For many years, my work has centred on the study of jazz drums, their languages, and the historical and anthropological context of their aesthetic development. Throughout my academic and performance experience, I have often encountered a widespread prejudice: that drummers are not recognised as musicians in their own right. This perception has been confirmed by some of the leading figures in international drumming, such as Max Roach: “Back in the bebop era, the record industry always confined the drummer to a subordinate position. It really was… how can I put it… cultural discrimination!” And Tony Williams: “Drummers are considered minor musicians. This really upsets me; I’ve had enough of it. I want drummers to understand that they can make music with their instrument, that there is more to it than simply keeping time.” The drum set, after all, is an instrument that emerged in the second half of the nineteenth […]
This is premium content!
Subscribe! If you have already subscribed, log in with your username and password!
