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 Kenny Clarke's black diamond pearl 60s era Premier set is now part of the museum display in our Manhattan store. We know of no other sets of Kenny's in existance, so this may in fact be unique. This particular set is 8x12, 14x14, 14x20 and has two Premier cymbal stands and the Premier snare drum stand. Kenny's trap case is also included, and stickers with Kenny's name are on the case as well as stickers for Max Roach Productions. This set had been most recently in the possession of the late Max Roach. Anton Reid, who tended to Max's drums for over 35 years, verified that this set was Kenny's and that it was with Max. Max's daughter, Maxine Roach, has asked us to display this set and we are honored to do so. She has indicated that Max always wanted his items to be kept together and displayed for others to see and appreciate. This set had been in Max's possession and as a result it is part of the legacy that Max wanted preserved, and we're pleased to be able to help make that happen. Below is some information about Kenny Clarke and his tremendous contribution to bebop drumming:
Kenny Clarke was a highly influential if subtle drummer who helped to define bebop drumming. He was the first to shift the time-keeping rhythm to the ride cymbal, and was the first drummer to utilize the bass drum for accents rather than the four-to-the-bar pulse that was previously the standard. These innovations were perfect for the new "bebop" style of jazz that was becoming increasingly popular beginning in the 40s and onward.
Clarke played vibes, piano and trombone in addition to drums while in school. After stints with Roy Eldridge (1935) and the Jeter-Pillars band, Clarke joined Edgar Hayes' Big Band (1937-38). He made his recording debut with Hayes (which is available on a Classics CD) and showed that he was one of the most swinging drummers of the era. Stints with the orchestras of Claude Hopkins (1939) and Teddy Hill (1940-41) followed and then Clarke led the house band at Minton's Playhouse (which also included Thelonious Monk). The legendary after-hours sessions led to the formation of bop and it was during this time that Clarke modernized his style and received the nickname "Klook-Mop" (later shortened to "Klook") due to the irregular "bombs" he would play behind soloists. A flexible drummer, Clarke was still able to uplift the more traditional orchestras of Louis Armstrong and Ella Fitzgerald (1941) and the combos of Benny Carter (1941-42), Red Allen and Coleman Hawkins; he also recorded with Sidney Bechet. However after spending time in the military, Clarke stayed in the bop field, working with Dizzy Gillespie's big band and leading his own modern sessions; he co-wrote "Epistrophy" with Monk and "Salt Peanuts" with Gillespie. Clarke spent the late '40s in Europe, was with Billy Eckstine in the U.S. in 1951 and became an original member of the Modern Jazz Quartet (1951-55). However he felt confined by the music and quit the MJQ to freelance, performing on an enormous amount of records during 1955-56.
In 1956 Clarke moved to France where he did studio work, was hired by touring American all-stars and played with Bud Powell and Oscar Pettiford in a trio called the Three Bosses (1959-60). Clarke was co-leader with Francy Boland of a legendary all-star big band (1961-72), one that had Kenny Clarke playing second drums! Other than a few short visits home, Kenny Clarke worked in France for the remainder of his life and was a major figure on the European jazz scene.
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