I met Mulgrew in Germany while we were both at the same hotel and on tour. He was touring with Ron Carters trio. Both he and Ron were very kind and answered my questions about how it was to play with Tony. Ron left soon after but Mulgrew stayed and talked with me for a bit. And then he passed away. Total shocker. Never did get to see Tony in person. I don't think I could've even handled it. Tony was the one and only Tony. Often imitated but never duplicated. Never. I make all of my students watch Tony. His unique musicality taught me soooo much about the drums that I was missing before. Hell yeah Tony freaking Williams! And Mulgrew Miller!
Much longer story. But I heard Tony back in 1968 when he was playing with Miles in the village. I heard the music and walked in and asked are they going to play that night and they said "We're playing now. Sit down!" That was 4pm and they stopped playing (with breaks) at 1am. (And no one charged me anything. I had water, a hamburger and more water.) Talked to all of my idols at breaks. Tony was the most introverted. Tony was born to be a bottom and top drummer. With perfect pitch and a desire to make playing the set drums as if they were "a large set of tympani's" and he was succeeding even then. He had a great ear and could feel a change before it happened. Since I was more of a Tympanist than a set drummer that was my ambition as a set drummer. But i clearly did not have the chops and since I was 20 at when this happened I realized that I would not get them in my lifetime. I had a vision that was in harmony with Tony's. That was a great lift as I changed my ambitions. This happened in the fall of 1968 when he and Miles exchanged rhythmic and lyric licks for hours on end. Hearing lyric drums was music to my ears!
All of them are masters. Starting, of course, with Tony. I single out Ira for my comment here -- what a great bass player;and so well recorded! Thanks!
I believe RU-vid is the best thing since the invention of TV.This outlet is a very powerful tool to study the masters and capture the spirit of their genius.....
Thank you for posting this, great memories playing with Tony at La Pinède de Juan les Pins! It was very special for me, I grew up not far from Antibes. My parents took me to see many artists perform on that stage by the beach in the early sixties…
Hey Ira , I was at the gig your 29th birthday at Ronnie Scott’s when you played with Freddie Hubbard . I was 18 then and that gig was the most amazing thing . I remember your bass was split down the front but you kept playing regardless. You gave me some great advice about playing bass which was don’t worry about solos just work on playing good time which is what band leaders want . Like an idiot I ignored that advice and worked on soloing ha ha . However you were right . I have been a fan since that gig and what’s your latest release ? I have some stuff The Mike Edmonds Quintet out on RU-vid and Spotify. Just released Silk Street Vibrations some tracks like Hot House I play guitar , bass and keyboards. Always thought you were great and thank you
what is So cool About this is that Tony Raised These Very Young Musicians at this time to Be Epic. Once You Leave a Band Like This You Leave With Super Musical Knowledge and a TON Of Experience.
Tony was as much an anomaly as Miles. So different from others in vision, their lenses a fair bit stronger. Boldly going where no others went. Who else in Jazz could pull off that badass yellow kit? Nobody but Tony!
It was the red powder coated lugs on his DW kit.......with the TW yellow shells which looked......how should I say..........really weird. P.S. I loved that yellow. I had that finish on a Meazzi Hollywood kit that Art Blakey once played. Gorgeous kit. The red lugs (and red rubber tom feet!) ??????
@@andyshuttleworth8341 crazy thing is that he made the son of the DW owner cry because there was one rubber tom feet that was black instead of red 😆 on a clinic in the mid 90s
I think the personnel is: Piano - Mulgrew Miller Soprano Saxophone, Tenor Saxophone - Billy Pierce Trumpet - Wallace Roney Drums - Tony Williams Bass - Ira Coleman??? (I don't recognize him but am guessing based on looking up internet who Tony played with then). It would be nice if the uploader figured out who is on this and put it in the description.
0:06 Extreme Measures 7:35 Ancient Eyes 18:18 Crystal Palace 27:10 City Of Lights 35:14 Geo Rose 48:09 Sister Cheryl (main melody starts then, but maybe the setup is before that maybe in the extended drum solo prior) I think this is correct cause I checked the melodies with the studio recordings...and if so, then please put these song names and times in description.
@@magn8195 Listen To Tony Williams Play Double Stroke And Single Stroke Rolls, And His Improvising on All Of The Toms. Playing Forward And Backwards. Tony Williams Died Before His Time, He Had So Much More To Give To The Art Of Drumming.
And vice versa, definitely. But after TW saw BC perform on those monstrous kits he played in the 70's, TW followed suit with three floor toms, two toms up, and a 14x24 bass drum. He was playing with his New Lifetime group at the time, but even for acoustic jazz, he played the 24, which is mind boggling.
LASTIMA HAYA CAMBIADO LA SUTILEZA POR LA FUERZA, IGUAL ES MUY IMPACTANTE, ES TONY W. PERO LEJOS DE AQUEL DEL QUINTETO DE MILES DAVIS. ( ESPERO NO OFENDER) .
Mr. Raymond, jazzical Afrikan/ Amerikan music is not feces [ shit] . Pink[ white] people's music is feces. Do not ever say that again about Afrikan/ Amerikan music. KAFAH!
beautiful. Tony really listens to the soloist (and everything else, of course). Odd spot after playing blistering stuff with the piano solo, he sounds like he stop for a bar? stops playing to take a drink perhaps or he went down to ppppppp...on just his BD 🦻 5:03
