I'm going to immediately set expectations about this book: if you are searching for information and opinions about drumming and other drummers, this is not the book for you. I suggest that, instead, you read the information-rich chapter on Papa Jo Jones in
Drummin' Men: The Heartbeat of Jazz The Swing Years. Next, augment that excellent book with
Drums By Jo Jones. Then marvel at how he gracefully moves around the drum kit in the second segment of this video:
Jazz Icons: Coleman Hawkins Live in '62 & '64.
On the other hand, if you are seeking to understand Papa Jo Jones the man, along with his views on a myriad of topics then this book is a treasure. And as you come to understand him you may get a glimpse into how he came about and what molded him.
Most folks describe the book as having three parts: Paul Devlin's Preface that discusses the trials and tribulations of transcribing interviews that Albert Murray conducted with Papa Jo, then Rifftide - Jo Jones in Jo Jones' own words, and an Afterward by Phil Shaap. I would like to add the Editor's Notes, which comprise 28 pages of invaluable information that is like the Rosetta Stone for the preceding sections.
Of the principals involved in creating this book, the editor - Paul Devlin - never met Papa Jo in person. That does not diminish his importance because transcribing and making sense of the interview tapes were daunting tasks. That is not to say that Albert Murray's interview sessions were easy either. For a taste track down the 1973 interviews that Milt Hinton conducted with Papa Jo (there is a complete set of audio files on a site named Music for Drummers dated February 26, 2010). Milt and Jo went way back and Milt also knew a lot about his family, yet Jo Jones had moments of evading or deflecting. Plus his accent - known as Lucust Valley Lockjaw after an upper class section of Long Island - takes some getting used to.
The Rifftide section is what will separate those who are seeking knowledge from those who are seeking facts. The writing (especially if you hear it in Jo's voice) is akin to receiving enlightenment from Yoda. You know there are important lessons in the words, but those lessons seem to be doled out in some oblique manner.
What I got from this section is how well read Jo was, and that he was an astute observer who could synthesize a wide array of facts and observations into some unified philosophy and way of life. That same gift for synthesis, I am sure, enabled him to make not just one - but two - major contributions to the art of drum kit playing. He moved time to the hi-hat and did things that that piece of the drum kit that nobody before him could have conceived; he took the art of brush playing to a level that is still part of every jazz drummer's vocabulary.
Another thing that struck me was his love of books and voracious reading habits, which was not only indicative of an amazing intellect, but probably alienated him from his peers, especially in later life. I am sure he lived in a world apart from others. One clue was his own statement that he did not know there were racial differences until he was 19. In his era and geographic location where lynchings were common that is an odd statement. All the more so because he was such an astute observer. It only reinforces my own opinion that he lived in a world of his own mind.
His recounting of names, associations and places in this section of the book painted a vivid picture of his era and influences. Indeed, I recall that on the last track of
Drums By Jo Jones he exclaims "Butterbean and Susie" when playing a duet with Willie The Lion Smith. I had no idea who or what he was talking about until I read his account of how they took him in. It's the small details that portray the drummer as the man, instead of the other way around.
The final section is the Afterward by Phil Shaap. Not only is Phil a musician, but he spent a lot of time with Jo and shares insights that neither Albert Murray nor Paul Devlin would have. He is frank and exposes many facets of Jo - flattering and not so flattering. Again, it fills in who Jo was as a man, and from Phil's vantage, also as a musician. The stories and observations are similar to Michael Stein's firsthand account titled Smiling Jo Jones.
What I gained from this is a deeper insight into one of my idols, plus a rich backdrop of history to satisfy my avocation as an amateur historian. As a drummer, this book gave me a deeper appreciation for the man upon whose shoulders we stand upon. That, to me, is priceless.
