Modern Drummer #002.pdf

MD FAMOUS DRUMMERS QUIZ NO. 2

WIN A FREE ONE YEAR'S SUBSCRIPTION!

Name this famous drummer who played with the big bands of Bunny Berigan, Benny Goodman, Artie

Shaw, Charlie Spivak and Tommy Dorsey, pictured below in the drum chair of the 1945 Woody Herman

Band.

One year's free subscription to Modern Drummer magazine to the first 10 winning entries postmarked

before May 15, 1977. Winners will be announced in our next issue.

Send your answer with return address to:

MODERN DRUMMER MAGAZINE

c/o FAMOUS DRUMMERS QUIZ

47 HARRISON STREET

NUTLEY, NEW JERSEY 07110

For the answer to last issues Famous Drummers Quiz, and our ten winners, see page 20.

Editor's

Overview

Welcome to the second issue of

Modern Drummer Magazine. The re-

sponse to our premier issue was beyond

all our expectations. Mail from readers

in all of the fifty states and from every

corner of the globe has flooded our

office. We thank you all for your many

kind words, and we'll continually look

forward to hearing from you. Only, in

this way, can we truly ascertain the

likes, dislikes, preferences and needs of

our most valuable commodity - you,

the drummer reader.

This issue continues to look at the

world of drums via several special fea-

tures. Drum aficionados John Mc-

Garrity and Dan Wiedman continue

their journey through the maze of

shells, heads and hardware with a close-

up of Gretsch, Slingerland, Fibes. and

Premier in Part II of our Drum Set

Shoppers Guide. Very interesting read-

ing for (he equipment conscious.

On the Clinic Trail with Roy Burns

takes an in-depth look at the busy

world of one of the most respected

player-author-clinicians in the country.

Roy's clinics are a labor of love, and we

think you'll find his views both illumin-

ating and inspiring.

Ever wondered what an arranger-

composer looks for in a drummer?

Internationally known composer-ar-

ranger Jay Corre has some do's and

don'ts for drummers from his point of

view.

One of the most talked about sub-

jects amongst drummers these days is

the matched grip-traditional grip con-

troversy. MD will present both sides

of this story beginning with Art Ver-

non's Merits of the Matched Grip in

this issue. Vernon makes an interesting

and convincing case for the matched

grip which is bound to raise some eye-

brows among traditional grip advocates.

We can't wait to read the mail on this

one.

The art of rope-tensioned drum mak-

ing is long gone, you say? Not to Ralph

Eames, it isn't. The Eames Drum Com-

pany of Wakefield, Mass, has specialized

in this for close to thirty years. Our

report highlights this unique New

England company along with owner

Eames' continued activities in the

field of traditional rudimentalism.

Ed Soph is one of the finest young

players on the scene today. Michael

(continued on page 18)

IN THIS ISSUE

FEATURES:

On the clinic trail:

With Roy Burns

Rope Tensioned Drum-Making:

Alive and Well

Ed Soph

MD Shoppers Guide looks at

Slingerland, Gretsch, Premier, Fibes

Merits of the Matched Grip

Understanding Rhythm

COLUMNS:

Readers Platform

It's Questionable

Rock Perspectives

Jazz Drummers Workshop

Drivers Seat

On the Job

Rudimental Symposium

Complete Percussionist

Show and Studio

Teachers Forum

Shop Talk

Drum Soloist

Just Drums

1 4

2 2

2 3

2 7

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

Henry Adler

Sonny Igoe

Louie Bellson

Don Lamond

Roy Burns

Butch Miles

Jim Chapin

Arthur Press

Joe Corsello

Paul Price

Thanks very much for Modern Drum-

mer. If your first issue is any indication,

it will be pertinent and, hopefully, very

well received. I certainly wish you well.

Needless to say, I'll pass your magazine

on to my students, both here and on my

clinics. Good luck.

Thank you very much for your recent

complimentary copy of the Modern

Drummer. I have read the entire maga-

zine and you are to be complimented.

It's excellent. The staff of O. C. P.

shares my views and enthusiasms.

Please allow me to congratulate you for

your magnificent contribution to the

percussion industry.

nearly fifty years, Johnny Klein with

Welk for at least twenty and Connie

Kay with the MJQ for nearly the same.

Anyone who can provide so much

music and maintain a consistancy of

performance for so many years must

have some interesting philosophies and

stories. Other drummers who never

seem to get any print and deserve more

might include Jack Sperling, Sol Gubin,

Harvey Lang, Grady Tate and Chuck

Flores.

Enclosed is my check for a subscription

to Modern Drummer. Congratulations

on a great magazine.

ED SOPH

GARRISON, N. Y.

SONNY IGOE

NEW YORK CITY, N. Y.

PAULW. ROBSON

ONTARIO COLLEGE OF

PERCUSSION

Received the first issue of Modern

Drummer, and I would like to tell you

how wonderful it really is. I hope you

have great success with it. It is some-

thing that I am sure most drummers

will really enjoy reading.

ARCHIE FREEMAN

BELLEVILLE, N. J.

Received the first issue of MD and was

simply floored by the quality and con-

tent of your magazine. You've done an

excellent job in giving drummers a mag-

azine of their own. I'm sure a lot of

drummers will value your publication.

I anxiously await the next issue.

T. J. CONRAD

WATERLOO, ONTARIO

CANADA

Congratulations! Messrs. Spagnardi,

Uldrich, Cramer, and Algieri. Your first

issue of Modern Drummer is a great suc-

cess. We have been waiting a long time

for the drummer's equivalent to Guitar

Player and Contemporary Keyboard

magazines. With Cobham, Rich, Appice

and Bellson as appetizers, I can hardly

wait for the next course!.

RAY AYOTTE, PRESIDENT

DRUMS ONLY

VANCOUVER, B. C.

Congratulations on the release of your

first edition of Modern Drummer Mag-

azine. I must compliment you on the

educational value of your journal, and

the variety of materials and authors

that have contributed to your first

edition. I would like to refer to your

journal in future correspondence that I

have for information about percussion

or particular artists. If we can be of any

help with future editions, please let us

hear from you.

Thank you for a great magazine. You

did a great job. If future issues of MD

match your first, there is no way you

can go, but up. As a subscriber, I would

love to see interviews with Joe Morello,

Butch Miles, Sonny Igoe and Carl

Palmer of ELP. Once again, thanks for

a great magazine. It makes it much

easier for drummers to read about their

craft in one publication, instead of hav-

ing to buy twenty different magazines

with a paragraph each on drums. Don't

ever stop!

KARL DUSTMAN

EDUCATIONAL DIRECTOR

LUDWIG DRUM COMPANY

My only disappointment in your maga-

zine was to see that it was quarterly. I

hope with time and sales, it can grow to

a monthly publication. Best of luck.

FRED PANTATONE

DRUMMERS DREAM

ONTARIO, CANADA

NEILKIRBY

HARRINGTON PARK, N. J.

Thanks for the kind words, Neil. We're

working on all those people you men-

tioned. Stay with us.

Just wanted to let you know how much

I appreciated the nice job you did on

the article about Bob Tilles (From The

Past - In Memorium, Jan. '77). Bob

would have been very pleased. I found

your magazine to be very appealing

from the standpoint of being both edu-

cational and enjoyable. Congratulations,

and best wishes for continued success.

MRS. JACKIE TILLES

PARK RIDGE, ILL.

ED.

The first issue of your publication was

the most straightforward drum maga-

zine I have ever seen. Keep up the good

work.

ROY BURNS

ROGERS DRUMS

FULLERTON, CALIF.

Congratulations. Your magazine is all I

had hoped it would be. I would like to

see some articles on the few people in

our fast paced business who have been

able to maintain their positions. George

Cowans was with Guy Lombardo for

I received a copy of your issue recently

and was very impressed with its attrac-

tiveness. Good luck!

ANDREW CYRILLE

LITTLE FERRY, N. J.

DAVE MILLS

HIALEAH, FLA.

IT'S QUESTIONABLE

by CHARLES McKAY

Q. I am looking for information on "Flat Jack" Drums. They

were - or are - a complete drum set resembling the new Remo

"Roto-Toms", and were introduced sometime in the early

60's. Can you help?

fingers. Though the French grip has advantages for the profes-

sional timpanist, it generally will cause problems for the

novice. A pleasing tone is possible by either means.

D. D.

TRAVERSE CITY, MICH.

Q. I am interested in learning more about an organization of

drummers whose specialty is rudimental style playing. I have

been told such an organization exists. Can you help?

A. Information on "Flat Jack" Drums can be obtained from

Ralph Kester, Drumland, 2216 North Dixie Highway, Lake

Worth, Florida, 33460.

H. J.

PALO ALTO, CALIF.

A. The organization you are speaking of is the NARD.

National Association of Rudimental Drummers. For more in-

formation try contacting the Ludwig Drum Company, 1728

N. Damen Ave., Chicago, III. 60647.

Q. What should I look for when choosing suspended cym-

bals for my High School percussion section?

T. L.

DETROIT, MICH.

Q. I prefer gut snares for military style playing, however my

drum just doesn't seem to have that crispness I need. Can this

be remedied?

A. Avoid cymbals which are too heavy or large. Suspended

cymbals should be relatively thin for quick response. It's also a

good idea to purchase several cymbals of varying sizes and

weights to cover a complete range of dynamic levels.

E. L.

SCOTTSDALE, ARIZ.

Q. Should I use a heavier stick for practicing?

S.D.

LINCOLN, NEB.

A. Sure can. Try giving each snare a few coats of clear lac-

quer. This eliminates a lot of moisture which causes the snares

to stretch in bad weather, but more importantly, it makes the

individual snares hard and brittle resulting in that crispness

you're looking for.

A. The consensus of opinion among top teachers and players

recommends the same weight and type of stick for both prac-

ticing and on the job playing. Experiment with various makes

and models until you hit upon the one which meets your

needs in terms of both practicing and actual performance.

Q. I understand there is a small company in Canada who cus-

tom builds and designs drum equipment particularly for rock

players. I've been told that several reputable players have had

their equipment made by these people. How about a lead?

G. C.

SEATTLE, WASH.

Q. What is the best way to achieve the slap sound on a Conga

drum?

T. M.

WAYNE.N. J.

A. The company you're referring to is Milestone Percussion,

Ltd., 977 Pinewell Crescent, Richmond British Columbia,

Canada. Look for a complete report on this unique company

in a future issue of MD.

A. The conga should be struck with a wrist action relatively

close to the edge of the conga with the back part of the palm

of the hand. As the back part of the palm strikes the conga,

the remaining fingers strike the drum in a flam-like manner.

Q. I am continually breaking my 13" small tom-tom head. I

do a lot of heavy playing and use a 5A Nylon tip stick. Can't

seem to figure out the problem. Help!

Q. I am looking for a good drum book geared for teaching

young drum students in a group situation.

J. V.

OAK RIDGE, TENN.

R. L.

INDIANAPOLIS, IND.

A. This is something that under normal playing conditions

should not happen regularly. Todays heads are designed and

engineered to withstand tremendous force. Could be any one

of a number of reasons. I) Uneven tension distribution on

batter head. 2) Head is simply over-tensioned. 3) You may be

playing directly "into" the drum rather than pulling the stick

off the head slightly after each stroke. Playing "in" not only

breaks heads, but kills true tonal response as well. 4) The

angle of your stroke into the drum could be too great, due to

an over severe angling of the drum itself, thus causing the

point of the stick tip to strike the drum rather than the

rounded portion; a sure way to break the head.

A. Several exist, however the most popular among numerous

school music people seems to be DRUM CLASS METHOD, in

Volume I and 2, by Alyn J. Heim, published by Belwin-Mills,

Melville, N. Y.

Q. Could you kindly explain the basic difference between the

overhand timpani stick grip and the French grip?

W. K.

NIAGARA FALLS, N. Y.

A. The overhand grip is basically the standard matched grip,

palms down with the stroke being produced by the wrist. In

the French grip, the thumbs are facing upwards, palms facing

each other, the stroke being produced for the most part by the

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