ToolshedClockwise from top: Gretsch PresidentFred Gretsch; 125th AnniversaryGretsch Progressive Bop drum set; andGretsch founder Friedrich GretschGretsch, at 125,Celebrates itsContribution to the‘Jazz Golden Age’Most of the major names in jazz drumminghave played a Gretsch kit at one time oranother. Jimmy Cobb played Gretsch drumson Miles Davis’ Kind Of Blue recording sessions,and Max Roach played a Gretsch kit atBirdland in New York starting in the late1940s. In fact, some of jazz’s most revered andinnovative drummers—like Tony Williamsand Elvin Jones—spent pretty much theircareers behind Gretsch trap sets.Gretsch turned 125 this year and markedthe anniversary by introducing new lines oflimited-edition drums and other products,conducting an online promotion to find theworld’s best unsigned bands, holding a majorconcert event in New York and making instoreappearances at select musical instrumentretailers and major musical institutionsworldwide. The drums still resonate with thesame signature sound they’ve had fordecades, dating all the way back to an eracompany President Fred Gretsch refers to as“the jazz golden age.”Based in Savannah, Ga., the company hasearned its reputation for that highly soughtafterGretsch sound through 125 years ofcommitment to manufacturing professionalquality,handcrafted instruments. It has been afamily business for all but 18 years of its history(the company was owned by Baldwin from1967–’85), led by four generations of ownerswith the last name Gretsch. The company haspioneered several important drum manufacturingtechniques, including development ofthe rolling rack, the use of die-cast parts andthe invention of multi-ply drum shells to keepdrums from losing their round shape. Grestchhas also been known to collaborate withartists for manufacturing ideas, dating back topersonal consultations with Chick Webb, DaveTough and Louie Bellson.“There is a recipe that we developed inconjunction with input from the great playersof the day, asking them to try this and that,and finding out what they needed and wantedfrom their drums,” said Gretsch, who beganworking for the family business as a youngman in 1958. “We dialed in those recipes andhave maintained them to this day. We believethat continuity counts, so our commitment isto make that sound we call the ‘Great GretschSound’ continually available, as it was thenand into the future.”Gretsch likes to reminisce about the state ofjazz drumming during his early years with thecompany. “I look back to those days when wehad a huge stable of Gretsch drum artistsas endorsers,” he said. “When you look atthe [DownBeat] drumming polls back then,seven of the top 10 drummers were playingGretsch.”Brooklyn-based jazz drummer Bill Stewart,who leads his own group in addition to performingregularly with guitarist John Scofield,has been playing Gretsch drums for 18 years.He got turned on to the brand by trying otherpeople’s Gretsch drum sets.“I always found them to respond the way Ilike a drum to respond to my touch,” Stewartsaid, noting that he prefers a variation on theclassic Broadkaster-style kit. “Grestch drumshave a solid point on the attack, so eachstroke seems defined. They have a little harder-edgedattack than some of the other qualitydrums that I hear on the market today.They’re resonant. They also respond to awide range of dynamics. If I play them softly,they respond sensitively. They have a lot ofprojection on the loud end. They give backwhatever energy I put into them. So, once Ihit the drum hard, I don’t feel like it’s not gettinglouder.”Stewart named Williams and Jones as thetwo jazz drummers he associates most withthe Gretsch brand, “even though the toneTony and Elvin got out of the drum set wasdrastically different,” he said. “On recordsfrom the ’60s in particular, you hear a commonthread there because of the way theGretsch instruments sound.”This year, Gretsch Drums developed twolimited-production custom kits for jazz players:the Progressive Jazz kit and theProgressive Bop kit. Both were made byhand in the company’s Ridgeland, S.C., customworkshop. The Progressive Jazz kit(MSRP $6,145), modeled after the classicGretsch “Birdland” kit from the 1950s, featuresclassic six-ply USA custom shells andgold-plated drum hardware. The ProgressiveBop kit (MSRP $5,950) also features six-plyUSA custom shells, but it has a bebop configurationand a silver sparkle inlay. Each ofthe kits contains a 125th anniversary logoand special heads with the anniversary logo.Production was limited to 125 kits worldwidefor each set.—Ed Enright»More info: gretschdrums.com64 DOWNBEAT November 2008
Ludwig Rolls Out Lines toCelebrate 100 YearsLudwig will celebrate its 100th year inbusiness in 2009, but the century-oldcompany has already begun to announceits anniversary products.Its first anniversary series, the LudwigCentennial Series Maple Drums, wereannounced this summer. The series featuressix-ply toms and floor toms, andeight-ply snare and bass drum mapleshells. Centennial’s three “core” shellpacks each come standard with a bass drum,a 12-inch rack tom, 16-inch floor tom andsnare drum. A player can customize the setwith a range of kick, snare and componentdrums. Finish options include transparenthigh-gloss and Ludwig’s new SuperFlakeSparkle lacquers. In addition to the Centennialkits, Ludwig has plans for more sumptuousbirthday goodies. The engraved Black Beautyis a limited-edition black nickel-plated snaredrum. The outer engravings, hand-carved byJohn Aldridge, expose the bright shine of thenatural brass shell underneath. Sold as an editionof 100, the Black Beauty won’t be cheap;but it’s not nearly as lavish as Ludwig’s forthcomingGold Triumphal snare drum. The serialnumbers of the 100 snares, each hand-platedin gold, correspond to each year of thecompany’s existence.“It’s going to be the greatest collector’sThe name, Complex Ride,trumpets the nuance inthese three new ZildjianKs, the second series in Zildjian20-inch Ka line designed with BillComplexStewart. They combine Ridethe classic K drynesswith more untamed shadingsand unlikely responses.Heavy up on the 22-inch and itmight put the brakes on a little. Paint softlyon the 20-inch and listen hard to the colorswhirling. Sting the modest bell on the 24-inchand hear otherworldly overtones open up.The 20-inch seems to be the thickest andheaviest, and it has that classic dark and deepK tone. It delivers crisp sticking sound with awood tip, and the overtones build but don’toverload. The bell is on the small size—playable—and because of the thickness it canget loud. This cymbal has a traditional lathingon top, and a “scratch” lathing—a morerough, large-groove finish—underneath. Iwould play this cymbal on any kind of jazz gig.The 22-inch is a beautiful cymbal for jazz.You can lay into it hard and it doesn’t blowout. It has one of the most beautiful washes—drum that we’ve ever produced,” said JimCatalano, Ludwig band and orchestra director.The company will also produce a line ofspecial drum sets that pay tribute to its keyartists. “One [set] will be what we’re callingour Fab Four Outfit. It’s a replica kit that honorsRingo Starr, one of the guys who put uson the map,” Catalano said.The company is currently creating its 100thanniversary DVD, which features Ludwig factorytours and interviews with Ludwig artistsand company heads.“Our mission is to respect the people wholook at Ludwig as that traditional vintage company,but also to attract the more moderndrummer,” Catalano said. “We still treatLudwig like a family. We’re responsible forcarrying on that tradition.” —Mary Wilcop»More info: ludwig-drums.comyou don’t mind hearing theovertones build up. Thebell design, which has aless-pronounced profile,allows the drummerto control the volumemore. The 22- and24-inch Complex Rideshave a traditional lathing ontop, with “scratch” lathingunderneath almost to the edge—the outer2 inches is unfinished and slightly thicker.The 24-inch is a monster of a cymbal, butit’s a gentle giant. It has the largest “wash” ofthese three, but it is never whiny. Dependingon how you play it, the sound can get big, sorock and jazz players should check this cymbalout. The bell, while not a huge target, is a lotof fun to play around with—it can yield a lot ofdifferent exotic bell sounds, agogo and cowbell-ish,with their own beautiful overtones.The edge of the cymbal has a bowl-like flangedownward, which adds to the excellent control.MSRP: 20-inch Dry Complex Ride II, $559;22-inch, $663; 24-inch, $769. —Robin Tolleson»LudwigCentennialmaple drumsZildjian K Custom Dry Complex Ride II:Stewart’s Untamed ShadingsOrdering info: zildjian.comNovember 2008 DOWNBEAT 65