Modern Drummer #005.pdf

Editor's

Overview

If this months issue of MD feels a bit

heavier, it's simply because we've enthu-

siastically expanded to 36 jam-packed

pages with this, the premier issue of

Volume Two. 1977 was an exhilarating

year for the entire MD staff and as a re-

sult, we've formulated some sensational

plans for this year, many of which we've

already put in gear with this issue.

Thanks, to all who've sent us literally

hundreds of suggestions and creative

ideas. We hear you.

On our cover this time around is the

remarkable Mr. Tony Williams, perhaps

one of the most progressive stylists in

the entire evolution of jazz drumming.

In contrast-though no less intriguing-is

an inside glimpse at the world of Larrie

Londin, one of Nashville's busiest studio

drummers. One of many behind the

scenes musical elite, Larry may very

well be one of the most recorded drum-

mers in the world, today. For 'funk

freaks', ex-Tower of Power rhythmic

force David Garibaldi has some candid

reflections on his career and his distinc-

tive brand of percussive artistry.

The drum shops of America. A high-

ly specialized network of retail and ser-

vice operations catering to drummers

only. Who are they? Where are they,

and what do they offer? We'll be visit-

ing drum shops in some of the nations

major cities this year, talking to the peo-

ple in charge, and reporting on our find-

ings. We call this new editorial entry,

Shop Hoppin'.

Old drums and catalogs, restoration

techniques and collecting represents

another area we'll be examining closely

this year. Drum buffs in search of new

and rewarding hobbies shouldn't miss

Ray Benjamin's, Finding and Restoring

Relic Drums, the first in a series of arti-

cles on an uncommon, yet truly fasci-

nating pastime.

Our column line-up for January is as

wide and diversified as usual, ranging

from descriptive examples of funk

rhythms, and Peter Magadini on poly-

rhythms, to advice for the college

bound percussionist, a Tony Williams

solo transcription, and an eye-opening

insight on show charts, by Shelly Elias.

We've also got humor for the club date

drummer, how to test and select cym-

bals, a batch of book reviews and . . .

well, really a great deal more.

Enough said. Enjoy.

IN THIS ISSUE

FEATURES:

Tony Williams: Exclusive Interview

Shop Hoppin'

Larrie Londin: Nashville Session King

Finding and Restoring Relic Drums

David Garibaldi: Funk Stylist

COLUMNS:

Editor's Overview

Readers Platform

It's Questionable

Rock Perspectives

Jazz Drummers Workshop

Show and Studio

On the Job

Shop Talk

The Drum Soloist

The Complete Percussionist

Printed Page

Rudimental Symposium

Industry Happenings

Drum Market

Just Drums

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: Leo L. Spagnardi

Nancy Schuller

Carol Padner

Jean Mazza

MD ADVISORY BOARD

Henry Adler

Sonny Igoe

Carmine Appice

Don Lamond

Horacee Arnold

Mel Lewis

Louie Bellson

Peter Magadini

Roy Burns

Mitch Markovich

Jim Chapin

Butch Miles

Joe Corsello

Charlie Persip

Randy Hess

Arthur Press

Paul Price

EDITOR

READERS PLATFORM

ter, and a home correspondence course

all wrapped into one attractive package.

I'm of the opinion that "reader input"

is vital to the life of a publication such

as MD. I hope the following suggestions

might be of some value to you. 1) Per-

haps MD could set up an ASK THE

DRUMMER column, a vehicle by which

readers could submit specific questions

to the drummer of their choice. 2) A

special feature on brush playing. 3) A

story on the art of cymbal making.

4) A special feature on cleaning cymbals

including best polishes, applicators and

methodology. 5) Miking drums, includ-

ing a discussion of types of mikes, trans-

ducers, sound reinforcement systems,

etc. 6) How about a "consumer report"

type feature in which specific items

(sticks, heads, pedals, lugs, etc.) might

be tested and rated.

TIMOTHY A. KECK

SPARTANBURG, S. C.

I have enjoyed reading your new maga-

zine, and may I congratulate the found-

ers for a much needed news and educa-

tional enterprise. Two of my former

students, Duanne Thamm and Louie

Bellson have articles in your first edi-

tion, along with the memorium to Bob

Tilles who was one of my teachers for

over twenty years at my school. I'm al-

ways highly honored to see and read

about my former students. If I can

assist you in any way, please advise.

Now 86 and retired from playing since

1960, I still keep active by attending

everything from symphony to rock con-

certs. May I wish you the very best in

every way in the publishing of MD.

ROY KNAPP

CHICAGO, ILL.

straints. For example, the confirmed

"jazzer" may have to confine his aspira-

tions to the basement, while earning the

bulk of his income at a regular job. The

prescription for this ailment is knowl-

edge and Modern Drummer helps to fill

that order in that it helps define the

drummer and his craft. Dogmatic

approaches never serve for the advance-

ment of knowledge unless they are seen

in conjunction with the spirit of open

criticism and dissidence. Thus, the opin-

ionated Mr. Rich is tempered with the

amenable Mr. Bellson. Similarly, the

rocker is contrasted with the jazzer, and

the latin drummer with the show drum-

mer; at this point, readers begin to see

viable alternatives and the shackles of

ignorance are shaken off. The greatest

benefit of MD will be for those whose

circumstances do not permit them ac-

cess to the thoughts and styles of other

drummers. The beginner in a small

town, the hobby-drummer, the drum-

mer whose road work allows him little

time to reflect on his art....all will

profit.

Thank you Tim for some fine sugges-

tions, several of which are already in the

works. Come on readers - let's have

more of this kind of thing. We want to

hear from all of you.

ED.

To Mr. Knapp, truly the dean of percus-

sion instructors, we extend our deepest

and warmest thanks for the very kind

words.

ED.

I'd like to see more articles on rudi-

ments. Many drummers get turned off

when rudiments are mentioned, but

rudiments have changed. Rudimental

drummers are using the more difficult

Swiss rudiments, back-sticking, one-

handed rolls, etc. Most jazz drummers

don't realize the importance of rudi-

ments which aid in giving the drummer

speed, power and control - traits inher-

ent in all the great drummers. The fact

that you can play rudiments doesn't

automatically make you a good jazz

drummer, but it does get you off to a

good start.

T. BRUCE WITTET

OTTAWA, ONTARIO, CANADA

A topic which arises everytime drum-

mers talk equipment is, "how do I get

that full, rich, deep sound out of my

drums?" The problem is this: Many

drummers start with a standard set-up

of small drum sizes (5" x 14", 8" x

12", 9" x 12", 16" x 16", 14" x 20")

and expect to extract a clear, deep

sound by tuning the heads lower, while

in reality they are only producing a

flimsy, dead sounding drum which is

susceptible to head breakage and is

uncomfortable to play because it lacks

bounce. The solution? Use larger drum

sizes. Larger drums will sound lower to

begin with, and you will achieve a rich

sound by tuning them evenly and with

medium tension. You'll be much hap-

pier with the sound and the drums will

be more comfortable to play. Tuning a

small drum lower than normal is com-

parable to putting a tuba mouthpiece

on a trumpet to get a low sound. The

instrument just isn't made for that pur-

pose.

GLEN A. BUSH

CLEARWATER, FLORIDA

I would like to comment on the remarks

made by Phil Ehart of Kansas (Ehart

Energy-MD-No. 3, July 77) at the con-

clusion of the interview regarding

"making it". Let me ask Mr. Ehart why

we play. To "make it", or because we

love music and drumming? I, for one,

play because I love playing. "Making it"

is secondary.

CHAD RACER

COLUMBUS, OHIO

JOHN FRONDELLI

JACKSON HEIGHTS, N. Y.

Musicians, I believe, have always had a

tougher job than most in terms of trying

to preserve their integrity and identity

in the face of social and financial con-

Thanks for a fine magazine. I consider it

to be a professional journal, a newslet-

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