Why I don't hear bass drums on Jazz LPs?

I don’t know how I missed this fascinating thread when it first developed.  I am posting this note sitting beside my 12/14/18 Ludwig Classic Maple kit.  I went to Berkley in my youth, was in the US Navy Band organization early in my life, played in the 16th District Naval Dance Band out of Great Lakes, IL in 1968/69.  Growing up in the Boston area, I studied with the very renowned George Lawrence Stone, who also taught the vastly more talented Joe Morello and Vic Firth.  Joe was like a God from Mt. Vesuvius for me.  I once saw him play Jingle Bells solo on his 13x9 Ludwig rack tom tom.  How the hell do you do that?  Anyway, he was a guy who would give you the shirt off his back in addition to being the damnedest drummer.  Another guy that I want to mention is Louie Bellson.  As I kid I saw him at drum clinics a couple of times at Jack’s Drum Shop in Boston.  One time he did a clinic with Buddy Rich.  Two pretty fair drummers.  One of the other kids asked Buddy why he didn’t use two bass drums like Louie.  Buddy said and I quote "Because I can do everything on one that he needs two to do!"  Louie just laughed it off amiably and said it was true.  And that story, I think underscores why the two greatest band leaders in jazz history, Duke Ellington and Count Basis, both said the best drummer they ever had in their band was Louie Bellson.  He was always there in support of the band.  Someone in this thread mentioned Davie Tough.  In my opinion, no drummer could swing a big band better than he and he claimed in an interview that he didn’t even have a roll.  Finally, I want to mention the late great Mel Lewis.  He could do anything well.  People have rightly acknowledged the contributions of Shelly Manne especially to West Coast Jazz and I think rightly so.  In my opinion, Mel was his equal or better in every way.

Joe told me that especially when The Dave Brubeck Quartet first started playing "Take Five", he struggled with the solo because 5/4 time was just so difficult to stay on top of.  That is why Dave comped on the piano throughout to help Joe keep track of where he was at.  Of course over the course of time, and with the experience of playing it constantly, playing in 5/4 became second nature to both him and to bassist Gene Wright.  The way he taught us how to keep track was not to try to count out 5 beats, 1-2-3-4-5, but break each measure into two measures  1-2  1-2-3.  If you listen to "Take Five" and pay attention to his hi-hat, I believe you can hear Joe doing that himself.  Joe always taught the importance of using the hi-hat to keep track of our time.  He was a great teacher and a super nice guy.  Little known fact, before he took up the drums Joe was a violinist.  Our mutual teacher, who scared me to death, Mr. Stone, told Joe he was never going to make it as a competitive drummer.  For Mr. Stone, drumming was all about the rudiments, but recognizing Joe's greatness suggested he might make a good jazz drummer.  In my case Mr. Stone suggested I consider taking up the violin.  These events were ten years or more apart and unrelated.  True story.