Get Yer Kit Off: Frank Gibson Jr

Frank Gibson Jnr’s rich depth of skills, appreciation and knowledge of the art of drumming in general, and jazz drumming in particular, has absorbed and inspired his many students and fans to this day. Consequently when asked to interview Frank about his drumming history, experiences and achievements, I jumped at the chance.

How long have you been playing?

Well, over 50 years. I started when I was six under the eye and benevolent tutelage of my father Frank senior, who was also a well-known drummer who played jazz, big band, swing and rock. My first public performance was at the Auckland Town Hall where my father and I performed a drum duet. I was eight. The feedback from the audience was unbelievable.

How were you taught?

Initially mainly by ear as I was a good listener. Also by my father utilising direct learning, by imitation. I also developed by association with other drummers of Dad’s era - Don Branch, Barrie Simpson and Brian Spence. Lockie Jamieson was a huge influence on me. He was the be-bop player of the time and had played in strip clubs in Chicago with Sonny Rollins. All of these people were extremely kind and encouraged me continuously.

I just learnt the sticking and didn’t learn to read, until I found out the hard way that I had to if I wanted to work with tight cabaret acts from NZ and overseas. Andy Brown (bass), myself and either Murray McNab or Phil Broadhurst on piano were the rhythm section for all overseas artists. For me the first big one was Dianne Warwick in 1975. Each concert was a lesson.

What was your first kit?

It was a Carlton that was hived off from my father’s kit which was a double bass drum, double tom-tom outfit with Zildjian cymbals. Later on Dad bought me a set of Rogers.

Who was the first drummer to influence you?

Due to genetics and environment I was able to feel and react to jazz from a very early age at a subconscious level. I was influenced by the music that surrounded me from the womb onward - I was soaking up the big bands of Basie, Ellington, Harry James, especially Woody Herman’s first herd with Dave Touch on drums. Joe Morello was my first idol, around the age of 10 or 12. During high school two recordings turned my thinking around. They were Bags Meets Wes featuring ‘Philly’ Joe Jones on drums and also Cannonball Adderley + One with Louis Hayes. Those bands had such a great feeling.

Which drummer would you single out of all of them?

The Jones boys - ‘Papa’ Joe, ‘Philly’ Joe and Elvin - above all, those three changed the way drums were played. But strictly speaking I don’t have a favourite. I respect all musicians who have put in a lot of hard work and eventually become masters in their field. If I had to pick it’d be ‘Papa’ Joe, Kenny Clarke, ‘Philly’ Joe, Elvin, Tony Williams and Jack de Johnette.

What about your time in the UK?

In 1977 I realised I needed a change. I had been working mostly in jazz groups - Doctor Tree had an album of the same name, the first fusion album in NZ. The Neophonic Orchestra and a whole heap of studio work encompassing all genres. I really felt I needed to be in a more challenging environment, working with older, more experienced and superior musicians to myself.

Did you find it challenging when you got there?

You bet! I’d been working six nights a weeks in NZ, naturally that’s what I thought I should do in the UK. Consequently for the first time in my life I auditioned for a six nights a week 10pm-2am job with a rock group. There were about 20 trying for the gig and I was successful, but jazz work started to come in, together with studio work, so I didn’t need to take the rock job.

I had been recommended to studio contractor David Katz by other NZ musicians already in the UK - Bruce Lynch, Billy Kristian, Dave MacRae. I won him over but I had no idea this would be a complete orchestral gig. 2pm-5pm at BBC Sheppards Bush studios. David Essex, whose TV special it was, told me I was part of the orchestra backing the guests. This led to five more weeks of Essex shows. I was also playing jazz with Dick Morissey (tenor), Ray Warleigh (alto) and the Tony Lee Trio.

One of the guests on the David Essex Show was Leo Sayer who in 1978 offered me a world tour with his group. Two weeks rehearsal in LA, one month in Australia, 10 days in NZ, a week in Hawaii, three months in the States - all with a full road crew. Never set my kit up for six months. That opened doors for a lot of things.

What is your thinking about education?

I have been teaching drums for 35 years and came to the conclusive thought some time ago that jazz is not a ‘style’ it’s a feeling. Therefore you can teach the disciplines of music but, as an example, you can’t learn be-bop from a book and also when discussing music of a very high level, words aren’t good enough - they always fall short.