They Called it Jazz
Ray Bauduc – Master of New Orleans Drumming
AUTHOR: By Hal Smith
Originally poster Dec 2010
In 1956, Willis Conover interviewed Gene Krupa and Buddy Rich for Voice of America Radio. Krupa told Conover, “...There are three giants in the drum world...Buddy Rich, Ray Bauduc and Ray McKinley.” Later in the interview, Rich declared, “I think Bauduc is one of the truly great drummers...My all star poll for drummers would be Gene [Krupa], Jo Jones, Chick Webb, McKinley, Bauduc and [Sid] Catlett.”
Ray Bauduc definitely deserved the recognition by Krupa and Rich. He could also count non-percussionists such as Louis Armstrong and Mel Tormé as fans.
He was a versatile drummer, adaptable to a number of styles. However, due to his long association with the Bob Crosby Orchestra and Bob Cats, his name will forever be linked with “Dixieland” Music.
Born in New Orleans on June 18, 1909, Bauduc was infatuated with the city’s music at a tender age. When Ray showed an interest in taking up drums, his brother Jules (a banjoist) took him to hear Baby Dodds, Zutty Singleton, Chinee Foster, Emil Stein and other Crescent City drummers. Ray studied with Harold “Kid” Peterson and credited Paul Dedroit as a major influence. He also became a skilled dancer, drawing much inspiration from the “second line” dancing seen at Carnival parades.
While in his 20s, Ray Bauduc played in New Orleans with Johnny Bayersdorffer; made his first recordings (with the Original Memphis Five); performed in Europe with Freddie Rich; and relocated to New York where he worked with Red Nichols, the Dorsey Brothers, Joe Venuti, Eddie Lang and others. On records from this era, Bauduc’s drumming illustrates an awareness of other percussion stylists such as Vic Berton, Chauncey Morehouse and George Stafford. However, the New Orleans tradition is always evident.
In 1928, Bauduc accepted an offer to join Ben Pollack’s Orchestra, after the leader decided to conduct rather than play. In spite of a few stylistic
disagreements between the two drummers, Bauduc proved to be an excellent addition to the orchestra. He can be heard to good advantage on dozens of sides, in the company of Benny Goodman, Jack Teagarden and other great jazzmen. He also added the bandleader’s Chicago Style brushwork to an already impressive inventory of drumming techniques.
By 1933, after numerous personnel changes, the Pollack Orchestra played less hot jazz and more proto-swing. Bauduc’s drumming on recordings such as “Two Tickets to Georgia” proves that he could play comfortably in the new idiom.
Within a year, Pollack’s sidemen were disaffected as the leader focused on promoting the career of vocalist Doris Robbins while de-emphasizing the jazz elements in the orchestra’s repertoire and performance. Eventually, the musicians— including Bauduc— left en masse to search for more satisfying musical surroundings. Fortunately, Bauduc was able to take part in some recording sessions with Glenn Miller and fellow New Orleanians Louis Prima and Wingy Manone. The recordings with Manone contain particularly good examples of Bauduc’s New Orleans style. The Dixieland drumming had a salutary effect on Manone. The sides with Bauduc are certainly among the trumpeter’s best.
