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Feb-March 1982 MODERN DRUMMER VOL. 6 NO. 1 Cover Photo by Tom Copi FEATURES: COLUMNS: EDITOR'S OVERVIEW 2 PHILLY JOE JONES ASK A PRO 4 Long recognized as one of the most READER'S PLATFORM 6 influential jazz drummers of the '50s and '60s, Philly Joe Jones has IT'S QUESTIONABLE continued to make his presence felt by Cheech Iero 8 whether backing other artists or leading his own groups. Here, he details his SHOP TALK many years in the music business, Selecting Drumsticks while discussing some of the problems by Joel Fulgham 34 an artist has to deal with in order to survive. CONCEPTS by Rick Mattingly 10 A New Approach to Setting Up Your Drumset by Roy Burns 36 STIX HOOPER JAZZ DRUMMERS WORKSHOP A founding member of the Crusaders Stickings—Part II Stix Hooper has been involved in many by Gary Chaffee 38 different areas and styles of music. In this, his first MD interview, he shares SHOW AND STUDIO his insights on a variety of topics, and Emil Richards discusses some of the philosophies by Dave Levine 50 behind his unique playing style. by Cheech Iero 14 CLUB SCENE Customer Relations—Part I by Rick Van Horn 58 READERS POLL BALLOT 69 THE DRUM COMPUTER: FRIEND OR FOE? ROCK 'N' JAZZ CLINIC by Carr, Flans, Mattingly & Rock Big Band—Part II Saydlowski 18 by Roberto Petaccia 72 DRUM SOLOIST Billy Hart—"Tokudo" by Jean-Etienne Roch 76 EARTH, WIND & FIRE Philip Bailey, Ralph Johnson and PRODUCT CLOSE-UP Freddie White are the three members of A Look at Drumheads Earth, Wind & Fire who provide the by Bob Saydlowski, Jr 80 percussive drive and color that is such an important feature of the group's DRIVER'S SEAT sound. They speak of their Using the Right Size Equipment for the backgrounds, and of how they are able Job to combine their varied talents into a by Ed Shaughnessy 82 unified whole. ROCK PERSPECTIVES by Robyn Flans 22 Three Beats by David Garibaldi 84 TEACHER'S FORUM EVOLUTION OF THE DRUM Accent Conversions SET—PART II by Charlie Perry 90 by Danny L. Read 26 ON TRACK 98 DRUM MARKET 102 JAMIE OLDAKER: MOVING INDUSTRY HAPPENINGS 104 CENTERSTAGE by Rick Gomez 30 JUST DRUMS 106 STAFF: EDITOR/PUBLISHER Ronald Spagnardi FEATURES EDITOR Rick Mattingly MANAGING EDITOR Scott K. Fish ASSOCIATE EDITORS Mark Hurley Paul Uldrich ART DIRECTOR David Creamer To the immediate right of this column stands a list of some thirty ADVERTISING DIRECTOR distinguished names under the heading of MD Advisory Board. A brief Jean Mazza explanation is in order for those who've inquired regarding the func- ADMINISTRATIVE DIRECTOR tion of the Board. Isabel Spagnardi As you can readily see. the Advisory Board represents a rather di- ADMINISTRATIVE MANAGER verse assortment of musical idioms that includes performers, authors, Ann Lambariello teachers, clinicians—even cymbal, vintage equipment and electronic DEALER SERVICE MANAGER specialists. Members are chosen not only for their expertise in a par- Carol Morales ticular phase of drumming, but for their concern for the educational CIRCULATION development of young drummers, as well. Leo L. Spagnardi Basically, the Board acts in an advisory capacity to the MD Editori- Ellen Urry al staff. Selected Board members are surveyed periodically on certain Laura Klepar issues of the magazine. Their suggestions, recommendations and criti- SALES PROMOTION MANAGER cisms are all carefully evaluated. Though some Advisors are more ac- Evelyn Urry tive than others, many contribute articles, assist in matters requiring factual verification, or simply help us to answer a particularly tough MD ADVISORY BOARD question from a concerned reader. Henry Adler, Carmine Appice, Horacee Ar- MD's Advisors do not control the content or editorial direction of nold, Louie Bellson. Bill Bruford. Roy Burns. Jim Chapin. Billy Cobham, Les DeMerle, Len the magazine. But they do contribute ideas, make recommendations DiMuzio. Charlie Donnelly. Saul Goodman. and supply objective viewpoints which helps us maintain editorial di- Danny Gottlieb, Sonny Igoe. Jaimo Johnson, rection and balance. Don Lamond, Mel Lewis, Peter Magadini. Many have been members since our very earliest issues. Others Butch Miles, Joe Morello, Neil Peart, Charlie have been added over the past few years. All of them certainly deserve Perry, Charli Persip. Joe Pollard. Arthur a word of thanks for their assistance. Any reader interested in contact- Press. Paul Price, Paul Real. Paul T. Riddle, ing an Advisory Board member should direct the correspondence to Ed Shaughnessy, Max Weinberg, Lenny that individual, c/o Modern Drummer. We'll be glad to forward your White. letter. CONTRIBUTING WRITERS The new year is off to a rousing start with jazz great Philly Joe Susan Alexander. Rich Baccaro. Robert Carr. Jones. Renowned for his stylistic drumming behind Freddie Hubbard. Jim Dearing. Clint Dodd. Robyn Flans. Stan- ley Hall, Harold Howland, Cheech Iero, Dave Lee Morgan. Bill Evans and Miles Davis. Philly offers some candid re- Levine, Bruce Nixon, Michael Rozek, Robin marks in this profile by MD's Rick Mattingly. Tolleson, T. Bruce Wittet. Fred White. Philip Bailey and Ralph Johnson are the threesome re- sponsible for the rhythmic impetus of Earth. Wind and Fire, and Stix Hooper talks about his contribution to the unmistakable sound of the MODERN DRUMMER Magazine (ISSN 0194- 4533) is published monthly; April, May, June, Crusaders. July, October, November, December. Bi- Hardly a household name. Jamie Oldaker has backed the likes of Monthly; Feb/March, Aug/Sept, by Modern Eric Clapton, Peter Frampton and Leon Russell. Now about to front Drummer Publications, Inc., 1000 Clifton Av- his own band. Jamie tells his story in Moving Centerstage. enue, Clifton. N.J. 07013. Second Class Post- In the nostalgia department. Danny Read's final installment of a age paid at Clifton. N.J. 07015 and at addi- two-parter on The Evolution Of The Drum Set looks at the develop- tional mailing offices. Copyrighted 1982 by ment of the various components. Modern Drummer Publications. Inc. All Recently, there's been some controversy in drum circles surround- rights reserved. Reproduction without the ing an item called the Linn LM-1 Drum Computer. Not to be confused permission of the publisher is prohibited. SUBSCRIPTIONS: $15.95 per year, $28.95, with the infamous rhythm box. the LM-I is a programmable computer, two years. Single copies $2.00. MANU- capable of producing some incredible percussion sounds. As expected, SCRIPTS: Modern Drummer welcomes several other electronic firms have since jumped on the bandwagon. manuscripts, however, cannot assume re- and it appears the age of automation has started to hit home. A threat sponsibility for them. Manuscripts must he to some, an aid to others: we've opted to present both sides in MD's accompanied by a self-addressed stamped Special Report, The Drum Computer: Friend Or Foe? envelope. CHANGE OF ADDRESS: Allow at In the column department. February/March offers everything from least six weeks lor a change. Please provide Ed Shaughnessy on equipment and Charlie Perry on accent conver- both old and new address. MUSIC DEAL- sions, to selecting drum sticks and drum heads, a profile on Emil Rich- ERS: Modern Drummer is available for resale at bulk rates. Direct correspondence to Mod- ards, and a Billy Hart solo transcription. ern Drummer Publications, Inc., 1000 Clifton We'd also like to extend our best wishes to Remo Belli and all the Avenue, Clifton. N.J. 07013. (201) 778-1700. fine people at Remo in California who are currently celebrating twen- POSTMASTER: Send Address Changes to ty-five years of manufacturing. Congratulations Remo. Modern Drummer. 1000 Clifton Avenue, Clif- ton, N.J. 07013. PREMIERS Premier will now be coming to you with all the range and value that's made us number one. In Britain. In Europe. And in the ears of people like Phil Collins, Carl Palmer and Harvey Mason. FIRST IN PERCUSSION A MORE COMPREHENSIVE DEALER NETWORK IS BEING ESTABLISHED IN THE U.S.A. MEANWHILE. FURTHER INFORMAT ION IS AVAILABLE FROM: I HE PREMIER DRUM COMPANY (CANADA) LTD.. 44 FASKEN DRIVE. UNITS 21-22 (REAR). REXDALE. ONTARIO. CANADA. TEL 416 675 1833. THE PREMIER DRUM COMPANY LTD.. BLABY ROAD. WIGSTON. LEICESTER LE8 2DF, ENGLAND. TEL 0533 773121. TELEX 342171. BEAVER HARRIS Q. Have you ever studied any of the Q. Do you get much of a chance to African rhythms? If so, has this influ- practice when you are on tour? enced your playing in any way? B. K. B. B. Montlack Atlanta, Ga. Los Angeles, Ca. A. Not much at all. When we were the A. Yes, I have studied African rhythms. second act, I found if I hung around long It's not what you would call an influence; enough after sound check, I was able to it is more of an innate discovery that I at least warm up on the set. I was consid- found in terms of what I was already ering bringing a set of drum pads with me playing. I always thought that way but I on tour, but it's not the same as practic- never had the opportunity to confirm ing on your own drum set. these thoughts. In Africa a flam is the same as in the so called American rudi- mental drumming, with a contrapuntal or polyrhythmic approach. In African Photo by Veryl Oakland rhythms the flam sound is happening all ANDREW CYRILLE the time because the polyrhythmic sound Q. Could you give me some pointers on is happening all the time. In African mu- establishing a solid teaching practice? sic both the melody and the rhythm is Jimmy Nolan played on the drums. Stamford, Ct. A.
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