Word: shufflin
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Dates: during 1940-1949
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...steady job on the organ in Harlem's Lincoln Theater. He made Q.R.S. piano rolls, records with blues-singer Bessie Smith and Sarah Martin. The late Arnold Rothstein backed Waller's first show, Keep Shufflin'. On records Waller began to sing as well as play, and in his expressive mouth the inane words of a popular song often came in for very searching satirical treatment. In 1929, in collaboration with Guitarist Eddie Condon and a small but vital ensemble, he made one of the greatest jazz records of all time: The Minor Drag and Harlem Fuss...
...came out for the 13th round. "I got you, Joe," he had taunted. But the champ was not the champ for nothing. And The Kid was still a kid. Instead of continuing to jig & jab, Conn did just what he had been warned not to do: he sailed into shufflin' Joe, began swapping punches. This was what the cool-headed champ had been waiting for. Before the swaggering youngster knew what had struck him, he was staggering under a bombardments of rights & lefts. Two seconds before the bell, he was curled up on the canvas for a count...
Listen to Buddy Rich some time, and then play a record by Lionel Hampton, called Shufflin' at the Hollywood, with Cozy Cole on drums. You hardly hear Cozy on this record, but you can feel the beat, and the way he builds it up. Cozy has a superb sense of phrasing, and everything he does fits in with the band. And this is the point I'm trying to get at : if a drummer doesn't fit in with a band, he's playing flash and is a one-man band himself. This seems to me to be extremely important...
Cozy is a marvelous drummer, noted especially for his amazingly powerful press roll, that being a steady roll gotten by sticks on a snare drum, with a snap that gives it a swell lift. Listen to records like "Ratamacue" and "Crescendo in Drums" by Cab on Vocalion or "Shufflin' at The Hollywood" (Victor-Lionel Hampden) and you'll get the general idea...