTS, AND THERE'S NO OTHER 8ET LIKE IT. ONE
THAT rELLOW ON THE BOAT?II EXAUPl[ ONLY: HE PREFER8 TWO CYMBALS, SEPARATELY
MOUNTED ON H11 BAas DRUM, TO All MEOHANICAL DE-
WARREN IIIA!Y!! DODDS WAS BORN I N NEW ORLEANS VIOES, aUCH AS THE rOOT-OPERATED CYMDAL. HE USED
ON DECE ... BER 24, 1898. HE CAN CLAIM CREDI T THE FOLLOW I I\.G EqU I P"'ENT ON THE DAY THESE RECORDS
FOR MORE DRU .... ING HOURI CROWDED INTO THE fiRST WERE MADE:
48 yEARI OF HII LifE THAN ANY OTHER DRUMMER ONE 8AS8 DRUIA, OAIGI NALLY USED SY BEN
I N THE WORLD. 81 HOE 1913, WHEN HE ..101 NED A POLLACK AND PRESENTED TO BABY IN 1938
8MAlL BAND KNO'N A8 liTHE AMERIOAN STARS, BY RAY BAUDUC.
DOING UNPROf'E8810NAL AND PRorE8810NAL WORK II, ONE SNARE DRUM, WI TM BABY SINCE 1921, AND
AND 1948, WHEN HIS DRUM 80LOS WERE f'EATURED WITH ANGORA GOATIKIN IN THE HEAD ..
AT A POPS CONCERT IN CARNEGI [ HALL, BABY THREE TOM-TOUS: QUARTER-TONE, HALF-TONE,
HAS pLAyED 'ITH 25 DIF'F'ERENT ORGANIZATIONS. AND WHOLE TONE, PURCHASED ,JULY, 1945.
"THAT II, THATIS ALL I CAN REMEMBER", HE TWO CYMBAL8: ONE LARGE. ONE SMALL, WANUFACT-
ADDS. UREn BY Zl LDJ I AN, CONSTANT I NOPLE. THE
LARGE ONE COST $75 IN 1919.
ONE SPEED PEDAL.
THESE INOLUDE THE JAZZ-E BAND OF THE RIVER- OtlE WOODBLOCK.
BOAT S. S. SIDNEY, WHERE YOUNG lOUIS ARlit- ONE CcmBELl QUAR.TET. THEy'VE BEEN WITH BABy
STRONQ PLAyED UNDER rATE MARABLE, I TS LEADER; EVER 91 Ne E 191E.
THE KING OLIVER, JOHNNy DODDS AND Jlt.IIY ONE RATCHET ..
NOONE BANDa THAT PLAyED CHICAGO IN THE TWEN- ONE TIM-TIM.
'{ I ES, AND THE BUNK .... OHNSON 8AND THAT PLAYED ONE PA I R 4A DRUMST I CKS.
NEW YORK'S STUYVESANT CASI NO I N THE rORT lEI, ONE PAIR PADDED "'AUlS.
1945 TO BE EXACT. GEORGE WETTLI NG ONCE RE. ALL EQUIP~NT LUDWIG AND LUDWIG OA "ILLIAM
MARKED, " I NEVER HEARD ANyTHING LIKE THE r .. LUDw I G, UNLESS OTHERWISE NOTED ..
BEAT or THAT KING OLiVER BAND, BErORE OR
$I NCEII. THAT BEAT .AS BA8y DODDI, WHO WAS IXDlS lJ ICT I~ fJ l'/ OF DRW TERMS
WITH OLiVER rROM 1921 THROUGH 1924, SETTING B I F'F SH OT -
ONE NOTE, SAY FM INSTANCE
A PACE THAT WON roo THE TWENT 1 ES THE I R TIT lE FROM THE RIGHT OR LErT HAND, HI T ON THE
or liTHE JAZI AGE". RIM AND THE HEAD. IT SOUNDS LIKE A GUN.
YOU USE Blfr SHOTS FOR A PICK-UP, OR IN
BABY HAS RECORDED WI TH JEL,LY ROLL MORTON, LOUIS BREAK rOAM, OR FaA AN OPENI NG OR END or
ARMSTRONG, SIDNEY BECHET, HI S BROTHER JOHNNY, A ROLL. YOU CAN I NTROOUCE OR CLOSE '"
EARL HI NES, KID ORY. LONNI E .... OHNSON AND BUNK DRUIA SOLO OF THREE OR FOUR MEASURES .....
JOHNION. RECENTLY, BABY ADDED ANOTHER ACCOMP- I N OTHER WORDS, HOW YOUR WI NO IS RUNNI MG.
LISHMENT TO HIS LONG LIST OF" "ORKS. WHEN MEReE
CUNNINGHAM HELD A DANCE RECITAL IN HE" YORK'S F't.Ill-FLAM - A FLAM IS A SIXTEENTH, A FlIU-
HUNTER COLLEGE, 8AIY WAS THERE TO BEAT A rLAM. A TH I RTY-SECOND.
RHYTHMIC ACCOMPANIMENT .. LICK - ANY HARD BLOW.
"'AM AND DADDY - THE LErT HAND 18 MAfJNA,
IN ANSWER TO THE QUESTION, "HAVE yru EvER DONE
THE HARD HAND. THE RI GHT HANO 18 DADDY -
ANY SHOW WORK?". BABY REPl.IED: IICH MY GOD, I
IT'S BASIC ..
SHOULD SAY I HAVEl I'VE BEEIl THROUGH TI-IE MILL
- ACTUALLY FROM DRUM PAD ON UP TO SOLO WORK. PICK-UP - AN'tTHI NO PICKED uP ON THE DRU"
NOW THAT'S All THE WAY - THAT TA KES 11'1: EVERY ArTER 80lOl. COWl NO I N, I ' YOU GOT A
Bll Of 11. DRUM PAD, lHAT'S WHERE YOU START BREAK, YOU START RIGHT IN WITH THE BA81.
2
 )

YOUR 8ASI II THE PICK-UP. I UIE THE 11.88 ON A SNARE AS WIGHT BE EXPEOTED. IT'S A IORT OF
"'08T orTEN. PICK-UP. THEN BABY THROWI IN A CYMBAL LICK, RIM
WORK, COIBELLI, TOII-TOMI. VAR IATI ON I N TONE ON
PRESS ROLL - IT'S WADE UP IN HAlVE.a OF' ROLLS, RIM WORK" ACHIEVED BV HOL.DING THE STICK8 AT
TWO TO THE MEASURE, AND EAOH T I Ea OVER TO VARYINQ ANGLES. NERVEBEAT. ",RE ACO~lIlHED BY
THE NEXT, AND SO ON. YOU GOT TO WAKE THE HOLDING THE Teo STIOKS IN THE RIGHT HAND, AND
LEF'T HAND WAKE :32 COUNT8, AND THE RI GHT CLIOKING THE .. TOGETHER .. THE SHifT INVOLVED IN
HAND 32 COUNTS TOO. THEY ,",01 N I N, TO F'llL GETTI NG THE TWO aTl CKI OUT Of THE TOM-TOMI I N-
IN THE MEASURE. IT'S A DOUBLE-UP or THE TO THE RIGHT HAND la WADE rAITER THAN YOU CAN
F'OUR BEATS TO A MEASURE, SO F'AST IT JOI HS SAY "TIM_TI.t. AfTER THE NERYEBI ... Te, WHICH
UP AS A ROLL, "'L THOUGH ACTUALLY DI V IDED. BA8Y DESORI BEa AS I l l I KE A GUY GOT THE PAISELa
RIM WORK - STICKS BEATING ON THE RIUS. (PALSEV)", THERE'S A PICK-UP ON THE BL.OOK, JIORE
RUDI MENTS - COMES UP rROW METHOD STUDY or RIM WORK, NERVEBEATI, R'" WORK, COWBELLS, AND
YAM AND DADDY. IT'S LIKE BOOT TRAINING. A rlNAL CRASH ON THE CYMBAL. "THE lEW'O WOULD
8HIMMY 8EAT - GOES WELL WITH THE PRESS ROLL •• BE JUMP - ABOUT 64,".
••• A CONTRAST Of WOV I NG YOUR SHOULDERS AND
STOMACH WHILE DRU .... ING, AND NOT WISSING A MARYLAND. OPENS WITH ROLL.a. I N BAND YERII ONS,
BEAT. THE SNARE WORK THAT rOL.L.OWS 18 PL.AYED BEHIND

THE TRUWPET SOLO. THERE'a HUWOR AND L.ILT TO

11iE SOLOS THIS 2/4 UARCH AS 8ABY YARIES THE PATTERN WITH
HALf AND QUARTER-ROLL.S, AND YOO CAN I MAGI NE
WHEN DODDS GOES TO WORK ON THE DRUM SET, HIS 10118 BAND SIINGI NG DOWN THE A'ENUE ON WARDI
WHOLE BODY MOVES INTO AOll ON. H IS ARMS OROS8 AND GRA8 DAY. TEMPO 63.
UN-CROSS, RISE AND rALL AS HE NIOKS A OYMBAl, OR
WOODBLOCK, THEN TAPS AT THE RI" OR !STRIKES THE SPOOKY IlRLMS NO.2 •• VA" IATI ON OF THE.,"IT
TON-TOMS. THEY OHANGE POSll10N AS HE VARIES THE "SPOOKY DRUMI"; NO DAUu IELEOTION AS PLAYED
ANGLE AT WHICH THE sTICKS ARE HELD, TO PRODUCE BY DemO' EVER REPEATS IT.EL.f. TEW'O 69.
CORRESPONDING VARIA.1I0NS IN TONE. rOR THE SHIMMY
BEAT, HIS LOOSELY HINGED STOMAOH WOBBLES UP AND ~TCItt ~KOUT. "WEL. L, THEN I CAllIE TO THE
DOWN iN PERrECT TIME WHILE HIS ARWB rLAIL AT THE CONOLUIION TO rEEL. THAT EVERV BEAT - EVEN
DRU ....... EADS. THROUGHOUT, A STEADY BEAT rROM HIS ,HELL WORK -- YOU HIT THAT IHELL - THAT
fOOT SETS THE TEMPO. IT'S A TEMPO THAT HAS WORN WOODBL.OCK AND ANYTHING 'LIE, oneAll -- IT'I
II
OUT HAL.F' A DOZEN rOOT PEDAL.S I N THE PA8T TWENTY AL.L 'UPPOSED TO CORREIPOND "TH THE WELODV •
VEARS. DE'ORIBD) 1'1' DODBI 41 A ItBUYBLE-RUUBLE Of THE
ll
TOU-Teu , THE "WORKOUTII II PLAVED "'WAV DOWN
IN TIllIE, AROUND 55-58". IT II A CCI'PEL.LING EX-
SIDE I AUPLE or HIS AllllTV TO CREATE ..... IC WITH
DRU .... THE TUFO AI ME"'SURED AOAI NIT A WETRo-

DRUMS IN THE nlENTIES: lAlKING BY B.BY DODDS.

NOOIE I.56.

ILLUSTRATIONS; i . "'loUIN' BABIES BL.UeS (BV tHE

THE "fOOTNOTES TO ,JAZZ" SERlE. IUPPLEUENT.
KING OL.IVER CREOL.E JAU BAND); 2. WILD MAN
THE rOlK.AVS JAZZ '~IES WI TH EXPANDED
~ (BV LOUIS ARMSTRONG HOT 8EVE~ IL.L.USTRAT I ON' or SPEC I rI C ASPECTS or "'AU
MUSIC. "IAIY DODDI TAL.KING AND DRUM SOlOS·1
IS VOL.UME ONE Of ",.ooTNOTE8 TO JAU" ..
SPOOKY ml14S NO. I. "SPooKYI, AI UIED HERE BV
8ASY, MEloNI IIWHIMSICAL" MORE THAN "ICAREY". ON
THII aiDE, BABV DEMONSTRATES WHAT F'UN IT 11 TO TALKIf'G BY BABY IXIDS
PLAY DRUMS, AND THE aLY HUUOR WHI CH CAN BE
ACHIEVED THROUGH QUICK CONTRASTS .. IT OPENS WITH I SH()JlD SAY I HAVE. I'VE BEEN THROUGH THE WILL.
A MARCH INTRonUCTION ON THE lHARE DRU", AS rOR ACTUALLY, rRCY DRUM PAD ON UP TO aOLOI MG. THAT'S
A 8RAIS BANI) .. THEN 81.8'1' STARTS WORKING ALL OVER ALL. THAT TAKES IN EvERY BIT or IT. DRUY PAD IS
THE SET, 101 I TT I NG FI RIT CYMBALS, THEN TOIl-TOMS, WHERE vou ITART. NO BASS DRU" AT ALL., JUST A
CYUBALS, COWBELL" WOODBLOCK ANn RIWS IN QUICK PAD. NO SNARE DRU'" -- aTi CKS - rROU PAD, rRQU
suCCESSION. IT'S IN 2/4 WARCH TIUE. TEMPO 68. THAT TO DRUIrIS, rROM DAUMS TO ST.REET DAuta, rRON
STREET DRUMS TO OACI-tESTRA WOAK, rROM ORCHESTRA
SHIM\!{ BEAT At{) PRESS ROLL DEMlNSlRATION. WORK TO PI T WORK, rROM PI T WORK TO CONCEAT WORK,
rROt.I CONCERT WORK TO SHOW WORK, rROM SHOW WORK
CARELESS LOVE BLUES. HERE, BAay DClms PREIENTI TO ••
THE STEADV, SLOW BEAT Of THE BLUES, AT A TE"O
or 67. WITH EACH BEAT, IT'S ALUOST POSIIBL.E TO (NOW ••• CONCEAT WORK, WHAT DOEa THAT MEAN?)
HEAR BUNIC ,JOHNSON'S THROBBING TRUMPET SING OUT
THE I!!IL.UES, AS I T USED TO BE WHEN 8ABY PL.AVED WELL, CONCERT WOOK IS SIMILAR TO CLASSICS.
IN HIS BAND.
(YOU'VE BEEN IN BANDS WHERE THEY ••• )
SIDE 2
IN THE PIT, JUST L.IKE ANY Of THE BIG SHOWS
RLDIt.ENTS WIIH IlRliASTlCK NERVEBEATS. THI. GOING ON.
RECORD OPENS W'TH A LICK, ON THE WOODBLOCK, NOT
3
( •.u THAT IN NEI ORLEANS OR CHICAGO?) DO THAT. aUT LOU' I CAN IILOW A "4ORN AND HI' LL
TELL TOU ,,. IT'I ANY QOCI) OR HOT •• YOU CAN
TELL TNA T THE CUY KHeNI.
0, NO, NEVER NEI OAlEANSj NO PIT THERE, THATIS
IN CHICAQO. ( •••• E KNOW THAT HE KHon).

THE IAWE 'AT WITH DAU .... , CAN GO ANY PLACE.

(rOR THAT 1'OU DIDN'T USE THII lET UP).
I COULD TUH£ IT UP TME IAT I THINK IT IMOULD
H. NOI' THI' DRUIII HERE ••• ' HAD A """LI[ ON
THE lAME lET U,.. HERE IUNK IANTlO or,. HE DIDN'T 'AHT TO Hua
NO TA' TAP ••• THAT'I NO IIAII DRU.... HI IAHTED
( ••••• HAT BUNK II 1)OINel II SCUETHING ENTIAIlY IIIG ROUND TONE. THE lAY I VIED TO 'LAY. IUT
POPULA. NOW). THAT', GONE. PEOPLE DON'T 'ANT THAT NO trlORE.
THn IANT DRUIA TNAT CAN IE HEARD, IuT ITI LL
,'lL TELL YOU IHAT BUNK 'I DOING ••••• HI. NOT IE 'HOOM IHOOW ••• oJJ,IIt YOUR INIIDII ••
lOUNO TO DO IT ••• VIBRATION CARRIEI ••
STYU II AlTOOETHER DIFFERENT. I PLAYED 11TH
H I ... LONG "QO.
(TOU FEEL I TIN THE 0 I APHAAG .. ).
(, lEE. HE ALIO CHANGED).
IURE ••• TH" BA" DRUM OOUu) OA"AT A 50 PIEOE
H4J) TO CH"NGE. (NATURALLY).
lAND, IlIA,,! 1S PtECf BAND, JUIT THII ONE
aA . . DRUIII, AND YOU HAVE TO TUNE IT ACCORD' HG-
LY, TO MAKE IT CA"RY •
• ELL, BUNK USED TO PL"Y A ILUES ITYLE. ANYTH I NO
HE ,.LAYED WAS BLUIIH. HE PLAYED EYERYTHING, (NO., I WAHT YOU TO DO ME A ,""VOR AND PL"T
PRACTICALLY, "N " SLOW TE ..... O. NOI HE CAN'T flLAY YOUR VARIOOI I NITRUMENTS, I IAHT TO GET THE
ILOI .. IIEOAUIE, rOR IEYERAL REAIONS. HE'a TRYING LEVU' ON THE .. ).
TO COIIPETE I'TH WHAT THEY ... RE »OING TOD ... Y. AND
IT ..... KE. H , .. HOT THE ..... N HE IAI I N THOlE DAYI.
'AN» TO PLAY 'LOW """I,C ON A HOAN yOJ GOT TO
OALLtD THE IHI....., IUT.
HAYE PLENTY OF' II NJ).
(,. THAT 'HAT TMET OALL IT HOW?)
(LET lIE TELL youl LOU" CAN IT.LL DO IT).
,'M THE OHLT ONE DOIN' IT YET. THAT'I HOI
•.••• LOUII OAN ITILL DO IT. IT IORKI. THEY ARE ITILL TRYING VERY HARD
TO DO TH II 'RU. ROLL. aUT THEY UI[ IT
DI "'[RENT •••••••• THAT , . IROHG.
(NOI THE ONLY TH I NO 18 TH'I. IE WANT TO DO
aOl.E IIDEI I N WHICH OME Of THE THI MG. I IANTED
(THn DOH'T ,.OLLOW THROUGH).
TO DO lAS ..ORE OR LEI', HIITORICAL II»E8. THAT
.. CREATE A rEEll NQ THAT yOJ HAD DURI NG, LETtS
SAY, THE lOUIS nAYI, IF ,.OSSlSLEj IF NOT LET'S THEY DON'T KNOI HOI' IT'. DONE. IUL, IHAT
IT I •••• ALL DRU_RI, I Tot.D THEM; I TOU)
rORGET I Tj TO TRy AND IIRI HG IAOK THE BEAT, THE
RHYTHM, WHAT THEY WERE TRYINO TO DO, TO lAY).
GENE, 1 TOUJ ;ICMIl, ".m THEMII DAYE TOUGH;
I TOu) TH'M ALL WHAT IT _AHI. THEY .AY IT'.
A 1/' ROLL. IT IIH'T A 1/' ROLL. IT'. A 3/,
(IOWETHI NG LI KE YOUR IORK EI THER 11TH THE AOLL AND YOU HAVIN'T GOT .uT 1/'
LEP'T AND
OLIYER BAND OR THE Hal IEYEN). YOU "ILL THAT UP 11TH THII OHE ••••••• 1,2,3,
1,2,3, ••••• NOI THI I II 4. •••• NOI' "'" THEY
WELL, NOW, I N THE Oll wER SAND - I TEll yOJ - TOO(THER •••• YOU DO IT LII([ TH' •••••••••••••
I ACTUALLY USED THE IAIE PREal ROLL, AS THEy I NaTfAD or THAT, YOU ..UE I T ALL TOOn"[R;
CALL IT NOWADAYSj "'ND 2 BEATa TO THE MEASUREj
NOlI THII . .'.1 MIND TOU, THERf'.2 HERE,
AND " HEAE.
I USED 4, ONLY ON SlOl NUMBERS I UIED 4. BUT
FOR ANY HUlaERI LI KE THE BLUE. TYPE, I USE!) 2. EDITOR - rRfDERIC A.... ET,JR.
PRODUCT ION DI RfOTOR - YOIfI "IOH

THATII THE DIH'fRENOE BETWEEN THOSE TIO THINGS.

11TH LOUIS, I DON'T C",RE HOI rAIT YOU PLAYED IT,
LOU 18 ""'NTED 4•

•• , IIlATI TO THE MEAIURE,..IO LONG IT'I IN TIME.

HII IU.., UI IN 2, IUT YOUR' IN , . KINO OLIVER
UN'!ED 2. HII WIND DIDN'T DiYELOP THAT " . . T.
liCAUI[ IT INTUlRR WITH THE THINGS HE WANTtD
TO DO. THAT GUY COULD YAKE THI NIlI WI TH A HORN
THAT YOU WOUI.I)N'T THINK WAI IN HIM. HE H~
w,ND. HE WAS" IIG YAN.

~iHUII THE WOST I . . ORTAHT).

THAT'I '''ORTAHT. AND HE HAD LIP, HAD AN . .'UL

LOT or LIP, GUY COULD DO ANYTHING. I' HE
COULDN'T liN; IT OUT, HE'D aLa. IT OUT; IF' HE
OOULDN'T ILOW IT OUT, HE'D L" 1 T OUT, HE
COULDN'T .. , •••••••• 1 DON'T KNOW " LOUII CAN
4
~I" UTM04l11otorMIO •• U. ' . A