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...
ME: You got that right. Rudimental drumming is a little of both: it can be very hard and some of it is easy. To answer your question, Robert Winslow, or Bobby as we called him, was said to be a child prodigy in this capacity. He had joined and played snare drum with one of the other drum corps. The word of mouth is that you had to be exceptionally talented to even consider trying out for this drumline. Bobby Winslow made that drumline and I hear he was sixteen years old. That was unprecedented. Most of the drummers in that drumline were older, perhaps in their twenties. The movie Drumline (2002) provides a taste of what it's like to be in a drum & bugle corps. I regret that I couldn't work with the Warriors longer. I was told that Bobby Winslow had gone to Africa and did drum studies over there. He would put those African rhythms in our parts.
Sometimes during a competition, the drum judges didn't know what we were doing. I saw one judge throw down his writing pad and pencil on the ground in disgust. He was so frustrated that he couldn't figure out what we were playing. During the final event of the season, which the Warriors won, Bobby Winslow's teacher of his former drumline was one of the drum judges. I did a slight infinitesimal hesitation during one of the drumline solo sections and you know what, he caught it. Only a master drummer could have caught that hesitation. He rubbed it in by looking me in the eye while he wrote a checkmark on his pad. "You demon, I said inwardly. "No one should have caught that, but he did. I'll leave you with another thought about drummers in drum & bugle corps. Many of the snare drummers can take down a lot of jazz drummers. I'm speaking in terms of technique. To be fair jazz drummers even the score by their work on the drum kit. Snare drummers from the marching bands can't touch us there. After leaving the Warriors, I began concentrating on playing free jazz. This was the year 1968. class="f-right"> Return to Index...
I love jazz because of its ability to evoke such tremendous emotion... primarily joy!
I was first exposed to jazz by my grandparents.
The first jazz record I bought was Jim Beard's Song of the Sun or maybe Steely Dan's Aja.
My advice to new listeners: remain varied in your listening habits, and of course keep listening, keep listening, keep listening!
We sent a confirmation message to . Look for it, then click the link to activate your account. If you don’t see the email in your inbox, check your spam, bulk or promotions folder.
Thanks for joining the All About Jazz community!