Modern Drummer #008.pdf

IN THIS ISSUE

As I'm sure you've gathered from our

front cover announcement — we've gone

and done it! MD will increase to bi-

monthly publishing beginning with the

January, 1979 issue. The continual re-

quests of both you the reader and our

many supportive advertisers have

prompted us to make this move and we're

very excited about it. Rest assured, MD's

frequency increase will not affect either the

quantity or quality of the magazine. On

the contrary. We'll be bringing you more

information, and happily, on a more

regular basis. Our deepest thanks to the

readers and all the members of our great

industry whose kind support and en-

couragement over the past two years made

this grand move possible.

We don't intend to sit back and admire

what we've accomplished in the past either.

The staff has some great plans in store for

next year aside from our usual interviews

with the world's leading artists, infor-

mative columns and up-to-date reporting

on the state of the art. Among a host of

new items will be our Product Close-Up

series, examining the good, and bad points

of a wide range of percussion products on

the market. MD will also initiate a much

requested column called Ask A Pro, which

will enable you to direct a question to the

pro of your choice. Another aid, which

we've managed to prepare for this issue, is

MD's new Listener's Guide, a record dis-

cography with a wealth of recordings

recommended for the serious drummer.

For those who can appreciate the impor-

tance of the art of listening, this guide

should prove most beneficial.

October's issue, the last on our four time

schedule, proudly highlights the remark-

able Steve Gadd, one of the most talented

and in-demand drummers in the country

today. The interview reveals that Gadd is

much more than an outstanding drummer,

but a deeply sensitive musician who always

considers the music first, the drumming

second. Herein lies the great lesson Steve

Gadd brings to all drummers.

Veteran jazz drummer Art Blakey, at

age 60, has been on the scene for a long

time. An extremely influential player and a

highly dedicated man, Art speaks his mind

and delights in telling it like it is. And ex-

Fergusonite Peter Erskine has some

continued on page 44

FEATURES:

STEVE GADD: Playin' For The Music

MD SPECIAL REPORT: Paiste Cymbals

PETER ERSKINE: A New Horizon

HOW TO RECOVER YOUR DRUMS

ART BLAKEY: Eternal Jazzman

BLAST FROM THE PAST

COLUMNS:

Editor's Overview

Readers Platform

It's Questionable

Rock Perspectives: Miking Tips

Jazz Drummers Workshop: Understanding Time

Complete Percussionist: Beginning Timpanist Part 2

Strictly Technique: Musical Practicing

On The Job: Keyboardist Looks at Drumming

Shop Talk: Snare Drums

Drum Soloist: Elvin Jones

Drum Market: Classifieds

Just Drums: Equipment Up-Date

3 8

STAFF:

MD ADVISORY BOARD:

EDITOR:

ASSOCIATE EDITOR:

FEATURES EDITOR:

MANAGING EDITOR:

ART DIRECTOR:

PRODUCTION MANAGER:

ADVERTISING DIRECTOR:

ADMINISTRATION:

CIRCULATION:

Ronald Spagnardi

Paul Uldrich

Karen Larcombe

Michael Cramer

Bryan Mitchell

Roger Elliston

Jonathan Wolf

Isabel Lori

Leo L. Spagnardi

Nancy Schuller

Carol Padner

Jean Mazza

Henry Adler

Carmine Appice

Horacee Arnold

Louie Bellson

Roy Burns

Jim Chapin

Joe Corsello

Les DeMerle

Randy Hess

Sonny Igoe

Don Lamond

Mel Lewis

Peter Magadini

Mitch Markovich

Butch Miles

Joe Morello

Charley Perry

Charlie Persip

Arthur Press

Paul Price

Lenny White

As a new reader to MD, I was impressed

with your July issue, "The L.A. Scene."

The issue was well planned and featured

some of the finest drummers in the world. I

would like to see an article on Harvey

Mason, one of the best percussionists in

L.A. Keep up the good work at MD.

I would like to congratulate you on a

fine journalistic endeavor, one which cer-

tainly answers a need in our field. I find all

the exercise and excerpt pieces to be in-

teresting and useful in my practice routine.

I might suggest a workshop section, offer-

ing practice patterns written by a different

hot-shot every issue. I would also like to

read how Elvin rehearsed with Coltrane

sans charts, or how Cobham rehearsed

with McLaughlin when no one knew where

the downbeat was.

Thanks for opening up this means of

communication and helping us to see that

we have a lot more in common besides

paying union dues and sitting behind a

drum set.

RON SMITH

PORTLAND, OR

LUCIAN CHAVEZ JR.

FT. WORTH, TX

I have something to share with other

readers pertaining to metal drum finishes.

1) Take all hardware (lugs, tom holders,

etc.) off. 2) Stuff cotton in the lugs to pre-

vent rattle. 3) Remove factory lacquer by

filling a shallow cookie sheet (W) with

lacquer thinner. Dip your drums in it.

Rotate the drums in the thinner until the

lacquer is almost falling off. Then, wipe it

with a rag. 4) Spray them with 2 or 3 thin

coats of clear gloss polyurethane. Let it

dry between coats.

The procedure is time consuming but

well worth it when chrome or copper gets

scratched. Exposed metal corrodes

quickly. A thicker coat of lacquer will

protect the finish and provide more gloss

under lights.

JACK WILKINSON

DARIEN, CT

I wish I had Modern Drummer to in-

spire me when I first became interested in

percussion instruments 34 years ago. For

me, drumming has always been a creative

pursuit and should be held in high regard

by all who attempt to play any percussion

instrument. I have had a hard time keeping

my enthusiasm for playing because I have

no one to rap with about the various ap-

proaches to playing a drum set. I have en-

joyed MD; it helps keep my enthusiasm

up.

GLENN SWIFT

RAPID CITY, SD

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