Get Yer Kit Off: Frank Gibson Jr

But what do you teach people about jazz?

Very little. You can certainly influence what they listen to and to a certain extent how they might interpret it. Eventually they mature on gigs, surrounded by more seasoned musicians who are capable of stretching both imagination and technique. In the end, or the beginning for that matter, jazz is ‘the art of rhythm’. I always recommend recordings with a depth of feeling and spirituality like John Coltrane’s ‘A Love Supreme’ from 1964.

The other side of teaching is also to prepare students for all the different music feels that are out there - all to be mastered if you want to earn a living. You can’t specialise, you have to be able to play all of them and eventually master all of the genres.

In 1991 I joined the Western Australia Academy of Performing Arts of the Edith Cowan University, as full time lecturer in jazz music for five years. I’m still teaching privately and bringing together talented young musicians in ‘Frank Gibson’s New Jazz Mobile’ ensemble with four front line parts, piano and rhythm. We play originals and arrangements from top NZ musicians like Mike Nock, Alan Broadbent, Dave MacRae, Phil Broadhurst, Murray McNab, Denny Boreham. This is the best education of all, rehearsing, reading and learning what it’s like to play in this size of group with sustained intensity, regardless of tempo or dynamics, and ultimately to know what it means to pay some dues.

What is your current kit?

I am now a Yamaha drum endorsee and have a custom made set - all be-bop sizes. I like Elvin Jones’ adage of ‘buy a cymbal and learn how to play it’. Right now my Yamaha drums sound beautiful. I enjoy the elevated bass drum for projection and volume, the wonderful sound of the handcrafted custom oak shells. The hardware is single braced and light.

I do prefer a medium to light stick and use the Frank Gibson Jnr signature sticks made by Promark. In general I’m not a gear freak. My current set up of Yamaha drums, Paiste cymbals and Aquarian heads [all endorsed] is great, but its through tuning and touch I achieve my own sound. I tune a perfect fourth between toms with the bottom skin tighter than top on all drums except the bass drum batter head which is tighter than the front head. I never tune on a gig but on the sound check I may tune for the room if necessary.

What would other drummers notice about your style?

When I finally heard myself I sounded like a collage of many different drummers and not much of me. It was not until I was about 31 that I started sounding like myself. Other drummers would probably notice that over the years I have developed an individual cymbal beat and vocabulary.

When Jack de Johnette came to NZ in 1998 the trio that warmed up the audience was Phil Broadhurst, Andy Brown and myself. Talking with Jack afterwards he said to me, ‘I really like your playing because you sound like yourself with certain influences and I like all you cymbals’. That made me feel good.

What albums do you have out there or on the drawing board?

I have one currently on the shelves entitled ‘Rainbow Bridge’ which was recorded in Melbourne in 2003 and features Matt Clohesy on bass, Sam Keevers on piano, and my all time favourite tenor sax player Jamie Oehlers. Another one as yet untitled and due for release soon was recorded at Revolver studios in Waiuku and features the same musicians except Ben Turua on bass. I am also on many other people’s albums such as Jamie Oehlers’ debut as leader recorded in Sydney.

Where do you fit in the band dynamic?

Without doubt the drummer is the most important member of the band. Drummers must work towards being good accompanists where comping is complementary to the soloist either instrumental or vocal. It is good for up and coming drummers to study how Art Blakey displays dynamics and how they build in all of the ‘Jazz Messengers’ recordings, or how the Miles Davis rhythm sections (from 1954-1969) were organised with each player knowing exactly what he had to do.

What are your favourite fours and fills?

Best fours without doubt - Philly Joe Jones on Billy Boy from Miles Davis album ‘Milestones’. Best fills - Jack de Johnette on Things Ain’t What They Used To Be on Keith Jarret’s album ‘The Cure’ and Philly Joe on Gone, Gone, Gone from 'Porgy and Bess' - and also his short fills on Ah-Lue-Cha from Miles Davis’ album ‘Round Midnight’.

What are some extended drum solos that have captured your imagination?

Buddy Rich - Jumping at the Woodside ‘This Ones For Basie’ ; Louise Bellson - Breakthrough ‘The Oracle Speaks’ ; Duke Ellington - Skin Deep ; Philly Joe Jones - Salt Peanuts, Miles Davis’ ‘Steaming’ ; Elvin Jones - Three Card Milly - ‘Earth Jones’ plus Ben Riley and Frank Dunlop’s solos with Monk.

Do you use click tracks?