Modern Drummer #004.pdf

Editor's

Overview

This issue of MD represents the cul-

mination of our first year of publishing,

and - like most new specialized publica-

tions - we've had our share of growing

pains. But, we made it through year one

in fine form, and I view that as a major

accomplishment for any new magazine.

I'm extremely proud of my people, and

very gratified with our continued indus-

try-wide acceptance. We've devoted an

unimaginable amount of time, talent,

energy and determination to Volume 1

in a dedicated effort to make MD a

worthy publication that would fill a

void in the lives of serious drummers

everywhere. Our efforts are not going

unnoticed, and are truly beginning to

pay off. As our subscription list con-

tinues to grow steadily, so does our

advertising support which in turn en-

ables us to improve office facilities

and build on our staff. All this - in

essence - simply means an even better

MD for you in the year to come. What

with your many kind and enthusiastic

letters of encouragement, I personally

don't see how we can lose. Thanks,

from all of us.

On with this issue. In response to

numerous requests, our lead off fea-

tures for October are the exciting

Lenny White - an illuminating profile

of this outstanding artist by jazz jour-

nalist Aran Wald, and an interview with

jazz tabla master Badal Roy which pro-

vides some insights into this most in-

teresting man's musical career.

North Drums and Milestone Percus-

sion, Ltd., are two names you'll be hear-

ing a great deal about* in the future.

Both are manufacturing equipment

that's causing a lot of heads to turn. In-

teresting reading on where they've been

and where they're going.

Terri Lynn Carrington is a twelve

year old jazz drumming talent with an

outstanding list of credits and a great

future ahead. Garry Marshall, better

known as the creator and producer of

TV's Happy Days and Laverne & Shir-

ley has also been known to dabble in

the fine art of drumming and once made

a living at it. MD's own Gabe Villani

takes a lighthearted look at Garry's

early drumming days.

Advisory Board member Butch Miles

of the Basie band with some super ad-

vice for big band aspirants; a look at the

Swiss Rudiments, and a Max Roach solo

(continued on Page 21)

FEATURES:

Lenny White: Beyond Forever

North Drum Report

Tabla Talk: Badal Roy

Terri Lyne Carrington

Garry Marshall

Milestone Percussion

COLUMNS:

Editor's Overview

Readers Platform

It's Questionable

Rock Perspectives

Jazz Drummers Workshop

Rudimental Symposium

Drivers Seat

Show & Studio

Drum Soloist

Industry Happenings

Just Drums

Drum Market

EDITOR: Ronald Spagnardi

ASSOCIATE EDITORS: Paul Uldrich

Thomas Varelli

MANAGING EDITOR: Michael Cramer

ART DIRECTOR: Bryan Mitchell

PRODUCTION MANAGER: Roger Elliston

ADVERTISING: Jonathan Wolf

Isabel Lori

CIRCULATION: Nancy Schuller

Leo L. Spagnardi

Barbara Macioci

MD ADVISORY BOARD

Henry Adler Don Lamond

Carmine Appice Mel Lewis

Horacee Arnold Peter Magadini

Louie Bellson

Mitch Markovich

Jim Chapin

Charlie Persip

Joe Corsello

Arthur Press

Sonny Igoe

Paul Price

Roy Burns

Butch Miles

READERS PLATFORM

the technical and musical aspects of

drumming, rather than emphasis' on an

individual's childhood.

ANDY JOHNSON

WILMINGTON, DEL.

Congratulations on MD. Drummers

world-wide have been waiting years for

this. Both I and all my pupils are very

happy with your magazine for its excel-

lent variety of informative and educa-

tional material.

"The In-Demand Club Date Drummer"

(April '77), should have been titled

"The Commandments For a Weekend

Drummer." Well written and very accur-

ate. Just beautiful. Keep it up.

CHET KUROWSKI

CRANFORD,N. J.

How about an interview with Stanley

Spector? I'm a student of his and I

think he's one of the most underrated

drum teachers in the country. Accord-

ing to a Down Beat interview from some

years back, Jake Hanna and Joe Co-

cuzzo agree with me.

TOBEY McINTOSH

ELDON,MO.

MINGO MARTINO

ESTUDIOS DE PERCUSSION

LaPLATA, ARGENTINA

I think MD is perhaps the best piece of

literature of its kind that has been print-

ed for drummers. Your first issues really

said something, and did so in a very pro-

fessional way.

I would like to see articles on Jake

Hanna, Davey Tough, Mel Lewis and

Art Blakey. How about printing a list of

records with good representative exam-

ples of the above mentioned for those

of us interested in finding out about

some drummers besides Buddy Rich

and Billy Cobham.

Kindly enroll me as a subscriber to your

fine publication. The news of MD has

got around in England as Jimmy Tag-

ford, secretary of the Contemporary

Drummers Society has written about it.

Best wishes and success.

TREVOR BENHAM

OXFORD,ENGLAND

DICK DiCENSO

RANDOLPH, MASS.

Skepticism breeds criticism. To criti-

cize your first issue was to say, "Sure

it's good, but how do you follow it up

and continue the norm you've set."

Upon receiving my further issues - all

doubts have vanished. It's a great publi-

cation for a great profession. By contin-

uing your informative articles and ad-

vice, you not only captivate your cur-

rent subscribers, but you are sure to

create new ones. Thank you for helping

us all.

ED SLAUSON

BUENA PARK, CALIF.

In reply to your article, "Merits of the

Matched Grip", (April '77), might I

suggest that we drummers learn and ap-

ply both traditional and matched grips

according to the musical situation, rath-

er than continue to argue over which is

better. Shouldn't the music come first?

Isn't that really what it's all about?

STAN HOLLAND

HARTFORD, ALA.

You are to be congratulated for the ex-

cellent beginning issues of MD. I sincere-

ly believe it should be in the hands of

every 'serious player and student. The

exchange of information to our fellow

players is the highest form of service.

Thank goodness we are no longer in the

dark ages where teachers held back

some information lest their students got

better than them and stole their jobs

away. The vast majority of great players

today delight when they can help their

younger brethren.

WILLIAM SCHINSTINE

S&S SCHOOL OF MUSIC

POTTSTOWN, PA.

DAVE HAMILTON

THE DRUM SHOPPE

THORNHILL, ONTARIO, CANADA

I recently attended an Emerson, Lake

and Palmer concert and have never seen

a more incredible performance by Carl

Palmer who has to be the most fantastic

rock percussionist in the business. I'm

really anxious to see an article on this

unbelievable performer.

As a reader of MD I would like to see

interviews with some of the younger

European rock drummers such as Bill

Bruford, Barriemore Barlow of "Jethro

Tull", Phil Collins of "Genesis", Andy

McCullough and others. Thanks for the

quality, and most especially for letting

us drummers be heard.

GREGTULEY

EVANSVILLE, IND.

I look at Modern Drummer as an edu-

cational experience, especially your col-

umns Shop Talk, On The Job, and the

Shoppers Guide. Straightforward and

basic. As long as you keep publishing,

I'll be buying.

JAY COHEN

MIAMI, FLA.

JIM McDONALD

VICTORIA, B.C.

I think your magazine is great. I'd like

to see articles on Les DeMerle and Steve

Gadd. I would also like to see more on

The article by Nick Todd, On the Job:

IT'S QUESTIONABLE

by CHARLES McKAY

system, I'd like to know why they've discontinued parts for

the older line.

G.S.

DETROIT, MICH.

Q. I have a very fast foot but it's not consistent. Some nights

I can really burn. On other nights, I can't seem to get it to-

gether. What can I do to get that consistency?

B.S.

ALIQUIPPA, PA.

A. Don Cannedy, Marketing Director at Rogers, informs us

that his company is making a sincere effort to help all Swivel-

malic owners in making the transition to the Memrilok system

as smooth and painless as possible. Cannedy advises that

adaptors are available for Swivelmatic, as are other replace-

ment parts. Any questions or problems that cannot be resolved

via Rogers dealers should be brought to the attention of Don

Cannedy at Rogers Drums, 1300 E. Valencia, Fullerton, Calif.

92631.

A. Consistency is one of the most difficult things to develop

in any area of performance. Your bass drum playing will only

attain consistency as you develop a safe margin of speed, con-

trol and endurance over and above what is normally required

of you in an average playing situation. This only seems to

come with much playing and hours of concentrated and pro-

ductive practice. The guidance of a competent instructor is

strongly recommended with an emphasis on a complete bass

drum development program.

Q. I was hoping you could settle an argument. What drum-

mer is generally credited for being the most influential player

in the evolution of the bop drumming style, and what were

those basic evolutionary concepts?

Q. Several years ago a number of noted jazz drummers were

playing a brand of electronic drums known as Hollywood. Can

you supply some information? Are they still available?

J. G.

BOSTON, MASS.

R.H.

MERIDEN, CONN.

A. The major change in the playing concepts of the early bop

drummers was a relinquishing of the bass drums role as the pri-

mary time keeper. The bass drum began to acquire a separate

voice in terms of rhythmic variety and tone color. The time

feeling was shifted more to the top via the ride cymbal and the

hi-hat afterbeat. As in any evolutionary process it is often dif-

ficult to pinpoint any one individual since many were in-

volved, however for the record, jazz historians like to credit

Kenny Clark as one of the most important players of the era,

though much credit must also go to the innovative styles of

both Max Roach and Shelly Manne among others.

A. The Hollywood Tronic Drums were an electronic drum set

manufactured in Italy and distributed in this country in the

mid-sixties by the Carl Fischer Company. Electronic pickups

in each drum were wired to a control box with volume and

tone controls. Set-ups ranged in price from $850 to $1,995.

The idea was valid, but perhaps a bit before its time. Though

the drums were expected to do well, they failed to arouse the

interest of American drummers and are no longer available.

Q. I need a record and book on rock drumming. Can you sug-

gest a good one?

Q. One of my favorite drummers is David Garibaldi, formerly

of the Tower of Power. Could you tell me please what kind of

equipment he used on those Tower of Power recordings, and

where he is now?

F.B.

CALUMET CITY, ILL.

S. L.

CHICAGO, ILL.

A. Check out the Beat Sheet Self-Study Drum Course pub-

lished by TIP Publishing, 9926 Halderman, Philadelphia, Pa.

19115. It consists of a study booklet and a 12"-33 1/3 rpm

recording and was designed to teach rock drumming at all

levels from beginner to advanced.

A. Mr. Garibaldi used a stock Slingerland set-up with 20"

bass drum and 12" and 14" toms during his recording days

with TP. He is currently working with singer Deniece Williams.

MD will be presenting a feature interview with David Gari-

baldi - one of the leading "funk" drumming stylists - in a fu-

ture issue. Look for it.

Q. I understand one of the major manufacturers is making

drum shells from 9 ply beechwood - a super hard shell. Which

one?

V.B.

DENVER, COLORADO

Q. I am looking into calfskin heads for my drums. Is there

anything specific I should look for when selecting calfskin?

E. S.

BUENA PARK, CALIF.

A. Sonor. {S.W. Industrial Park, Westwood, Mass.)

Q. Do cymbals have a definite pitch?

A. Drumming great Mel Lewis - an MD Advisory Board mem-

ber and advocate of the calfskin school - provides the follow-

ing tips: Examine the heads you are considering carefully by

first holding them up to the light. The head should be free of

tiny pinholes, an indication of a faulty head. Look for a

smooth surface, clear spots, and the markings of a bone in the

heads texture. Calf bass heads should be somewhat thicker and

the markings of a backbone would indicate just that. Also, to

determine the pitch of the head, vibrate it so it rattles and lis-

ten for the pitch. The higher the pitch of the rattle, the thin-

ner the head; a lower pitch would indicate a thicker head.

J.C.

MILWAUKEE, WISC.

A. Good cymbals do not have a definite pitch. They should

possess a variety of overtones but should never be out of tune

with any pitch. The term "pitch", when related to cymbals is

used only to differentiate between low, medium and high.

Q. I have a Rogers Swivelmatic outfit, a line which Rogers

has discontinued. Since this is the first year of the Memrilok

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