The Evolution of the Ride Cymbal Pattern from 1917 to 1941: An Historical and Critical Analysis Page: III

                                
ACKNOWLEDGEMENTS
To my family, you are the world to me. This journey has taken me far from you,
but your support has been endless and I am forever indebted to you.
I would like to thank my committee: Quincy Davis, Dr. Catherine Ragland and Dr.
John Murphy. Your knowledge and guidance throughout this process have been
remarkable.
I am thankful to the researchers at the Institute of Jazz Studies, Tad Herschorn,
and Vinny Pelote. Thanks to Kenny Washington for encouraging me at IJS. I would also
like to thank my colleagues, Steve Maxwell and Jess Birch for connecting me to helpful
drummers and shop owners during this research. Thanks to Jim Pettit, owner of the
Memphis Drum Shop, for sharing your archives with me. A big thank you to Craigie
Zildjian, for opening a door to her family's history. Thanks to Ricky Riccardi at the Louis
Armstrong Archive for being supportive and helpful with this project. Finally, I would like
to thank Ed Soph for continuing to inspire my playing and research.
Thanks to my mentors: Al Lepak, Ed Soph, John Riley, Steve Barnes, Sherrie
Maricle, Gary Hart, Tom Kessler and Gordon Stout for always being there for me.
Thanks to my colleagues that have encouraged and inspired this work: Paul
Wells, Chris Gelb, Pete Van Nostrand, Neal Smith, Aaron Kimmel, Tyshawn Sorey and
Rudy "The Sherriff" Lawless.
I am especially thankful to the drummers that have been inspired by this work.
This is for all of us

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