All About Jazz

Home » Articles » Interviews

Dear All About Jazz Readers,

If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.

You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...

1,202

Butch Ballard: Legendary Philadelphia Drummer

Victor L. Schermer By

Sign in to view read count
I was asleep, and my wife said, 'Daddy, you have a call from a Mister Duke Ellington.' I said, 'Who?'
Butch BallardGeorge Edward "Butch Ballard is a celebrated drummer, now 88, who swung with the Cootie Williams, Duke Ellington, and Count Basie big bands, to mention just a few of the items on his resume. Beyond that, however, this cat is truly an American phenomenon, an African-American from a working class family who realized his childhood dream through a total obsession with the drums during the time of segregation and through to the present day.

Now, he looks back on a lifetime of achievements, warm friendships, and tales of top musicians. These reminiscences were occasioned by his receiving the Mellon Jazz Community Award on December 1st, 2006 for his musical achievements and contributions to jazz education in Philadelphia. On December, 10th, at the request of the Mellon people and the Kimmel Center for the Performing Arts, I interviewed Ballard at his long-time home in the Frankford section of Philadelphia, an ethnically diverse blue collar neighborhood where he has resided for most of his life. At 88, Ballard is totally alert and focused—like a drummer must be. He has remarkable energy for a man his age. He still fronts his own jazz trio which plays regularly around town. He has many, many students to whom he gives precious gems of insight. He dedicates himself to jazz education. His home is warm and full of life, his cousin Adeline whipping up dinner in the kitchen, Ballard moving all around the living room showing me his various mementos, recordings, and photographs. There is a warm feeling of spontaneous love and generosity there. This is a man who radiates joy and love. Mr. Ballard is an icon of African-American history whose legacy belongs in the Smithsonian Institute. Like Louis Armstrong, with whom he performed, Ballard represents those African-Americans who bore the indignities of segregation yet never lost their decency, love of all that is human, and spiritual roots. I feel blessed being in his presence. This iconic story of the courage and character of the African-American family has been represented in literature and drama like A Raisin in the Sun but has yet to be told in its fullness. But Ballard's identity is pure percussion! He even did the interview like a drummer: rhythmically, fast paced, and right on top of every question. I had to jump in there on the beat to give my questions. There was a pulsation and steady swinging movement throughout, which is difficult to capture in a transcription, but some of that does come through. So does Ballard's obvious affection for his mentors and fellow musicians and his gratitude for having lived a fruitful life. In part, you, the reader, will be taken back in time to the days of the big bands—the great African-American bands that played in Harlem and around the country and Europe—and will get a lively taste of what it was like to be a jazz musician coming up during those heady times.

Butch Ballard: Hi Vic! I just got back from church. The Second Baptist around the corner here.

All About Jazz: Do they have music there?

BB: They have two or three choirs. They do gospel music. No jazz.

AAJ: Trudy Pitts plays some church gigs. Do you know her?

BB: Who don't I know in Philadelphia?

AAJ: She's playing at Old Pine Church. It's the anniversary of their long-running Jazz Vespers, which she helped to start.

BB: I played there—three or four times. By the way, you should know that I'm hard of hearing. Recently I met one of the women from the Mellon Jazz Festival. She said, "Mr. Ballard, you can hardly hear anything!

AAJ: [Voice raised a few decibels.] What do you do when you play?

BB: I hear everything when I'm playing the drums.

AAJ: That's amazing that you can hear everything only when you're playing music!

BB: I also know the book—I've been with the band fourteen years, so I know the whole library. I also know the entire book of the Legends of Jazz band at the Clef Club. And I did the same thing with Ellington, Basie, and Clark Terry. I memorized the whole book so I could add some of my own reflections in there. I learned that from getting' cussed out by some of my own peers when I went to New York, like big Sidney Catlett, J.C. Heard, and Papa Joe Jones. Shadow Wilson was one of my first inspirations here in Philadelphia. I watched him play with the Bill Dogherty Big Band. Shadow was one of the greatest drummers in the world. He got hooked up with drugs, and it took him out. But what a great drummer! He'd put that foot down, boy! Wow!

AAJ: Did you guys do the rhythm on the bass drum or the cymbals?

BB: No, no. I use the whole drum set—cymbals, bass drum, sock cymbal in your left hand. You do what you have to do. These days, I teach drums—I tell my students things they must do. The drummer holds the whole band together. You can't be messin' around talkin' to some woman or something. You got to be playing the drums, playing the chart. You've got to be right there.

A Kid Obsessed with Drums

AAJ: You grew up here in Frankford?

BB: I grew up at 4610 Hawthorne Street. Two blocks away from here.

Tags

comments powered by Disqus

Related Articles

Read Nik Bärtsch: Possibility in Paradox Interviews
Nik Bärtsch: Possibility in Paradox
by Geno Thackara
Published: April 24, 2018
Read Linley Hamilton: Strings Attached Interviews
Linley Hamilton: Strings Attached
by Ian Patterson
Published: April 17, 2018
Read Camille Bertault: Unity in Diversity Interviews
Camille Bertault: Unity in Diversity
by Ludovico Granvassu
Published: April 10, 2018
Read Chad Taylor: Myths and Music Education Interviews
Chad Taylor: Myths and Music Education
by Jakob Baekgaard
Published: April 9, 2018
Read Fabian Almazan: Multilayered Vision Interviews
Fabian Almazan: Multilayered Vision
by Angelo Leonardi
Published: March 30, 2018
Read Ryuichi Sakamoto: Naturally Born to Seek Diversity Interviews
Ryuichi Sakamoto: Naturally Born to Seek Diversity
by Nenad Georgievski
Published: March 27, 2018
Read "Miles Mosley Gets Down!" Interviews Miles Mosley Gets Down!
by Andrea Murgia
Published: June 16, 2017
Read "Dawn Clement: Here In The Moment" Interviews Dawn Clement: Here In The Moment
by Paul Rauch
Published: January 23, 2018
Read "The indefatigable Bill Frisell" Interviews The indefatigable Bill Frisell
by Mario Calvitti
Published: September 12, 2017
Read "Eri Yamamoto: The Poet’s Touch" Interviews Eri Yamamoto: The Poet’s Touch
by Jakob Baekgaard
Published: May 20, 2017
Read "Todd Neufeld: Transcending the Limits of Sound" Interviews Todd Neufeld: Transcending the Limits of Sound
by Jakob Baekgaard
Published: September 7, 2017
Read "Lwanda Gogwana: Tradition and Innovation" Interviews Lwanda Gogwana: Tradition and Innovation
by Seton Hawkins
Published: September 9, 2017