Modern Drummer #003.pdf

Editor' s

Overview

I'm proud and elated to report that

MD is continuing to grow in veritable

leaps and bounds. Our subscribers hail

from all across the country and twenty

four foreign nations, and we're now

available at some of the nations leading

drum shops and music stores - and as far

away as Australia.

In April, we announced the forma-

tion of our Advisory Board. Members

are listed each issue on the masthead -

and what a list that is. We're as proud as

any new publication can be of that out-

standing array of authorities. Three new

members join our board with this issue:

jazz giant Charlie Persip, rudimental ex-

pert Mitch Markovich, and big band

great Mel Lewis. Our advisors will be

supplying constructive comments and

guidance in our continual effort to keep

MD on course and as editorially accu-

rate and well balanced as possible. We

sincerely thank them all for supporting

our effort.

This issue is jam packed with tips and

entertainment for drummers only, lead-

ing off with our feature interviews on

the inimitable Alan Dawson, Count

Basie's own Butch Miles, and Phil Ehart

of "Kansas". Heavyweights, to say the

least. Our story on the Ontario College

of Percussion highlights the many fea-

tures of their outstanding program for

serious drummers. Equipment connois-

seur's McGarrity and Weidman wrap up

their report with Rogers, Tama and

Camco in the last of their Drum-Set

Shoppers Guide three part series. The

dynamic Ed Shaughnessy has some tips

on tuning drums - and we're proud to

present, by popular request, the incep-

tion of a new series of columns on latin

drumming aptly entitled, "South of the

Border". Robert Hillary provides an in-

spiring portrait of the legendary Chick

Webb, and MD's informative column

roster adds the finishing touches to our

package for July.

To all who have written regarding

some unfortunate delays in receiving

your magazines, we ask for your kind

patience. Please bear with us, until we

work out all the bugs. We're working

quite hard to arrive at your mailbox

right on schedule - and we won't be

satisfied until we do just that.

Finally, we thank you for all those

kind cards and letters. Keep 'em com-

ing. We have tons of ideas for future

(continued on page 23)

IN THIS ISSUE

FEATURES:

Alan Dawson: Exclusive Interview

Ehart Energy: Phil Ehart of "Kansas"

Ontario College of Percussion: Close-Up

Butch Miles: Drivin' The Basie Rhythm Machine

MD Shoppers Guide Part 3:

A Look At Rogers, Tama and Camco

COLUMNS:

Editors Overview

Readers Platform

It's Questionable

Rock Perspectives

Drivers Seat

South of the Border

Shop Talk

From the Past

Teachers Forum

Understanding Rhythm

Industry Happenings

Just Drums

Drum Market

EDITOR: Ronald Spagnardi

ASSOCIATE EDITOR: Paul Uldrich

MANAGING EDITOR: Michael Cramer

ART DIRECTOR: Robert Algieri

PRODUCTION MANAGER: Roger Elliston

ADVERTISING: William F. Selig

Isabel Lori

CIRCULATION: Nancy Schuller

Linda Streib

Leo L. Spagnardi

MD ADVISORY BOARD

Henry Adler

Louie Bellson

Roy Burns

Jim Chapin

Joe Corsello

Sonny Igoe

Don Lamond

Mel Lewis

Mitch Markovit

Butch Miles

Charlie Persip

Arthur Press

Paul Price

READERS PLATFORM

stance to their works instead of inces-

sant, repetitive "jive jibberings", which

are their trademark. It has been a de-

light to partake the first compilation of

Modern Drummer and to joy in its truly

professional approach. In a drumming

world deluged with scores of repetitious

ramblings over the years, your maga-

zine is quite timely, and a publication

every drummer worth his hi-hat stand

should possess.

I am looking forward with special inter-

est to articles on jazz drumming, and

drummers such as Philly Jo Jones, Roy

Haynes, Elvin Jones, Jack DeJohnette,

Max Roach, Tony Williams, Art Blakey

and Ed Thigpen. I wish you much suc-

cess in your publication.

MICHAEL BROWNSWORTH

EUGENE, OREGON

and other effects, use of timbales or

Roto-Toms as alternates to small toms,

big toms, etc?

PETER ZITO, III

PHILADELPHIA, PA.

H. ALAN STEIN

UPPER MONTLCAIR, N. J.

Right on! Having received the first

issues of MD, I promise to be a life long

subscriber. It's about time we drummers

had our own magazine as informative as

yours. I'm sure the rest of the percus-

sion world would like to see MD go

monthly with a circulation topping its

contemporaries. Thanks again-and keep

up the great work.

MICHAEL PRICHARD

PENSACOLA,FLA.

It's a sad affair when a particular con-

cept becomes practically extinct in the

art of percussion. I'm referring to

"brush work". Think about it. How

many drummers of today implement

the coloristic and musical subtleties

brushes can provide? Less than 1%, I'm

sure. Let's face it-brush technique re-

quires much more from a drummer than

sticks, mallets, or what have you. With

the help of MD, perhaps a few more of

us will begin to appreciate what the

brush masters of the past and present

have provided for the drummers of to-

day and tomorrow.

Your magazine has been most useful

with students in the drum teaching

studios I maintain in three music

stores. In general, serious students will

profit the most from MD, as their quest

for knowledge is never ending, and they

are willing to read, work and practice to

gain this ability. The individual columns

devoted to different types of drumming

are also most interesting and I trust they

will continue to be a part of the regular

format. Continued good luck with

Modern Drummer.

I recently looked through a copy of

Modern Drummer and said to myself,

"Where have you been all my life"?

It's about time someone came out with

a good magazine. How about twelve

times a year instead of four?

JIM ARNOLD

BAY CITY, MICH.

JAMES C. POTTER

WILMINGTON, DELAWARE

TRACY BORST

LOS ANGELES, CALIF.

Amen.

ED.

Thank you gentlemen. Your enthusi-

asm and encouragement is greatly appre-

ciated. MD's staff is rapidly growing and

though a monthly would be pushing it a

bit right now, it is in fact-our ultimate

goal. Stay with us.

I enjoy your magazine immensely, find-

ing it a nice balance of equipment,

styles, tips and exercises with notation.

How about features in coming issues on

such oft-debated topics as cymbal pitch-

es, tuning of drums for "wet sound"

Alas, the drumistic brethren of the

world can unite to laud the inception of

a long awaited publication. May other

members of the percussion fraternity

take heed and now learn to give sub-

ED.

IT'S QUESTIONABLE

by CHARLES McKAY

Q. I am considering buying a 20" bass drum for my next set

and would like your opinion on this.

A. The fact that you have the ability to lead with the left

hand in most situations is surely an advantage, and certainly

nothing to worry about. Most right-handed players go through

life with the frustration of trying to get the left hand to react

in the same manner as the right. In essence, you're very

fortunate.

A. Sizes must always be chosen according to the musical situ-

ations you encounter the majority of the time. Though the

trend seems to be in favor of the 22" and up for large band

and rock work where volume and projection is essential, many

players still prefer the standard 20" for general purpose work.

Q. Do you think it's better for a drummer to have some idea

of what he is going to play before he performs a solo?

J. G.

DETROIT, MICH.

Q. Can you suggest a good method for developing a feel for

tempo? I have a tendency to "push" the last few bars of a

phrase especially if I'm adding a one or two bar fill.

A. Most professionals we've discussed this with have admit-

ted to having some basic conception or simple construction

format in mind before soloing. The true art of improvisation

lies in the individual player's innate ability to construct and

relay his ideas spontaneously, however always within the

framework of a basic form of some kind, essential in the pro-

duction of truly creative and musical solos.

T. L.

CHICAGO, ILL.

A. This is not an uncommon problem. Though the question

of "perfect time" is certainly debatable, it is a fact that the

drummers primary value to any musical situation lies in his

ability to keep good time. Rushing the time, especially during

fill-ins, generally is the result of over excitement at these

times. Most important, learn to relax and stay loose. Many

teachers and players have admitted to the use of metronomes

for practice in this area. Try practicing playing time and short

fills between phrases at varying speeds set on the metronome.

You'll be amazed at just how difficult this can be, though over

extended periods of practice it most likely will aid your gener-

al time conception.

Q. When tensioning my tom-toms, I am never quite sure

which head to adjust first, batter or bottom. Just what hap-

pens when the batter head is adjusted and when the bottom

head is adjusted?

D. F.

ANAHEIM, CALIF.

A. It doesn't really make much difference which head is ad-

justed first. The important thing to keep in mind is that the

bottom head for the most part determines the pitch of the

drum. Loosening the bottom head, while tightening the batter

will generally give the drum a greater depth popular in today's

sound, yet enabling the batter head to remain tighter for a

more comfortable playing surface. Some experimentation with

varying degrees of tension on both heads should result in the

precise sound and feel you prefer.

Q. How can I best increase my reading and technical abilities

without enrolling for private instruction?

J. L.

PITTSBURGH, PA.

A. Though the guidance of a competent teacher is highly rec-

ommended for all serious students, we cannot cancel out the

possibility of a young player with some degree of natural abil-

ity going it alone. A wealth of material exists in both the read-

ing and technical improvement areas of drumming and you

should begin immediately to build a library of the top material

in these areas. It's also essential to discipline yourself to a

regularly scheduled practice routine.

Q. Could you kindly help me in my efforts to get in contact

with any of the drum corps in the east?

L. W.

OMAHA, NEB.

A. Drop a line to Drum Corp News, 899 Boylston St.,

Boston, Mass. 02115. DCN is a bi-weekly publication for corps

enthusiasts and can relay information on the happenings and

whereabouts of just about any eastern corps you might be in-

terested in.

Q. I am very interested in the "North Drums" discussed in

your Volume 1, No. 1, "Cobham-Equipment Close-up". Can

you supply more information?

M. P.

PENSACOLA,FLA.

Q. I am currently looking for music schools. Are there any

schools specifically for drums and percussion?

A. MD will be doing a special feature on the history and cur-

rent status of the exciting new North Drum line in our next

issue. In the meantime, for more information on North Drums

write to; Music Technology, Inc., 105 Fifth Ave., Garden City

Park, New York 11040.

S. A.

PLAINFIELD, VERMONT

A. Most all reputable music schools maintain a percussion de-

partment, with of course, varying'degrees of qualifications and

expertise. Contact the Admissions Office of those schools you

have in mind. A current catalog will tell you just what they

have to offer. Be sure to choose a school that puts emphasis on

the kind of percussion study you're most interested in or in-

clined towards. See this issue, "Go North Young Man", a

close-up on the Ontario College of Percussion in Toronto,

Canada.

Q. I have always started my rolls and rudiments with my left

hand though I am a right-handed drummer. Also, whenever I

learn a new beat, I can naturally and easily play it the even-

handed way (left hand on hi-hat, right hand on snare). Could

this create any problems later on, or do you see this as an

advantage?

C. Y.

MIDDLESBORO, KENTUCKY

T. O.

ALBANY, N. Y.

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