"Burning For Buddy: A Tribute to the Music of Buddy Rich" Press Release
By Neil Peart, Atlantic Records, October 1994, transcribed by pwrwindows
What's It All About?
Well, as the title suggests, it's about the music. not just the drums. Although Buddy Rich was justly celebrated for his fiery drum solos, he was also known for his exciting ensemble work. The signature arrangements which he commissioned for his big band showcased the songs and the band, not the drums alone, and so it is on this tribute.
Apart from few original pieces contributed by the guest drummers. all of this music is drawn from Buddy's repertoire. From his first big band in the late 'forties until his passing in 1987, Buddy's music was never about nostalgia. It was always young, and reflected the changing times. He pushed big - band music forward from traditional swing to absorb influences from Latin, rock, funk, fusion and contemporary jazz, and all of that variety is represented on this tribute.
Throughout his career Buddy sought new material and creative young arrangers, and he often hired his musicians straight out of the music colleges at Berklee or North Texas State. Some of those players, seasoned but still youthful, appear in this version of the Buddy Rich Big Band - all but two of them veterans of Buddy's own bands. To accompany them, we invited some of today's most prominent drummers, and what resulted is a lot of great playing, and a lot of great music.
How It Came About:
It started when I was a child... My father's pride and joy (apart from me, of course) was a hi-fi record player in a little wooden cabinet, and he liked to play the music of Count Basie, Duke Ellington, the Dorseys, Glenn Miller, Frank Sinatra and Tony Bennett. As a teenager, naturally I rejected "my father's music" and turned exclusively to rock.
However, once I was out on my own I began to "discover" the music for myself, and I would proudly write home to tell Dad I'd bought an Ellington or Sinatra record. I began to realize that the big-band era was a special time - then people listened to and danced to the best musicians playing the best music of the day. (Most people would agree that this is not always so.) But still, rock was the music of my time, for better or worse, and that's what I spent the next twenty-five years playing, most of it with Rush.
Then early in 1991 I received a letter from Buddy's daughter, Cathy. She invited me to play at a Buddy Rich Memorial Scholarship Concert in New York - with the Buddy Rich Big Band. At the time, I wasn't sure how to respond. Or more like, I wasn't sure how to avoid this scary opportunity - with pride intact. Not only had I always considered Buddy Rich to be the greatest drummer who ever lived, but I had been playing rock drums all those years - how was I going to step into Buddy's shoes?
Well, I was terrified at the prospect, so of course I had to do it. After a lot of preparation and anxiety, my big-band debut was a mostly positive experience, but there were a few obstacles. The logistics of producing a show with six different drummers (and drumsets) complicated the rehearsals, so that I was only able to go through my tunes with the band once. The monitors were also... let's say underdeveloped, and with the horn players way across the stage from me, during the performance I couldn't hear the rest of the band. Hardly ideal circumstances. Fortunately enough, all my preparation carried me through, and it came off okay - just not as perfect as I'd wanted it to be.
After the show I was disappointed and down on myself about it, but I cheered up when I realized that all I had to do was do it again - so that I could do it right. This time though, I wanted to try it under more controlled circumstances. Like in a recording studio.
Almost three years later, in January of '94, I learned that a birth in the Rush family would be giving me some unexpected time off. After considering my options (a bicycle tour to some exotic locale?, a prose-writing project?, maybe just a rest?), I decided that what I really wanted to do was record some big - band music. "Somebody," I thought, "Somebody ought to produce a Buddy Rich tribute record, and I could play on it."
Well, it seemed that "somebody" might as well be me, so I contacted Cathy Rich to gauge her reaction to the idea. Without Cathy's help, her connections in the drumming community, and her blessing, I knew it could never happen. Fortunately her response was favourable, so we began exchanging lists of drummers, candidates who ought to be invited. "Many are suggested; few are chosen." Inevitably, some politely declined for one reason or another, or wanted to do it but were unavailable in our time - frame, but eventually we had a list of drummers confirmed. Now Cathy began organizing the band - Buddy's usual lineup of four trumpets, three trombones, five saxes, piano, and bass - from people she'd worked with on the Buddy Rich Memorial Scholarship concerts.
How It Went:
By our deadline, the middle of May, it had all come together - though not without a lot of work from a lot of people. Liam Birt, Rush's tour manager, signed on as co-executive producer (with Cathy) to handle the logistics, the finances, and the practical side of things. Our manager Ray Daniels went to Atlantic Records to convince them to release the final record, and Cathy's husband Steve Arnold also worked hard on the project, helping out with liaison, musical advice, comic relief, and good suggestions (well, mostly good... ). Larry Allen, who has looked after my own equipment for almost twenty years, did the same for many of these drummers, and kept all those drum kits going up and down and in and out at the proper times.
We recorded for two weeks at the Power Station in New York, often with two drummers a day, and as many as five tunes. The fifteen-piece band was recorded entirely live "off the floor," with minimal opportunity (or need!) to make repairs. This was very demanding for the musicians, and also for engineer Paul Northfield. He had to put together a drum balance for each drummer within a few minutes, keep all those horn players happy with their headphone mikes, and record every run-through as if it were "the one." And of course, it often was. From my previous work with Paul. I knew he was the man for this job - he knew how to record a room, regardless of the style of music, and he was fast.
The excitement ran high in that studio. From the players in the band and each of the drummers there was a sense that we were creating history, and maybe even magic. The tension was palpable during each take, in the studio and in the control room, but so often when the performance was finished, people on both sides of the glass erupted into spontaneous applause and cheers. Everybody sensed that we'd just made a record.
This is a feeling not often experienced in modern recording, where a song is often constructed piece by piece, layer by layer. so the only time you can say "there it is" is when you imagine it. or when the assembly is finished - and then only if it meets your expectations. This was recording "the old-fashioned way," using an old Neve console and a 24-track Studer analog machine. But one thing that we've learned in recent years is that "old" technology is not necessarily "bad" technology. Often it's just different, and sometimes it actually sounds better. At the same time however, we used modern microphones and such, and did the final mixing on a computerized SSL console, straight to digital, so we weren't being Luddites about it- just using the most appropriate tools for each job.
By the end of our two weeks at the Power Station, we had recorded no less than thirty-nine tunes, or about three hours and twenty minutes of music, and it became apparent that this was not going to fit onto one CD - or even two. Not wanting to put it out as an expensive multi-disc set, we decided to release three individual volumes, hoping that this might entice more people to check out this wonderful music for themselves.
Who Are These Guys?
A good question, I'm sure. You might not know all these drummers by name, but you'll certainly recognize the names they've worked with. And when you hear them play these great arrangements, with this burning band, I'm sure you'll understand why they were invited to play on this project.
"DANCING MEN," with SIMON PHILLIPS - One of Britain's most in-demand rock drummers and studio players, now resident in the U.S., Simon's many credits include The Who, Pete Townshend, Mick Jagger. Tears For Fears, Roxy Music, Jeff Beck, and Big Country, as well as his own solo projects.
"MERCY, MERCY, MERCY," with DAVE WECKL - Perhaps best known for a long stint with Chick Corea, Dave is also another prominent session player, working with artists like Michel Camillo. Diana Ross, Paul Simon, Michael Franks, and his own records.
"LOVE FOR SALE," with STEVE GADD - For many musicians, Steve Gadd is simply the drummer. His recording credits read like a "Who's Who" of contemporary music: Paul Simon, Paul McCartney, Steely Dan, Frank Sinatra, Chick Corea, and countless others.
"BEULAH WITCH," with MATT SORUM - Matt came up through the West Coast recording scene, working with bands like The Cult, and now plays for Guns 'n' Roses. His hard rock style perfectly complements Buddy's arrangement of "Beulah Witch," and he was an absolute joy to work with.
"NUTVILLE," with STEVE SMITH - Truly a "drummer's drummer," Steve became famous during his seven year career with Journey, then went on to lead his own jazz group, Vital Information, and work with Jean-Luc Ponty and Steps Ahead.
"COTTON TAIL," with NEIL PEART - After twenty years of playing in the band Rush, with only a few small outside projects done with friends like Jeff Berlin, and one concert with the Buddy Rich Big Band, Neil wanted to record some big-band jazz, and so this record was made. Because he was the producer, they had to let him play too...
"NO JIVE," with MANU KATCHÉ - Another one of today's most prominent studio players, Manu has done some stunningly original work with Peter Gabriel, Robbie Robertson, Sting, and Joni Mitchell, forging a style based on West African rhythms, jazz technique, and rock sensibility. MINO CINÉLU is an electrifying percussionist and a radiant person, and to see and hear these two sparking each other's rhythms is a rare pleasure. Mino has worked with Miles Davis, Weather Report, and Sting.
"MILESTONES," with BILL COBHAM - Bill is a legendary modern jazz player, and has influenced a generation of drummers through his work with the Mahavishnu Orchestra, Miles Davis. Quincy Jones, Freddy Hubbard, George Benson, many releases on the CTI label in the 70s, his own group Dreams, and most recently, Peter Gabriel.
"THE DRUM ALSO WALTZES," with MAX ROACH - Also a legendary figure in jazz drumming. Max has worked with Dizzy Gillespie, Charlie Parker, Sonny Rollins, Clifford Brown, Abdullah Ibrahim, and his own percussion ensemble, M'Boom. Max pioneered a melodic approach to drum soloing, and one of his most famous pieces, "The Drum Also Waltzes," is excerpted on this tribute. His influence on other drummers now spans three generations.
"MACHINE," with ROD MORGENSTEIN - Another poll-winning drummers favorite. Rod played in the fusion style with the Dregs and the Steve Morse Band, then side-stepped into rock for a successful period with Winger. These days Rod continues to work regularly with the Dregs. while also contributing to the educational side of drumming.
"STRAIGHT NO CHASER," with KENNY ARONOFF - Athough Kenny is a schooled classical percussionist, he built his reputation behind John Mellencamp, with whom he made many records and tours. In addition, Kenny has become a very popular session drummer, working with Bob Dylan, Elton John, the Indigo Girls, and many more. He and I also had a great time constructing the percussion break in "Pick Up The Pieces," as the "Bald Bongo Brothers."
"SLO-FUNK," with OMAR HAKIM - Omar has built a successful career as a "Drummer For Hire," and his fluid funk style shines in his work with Weather Report, Miles Davis, David Bowie, Dire Straits, Sting, and in his solo recordings.
"SHAWNEE," with ED SHAUGHNESSY - Ed is best known for his many years with the Doc Severinsen band on the "Tonight Show" with Johnny Carson. He has also worked with many other jazz greats, including Count Basie, and remains active in the educational field.
"DRUMORELLO," with JOE MORELLO - When I took my first drum lesson, in the mid '60s, there was a picture of Joe Morello on the wall of the teaching studio. He was famous then as Dave Brubeck's drummer, and is still regarded as a technical master. That technique is exemplified here on his signature piece "Drumorello," as is the fire and excitement in his playing.
"LINGO," with BILL BRUFORD - Bill's pioneering work in rock drumming has been very influential, as he moved from seminal progressive-rock bands like Yes and King Crimson to his own more jazz-influenced groups, Bruford and Earthworks. "Lingo" is his own composition, with a special big-band arrangement for this project.
"YA GOTTA TRY," with MARVIN "SMITTY" SMITH - I think Smitty was born playing this music. He and the band played through this song once, and that was it--the record. Smitty has worked widely in jazz and pop music, with artists like Dave Holland, Steve Colman, John Hendricks, Art Farmer, and Sting.
"PICK UP THE PIECES," with STEVE FERRONE - Apart from his ten years with the Average White Band (whose hit song this was, here arranged for big band by Arif Mardin), Steve has worked with artists as diverse as Brian Auger, Duran Duran, Eric Clapton, Bryan Ferry, and Chaka Khan.
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WE HOPE YOU ENJOY LISTENING TO THIS MUSIC
AS MUCH AS WE ENJOYED MAKING IT
Atlantic Recording Corporation
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