From The Past: Papa Jo Jones

Here is a reprint of a series I did for Modern Drummer many yers ago. Enjoy! Steve

Papa Jo Jones was the epitome of "swing", from his very early days with the Count Basie band in the 30s, right up until he passed in 1985. His style, grace, and his incredibly 'musical" approach to drumming inspired people like Buddy Rich, Louie Bellson, Max Roach, Kenny Clarke, and so many more. His technical skills were quite substantial, but he never let that get in the way of the music. With his feather-light touch you'd almost think he would fall short on the "out/shout chorus" in a big band, but he could play an out-chorus with brushes and drive that band incredibly. He truly "played for the tune" and man, did he swing!! He is affectionately known as the "father of the high hat", and all you have to do is listen and you'll understand why.

When I was 18 years old I had the great pleasure of having "sessions" with Papa Jo at Frank Ippolito's shop in NYC. I would take the 4 hour bus ride from Providence, Rhode Island and hang at Frank's. Of course, when I was 18 I was a huge fan of Buddy Rich and Louie Bellson. I was floored by their technique and focused all of my practice in that direction. Papa asked me to play for him and I basically play every "Buddy" lick I ever learned. So, Papa let me finish, then all he does is take a huge deep breath, and then he just looks at me with that quirky, devilish smile. Being a dumb kid, I had no clue what he meant. He then tells me "breathe". And, he was right. I was tensing up and not letting the energy flow.

He then taught me how to view the entire set as one large instrument. Each cymbal has so many different sounds; the bell, the edge, the middle. Every drum has multiple sounds. He would play on the snare at the edges, in the center, on the rim, and also with his fingers. And, he always told me to think of the drum set as my dance partner. He would say; "don't beat up your dance partner; dance with her".

He also taught me how to pick cymbals. He would always just "tweak" the edge of the cymbal between his thumb and finger. What he was doing was feeling the thickness. He always wanted lighter cymbals because they have so many tonal colors. He said he tweaked the edges "so I can see all the little devils dancing on the edge". He wanted to see and feel that "edge wobble".

I could go on for days here, but the best thing for you to do is to listen to some of Papa Jo's best work. Find some early Basie recordings (One O Clock Jump 1937, Jumpin at the Woodside 1938, and of course Cherokee 1939). Also check some of his later work with great jazz organist Milt Buckner in the early 70s, especially this cut, and, in an upcoming installment I will tell you the story of that Black Beauty snare he is using in this video: https://www.youtube.com/watch?v=eANTTBvIXmI, plus check out some of Papa's solo albums. And, for brush work and more scope this out: https://www.youtube.com/watch?v=bIBMzy2TdHQ

And, there is a Hudson Music DVD titled Classic Drum Solos, Volume 2. There's a 5 minute Papa Jo solo in there to give you an idea. He looks like he was born sitting in that drum chair. I've never seen anyone so "at home" behind the kit. It is on YouTube at: https://www.youtube.com/watch?v=mWTJCtQo3_g

I treasure the time I was able to spend with Papa Jo, and I remember his devilish smile, just like the one you will see in the videos. And, he truly opened my eyes to an entirely different way of playing, which was so instrumental in rounding out my playing skills.     

So, check out Papa Jo, and then when you have done so make sure that you do what Papa always told me to do; "pass it on". Don't let it be forgotten.

See more of my Papa Jo Jones comments on my YouTube channel here: https://www.youtube.com/watch?v=k2BSUC_jURE

And, there is a special story behind that 20s era Ludwig Black Beauty you see on that album cover. It is one of the most historic drums in the world, with an incredible legacy of owners. More on that in an upcoming post. Steve