Kenny Clarke at the Finale International Jazz Festival, Loosdrecht, Netherlands, 7 August 1971

Photo by W. Punt / Anefo (CC0)

Kenny Clarke

member of The Modern Jazz Quartet (1952–1955)

Drums · born 9 January 1914 died 26 January 1985

Click for Richard Cook Bio

Born in Pittsburgh, Clarke worked there in local bands before joining the Edgar Hayes orchestra in New York in 1937. Hayes took him to Europe (where Clarke made the first discs under his own name, in Stockholm) and on his return the drummer led the house band at Minton's Playhouse, one of the hippest haunts for musicians and the fabled seedbed of the bebop revolution: Thelonious Monk was also in the band, and Gillespie and Parker were never far away. After his army service, Clarke joined Dizzy Gillespie's band and went with them to Europe in 1948, remaining to savour the Paris scene for a few months before returning to the US. Klook (the nickname came from his style of stroking the snare on an off-beat) liked Europe and spent more time in Paris, Switzerland and Tunis, but he settled on the East Coast for a spell when he became drummer for the Modern Jazz Quartet in 1951. Disliking the way John Lewis was taking the band, he left in 1955. Life had been hectic – he had also worked on many record sessions and as a talent scout for Savoy – and he decided to settle permanently in France a year later. Inevitably, he was first call for visiting Americans and worked regularly with Bud Powell and Oscar Pettiford. In 1961, he began co-leading an all-star big band with Francy Boland: it lasted until 1972, and though not regularly convened, the personnel (Johnny Griffin, Ronnie Scott, Tony Coe, Art Farmer, Benny Bailey and others) remained remarkably constant. All through these many years of playing, Clarke's technique remained stylishly trim and fluent. He was most likely the real architect of bop drumming, sending the rhythmic pulse out from the cymbal rather than the bass drum and interjecting every accompaniment with deftly placed rimshots and snare flicks, but even in bop's heyday his style was almost calm in nature, rather than ladling out the neurotic rhythms which the music's agitated rush seemed to insist on. With the MJQ, in other small groups and especially in his big-band work, he set standards of refinement coupled with dash and swing which always made the band sound good. He continued to visit the US and other parts of Europe, but he was in semi-retirement when he died, spending his last years in a Paris suburb.

Biography from Richard Cook's Jazz Encyclopedia (2005).

If you'd like more information, check out The New Grove Dictionary of Jazz (2002) or The Biographical Encyclopedia of Jazz (2007), both of which are still in print.