Am I a "Buddy Rich Imitator"? (Short answer, "No".)

By Mike James

First of all, what does that mean?

If we see two pianists playing black pianos, do we assume that one is imitating the other? That's absurd, of course, but some people do think that way... If you play black drums, you're a "Steve Gadd clone". If you play yellow drums, you're a "Tony Williams clone". If you play marine pearl drums, you're a "Buddy Rich clone". Some will make these judgments without even listening to what the musician in question plays, or knowing anything about them.

Buddy Rich, his writers, and his bands had many great attributes that all musicians can learn from, and I was lucky enough to attend many of his concerts, clinics, etc.. But, so did a LOT of other people. It doesn't mean we try to "imitate" him. In fact, I say in my book, and in several different places on this site that I don't have any special insight into Buddy's thinking, don't know any "secrets" about him or his methods, and I certainly don't have a level of talent anywhere near his. I'm simply a fan, passing on what I know... free. My favorite review of "Drumming for Life™", (My book) is by Duffy Jackson, who said that I "pay tribute to Buddy's legacy with respect and dignity". That is certainly the goal of the book, and that's why I offer it free. Those of you who read it will find that my approach is to try and help drummers figure out "how to play", and not "what to play". It's important to know the history of music. When you understand where things came from, it makes it easier to continue our education from a more balanced point of view. (See my Links page for some great resources.)

My background and talent... Different from Buddy's, to say the least...

My mother was a keyboardist/vocalist. My genetic father was a keyboardist, and my step father (who I grew up with) was a drummer. (left-handed, but played a right-handed drum set) His interest in jazz tended to be the great trios and quartets, featuring Max Roach, Art Blakey, Grady Tate, Joe Morello, Shelly Manne, Joe Jones, Tony Williams, etc.. I love that music too. I was born in 1954, so I've been listening for quite a while.

I started playing in 1964, at the age of 10. I didn't show any signs of "genius", in regard to the drums. Whatever I can play today is the result of over 40 years of experience, hard work and gradual improvement, like most other musicians.

A great influence...
When my parents were on the road, (8th and 9th grade, for me) they sent me to a private school, and the band director there happened to be a jazz trumpet player. He took me to see Buddy Rich, in April of 1968, and that particular night changed my life. Prior to that, I had "heard of" Buddy Rich, but only via brief glimpses of him on TV, recordings with Harry James, etc.. But... This concert was Buddy's band, live, and the band was very strong.

Before the concert, I ended up backstage by accident, looking for a restroom. I was looking at the stage from the wings, when Buddy came out, behind the closed curtain, and sat down at the drums. He lightly tapped out 5 strokes on the hi-hat, and I instantly felt that there was something "magical" about him. It obviously wasn't what he played in that case, but how he played it. He then lightly tapped on the other drums very briefly, made a minor adjustment with a drum key, and walked off. Buddy had showed me something special, before the concert even began. The reaction I had is subjective. of course. Someone else might not have heard what I heard. The concert was spectacular though, and I was hooked!

So, my reaction as a young kid, was to become completely obsessed with Buddy and his music, and with other modern big bands of the same era. From then on, I bought every recording, magazine article, photo, etc., that I could, scoured the drum catalogs to find out about his drums, heads, cymbals, sticks, methods, etc., attended all of the concerts and clinics I could, practiced and played relentlessly, and tried hard to learn to play like that. My love of Buddy's writers motivated me to study theory, composition, and arranging, so I could write charts for local big bands, and later, the Air Force Band. That part of my education also led me to other great big band writers and musicians of the time, as well as the traditional classical resources.

There is a kind of "Zen" to this approach, which is that by emulating various drum setups and sounds, (adapting them to fit your body size and proportions) you could later say "the drums taught me". World-class drummers don't set up their drums in a certain way to "look cool". They do it to facilitate their playing, typically making it "easier". Why not?

Take the example of having the ride cymbal where it is in my setup... It makes such great sense to me because:

• The ride cymbal position makes it easy to play, with no "reach" required.
• Since cymbals project their sound across their diameter, this position gets the maximum cymbal sound to the audience. (Having a higher and/or tilted cymbal gives the audience more "stick sound".)
• The ride cymbal is easy to crash, with only a small wrist turn from the "ride" position.
• Like the other drums, the ride cymbal can be reached with only a small wrist turn, while playing any other part of the set.
• The cymbal holder required is ultra simple, since there's no tilter or other adjustable parts, and that makes it "reliable". (I had several of these "L" arms made by a machine shop, in different lengths, so I could experiment, and to accommodate different bass drum sizes.)
• The ride cymbal's position (and the other cymbals and drums) allows me a clear view of the other musicians and the audience, and allows them a clear view of me. Visually, it's easy for me to see and/or give cues, and carry on a subtle communication.
• My approach to playing doesn't require a lot of drums, so I'm not "losing anything" by placing the ride cymbal where some drummers might put more toms.

As a young and ambitious drummer, the flaw in my approach was that I was too young to appreciate the real depth of the music, and focused more on the usual "loud, high, fast" stuff. That's part of the natural process of maturing. You also learn, after years of trying, that "practice" alone won't make you into a player like Buddy. Most of us feel that he had a God-given gift, and was, as the saying goes, "one of a kind". The continuing proof of that is that (to my ears) no one else has played at the combined skill and artistic level of Buddy.

As a student, (1960s and 1970s) I loved all the popular bands... "Blood, Sweat, and Tears", "Chicago", "Emerson, Lake, and Palmer", "Gino Vanelli", "Chase", "Tower of Power", "Earth, Wind, and Fire", "Yes", along with rock 'n' roll... "Takin' Care of Business" ("Bachman-Turner Overdrive") was the tune we sang along with at the local rock clubs, when I was a kid. Then, I'd go home and listen to Buddy Rich, Maynard Ferguson, Count Basie, Woody Herman, Barry Miles, etc.. My parents had various jazz bands and later, nightclub acts we'd call "show bands". They played everything from jazz to the Beatles and Hendrix. I respected their versatility, and learned about the realities of the music business very early in life.

In school, I played in the stage band, concert band, marching band, pep band, the local Youth Orchestra, the local Symphony Orchestra, various percussion ensembles, studied drums, piano, composition, arranging, trombone, and saxophone, wrote big band charts for area big bands, and played with all the local jazz and rock players. I practiced several hours each day, and starting when I was 15, was often playing 5 nights per week. I attended all the concerts, clinics, and NAMM shows that I could, and played educational (Union) "Transcription Fund" concert performances at area schools with a jazz sextet. By the time I finished high school, I had written 130 big band charts. I then went on the road for a year right after high school, before enlisting in the Air Force (age 19) as a Musical Arranger and Drummer. After the Air Force, the following 22 years were spent on the road, full-time... typically 46 weeks per year, 6 nights per week.

So, am I an "imitator" or "clone" ?

No. We all learn certain things from certain people. No one sits isolated in a cave from birth, learning only "their own way" to play. i've learned from everyone I've listened to, just like every other musician. That's how we all do it. I feel extremely lucky to have been exposed to Buddy Rich, along with Louie Bellson, Ed Shaughnessy, Roy Burns, Joe Morello, etc.. at a young age, so I could develop good technical habits, and probably would not have been inspired to continue on the drums without their influence. They're all good influences on how to play... We each must decide what to play.

There are many things about many drummers that I admire. But, that's simply a matter of respect, and doesn't indicate my "plan for life". I've spent most of my life as a typical working drummer, playing a huge variety of music... not just jazz. I don't have a big band, I don't have a Buddy-esque logo on my bass drum head, I don't try and look, dress, or act like Buddy, I don't imagine myself being a featured "star" on major television shows, I don't copy Buddy's solos. I don't want to re-record "West Side Story Medley". I don't expect any recording companies to be begging me to record. And finally, I don't expect anyone to adopt my heroes as their own. I happen to have been influenced greatly by Buddy and his bands, because that music was a big part of my life as a young drummer. His was the most major influence, but certainly not the only one.. I simply enjoy playing drums, and try hard to keep getting better. I offer my book, articles, opinions, recordings, photos, etc., on this site free, as proof of my sincerity.

Should any of us worry about being thought of as "imitators"?
I happen to like the sound of the vintage drums I play. (I quit looking at drum catalogs when I got the "Radio King" drums in 1985.) I happen to think that the physical setup is very practical and comfortable. And, when I look at the selection of drum finishes I can use to recover the drums, I happen to think that "marine pearl" looks the best. So, should I change my drums, change the setup, and/or change the color, just to prevent a prejudiced viewer from thinking of me in a certain way? Or...Should YOU change your equipment, if you're playing a drum setup similar to any other "known" drummer? Only you can decide. I'm keeping my Radio Kings!

Thank you for visiting.
- Mike James