Baker's drumming is a bit of a contradiction to my ears: His swing feels really good -- relaxed, loping, never too hyperkinetic or busy -- but it has an air of remediality to it. He never seems to engage with or react to the other players, just chugs along laying down time. I tend to prefer more conversational drummers in jazz.
I went back to listen to the version on "Change of the Century", and can see what you're saying. I think that a lot it has do simply who Ginger Baker was, a reflection of his temperament and character, and a difference in the combination of the musicians, (how keyed in they might be for a number of reasons, including how much time they played together added to mutual musical sensibility.). I actually went back and re-watched "Beware Mister Baker" a couple of days ago.
I think Ginger is keying in as much as he can, but in a certain sense he is not just driving the beat, but it is driven in turn by things that he had little conscious relationship with; it results in a difference in articulation and responsiveness. But dang, he sure comes to life, his drumming has a lot of energy and that's neat to see and hear. The smile of a maniac, when he plays, but it's a HUGE contagious smile, open...like a child.
On it's own terms, distinct from that limitation, I really enjoy his playing. Some people need to play to stay alive, I think.
Charlie Haden, yeah, and Bill Frisell's playing about knocks me to pieces in this. Like little crystals coming down, ringing in the air. That whole section starting at about the 7:20 to the ten-minute mark, so damn beautiful.
