Modern Drummer #039.pdf

VOL. 7 NO. 1

Cover Photo by William Coupon

FEATURES

PETER ERSKINE

Over the past dozen years, Peter Erskine has continued

to live up to the promise he showed back when he was the

youngest person ever accepted at a Stan Kenton summer

band camp. Here, Peter discusses how each phase in his

career—including his recent departure from Weather Re-

port to join Steps, and his first solo album—have brought

him closer to being the kind of musician he wants to be.

by Rick Mattingly

CHESTER THOMPSON

Playing with Frank Zappa requires a special kind of

drummer; playing with Weather Report takes a different

type; playing for Genesis has yet another set of require-

ments. That Chester Thompson has been able to handle

all three situations says a lot about his versatility and abil-

ity, which he comments on in this MD exclusive.

Photo by Joost Leijen

Photo by Paul Natkin/Photo Reserve

by Stanley Hall

MD FORUM:

Audio Engineers—on Miking & Recording Drums:

Part II

by Mark Z. Stevens

JIM GORDON

One of the true legends of rock drumming, Jim Gor-

don began his studio career playing extra percussion

parts beside such master drummers as Hal Blaine and

Earl Palmer, and he began his touring career with the

Everly Brothers. Gordon talks about how he went on to

play and record with some of the biggest names in rock,

while giving insights into the professional and personal

aspects of his life.

by Scott Fish

INSIDE THE WORLD OF DRUM CORPS

Photo by Eric Keltner

COLUMNS

STRICTLY TECHNIQUE

JUST DRUMS

114

Super Slow Practice

PROFILES

by Jim Watson

EDUCATION

DRUM SOLOIST

PORTRAITS

Chuck Flores: "Es Tiempo"

Dennis Elliot

by Robyn Flans

UNDERSTANDING RHYTHM

The Quarter-Note Triplet

by Skip Shaffer

DRIVER'S SEAT

UP AND COMING

by Nick Forte

Big Band Fills: A Two-

Handed Approach

Vic Mastrianni

by Robyn Flans

CONCEPTS

Do Self-Taught Drummers

Play Better?

by Stanley Ellis

NEWS

SHOW AND STUDIO

by Roy Burns

Notes On The Making of

Moving Pictures: Part II

ROCK 'N' JAZZ CLINIC

UPDATE

Hi-Hat Technique in Different

Styles

by Neil Peart

102

by Robyn Flans

110

112

INDUSTRY HAPPENINGS.

by Sal Sofia

EQUIPMENT

CLUB SCENE

DEPARTMENTS

Establishing Tempo

PRODUCT CLOSE-UP

by Rick Van Horn

Accessories

by Bob Saydlowski, Jr,

EDITOR'S OVERVIEW

JAZZ DRUMMERS

WORKSHOP

READER'S PLATFORM

IT'S QUESTIONABLE

Studies in Style: Part II

Tony Williams

SHOP TALK

106

Tips on Cleaning Cymbals

DRUM MARKET

by Howard I. Joines

by Chris King

ASK A PRO

108

by Jay A. Wanamaker

ENLIGHTENING

EXPERIENCE

STAFF:

EDITOR/PUBLISHER

Ronald Spagnardi

FEATURES EDITOR

Rick Mattingly

MANAGING EDITOR

Scott Fish

ASSOCIATE EDITORS

Michael Epstein

Mark Hurley

ART DIRECTOR

David Creamer

ADVERTISING DIRECTOR

Kevin W. Kearns

ADMINISTRATIVE DIRECTOR

Isabel Spagnardi

ADMINISTRATIVE MANAGER

Ann Thompson

DEALER SERVICE MANAGER

Ellen Urry

CIRCULATION

Leo L. Spagnardi

Robin De Paul

Janet Gola

SALES PROMOTION MANAGER

Evelyn Urry

It all happened rather unexpectedly on a hot, humid Saturday evening in

August as I drove home from a friend's house. Off in the distance, rising

from above the walls of a nearby stadium, came the rhythmic cadence of

muffled drums. I lowered the car radio to get a better listen to the captivat-

ing rhythms which grew louder as I drove closer. Though it was late—and

hot—I was unable to resist. I parked the car, walked five blocks to the sta-

dium, purchased a ticket and soon found myself among 4000 people madly

cheering 100 musicians in multi-colored uniforms on the field below.

For a second, there were fleeting memories of high school band—but

only for a second. It was obvious this was no high school marching band,

but rather, one of seven competing drum corps in a Senior Drum & Bugle

Corps competition, and like a great film spectacular, I was being pulled in

by the excitement and grandeur of it all.

I watched as a line of buglers, hitting notes reminiscent of Maynard

Ferguson, moved in varied formations among flag twirlers and color

guard. Meantime, five middle-aged gentlemen, clad in short-sleeved shirts

and ties, and toting clapboards and pencils, weaved their way in and

around all the activity, presumably notating imperfections in what cer-

tainly appeared to be an absolutely perfect performance. At one point, the

entire drum line marched directly towards the reviewing stand. The snare

drums, timp-toms, marching mallet keyboards and timpani formed an arc

across the 50-yard line. What followed was a dazzling display of precision

snare drum execution, complex timpani and bass drum lines, coupled with

the melodic interplay of mallet percussion. It was an audio/visual treat the

likes of which I'd never seen. This was my unofficial initiation into the

world of drum corps. Prior to that evening, it had been an area of drum-

ming I'd heard about, but never paid much attention to.

What makes drum corps such an absorbing activity for musicians and

non-musicians alike? For one thing, the music itself: the intensity of the

bugles, the stirring arrangements, the drummers who execute with a techni-

cal proficiency that would make even Rich and Morello smile. It's also the

people who follow drum corps; a growing number with an enthusiasm that

rivals any New York Mets fan I've ever known. One is also in awe of the

sheer dedication of the participants. Make no mistake, these are very seri-

ous young people who devote many hours to perfecting their performances

for competition.

A year ago, I commissioned Jay Wanamaker, one of drum corps' most

prolific exponents, to write an article on this special brand of percussion.

Despite the fact that the majority of MD readers are set players, I felt a

strong need to supply a sense of perspective regarding drum corps. The

results of Jay's efforts are here in, Inside The World Of Drum Corps.

Interestingly, since the completion of the article, I've spoken with nu-

merous, well-known jazz, rock and big band drummers, who likewise,

have confessed a secret passion for drum corps. Several of these same peo-

ple have also impresed upon me the fact that some of this country's leading

rock and jazz drummers have roots in drum corps—Billy Cobham and

Steve Gadd among them.

To any of those who may disagree with the concept of a drum corps ar-

ticle in MD, think of it if you will, as the planting of a seed. Read and

learn, and then see if perhaps on some hot August evening, you don't find

yourself following the sound of the muffled drums rising above the walls of

some stadium. You may be pleasantly surprised at what you'll find. I know

I was.

MD ADVISORY BOARD

Henry Adler, Carmine Appice, Horacee

Arnold, Louie Bellson, Bill Bruford, Roy

Burns, Jim Chapin, Billy Cobham, Les De

Merle, Len DiMuzio, Charlie Donnelly, Saul

Goodman, Danny Gottlieb, Sonny Igoe,

Jaimoe Johanson, Jim Keltner, Don Lamond,

Mel Lewis, Peter Magadini, George Marsh,

Butch Miles, Joe Morello, Neil Peart, Charlie

Perry, Charli Persip, Joe Pollard, Arthur Press,

Paul Price, Paul Real, Paul T. Riddle, Ed

Shaughnessy, Max Weinberg, Lenny White.

CONTRIBUTING WRITERS

Susan Alexander, Rich Baccaro, Robert

Carr, Jim Dearing, Clint Dodd, Robyn Flans,

Stanley Hall, Dave Levine, Michael Rozek,

Robin Tolleson, T. Bruce Wittet.

Plik z chomika:

Inne pliki z tego folderu:

Inne foldery tego chomika: