Back in the heyday of hard bop, when everyone played a similar folkloric ride cymbal beat, it was up to the drummer to make sure his pattern was distinctive.
A quarter note is a quarter note is a quarter-note: Al Harewood’s version was effortless and Caribbean-inflected. His left hand coughed and bumped. Of course the bass drum was feathered just right. There was probably no moment of his professional career as a musician where Al Harewood wasn’t swinging.
Harewood can be heard on the following albums, all of which are lifted up by his beautiful beat. The 60’s music is the most famous: the many albums with Horace Parlan and George Tucker show that unit was a canonical rhythm section. Later, through Betty Carter, Harewood linked up with Norman Simmons, another musician with whom he shared similar ideals and taste. Completed by Lisle Atkinson, that unit was canonical too.
http://dothemath.typepad.com/dtm/2014/03/rip-al-harewood.html
(es gibt unter dem Link auch noch eine Liste mit Aufnahmen, an denen Harewood mitwirkte)
--
"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #151: Neuheiten aus dem Archiv – 09.04., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba