Modern Drummer #029.pdf

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Cover photo by Dario Perla
CONTENTS
FEATURES:
RINGO STARR
The Beatles were, without doubt, the single-most influential
felt. As the drummer for that group, Ringo Starr was originally
criticized for his individual style, but by the late '60s, studio
drummers throughout the world were constantly being told to
"play like Ringo." In this very exclusive MD interview, Ringo
speaks in-depth about his love of playing drums, and discusses
his life as a musician.
10
MITCH MITCHELL
Known primarily for his membership in the Jimi Hendrix
Experience, Mitch Mitchell has been involved in a variety of
13. He talks about his association with Hendrix, and gives an
interesting look at the English music scene.
14
ANDREW CYRILLLE
Andrew Cyrille has always been interested in the interpretive
aspects of this in contexts ranging from the Cecil Taylor Unit,
to solo percussion albums and concerts. Here, he shares his
thoughts on maintaining musical values while taking care of
economic needs.
22
18
SAUL GOODMAN
SHOP HOPPIN'—ANDY PENN'S
26
COLUMNS:
ASK A PRO
ROCK PERSPECTIVES
It's an Open and Shut Case
by David Garibaldi
ROCK 'N' JAZZ CLINIC
Rock Big Band—Part I
by Roberto Petaccia
CLUB SCENE
Soloing With A Purpose
by Rick Van Horn
SOUTH OF THE BORDER
Mambo on the Drum Set
by John Rae
MALLETS
Using the Pedal
by David Samuels
IT'S QUESTIONABLE
by Cheech Iero
STRICTLY TECHNIQUE
Extending Stick Control
by Ray Fransen
2
CONCEPTS
Overcoming the "Horribles"
by Roy Burns
4
76
6
PORTRAITS
Fred Satterfield
by Scott K. Fish
80
34
DRUM SOLOIST
Steve Gadd—"Samba Song"
by David Wood
42
84
UP AND COMING
Butch Baron
by Scott K. Fish
48
88
52
PRODUCT CLOSE-UP
Slingerland's 69T Magnum Force
by Bob Saydlowski, Jr.
92
56
TEACHER'S FORUM
Choosing a Drum Teacher
by Robert D. Wallis
98
60
DRUM MARKET
102
INDUSTRY HAPPENINGS
105
64
JUST DRUMS
107
30
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Recently, the Selmer Company of Elkhart, Indiana, announced that
it had reached an agreement with the Ludwig Drum Company for the
purchase of the company.
Though this event might appear as just another slice of big business
American-style, in actuality, it marks the end of an era for the
percussion industry. Ludwig was the last, major family-owned drum
company in America, originated and sustained as a result of the
dreams and tireless efforts of one enterprising individual. There were
several in our industry: V. G. Leedy, Bud Slingerland, Joseph Rogers,
Fred Gretsch, and of course, William F. Ludwig, ST. All, with the
exception of Leedy, are now divisions of much larger American
corporations.
Though I'm confident the Selmer/Ludwig marriage will be lasting
and productive, one tends to look upon acquisitions in general with
mixed emotions. Perhaps we've all become a little mistrustful of the
American conglomerate. It's certainly no secret that our nation has
experienced a gradual, yet steady decline in pride of workmanship and
the overall quality of consumer products in many areas. One wonders
if corporate mergers and acquisitions, impersonal as they tend to be,
have not been at least part of the cause. How many times have we
seen the mother company infuse their new offspring with capital, new
management and boardroom tactics, only to see the product itself lose
the quality which made it famous in the first place? If this were not the
case, why is old, strangely enough, always considered better? Old
guitars, old furniture—old drums!
We can only hope that the decision makers of the large companies,
who've gradually taken over the major segment of our industry, keep
in mind that the family-owned firms became successful because they
took great pride in the end product. Most were started by players who
saw needs, found solutions, and were sincerely concerned about the
industry in which they were the leaders. They were successful because
their first concern was the product on which they proudly placed their
names. The product came first, and in so doing, it won the approval of
the consumer and made its mark on the American music industry. It's
questionable whether we see enough of that kind of thing in this day
and age.
Yes, Ludwig was the very last family-owned drum company left in
America. There are no more. It's unlikely that we'll ever witness the
likes of a Bud Slingerland, a Fred Gretsch or a Bill Ludwig again, nor
the incredible effort it must have taken them to build their companies
through wars, depressions and the like.
Sure, the major corporations now control the strongest segment of
our industry, but that doesn't necessarily mean we can't continue to
make our voices heard. How? By continually reminding them that
after all the management studies, all the computer technology, all the
Harvard Business School high-level decisions, the essence of our
acceptance still remains with the quality of the product itself. Our
statement is really not very much unlike what the new car buyer has
said to the American automotive industry. "Give us quality at fair
market value, or we'll be forced to venture elsewhere until we find it."
My very best wishes to the people at Ludwig and Selmer. I'm
hopeful the relationship will be not only lasting, but beneficial to us all
as well.
STAFF:
EDITOR/PUBLISHER
Ronald Spagnardi
FEATURES EDITOR
Rick Mattingly
MANAGING EDITOR
Scott K. Fish
ASSOCIATE EDITORS
Mark Hurley
Paul Uldrich
ART DIRECTOR
Tom Mandrake
ADVERTISING DIRECTOR
Jean Mazza
ADMINISTRATIVE DIRECTOR
Isabel Spagnardi
ADMINISTRATIVE MANAGER
Ann Lambariello
DEALER SERVICE MANAGER
Carol Morales
CIRCULATION
Leo L. Spagnardi
Ellen Urry
SALES PROMOTION MANAGER
Evelyn Urry
MD ADVISORY BOARD
Henry Adler, Carmine Appice, Horacee Ar-
nold, Louie Bellson, Bill Bruford, Roy Burns,
Jim Chapin, Billy Cobham, Les DeMerle, Len
DiMuzio, Charlie Donnelly, Saul Goodman,
Danny Gottlieb, Sonny Igoe, Jaimo Johnson,
Don Lamond, Mel Lewis, Peter Magadini,
Butch Miles, Joe Morello, Neil Peart, Charlie
Perry, Charli Persip, Joe Pollard, Arthur
Press, Paul Price, Paul Real, Paul T. Riddle,
Ed Shaughnessy, Lenny White.
CONTRIBUTING WRITERS
Susan Alexander, Rich Baccaro, Robert Carr,
Jim Dearing, Clint Dodd, Robyn Flans, Stan-
ley Hall, Harold Howland, Cheech Iero, Dave
Levine, Bruce Nixon, Michael Rozek, Mi-
chael Shore, Robin Tolleson, T. Bruce Wittet.
MODERN DRUMMER Magazine (ISSN 0194-
4533) is published 9 times yearly, February,
April, May, June, July, August, October,
November and December by Modern Drum-
mer Publications, Inc., 1000 Clifton Avenue,
Clifton, N.J. 07013. Second Class Postage
paid at Clifton, N.J. 07015 and at Richmond,
Virginia 23219. Copyrighted 1981 by Modern
Drummer Publications, Inc. All rights re-
served. Reproduction without the permission
of the publisher is prohibited. SUBSCRIP-
TIONS: 5/5.95 per year, $28.95, two years.
Single copies $2.00. MANUSCRIPTS: Mod-
ern Drummer welcomes manuscripts, howev-
er, cannot assume responsibility for them.
Manuscripts must be accompanied by a self-
addressed stamped envelope. CHANGE OF
ADDRESS: Allow at least six weeks for a
change. Please provide both old and new
address. MUSIC DEALERS: Modern Drum-
mer is available for resale at bulk rates.
Direct correspondence to Modern Drummer
Publications, Inc.. 1000 Clifton Avenue, Clif-
ton, N.J. 07013. (201) 778-1700. POSTMAS-
TER: Send form 3579 to Modern Drummer
1000 Clifton Avenue. Clifton. N.J. 07013.
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