(Mezz is on a big rave about where jazz went wrong … )

And then, to make things worse, along came an invention called the sock cymbal or highhat cymbal, and that was the end. This cymbal is played by the drummer with his left foot, as though he didn’t already have enough to do, what with his bass and snare drums and the cowbell and the woodblock and the rachet and the two or three Chinese and Turkish cymbals that real jazz drummers use. The result is a sort of topheavy effect, um-CHING, um-CHING, um-CHING for a beat instead of the steady tempo of the New Orleans drummers, and that strangles the rhythm so necessary to jazz. Now the tendency for the swing drummer is to play cymbal solos all the way through, fighting all the other musicians instead of helping to build them up. An offbeat ring comes out of his sock cymbal because the human body just isn’t constructed to do so many things all together – and that delayed CHING makes all the horn players fall into a kind of hesitation style, waiting for the drummer’s lagging cymbal beat before they can come up with their own notes. And they have to overblow their instruments, fighting to be heard above the drummer’s loud metallic hum; trumpets and clarinets go way up into their upper registers and become shrill and squealing, losing the rounded soulful tone of New Orleans music. Your improvisation, if you’re allowed any, isn’t built from a rich harmonic pattern any more, but centers around that clanging cymbal beat. Arrangers have to keep the sock cymbal in mind, and they build their orchestrations around it insted of using free chordal progressions, and all the New Orleans color is lost. When people with sensitive ears get apoplexy over the terrible din of so much modern swing and jump, they ought to remember that it’s not jazz they’re so horrified at. It’s the corruption of jazz that was brought about by the wrong, egocentric use of the piano, the individualistic sock cymbal, the modern-classical influence, and the terrible mechanization of today’s arrangements.

[ from Really the Blues, by Mezz Mezzrow

[barney says:

Whoa… and I thought jazz’s identity went south when Kenny G came along…
BUT then again, Imagine saying to any drummer now, “you have to play without that hi-hat cymbal”,
they’d have a fit!! They wouldn’t know what to do.
I’m with mezz, hi hats along with the other million things that happened after that. the internet for one.
I cant wait to be a grumpy old man and write a book of my own………

-> here’s another quote from Mezz, about the beauty of improvising with another human