Looks like Dodge, Stone, Duplex drums in that mix. Most are old Orchestra Pit pieces (low hats, taiko type, etc).

Just as a side note: I spent a lot of time (years ago) tracking down every tap-dance movie from the 30's I could find. Especially movies with guys like the Nicholas bros., Astaire, Kelly, Bo Jangles etc.

I was copping some of the meanest licks I ever heard from the feet of some of these gifted artists. Some of the best syncopated rhythms you'll ever hear were performed by tap-dancers. All of those rhythms translate beautifully to the drums.

Check it out... you'll get hooked like I did. Man, did I get some great stuff from those old flicks of tap dancers.

[ame]http://www.youtube.com/watch?v=dxvaELRL77Q[/ame]

[ame]http://www.youtube.com/watch?v=zBb9hTyLjfM[/ame]

John

Man, the Nicholas Brothers knock me out every time!

The Nicholas Brother's indeed!, and featuring as an added bonus, the GREAT... Cab Calloway Big Band!

Tommyp

gwm - my apologies brother man. No hi-jack intended. I just wanted to add one more comment and then I'll go back to lurk-mode...

Richie, Tommy - I'm hoping that some of the younger drummers 'get the bug' for exploring all that wonderful material that these very gifted old timers have to offer. Studying tap dancers should be as important to every drummer, as listening to other drummers.

You can't know where you're going unless you know where you've been. Studying the artists and the material, the styles they created and developed, can only make for a better musician in the end. At 12 years old, the first thing I learned to play on the drums was Duke Ellington's, 'Take The A Train.' It was the exposure to the music created by these geniuses that made me a better musician and drummer. Listening to contemporary music is important and has it's value, but to become a truly well-rounded musician, knowledge of the 'Roots' (where stuff comes from, how and where it originated,) is vital. Individual style is built on a regurgitation of all the little bits and pieces that went in. What goes in determines what comes out.

'Garbage in, garbage out.' I'm just hoping to expose some of the younger guys to the gold mine of music, pure Master Classes/lessons and information that the old-timers have to offer.

Back to drum identification... again, my apology for the hi-jack. No 'dis' intended.

John

This stuff was on BBC on Sunday afternoons when I was a wee lad. BEtween that and Elvis movies, this is where we got to know American culture.

To me, tap dancing is nothing more than a drum solo done with just a pair of feet. Yeah, I have said before that drums are not a solo instrument, but tap dancing is an exception. Maybe it's the duration. I can't stand long duration ANYTHING, maybe that's ADD, or just a loss of patience...

It's all relevant. Yeah, I talk out me arse about automatic watches and coffee makers, but to me it's ALL part of drumming 'cos DRUMMING IS LIFE.

It's sad that my first drumming experience wasn't Ringo, but the Four Seasons!!! Duke would have been a MUCH better influence. I did get my first exposure to Krupa through Perer Criss...

Carry on...

The snare on the left looks to be a Ludwig. But I may be wrong...

Wow there's a lot of history in that pic. I like the two hihats: the lowboy and the other one that's next to the bass drum with the cowbells on it.

Tap dancing......After reading Burt Korrals great book "Drummin Men" it surprised me the number of great drummers that were tap dancers.

Purdie Shuffle...hi-jack away! This kind of conversation is cool and important on a number of levels, not least of which is your point about younger drummers learning and appreciating the history. Thanks all for weighing in on the drums and tap masters. If anyone's interested, here's the link to that Fred Astaire number that blows my mind in it technique and subtlety.

[ame]http://www.youtube.com/watch?v=DtwWQMwRf-M[/ame]