1/2 of a concert with 3/5 of the Four & More band

First I want to acknowledge that headline... that just happened... OK...

Does it seem like we're in a Billy Higgins trough right now? I don't feel like he's getting talked about a lot— the current zeitgeist of maximal chops, polish, and improvisatory drama is not his thing. He's not going to throw you around and have his way with you, the way people like it today.

Whatever: here he is playing part of a festival set with George Coleman, Herbie Hancock, and Ron Carter. Billy's playing his 20" 602 rivet cymbal, which was a feature of his sound later in his career.





I've listened to tons of Billy, and love his playing, but it took me a listen through to actually accept what's going on here— so, if it sounds rough to you, listen to it again. That first drum solo is notable because I think a lot of ambitious young jazz musicians today would not feel comfortable having played that— it doesn't feel like doctoral recital material. But this is the real creative article— you're supposed to play this way.

Ron Carter on drummers

Here's an excerpt from an old interview with Ron Carter, from Ethan Iverson's Do The Math, concerning some of the great drummers Carter has worked with. Absolutely go read the whole conversation:

EI: In the last ten years or so, we have lost three of the greatest drummers: Tony Williams, Billy Higgins, and Elvin Jones. To me they all play the beat differently, and of course you played with them all. Like you, Tony Williams seemed to push.

RC: That's not exactly right. I know why you say that, but it is because Tony Williams played anticipations all the time: in a certain mood, he would play hits that were a 16th or more ahead of the beat with a lot of frequency. That's why he sounded like he was on the top-side of the beat.

In comparison, Elvin Jones was a "downbeat player." He really played the "one."

EI: I think I have all the records with you and Elvin together. There aren't that many, just a half-dozen or so. Did you gig together more?

RC: We never played live, just in the studio.

EI: Now, to me, there is nothing more swinging than the two of you together, because you are pushing and Elvin is laying back. Like on that Pepper Adams date with Zoot Sims or The Real McCoy…

RC: You know, I just listened to The Real McCoy, maybe for the first time since I made it. I had the original album still wrapped in cellophane. (I probably should have not taken the cellophane off: I could have gotten a fortune for it on eBay.) But someone was telling me that it was one of the great records, so I took off the cellophane and listened to it. I was taken aback. Wow! We really got to it there. I was like: let's try to get there again!