© Introduction. Copyright ® Steven Cerra, copyright protected; all rights reserved.
“The superb engine that drove the Tonight Show Band for thirty years with spirit and immense skill.”
– Doc Severinsen, Trumpeter & Director of The Tonight Show Band
In 1936, Irma
Rombauer wrote a cook book entitled The Joy of Cooking [the book is so
popular that it has never been out-of-print].
Rombauer wrote a cook book entitled The Joy of Cooking [the book is so
popular that it has never been out-of-print].
Over the years, I’ve
never met anyone who enjoyed Jazz drumming more than Ed Shaughnessy. He could
talk about it and demonstrate it for hours on end.
never met anyone who enjoyed Jazz drumming more than Ed Shaughnessy. He could
talk about it and demonstrate it for hours on end.
Once, while having
lunch at the coffee shop on Vine Street just down from the offices of Musicians Union
Local 47, I kidded Ed with the suggestion that, given his passion for Jazz
drums, he should consider writing a book and call it The Joy of Jazz Drumming.
lunch at the coffee shop on Vine Street just down from the offices of Musicians Union
Local 47, I kidded Ed with the suggestion that, given his passion for Jazz
drums, he should consider writing a book and call it The Joy of Jazz Drumming.
He laughed,
pointed to my French fries and said: “Are you going to eat those?”
pointed to my French fries and said: “Are you going to eat those?”
After we ate, we
walked across the street to the Professional Drums Shop where Ed pretty much
talked away the rest of the afternoon trading comments with the shop’s patrons
on the subject of … wait for it … different sizes and shapes of drumsticks! In
the process, I think Ed must have tried every drum stick in the store.
walked across the street to the Professional Drums Shop where Ed pretty much
talked away the rest of the afternoon trading comments with the shop’s patrons
on the subject of … wait for it … different sizes and shapes of drumsticks! In
the process, I think Ed must have tried every drum stick in the store.
Watching him that
afternoon at the Pro Drum Shop, you couldn’t keep the phrase – “Like a kid in a
toy store” – from entering your mind.
afternoon at the Pro Drum Shop, you couldn’t keep the phrase – “Like a kid in a
toy store” – from entering your mind.
Ed was fearless
when it came to Jazz drumming. Nothing stopped him if he decided that there was
something on the subject he wanted to know.
I remember him being all-over Louie Bellson – one of the nicest people
ever to inhabit the Jazz world – about the technique involved in using two,
bass drums. Louie finally turned to Ed and said in his gentle and considerate
way: “Just do it.” So Ed did and became one of the few Jazz drummers to master the
technique of using two, bass drums.
when it came to Jazz drumming. Nothing stopped him if he decided that there was
something on the subject he wanted to know.
I remember him being all-over Louie Bellson – one of the nicest people
ever to inhabit the Jazz world – about the technique involved in using two,
bass drums. Louie finally turned to Ed and said in his gentle and considerate
way: “Just do it.” So Ed did and became one of the few Jazz drummers to master the
technique of using two, bass drums.
Edwin T.
Shaughnessy was born29 January 1929 , in Jersey City , New Jersey
to prominence, mainly in theNew York
George Shearing, Jack Teagarden, Georgie Auld and especially Charlie Ventura.
Shaughnessy was born
to prominence, mainly in the
George Shearing, Jack Teagarden, Georgie Auld and especially Charlie Ventura.
In the 1950’s he
became more widely known owing to engagements with bands led by Benny Goodman
and Tommy Dorsey and he also worked with Johnny Richards. In the 60s he was
with Count Basie and also worked extensively inNew York
with The Tonight Show band.
became more widely known owing to engagements with bands led by Benny Goodman
and Tommy Dorsey and he also worked with Johnny Richards. In the 60s he was
with Count Basie and also worked extensively in
with The Tonight Show band.
When the show
moved to “beautiful downtownBurbank , CA
Left Coast.”
moved to “beautiful downtown
Left Coast.”
I lived in Burbank
or meet him later for a drink at Donte’s, a popular Jazz club on
Lankershim Blvd.
in North Hollywood .
or meet him later for a drink at Donte’s, a popular Jazz club on
Although best known as a big band drummer, Shaughnessy’s considerable skills
spilled over into small group work with Gene Ammons, Roy Eldridge, Billie
Holiday, Mundell Lowe, Teo Macero, Charles Mingus, Shirley Scott, Jack Sheldon,
Horace Silver and many others.
For several years
Shaughnessy was a member of the house band at Birdland and otherNew York
similar work in Los Angeles and is credited with discovering Diana Schuur, whom
he introduced at the 1976 Monterey Jazz Festival.
Shaughnessy was a member of the house band at Birdland and other
similar work in Los Angeles and is credited with discovering Diana Schuur, whom
he introduced at the 1976 Monterey Jazz Festival.
In addition to his
work on The Tonight Show with Johnny
Carson, Ed Shaughnessy has also played in an early incarnation of the
“Sesame Street” orchestra along with percussionist Danny Epstein, reed
player Wally Kane, and, on occasion, freelance guitarist Bucky Pizzarelli.
work on The Tonight Show with Johnny
Carson, Ed Shaughnessy has also played in an early incarnation of the
“Sesame Street” orchestra along with percussionist Danny Epstein, reed
player Wally Kane, and, on occasion, freelance guitarist Bucky Pizzarelli.
Ed Shaughnessy’s consummate drumming skills enabled him to become a
sought-after teacher, an activity which he pursued while simultaneously
maintaining a busy recording and live performance schedule.
Last year[2012] Ed Shaughnessy published his long awaited book “Lucky
Drummer – From NYC to Johnny Carson” with great personal stories from
behind the scenes.
I still think he
should have entitled it – The Joys of Drumming.
should have entitled it – The Joys of Drumming.
Ed passed away on
May 24, 2013 and the editorial staff at JazzProfiles thought it might be
nice to remember him on these pages with the following excerpt from Burt
Korall’s Drummin’ Men The Heart Beat of Jazz: The Bebop Years [New York:
Oxford University Press, 2002].
May 24, 2013 and the editorial staff at JazzProfiles thought it might be
nice to remember him on these pages with the following excerpt from Burt
Korall’s Drummin’ Men The Heart Beat of Jazz: The Bebop Years [New York:
Oxford University Press, 2002].
© -Burt Korall/Oxford
University Press, copyright protected; all rights reserved.
University Press, copyright protected; all rights reserved.
“He was the most
visible drummer inAmerica New York Los Angeles
all kinds of situations, including appearing in tandem with Buddy Rich—a
challenging matter at best. This affable, ambitious musician, however, is far
more than a generalist on the instrument.
visible drummer in
all kinds of situations, including appearing in tandem with Buddy Rich—a
challenging matter at best. This affable, ambitious musician, however, is far
more than a generalist on the instrument.
From the outset,
Shaughnessy, a poor kid fromNew Jersey
drums. He went to great lengths to learn and be a part of the music. He studied
with Bill West, a drum teacher inNew York
Shaughnessy, a poor kid from
drums. He went to great lengths to learn and be a part of the music. He studied
with Bill West, a drum teacher in
Shaughnessy played
and practiced day and night. Vibraharpist Teddy Charles, a longtime mutual
friend, said: “We all did that; it was the only way to make it.”
and practiced day and night. Vibraharpist Teddy Charles, a longtime mutual
friend, said: “We all did that; it was the only way to make it.”
As a teenager,
Shaughnessy spent almost every evening and early morning inManhattan
ballrooms, listening to and watching drummers. Those who made a point of
keeping youngsters out of places where small and big bands played learned to
tolerate ‘the crazy kid fromNew Jersey
remained out of the way.
Shaughnessy spent almost every evening and early morning in
ballrooms, listening to and watching drummers. Those who made a point of
keeping youngsters out of places where small and big bands played learned to
tolerate ‘the crazy kid from
remained out of the way.
Finally Big Sid
Catlett, the legendary drummer, noticed him and, as was his wont, approached
the youngster, talked to him, and suggested he sit in; Ben Webster (tenor) and
John Simmons (bass)—jazz royalty in the 1940’s—were in the group. When asked,
Shaughnessy nearly fainted from fear, but he did well. Catlett became his
mentor. Catlett, Max Roach, Art Blakey, and Buddy Rich were influences, great
sources of inspiration.
Catlett, the legendary drummer, noticed him and, as was his wont, approached
the youngster, talked to him, and suggested he sit in; Ben Webster (tenor) and
John Simmons (bass)—jazz royalty in the 1940’s—were in the group. When asked,
Shaughnessy nearly fainted from fear, but he did well. Catlett became his
mentor. Catlett, Max Roach, Art Blakey, and Buddy Rich were influences, great
sources of inspiration.
Love often is
rewarded. Shaughnessy played with some bands— Bobby Byrne and Randy Brooks— worked
with Jack Teagarden, sat in with Bud Powell on 5ind Street, playing Cherokee for twenty-five minutes at an
absolutely hysterically fast tempo. Powell was quietly impressed, and word
spread that a young white guy could really do
it. George Shearing was in the audience that night and hired the young
drummer on the spot.
rewarded. Shaughnessy played with some bands— Bobby Byrne and Randy Brooks— worked
with Jack Teagarden, sat in with Bud Powell on 5ind Street, playing Cherokee for twenty-five minutes at an
absolutely hysterically fast tempo. Powell was quietly impressed, and word
spread that a young white guy could really do
it. George Shearing was in the audience that night and hired the young
drummer on the spot.
Shaughnessy’s
hunger to play, his need to master the instrument and be able to play any kind
of music — was apparent to everyone who met him. Bassist Phil Leshin remembers:
‘Eddie and I were kids together and hung out on theNew York
play. We used to go to Verland Studios, over a firehouse on 47th or
48th Street
. A lot of the guys involved in modern jazz
showed up at the sessions — Allen Eager, Al Cohn and Zoot Sims, pianists Harry
Biss and Harvey Leonard, guitarist Charlie Byrd.’
hunger to play, his need to master the instrument and be able to play any kind
of music — was apparent to everyone who met him. Bassist Phil Leshin remembers:
‘Eddie and I were kids together and hung out on the
play. We used to go to Verland Studios, over a firehouse on 47th or
showed up at the sessions — Allen Eager, Al Cohn and Zoot Sims, pianists Harry
Biss and Harvey Leonard, guitarist Charlie Byrd.’
Shaughnessy hooked
up with the Charlie Ventura Bop for the
People band in 1948 and became famous. TenoristVentura
(trombone), Boots Mussulli (saxophone), Kenny O’Brien (bass), and
pianist-singer Roy Kral and singer Jackie Cain, his wife, helped popularize
modern jazz.
up with the Charlie Ventura Bop for the
People band in 1948 and became famous. Tenorist
(trombone), Boots Mussulli (saxophone), Kenny O’Brien (bass), and
pianist-singer Roy Kral and singer Jackie Cain, his wife, helped popularize
modern jazz.
The Ventura
scat vocal unison style of Krai and Cain and the hip, accessible instrumental
sound of the band. The players were good, and Shaughnessy took hold, playing
well in a contemporary way. His facility, fire, and two-bass-drum set caught
the attention of audiences and other drummers.
scat vocal unison style of Krai and Cain and the hip, accessible instrumental
sound of the band. The players were good, and Shaughnessy took hold, playing
well in a contemporary way. His facility, fire, and two-bass-drum set caught
the attention of audiences and other drummers.
Shaughnessy was
one of the first white drummers to deal with bebop in a strong and persuasive
manner. His increasing ability and continuing intensity motivated Benny Goodman
to hire him for a 1950 tour ofEurope
with a small band that included the influential trumpeter Roy Eldridge. Unlike
most musicians, the drummer got on well with Goodman.
one of the first white drummers to deal with bebop in a strong and persuasive
manner. His increasing ability and continuing intensity motivated Benny Goodman
to hire him for a 1950 tour of
with a small band that included the influential trumpeter Roy Eldridge. Unlike
most musicians, the drummer got on well with Goodman.
He replaced Buddy
Rich in Tommy Dorsey’s band and stayed for a while, building his reputation. He
worked with Lucky Millinder’s band inHarlem and for a short time with Ellington, sat in with Charlie Parker on
several occasions, and got into experimental jazz with Charles Mingus, Teddy
Charles, and Don Ellis. He was becoming an increasingly importantNew York
Rich in Tommy Dorsey’s band and stayed for a while, building his reputation. He
worked with Lucky Millinder’s band in
several occasions, and got into experimental jazz with Charles Mingus, Teddy
Charles, and Don Ellis. He was becoming an increasingly important
Shaughnessy began
working on television in the 19508 on a daytime Steve Allen Show broadcast by CBS. One thing led to another. He did
more studio and staff work. He recorded with Basie and played an increasing
number of small and big band record dates featuring leading players and
writers.
working on television in the 19508 on a daytime Steve Allen Show broadcast by CBS. One thing led to another. He did
more studio and staff work. He recorded with Basie and played an increasing
number of small and big band record dates featuring leading players and
writers.
The drummer joined
the Tonight Show inNew York Los Angeles
until Johnny Carson called it a night.
the Tonight Show in
until Johnny Carson called it a night.
He headed a big
band and small group of his own inL.A.
envelope. Growth was very much on his mind.
band and small group of his own in
envelope. Growth was very much on his mind.
Barry Ulanov got
to the heart of it when we talked about the drummer: ‘Ed is one of the most
accountable musicians I ever heard,’ the critic asserted. ‘You could depend on
music coming out of the man. His hands are fast. His thinking is good. His ears
are alive.’
to the heart of it when we talked about the drummer: ‘Ed is one of the most
accountable musicians I ever heard,’ the critic asserted. ‘You could depend on
music coming out of the man. His hands are fast. His thinking is good. His ears
are alive.’
Today, as in the
past, Shaughnessy remains busy — teaching, touring with Doc Severinsen’s band,
studying, seeking new musical experiences.”
past, Shaughnessy remains busy — teaching, touring with Doc Severinsen’s band,
studying, seeking new musical experiences.”
Here’s Ed with
Buddy Rich with Johnny Carson’s Tonight
Show band. There aren’t that many drummers who’d be left on their drum stools
after “dueling” with the great Buddy Rich.
Buddy Rich with Johnny Carson’s Tonight
Show band. There aren’t that many drummers who’d be left on their drum stools
after “dueling” with the great Buddy Rich.