{"id":193514,"date":"2018-01-05T08:52:38","date_gmt":"2018-01-05T08:52:38","guid":{"rendered":"https:\/\/siteproxy.ruqli.workers.dev:443\/http\/recordcollectormag.com\/articles\/washington-heights"},"modified":"2020-05-21T10:29:17","modified_gmt":"2020-05-21T10:29:17","slug":"washington-heights","status":"publish","type":"post","link":"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/articles\/washington-heights","title":{"rendered":"WASHINGTON HEIGHTS"},"content":{"rendered":"

A<\/strong> <\/span>few issues back the immortal Otis Redding graced the cover of Record Collector<\/i>. Though known for evergreen songs like Try A Little Tenderness, (Sittin’ On) The Dock Of The Bay and LPs such as Otis Blue<\/i>, there was a time when he might have recorded one of the tracks from our latest rare record 7\u201d. \u201cOtis loved the song,\u201d recalls drummer and songwriter Washington Rucker, recalling the time he offered The Same Things to Redding back in 1965 or 1966. But there was a problem. \u201cHe wanted me to sell it to him for 50 dollars.\u201d<\/b><\/p>\n

Rucker kept the song and later recorded it himself alongside another track called Jennie that only made it to an acetate. Somehow, this acetate ended up in the hands of a Kinks roadie after a US tour, then spent a few decades in a cupboard in England. Eventually it worked its way to me when Damian Jones of record and memorabilia dealers Pop Classics acquired it. When I dropped the needle and heard these two sizzling sides of lost 60s soul, I just had to put them out and luckily was able to track down the man who wrote and recorded them.<\/p>\n

For most of our readers, the name Washington Rucker will be an unfamiliar one. Sharp-eyed fans of Martin Scorsese and Robert De Niro might recall him appearing in New York , New York <\/i>(1977) and ornithologists might know that he is the actor who played drummer Joe Jones in Clint Eastwood\u2019s Bird <\/i>(1988), who famously threw down a cymbal to terminate an early foray onto the bandstand by a young Charlie Parker. In fact, Rucker has had a long and eventful life in music.<\/p>\n

Born in Oklahoma in 1937, Rucker gravitated towards the drums at an early age and began playing blues and jazz. He joined the navy as a musician and saw more action on the skins than the high seas and left to join the post office. When not delivering mail, Rucker became a major light on the black music scene in Washington DC, ending up in the house band at the famous Howard Theatre led by saxophonist and arranger Rick Henderson. That he could sight read and adapt to any style made him ideal for this role. \u201cWhen you played at the Howard Theatre every black act came through there, as it was one of the few places they could play. Everybody had music and as I was in the house band I had to play everybody\u2019s music, especially the majority who were not making enough money to carry a rhythm section so they depended upon house musicians like me to play their originals.\u201d<\/p>\n

Rucker\u2019s versatility even saw him play as a musician for the Jewel Box Review, a ground breaking confection of female impersonators \u2013 \u201c25 men and one woman\u2026 it was straight ahead showbusiness and that music was first class.\u201d<\/p>\n

Such was his solid reputation that Rucker got the call to play with Stevie Wonder on an early tour of Europe and the UK, in the wake of the 1966 success of the single Uptight (Everything\u2019s Alright). \u201cThey just needed a drummer for Stevie and I got straight off the plane, went to the bandstand and read his music, because I read extremely well at that time.\u201d<\/p>\n

As well as drumming, Rucker recalls that he also taught Wonder one of the rudiments in the key of life. \u201cI remember having breakfast with him and he asked for scrambled eggs and he was picking it up with his hands. It made no sense. The whole idea about Motown not only keeping him quiet but dumb was pretty prevalent. They controlled everybody and everything. I took him to breakfast and cut up steak and said, \u2018Hey man, this is steak, you don\u2019t need to pick it up with your hands. You can use a fork.\u2019\u201d<\/p>\n

Rucker\u2019s relationship with Motown also took a fork in the road, mainly because of money. \u201cI was in Rome and they wanted me to stay with a 17-day layover (before picking up the sticks for another Motown tour). I asked them, \u2018What am I supposed to do for 17 days?\u2019 They said, \u2018You can go and hang around in England.\u2019 I said, \u2018And spend what little money I got?\u2019 It made no sense at all so I came home. Motown did not take to me that kindly as I did not play the silly subservient games that they liked musicians to play, and a lot of them did.\u201d<\/p>\n

Rucker had met Otis Redding some time in 1965 or 1966 when Redding played two weeks at the Howard Theatre. It was at this point that Rucker offered him The Same Things and another song called Sufferin\u2019 And Tryin\u2019 that he had written with him in mind. Rucker thought that Redding\u2019s offer of $100 for outright ownership of both songs was just too low, so kept them.<\/p>\n

A year or so later, Rucker moved to California and was so good with a cue than when he arrived in Los Angeles he initially supported himself as a pool hustler. It was pool that had given him the original idea for The Same Things. \u201cI played pool with a guy and I would always laugh as long as I was winning but if he got his game together and\u00a0<\/b>beat me, the laughter changed to tears. So he used to say the same thing that will make you laugh will make you cry. That particular quote stuck in my mind and ultimately I wrote that song for Otis.\u201d<\/p>\n

Rucker recorded The Same Things in CT Recorders in Hollywood, which he recalls as a small place, \u201cbest known as the studio where The Penguins recorded Earth Angel\u201d. Though the names of some of the players escapes him, Rucker recalls that in the line-up was Charles Mallory (guitar), who appeared on Big Black\u2019s Elements Of Now! <\/i>LP (1968), Bill Upchurch (bass), who had toured with The Supremes and The Temptations, and Thurman Green (trombone) a well-established jazz musician. Rucker played drums and laid down the vocal. The other track cut at this session was Jennie. \u201cThat was written for a lady I lived with in Washington DC, 1961, and we had broken up, as the lyrics indicated,\u201d recalls Rucker. \u201cI was 24 at the time and she was 21. That was the first song that I wrote as a matter of fact.\u201d In fact, Jennie was an abbreviation of Geneva and the song is quite poignant to Rucker as nearly 50 years later \u2013 some years after the death of his wife \u2013 he rekindled this relationship with Jennie, so the song has a special emotional heft for both of them today.<\/p>\n

Though Rucker later moved easily into a role as a musical educator, elder statesman and author, he has plenty of other musical memories. Not only does he recall sitting on the drum stool for short periods with artists from Sam Cooke to Sammy Davis Jr, but when in Las Vegas drumming behind an artist Motown were trying to turn into an easy listening star, he was asked to take over from one of the greats. Buddy Rich had a heart attack at the beginning of a month-long residency at Caesars Palace and Rucker was asked to occupy the drum stool. \u201cNow as Buddy did not read, there was no music for the drums. I said, \u2018Give me the second trumpet players\u2019 book,\u2019 as all of the licks and the syncopations that are consistent in arrangements are normally found in that book. So I took the book and played the whole month.\u201d To support Rich, Frank Sinatra, Sammy Davis, Peter Lawford, Joey Bishop and other members of the Rat Pack turned up in the audience. Indeed, Rucker recalls that before the first show, comedian Joe E Brown ran up on stage, gestured to Rucker, and wisecracked to the audience, \u201cThis looks like Buddy after the Watts riots,\u201d as the 1965 Riots had just taken place. Brown spoke to Rucker after the show, stating that he was not trying to be offensive or racist but just help break the ice over the absence of Rich behind the drums. The biggest compliment Rucker received was when \u201cOne of the saxophone players walked up to me and said, \u2018Man, I have been in this band for seven years and this is the first time it has ever swung!\u2019 That was a great compliment as Buddy Rich was an overpowering drummer and it was almost like a freight train going through town.\u201d<\/p>\n

Rucker, who always kept up his jazz chops on the bandstand and the studio, also has fond memories of drumming on the classic LP The Trumpet Kings Meet Joe Turner <\/i>(1974) that featured Dizzy Gillespie, Roy Eldridge, Harry \u2018Sweets\u2019 Edison and Clark Terry. Rucker also worked with Ray Charles on the 1976 Porgy & Bess <\/i>2LP set recorded with Cleo Laine.<\/p>\n

Rucker, who has been inducted into the Oklahoma jazz hall of fame and the Howard Theatre Walk of fame, is excited that The Same Things and Jennie are finally going to be released. \u201cI used to write songs with the hope that somebody would eventually hear some of my music and say, \u2018Wow, that is a great tune.\u2019 Now, one of my dreams has come true as you are releasing it.\u201d<\/p>\n

In fact, both are great tunes with excellent production, arrangement and a compelling groove. The Same Things opens with a stab of horns before the band and a great organ figure get cooking beneath Rucker\u2019s excellent vocals. Jennie again opens with a blast of horns before the band lay out a funky carpet over which Rucker relates the sad tale of lost love despite begging Jennie to \u201cCome on home!\u201d<\/p>\n

With the tapes long gone \u2013 unlike Jennie, who \u201ccame home\u201d some decades later \u2013 the audio for both songs was taken from the original acetate, which was restored, re-mastered and cut to perfection by Tim Debney at Fluid Mastering. Ironically, the biggest challenge was finding a photo of Rucker from the 60s to grace a picture sleeve. In the end, we could find nothing suitable and so I decided that it would be more authentic to recreate the labels of the original acetate and house it in a die-cut sleeve, which Mr Rucker, being from the old school, was more than happy with. Once played, believe you me this 7\u201d will be in and out of that sleeve like a randy tomcat crashing through a cat-flap in search of a mate. And like me you\u2019ll be wondering what Otis Redding would have sounded like belting out The Same Things as the song would have been perfect for the man from Macon\u2026<\/p>\n

\n

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A few issues back the immortal Otis Redding graced the cover of Record Collector. Though known for evergreen songs like Try A Little Tenderness, (Sittin’ On) The Dock Of The Bay and LPs such as Otis Blue, there was a time when he might have recorded one of the tracks from our latest rare record 7\u201d. \u201cOtis loved the song,\u201d recalls drummer and s\u2026<\/p>\n","protected":false},"author":8023,"featured_media":193515,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"apple_news_api_created_at":"","apple_news_api_id":"","apple_news_api_modified_at":"","apple_news_api_revision":"","apple_news_api_share_url":"","apple_news_cover_media_provider":"image","apple_news_coverimage":0,"apple_news_coverimage_caption":"","apple_news_cover_video_id":0,"apple_news_cover_video_url":"","apple_news_cover_embedwebvideo_url":"","apple_news_is_hidden":"","apple_news_is_paid":"","apple_news_is_preview":"","apple_news_is_sponsored":"","apple_news_maturity_rating":"","apple_news_metadata":"\"\"","apple_news_pullquote":"","apple_news_pullquote_position":"","apple_news_slug":"","apple_news_sections":[],"apple_news_suppress_video_url":false,"apple_news_use_image_component":false,"footnotes":""},"categories":[14],"tags":[],"issue":[10093],"class_list":["post-193514","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-articles","issue-january-2018"],"apple_news_notices":[],"yoast_head":"\nWASHINGTON HEIGHTS - Record Collector Magazine<\/title>\n<meta name=\"description\" content=\"A few issues back the immortal Otis Redding graced the cover of Record Collector. 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