"HANG OUT YOUR WASHING ON THE ZILDJIAN LINE!"

i’ve sung the praises before of the Drum Hangs via Zoom which have taken off in world-wide popularity since the first lockdown in March and show no sign of abating – the only problem being perhaps that Russell Gleason and Neal Wilkinson, whose baby the whole project is, have already managed to get almost all the greatest American jazz and rock drummers around to appear and participate.

But last Wednesday (the 11th day of the 11th month when Remembrance of the 1st world war might have prompted a rendering or two of Hang out your washing on the Ziegfreid line), we drummers were privileged to meet KENNY “WASH” WASHINGTON. Privileged to listen to this 62-year old maestro, who still gigs, records and teaches at the Julliard school of music, reminisce, discuss and take questions.

He is not, to be fair, the biggest name among the Drum Hang’s guests – after all, we’ve met Steve Gadd and Jack De Johnette among others. But for me, the absolute delight was to find that this hip, up-to-the-minute, black New York drummer had a passion for jazz history and for collecting and listening to an enormous bookcase full of lps of his heroes and influences. The shelves of records formed the backdrop to his interview and spoke volumes about his character.

To be a serious, working professional musician and at the same time have an obvious love of and thirst for knowledge of jazz history is very rare. This side of the Atlantic, I can only think off hand of Simon Spillett and Brian Priestley. 

And I thought I was dreaming when Kenny started recalling his forays in London (while working at Ronnie’s) to Dobell’s record shop in the Charing Cross Road, even to the detail of Johnny Kendall’s 2nd hand department den in the basement. He said John would charge him as little as possible, only wanting “beer money”. (No doubt to be spent as soon as possible over at the Two Brewers in Monmouth St – ed.) Kenny was in good company. Others who hung out in Johnny Kendall’s basement included Bud Freeman, Ben Webster and Roland Kirk………….

Dobell’s basement. L to R Henry Cohen, Ronnie Scott’s bouncer and Ben Webster’s minder, Ben and John Kendall

I first heard saw and heard Kenny on a TV broadcast from a European jazz club (can’t remember which one) when, as a very young man, he had joined Johnny Griffin’s quartet. I was immediately impressed by his fire, his swing and his formidable technique. I thought how wonderful to hear a kid like that 100% devoted to the hard-bop tradition of Philly Joe Jones, rather than becoming involved with any wider rock or funk influences. What a find by Griff!! 

But on the Drum Hang, Kenny was keen to go back to yet an earlier generation and wax lyrical about the stars of the thirties and forties like COZY COLE, BIG SID CATLETT and above all PAPA JO JONES (no relation to Philly!).  Of course Papa Jo is a legend. He had not only fired the first Basie band with a trail-blazing big band style but went on to have a long career after the war and eventually died at 73 in the 1980s. Latterly he hung out and taught at Frank Ippolito’s Pro Percussion shop and was a ruthless taskmaster.

 Kenny W remembered that he was somewhat crestfalled when Papa Jo shouted at him to play the drums instead of hit them. That is until a friend pointed out that he should take it as a compliment – Jo wouldn’t even talk to anybody he didn’t think promising………… 

Kenny also spoke warmly of help he received from Dizzy Gillespie’s drummer Rudy Collins who gave free classes to impoverished students. 

When he made it on the scene, Kenny was in demand at Rudy Van Gelder’s studio. He wished he could turn the clock back and play in the open room with an overheard microphone like his heroes had done. But by then, even at Van Gelder’s, the drummer was consigned to a soundproof box with headphones. Aaargh. And the front head was off the bass drum with pillows in it. Aaagh. At least Kenny got them to agree to move the pillows away from the playing head so he could get some sort of tone! And he developed a fondness for this “raggedy-ass blue sparkle Gretsch house kit” which received so much abuse from loud and ignorant youngsters. 

The floor was thrown open for any kind of questions. Adam Nussbaum, who after his own guest appearance has become a welcome regular on these Zooms, was as funny and informative as usual. Someone else asked about Kenny’s experience of BILLY HIGGINS. He told us of a night at the Village Vanguard, standing at the back behind Roy Haynes listening to an especially inspired solo by Billy which had reduced the house to an enraptured silence. At one point Billy played a completely new figure. Roy Haynes turned round and said “What was THAT!” 

For Kenny this was an evening of fond talk. No kit. Not even a practice pad or a pair of sticks. To illustrate a four stroke ruff or a flam, he simply used his fingers on the table in front of him.  

But he was happy to talk technique if people wanted. And Russ had a couple of musical soundbites on hand – gorgeous brushes from Kenny with Tommy Flanagan and from (who else) Jo Jones with Teddy Wilson. 

One question was very welcome: How do you avoid repeating yourself in your solos and letting muscle memory take over?

Kenny was right on the money. No doubt aware of the shelves of lps behind him, there was no hesitation. You just listen to more and more and unconsciously absorb more and more ideas. Simples!

What a wonderful guy. What a wonderful evening. Thankyou so much, Russ and Neal.