It doesn’t say this on the music. “But then for the third tune, Woody said, ‘Okay, number 36—one, two, three, four!’ He gave no time whatsoever for me to get the music up. But when he said, ‘Catch me,’ I walked around front to catch him!”, Miller also encourages would-be Herman drummers to “keep listening to jazz. They threatened to cut off my tour of 10 or 12 weeks if I did not show up in Washington with an all-white band—which I think proves something. The new big band, with Hanna on drums, Chuck Andrus on bass, Pierce on piano, Bill Chase on lead trumpet, and Sal Nistico as the hot tenor man, went out on the road. Between Jo and Chick Webb—those were the two that did it for me.”, Carlson was basically self-taught. “When you go with a band like that,” Soph noted, “you’re not just going on as a drummer; you’re going on as part of a continuation of a tradition.”, The tradition began in 1936. Story by Jeff Potter | Photos by Rick Malkin. Lamond told me that, for his first few months on the Herman band (in late ’45), he played on Tough’s drumset. Fortunately, Herman was well documented throughout all phases of his career, and his major contributions are still greatly appreciated. You didn’t hear any of the gong that goes along with it; you just heard the tip beat and the edge, you know—terrific sound. If you go to Berklee or these other colleges, you play jazz charts. .swinging away like hell, solid and steady as they come.”. “You see,” Miller explained, “on ‘Caldonia,’ he always does set kicks. “Up until that point, I was still banging on woodblocks and all that crap. The Second Herd was a critical success but a commercial failure. “That was my education in drumming.”, Carlson initially used a 26″ Slingerland bass drum for his big band work with Herman. Herman commented, “Jake came back in the band in 1962, and it worked out great. Cliff Leeman came on in mid-1943 and stayed through mid-’44. Campbell went on to work with Stan Kenton, and in Broadway show bands, before resettling in Las Vegas, where he free-lances today. . But it sure doesn’t hurt to know a bit of the legacy. It’s a set thing. He’s not seeking any particular type of drummer—just so long as the drummer swings. He was not a soloist.” Tough said he just wanted to keep the rhythm flowing and that he did. His 24″ K, which he still plays when he returns to the band, became something of a “band cymbal” for a while, since he loaned it to Paul Johnson, who drummed with Herman for the first three months in ’83, and to Dave Miller, who drummed with Herman, off and on, from late ’83 to ’85. In 50 years, he’s seen drummers with widely varied styles all work well with the band. At times, Herman cut back to an octet. Igoe was followed, for a year and a half, by the late Art Mardigan. He inspired guys—not loud—just the way he could do with his head, and that right hand just going back and forth in two. He recalled, “Several times I wanted to leave the band. I put him right up there with the great bandleaders of all time. He recorded often with Jones, and when the veteran bandleader decided to break up his orchestra in 1936, Herman formed one of his own out of the remaining nucleus. “Jerry Lewis would come in all the time and bring his son Gary. Herman’s confidence that the band could pull off anything was infectious, Zito said. He broke up the big band and started over again in 1950 with a small group. It was paper thin, and he had rivets in it. He plays on a 1937 Slingerland Radio King bass drum (trimmed to a depth of five-and-a-half inches).
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