Idris Muhammad was someone for whom the term “funky drummer” was coined and he worked best with an articulate ride that spread moderately between hits. The result here is a dry cymbal that doesn’t give up the goods immediately - one that has a little something in reserve.
Idris Muhammad Ride
Offers some “weight” that carries the time proportionate to the ticking of stick on closed hats.
Good candidate for swing bop, shuffle, and other styles.
Also features a good-sized cup that does fine in a Cuban shout-chorus or in any milieu that requires clean bell patterns.
"Idris's ride feels heavier and thicker (it doesn't wobble) although is medium-heavy. It has extremely clear stick definition, but much brighter, and there isn't the deep roar underneath.The overtones are quite sweet but the dominant stick response is tinny, a stinging 'ping'. Crash it and you get a slow, warm 'whoosh' that's controlled, cutting short quickly and leaving you to carry on riding without any washy build-up. Overall it's still dark by modern rock standards but it could conceivably work in a pop-rock context." - Geoff Nicholls
"Leo Morris, known as Idris Muhammad, was appearing on countless records. Though
he's often labeled as a jazz drummer due to his stirring work with
pianist Ahmad Jamal, Muhammad has recorded more funky classics
than you can shake a stick at. Accordingly, his 22" medium-heavy
signature cymbal leaps musical genres with ease. It's an instrument
that heralds a new wave of Turkish cymbals: light on trash, heavy
on articulation. This cymbal is as useful a tool for rendering yesterday's
folkloric "Poinciana" as it is for the electric urban vibe on John
Scofield's Groove Elation." - Team
"In sum, the Muhammad is a cymbal rich in mid frequencies.
Audiophiles, who extol the virtues of drivers that render the full
spectrum of mids, would certainly approve of the Muhammad
according to the old mantra: The music's in the mids." - Team
"This cymbal expresses a dichotomy where brilliant tip action and
a bright bel emerge from a dark place. I noticed this on gigs ranging from roots rock to piano trio. Lots of ping was happening, but
the effect was given extra dimension by the traditional Turkish
undertones. Istanbul Agop literature describes this model as "dry."
I'd agree but suggest that the stick attack is more than an arid
click-it's a crystal ping. I'm growing to appreciate heavier cymbals that balance old-world complexity with new-world brilliant focus, especially when
the shank-against-bow effect isn't as crass as that high squawk
you get from some modern cymbals. Try laying the shank of a stick
across the bow of your rock ride, and you'll get my point. Chances
are you'd likely employ the Agop Muhammad in lieu of your rock
ride or Latin go-to cymbal. And once you "learn the cymbal," you'll
evoke the darker mid-60s vibe, which in this instance is more
Tony Williams than Art Blakey." - Team
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