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September 1991

September 1991

VOLUME 15, NUMBER 9

FEATURES JOHN "VATOS" HERNANDEZ 's John "Vatos" Hernandez has his work cut out DRUMMERS for him—driving rock's "big KENNY band" through composer Danny ROUND TABLE Elfman's unusual and demand- ARONOFF ing arrangements. If you had to explain to a man Learn how this talent- from Mars what jazz drumming ed drummer steers his Mellencamp's has been means today, all you'd have to unique ship. 28 spreading his unshakeable do is put him in a room with • fay Pot Lewis grooves around in a big way these guys. In this exclusive inter- lately. Learn how Kenny left the view, Ralph Peterson, Adam nest for studio suc- Nussbaum, Victor Lewis, Marvin cess—and why he "Smitty" Smith, Lewis Nash, Billy came back home. Drummond, Kenny EQUIPMENT • by Rick Mattingly 18 , and Jeff Watts tell it like it is. 24 THEFT: BEFORE • fay Ken Micallef AND AFTER

All my stuff...it's gone!!! Don't let this happen to you. Learn invaluable tips on how to prevent your valu- able equipment from 32 "walking." • by Ernie Santilli

MD TRIVIA CONTEST

Win a limited-edition Ludwig Black Beauty snare102 drum! COLUMNS

Education 52 ROCK 'N' JAZZ Equipment CLINIC Filling In The Holes On The Hi-Hat: Part 4 38 PRODUCT BY ROD MORGENSTEIN CLOSE-UP New Sabian Cymbals Departments BY RICK VAN HORN 56 BASICS AND WILLIAM F. MILLER Getting Serious News About Timekeeping 40 Bison Custom 4 EDITOR'S BY PETER I. COHEN Symphonic OVERVIEW 8 UPDATE Snare Drums Chris Whitten, Joe 60 LATIN BY GARY J. SPELLISSEY 6 READERS' Zawinul Syndicate's 42 Michael Baker, SYMPOSIUM PLATFORM Tim Alexander of Practical Applications Signature Mallets BY RICK MATTINGLY Primus, Vinx, Of The Mozambique 12 ASK A PRO Mark Schulman, Rhythm Freddie Gruber, and BY CHUCK SILVERMAN 46 ELECTRONIC of 16 IT'S , 62 CLUB SCENE REVIEW QUESTIONABLE plus News Don't Pay To Play Sapphire Slim Line BY RICK VAN HORN Studio Drum Pad BY RICHARD WATSON 84 CRITIQUE 108 INDUSTRY HAPPENINGS 94 CONCEPTS 47 KAT kicKAT Mistakes BY RICHARD WATSON 114 DRUM MARKET BY ROY BURNS Profiles 110 NEW AND 120 PHOTO GALLERY Fish NOTABLE BY MICHAEL JACHLES 54 UP & COMING BY BILL MILKOWSKI EDITOR/PUBLISHER Ronald Spagnardi ASSOCIATE PUBLISHER Isabel Spagnardi MANAGING EDITOR Rick Van Horn On Major Growth FEATURES EDITOR William F. Miller ASSOCIATE EDITOR Adam J. Budofsky CONTRIBUTING EDITOR Rick Mattingly Several years ago, a magazine called Drums & EDITORIAL ASSISTANT Karen Walsh Drumming was introduced to the drum world. A ART DIRECTOR Scott G. Bienstock publication of the GPI Group—publishers of ADMINISTRATIVE MANAGER Player, Keyboard, and Bass Player—Drums Tracy A. Kearns & Drumming began as a one-shot and gradually ADVERTISING DIRECTOR Bob Berenson progressed to monthly frequency. In February of ADVERTISING ASSISTANT Joan C. Stickel this year, GPI decided to suspend publication of CLASSIFIED ADVERTISING Laura Martin Drums & Drumming, effective with their May 1991 SALES AND MARKETING Crystal W Van Horn issue. Major negotiations between Modern Drummer Publications and DIRECTOR GPI began shortly thereafter, and I am now pleased to announce that CONSULTANT TO THE Arnold E. Abramson we have formally purchased Drums & Drumming magazine, and are in PUBLISHER the process of absorbing it into Modern Drummer. MODERN DRUMMER ADVISORY BOARD: Henry Adler, Kenny One portion of the acquisition involves the D&D subscriber file, all Aronoff, Louie Bellson, Bill Bruford, Roy Burns, Jim Chapin, Alan of which is now being converted to Modern Drummer. Those who are Dawson, Dennis DeLucia, Les DeMerle, Len DiMuzio, Charlie Donnelly, Peter Erskine, Vic Firth, Danny Gottlieb, Sonny Igoe, Jim currently subscribers to both magazines will simply have the balance of Keltner, Larrie Londin, Peter Magadini, George Marsh, Joe Morello, Rod their subscription due them from D&D extended with their subscrip- Morgenstein, Andy Newmark, , Charlie Perry, Dave Samuels, John Santos, Ed Shaughnessy, Steve Smith, Ed Thigpen, Dave Weckl. tion to Modern Drummer. Also, for all who may have entered D&D's $12,000 Yamaha Equipment Giveaway, I'm delighted to report that MD CONTRIBUTING WRITERS: Robyn Flans, Simon Goodwin, Ken Micallef, Jeff Potter, Teri Saccone, Robert Santelli, T. Bruce Wittet. will soon be offering the Yamaha Giveaway to readers of MD. You'll be hearing more about this in an upcoming issue. MODERN DRUMMER magazine (ISSN 0194-4533) is published monthly by MODERN DRUMMER Publications, Inc., 870 Pompton Along with subscribers, the majority of Drums & Drumming's Avenue, Cedar Grove, NJ 07009. Second-Class Postage paid at Cedar dealer distribution is being added to our circulation, as are foreign Grove, NJ 07009 and at additional mailing offices. Copyright 1991 by MODERN DRUMMER Publications, Inc. All rights reserved. retailers, wholesalers, and news dealers. We'll also be taking on foreign Reproduction without the permission of the publisher is prohibited. licensing arrangements and additional American and Canadian news- EDITORIAL/ADVERTISING/ADMINISTRATIVE OFFICES: MODERN stand distribution. MD advertisers will be happy to know that we're DRUMMER Publications, 870 Pompton Avenue, Cedar Grove, NJ expecting our total circulation will well exceed the 100,000 mark as a 07009. Tel.: (201) 239-4140. result of all this. MODERN DRUMMER welcomes manuscripts and photographic mate- Finally, I'd like to point out to the thousands of MD readers that this rial, however, cannot assume responsibility for them. Such items must be accompanied by a self-addressed, stamped envelope. transaction in no way means we're changing the editorial focus of Modern Drummer. Selected editorial material from D&D may be MUSIC DEALERS: Modern Drummer is available for resale at bulk rates. Direct correspondence to Modern Drummer, Dealer Service, PO. absorbed to some degree. However, we certainly are not planning any Box 389, Mt. Morris, IL 61054. Tel.: (800) 334-DRUM or (815) 734- major alterations in editorial direction. Serving the needs of loyal MD 6013. readers in the manner they've become accustomed to remains our pri- SUBSCRIPTIONS: $27.95 per year; $49.95, two years. Single copies mary editorial objective. $3.95. Obviously, the merging of two magazines into one is a complex SUBSCRIPTION CORRESPONDENCE: Modern Drummer, PO. Box undertaking that requires total cooperation from everyone involved. My 480, Mt. Morris, IL 61054-0480. Change of address: Allow at least six weeks for a change. Please provide both old and new address. Toll Free sincere thanks go to the fine people at GPI, who have done their best to Tel.: (800) 435-0715. facilitate a smooth transition. We now hope to continue to serve MD POSTMASTER: Send address changes to Modern Drummer, PO. Box readers and advertisers—as we've done for nearly 16 years—even more 480, Mt. Morris, IL 61054. powerfully and efficiently as a result of this exciting event in our devel- opment.

More Rahs For Roy 40 band and "hit the road." I'm still out over to a lefty setup. But lefties, don't give I really enjoyed your article on Roy there today, and after 16 years of playing up! Here are a few suggestions: 1) Haynes in the May issue. Mr. Haynes is a cover tunes, I've discovered that every Consider expanding your goals to include very inspirational figure, because he plays type of music has challenges that can't subbing for the percussion chair, which such innovative material on such a mini- always be appreciated just by listening. I usually includes timpani, mallet percus- mal kit by today's standards. What? No don't just play Top-40 anymore; I also sion, hand drums, etc. 2) Try to find out ice bell...no gongs...no RotoToms? Not play originals, country, rock 'n' roll, big if there is a lefty playing a show in town even a bell on the ride cymbal? Mr. band, and easy listening. And I think it's and let him or her know that you are Haynes is as incredible as he is, not a challenge for any musician to play dif- interested in subbing. 3) Consider sub- because he plays on as much stuff as he ferent styles and make them sound like bing for a touring show drummer. You can buy, but because he is a true artist- they should. will make a good contact, and there is drummer-musician. Thank you for fea- I know a lot of you guys are laughing to always a chance he or she may ask you to turing such productive yet concealed tal- yourselves, saying, "Listen to this guy: finish the tour. Who knows; it may end up ent amidst today's barrage of gadgetry He's been on the road for 16 years and back on Broadway. and hype. he's proud because he thinks he's suc- Ken Ross John Perlman cessful." Well, think about this: I've been Riverside CT Scottsdale AZ all over the world, I've played for thou- sands of people, and in my travels I've been lucky enough to rub elbows with some great musicians. I'm currently play- Acupad Review Rebuttal Return Of Club Scene ing in my own band on a cruise ship in Modern Drummer is a wonderful publi- When Club Scene started again in the the Caribbean. Maybe that's not success cation that I have enjoyed for years. You May '91 issue, I was excited (to say the to you, but the IRS thinks it is. What I'm provide a variety of information to drum- least). When I first read Rick Van Horn's trying to say is: Before you cool dudes mers worldwide, and since it is the only column I was in high school, but now I look down on me, ask yourself, "Do I drum magazine on the market, I think it am out of college and am playing in local have what it takes to play in a cover is important that this information be as clubs. Rick's column is very enjoyable, band?" For those of you who do, I'll see thorough and accurate as possible. It is educational, and informative—and now you out here. for this reason I am contacting you. I'll be able to use all that information. Mike Musselman After reading Ed Uribe's review of Thanks for bringing back a great column Memphis TN Hart Systems Inc.'s Acupad in the that will help us all greatly—especially August issue, one statement in particular with the way that music and clubs are concerns me. It reads: "If you need a changing. trigger pad with especially sensitive James Benner Tips On Subbing tracking, the Acupad may not be your Denton TX Tom Oldakowski's article on subbing a best choice." The Acupad is capable of show [June '91 MD] was excellent. It was tracking as well, if not better, than any Rick Van Horn's Club Scene, in the May full of valuable information for any drum- pad on the market, at any head ten- '91 issue, really hit a nerve. I can't count mer interested in show work. I had the sion—providing the electronic controller how many times I have encountered pleasure of sitting in the pit with Tom is set up properly. As a company dedicat- musicians who look down on Top-40 during his run with the Broadway show ed to quality products and service cover bands. In this letter, I thought I Chess, and found it to be a wonderful designed to meet the constantly changing might be able to enlighten some of those experience. needs of the consumer, HSI has put people. I would like to mention that the lefty together parameter specification sheets I am 36 years old and have been playing drummer may have a harder time landing for a variety of MIDI controllers. If this drums professionally since I was 18. I a subbing job. One reason is that a right- does not solve the problem a given con- started in rock 'n' roll original bands, handed drummer would much prefer not sumer may have, HSI will modify the doing one-nighters and weekends. having his/her kit switched around by the drums to personal specifications. (This Although at the time I thought this was sub. Also, sound baffles, microphones, has never been requested.) cool, I wasn't getting the satisfaction of electronics, and limited space sometimes Peter Hart making regular money. So I joined a Top- make it impossible to switch the drums Hart Systems, Inc.

Chris Whitten Sometimes even a dream gig like Paul artists, in all kinds of styles. McCartney has its drawbacks. Chris Since Whitten, who had played on McCartney's was coming up, I decided Flowers In The Dirt and did the extensive the time was right." tour that followed, decided late last sum- After the tour, Chris mer that it was time to move on. Without hooked up with some ses- another steady job lined up, and with only sions, did some clinics for the promise of plentiful session work, Noble & Cooley on the East Whitten left McCartney at the end of the Coast, and planned to move tour. As luck and talent would have it, from London to L.A. to Chris was soon offered the drum spot on expand his session career. the Dire Straits 1991 summer tour. One day while he was sit- It all worked out well for Chris, but what ting in his manager's office gave him the nerve to make a break like discussing plans, the phone rang. "It was Porcaro played on felt great to me. He real- that? "I realized at the end of the tour that the Dire Straits people," says Whitten. ly did some tasteful, beautiful stuff, so I had been with McCartney for three years, "They asked me if I would be interested in doing the tour should be an enjoyable which is a long time for me," explains doing the summer tour. I agreed, and experience." Chris. "I'm a session player at heart. I love when I went down to play the material • Teri Saccone the diversity of playing with all kinds of from the new , the stuff that Jeff Michael Baker Michael Baker says he wouldn't want to out speeding up. Playing with a lot of In addition to the Zawinul Syndicate compare the Syndicate with those old jazz artists, there is a vocabulary album, Michael can be heard on Stanley , because the latter was of things that you do and don't play." Turrentine's last album, on Bobby Lyle's such a great band. But he sure is enjoying When he joined the Syndicate in 1990, new album, and on Billy Childs' current working with Zawinul anyway. Michael toured with the band for about release, His April Touch. Michael and his "In this band I have to do a lot of fast, eight months. Then they cut tracks for a wife Aisha also had two of their songs in creative rhythms with different splashes new LP, which is due out shortly. Baker the film The Five Heartbeats. Michael and things like that. It's definitely on the adds that in addition to playing drums, he played on both and sang on one. edge," Michael says. "I spent a lot of years also sings lead out front with the band, at • Robyn Flans playing jazz and organ trio music, learning which point the percussionist, Bobby how to play on the edge of the beat with- Thomas, Jr., plays drums. Tim Alexander If the rhythms pouring out of Tim rhythmic pulses, textures, and time signa- Alexander strives to "keep things inter- Alexander appear out of this world, they're tures. But the 26-year-old says there's a esting" while staying within a song's not. They just happen to originate from thought behind every note he plays—even boundaries. Toward that cause, he often every corner of this world. Alexander if it forms a split second in advance. adds kick to a verse with an unexpected blends influences like Chinese, Asian, "A lot of people think there's so much double-bass ruff or triplet, back-to-back Indian, and other Eastern musical dialects freedom in our songs to play whatever we splash or China accents, trip-hammer with folk, , metal, and progressive want, but that's not true. We have struc- flams across his acrylic tube toms, or a rock to help make San Francisco trio tures and there are certain parts we hit all roll on the hi-hat. All the while, he main- Primus one of today's most unusual acts. the time," Alexander says. "But within the tains a driving rhythmic base. According On the band's latest release, Sailing structures, I'm kind of the one who gets to to Tim, "It doesn't thrill me just to play a The Seas Of Cheese, Alexander directs freestyle. Whatever comes out of me at straight-four; my attention span won't let Primus through a set of seemingly chaotic that moment becomes part of the song." me do it." • Matt Peiken Vinx "They were sticking me in front of every- exactly come out of nowhere. After a body—Billy Vera, the Mamas & the promising career as a triple jumper was Papas, Charlie Hayden. I even opened for cut short by an injury and the U.S. boy- this heavy metal band, Mother's Finest. cott of the Moscow Olympics in '80, Vinx It was kind of a test to see if I could fail in decided to "officially become just a musi- front of any of their people. So far it cian." Session work followed his "discov- hasn't failed." ery" by Taj Mahal at the Montreux Jazz That's Vinx talking about his one-man Festival, and he put together a band that percussion/vocal gig at the L.A. club At includes percussionists Bill Summers, My Place. One rainy night a particularly Darryl Munyungo Jackson, and Angel noted patron was so knocked out by the Figueroa. All these players, along with show that he asked Vinx to be on his latest heavyweights like and album and to open up his world tour with Branford Marsalis, appear on Vinx's a short solo spot. That gentleman's name album, a very live-sounding, tribal meets was . R&B kind of music. Sting also acted as producer for Vinx's "It's primitive pop," Vinx offers. "It's album, Rooms In My Fatha's House. "He like going back to all those sounds that was the best producer I could have had," everybody's trying to fake, but we just do says Vinx. "He stood in the door and made it. What you hear on the album is what sure nobody bothered us. Nothing was on Virtual carte blanch for a relatively you hear when you see us live." that record unless I wanted it there." unknown performer? Well, Vinx hasn't • Adam J. Budofsky

Mark Schulman Fifteen months is a long time to be on the road attests mark When Mark returned from the road, he began working with Schulman, who was out with for that lengthy Mr. Mister's Steve Farris. "It's sort of meets the Police with period. "If you look at it strictly from a playing angle," Mark a little more of a player's kind of attitude," he suggests. "Steve explains, "it was a nice challenge for me in choosing my spots really welcomes a lot of playing, so for being a commercially ori- and playing simple, because the idea was just to lay it down and ented project, I have a lot of freedom—more so than any other cop the parts from the record. The main thing was trying to project of that type. The rhythm tracks almost have a...I hate to make it feel good and to make the tempos right. A lot of times I use the 'F' word...but they have a fusiony edge to them." would play with the click track. Singers tend to perceive tempos Mark also works dates with Jeff Lorber, pop/jazz saxophonist differently from night to night, and Richard, being the adamant Dave Koz, and Joe Pasquale. And in his spare time, he is work- personality he is, would swear that my tempos would vary. But I ing to establish a music underscoring production company with was using a click. One time he even said the voltage must be off a partner. on the click!" • Robyn Flans Freddie Gruber Freddie Gruber, the innovative veteran time signatures from a variety of cultural American cities. Gruber currently is drum teacher, has embarked backgrounds. He also stresses the impor- looking into for his clinics in on a series of clinics in response to a tance of what the great players have done Europe. promise he made to his late, dear friend, over the years—involving themselves with The future? "I plan to continue teach- . The clinics are lengthy and creating a more direct bridge to music, ing one-to-one in L.A. and doing the well-rounded and have a historical enlivening and giving meaning to music, clinics as well. It is also my hope to devel- perspective. "I stick close to the evolution bypassing the all-encompassing concern op a presentation concerned with Buddy of facility as it relates to music," he with fleet hands and feet. Rich's natural approach to the instru- explains. Gruber brings his great passion and ment. He was the genius of the drums, In his clinics Gruber dramatizes what knowledge to his clinics. Thus far he has and there was so much to his playing. We drummers can do to make music work. given them in New York and in cities in owe it to him to clarify and dramatize In addition to describing the history of the western U.S., including . His what he did and what he represented." the instrument, he defines swinging by plans include appearances at colleges like • Burt Korall breaking it down and relating it to various North Texas State, and in a variety of Dan Peters Dan Peters, the new drummer for ple might be scared off by the name of have to pretty much play what Mark felt Screaming Trees who spent the past sev- the band or by the album cover [to Uncle was right. On the other hand, all the stuff eral years pounding away for fellow Anesthesia, the band's latest effort], but is already there for me, tailor-made. I Seattle favorite , says it would if they gave it half a chance, they'd be don't have to come up with my own ideas. be easy for novices to lump the two surprised." And I like the tunes, so it's not really a groups together. But he insists differ- Peters, who replaced just bummer." ences between them are clear from the after the release of the new record, says Peters plans to tour with the Trees and drummer's stool. the immediate transition between bands stay with the band afterward, while at the "Mudhoney is pretty much just full-on had its ups and downs. "It's for me same time picking up with Mudhoney noise, kind of a sloppy band," Peters to just step in and play somebody else's again when that band regroups. explains. "But the Trees are just a good stuff," Peters says. "I like to just hear the • Matt Peiken pop band with great songs. A lot of peo- music and play what feels right. But I News... is on Glenn working on his own project, James. has been Frey's track for the film Wallyworld. Ron Riddle currently on exceptionally busy of late. Thelma & Louise, Lyle Armand Grimaldi is tour- the road with Stuart Hamm. Besides his thriving session Lovett's track for the film ing with Don Henley. has been career (including work with Switch, tracks for Belinda Ricky Fatar is working with working with XTC on their Procol Harem, Midge Ure, Carlisle, seven songs for . upcoming release. , Roger Dal- Henry Lee Summer, Billy Scott Crago is doing Stevie Wally Stryk is now doing trey, Nik Kershaw, and Nils Falcon's LP, three tracks with Nicks' current tour. gigs with Kei Akagi, as well as Lofgren), Mark has been new artist Danny Tate (which Eric Darken has been continuing to work with Don working on an album with the Stan Lynch produced), two recording with Yolanda Adams, Preston. re-formed Big Country, due tracks for James Reyne, a song Margret Becker, the Archers, The Department of Defense this fall. Also a project dear to with Junk Yard, and John Rich Mullins, and Paul Smith. recently sent drummer Peter him is On The Air, a band he Mellencamp's newest. He has also been doing various Maier with band Zeke Moffit is working on with Simon Tom Roady has been live dates with Sandi Patti. You to military bases in Saudi Townshend. According to recording with Suzy Boggus, can also hear him on his own Arabia to perform for the Mark, this band's upcoming Paulette Carlson, Lacy J. solo Christmas record, which troops. release, due in autumn, will be Dalton, Anne Murray, and came out last winter. Johnny "Bee" Badanjek of particular interest to drum- Ricky Skaggs. Jimmy "Chocolate" Chal- currently on tour with Nils mers. Mike Baird has been fant on Kix's new album, Hot Lofgren. Congratulations to Kenny recording tracks with Eddie Wire. Vibes/marimba artist Arthur Washington for winning the Money, Richard Marx, Gladys Will Shepler has been in Lipner recently completed his prestigious Martin E. Segal Knight, Kenny Loggins, and the studio with Agnostic Front, first solo project, Arthur Award from the Lincoln Curtis Stigers. working on their new LP, One Lipner & The Any Language Center for the Performing Tony Braunagel is now Voice. Band. It includes guitarist Vic Arts. This award is given to working with Jack Mack & the Joel Maitoza on the road Juris, and Bob Mintzer also artists who exemplify the high- Heart Attack. with 24-7 Spyz. plays on a few tracks. Arthur est standard of performance Since leaving Santana, Vinnie Colaiuta on Awa toured Japan and Europe this and dedication to inspiring Walfredo Reyes, Jr. has been Yio, the new album by Ivan past spring, and has joined the other young performers. working on a recording project Lins. guest faculty of Brabants Drummer (and occasional produced by Michael Sem- Eric Michaels is on tour Conservatory in Tilburg, MD author) Tim Smith has bello, with Reyes' brothers with Raw Youth, supporting Holland. replaced Bob Mummert with Danny on percussion and their debut album, Hot The always-busy Carl Allen Sweethearts of the Rodeo. Bob Kamar on vocals. He also Diggity. has been working on individual has taken the drum chair for recorded some tracks with Mel Gaynor on tour with projects with Jackie McLean, Reba McEntire's band. Con- Rickie Lee Jones, Jennifer . Abdullah Ibrahim, Ricky Ford, gratulations are also in order Warnes, and Marcos Loya Mark Decloedt on the road George Coleman, and Donald to Tim and his wife Sha on the (sharing with Carlos Vega), with EMF. Harrison. Carl also recently birth of their daughter and toured with . Percussionist Debra Dob- did a month-long tour with the Madison. And in his spare time, he's kin on the road with Vinnie group Jazz Futures.

Manolo Badrena I really enjoy your playing on Steve countries in the world. Working as a per- Khan's Public Access album. I cussionist today, you have the advantage of think you are one of the most tasteful per- recordings, films, international media cussionists today. What were some of the events, and all sorts of sources you can use instruments (particularly the shakers and to tap some learning skills from. rattles) that you used on Steve's album? Remember that percussion is not only Also, did you use an Udu drum, and if so, classical or pop-oriented; there are count- could you write out some of your tech- less countries in the world whose people niques on that particular instrument? have some kind of percussive idiom hap- Being a student at P.I.T., I have become pening in their own culture—each with its very interested in hand percussion. Could own sound and technique. you give me some advice on playing per- As far as what instruments I've used on cussion? Eyewitness recordings, it's been caxixis, James Sulewski tube shakers, and shekeres. I play the Udu CA drum acoustically as well as sampled. A chart for any of the Udu drum parts would First, thanks for your kind words be a bit too complicated to run in this col- on my playing. "Advice for playing umn, so write to me in care of MD, and I'll percussion" is a lengthy subject, since it be happy to work one up for you. includes as many techniques as there are

Chris Parker I've noticed that on recent shows of Saturday Night tech at NBC, refinished it with 8 coats of orange shellac to give Live you've been playing a smaller kit than on previous it its "old gold" appearance. The cymbals are all Zildjian shows. I'd like to know the make and sizes of the drums and Brilliants: 14" K hi-hats, an 18" K Dark Crash, a 22" Z ride cymbals that comprise that red wood drumkit. It sounds great! (dry, hammered), and a 17" K Dark Crash. Mike Dmytriw Cleveland OH

Thanks very much for your query and compliments. It's funny; never in my career has one set of drums gener- Phil Collins ated so much interest and enthusiasm. It's especially nice for I'm about to add a China cymbal to my kit, but I've been me, since I've been playing this kit in one form or another since holding off until I could find out the size, brand, and I was 11 years old! I remember the strippers used to sit on the type of cymbal you used on the song "Abacab," from the album bass drum to take off their high heels. of the same name. It's played over the , "...You want it, you To answer your questions: The kit includes a Ludwig Pioneer got it, now you know...." I know many drummers consider that model, 12x26 single-tension bass drum stuffed significantly to be the ultimate China sound, and I would appreciate your with a few pages of a 1970 newspaper from , New help. York. The toms are an early-'60s Gretsch 8x12 that I refinished Rick Fontaine to match the bass drum, and a mid-'70s Yamaha 14x14 from a Galesburg MI walnut recording kit of mine. A snare came with the bass drum (for $1.50!) at a flea market in Kent Cliffs, New York, where I China cymbals are really a matter of taste. I consider grew up. It was also a Ludwig Pioneer model, but I had to retire them to be like a drummer's equivalent of a fuzz box, it in favor of a Pearl brass piccolo. Incidentally, the hardware is so...different cymbals for different occasions. The type used on all Pearl with RIMS mounts, but Speedy Rosenthal, my drum "Abacab" was an 18" Zildjian; it's one of my favorites.

forced out of round by the weight of the How To Find Steel Drums? rack toms and supporting hardware. Career Advice? I would like to know if there is any Since that review was written two years I've been playing the drums for company that makes steel drums, and if ago, do you know if Rick's concern has approximately nine years, and I have an so, how I could get them through a local become a reality for some owners of four- intense love for music and the musician's music store. ply Super Classics 1 If yes, is there a pref- lifestyle. I only have limited experience, Jeremy Shaffer erence between using an extendable but it's enough to know that I had to do Dalmatia PA down tube for additional support, or sus- something with my life, due to the fact pending the toms from floor stands ? that the odds of making it big in music Tom White are really slim. So I joined the Marines Caroline/ASBA Pedal Baltimore MD right out of high school—which kind of Parts? put an end to my playing the drums on a Where can parts for a Caroline/ASBA MD has never received any letters regular basis. I'm proud to serve my bass drum pedal be obtained? Ludwig from drummers who have experi- country, and I love the Corps like family, was the distributor when I bought the enced problems with their Ludwig Super but I have this to continue pedal, but at the present time the infor- Classic shells, and the Ludwig company making music. I sometimes feel like my mation I'm looking for is not available. informs us that neither have they. Howev- chance is passing me by, and I don't want Jerry Bogner er, if you are concerned with the weight to be an old man looking back one day Irvington NJ of your toms, Ludwig recommends that and wishing I had done what I could they be suspended on a floor stand, have. What I'm looking for is some Paul Real Sales is now importing rather than using an extended down advice. authentic steel drums made in tube. (Ludwig does not offer such a Lcpl. Tom McGee the Caribbean. They are also the U.S. device.) In that way, the resonance advan- Philadelphia PA distributors for French-made Cappelle tages of the thinner bass drum shell are drum products. Cappelle was the last not compromised by the insertion of While we can't advise you on how manufacturer of the Caroline/ASBA additional hardware within the drum's to become a drumming star, we pedal prior to its discontinuance, and cavity. can give you at least one suggestion on Paul Real does have a limited supply of how you might combine your present sta- some parts. The company is a wholesaler, tus in the Marine Corps with your desire and does not deal directly with the pub- Play It Straight" T-Shirts? to make a life in music. The Marine Band lic. However, you may contact them to get I've seen the "Play It Straight" pub- Program offers excellent opportunities information about steel drums and Caro- lic service messages in your magazine for for both musical education and a musical line/ASBA parts, and to find out how a some time now, and I applaud the effort career. Check out Rick Van Horn's fea- store in your area might be able to order to show the concern of the drumming ture, "Drums In The Military: The them for you. Contact Paul Real at 1507 community. Are there any plans to market Armed Forces School Of Music" in the Mission Street., South Pasadena, CA the "Play It Straight" logo on such items May '91 issue of MD. In it, Rick mentions 91030, tel: (800) 722-0558, fax: (818) as T-shirts, pins, stickers, etc.? I would how active-duty military personnel might 441-6686. be proud to wear the message on my apply for a change of military occupation- back, and I'm sure many others would al specialty (MOS), and audition for the feel the same. School of Music as a means of entering Problems With Steve Broberg the band program. At the same time, Ludwig Shells? Placentia CA check with the director of the Marine I recently purchased a set of Ludwig Band nearest to your duty station. You Super Classic four-ply maple drums. "Play It Straight" T-shirts are might be able to get some first-hand After I made the purchase, I decided to produced by Slobeat Musical information about the band program that dig through some back issues of MD in Products, 15854 West 6th Avenue, Gold- will help you decide if it has something to hopes of finding a product review of my en, Colorado 80401, (303) 277-1017. offer you personally. new pride and joy. Sure enough, the Contact them directly for information on November '88 issue possessed said arti- how to order a shirt. (And thanks for your cle. In it, Rick Van Horn expressed con- support of the "Play It Straight" cam- cern that the bass drum shell may be paign!)

By Rick Mattingly Photo by Rick Malkin

roducer remembers the There are several things that you don't kid who's in the studio for the first time. day well. First he produced a Bob necessarily find in one person all living He hits hard and takes chances, which Seger session during which the in Kenny." As Was realizes what he just goes against the grain of what a studio band recorded a Texas shuffle. said, he cracks up. "This is starting to professional is supposed to do. Kenny P Later that day he produced sound like The Exorcist," he laughs. might get into some fill, and you're hold- another Seger session on which Turning serious again, Was continues. ing your breath wondering how he's the band was evoking an AC/DC spirit. "Here's a good example: The guy is a going to get out of it. And he gets out of That night he produced Bonnie Raitt university-educated percussionist, yet he it! It turns out to have been a very and B.B. King performing a manages to combine this sophisticated sophisticated idea. So he's raw, and yet a together for a movie soundtrack. musicality with the energy of a kid play- player with a tremendous amount of Towards the end of that third session, he ing in a garage band. That's what I really finesse." turned to Kenny Aronoff and said, "I've find charming about Kenny's playing. Over the past couple of years, Aronoff worked with three different drummers He's got all the technique and chops of has had plenty of opportunities to display today, and they were all you!" any studio drummer who's out there; no that unique blend of polish and gusto. Recalling the incident some months one is going to play any cleaner, and you After working virtually non-stop with later, Don Was tries to analyze how can't baffle him by putting a weird chart John Cougar Mellencamp from 1980-'88, Aronoff can cover a number of different in front of him. And yet, he doesn't play Kenny was forced into a career change styles so convincingly and still sound like like a studio guy. when Mellencamp decided to take an himself. "It's because Kenny's playing so "I don't want to knock studio musi- indefinite vacation away from music in matches his personality," Was suggests. cians," Was hastens to add, "but Kenny order to make a movie and devote more "He's a walking paradox, you know? plays with the unbridled enthusiasm of a time to painting. Aronoff took advantage of the layoff to pursue his longstanding finesse that Don Was mentioned proba- album next door, and he was going to goal of doing studio work. Between the bly had something to do with it. But come over and play on it. We had a great time that Mellencamp came off the road there's another aspect to Aronoff that band: Iggy and Waddy Wachtel on gui- in '88 and reconvened the band this past tars, Charley Drayton on bass, and February, Aronoff appeared on some 50 "I'm Kenny on drums. So John came over to by a variety of artists. do the song, and I think he really wanted But why Aronoff? During all those definitely a to play on Iggy's record, but he was years with Mellencamp he had been exhausted and hungry. We were going to working out of Bloomington, Indiana, band kind order food, but it was going to take a long not exactly the recording mecca of North time, so John sort of excused himself America. Sure, Kenny was a fine drum- of guy, and left. mer who had a handful of platinum "It resulted in a misunderstanding," albums to his credit, but next to the reg- no matter Was says. "Iggy thought that John was ular L.A. studio cats, he was a virtual how many pissed off about something and didn't beginner. So why use a guy that you have want to play on his record, and he felt to fly in from Indiana, for cryin' out sessions I play." badly, thinking that he had done some- loud, when there are plenty of seasoned thing to offend John. So everyone was studio drummers already in town? (A figures prominently into the picture. bummed out and the level of enthusiasm question that has undoubtedly crossed Don Was explains: dropped. But we had to cut the track to the minds of some of those LA drum- "On 's record," Was recalls, stay on schedule. So we went in, minus mers.) "we were going to do a song that John John, and no one felt like playing. But That rare combination of rawness and Hiatt wrote. John was making his own Kenny jumped in right from the countoff—you can hear it on the this out," he says, reaching inside. He up Kenny Aronoff. He's had a successful tape—and he slammed extra hard pulls out a CD of With that career going for over a decade, and is because he knew that everyone needed has been signed, "To Kenny, Love, Ringo considered one of the finest drummers bolstering. And as bummed out as every- Starr." It was a gift from Starr in appreci- in the business. But he has never lost his one was, 15 seconds into the thing it was ation for a series of articles Aronoff once boyish enthusiasm for music. The fact slammin', just because Kenny played wrote for MD in which he analyzed that Kenny retained his love for the '60s with so much enthusiasm. His spirit Ringo's drumming. music that originally inspired him jumped across the room and got inside And he keeps it in a safe? Noting vari- caused him to make an important career everyone else. ous gold and platinum album awards decision. During Mellencamp's layoff he "That's the take that's on the record. that hang in Aronoff's den and office, got a call telling him that the original It's amazing. We just had to go back and many people would consider those to be members of the — overdub everybody else on the first 15 the greater treasure. "I've got a bunch of minus drummer Spencer Dryden—were seconds till they got on to what Kenny those," Kenny says. "But this Ringo reuniting for an album and a tour. Kenny was doing." autograph is really special." He looks at was invited to join. it for a moment, smiling like a kid at Aronoff loved the Jefferson Airplane, enny Aronoff spins the dial of the Christmas, before returning it to the and what could be more exciting than to combination lock of a safe that is safe. be invited to join a band that you had K concealed in his home. "Check And that, as much as anything, sums idolized? But there were considerations.

Kenny's Listening Pleasure

Here are a few of the records that Kenny feels best represent his drumming. Album Title Artist Label/Catalog # Scarecrow John Cougar Mellencamp Riva/Polygram 824-865-2 John Cougar Mellencamp Riva/Polygram 832-465-2 John Cougar Mellencamp Riva/Polygram 814-465-2 Uh Huh John Cougar Mellencamp Riva/Polygram RVCD 7504 Blaze Of Glory/Young Guns 2 Jon Mercury 846-473-2 Brick By Brick Iggy Pop 91381-2 Under The Red Sky Columbia CK 46794 Home Bodeans Slash/Reprise 25876-2 Blood On The Bricks Aldo Nova Jambco 848513 Too Long In The Wasteland James McMurtry Columbia CK 45229 All Vinnie James BMG/RCA 2387-2-RSP Life's Too Short MCA 10223 Bang Carey Hart EMI 7-92513-2 The Knife Feels Like Justice Brian Setzer EMI 17178-1

And here are a few of the most influential recordings Kenny's listened to over the years. Album Title Artist Drummer Label/Catalog # Are You Experienced The Experience Mitch Mitchell Reprise 6261-2 Axis: Bold As Love The Jimi Hendrix Experience Mitch Mitchell Reprise 6281-2 all The Beatles all Rolling Stones Charlie Watts Aja Steely Dan Paul Humphrey MCA 37214 Steve Gadd Rick Marotta Ed Greene Blue Matter Dennis Chambers Gramavision 18-8702-2 Heavy Weather Weather Report Alex Acuna Columbia CK 34418 There And Back Jeff Beck Simon Phillips Epic/Sony 35-8P-5 Avalon Roxy Music Andy Newmark Warner Bros. 23686-2 Richard Thompson Dave Mattacks Hannibal HNBL 1303 Pat Metheny Group Pat Metheny Danny Gottlieb ECMCCM-1-1114 Concerto for Two , Bela Bartok Timpani: Saul Goodman Columbia MS 6956 Percussion and Orchestra Perc: Morris Lang, Elden Bailey, Walter Rosenberger Reunions of '60s bands were becoming a worked out great," Kenny answers. "It Lee Summer, Les Paul, and Belinda dime a dozen, and many of them were was the first time I'd done a big tour Carlisle, among others. dismal failures. If Kenny were going to outside of , so that Doing all of those sessions, Aronoff have a successful career away from Mel- waved the flag and people realized I was found out that the studio is considerably lencamp, he needed to establish himself out there. I think that's how Don Was different than the stage. "I'd gotten my as being on the cutting edge. Doing an heard that I was buzzing around. Don live thing happening years ago," Kenny album and tour with a dinosaur '60s was asking about drummers who were says. "I've been in bands since I was in band was not necessarily the way to available, and a guy who had worked as the fifth grade. But sessions is a whole achieve that goal. an assistant at the Record Plant when we different world. You don't have time to But Kenny followed his heart and did the Airplane album there mentioned hang out with a bunch of guys for two joined the Jefferson Airplane. "It was my name." years before you make a record. You walk great, man," Kenny says. "I'd shut my Was subsequently hired Aronoff to in and you have to jump from A to Z like eyes and I'd be 13 again, listening to the record with Bob Dylan, Iggy Pop, Elton that," he says, snapping his fingers. Airplane do 'White Rabbit.' Except this John, , Bonnie Raitt & B.B. "I don't consider myself a genius," time I was on stage with them, playing King, , Lyle Lovett, and Aronoff continues. "But if you do some- the drums." . Kenny also connected with thing over and over again, and you really Aronoff admits that the record and , who hired him for the care about it, you're going to learn from tour were not considered especially suc- Blase Of Glory/Young Guns II sound- it and get better. So my eyes and ears cessful. "Some comments went down in track, which was co-produced by Danny were open. I was sucking in everything I the industry about the material and the Kortchmar. Bon Jovi and Kortchmar was seeing and hearing. I learned some- quality of musicianship," he says. "But went on to use Kenny on projects with thing from every artist and producer. those comments weren't about me; in Aldo Nova, Hall & Oates, and Billy Fal- "Obviously I learned more about my fact, I got a lot of credit for holding the con. Aronoff also participated on ses- equipment," he says. "I tried many dif- whole thing together." So how did it ulti- sions with the Indigo Girls, James ferent types of cymbals and snare drums. mately affect Aronoff's career? "It McMurtry, Marshall Crenshaw, Henry I also tried different approaches to hit- ting the drums. I usually beat the crap beat tends to be a little ahead. Plus, it before I hit, and then I snap my wrist. out of the drums. When the red light affects the other players and makes them But I immediately relax it again as I goes on, it's like I strap on the seat belt, play with a certain urgency. But when bring it back up." put the pedal to the metal, and go like it you play a little softer, you flow better Besides altering his technique for cer- was the Indy 500. Well, I still have that and your time improves." tain tunes, Kenny found that his equip- feeling, but I've learned to sometimes Of course, "softer" for Aronoff still ment often needed to change as well. play a little lighter. constitutes LOUD for the average "Snare drums can be a big issue," he "One thing I noticed immediately," drummer. "That's true," Kenny laughs. says. "On some albums, they want me to Kenny says, "is that it's easier to keep "The most frequent comment I hear is, use the same drum all the way through, good time when I play soft and relaxed. 'I've never heard anybody hit so hard.' as though we were playing a show. But That doesn't mean that playing soft is But there's a way to play hard and be on a lot of sessions, I'll change snare always better. When you are really hitting relaxed. You can damage yourself if drums and cymbals from song to song." hard, there is a certain kind of force and you're tense. As I bring the stroke down, Aronoff advises anyone who wants to aggression, and the placement of the my hand is relaxed until an instant do studio work to invest in a collection of snare drums. "Start with a 5" metal drum and a 6 1/2" wood," he says. "That will cover a lot of situations. The next step would be to get either a wood or metal 3" piccolo snare. Now you're pretty well-rounded. Then start expanding until you have each of those sizes in wood and metal." While Aronoff likes to have a number of snare drums at his disposal in the studio, he is quick to point out that changing drums is not always neces- sary. "You can play the drum loud or soft, hit rimshots or hit it in the mid- dle, or just tune the drum differently," he says. "By hitting the drum differ- ently, it doesn't sound like the same drum. "I try to never muffle drums if I don't have to," Kenny adds, "but if that's what a producer wants, that's what I'll do." Kenny pauses and shakes his head with amusement. "You know what hap- pens?" he says. "They'll want me to muffle the drums down, then they'll start fooling with room mic's and ambience to try to make them sound live again." When it comes to cymbals, Aronoff tries to match the sound to the occa- sion. "When I play the more aggressive rock records," he says, "I usually put up Platinum 18" Rock crashes. They are bright, hard, and aggressive; they explode and then they disappear. Sometimes I use 19" crashes, but they don't have quite the same attack, they take a little longer to explode, and they are gongier. I'll occasionally put up an 18" K crash for contrast. But for the aggressive rock stuff, the K usually doesn't cut enough. I might put up a 17" Platinum Rock, but most of the past two years, Aronoff feels better pre- Kenny's Live Kit pared for whatever may arise. "If you've only done a few sessions," he says, "you can feel real insecure. You're always going to hit rough spots. I used to get very insecure that I wasn't going to suc- ceed, but because of that I would turn into an animal and push real hard to make it happen. Well, after about 100 of those experiences, you start to realize that you are able to solve the prob- lems—that you are good enough. 8 "But those problems never stop aris- ing," he cautions. "You never know when you are going to run into a heavy situa- Drumset: Tama Artstar II Hardware: All Tama, weight for muffling. Front tion with the producer, or with the artist, A. 6 1/2 x 14 snare (either a including a Lever Glide hi- head is actually thin fabric, : or with your own equipment! How come solid maple, carbon fiber, hat stand, and a giving the drum a single or bell brass model) Tama/Camco chain drive head sound with a front that drum that sounded good on the last B. 11 x 12 tom double pedal with felt head appearance. 30 sessions doesn't sound good today? C. 9 x 10 tom beaters. The 10" and 12" Who knows, but you have to figure it out. D. 13 x 14 tom toms are mounted on cym- Sticks: Vic Firth American E. 14 x 16 tom bal stands with multi- Classic Rock hickory model "And what I've finally figured out is F. 16 x 24 bass drum clamps and single tom with wood tip. that I can figure it out. By the end of the holders. The 14" and 16" day, I'm going to solve whatever prob- Cymbals: Zildjian toms are mounted on a ' Electronics: "I trigger two 1. 22" China Boy high cymbal stand base with a brains with Fishman lems have to be solved, because I have a 2. 14" hi-hats (either Plat- double tom holder transducers, so my live lot of passion and concern for what I do." inum New Beats or a com- attached. All toms are sound is 75% acoustic and bination Amir top with a mounted on RIMS. 25% electronic. I use a Platinum New Beat bot- drumKAT (MIDI interface) or Kenny, the icing was applied to tom) Heads: Remo coated to get from the triggers to last year's cake during the week 3. 12" Platinum splash Emperor on snare with the ddrum brains, and I Fbetween Christmas and New Year's, 4. 19" Platinum Rock crash clear Ambassador (snare- also use the drumKAT to 5. 19" Platinum Rock crash side type) underneath. get tempos for each song. when he subbed for Anton Fig on Late 6. 20" Z heavy power ride Clear Emperors on tops of I have an Alesis HR-16, Night With David Letterman. "That was 7. 18" Platinum Rock crash toms with clear Ambas- which I use as the sound 8. 22" China Boy high sadors underneath. Coated source for the click to a wonderful gift from Anton," Kenny Ambassador on bass drum count off the songs." smiles. "That's the cool drum chair as batter, with a pillow and far as TV shows, because of all the atten- tion Dave gives the band. And of course, time the 18" works. for years, but now sometimes I'll use a Z on Letterman they play all the songs I "For something like a James ride. Other times I'll use a K Custom, grew up listening to. So I was flattered McMurtry record," Aronoff says, "I'm but I have to play it hard and use a plas- that Anton asked me to do it, and it was a not going to be playing as hard, and the tic-tip stick to get the definition." wonderful way to end the year. room mic's will be picking up the whole Aronoff has become very aware that he "But the thing is," Kenny says, "I also kit. There will probably be two mic's has to play for the microphones, not for knew that it wasn't going to be easy due above my head shooting down on the his ears. "A big problem in the studio," to the fact that I was tremendously beat drums. If I play too hard, they have to he explains, "is that if you set the room up from flying all over the country doing turn the room mic's down because the mic's up to get the toms, the cymbals are sessions and clinics. During October, cymbals will be overbearing. I play too loud. So you adjust the room mic's November, and December, I was usually lighter so that the room mic's can get an for the cymbals, and then the toms dis- working seven days a week. I went to actual picture of what's going on. Then appear. A lot of times on sessions I'll do a Japan for ten days to play the tribute for I'll put up 18" or 19" K's. When I hit fill, and when I listen to the playback I 's 50th birthday, and I flew them, you can hear the attack, you can can hear the snare drum but not the home for Christmas Eve and Christmas hear the swell, you can hear the decay. toms. If you stood next to my drums, day. Then I flew to New York for the Let- I'll put up an old 22" ride that's got you'd hear the toms. You'd hear the terman show. So I didn't have time to get almost a jazz sound; you can hear the snare a little more because of the higher as prepared as I would have liked. They definition. I'll put sizzle cymbals up. But frequency, but the toms would be there," sent me this list of 250 songs that, at any that's because I'm playing at a dynamic Because of the problems with miking the moment, Paul [Shaffer] can call off. level that allows the stuff to be picked up toms and cymbals, Aronoff will often play Nobody has charts, they just do it. And by the room mic's. If it's not going to be most of his fills on the snare drum. you never know if you're going to start at heard, forget it. I used an Amir 20" ride After being in the studio so much the the beginning or somewhere in the mid-

KM: What do you think accounts for those nights when everything clicks, when the band is smoking and your playing seems to rise to another level? Ralph: If we knew, we'd put it in a bottle for those nights when it isn't happening! Marvin: It's very subjective. Different vari- ables are involved. Victor: I believe the spirits come down. Lewis: It's like chemistry or alchemy between the environment and yourself. I've gone on gigs where I'm totally prepared, but the night is lackluster—even with all that intensity. But I've also been on gigs, even after a long day of traveling, when the music just happens. Every time you sit down you try to reach for that. Ralph: Sometimes you can listen back to a tape of what you thought was a bad gig, and it's smoking. So it's unpredictable. format—planned con- And you can't keep what's going on in your life out of the certs, grants to musicians, endowments.... Could music. this have an impact on jazz nationwide? Marvin: That's one of the problems with New York musi- Marvin: I think it's a fallacy to depend on one event. cians. I call it "the New York attitude." You come here and Adam: Cultural awareness is what you're saying. It will help some older guys throw this vibe at you like, "Kid, you gotta do legitimize it as far as the masses are concerned. But I don't this and this...and it ain't swinging." There are definitely some think it will have a. great effect. parameters. But I do what I do for my love of music, period. It Ralph: It will just be more of the same. didn't matter to me what style it was. Whatever sounded good Marvin: I wouldn't go as far as that. You might gain a little to me, I picked up on that. That's the approach to go with. A lot more audience, a little more of the so-called "elite class" who of cats limit themselves by learning just one drummer. They happen to find some dirty rags of clothing to put on when never find out what they sound like. You've got to differentiate they... between study and obsession. Ralph: ...when they want to go slumming—right! KM: Here in New York, for the Performing Adam: As long as it's being done with an open mind Arts has decided to include jazz as a and a broad perspective of jazz itself, it could give part of their everybody a chance. There are certain people who never work in town, while others work here all the time. It's kind of cliqued out. Marvin: I think it will be a long time coming. There is a real polarization as far as the spectrum of music. First of all, it's hard to get jazz accepted as an art form in this country, period. When it is accepted, it's a very narrow spectrum of it—the more mainstream and traditional, if you will. Victor: What's really happening will still be at the Village Vanguard. Marvin: What's happening is that a lot of the labels are signing up young musicians who just aren't polished enough and don't have a strong musical identity. What they're putting out is a seriously watered-down approach to trying to play this music. What's even worse is that they're alienating a certain age bracket of musicians, basically between the ages 29 and 40. Kenny: You might as well say 29 to 65. Marvin: You have to be extremely young or extremely old to get a record deal now. KM: With the current "renaissance" in jazz taking place, have you all started to receive more attention? Kenny: In terms of drum endorsements, nothing is happening, not for jazz musi- cians. Marvin: The media is kind of low on jazz in general. As far as us, the fact that you're doing this interview is a good sign. It's a long time coming though, man. When the drummer for "Dead Rat" is on the cover 50 times, what's up with that? Those guys happen to get an audition with some group going boom-boom-bap, boom-boom-bap, then all of a sudden it's MTV, plat- inum records...they get carte blanche. All of us here are constantly working very hard...the combined experience of all of us together is probably a couple of very old people! Adam: If we were all concerned about getting rich, though, we wouldn't be playing this music. We're in it for the long haul. Ralph: There are certain KM: How does place of origin figure into a drummer's ability parameters to adhere to. You don't want to be locked to play jazz? Is it a New York thing? Victor, you're from Omaha, into them, but you want to respect the gig and play the idiom. and Lewis, you're from Phoenix. Lewis: I did some work with , who Victor and Mar- Victor: If he's bad enough, it doesn't matter where he's from! vin have both recorded with. I might not be listening to cop Kenny: It's not about where you're from, it's about what you their licks, but to hear what they did with the music. So at least listen to, what makes the initial impact on your mind's ear. I know where the music's been. Victor: I used to think I would need some socially important Victor: The best situation is when the people are calling for element to ever come close, to reach a certain level of playing. you. They know how you play, how you think—that's why you're When I came here, it was to learn and be a better musician up there. They know you'll take care of business. back in Omaha. That was 17 years ago. In retrospect, I got a lot KM: Are more drummers getting into jazz now? of exposure in Omaha I couldn't have gotten here—not to Billy: I just came from Canada. I told some drummers about mention the chance to practice where and when I wanted to. this interview. They were not aware of most of the guys in this That's a luxury in New York. room. Lewis: In Phoenix, I had the chance to play with musicians Kenny: I do a lot of teaching in New York and around came through town—well-known musicians that I would country, and it's my experience that very often the teachers are never have been able to play with if I had grown up here. They just not qualified. would've called someone else. Marvin: The idea of the "jazz institution" is really lacking. KM: New York is still the place to be, though, right? They take one piece of the jazz spectrum and hone in on Adam: Yes. You want to be in an environment where you con- it—the people in the universities who have tinually get kicked in the ass. I don't want to be the in no kind of practical the little pond. I want to swim with the sharks. Marvin: There's plenty of them here! Jeff: Those are the situations you want to embrace. A lot of people lean towards their strengths instead of embracing their deficiencies. If you really want to master something, you've got to have a deficiency in your playing to work on. KM: On a new gig, how much of what you play is leader-gener- ated, based on the previous drummer, or totally up to you? Ralph: I'm not really interested in the drummer who was there before me. If a leader calls Smitty, he should want Smitty for what he brings to the table. He should welcome the change. KM: Billy, being the youngest... Billy: I haven't had to deal with that. First of all, I wouldn't be able to. Jeff: It goes much deeper than that, deeper than all of us together times ten.

or well over a decade now, drummer extraordinare John "Vatos" Hernandez has been the driving backbone of semi- nal Los Angeles group Oingo Boingo. From the band's modest beginnings in Fthe '70s as an adventurous troupe of street theater anarchists known as the Mystic Knights of the Oingo Boingo, to its present position as a staple of West Coast

radio, Hernandez has been there, his Lewis aggressive, clock-like precision drumming an unmistakable trademark of the band. But the road to fame and fortune hasn't been an easy one for the jovial Hernandez

and his cohorts, vocalist , by Pat guitarist , bassist , keyboardist Carl Graves and horn section Leon Schneiderman, , and Sam Phipps. The band has released a

dozen albums (two of which are "best of" Photos compilations), and they've placed numer- ous songs in major motion pictures (one of

which, Weird Science, scored them their and first major Billboard chart success). They've even had cameo appearances in

several of those films. With the snap of a fin- Text ger, they can sell out three straight nights at Los Angeles' , which seats about 6,500, and then, two months later, turn right around and sell out another two nights at Orange County's 15,000-seater, Irvine Meadows Amphitheater, for their annual shows. Yet Oingo Boingo continue to go relatively unnoticed by most of the population east of the Rockies. It's only been over the last several years that Boingo's leader, Danny Elfman, has achieved any significant notoriety. But oddly enough, that suc- cess does not encompass his impressive body of work with Oingo Boingo. Today, Elfman is one of Hollywood's most in- demand film composers. Over the past five or six years, he has scored about fifteen major motion pic- tures, among them Dick Tracy, , Beetle- juice, and Edward Scissor- hands. And even though the music that he compos- es for the silver screen is stylistically different than what he writes for his rock band, Elfman still does his best to involve the mem- bers of Boingo in his film work. Guitarist Steve Bartek, for example, has been at his side trouble, at least I know what to practice." all along as his orchestrator. And Hernandez, too, has benefited, In the early '70s, John became the house drummer for the having played all of the drums on the soundtrack television show The Midnight Special, and in between tapings, and electronic drums with his drum samples on several sessions he toured the countryside with the show's host, Helen Reddy. for the TV show Sledgehammer, among others. He also was the substitute house drummer at the famous Los Angeles-born John "Vatos" Hernandez began his profes- North Hollywood the Palomino. And somehow, in sional career at the age of 15 performing in a variety of sym- between all of this, he found time to sub for the Don Ellis phonic orchestras in and around Los Angeles and Orange Band, which is where he met guitarist Steve Bartek. In 1978, Counties. While still a student at Los Angeles City College, he Bartek invited Hernandez to play drums on a movie date (the joined the highly visible LACC jazz studio band under the movie was the classic Boingo , ), which direction of the notorious Bob MacDonald. ("I'd always heard soon lead to his joining Oingo Boingo. Currently, Boingo is that if you got into that band and you could live under that recording the material for their follow-up to last year's MCA guy's direction, you were pretty much guaranteed to do all right Records release, Dark At The End Of The Tunnel. in this business," recalls John.) Because the campus was only a stone's throw from Hollywood, the band oftentimes was hon- John Hernandez's Listeners' Guide ored with sit-in guests such as Jeff Por- caro, John Guerin, and Ralph Humprey. Album Title Artist Label/Catalog# David Paich, also a member of the band Oingo Boingo EP Oingo Boingo IRS/A&M 70400 at the time, actually wrote his first big A&M 3250 band arrangement for his fellow col- Nothing To Fear A&M 3251 leagues. A&M 3252 It was also during this time that John Dead Man's Party MCA 5665 began studying the drumkit with Freddie Boi-ngo MCA 5811 Boingo Live Gruber. "I was 18 when I first began MCA 2-8030 Dark At The End Of The Tunnel MCA 6365 studying with Freddie," recalls Hernan- So-Lo Danny Elfman MCA 25051 dez, "and since then, he has become my The Forbidden Zone soundtrack Varese Sarabande 81170 n close friend and mentor. It is because of Varese Sarabande 70437 him that there isn't anything that I can't Midnight Run MCA 6250 n do on the instrument." He begins to My Stepmother Is An Alien Polydor 837798 laugh. "And if I think I'm going to have PL: When did you first hear of Oingo Boingo? dubs here and there. I was well-versed in a lot of musical JH: I had originally seen the band back when they first started styles, which has really helped me a lot, especially in this music in '74 or '75. I was with my family at the KPFK Music Fair, and town. People who write original music can get pretty ruthless they marched in with their gorilla outfits, and they were jump- and say things like, "We want another sound" or "We want to ing around and doing all this stuff. I said, "Wow, this is my kind change the style," and with a click of their fingers, they're say- of band." So when I found out a few years later that they were ing, "Next, new drummer." So, I just said, "Hey, I can do it all. looking for someone, I jumped at the chance. That was back in the Mystic Knights of the Oingo Boingo period— about the first two years we had all the costume changes, and it was more of a theatrical thing. PL: So you actually joined the band while they were still the Mystic Knights. I never realized there were drums during the early days. JH: There was drumming. We used to open up with some real uptempo bebop songs like "Avalon." I used to have to play brushes and wear a monkey suit. It was a little hard for a "true musician," but I tend to have a lot more fun with my Drumset: Drum Workshop Cymbals: Sabian appearance and the silliness of it all. A. 6 x 14 brass snare 1. 18" AA medium crash PL: What was a Mystic Knights show B. 12 x 16 fiberglass snare 2. 13" HH Sound Control like? (Blaemire) crash JH: The show would open up with us C. 10 x 14 wood snare 3. 14" AA Sizzle hats marching through the crowd. I had a D. 10 x 12 tom 4. 21" AA crash/ride marching snare drum on, Danny played E. 12 x14 tom 5. 19" AA crash/ride F. 14 x 16 tom 6. 20" HH Chinese on top of , Steve played flute.... We'd G. 18 x 22 bass drum 22" HH Chinese (stacked) march up on stage and all of a sudden aa. 12" RotoTom they'd be running around on the stage, bb. 10" RotoTom Hardware: All DW and Col- and I'd count off—one, two, three—and larlock we'd start the tunes. Heads: All Remo clear PL: Why did you decide to can the mon- Ambassadors key suits and write rock & roll music Sticks: Pro-Mark 5A instead? JH: We weren't getting the recognition from the record companies, though we were getting a lot of theatrical recognition. Nederlander want- Let me prove it to you." I was really lucky, nothing seemed for- ed to put us on Off-Broadway with a big production. But we got eign to me—playing with brushes, playing music from the '30s, tired of dragging all the dinosaur outfits around. It was a pretty playing swing, calypso, Latin. So Oingo Boingo was right up my wild show—movies and all sorts of stuff. We decided to go the alley, and I loved it. band route, and so we started writing music—, rock PL: Let's talk about the ethnic qualities in Boingo's music. music—but with high energy and drive and some sort of intel- JH: The ethnic qualities in Boingo have always interested ligence. That was our original goal—something that was saying me—Balinese, West African, and then just the American music something, but was still radical, and thrashy, and drivy. That of jazz, which has its own ethnic quality. So, oftentimes, it isn't process took about a year and a half to finally blossom into an just a funk tune, it's a Balinese funk tune. EP and onward to A&M and then to MCA and a catalog of PL: Is this something Elfman brought in? music. JH: Yeah. Danny played in a orchestra at Cal Arts PL: Since the Mystic Knights of the Oingo Boingo's music [Valencia, CA]. encompassed so many different styles, did the music seem for- PL: How does he communicate that information to you so that eign or stylistically unfamiliar compared to what you were per- you can then perform in the ethnic style correctly? forming prior to joining the band? JH: He writes [the songs] in the scales, and I try to envision JH: Not really. I've had a real well-rounded education, being what it would sound like if I were playing rock 'n' roll drums in brought up in Los Angeles. I've played in big bands and a Balinese orchestra. I re-voice the snare drum, re-voice the orchestras. I could play timpani, and I played a little bit of mal- drums. You just experiment. Danny has little Balinese metali- let percussion as well. And on sessions I would do a few over- phones that we play. And he's also got these West African Bala- "A drummer knows the instrument better than anyone else. Exploitation of this knowledge is the key to gaining an advantage over By Ernie Santilli the criminal." Illustrations by Dan Yaccarino ou've been driving for a while, and you're a little tired from activity earlier in the day. But somehow you always get an energy boost sitting behind a drumset, locking into a groove. Even now, humming the chorus to the new song starts the adrenaline flowing. Arrived, at last. Toting a fresh towel and spare sticks, you get a bit more pumped up with each step toward the building. Then, as you enter you notice something is amiss. It feels as though Mike Tyson has just landed a hard right to your breadbasket when you realize what has transpired: Your equipment has been stolen. Unfortunately, for many readers the "you" in the above scenario has been you. Equipment theft is an ugly aspect of the business that all musicians must deal with. As the crime rate continues to rise it is obvious the problem is not just going to go away. There are, however, a number of ways to decrease the odds of becoming a victim. This article will examine the criminal act, deterrents, liability, and post- theft options. The Criminal Act Though no crime is admirable, there is something especially low about instrument theft. The perpetrator is knowingly taking a source of great joy—and possibly income—away from the victim. Unlike most other oft-stolen possessions, there is a sentimental bond between a player and his instrument. It is not surprising that some musicians find equipment loss a near-traumatic experience. Drummers tend to be "closer" to their instruments than other musicians because a kit embodies more of a combination of personal preferences than any other instrument. Dimensions, wood plies, ped- als, heads, throne, tom mounts, cymbals and percussion, stands, and possibly triggers—in addition to make, model, and color.... Just imag- ine the difficulty involved in replacing all those different variables, and it is easy to relate to the ripped-off drummer and empathize with his plight. Before continuing, it is necessary to define the criminal acts for later reference. The general heading of theft includes both burglary and robbery. A burglary is a stealthy act of entering a building in order to steal property contained within, while a robbery is defined as the act whereby the criminal uses veiled or explicit threats of violence in an attempt to gain another person's possessions. Those referred to as "scam artists" fall into a sub-category of rob- bery. By a scam artist I mean a cross between a thief and con man, the type of club parasite who will attempt to sneak out of the premises with equipment and, if caught, insist it is his own. Pawnshops Unless the scammer surrenders the goods and attempts to escape—highly unlikely, as it is an admis- sion of guilt—a threat of physical harm is sure to fol- awnshops work on a simple principle. They will give you a "loan" equal to a low. Hence the robbery classification. fraction of an item's worth. Fail to repay the loan by a certain date, and the In most cases the loss of drum equipment will be as collateral becomes the property of the store owner, who will then place it up a result of burglary, with robbery and its brethren P scam a distant second. As in any other crime, there for sale. are measures that can be taken to discourage thievery The image of "hockshops," as they are sometimes called, is not a positive one. and recommended procedures to follow should one Movies have portrayed the business as one peopled by shady characters out to fall victim. make a quick buck. And how many times have you seen a film scene in which the Desterrents down-on-his-luck musician must pawn his instrument for food money? But is this Martial arts enthusiasts live by a cardinal rule: negative image fair? I decided to conduct an experiment. There is no such thing as being "too prepared." The Randomly selecting pawnshops in large metropolitan cities, I phoned each of same thought applies to the "defense" of your equip- them with the same story. An acquaintance who owed me money gave me a guita r ment. The Golden Rule of security is: Do as much as you can to make the thief's work difficult. Remember, to hold until he paid off his debt. Two months had passed and I was left with the "An ounce of prevention...." impression he had skipped town. I wanted to recoup some of the debt by pawning the guitar. Securinq The Rehearsal Hall Basically, I was trying to get an idea of how many merchants would be willing to All musicians—from professionals to those in their first band—spend time honing their skills in do business with me, knowing I had an instrument that was not mine. None of the rehearsal halls. By the same token, those halls are left dealers showed apprehension about looking over my guitar. Nevertheless, there wa s unattended the majority of the time. This poses a a huge hitch when it came to an actual exchange for cash: No broker would issue a special problem for drummers. loan without the recipient producing a valid legal document containing a photo- While most string, reed, and brass players take their instruments home after a session, drummers, due to graph (such as a passport or driver's license). Some even required fingerprints! Fur - the impracticality of breaking down and transporting a thermore, the broker provided the police department with a duplicate of every paw n kit, usually leave their sets on the premises. As such ticket issued. the drummer is totally dependent upon site security to protect his or her instrument. (Incidentally, I also conducted a poll of major and minor music stores around the Thieves look at premises with a different perspec- country. Over 75 percent of them required a photo ID from persons selling or trad- tive than honest citizens. What may appear to be an ing in instruments. The majority of retailers reported each transaction to the local adequate security system to you may be child's play to law enforcement agency.) the trained eye. With enough time and diligence a Be advised that the policies may differ in your hometown. As in any business, thief can penetrate virtually any "burglar-proof" building. there are persons who will operate outside the law. But, in general, it appears What's a drummer to do? Go back to the Golden the "Tinsel Town" image of pawnshops as dens of corruption is yet another Rule and make the thief's work difficult. Remember, movie myth. every time site security is increased, the odds of being a victim are decreased. The foremost goal of beefed-up security is prevent- prohibitive. the summer, and one translucent shade for the inverse ing (or at least detering) entry. Obviously, doors and But there are modifications of a less permanent reasons. Drapes are another option. Those made of a C windows are a prime concern. The following can't be nature that can dramatically increase security. Bear in heavy fabric also aid in soundproofing the room. overemphasized: Do not assume standard door locks mind, entry is achieved by breaking/cutting the glass The above are a few of the many basic home security S and window tabs are sufficient protection from pur- or forcing the window open. Mesh-laced shatterproof measures. There are enough options to fill a book; in loiners. glass or, better still, Plexiglas is a good investment. fact, a few authors already have. David Allen Wacker' s Any addition to the traditional door-key lock is a Sliding windows are a plus and a minus in that they Complete Guide To Home Security and the Consumers' plus. Padlocks are better than nothing, but they're provide fresh air but also an easy means of entry. The Guide Series book are first-rate references. hardly a cure-all. They will discourage small-timers, most direct defense is limiting how far the window can Short of hiring an armed guard, the but an experienced crook won't be challenged by them. slide. Ideally, a window should be able to best security measure is to have a pro- I have personally seen a law officer use a burglary trick be opened a distance wide enough to fessional burglar alarm to disengage a famous-maker padlock in a few sec- allow ventilation, but too narrow for a system installed. A onds, with no visible damage done to the lock or burglar to squeeze himself (and pass entrance. loot) through. Police departments recommend dead-bolt locks on To limit or prohibit the motion all doors. A key is necessary to unlock the mechanism of a sliding window, it is neces- from either side of the door, making it impossible for a sary to place an obstacle in thief to break through the door surface and disengage the runners. Don't forget the lock from the inside. that the upper window If band practice is held in a rented space, ask per- may be lowered; there- mission before modifying the locks and offer the rental fore, it is important agent a copy of the additional key. In some areas this is to jam both sets of a requirement of the Fire Marshal's office. Should the runners. "Win- agent deny your request for modification, give serious dow pins" are thought to rehearsing elsewhere. The agent's denial is designed to do based on naivete or apathy, neither of which reflects a just that. positive concern for building security. Crooks fre- When utilizing the basement of a private residence quently "case" a for a rehearsal hall, obtain dead bolts for both doors. neighborhood Once again, gain permission first, then volunteer to before selecting pay for the expense of installation. In the event the which properties to band is financially strapped, start a kitty into which burgle. With a roomful everyone donates what they can afford each session of musical instruments it until the installation figure is met, or earmark that pays not to advertise. Give amount to come off the top before splitting the fee your rehearsal hall the lowest from your next gig. possible profile. Windows pose an even greater problem. Unless you If you are going to replace standard glass, own the property in which your rehearsal hall is locat- inquire as to the availability of frosted glass. Win- ed, you probably won't be permitted radical structure dow shades are an inexpensive alternative. A wise alteration such as bricking up an existing window area. investor will spring for two sets: one opaque shade Even if a major alteration is approved, the cost may be to block the sun's rays and keep the room cool in

noticed a dominant undertone that was and they projected fine. I simply found the not apparent when the cymbal was roar- combination of qualities produced by a New Sabian ing, and that might interfere with the flat HH top cymbal a bit dark for my ears. notes of a given song. But in fairness, I You'd need to be the final judge in that can't really conceive of anyone who plays area. All in all, this is an interesting varia- Cymbals exclusively low- to mid-volume stuff con- tion on hi-hat design. The HH EQ Hats sidering this cymbal in the first place. You are available in regular or Brilliant finish don't buy a Mack truck for short trips to at $360. Sabian's recent intro- the market. But if you need a ride cymbal ductions include a that can compete with heavy amplification B8 Pro Rock Models unique ride, unusual hi- and still offer some musical qualities and In the February issue of this year I hats, several new China tone, you should definitely consider the reviewed the introductory models in Sabi- types, a whole series of Power Bell Ride. It's available in regular or an's B8 Pro line. These are cymbals made moderately priced rock Brilliant finish at $348. from the B8 alloy and made in what is cymbals, and a nifty called the "Euro style" of manufacture. I new approach to splash HH EQ Hats was impressed with the sound quality and cymbals. Take your Mel Gaynor was also in on the design of the value of that line, which at the time pick! these babies. They combine a special 14" was fairly limited in terms of models. AA Rock bottom cymbal with a heavy HH Sabian has now expanded the line with HH Power Bell Ride Flat top cymbal. In addition, the bottom several Rock models, designed to offer the According to Sabian's announcement, the cymbal has two holes drilled in its bell and same sort of performance and value to 22" HH Power Bell Ride was created "in small sections cut out of its edge to pre- drummers who need louder, more durable response to today's need for increased vent airlock. The goal was to create "crisp, cymbals. Now, the question that comes to versatility in ride cymbals." Designed in clean, clear, and cutting sounds in the mind is: Are these new models just heav- conjunction with Mel Gaynor of Simple loudest situations" whether the cymbals ier versions of the old ones? The answer Minds, the Power Bell Ride combines an are played "by stick or pedal, angled or is: yes and no. While they certainly are unlathed 8" heavy bell with a fully lathed flat." thicker and heavier than their predeces- heavy HH ride cymbal. The idea was to The holes and cut-outs in the bottom sors, they have also been designed with achieve cutting power from the bell with- cymbal did eliminate airlock; the cymbals their own profiles and dimensions— out sacrificing the melodic ride character- had a great, crisp "chick" sound when specifically with the rock player in mind. istics one would normally expect from an closed with the foot. (However, the We were sent several cymbals in each HH ride. cutouts produced sharp corners, and size, all of which came in Brilliant finish. The concept works. The 8" bell had these cymbals would have to be handled To work from the biggest to the smallest, plenty of cutting power; it would be heard with care.) The lack of bell on the top we started with 20" Power Rock and Light through most loud music on its own. But cymbal—along with the fact that it is an Rock rides. While both were powerful with the additional sustain and projection HH model—created a medium-high stick cymbals that projected well and had excel- provided by the rest of the cymbal, the sound and a very quick choking action lent bell sounds, the Power Rock Ride sound was undeniable. Nicely enough, when the hi-hat pedal was depressed. The tended to be clearer, dryer, and higher- though, the bell sounded pretty decent thickness of the cymbal kept it from pro- pitched, with very little wash and excellent even when played at lower volumes—pro- ducing a shimmering sound (as for a sticking definition—even at very high vol- ducing a very distinct, clear "ping." swing ride pattern); instead the sticking ume. The Light Rock Ride, on the other When used as a traditional ride, the sound was dry and precise. Between the hand, was darker, a little washier, and (if cymbal sounded dark and somewhat pitch, the dryness, and the quick you can apply this term in a rock context) trashy, and—owing to its 22" diameter— response, these hi-hats should prove very a bit more subtle. It might make a better had quite a bit of a "roar" when I laid into popular with studio drummers (and even ride for people who need something for it. Stick articulation was clear, although more so with engineers). I imagine that both low- and high-volume situations, not what I would call piercing. Although they would work equally well in miked-up where not as much sheer cut is desired Mel Gaynor is quoted as saying that the stage situations, where their controlled from the ride. Power Bell Ride serves his needs "from response would be a real asset. Using Both cymbals exhibited a bit of "gongi- one extreme of the dynamic spectrum to them in an unmiked situation would pri- ness"—which is to be expected from a the other," I tend to think that in Mel's marily be a matter of taste. They can cer- thick, heavy ride cymbal. But the lathing case that must mean from f to fff. When I tainly get loud; I played quarter-note rock on the cymbals gave them an additional played the cymbal at lower volumes, I patterns on them in a half-open position musicality over the pure "pinginess" of an unlathed cymbal. The B8 alloy does not provide as much sustain as does the more expensive B20 alloy used in AA and HH cym- bals—which might be seen as an advantage by drum- mers looking for a dry, clear ride cymbal. I know several drummers who would proba- bly prefer the B8 Pro Power Rock Ride over many more- expensive models. I say that only to point out that choos- ing one of these cymbals can be a matter of taste, not just a matter of financing. They list for $144. When I tested the original B8 Pro thin and medium crash cymbals, I was im- pressed by their "pleasant, glassy shimmer." Well, when you add thickness to a cym- bal, you lose a certain amount of that shimmer in exchange for sheer power and durability. This was especially true of the 16" Rock Crashes I tried, which were loud and explosive, but (clockwise from left) 22" Power Bell Ride, 18" HH Thin Chinese, not as musically pleasant as 10" B8 Pro China Splash, 20" B8 Pro Power Rock Ride, 14" HH EQ Hats their thinner counterparts. They worked heavy, and produced a fine chick sound are so small and thin, they have a volume well as high-volume punctuation crashes, and a dry, high-pitched top-cymbal sound. threshold; they can only be played so hard however, because they spoke out quickly They had a respectable amount of sustain and they'll only get so loud. (If you need and then got out of the way. The 18" Rock when played in the half-open rock style, more sound, mike 'em up.) But within Crashes, on the other hand, had a lot and seemed to blend well with the other their range, they offer a sound so delight- more sustain and a bit more "shim- cymbals in the series. They're heavy-duty fully musical (and so original) that I just mer"—perhaps owing to the much larger hi-hats designed for hard playing, and fell in love with them—and I'm not a fan bell and greater overall diameter. These they sounded fine in that application. of splashes or Chinas. cymbals sounded BIG: big bell (excellent They list for $159. Their shape lends them to experimen- for riding!), big explosion, big sustain, tation. The inverted portion of their bells and big volume. B8 Pro China Splashes allows them to be placed neatly atop other I should point out that, as with any These were my favorites in this whole cymbals without coming into full contact rock-weight cymbals, the B8 Pro Rock group. From the B8 alloy, Sabian has cre- with them, thus giving you two targets Crashes did not respond well to low ated 8" and 10" splash cymbals with a (and two sounds) in the same place. Or impact. I had to wallop them to get them unique profile: They look like mini-China they can easily be placed under a larger moving properly. But, after all, they are cymbals, with the top half of the bell cymbal for that "metal crasher" sort of designed for rock (read: high-impact) inverted back toward the underside of the effect popularized by Terry Bozzio. Their playing, so what would you expect? The cymbal. They are extremely thin, and small size also allows them to be placed 16" crash is priced at $105; the 18" goes combine the quick, shimmery sound of on their own just about anywhere on the for $120. traditional splash cymbals with the dark, kit. The group of two 10" and two 8" cym- The 14" Rock Hats were also thick and trashy sound of a China. Being that they bals that we tried formed such a nice pitch scale that I could envision putting significance of this in a moment. The 20" cymbals had nice, low tones. all of them in some handy spot for creat- Let's talk about the specific cymbals. The 20" Brilliant was a little gongy, and ing melodic percussive accents. These The 16" and 16" Brilliant models sound I'd use it more for a big crash than as a cymbals are small, relatively inexpensive, great for quick, explosive crashes. They ride. The regular 20" worked well as both and musically unique. Sounds like a deal sounded low-pitched for their size, and a ride and crash. It had a fairly quick to me. The 8" cymbal costs $54; the 10" worked best when mounted right-side up. decay and a low pitch that made it per- goes for $62. Both are available in Bril- (Their decay was even quicker when they fect for riding on. (This one, along with liant finish. were mounted upside down.) In these the Brilliant 16", was my favorite of the • Rick Van Horn smaller models (along with the 18" mod- bunch.) els) I really liked the Brilliant cymbals Now we get to the 22" models. All I because they weren't as harsh-sounding can say is, "Wow! That's a whole lotta HH Thin Chinese (in the ultra-highs) as the non-Brilliants, China cymbal!" These were very low- Sabian has also recently introduced a and they had a little more sustain. Howev- pitched and yet powerful. The regular new line of Chinese cymbals, the HH er, if you're in a loud band and you need a 22" was extremely loud and trashy, and Thin Chinese. According to Sabian, China that really cuts through and is sounded great as a ride mounted upside they've designed these cymbals to sound quick, I'd recommend the regular, non- down. (It was a pleasure riding on this as close as possible to the authentic Brilliant models. one softly.) The Brilliant model worked China cymbal sound. But they also want- The 18" cymbals demonstrated charac- okay as a ride, but it was quite ed to design a cymbal that would be far teristics similar to those of the 16" mod- gongy—I'd use it for big gong effects more durable than traditional China- els, except that I could play some ride and huge crashes. The only problem types (and not so crudely manufactured). patterns on the non-Brilliant models. with a Chinese cymbal this big is that it's We were sent a selection of normal and Again, the Brilliant's sound was not as tough to get it in the case with the rest of Brilliant HH Thin Chinese cymbals in abrasive and was a little more gong-like. your cymbals! 16", 18", 20", and 22" sizes. All of them The regular 18" was nice and trashy, had a Overall, these are beautiful-looking were just beautiful to look at. The manu- little sustain, and also could be used as a and -sounding cymbals. I have a fond- facturing process includes a second ham- ride cymbal either right-side up or invert- ness for China cymbals, and the more mering that, besides affecting the sound, ed. low-pitched and "Oriental"-sounding gives these cymbals a unique, eye-catch- Getting back to what I mentioned earli- they are, the better. If that's what you're ing look. Overall, their pitches are low, er about the shape of the HH Thin Chi- interested in, check out an HH Thin with short sustain and a "raw" nese'. Since the bend in these cymbals is Chinese. The list price for the 16" is sound—very Oriental. One other charac- closer to the center, you have a little less $216; the 18" is $255; the 20" is $294; and teristic of this entire line: The point at room to ride on than with other Chinas. the 22" is $348. Brilliant finish is avail- which the cymbals are turned up seems This isn't really a problem; you simply able at no extra charge. to be a bit closer to the center of the cym- may need to angle the cymbal a bit more • William F. Miller bal than on normal Chinas. I'll get to the to make it easier to play the ride area.

phonic snare drum that would produce a dard steel.) The hoops are 1/4"-thick alu- Bison Custom brighter harmonic than was available at minum alloy with an in-line construction the time. Members of the Chicago Sym- to allow a brighter harmonic. The lugs phony played the drum and began using are machined out of high-strength alu- Symphonic minum alloy and fastened to the shell it right away. Word spread, and after ten years of producing their drums for indi- with a non-gasketed, socket-head cap viduals, Bison now offers them to the screw through a pillow block. The lever- Snare Drums entire drumming community. The snare action strainer is also hard aluminum drums are also available, with alterations, alloy, and is specifically designed to for use in rock and jazz idioms. directly clamp to the steel aircraft-cable by Gary J. Spellissey The snare drums are made in 3x13, snares. The snares are held in alignment 4x13, and 3 - 8x14 sizes. The shells are by metal clamps attached below the of 10-ply maple laminate; ebony and wal- strainers on each side of the drum. This Mitch Greenberg of the Bison Drum nut stain are available for an additional design helps transmit a brighter Company explains that his custom $30. All hardware is aluminum with a response to the shell of the drum. The drums started with the concept of a sym- high-polish buffing. (All screws are stan- lever is designed to "squeeze" into posi- further the distance, the better the drum sounded. Then came the real test: to place the drum in actual playing situations. In an orchestral setting, it felt great to play, and other players—both percussionists and non-percussionists—remarked on its clarity. (Do you have any idea what it takes to get a trombone player to com- ment on the sound of a snare drum?) I placed the drum in two other symphonic situations, and each time I enjoyed play- ing the drum more and more. I then took the drum with me to see how it would fare in a "general business" setting. I must confess that I brought another snare that I regularly use. The Bison worked well in some musical styles, but not all. But remember, this drum is really set up for classical use. I also had reservations about the alu- Bison 6x14 Symphonic snare minum rims taking the abuse of contin- tion, eliminating the loud snap of the 1" away from the shell. This design ual backbeat rimshots, but found that snares against the bottom head that allows for greater tensioning than a nor- the Bison had no problem in this area. often occurs with other strainers. The mal drum, while giving the drum a "clas- Again, I want to mention that rock and lever drops 1/2", so when the snares are in sic" look. jazz models are available. the "off" position they are well-removed The snare strainer looked "unfin- I also had the pleasure of playing on a from the snare head. The snare tension ished" to me, due to its matte aluminum 3x13 piccolo snare equipped like the knob is machined from brass alloy and is color. I questioned Mitch Greenberg 6x14. The piccolo was really responsive a standard 1/4" x28 thread. This allows about this. He said the strainer could be and full-bodied. This drum could be tightening of the cable snares beyond the anodized but that typical plating would cranked up to wherever you would want it. capabilities of normal tension knobs. be difficult because the strainer would Both of the Bison drums I tried would The drums have double 45° bearing slip while in use. As a result, the compa- be welcome additions to anyone's instru- edges, and the snare beds are cut by ny opted for performance rather than ment collection. They are resonant, hand. The lugs, hoops, strainer, and cosmetic appeal. responsive, and capable of a large spec- cable snares are made to produce a loud- The drum arrived with Remo Diplo- trum of dynamics. The design and work- er snare drum sound, more clearly heard mat heads for both the snare side and manship are exemplary, and the drums as distinct notes at a farther distance the batter. I increased the tension on are a pleasure to play, regardless of the than those produced by other snare both heads, which made the drum very musical style. Because Bison is a custom drums. resonant and very sensitive—even when drum company, you can specify exactly The first Bison snare drum I received played at the edge of the head. Make no what you desire in a drum (snare types, was a 6x14 model. As I removed the mistake, this is a drum capable of loud number of air vents, etc.). I found Mitch drum from the box, I was immediately response without ever choking. The Greenberg to be a knowledgeable drum- impressed with its overall appearance sound was dark and dry. With a muffling mer and drum-maker who is going to be and design. The shell finish was superb, ring set on the top head, I liked the around to stand behind his product. The both inside and out. The look of the sound even better. As I continued my cost of Bison drums is in line with other drum is made different by the use of alu- evaluation, I recorded the drum without custom brands: List price for the piccolo minum for all metal parts. The lugs are a muffler from 15' away. From this dis- is $460; the 6" drum is $630. If you're singular tubes running from the top to tance, the drum sounded remarkable. I looking for a symphonic snare drum, a the bottom of the drum, approximately backed up a bit, and discovered that the Bison drum would be "hard to beat." Vic Firth

Photo by Rick Mattingly Signature shaped head. I suppose that extra-long head; M 32 medium hard, with a green handle could come in handy if you have a cord head; and M 33 hard, with a red cord multi-instrument setup and need some head. All of the models are 15" long and Mallets extra reach. But I liked the length for a dif- feature rattan handles. The handles were ferent reason. I was still tending to hold different thicknesses on the ones I • by Rick Mattingly the mallets the same distance from the received for review, although each pair was head that I would hold shorter ones, so matched. One might want to purchase the After introducing an impressive line of that extra inch of stick on the back end Gibbs models from a shop that has several "signature" drumsticks over the past few was affecting the balance. The shafts are pairs of each in stock, if one is concerned years, designed by prominent drummers, thinner than the Burton model, but having with the handle thickness. The thinner Vic Firth has applied the same idea to the extra length (and subsequent extra ones felt a little top-heavy to me, but had vibes/marimba mallets. Gary Burton, Ed weight) makes the balance similar. more flex. I liked the thicker ones for their Mann, Terry Gibbs, and Victor Mendoza These are slightly harder than the Bur- balance, but they were definitely stiffen models are now featured in the Firth cata- ton mallets, but they still work fine over the The M 30 soft model sounded rich and log. Burton, Mann, and Mendoza have one full range of the vibraphone without being full on the lower two and a half octaves of model each, while Gibbs has four varieties clanky. On a four-octave marimba, they the vibes, but were a little mushy on the to choose from. worked best in the middle two octaves; top half-octave. On the marimba they were they were slightly clunky on the lowest wonderful on the bottom octave, good up Gary Burton notes, and a bit soft for the upper octave. to about G3, passable to F4, and weak According to Burton himself, the Firth One other observation: If you ever play above that. M-25 Gary Burton signature mallets are an mallets in a pit or other situation in which I would rate the M 31 medium as the exact copy of the mallets he used to have the lighting is not very good, you might most general-purpose of the bunch. They made by the legendary Bill Marimba of appreciate the white heads on the Mann sounded fine over the full range of both Good Vibes. Burton also says that they model. They tend to show up well, espe- the vibes and marimba (although they resemble the early Musser Burton models, cially against marimba bars or a Simmons favored the low end of the marimba over but that the later Musser versions were not Silicon Mallet. the high end). They are very close to the quite the same. At any rate, the Firth Burton model, but being cord rather than model features rattan handles and yarn- Victor Mendoza yarn, have just a bit more bite. wound heads. The length is 15 1/2", and the The Firth M-23 Victor Mendoza mallets The M 32 medium hard could also make rattan handles have a diameter of 5/16". feature black birch handles, like the Mann a good general-purpose mallet, especially While with most rattan-handle mallets the model, but a more standard 15 1/2" length, in a room with muddy acoustics. They are diameter of the shaft can vary from pair to and hard, cord-wound heads with a more a little brighter-sounding than the M 31s, pair, the Burton mallets are consistent. extreme mushroom shape. I found them but still work well over the full range of As one might expect, these mallets work slightly "top-heavy" compared to the both vibes and marimba—this time favor- well over the entire range of the vibra- Mann and Burton models. On a vibra- ing the upper end of the marimba slightly. phone, producing a clear, articulate sound phone, they were slightly brittle on the Gibbs' M 33 hard model produced a lot without being clanky. They also sounded lowest notes, but bright and penetrating of attack on the vibes, but wasn't as clanky good over most of the marimba range, over the rest of the range. On the marim- as I feared it might be. On the marimba, it with the exception of the top few notes, for ba, they were predictably clunky at the bot- was best over the top three octaves, pro- which they were a bit too soft. tom, but sounded fine from about C2 all ducing a xylophone-like sound. the way to F4. In a room with muddy Finally, here is how all of the above mal- Ed Mann acoustics, these could be the perfect lets compare with each other, going from The first thing you notice about Firth's choice for projection. softest to hardest: Gibbs M 30; Burton; M-21 Ed Mann model mallets is their Mann; Gibbs M 31; Mendoza; Gibbs M 32; length: 16 1/2", which is a full inch longer Terry Gibbs Gibbs M 33. Among those seven models, than most mallets. The handles are made Firth offers four models in the Gibbs you should be able to find mallets to cover of black birch, and the medium-hard series: M 30 soft, with a yellow cord most situations. All of the models reviewed heads are of white yarn with a mushroom- head; M 31 medium, with a blue cord here carry a list price of $41 per pair.

than any pad I've used. Designer Steve Rothmel Sapphire Slim attributes this partly to the excellent conductive proper- ties of the pad's aluminum Line Studio chassis. However, I suspected the same properties as a potential cause of false trig- Drum Pad gering from external vibra- tions (as created by other pads on a common stand). by Richard Watson But once I adjusted my drumKAT's, gain for the Slim Line's trigger signal, I experi- MD's May '91 issue featured an editorial enced no interaction prob- on the entrepreneurial spirit among per- lems whatsoever. Another rea- cussion product manufacturers. The son for the pad's hot signal is article hailed opportunities seen and what Steve called "Selective seized by small operations with big imag- Antinode Alignment" (SAA), inations and commitment to the drum- a scientifically tested placement of the the thinness of that rubber or the inher- mers they serve. From Sapphire, a tiny pad's transducer according to the partic- ent resilience of the aluminum plate Acton, Massachusetts company you may ular resonance of each size of pad. behind it, I found the Slim Line pad to never have heard of, comes a percussion Speaking of resonance, Sapphire be a bit more firm and fast than any of trigger pad that should have some of the informed me that much attention was the pads I'm currently playing. While not industry's big guns taking notice. devoted to "tuning" the sound produced unnatural, its relative lack of "give" more by tapping on their pads, in order to closely emulates a tightly—rather than Basics make them sonically inconspicuous to loosely—tuned acoustic drum head. Available in 6", 8", 10", and 12" diame- microphones when recorded along with This degree of bounce is ideal for buzz ters, Sapphire's new, aptly named Slim acoustic drums. Not having tested it in rolls and technique that benefits from a Line trigger pad is only 1 1/4" deep. Its this situation, I won't contest their claim. fast response, but may require some get- design can best be described as a shallow But I should mention that the hollow ting used to for guys who like the feeling cylinder, or shell, with top and bottom sound generated by tapping on the Slim of really "digging into" a floppy head. cover plates, all made of machined alu- Line was actually more audible than that The Slim Line's "mini-rim" is so minum. A pure gum-rubber "head" is of my other pads. small that I didn't even notice it until I affixed to the top cover plate, which, like Velocity sensitivity (the ability to began to actually play the pad. Without the bottom plate, is set into the shell with smoothly and accurately reproduce all an additional discrete transducer to trig- a bead of silicone. A transducer is dynamic levels) is perhaps the most ger a different sample in your sound attached to the underside of the top plate important property of a drum trigger. source, the rim's value is purely and imbedded in high-density foam rub- The Slim Line's, velocity sensitivity is ergonomic. But since most trigger pads ber. The pad's playing surface is recessed comparable to that of the best pads I've seem to ignore the enormous satisfac- about 1/16" below a strip of black anodized used. But what impressed me most tion of laying into metal for a rimshot, I aluminum edging, creating a kind of about the Slim Line's performance is the commend Sapphire for their attention to miniature rim. The stand mount (also uniformity of its response across the pad. this subtle, often neglected detail. machined anodized aluminum) and a Thanks again to SAA, its signal strength large T-nut extend another 2" from the remained absolutely consistent from Stand Mount side of the pad. The unit's shell and bot- dead center to the very edge of the play- The Slim Line's beautifully crafted tom are covered with a glossy Formica- ing surface. stand mount is available in two models. like material. A standard W phone jack is One fits Pearl-sized stands, the other fits located on the side of the pad near the Stick Response the Tama type. Its clamp (which tightens mount. Steve Rothmel was very proud that his on one side with a standard flathead bolt pad's playing surface is made of pure and on the other with a large T-nut) is Sensitivity gum rubber, without so much as an fashioned to receive a vertical stand post The Slim Line sends a hotter signal adulterating dye. Perhaps due more to or angle arm. Unlike some pads that can be mounted in a row across a single bar duced none of the anticipated damage, I Unlike some trigger pads' industrial- and independently tilted, the vertical hit the edging directly with increasing functional designs, the Slim Line's drum- mount configuration requires some kind force up to a level that crossed the line like shape won't look alien next to your of angle arm or adaptor for each pad. (If between music and contact sports. The acoustic drums. Then again, its narrow you don't mind your pads being perfectly score? Mini-rim, two—reviewer, zip. profile won't make a huge visual impact horizontal, you may be tempted, as I was, If quality of construction is an indicator tucked in amidst a large acoustic setup. to clamp the Slim Line to the "trunk" of a of durability, the Slim Line wins again. But a kit made up entirely of these pads cymbal stand.) The real payoff of this Every edge and joint was perfect. Despite would, I imagine, be a thing of modern design is in stability. Since most of the the aforementioned resonance, the unit minimalist beauty. force exerted upon a drum pad is vertical, felt strong and solid. Another clue to its mounting it on a vertical post virtually durability is that every Sapphire pad Conclusions eliminates the chance of angle slippage comes with a two-year warranty. Sapphire's Slim Line Studio Drum Pad and reduces interaction vibrations that The Slim Line pad is available in four is a handsome, well-made percussion trig- can lead to the dreaded false triggering. standard colors: black, white, blue, and ger. Its feel is on the firm and rubbery red. But since Sapphire gets its covering side, but acceptably natural. Its velocity Durability material from countertop manufacturers, sensitivity and uniformity of response are At my first sight of the Slim Line's you can special-order "just about any excellent. Plans for a two-send pad and a candy-apple finish, I mistakenly assumed color you've seen or can imagine, from kick drum trigger are "on the drawing the whole thing was plastic and a lot too woodgrain to chrome." The black alu- board." Prices for the pads are: 6", $120; pretty to be roadworthy. I was especially minum edging provides a clean, sleek out- 8", $135; 10", $156; and 12", $180. Contact worried that the aluminum edging would line. The pad's head might have been a Sapphire Percussions, 272 Main St., Suite be badly dented by the first errant whack. little more dramatic in black or a color 5B, Acton, Massachusetts 01720, (508) Appearances can be deceiving. When a that matched the shell, but the gum rub- 263-8677. couple of gingerly placed rimshots pro- ber's natural creamy tan is okay too.

unit, as it did mine. Con- trasting competing products KAT kicKAT that range from lumpy-utili- tarian to angular-futuristic, the kicKAT's form seems to by Richard Watson have sprung from KAT founder Bill Katoski's some- what whimsical approach to Since the introduction of the KAT Mal- design. (Considering that let Controller in 1986 and the drumKAT the pad layout of the pad set/controller in 1988, KAT has drumKAT looks for all the defined "state of the art" in integrated world like Mickey Mouse, MIDI percussion. Recently, KAT began should we be surprised?) branching out into the electronic per- Following the feline theme, cussion component market with its the kicKAT resembles, even entry-level midiK.I.T.l. trigger-to-MIDI more overtly, a seated black interface and a line of pad triggers cat! adopted from the latest, enhanced-per- What the "cat" sits upon formance Dauz design. The newest is a reinforced, 1/8"-thick member of the growing KAT litter is its steel base (shaped roughly electronic bass drum trigger, the kicKAT. like a fat-bottomed "I") that is fitted with four spring-loaded standard 1/4" phone jack is located just Overview retractable spurs and, on the underside, above it on kicKAT's, hollow, black enam- While aesthetics should be among the four opposing strips of industrial Velcro. el steel body. The cat's semi-circular last criteria for judging a piece of equip- The base's back (player's side) lip is head (complete with slight outer points ment, the kicKAT's appearance is so raised for easy pedal mounting and cov- alluding to "ears") contains the unit's strikingly peculiar that it will probably ered top and bottom with a strip of gum sensor circuitry. The "kicKAT" logo is dominate your first impression of the rubber for a solid hoop clamp grip. A printed vertically in bold white letters down the cat's back. The maximum ished slightly when played off-center, but feel is the result of extensive research and dimensions are 15 3/8" high x 11" wide x the fade was only significant at the outer- development and a no-expense-spared 14 7/8" deep. most edges of the pad. Double-pedal design philosophy. The playing surface is players will be pleased that the impact composed of layers of four different kinds Velocity Sensitivity surface provides plenty of "sweet spot" of rubber! Each successive layer responds I tested the kicKAT with a Korg S3 for two beaters. to hits of different intensity, making soft, Rhythm Workstation and a drumKAT pro- medium, and hard playing feel equiva- vided by KAT, and with my own Roland Tracking lently natural, with no dead stop at the R-8M, Casio FZ-10M, and, alternately, Tracking fast playing (as opposed to extreme end of the stroke or, in Bill's drumKAT and Simmons PortaKit con- tracking dynamics) is largely determined words, "not like playing a table top when trollers. by the MIDI controller/interface, but can you really lay into it." Likewise, soft To convincingly simulate the sound and be tricky for some snare/tom triggers as attacks produced neither mushy nor feel of "real" acoustic percussion, a trig- well. This kind of tracking failure results "super ball" rebounds. ger should be able to accurately read and in notes within fills and rolls that annoy- reproduce a drummer's entire dynamic ingly just "disappear." But because aver- Durability range, right down to the ghost strokes. age playing on even two bass drums is rel- A flyer that accompanies the kicKAT But lower-level dynamics are an area in atively sparse, accurate tracking is, you'll says that "the sensing element in the which bass drum triggers seem particu- excuse the expression, a minor feat for a 'head' [is] specially designed to survive larly weak. Based upon my previous expe- trigger. I wasn't surprised, then, when the repeated impact from the beater." Long- rience with KAT products, I was expect- kicKAT tracked both my single- and dou- term durability can hardly be proved in ing miracles, and so was initially disap- ble-pedal playing flawlessly. But consider- the ten days I allotted for a product pointed by the kicKAT's velocity sensitivi- ing the possibility that there may be faster review, but I did subject the kicKAT to ty. Although I'd confirmed that the con- feet among you (or even among some of about three hours of truly exaggerated troller was programmed to KAT's sug- your grandmothers), I devised a test for flogging without causing any apparent gested levels of gain, threshold, and mini- speed-metal extremes. After setting the damage or reduced sensitivity. Overall, mum and maximum dynamics, the range note number on the drumKAT to address the kicKAT features simple, no-nonsense between "quiet" and "loud" was a bit a snare drum sound and rolling the kic- construction. Except for the retractable narrow, and my softest playing wasn't KAT on its back, I played a number of spurs, it has no moving parts. Though triggering the drumKAT at all. Suspect- open and fairly closed rolls on its beater lighter than it looks, the unit feels very ing that KAT's recommended settings impact surface with a pair of drumsticks. sturdy, and its welding and finish are were tailored to drummers who prayed to Within the sensitivity range programmed immaculate. Bonham and/or had eaten their Wheaties into the drumKAT, the kicKAT never in childhood, I tried increasing the gain a missed a stroke. You may never need this Stability notch and decreasing the threshold and degree of tracking sensitivity, but it's nice The kicKAT's, flat, one-piece base pro- the minimum dynamic. After re-training to know that the unit will never slow you vides rock-solid stability in normal situa- the trigger on my drumKAT (a sugges- down. tions, but of course will not straddle cym- tion, I confess, supplied by the folks at bal stand legs or large bumps, such as the KAT hot line), and a little more Feel riser edge trim, or severely uneven stages tweaking at a band rehearsal, the kicKAT My experiment with the drumsticks (as can triggers with adjustable legs). was reproducing bass drum strokes I revealed to me something about the phys- Most drummers may never encounter hadn't heard since the last time I played ical feel of the playing surface as well. such unfriendly playing conditions, but if acoustic drums. The "give" of the gum rubber was not your next tour includes more than a few Concerned that similarly positive ideally conducive to playing press rolls. construction sites, beware. Thanks to its results might not be achieved with an Instead, appropriately, its response was four spurs and Velcro, the kicKAT ain't interface lacking the drumKAT's sophis- exactly that of a real, normally tuned bass going nowhere without your rug or car- ticated adjustability, I dusted off my old drum head. If you haven't played on other peting. But, lacking any rubber on the PortaKit and plugged in the kicKAT. kick triggers, you may be thinking, "so underside of its base, it will skate across While the kicKAT performed best when what?" But if there is a disparity in the (or destroy) most hard-surface floors. matched with the drumKAT, it yielded a naturalness of snare and tom pad trig- Therefore a rug is essential. proportional improvement over my own gers, it is nothing compared to the range (soon to be former) bass drum trigger among kick triggers; they are indeed not Portability when paired with the PortaKit as well. all created equal. Bill Katoski informed Stability and a solid feel don't come The kicKAT's gain strength dimin- me that the kicKAT's amazingly natural without a cost. Since its base is not removable (at least not without defying a warning against hazardous shock), the kicKAT would not even fit into the snare drum compartment of my oversized trap case—let alone the accessories section or stand tray. A small floor tom case, or its equivalent, would suffice. (I might also recommend an extra beer for your road- ie.)

Conclusions Belying its playfully unorthodox appearance, the kicKAT is a serious com- bination of quality workmanship, techni- cal innovation, attention to detail, and ingenious design. My only suggestion would be to make its base removable for more convenient transport—but only if such a change didn't compromise the unit's solid stance. The kicKAT's velocity sensitivity and natural feel in particular make it the finest bass drum trigger I've ever played. KAT continues to impress me. The kicKAT's list price is $259.

Filling In The Holes

On The Hi-Hat: Part 4 Phot o b y Rick Malkin

by Rod Morgenstein

For the past three articles we have been fill- Now add the toms. ing in the holes on the hi-hat (and toms) using a constant, uninterrupted flow of ei- ther 16th notes or 8th-note triplets. The next step is to experiment by omitting certain notes, thus breaking up the continuous bar- rage Of sound and creating some very funky and colorful patterns. Take the following beat Try the same process with the following triplet feel:

and then fill in the holes on the hi-hat. Fill in the holes on the hi-hat

Now omit the last 16th of beat 2, the downbeat of beat 3, and the "&" of beat 4 omit the hi-hat notes on the downbeat of 3 and the middle of 4

and then apply various hi-hat notes to the toms.

and apply some hi-hat notes to the toms.

Working with the original beat, try omitting some other hi- hat notes—in this case the second 16th note of beats 1 and 2, the "&" of 3, and the middle two 16th notes of 4. Using the original triplet-feel beat, here's another possibility:

Once again, work in the toms for added dimension.

Now add the toms.

The following is another variation of the original beat: This last example takes the following beat

and in a two-measure context, utilizes both the continuous and broken-up feel.

There are limitless possibilities for applying this technique to the drumset. So take your favorite beats that have some degree of syncopation between the snare and bass, and forge ahead using the different ways we've discussed. See ya! Bill Stewart Swinging with Scofield and Konitz, Funkin' with Maceo

by Bill Milkowski

He swings with authority, has a keen sense of hearing, and reacts to the moment with ideas as well as energy, which is why guitarist John Scofield, tenor saxophonist Joe Lovano, and alto sax great have tapped Bill Stewart for their respec- tive quartets. At 23, Stewart is already making a name for himself in jazz circles, having appeared on recent albums by Scofield, Lovano, and Konitz. Plus, he's made some inroads into the land of funk through his recent gig with Maceo Parker, the alto saxophonist who helped take it to the bridge in the late '60s and later helped spread the funk with George Clinton's Parlia- ment-Funkadelic and Bootsy's Rubber Band. Last year, Stewart appeared on Maceo's Roots Revisited (Minor Music/Verve), a soulful summit of jazz and R&B that sat atop Billboard's jazz

charts for several weeks. He later toured Europe and the States Robert s on the strength of that album. His stay in Maceo's band culmi- Ebe t nated this past March with a special concert in Oakland that b y reunited Maceo with the Godfather himself, newly sprung Phot o from jail and back on the good foot once again. "That was a unique experience," says Bill of J.B.'s comeback Scofield's band (with bassist Marc Johnson and saxist Lovano) concert (taped for future broadcast on HBO). "It was a kind of and Konitz's quartet (with bassist Ron McClure and pianist thrown-together thing—really last-minute. I didn't even know Kenny Werner). "Sco's gig is really ideal for me right now," he we were going to Oakland until the day before we went." says. "The music he's writing now is real open with a lot of Titled Influences: James Brown And M. C. Hammer, this room—things that can be different each time you play them. HBO special showcases the Godfather of Soul on the same bill The tunes are well-written, but they don't demand that the with rap's leading light, both backed by Maceo and company performance has the same effect every time. And some of the with Stewart laying down the funky backbeat. As Bill recalls, tunes don't even have changes, so that's nice too. I just have a "We did three tunes with James: 'I Feel Good,' 'Good Foot,' lot of freedom to play the way I feel like playing." and 'Please, Please, Please,' and M.C. did a tune...well, sort of a That philosophy is put into practice on Scofield's latest Blue tune. He just sort of did his little shtick over a 'Cold Sweat' Note album, Meant To Be. "Mr. Coleman To You," a homage to groove, just to show how he has been influenced by James. We jazz renegade Ornette Coleman, is a particularly good example did one rehearsal the day before and then we sort of winged it." of playing melodically and coming up with ideas in the Though basically a groove-oriented gig, Stewart said playing moment, especially when the bottom drops out and the piece behind Brown was nonetheless demanding. Unlike his jazz opens up to a daring free section that Lovano blows over with gigs with Scofield, Lovano, and Konitz—where he has to listen abandon. and react—the J.B. gig required him to watch and react. Stewart's sensitive, interactive brushwork sets the tone for "As a drummer playing his show, there are a lot of things you the title cut. On the burning "Big Fan" he swings ferociously have to catch. He's got these little things he does—his showy while answering Lovano's tenor statements, and he handles kinds of gestures and a lot of stops and hits—that you really the lyrical bossa "Keep Me In Mind" with tasteful restraint. On have to be alert for. So there was actually some pressure on me the uptempo vehicle "Go Blow," he flaunts facile swing chops, in that situation. It wasn't the kind of thing where I could relax and on "Eisenhower," a jaunty paen to the '50s cool school of and have fun." jazz, he nimbly trades fours with Sco's fluid guitar lines. Then Stewart is able to loosen up and do exactly that in both he cops an appropriately laid-back parade-drumming attitude on the lazy N'awlins shuffle "Chariots." Throughout the ses- inside out. Sometimes he doesn't even play the heads. It can sion, Stewart plays with uncanny finesse, tapping the bass get pretty 'out' with Lee. He really is into what I would call drum so softly it's nearly imperceptible, yet still providing pure improvisation. He doesn't like to prepare anything in momentum. And his drumming is marked by a rhythmic flexi- advance. We never play arrangements or things like that in his bility that lets the music breathe. band. I guess he feels that sort of thing tends to inhibit him." Says Scofield, "Bill's the kind of drummer who allows the Scofield sounds like he's headed more into a similar direc- music to happen, and he swings his ass off, which is hard to tion with his new quartet, as opposed to the denser, more find. From the first moment I started rehearsing with him, I tightly arranged funk band he had through the late '80s with knew he was the right guy for me." Adds Lovano, "He's a very drummer Dennis Chambers and electric bassist Gary mature player and a lot of fun to play with because he listens so Grainger. "Yeah, I think that's maybe one of the reasons why well. In jazz, it's about action and reaction, and he's really got he might've gotten out of that," says Bill, "because they played that down. I think Bill is one of the strongest young jazz drum- those arrangements and they sounded great, but they had pret- mers on the scene today, and he's only going to get stronger." ty much done what they could do with them. So now he's ready On both Scofield's Meant To Be and Lovano's Landmarks, to do this other thing. And I'm curious to see how it develops Stewart hooks up with bassist Marc John- once we get out on the road." son for what might be one of the most When citing his influences, the first sympathetic rhythm sections since Charlie "A drummer name that rolls off Stewart's tongue is Haden and Paul Motian joined forces. Roy Haynes, immediately followed by Their chemistry is particularly noticeable who's only Elvin Jones, , Jack on the more intimate trio tunes from DeJohnette, Ed Blackwell, and Billy Hig- Landmarks, like "The Owl And The Fox," concerned with gins—all players who swing hard and the funky "Street Talk," and the polyrhyth- react in the moment. mic "Thanksgiving." And on "Emperor what he or she is Born in Des Moines, Iowa on Oct. 18, Jones," Lovano's tribute to drummer Elvin 1966, Stewart grew up playing along with Jones, Stewart again shows an expressive playing, and not jazz records from his father's collection. touch with brushes. That same spirit of Through his high school years he played sensitivity and swing permeates a recent with what the in local Top-40 bands, though he had a Soul Note quartet date with Lee Konitz stronger affinity for jazz. The trouble (with bassist Ron McClure and pianist other musicians was, there weren't that many outlets in Kenny Werner). Des Moines for aspiring jazz musicians. "I really dig playing with Lee," says Stew- are playing, is "By the time I was a senior in high art. "A drummer has to be really sensitive to school I was doing what few jazz gigs play with him, I can tell you that from expe- probably not there were around town, but it was very rience. When I first played with Lee, it was limited. I went to the University of in a college situation, and I didn't feel like it going to sound Northern Iowa for one year, but left there was working. Actually I don't think I was to attend William Paterson College, in quite mature enough at the time to really very musical New Jersey. I really wanted to get in the complement him well. You have to really area, and William Paterson listen for the spaces he leaves to play with within a group." was nearby. Being from Des Moines, I him. He doesn't have a big overpowering had never really seen a lot of live music. sound that you can just bash over." It just didn't exist. And I was never Despite Bill's doubts about that gig, around people my age—or very many Konitz remembered the young drummer, people in general—who were into jazz. and later called him for a regular Sunday So when I finally came to town, I wanted gig at the West End in New York. "It was to see all my favorite drummers—all the great because we would go on stage and people I had been listening to on have no idea what we were gonna play. records." Sometimes I played whole sets free with him—no tunes, no Stewart got his degree from William Paterson in 1989, but changes, no nuthin'. And then when we played standards he had begun playing around New York in different contexts a wouldn't call tunes, he would just launch into something famil- couple of years earlier. "One of my first gigs in New York was iar and we would play a really abstract version of it. with [Jazz Messenger trumpeter] Brian Lynch at a club called "We did a similar kind of thing on this record on Soul Note. Visiones in Greenwich Village. And I just sort of went from It's got three tunes that are totally spontaneous. And we do free there. I kept meeting more people and making connections. In versions of some standards like All The Things You Are." Now New York, it's just a matter of people getting to know you and there's an example of a tune he's probably played thousands of liking what you do. So I was able to get some gig experience in times in his career. But he's one of those people who can really my earlier months here, and it's been a gradual process of make it different every time, because he really knows the tune growth for me. I think my playing has improved a lot just dur- bass player, or guitarist, and go along with him. This has the advantage of relieving the tension, plus it offers the possibility Getting Serious of finding a new groove at a different tempo at which you might find common agreement. But it also carries with it a sense that you've somehow betrayed your role as timekeeper for the band. About Timekeeping You've handed your station over to somebody else—the first step in a progressive erosion of the others' trust in you as the holder of that post. The first step towards total anarchy. (Today, by Peter I. Cohen the bass player—tomorrow, the accordionist!) Moreover, as most of us know, once you allow the tempo to start to move in one direction or the other, it tends to continue moving that way, This is the Day of the Click. It has seeped through our de- until even the most inebriated listener can tell that the train of fenses and infiltrated all of our consciousnesses. How could we the tune has run away (or been derailed altogether). On the have helped it? The click track has set the standard for meter other hand, if you...2) stick to your guns and just muscle on and tempo in almost every recorded piece that we have heard ahead at the speed you feel it should be at, heedless of the sig- for the last 15 years, at least in rock, pop, and commercials. nals coming from any of the others, you are likely to destroy any Our ears have become accustomed to it. And as a result, chance you might have for preserving a groove. Unless the oth- whether we, as musicians, actually use an external reference or ers come to heel, the pocket will collapse under the ensuing not, all of us today seem to have lower thresholds of tolerance tension. A no-win situation, it would seem. for uneven time than we did in the past. The Click reigns But who is to say you're "right" in the first place? How can supreme, in our minds and in our cells. you be sure that in any given moment you have a better sense The drummer, always regarded as the "timekeeper" anyway, of the time—by which I mean both meter and tempo—than now finds himself (or herself) with a tougher job than ever anyone else in the band? So many variables intrude—the feel of before. The standard by which his or her timekeeping ability is the room, the response of the crowd, the amount of rest you've measured has become absolute. Whether this is a "good" thing managed to get that day, the fight you've just had with your or not has fueled many a debate among musicians. In my own mate, the number of cappuccinos you may have consumed case, returning to professional drumming after a few years' before the gig, the technical demands of the tune itself.... time off (no pun intended), I must admit that I felt some Who's to say that the accordionist may not have a better grip on resentment about this: Wasn't it unfair, after all, that now I had things than you, after all—at least right at that moment? to be held accountable to the standards of a machine? But then Unless you're one of those blessed few who just happen to have I realized, much to my horror, that I, too, had internalized the been born with an infallible "internal metronome," there's no new criteria over my years of idle listening, and had become, in way to really tell. fact, intolerant of my own waverings. Clearly, whether I liked it Which may be at least one reason why no less stellar a figure or not, the time had come to buckle down and do something than said in a recent interview that all musi- about this. Time to re-calibrate my internal clock. Time to get cians—not just the drummer—should share in the responsi- serious about timekeeping. bility for keeping time. "Why should I keep time for some- Well, my self-training is far from over, but I've certainly col- body?" he wondered aloud. "I have an instrument that can lected some useful data and impressions so far. I should men- color, that can build and do anything in the world to enhance tion that my recent experience has been limited to performing the performance. So am I going to be restricted to just saying and recording original with one particular band, 'ding-ding-a-ding' for you? If you can't keep time then you using click tracks and sequencers in the studio, but not on should not be involved in this music.... Every instrumentalist stage. However, most of my findings, I think, could easily apply should be able to feel the pulse without the rhythm section." to drummers finding themselves in other situations. I agree with Roach, at least up to a point. I'm still inclined to believe that the drummer should serve as the primary time- Caught Between A Push And A Pull keeper for the band. But not as an iron-fisted, metronomic For instance, most drummers can relate to the feeling of tyrant; rather, as a kind of tacit reference point for those other, being "pushed" or "pulled" at various times and to varying equal contributors. This is not as mysterious as it might degrees by other members of the band during live perfor- sound. It simply means that to be the "timekeeper" for the mance. You know—those times when you could just swear that band may sometimes mean to yield the direction to another the bass player is wanting to drag, or the guitar player is want- member at any given moment. Not "giving up the reins," but ing to rush. You can just feel it—that tension between you, that rather flowing with the inherent momentum of the tune at that resistance. particular place and time. Your leadership is made "tacit" by Well, you have a couple of alternatives: 1) You can yield to the precisely this unspoken agreement you have forged with the others to share the creative impulse as it arises with every beat. the pulse in a way that everybody else will be able to feel it, too, At its best, this describes a situation where the drummer has and then entrain with it. joined in a kind of organic integration with the rest of the band We have a choice among several such external time sources. such that each member has become interdependent within the First, of course, there are recordings: the time-honored tech- whole. A situation in which the band can be said to have nique of playing along to the radio, records, tapes, and CDs. become "fused." Admittedly, this is a relatively rare occur- But as useful—and fun—as this technique might be in terms rence, and it takes time and attention to cultivate within a of providing inspiration and developing musicality in general, it group of musicians. But the musical payoff is enormous. It can somehow does not seem to have as direct an impact on time- explain why , for example, chose not to even try to keeping skills, per se, as other things do. I'm not sure why, go on without ; why Def Leppard didn't even con- but—and this is just my personal opinion in any case—it may sider finding another drummer after Rick Allen lost his arm; be because recordings contain in them so many more elements how the Allman Brothers' Butch Trucks and Jaimoe (see the than just the single, isolated one that we're concerned with March, 1991 issue of MD) and the 's Billy here. To train yourself in timekeeping, it seems necessary to Kreutzmann and Mickey Hart can play so fluidly without get- hone the reference source down to that one, inescapable, un- ting in each other's way. Yes, when a band is ignorable (and often unnerving) stimu- truly fused, timekeeping happens. It is lus—the Naked Pulse itself. taken care of in the midst of the magic that "Although The simplest such source is the elec- music-making itself conjures up. tronic metronome, and there are several True, this may be a somewhat idealistic at first the good models available today. You want goal for most of us, but there are moments one that has an output for headphones, when it happens even in one-time free- unrelenting click however; and it may also be useful to get lance situations; and I wanted to at least one with a flashing-light signal. Here, mention it here, before going on to in your ear you are down to the very basics—just a describe the more "practical" techniques. click (and flashing light), set to a certain For we should never allow our efforts to may seem number of beats-per-minute (bpm). You achieve technical perfection to obscure our can practice your rudiments, practice real goal: to let our bodies themselves intrusive your fills, practice your various patterns. become pure and spontaneous conduits for Use your hands, use your feet, use com- the groove. As put it (in the and irritating to binations. But whatever you play with it, April '91 issue of MD): "Just because a the key is to allow the click to penetrate piece of music is in time does not mean you, it will soon your consciousness—not fighting it or that it grooves; that's a higher level and the fixating on it—but just letting it gently one to which all musicians should aspire." become almost entrain you with it at various speeds. Although at first the unrelenting click in Training To Entrain With Time unnoticeable— your ear may seem intrusive and irritat- So back to the dragging bass player and ing to you, it will soon become almost the rushing guitarist. How do you actually even a kind of unnoticeable—even a kind of comfort. become that "tacit reference point" around And after a while, not only will you find which the band's intercommunal sharing comfort. " that your "evenness" will improve, but can revolve? your inner sense of what 120 bpm feels The answer, obviously enough, is train- like, as opposed to 110 or 130, will grow ing. Practice with some kind of external ref- more certain. You will be well on your way erence source. But what may not be so towards developing your own internal obvious is the reason: how subjective most clock. of our "internal metronomes" are, how One very effective exercise is to play infuriatingly vulnerable they are to all the along with a particular tune "in your emotional vagaries of any given moment. It head" after you have set the metronome is not until we actually sit and practice for a while with some to the respective tempo. This does require, however, that you kind of mechanical signal that we will really "get" just how have already notated the optimal beats-per-minute figure for unstable and wavering most of us human beings really are. each of the tunes in your repertoire (which you should do any- Practicing with such an external standard, we can eventually way), plus have a good memory for tune arrangement. begin to internalize some of that solid, metronomic "sense" ourselves. It will eventually seep into us, become second- Using The Beat Bug nature to us—again, not so we can become machine-like in our Perhaps my most valuable "find" of all is the Beat Bug, made playing, but rather so that we can better provide what's wanted by L.T. Lug Lock. Attached to the rim of your snare drum, this and needed in today's music. Not so we can issue dictatorial ingenious device provides an instantaneous read-out of every commands from our throne, but so that we can simply embody interval it "hears." It hears these intervals by way of a sensi-

Practical Applications Of The Mozambique Rhythm

by Chuck Silverman

Many drummers are turned off by Latin This is a basic example. music because much of the available literature doesn't explore contemporary ideas that can be used in other musical contexts besides Latin. But studying this music in a new and creative way can be of great help to many drummers. Learning about the mozambique rhythm, for instance, can give jazz, rock, and fusion players many great ideas on groove playing, soloing, fills, and independence. Latin music is music based on the drum. It's for all drummers, so relax and dig in. To start off, clave is the most important concept in the study of Latin music. Translated into English, the word means Now we'll add the other hand to the pattern, playing the snare "essence," "foundation," or "key." These are very descriptive and tom. The rhythm indicated is typically what a timbalero words, and each of them carries a lot of weight. Clave is the (timbale player) would play between the low and high timbales. essence of many of the rhythms we will be studying. Its two-bar The tom part designates another important part of the pattern is the very foundation of Afro-Caribbean music, and in mozambique rhythm, the ponche (or punch). These examples it we can find the key to a better understanding of the drumset's are accompanied by the bass drum and hi-hat playing the role. downbeats. One of the patterns we'll become accustomed to is the forward 2-3 clave clave, or 3-2 clave. It's called 3-2 because in the first bar there are three beats, and in the second there are two. 3-2 (Forward)

3-2 clave

The 2-3 clave, or reverse clave, is exactly that—it has two beats in the first bar, and three in the second. 2-3 (Reverse)

Adding a different bass drum pattern to each of these patterns results in the following grooves. Why is understanding clave so important? Well, getting the clave feel down will help all our Latin playing feel better. I've found clave to be a kind of tension-and-release formula. One bar is the tension, the other bar is the release. Actually, almost all music is about tension and release—in harmonic as well as rhythmic terms. If we can bring that feeling to our playing, we can become better musicians. Now on to our first study, the mozambique rhythm. First we'll look at a typical application of the rhythm. By concentrating on the feel of the basic rhythm, we can then move to variations of the rhythm while maintaining the feel. An important part of mozambique is its cowbell pattern. The following exercises are in both 2-3 and 3-2 clave directions. Notice that the only difference in the bell pattern is in which measure it starts. There are many variations to this pattern. Now let's examine a contemporary groove idea that has the inherent feel of mozambique within it. Try playing the following pattern as written. Then reverse the sticking, making every right hand a left and vice versa. This will develop your independence and your weak hand.

In this next example, we've taken the above idea, which was inspired by the mozambique rhythm, and applied it to an odd time, specifically 3/4. (Notice that in both these ideas the hi-hat is closed with the foot on each downbeat, except for beat "4" of the common-time example.)

I hope you've enjoyed our first foray into Afro-Caribbean rhythms and their applications to many different styles of music. We'll be examining many other rhythms in upcoming issues. If you have any questions or comments, please feel free to contact me through MD, and I'll be sure to get back to you. three bands for the night, and giving them live in a big city, try traveling to the sub- all the same spiel. He makes $750 from urbs, or the smaller towns a bit farther Don't Pay the bands, which "obviously isn't enough out. It might mean spending some travel- to cover his expenses for the night," so the ing time and money, but those clubs might bands get nothing back and are each out be eager for some quality "out-of-town" To Play their $250. In the meantime, the owner entertainment. In other words, you could has received free entertainment for his go from being an unpaid, tiny fish in a very clientele, and has been able to perpetuate big ocean, to a fairly well-paid, big fish in a by Rick Van Horn the impression with any musicians in the small pond. It's worth looking into. area that his club is the hot Unfortunately, the place to play. bands that are the easiest In my last two columns I had a lot to say Sound like a ripoff? You " Many for unethical club owners to about what was good about playing clubs, bet it is. But many bands are exploit are young bands and what could be gained by being a club so desperate for someplace bands are so eager for the opportunity to musician. I also stated several opinions to play—both from an emo- play in front of people in regarding the values of different kinds of tional and professional desperate for order to gain experience— clubs—and perhaps of the musicians who need—that they succumb and willing to pay for that work in them. But this time, I want to start regularly to this type of someplace to opportunity. While I concur off with a blanket statement that applies to exploitation. that experience is an essen- any musician approaching the possibility Well, you ask, what can be play—both tial ingredient of improve- of playing in any kind of club: You should done? If there are only so ment, I feel that a band can never pay to play! many clubs to play in, and from an gain just as much experi- In many places—especially large cities many of those are pay-to- ence by performing for with an overabundance of aspiring bands play situations, where do you emotional some organization that isn't and a limited number of venues—the go? My answer is that you gaining additional financial music scene is a "buyer's market." Club have several options, and the and benefit from the band's owners are besieged with bands who want choices depend on how efforts. That is to say, to perform in their clubs. The ethical ambitious, creative, and professional rather than pay their own thing for these club owners to do is to lis- downright indignant you are. money to play in a club that ten to the bands (either live or via an audi- First, if you are indignant need—that sells drinks for profit, a tion tape), decide which ones will go over (as I am) about such an band should offer its ser- best with their clientele, and then book unethical practice as pay-to- they vices, gratis, for school them to play one or more dates. These play clubs, you can pass the dances, fraternity parties, should be paid bookings, at whatever the word around in your musical succumb to charity functions, or other appropriate rate of pay may be. (It might community, in an attempt to such activities. The organi- be a flat rate, a percentage of the door, or get other musicians not to exploitation." zation gets the music for some other figure that is agreeable to both play there. In other words, free, while the band gets parties. Salary negotiation is a subject for organize a strike! Nothing the experience and the another column.) The band plays the date will affect club owners of exposure. It doesn't put or dates, and if it does well, is asked back. this breed except a blow to spending money in the Now, that's the ethical way to do it. The the pocketbook. Put up fly- band's pockets, but it unethical—and unfortunately all-too-com- ers around town (music doesn't take it out of their mon way—is for the owner to tell the stores, record stores, school pockets, either. And it does bands, "Look, you all want to play here. I bulletin boards, and other give them the opportunity gotta hire a sound system, pay for lights, places where club flyers are often posted) to try their skills in front of a live audi- cover my staff's salaries, and maybe take a informing the club-going public about the ence. Once those skills are fully devel- loss on all of this if you guys don't sell a lot situation and asking them not to frequent oped—along with the band's popularity— of drinks (or tickets, or whatever). So you those clubs. And make sure to support any the band will find themselves in a much need to put up a $250 deposit with me. If I clubs that do not have such an unethical better negotiating position when it comes make more than that on you, I'll split the policy. I can't guarantee that it will work, to paying gigs. overage with you. In the meantime, you but it might, and it certainly might gain My basic premiss for this column was guys get the benefit of the exposure you'll you some personal satisfaction. that you should never pay to play. I have get playing in my club." In the meantime, look for the ethical nothing against playing for free, if you Now, let's figure that this guy is hiring clubs, and try to get work in them. If you stand to reap some other form of tangible benefit. But don't make a career of playing sure that you gain something positive from your wits about you when dealing with for free, and don't do it in a club when the your musical efforts, no matter what they club owners, and make sure that when it owner is making money as a result of your may be. That gain may be in the form of comes to working in their club, you are performance. Is he promoting his club by experience, publicity, or money. (A combi- employed, not exploited. giving away free liquor? If not, then don't nation of the three is even better.) Keep help him promote it by giving away your music for free. If you are working together on some promotional campaign, fine; just make sure that everybody's investment and potential benefits are equal. Finally, if you must pay to play, you should pay yourself. That is, if you have to spend money, spend it in such a way that you stand to gain from your investment, instead of some unscrupulous club owner. Take the money that the club owner is demanding (or pool yours with that of sev- eral other bands) and hire your own hall, sound system, lights, etc. There are always old theaters, VFW halls, school gymnasi- ums, and other sites available for rental, whether you live in New York City or Podunk. Again, how much energy you have comes into play here, since you might have to do some research into permits, alcohol regulations, sound level restrictions, etc. But it can be done—and done profitably, if you do it well. You might find that "con- cert promotion" is more rewarding—in several ways—than slogging about from club to club. And when you are the pro- moter, you'll find that job-related negotia- tions are amazingly easy! The bottom line here is: Always make KENNY ARONOFF 'We'll play these two songs before the camp—about making records and doing die. You have to be ready for anything. I show starts. Now in this one, stop when I farm chores. "I was treated really, really obviously didn't know all 250; I got tapes tell you to stop. I'll play for four mea- well," Aronoff says. "But it got wild of as many songs as I could and listened sures, then you come back in, then I'll sometimes. At one point Paul called out a to them on the plane going to and com- cue you to stop again, then I'll play for song, and I couldn't think of how it went. ing from Japan. eight measures, then you come back in, Paul was already counting it off, so I "When I got to the show," Aronoff and at the end play a solo. Then we'll go looked over at Will Lee and said, 'Will, continues, "I thought we'd at least into "Brown Sugar.'" So I'm trying to jot who did this song?' Will said, 'Billy Pres- rehearse the beginnings and endings of all of this down as fast as I can. I go back ton,' as Paul was going, '...three, four.' I the songs, but you only get an hour to to the drums and I'm not even situated suddenly remembered how it went and rehearse, and Paul wanted to rehearse behind them when Paul starts counting BAM, we were doing it. Another time two Mellencamp songs—which I already off the first song." Dave turned to the band and said, 'Give knew!" Kenny laughs. "Then Paul Despite Kenny's fears, the show went me some AC/DC. One, two, one two showed me his basic cues, and after that well. "The first day you do any gig is three four.' Paul yelled out a song title we learned this little Vegas-type jazz always the wildest," Aronoff says, and I didn't have time to think. I just thing that we were supposed to play "because you haven't experienced things played fast time on sloshy hi-hats and when Dave said, 'You've won a brand- that everybody else has been comfortable watched for a cue to end. When I saw the new car!' Then we went through the with for a long time. But it went great, show in my hotel room that night, it theme, and Paul told me to watch Dave's probably because everybody was so con- sounded great. But I didn't know what I hand motions during the monologue and cerned about doing it right. Paul gave me was doing," Kenny laughs. make drum hits to go with them. Then the best cues he could, and somehow I Kenny came away from the experience we just talked through some songs we pulled it off." with a new respect for what Anton Fig were going to play on the show. During Letterman seemed to enjoy having deals with on a regular basis. "He really all of this I'm writing notes to myself as Aronoff in the band, acknowledging him does that show well," Kenny acknowl- fast as I can, and all of a sudden some- each night, getting him involved in edges. "Replacing the drummer has to body walks by and says, 'Three minutes "Stupid Human Tricks," and doing be one of the most difficult things to do. to show.' Meanwhile, Paul is telling me, jokes—obviously directed at Mellen- The band is the car and the drummer is the gasoline. You can have the fanciest sick and had to play a show or do a ses- take a month or two off before starting to car in the world, but if you don't use the sion. But if you're eating right and taking rehearse for the next album. But except right gas, the car won't run well. And vitamins and generally trying to take care for when we were on tour, I was living in that's what it's like switching drummers, of yourself, that at least helps the situa- my own house where it was easier to eat especially in a band that has an estab- tion." properly and get regular sleep. Even on lished groove. You change the drummer, It's only been during the past couple the road we had a somewhat consistent you change the whole feel. But that can of years that Aronoff has realized how schedule. be exciting, too, for the other members, important those things can be. "From "The Lonesome Jubilee tour ended if the drummer is good. You just don't 1980 to '88," he explains, "I was living a July 3 of '88. On July 7, I was in the stu- want to be bad gas." fairly normal life. We were going through dio with John Eddie, and from then until the cycle of rehearsing for an album, I went back with Mellencamp this past or a band called Hammerheads, recording the album, rehearsing for a February I was on the go constantly. I IV was their biggest break tour, and doing the tour. Then we might remember one run that was typical. I had Fyet. They would be performing at the same concert with John Mellencamp, , Guns N' Roses, Bonnie Raitt, Crosby, Stills & Nash, , and Bruce Hornsby, not to mention an audience of 45,000 people. So if there was ever a time for one of the band members not to get sick, this was it. Nevertheless, the night before the show, Hammerheads drummer Matt Thomp- son ended up in the hospital. "I don't know if it was a flu bug or what," he recalls, "but they didn't want to release me. I had to make that concert, though." Thompson arrived at the Hoosier Dome the next day around noon. Ham- merheads were supposed to go on at 2:30. "I stumbled to the dressing room and collapsed on a couch," Thompson says. "I figured I would just rest as much as possible and hope for the best. All of a sudden the door flew open and Kenny Aronoff came in. He had heard that the drummer from one of the bands was feeling bad, so he came by to offer his encouragement." Thompson smiles at the memory, simultaneously shaking his head in dis- belief. "I was blown away when I saw Kenny," he says. "I mean, I've got so much respect for the guy anyway, and for him to take the time to come and see me was really special. He gave me a big ol" pep talk for about an hour, and told me how important it is for drummers to take care of their health. By the time I had to go on, he had me so charged up that I played great, and I felt fine the rest of the day." When complimented for his good deed towards a fellow drummer, Aronoff mod- estly shrugs it off. "I knew what he was going through," Kenny says. "There have been a lot of times when I've been been recording in Bloomington, and "Most of these things," Kenny contin- Kenny's first change involved trying to then I had to catch a flight at night to ues, "were like 15-hour days. I would be eat better. "I didn't need food that would LA to do a video shoot with Corey Hart sitting on the plane listening to a demo bog me down," he explains. "I needed the next day. As soon as the shoot was tape of the next project and transcribing food to give me lightness. That meant over I caught a plane to Atlanta to record it. Then I would catch two or three hours more vegetables and less meat. I wasn't a for three days with the Indigo Girls. I of sleep, get off the plane, and go right to complete vegetarian, but I was very, very flew back to L.A. to record with Bob the next thing. Sometimes I would go a close. Also, I would start the day by just Seger, and then flew to Woodstock for a whole week only getting three hours of eating fruit. And I found that it was good week, where I was producing a band sleep a night. Now that can be cool when to wait a little bit before I even ate that. called the Breakdown. From there I flew you're motivated and have a lot of energy, You need to get your motor going first, if back to L.A. to finish recording with but at some point the body needs a rest. I you can. Seger, and then I went straight into can probably push the limits as much as "Also," Kenny says, "because I wasn't recording with . There were anybody, but living that kind of lifestyle, I getting enough sleep, I'd take a strong no breaks between any of these projects. had to make some changes." multiple vitamin with a tremendous amount of vitamin B and all the miner- als. A good multiple vitamin will help protect your immune system, because working those hours, man, I was suscep- tible to everything. If you are starting to get a cold and you haven't had enough sleep, you're not eating well, and you're drinking, you're really going to get sick. "Another thing," Kenny adds, "is if you are eating wrong, drinking, and abusing yourself, it's very important to get car- diovascular exercise so you sweat. That is a good way to get rid of germs and viruses. At a hotel I would ride a bike or do the treadmill, or I would go out and run. Of course, running in L.A. wasn't always good because of the pollution, but you can always do situps and pushups in your hotel room. If I've had a long stretch of work with no days off, though, I start decreasing the exercise so that I can save all my strength for the session. "All of those things add up," Kenny concludes. "I found that eating better, staying away from caffeine and alcohol, taking vitamins, and exercising made it possible for me to accomplish what I accomplished over the past two years. I worked almost every day."

hen John Mellencamp called to say he had decided to put the Wband back together for an album and a tour, Kenny had to make a hard decision. "I kept putting it off," Kenny says. "I didn't know what to do. I had a whole new career doing sessions in LA Should I blow that off and go back to a band that I had already done for ten years? Would I be going forward or back- wards? If I were Kenny Aronoff's manag- er, I would probably have told him to seriously consider quitting the band, move to L.A., continue to do sessions, and start trying to produce more." himself) and his syllables are slightly fit what I'm hearing, but there is nothing As with his drumming, though, Kenny slurred as though he is singing to him- about the tape that suggests anything out will often forsake technical correctness self rather than for someone else. Add to of the ordinary. to go for what feels the best. "I've devot- that the raw quality of the tape itself, The song ends and Kenny ejects the ed 11 years of my life to this band," he which sounds as if it were recorded on a tape, loading another one in its place. A says. "It's like family, and I'm an integral portable boom box, and if you didn't rec- moment later the sound of a driving rock part of it. And I'm definitely a band kind ognize Mellencamp's voice you might band blasts from the speakers. Soon, of guy, no matter how many sessions I think it was an old recording of a Delta Mellencamp's voice joins in, belting out play. When I'm in the studio, I don't want blues singer. a set of lyrics. Only then do I realize that to just clock in and clock out. I want to "That's a demo tape John gave us of it's the same song I heard on the demo. be part of the band that's making that one of his songs," Kenny comments. "I The drum pattern features a double bass record. That's why I get into it so much. had to listen to that to come up with a lick, and instead of the customary back- I want to be on the team—the starting beat." As the song continues, I try to beats on 2 and 4, the first snare drum lineup. So if I didn't have this band to decide what type of drum pattern would note smacks one 16th note before the 2, come back to, I'd look for another one to be in." Kenny does, in fact, feel that there is a great deal at stake with the new Mellen- camp record. "This is the most impor- tant record I've ever made with John," Kenny says, "because we have to beat six other records we've made. We have to be better than we were, or at least as good in a different way. We have to be leaders, not followers. A lot of bands are sound- ing like other bands; I want to sound like us. "I also want this to be the best record I've made in the last two years because this is my family. I belong to this band. Like I said, when I do a session I try to make it feel like I'm playing in a band. But the reality is that I'm not. You can't just take a bunch of studio musicians—I don't care how good they are—and make them sound like guys who have been together for 11 years." Kenny feels that he has come back to Mellencamp with a wealth of knowledge and new ideas. "On John's new record," he says, "I'm playing seven beats that I've never used on his records before—or anybody else's. They are not radically different, but they're fresh. On one song, I play the bass drum on all of the offbeats, which works well with the bass line. On another song I used a dou- ble bass pedal for the basic beat. I've never done that before, either. "I should play you a couple of tapes," Kenny says, suddenly jumping up from his sofa. He loads an unmarked cassette into his tape player and soon John Mel- lencamp's unmistakable voice is filling the room. But it's not the sound that one normally associates with Mellencamp. He is accompanied by a single acoustic guitar (which he is presumably playing giving the listener a musical jab in the not going to hear anything that sounds sometimes played open-handed, with his ribs. Nothing on Mellencamp's demo like Lennon, Hendrix, or Zeppelin, but left hand playing hi-hat and his right seemed to suggest what Aronoff ended those were the general attitudes we were smacking the snare drum. It was a tech- up playing. approaching the record with: aggressive, nique that Kenny first experimented "Usually," Kenny explains, "John just loud, intense. So I did a lot of listening to with during the time he studied with plays the song for us in the studio and Lennon, Hendrix, and Zeppelin, but I Gary Chester, long before he was a we have to come up with an arrangement also listened to a lot of other things. member of Mellencamp's band. But he right on the spot. When you're starting "I came up with three or four different had never developed it to a very high from something that sounds like a folk beats for each song," Kenny says. "For degree. He started using it again with song, you have to get another reference that song I played you, 'Love And Happi- Mellencamp on songs such as "Hurts So point. So John might say, 'Let's take the ness,' one of the beats I came up with Good" and "Hand To Hold On To" to approach of an Animals song. What had that pushed 16th note, and in all get a looser, sloppier feel, precisely would they do?' I might take an actual honesty, I didn't think John would ever because he couldn't do it as well. Soon, beat from a song I've heard, but as we go for that. He liked it, but he asked me he was playing left-handed almost as work with it, I'll change the beat and to try to use double bass drum in it. So I much as he was the "regular" style. modernize it. A lot of the pressure is on filled in some 16ths with the double But after all these years of doing that, me to come up with a beat, because bass, and that became the basic beat of surely Kenny's left hand has developed that's really what you're going to build the song." to the point where it's no longer particu- the arrangement around. So that's why Kenny has found that trying to come larly sloppy. "You're right," Aronoff it's important for me to listen to lots of up with new beats behind the drumset is agrees. "Playing left-handed now, it's different styles of music so I keep new not always ideal, as it's easy to start play- much tighter, but it still has a little dif- ideas in my head. ing patterns you already know. "A lot of ferent feel. When I play 8th notes right- "With this record, though," Kenny times," he says, "when I want to come handed I tend to accent the 1, 2, 3, and 4. continues, "John gave us tapes of nine up with something new, I start singing When I play left-handed, I tend to accent songs ahead of time, so that gave me things as opposed to playing them on the all the 8th notes. So that's good, because time to do some research. I had some drums. After I come up with something I can get a different sound without even guidelines to go on: John said to think interesting, then I'll write it down." trying. It just naturally comes out that Lennon, Hendrix, and Zeppelin. When In a previous MD interview, Aronoff way. you hear the final record, you're probably explained that with Mellencamp he "When we play live," Kenny continues,

"I tend to play half the show left-handed. and try to do it my way. If a producer tells both of them, but I can play with the When I want that super LOUD power me he wants a particular thing, fine. I'll same passion. stroke on the snare drum—when I really do exactly what he says. But I still play "See," Kenny says, "technique is want to take it over the top—I can raise with my feeling until I'm told to do oth- important, but there has to be a balance my right hand way up higher than I erwise. There are other elements to between technique and passion. When I would be able to raise my left hand if I doing it your way besides the beats you was in high school the three things that had my hands crossed. So another play. The good news is, your basic per- made me passionate were music, sports, advantage is just for power. sonality really has the most affect on how and girls. It felt so good to play sports. "The other thing is I can keep my hi- you're going to sound. The way I play You go out there and try to win. And even hat going while I hit things on the right drums from song to song stems from if you lose, you are sharing a very emo- side of my kit, such as tom-toms or cym- who I am as a person, I'm excitable and tional and physical experience with a bals. An example of that is on the new passionate, and that's why I can get into team. You feel the ups and downs, and Aldo Nova record, a song called 'Bright the Indigo Girls as much as Jon Bon Jovi. you're living. Then I'd have a girlfriend, Lights.' Jon Bon Jovi was producing, and I can't play the same way technically for so I was feeling all the things that go at one point he wanted this 8th-note tom fill, but he wanted the hi-hat going, too. And he didn't want to do it by overdub- bing. So that's a good example of why it's good to be able to play that way." The Mellencamp band took a few weeks off after recording the new album—except for Aronoff, of course, who ended up back in L.A. doing more sessions. But as the band prepares to hit the road for an extended tour, Aronoff is looking forward to doing some live play- ing again. "I'll probably lose my place in the stu- dio a little bit while I'm touring with John," Kenny admits. "But when I come back, if it means a lot to me, I'll just have to bust my butt again to start it back up. At least I've already proven I can do it. It may never get back to where it was. Who knows? But I have to follow my heart—follow that passion. That's the key."

enny Aronoff can obviously handle a lot of different musical situa- K tions. So how does he assess his own abilities? "I play with a tremendous amount of force, confidence, and power," he says, "but also with control. That's the rock part, but there's also the roll—that sort of sleezy, slippery, unde- fined stuff. I'm constantly trying to dec- orate the cake with creative things so that it's not so controlled that it's sterile. "Technically," Aronoff continues, "my basic style of playing is the 'less is more' approach. I can give you more, and if it's okay, I'd like to. But I have a whole vocabulary of ideas based on playing simple. "I also play with a tremendous amount of passion," Kenny adds. "I play like I care. The thing is, at a session I'll go in along with that. I couldn't wait to call her got to the bones, and now I'm in the mar- when I can't get into a song. That's when up at night or go on a date on the row, man. I'm in deep. I want to know I have to slap myself in the head and say, weekend. what this song is about. I want to know 'By golly, you better find a way to get into "And then there was music, which is the whole vibe. Then I can start thinking it or you're going to sound like shit on really cool because I can feel all those about what beat I want to play. this record.' And I've never failed at that. other things when I'm playing music. "You want to know what the toughest I will find a way to get turned on by a There is the technical side, which allows session in the world is?" Kenny asks. "It's session—somehow, someway." you to express emotions, but you have to feel those emotions. Music isn't just con- trol, it also involves the kind of passion that is almost out of control. You're not thinking, you're just living. And it may go a little this way or that way. That's why sometimes music doesn't have to be per- fectly in time; it can just move. That's life. Life isn't perfectly in time. Life undu- lates, it swells, it moves to the right and to the left. "But when you force everything to be perfectly in time and quantized, that's an intellectual ego trip. You're getting off on a concept, but that's not life; that's not passion. Nothing is perfect in life, and that's why some of the best music isn't perfect; it's got that same kind of move- ment that life has. It's not totally out of control, just enough to make it feel natu- ral. "You know," Kenny says, "when I hear a song now, my first concern is not the drum beat. I want to hear the song; I want to know the lyrics. I'm going deeper now. In the beginning of my drumming life, everything was on the skin. Then, as I became more educated, I started getting down into the layers of the skin. Then I

NYC JAZZ ROUND TABLE can classical music, the drum has been Kenny: People don't really know. They experience. They haven't played with supressed. It took leaders with courage can go out of the club buzzing, but they anyone, haven't been on the road, haven't to allow drummers to exert themselves. tend to forget about it. been there. You can't learn it from a Every time they did, the music changed. Jeff: This culture is so consumer-ori- book. Jeff: What separates this music from ented. Music has been reduced to a Ralph: The institutions are still playing other is not necessarily anything product in the mass market. the same political games that go on in harmonic, or form things. It's the dance Kenny: But it's the same all over the society. It's a reflection of America's sensibility. There have always been com- world. The Japanese and the Europeans societal problem with education as a plex rhythms, but this music has a dance will check it out. But in Japan, unless whole. Qualified teachers are not sensibility that wasn't present until my you're a really big name, jazz is still sec- respected in America. They should be people were here. ond-class music. I've been there with sought out. You want to teach young peo- KM: Do you mean "swing" by dance Clark Terry, Jon Faddis, Johnny Griffin, ple to be individuals, to give them the sensibility? Tommy Flanagan.... Someone who plays historical data necessary to attain their Jeff: Could be swing, funk, reggae...it's more commercial jazz will be put in the goals. rhythm. The drum being used to make big halls. Smaller artists are working at Marvin: If you're going to educate them people dance and other instruments imi- the Pit Inn. about jazz music, you have to educate tating that. If jazz didn't have that thing Marvin: I was at Tower Records today, them about the African-American expe- that makes people want to dance, you and they had this huge display for the rience. A lot of bureaucrats don't want to could draw a criteria into it and draw live Chick Corea Akoustic Band album. hear that. parallels between it and European and This is the tragedy: You hear this record, KM: Maybe it's easier to support the other musics of the world. That's why and you're lead to believe that this is the European classical tradition? the drum is so important. precedent for what jazz should sound Marvin: It pumps up their egos. They KM: Is it true that it's hard to find good, like. You put on a Coltrane record, or don't want to make an African-American swinging drummers in Europe? ' Kind Of Blue, and people their hero. You kidding?! Adam: You can count them on one will turn their nose up. I mean, kudos to Adam: Vanilla Ice is much safer than hand. Chick Corea, the cat's done some beau- M.C. Hammer. Marvin: People have got to hear some tiful things musically. But if it ain't KM: It seems impossible to discuss jazz soul in a player. They can go as far out as swinging, man...throw it back! I mean, drumming without getting into the they want, but sooner or later they have everybody in this room plays their ass issues surrounding it. to return to some soul. off! Swinging their butts off! I'd probably Ralph: It goes back to what Max Roach Adam: The spirit always needs to be die and go to hell if Dave Weckl came to says about drums and jazz being the energized. It's not about how fast a guy's my gig to ask me questions about playing strongest representation of the black playing or how slick he is. Did he get you the instrument. man in American society. The first thing in your gut? Has he affected you? Adam: I recently played a Zildjian day in taken away from the slaves was the Jeff: People are so conditioned now, a lot Boston with Myron Grombacher, Gregg drum. Throughout the history of Ameri- of them don't even care. Bissonette, and Peter Erskine. I figured those guys would play with a track. I Kenny: But that's the problem. Most of went up to play for the moment. I the young drummers feel they have to brought a bass player and a sax player. A play something different. Elvin Jones and lot of the kids had no idea who I was. I Tony Williams didn't wake up and say, played a four-piece kit. I said, "I'm here "I'm gonna play something different to play music, not just to play the today!" It's a continual thing, something drums." I played "Mary Had A Little that happens. Lamb" for five minutes. I swung it, Lewis: To come up with your own played the melody...I played the cym- approach is important. That doesn't bals. The other drummers who were mean it will be a major innovation, but I there know who we are.... think all of us are trying to express our- Ralph: To know is not enough. When selves in our own way—it may be they fail to tell their audience what small—but we're trying to advance the inspired them to play the drums, which instrument. nine out of ten times is either Victor: The best thing you can do is or Max Roach, then they are still part of what's best for the music, as opposed to the problem and not the solution. thinking, "I'm gonna play some shit Adam: But they may not know Art or tonight that's gonna wipe everyone out!" Max. Their big influence may be John That can have nothing to do with the Bonham or Ginger Baker. I mean, a music. beat's a beat. It can be jazz or swing, Al KM: How did you guys learn the instru- Jackson, Bernard Purdie, Zigaboo Mod- ment? eliste...! don't care what you call it. Adam: I started with the name players Chick Webb, Sid Catlett—if a guy of my day and went backwards. grooves, he grooves, whether it's spang- Jeff: You have to do some serious a-lang or a backbeat. research—hunt, look around. You really Jeff: All those people you're speaking of have to have the desire. were giving up, though. At the time they Marvin: For young drummers, the came out, the drumset was still evolving emphasis is not there, and they don't and being invented. The set was invent- care to know. No one is pointing it out to ed to play African-American music. In them. Europe, they still had a snare drummer, Jeff: If someone studies classical violin a bass drum player, and a guy who played or trumpet, the repertoire they must the cymbals. There was no ride cymbal know is presented to them. They have to around. deal with certain priorities before they KM: There have been no major stylistic get busy at all. innovations in jazz drumming since KM: What do you tell young drummers Tony Williams or Elvin Jones. Is it you meet in clubs? important to be innovative? Marvin: I tell people that if they really Jeff: Those people are at the core. Their want to deal with this, they have to check names keep coming up. Just like in clas- out this, this, and this. I check out their sical music, there hasn't been any seri- reaction. If they have a discouraged look, ous evolution in so many years, the peo- I know they're not ready to deal with it ple who have done the most stuff are yet. held in a place of reverence. Their works Adam: I have very profound memories are preserved. of being a little kid and going up to Art It's a crime when somebody who plays Blakey, Eddie Moore, , Elvin, the instrument doesn't know who Roy Philly Joe Jones, and Mel Lewis. These Haynes is. Whenever one takes up the cats turned me on. They didn't dismiss drums, there should be enough media me. I guess with my attitude they could exposure around so they know Kenny see I was honest and sincere in what I Clarke invented the ride cymbal, Jo Jones wanted. Those moments always come to dealt with the hi-hat...it didn't exist mind when young cats approach me. I until these people started to do it. It try to share what I know with them. should be in a place of importance. KM: If a drummer comes from Any- KM: Can we address the subject of where U.S.A. and he can swing, read, innovation? and play the idiom, will he be able to make a living here in New York? know every lick from everybody, but had to cut it. Art and Benny said, "What Kenny: If a guy comes and can do unless you know about the reactive pro- do you want to play?" I said, "You call it, everything you mentioned he'll be work- cess that happens on the bandstand— I'll be there." Bam! That's what you got ing inside of a week. He'll pick up all the it's about application. The ability to play to do. The gig is mine now. leftover work we can't do. The problem music and be a catalyst for a situation. If KM: Is anything else required besides is, there is no one around playing really a guy's been playing in his house with reading well and swinging? good time. I remember when I met Dave Weckl all day and he gets a gig play- Kenny: That's it—the time, the swing, Smitty. This cat came to New York in Jon ing a shuffle like Sam Woodyard, he that's it! Hendricks' band and decided to stay. In won't know what's happening. [laughs all around] less than a month's time he was pre- Lewis: Part of what it takes is what the Billy: It don't mean a thing.... pared. There's plenty of work. bandleader wants to hear. If they're play- Jeff: If at least you're swinging, this Adam: I think there are more players ing things that are musical, and show scene will embrace you. Cats will at least than the scene can absorb. some sense of maturity and history of give you a play. It's not a scene where a Kenny: I think there are more players the music, that's the first step in getting lot of politics are dealt with, like many who are unqualified than there are gigs. hired. After that, it's an ongoing learning other places. If someone gets a sincere Marvin: I've done gigs where after- process. See what it's like to play with a and honest feeling from playing with you, wards the leader wanted me to tour, but I trio, with a sextet...see what it's that will win out over any politics or was already booked. So I think, "Okay, like to play with musicians on a much connections. If a cat sits in and makes the B-Team." There ain't no B-Team! I higher level than you're on, to where you his presence known and makes the have to be honest with the guy. I can't almost feel inept. music happen, that won't be denied. recommend a cat who can't cut the gig. Adam: The best thing a bandleader can Kenny: On the other hand, if you can't It reflects on me. There are not enough say to you is nothing. play and you come to New York, when cats here who are truly ready for the deal. Marvin: Except, "Man, yeah. Alright." you finally do get it together, it will take Kenny: I'm always looking for cats who Case in point: I had to sub for Billy Hart five years to change the impression you can really play. They come to New York with Art Farmer and Benny Golson's made. You have to be prepared. too soon. Jazztet at Fat Tuesday's. I subbed the Marvin: We need people who can play. Adam: There's no substitute for experi- very last night of the gig. He's got this The music demands it. Good players will ence. You can be shedding all day and big book of charts and arrangements. I always have a seat.

Ralph: There may be lulls, you may Greer left and Louie Lewis: Definitely. Those records sound have to play some weddings for finances. Bellson took his place, or when Jo Jones like you're in the club. It's basically a Kenny: Weddings can pay the rent. left the Bassie band and Shadow Wilson very rich, acoustic sound. There has KM: Do you all still play that gig where took his place. Even in Ellington's band been an effort in the last ten years to you're relegated to just keeping time? To with all those heavy personalities, it was accommodate what we do rather than try baby-sit, in effect? the drummers who made the overall to make us change. They have to adjust. Billy: It exists on all levels of gigs. You sound change. The same thing when If they did it in the '60s...they had the might be playing next to a cat who's a Elvin Jones left Coltrane for a while and balance of the instrument down. cat, and it still might be tricky. Roy Haynes came in—completely differ- Jeff: You can't tell someone how to play Adam: Not everybody is compatible. ent thing. in the studio. It's something you have to Kenny may play with a guy and it might KM: Do you approach recording in the do. In a live situation, you want as high a feel right, and I might go in and it won't studio and playing live differently? percentage of what you play—and the feel right. You've heard records that look Victor: Years ago I approached recording way you want it to sound on the instru- great from the people on them, but they with a separate attitude in terms of con- ment—to get the people. That way they sound terrible. Certain people want you cept. I was glad when I finally got over understand the information you're deal- to kick them in the ass. Can you be visi- that. Now I just go in and play the same ing with—based on the inspiration you ble in the music? Or invisible if needed? as I do live. Also, back then I was feel at the moment. Can you blend in? roughed off by engineers: "Oh man, can In the studio it's the same way. You Kenny: The drummer is never invisible. you take your front head off?" I think have to develop different techniques to The drummer runs the band. Even in a there was a shortage of good acoustic get that sound to the microphones. It's situation where you've got to play time, if engineers in the late '70s, early '80s. important to be prepared and comfort- you're not there, you don't have a band! With the advancement of high-tech able because, like says, "You really Marvin: All of us can agree that if the equipment, they started hearing from get the music in the first couple takes." drummer's not happening... the meters as opposed to using their The inspiration and the spirit. Know the Kenny: ...the people will leave. ears. Now we've got engineers who are at head and the arrangement, have the Throughout history, the drummers least as good as the ones in the '60s. I tempo locked in, know everything and be made the big impressions in the big still think the guys then were the bad- in the proper frame of mind. The first bands. It was a big deal when Sonny dest cats for recording acoustic music. few statements you make interpreting someone else's music will be very hon- times when you don't do it, the music musical level the guys are doing that est. You might want to change something takes on a whole different dimension. consciously. It has to be that. after hearing the playbacks... Feathering is almost like tapping your Victor: I know that Lorraine Gordon, Kenny: ...but the spirit dies. For me, foot to a record. who runs the Village Vanguard, gets getting there early is the key so I get Victor: It becomes not really a strike, upset when guys get too loud. She got used to the feeling of the studio. I get but a touch. You use a little emphasis upset at me and I thought, "There's no there two hours early, read the paper, when you want. way I'm as loud as Tony." That's when have a sandwich, talk to the engineer— KM: I've read where Art Blakey said he she said Tony wouldn't work there any- then I'm relaxed. Some of these tuned his drums just to get them to more. rehearsals before the gig—for these sound, like he wasn't extremely con- Lewis: I played there with Don Pullen cash-and-carry record dates we all know cerned about tone or pitch. Any and , and the level got about—they have one rehearsal. If the thoughts? pretty high. It depends on the music. music is that complicated, you make a Victor: There's tuning for pitch, for KM: What are the guidelines for soloing tape and live with it. touch, for resonance. It depends on the in a jazz context? Adam: Is it feeling good? Is it swinging? type of drums, the venue, the music. A Adam: In a tune with a definite form, All the other stuff—only you will notice. lot of times the pitches between my tom- I'm gonna use the form for sure, and I'm I try to get the engineer to understand toms may vary to where I find that spot gonna use the tune. You've got a frame- my sound. where the drum resonates the best with- work—use it. Kenny: If you piss him off, he can in a certain pitch range. Kenny: I only like playing drum solos destroy you! Lewis: Touch is real important. The because I play form all the time. What I Adam: The engineer is another element way the sticks come back. don't like about drum solos is that it in the band. He takes what is in the air KM: Given that some jazz clubs are seems the other players aren't listening. and translates it. pretty small, why do some well-known They're having a beer or talking to a KM: Can we talk about feathering the players get pretty loud? I see it regularly. chick. I hate it if they come back in the bass drum? Is that done even at very fast Victor: It depends on the drummer. wrong place after I set up the head. That tempos? Elvin Jones comes to mind. But he can means that they are not paying attention Lewis: If it's really fast, no one is doing play really soft, too. Tony Williams just to what I'm doing. it. I mean really fast. I personally do it a likes it that way. All: Right. You're right. lot, maybe most of the time. But some- Lewis: It's obvious that on that high of a Marvin: Not only are they not listening

to you, but they're not giving you the cred- cussing the guys. I'll tell them straight Kenny: A lot of horn players do that it to know what the form of the tune is. off. because they think that's what Coltrane Kenny: They look funny if I don't Marvin: Kenny's a native New Yorker, was into. But 'Trane was really searching accompany their solo correctly. I want the man. He'll cut you! With Sonny Rollins, for something. Or listen to Charlie Park- same kind of respect. I will fistfight, I've he'll play a calypso for 45 minutes and er on some airchecks: I'll be beggin', done it! then say, "You got it!" I mean, Sonny— "Please play another chorus," and he'll Adam: I don't want to count the band in. get me out of here! stop. This is live—he'll stop after four All: Yes. Right, exactly. Adam: I think Miles said you should choruses. Adam: Music is a series of signals. I stop before you're finished. But if it's KM: Do you all still find time to prac- mean, I'm playing the form behind you, happening, it's not too long. tice? indexing all your shit, putting it in line Ralph: But if you're playing extra cho- Lewis: On the road, I get more time in where you ain't. ruses to impress someone in the audi- on a pad. When I'm at home there's too Kenny: I'll come off the bandstand ence, you're not serving the music. much to do. That may sound like an excuse... Victor: ...no, it's not. It's real life. Lewis: Sometimes the music will take you to a higher level of playing. You try to keep your chops in shape. When you get on the stage, these elements come together that are unpredictable. You might play way above where you thought you could play or maybe way below. It's hard to base anything on a physical con- dition or technique. KM: What do you all stress with your students? Marvin: I like to ask them questions first. "How long have you been playing this music? What do you have for records ? Where do you want to take it?" Kenny: I'm hard on students. Well, not hard... Marvin: Man, don't lie! Kenny: I'm honest with them. I teach musical conception, how to play within the band. I want to know what they're hearing. I'll give them a tape of music with no drums. I tell them to listen to that for a week, then accompany it. I tell them to buy particular records or don't come back. They're wasting my time and their money. Jeff: I get students who've never played any jazz. I give them something simple so they can deal with the groove of jazz and apply it with some people as soon as possible. I'll have them play a shuffle awhile, but if they can't hold that, I'll just tell them to play quarter notes. Then I'll have them play a simple form—a blues, 12-bar—whatever. I told some high school kids, "Play 'Spiderman' like you're playing the melody behind a horn player, singing the melody to yourself, playing some choruses like someone's soloing. It doesn't have to be blazing or masterful. Just try to speak." At the end of an hour, a student should get the discipline to establish that as soon be ready to play a 12-bar blues and know as possible. what it is, play some good-feeling time Adam: You have to hook up with the bass and be able to take a solo, and lock in player quickly. with the bass player. The solo should Jeff: The longer it takes, the more music feel good and be sincere rather than is getting wasted. Competence comes paradiddle, paradiddle-one, flam, flam- through professionalism and preparation. two. Form is a problem. If drummers are If you're prepared, you can be flexible. aware of form and the fact that a song is Ralph: Luck is when opportunity and going by, they'll never have a problem. preparation intersect. The song becomes the constant, rather Marvin: Sounds more like fate to me. than the amount of beats and metric Adam: Like the boy scouts say: "Be Pre- stuff. The way drummers learn about pared." music in this country is all exercises— Jeff: That's the whole thing we're talking slow, fast, slow, stop. You want them to about. If you're able to be professional see their instrument fitting into the where you live, you can do the same thing music and making music with the here in New York. instrument by itself, independent of any- Marvin: People are shocked when I tell thing else being there. Unfortunately, them that. But we need good musicians they practice all the paradiddle stuff first here. There's always room for good musi- and then they start listening to music cians. They look at me like I'm crazy. and copping licks. So their licks tend to Adam: You have to be able to adapt. fall into a certain context rather than Some cats can't deal with that. They can't being freely applied from their having an get to a gig on time. Or a guy may play understanding of how to make some great one night out of five. A bandleader music on the drums, period. would rather have consistency. Adam: The drummer's ear is the last Jeff: It's your responsibility to make the thing to get developed. It should be the gig sound good. Sometimes you'll do a first. Your biggest tool is your ear. record date. Some people will complain: Jeff: In the Suzuki method, they play you "I'm not taking the music from rehearsal examples of what your instrument home, because I only get paid this much," should sound like—when it's played and stuff like that. But when the record well, when it's played musically. With comes out, no one knows anything about drummers, you want them to think about that. Every time you sit down behind your grooving, playing good time, making instrument, you've got a responsibility. other musicians in the band feel they Lewis: The music we play is very per- can depend on your time. sonal. How could you put a drum KM: Is part of the problem in the idea machine to an Art Blakey track and get that "anyone can play a beat"—and so the same effect? not enough thought is given to serious Victor: That's one of the things about study and preparation? jazz drumming—it's the imperfections. Adam: No. So much of drumming comes They'd have to sample your whole per- from books and exercises that people for- sonality, good and bad. get what the bottom line is. Kenny: I still feel that the masters are up Jeff: A beat has been reduced to a pat- there somewhere, and they only allow for tern. They're not thinking about making the music to get to a certain point before it feel good. So many people are hearing they hold court. Jo Jones and those guys drum machines and trying to make stuff hold court! They say, "No, come on sound metronomic instead of making all back." The click tracks and all that pop- the parts feel good within each other. corn stuff, they can't do what we do. They That's the last thing they think about. have not come out with a microchip yet When I play a gig I look for the oldest, that can play spang-a-lang on the ride dirtiest, dustiest mug in the crowd, and I cymbal. It's always the feel. want to see his head bop. You want to get with the folks. Sometimes you'll start a Special thanks to John Castellano and the tune and not everybody will have an idea staff of Drummers Collective, New York of where the pocket's gonna be. This can City for their help in putting this story happen in any kind of music. You want to together. RECORDINGS Jack Wilkins' thick hollow- Medley: Not Soon Forgotten / Her body, round-toned electric Manic-Manner Moods / Double guitar sound is rooted in the Helix; What's The Point; (I'll) Never jazz tradition of players like Forget Jim Hall and Kenny Burrell, Considering Gary Chaffee's but his modern approach to renown as a teacher (his stu- that sound shows a tendency dents include Vinnie Colaiuta towards the unexpected left and Steve Smith) and author turn. His new group, Alien of drum books (the Patterns Army, is a quartet groomed series), it's surprising to dis- from that same approach. cover that this is his first Rather than striving for an recording. But I venture to ensemble sound locked into guess it won't be his last. every 16th note when approaching funk grooves, the Army instead retains a texture of looser jazz interaction, swelling and stretching around the groove. Drummer Mike Clark bridges the tight/loose contrasts admir- ably on tunes like "Happy SUBMEDIA Eyes," laying down shifting, Submedia linear funk grooves with his 9 Winds NWCD 0137 cracking, tightly wound snare, Chaffee is given ample space BRAD DUTZ: perc BOB MAIR: bs, perc DAVE KARASONY: dr, perc while initiating flowing inter- to display his abilities on this Pygmy Marmazette; Degas; She's A Fatty; I Feel Fine; Lost & Found; Turkey play above it all. His blistering disc. Not only does the trio set- Hunt; Island Painting; Blending Puppies; Sheperd; Extraterrestial; Jellyfish; solo spots combine the fierce- ting allow plenty of room for Dolphins; No Time; Cave Beetle ness of fusion chops with the expression, but several of the In the improvisational trio Submedia, a pungently satisfying earthiness and fluid phrasing tunes are actually based on his musical whole bubbles to life, adorned with a wide palette of of jazz. Especially fascinating favorite rhythm patterns, which fascinating electronic and acoustic sounds. is Clark's interplay with Goodrick wrote tunes around. Dave Karasony, whose crisp, relaxed drumming recalls the bassist Michael Formanek. Chaffee demonstrates a knack witty Bob Moses, maintains an engaging dialog with bassist Bob This brave duo takes plenty of for complex patterns, most Mair's liquid lines. Mair is equally content to hold down a sinu- chances. notably on the title track, ous vamp and let the listener focus on a churning stream of per- With their unique writing which is based around group- cussion. Don't be fooled by the goofy (and often intentionally and four very adventurous, ings of 23, 28, and 33 misspelled) song titles; there's real beauty here. At once haunt- individualistic players, Alien (biorhythm cycles) within a ingly ethereal, jaggedly abstract, and downright swinging, Army has produced an engag- seven feel. But there are also Submedia conveys its message with subtlety and grace. ing disc that reveals more lev- straight-ahead tracks on which Harold Howland els with each listening. Chaffee proves himself adept Jeff Potter at simple, uncluttered groove JACK WILKINS patterns. Alien Army MICKGOODRICK Two drum solos on the Musicmasters 5049-2-C Biorhythms album show off other aspects JACK WILKINS: gtr CMP 46 of Chaffee's playing. On "H., MIKE CLARK: dr MICK GOODRICK: gtr D. & L." he solos over a gui- MARC PURICELLI: pno, kybd GARY CHAFFEE: dr tar/bass vamp, which gives him MICHAEL FORMANEK: bs HARVIE SWARTZ: bs the freedom to explore the type Happy Eyes; Barcelona Rising; Chess; In Praise Of Bass Desires; Thramps; of unusual rhythmic divisions No Time But Now; Fun Fat (Sweet: H., D. & L; Falling Grace; Some- that he is known for teaching. Fornix, Clean Dreamer, Pod Dance); thing Like That Kind Of Thing; After hearing this, one can see Moon Rain; She's The One; Romance Biorhythms; Groove Test; Bl'ize the connection with some of Colaiuta and Smith's playing. punchy rhythms. It's not a matter of licks so But where that solo is busy and St. Mark is a very triplet- much, but rather in the simi- complex, the solo on "Some- oriented drummer, but he larity of attitude. Martucci's thing Like That Kind Of doesn't use them in typical ride cymbal is his focal point, Thing" is spacious, perfectly metal fills. Instead, he often but while it is always there complementing the mood set relies on triplets to glue his defining the time, it is spa- by the guitar and bass at the rhythms, such as the light but cious nonetheless, maintain- beginning of the tune. fast 8th-note triplet ride in the ing an uncluttered continuum Chaffee has his own voice as grooving "Sister Blue." Mind similar to the way that chick- a drummer, as do Goodrick Funk is one of the most sin- en-wire can define boundaries and Swartz on their respective cere bands pushing this style without blocking the view. instruments. The trio as a of hard rock, and St. Mark is disc than on his previous, but Perhaps it is not coincidental whole has a fresh sound, with a one of the reasons why. on cuts like "Very Early," he that Erskine wrote the liner nice blend of acoustic and Matt Peiken excels with his textural, con- notes for this disc. electric playing. Chaffee's play- versational, phrase-by-phrase The most interesting tune ing is worth checking out by PAUL MOTIAN style that very few drum- any drummer; the trio is worth Bill Evans mers—or bands—can pull off. hearing by any musician. JMT 834 445 Texture also pervades Mo- Rick Mattingly PAUL MOTIAN: dr tian's solos, as in "Walkin' BILL FRISELL: gtr Up," where even the MIND FUNK JOE LOVANO: tn sx differences between rim hits Mind Funk MARC JOHNSON: bs and rimshots executed higher Epic 46902 Show-Type Tune; Turn Out The Stars; or lower on the stick become JASON COPPOLA: gtr Walkin' Up; Very Early; Five; Time an important part of the solo. PATRICK R. DUNBAR: vcl Remembered; Skidoo; Re: Person I Motian is one drummer/lead- JOHN MONTE: bs Knew; Children's Play Song er who has successfully kept Louis J. SVITEK: gtr This disc is Paul Motian's his ears fresh through the on the album is Martucci's REED ST. MARK: dr, perc tribute to the music of late decades, and this release only "Le Sei Rose Di Maria," Sugar Ain't So Sweet; Ride & Drive; piano master Bill Evans. continues to prove it. which has a free form, yet is Bring It On; Big House Burning; Fire; Having spent a golden period Jeff Potter delivered with a good sense of Blood Runs Red; Sister Blue; Woke Up between 1959 and '64 with compositional structure. It is This Morning; Innocence; Touch You Evans, Motian is well-quali- TONY MARTUCCI no mean feat for a drummer There's not a lot of funky fied to spearhead this project. Earth Tones to serve the development of a material to Mind Funk, just Bassist Marc Johnson, also an Sound Judgement SJ101 tune without the benefit of infectious, driving rhythms Evans alumnus, supported the TONY MARTUCCI: dr timekeeping, but Martucci made more potent by the pianist in his final years of the MARC COHEN: pno pulls it off admirably. drumming of Reed St. Mark. late '70s. JOE LOVANO: sx This album is not a tour- He gives the album a no-non- Although the quartet's per- ELLERY ESKELIN: sx de-force of drumming in sense percussive base, but formances reflect the subtle DREW GRESS: bs terms of blazing fills and allows the other players room harmonies, introspective sen- Deed-Lee-Yah; Eronel; Tekke; Two solos. The word I would to breathe and complements sitivity, and cool burn of Mouth; Monks Mood; Cyclic Episode; choose to describe Martucci's throughout with thoughtful, Evans' style, the delivery is Le Sei Rose Di Maria; Whirlwind playing is "mature." That's very much their own. The Fans of no-nonsense main- rare in a business where note- band projects a subtle intensi- stream jazz should enjoy this mongers seem to get most of ty, unconcerned with blatant disc. It's a solid set of the attention. blazing. Their peculiar straight-ahead playing featur- Rick Mattingly ensemble chamber quality ing a good blend of modern revolves around Motian's tunes and classic Monk com- floating, open, reactive phras- positions, played in a style that ing and Bill Frisell's odd, is based on bebop without sumptuous harmonic choices. being confined by it. Motian utilizes conventional Martucci reminds me time-keeping more on this somewhat of Peter Erskine. VIDEO cal applications: for example, Within each type of rhythm, itself only covers rock), and the how a combined finger/wrist especially the second-line application of one's learning by On Drums motion can apply to a samba material, the authors provide a playing as often as possible VDO Productions pattern on the ride cymbal, or number of variations. This with other musicians. He gets PO. Box 4913 how a five-stroke roll can be really helps in understanding things rolling with an accom- Conoga Park, CA 91307 used in a hi-hat funk groove. the essentials of the style. In panying cassette of the six easy (Distributed by Paiste America) A 25-page booklet contain- other words, the more varia- charts included, and the music Time: 65 minutes ing 61 exercises accompanies tions you have, the more you is refreshingly more youth-ori- Price: $39.95 (VHS) the videotape, and is an aid to realize what they have in com- ented than is usually found in Joe Porcaro's credentials as following what Porcaro is doing mon. After mastering each sec- such presentations. The tape an L.A. studio player and as a (especially at fast tempos). A tion, one should be able to play has two disappointing flaws, teacher (and co-director) at nice touch is that relevant within the given style without however: First, the recorded the Percussion Institute of exercise numbers appear on being locked into a single pat- drum track cannot be deleted, Technology make him espe- the screen while Porcaro is tern. so the student is forced to tag cially well-suited to do an performing. This is a quality There is also a tape available along when he or she ought to instructional video. In On production throughout, and it on which Farris performs all be taking charge. And second, Drums Porcaro doesn't have a should help any intermediate- 164 exercises from the text. the recorded drummer's tech- trademark sound that he is try- level drummer gain a better Again, the New Orleans style is nical demonstrations some- ing to promote. Rather, he is understanding of jazz drum- a feel as much as a bunch of times reveal uneven hands and interested in showing some of ming and control of the hands patterns, and as good as this shaky coordination, which the options a drummer has and sticks. tape and book are, one needs to don't set the best example. within a given style. Rick Mattingly listen to New Orleans drum- The 89-page book is suc- This refreshingly non-dog- ming in context. Get some cinct and well-organized matic approach is evident early BOOKS records by the Neville Brothers (though it seems that the pub- in the tape, during Porcaro's HEW ORLEANS DRUMMING and the Meters to get the fla- lisher could afford a laser discussion of jazz time-keep- Second Line And Funk Rhythms vor. Then check out Burns and printer). After brief prelimi- ing. After showing the tradi- by Roy Burns and Joey Farris Farris for the recipe. naries on the drummer's role tional ride pattern and several Rhythmic Publications Rick Mattingly in music, holding the sticks, ways of breaking it up, Porcaro P.O. Box 3535 basic reading, and a few hand- demonstrates ways that differ- Fullerton CA 92634 YOU CAN TEACH foot exercises, the student is ent players stress the quarters, Price: $9.95 (book) YOURSELF DRUMS playing Chart 1, a reggae-fla- or the 2 and 4, or even the Supplementary cassette: $7.50 by James Morton vored blues, all in quarter "skip beats," as Joe calls them. While New Orleans drum- Bayside Press notes. The text moves right Another strong point of this ming is often distinguished by P.O. Box 66 along to Chart 2, which is an production is Porcaro's empha- its feel rather than by its pat- Pacific, MO 63069 8th-note rock feel. Similarly, sis on the application of the terns, there are certain beats Price: book, $9.95; book and cas- Chart 3, 16th-note rock, fol- various licks and techniques he that are typical of that style. sette, $18.95 lows minimal preparation. discusses. After talking about Most widely known are the The title may send shivers After being introduced to jazz timekeeping patterns and "second line" rhythms that up the spines of drum teachers fills, dots, ties, accents, and turnarounds, he demonstrates were derived from the march- everywhere, but with all the syncopation, the student is the application with the aid of a ing bands that played funerals, economic and political forces ready for Chart 4, medium keyboard player and bassist. He but a lot of funk has come out already threatening our exis- funk. Charts S and 6, a slow uses the trio again to demon- of New Orleans, too. tence, what's one more? blues and a medium shuffle, strate the oft-neglected topic The authors have attempted Written in a positive and moti- follow 8th-note triplet material. of the two feel versus the four to document this style of play- vating style, You Can Teach Each new beat is shown both feel. His explanations are clear ing with their new book, New Yourself Drums is attractive in music notation and in a to begin with, and seeing him Orleans Drumming. They pro- indeed to the resourceful visual key. using the concepts in perfor- vide examples of second-line beginner. You Can Teach Yourself mance leaves as to beats with both shuffle and Morton makes a convincing Drums is good fun, painless their application. 8th-note feels, various funk case for good basic technique, learning, and fortunately for us The tape contains a lengthy rhythms, and specialty patterns the ability to read and write teachers, just the beginning of section on developing wrist, such as the New Orleans music, facility on a second a lifelong journey. arm, and finger technique, and mambo, the mardi gras rumba, instrument such as the piano, Harold Howland again Porcaro gives you practi- and the carnival calypso. stylistic versatility (the book

JOHN HERNANDEZ continued from page 31 the first place? their houses. Also, I used to live behind phones that [saxophonist] Leon Schnei- JH: I really liked the drive of the drum- some people who had these little cumbia derman built. mer, and I just always wanted to be a part parties every weekend. I'd go to bed Sat- PL: What was it about Boingo that was of music—an orchestra, a band, any- urday nights at 1 or 2 A.M. listening to initially so appealing to you? thing. I'm also a very physical kind of this trio—a guy playing accordion, JH: It was the freshness and the kind of person. My mother used to listen to a lot another on an out-of-tune alto saxo- freewheeling approach to everything that of music and I really enjoyed phone, and the other on a 12-string gui- they had. It was going to be fun and it that. I always noticed the drummers. I tar. Then these farm workers would was going to drive forward. It was a lot of really liked the drummer's role. I'd see come over, and they'd be dancing all work learning a bunch of music right guys like Sonny Payne, Louie Bellson, night. My grandmother was a bar singer, away, but that's what I've always really and Duke Ellington on TV and they'd be too. She sang at El Pounche Cafe, which liked because I get bored easily. Even wailing, and I was just a little kid saying, was the local bar hangout in San Gabriel when I was growing up and playing in "Wow." My sister and my aunts always [CA]. That's actually where my grandfa- club bands, I'd be good for about a week listened to R&B music. So, I grew up ther met her. She was the beautiful or two, but by the third week, I'd be with a mixture of jazz, Latin, old soul, songstress of the town. falling asleep or over-playing. When I ran and R&B music. PL: Has any of the ethnic music that you into Danny and Steve, they had a great PL: Since you're of Mexican heritage, grew up listening to filtered into your volume of music, and once you re- were you exposed to that style of music own psyche or musical style? hearsed it and learned it, you never growing up as well? JH: It has a lot. There's a certain way of rehearsed it again. You just ran it down JH: Sure. Even though my father wasn't strumming a guitar—there's all sorts of for the show. So you were required to really a musician, he used to party a lot strums in different regions of Mexico know the Boingo catalog [snaps his fin- and sing "Los Mananitas," which is the and Central America—and there's all gers] right now. Although I've been there birthday song, as well as all these other these polyrhythms happening like in that since the inception back in the studio Mexican songs. The men used to sit classic mariachi song "La Negra," which and all that stuff, you still have to log it around all night long drinking and then is one of my mom's favorite songs. all in your brain. show up at the ladies' houses strumming There are all these different rhythms PL: What got you interested in drums in a bunch of and singing in front of that are going on, and people are always jumping and stomping around, too, and play a rim solo without triggering the it was pretty exciting. I was really affect- sound, or at the same time have elec- ed by all that because I loved my parents tronic sounds. And it didn't give me the and I loved that kind of music. People tennis elbow or the terrible feeling of would smile and get excited about playing on pieces of wood with Formica music, and that was pretty inspirational on them and piezo pickups inside. We to me. were doing shows with other bands like PL: Where do you draw inspiration Madness, the Police, and the Thompson from? Twins, and their drummers were all JH: I have to be at peace with myself. using pads and complaining about them. Music is everywhere, and I listen to so They'd throw those things against the many different kinds of music. I really wall, they'd get so upset at them. I'd like to listen to the soul and the feeling show them my rig, and they'd never of music, you know, like Art Tatum—that believe it. But it worked. poor black guy just hammering it out, PL: Why did you go with an electronic man. Great players who have really stud- kit in the first place? ied and taken a lot of time—I'm inspired JH: What happened was that I got by them, even if they can't speak English stronger as I got older. And as we'd go and you can't understand them. Because through all the Boingo music, I would the music is what's really important. just get louder and louder. By the end of Oftentimes people forget that. And I've the show I would be wailing, which was been guilty of this many times—you go very taxing on Danny. So we ended up home and practice for hours, for weeks, going with electronic drums, which and you come to the job and you sound could be turned down. And since I didn't like you've been practicing. And they say, believe in anybody making my sounds, "Would you relax a little bit? Sure that's whenever we made an album, I would get the right beat, but nobody's dancing," a sample of all of our sounds and I would because everything sounds so glassy and burn it into chips. I would just play so even. And nothing moves. You're acoustic drums in the studio. Then in spelling it out, but you're not really say- the last four years or so, the MIDI thing ing anything. Music is supposed to be got straightened out, and now we have fun. I've been lucky that I've been able to big racks and computers. We got into all hold onto some sort of musical standards these different Cooper MIDI switching and have a really good time in the pro- modules, and it became possible to just cess. plug everything in and run through, so PL: You've pretty much always used we had more time. Then we started to acoustic drums in the studio. But for a play larger houses, and the drums were a while in concert, you actually played an little further away from Danny. So we entirely electronic kit. went back to the real drums, and I have JH: From about 1986 to mid-1988 I much more control of the band, which is played an electronic kit live. I had done a something that I had really missed with lot of R&D on the DW electronic pedals. electronic drums. I was using a cable hi-hat with the hi-hat PL: As aggressive as the Boingo's music cymbals mounted in the center of the is, does it give you any room for dynam- kit. So I had good access for working the ics? foot pedals, and I came up with a system JH: Yeah, it does. But getting a large for the tom-toms that really was the ensemble the size of Boingo to play most comfortable for me. It actually was dynamics can get a little unruly and moving air over a microphone fed into a rough. With real drums, though, I have a MIDI trigger device. Back then, all I bit more dynamics. With electronic could get was the Roland Octapad, and drums, just forget it. the feel of that never really appealed to PL: In a live situation, do you use trig- me. So I plugged mic's right into the gers at all on your acoustic drums? Octapad. I had microphones mounted in JH: No, I haven't done that. I haven't padded drums, and I had them kind of found a trigger that really works. You can tweeked up with a graphic equalizer to play the drums, but you can't play the weed out any crosstalk. I could actually rims. If they're shock-mounted on the shell, they're going to be set off by a rim PL: How does Boingo record? shirts—in six weeks. or a click or when somebody pounds the JH: The drums are in a room by them- PL: Since Elfman and Bartek are so stage too loud. You've got to reset the selves. The room is actually free and heavily involved with computers, do they sensitivity, then you have to beat the open to all drums, so it's important that ever use the programmed drum tracks drum to get a quiet sound. It just never we get a really good, solid-sounding from their demos on the actual record- really works. The only thing that I've room. And I just try to play the room and ings? found that has worked so far is the DW try to make the walls shake. JH: Only in very rare cases are the drum electronic bass drum pedal. You play PL: So you lay down the drum tracks tracks from the demos ever the final acoustic drums, and the switch is actual- first? drum parts. There was one case, howev- ly underneath the pedal—kind of a mag- JH: Well, we usually lay down a basic er, on our latest album, on the song netic switch that puts out a trigger. rhythm track first—drums, bass, guitar, "When The Lights Go Out." It was That's been highly successful, but even piano, and very often sequenced parts. interesting because it was kind of a big, that I've only experimented with, and PL: And you're all playing to the marching drone of drums. On one side never really live. Generally I'm very sequenced parts? you've got a computer playing my sam- lucky, I can get a really good drum JH: Right. Sometimes we'll keep the ples, and on the other side you've got me sound. And to ensure that, I carry bass track. But generally we always build playing my acoustic set along with it. So, around a couple of microphones that will up from the drums. you get this James Brown double-drum help the kick drum. I have an AKG D1 12 PL: How long does an average Boingo kind of thing. It sounds like this big wall and a Sennheiser 421, Live, I stick them record take to record? of drums. And if you turn the stereo up in a little off-axis, about a hand's width JH: Well, Danny's really gotten it down. real loud, you can hear the difference. away from the head. Sometimes during We've really been the kings of bringing it That's the only time that I've really done recording, I put them a little bit closer. in on or under budget. We do a lot of that. And then there's been a couple of Of course when you're in the studio, you pre-production and really scope it out, songs where they've used my samples to can use a more expensive mic', like an work on parts, and get it all down. So deliberately get a real electronic sound. Electro-Voice RE-20 or something. when we get into the studio, we burn But it's never something done behind Those are beautiful, because the sound's through everything. We can go through my back. It's something that we all all around the mic' and in a more con- everything—from recording to mixing decide on together. trolled situation. down to picking out the colors for the T- PL: I've heard that Danny Elfman's quite a perfectionist. How do you deal with such a perfectionist on a day-to-day basis in the studio? JH: It's perfect, because we're all per- fectionists. We all lock horns and get it done right. We keep each other in check. And we all work on things together. And that's what's been so good about this band. Everyone's into everyone else's stuff. If the horn player doesn't really like a fill or wants some help here or there, he doesn't hold back. And of course, if I want somebody to tune up before we start playing a song, I'm usually the one who's screaming. Danny is the leader, and he definitely functions as a great leader. And he is a perfectionist, and that's okay by me. PL: Does he have the veto power or the ultimate power to say, "This is it"? JH: Oh sure, because he's the guy who has to sing his heart out, which is so hard sometimes to fathom. I mean, the writing is great, but he really sings his heart out—all of the time. No one works as hard as he does. PL: Does Danny write out your drum parts note-for-note, or do you come up with your own parts? JH: It depends on the song. When he to his philosophies? What are you hearing in the head- first started writing and playing, he and JH: You could say that I'm humored by phones? Steve would write out a part, and it them. It's very entertaining. His views JH: All I'm hearing is a click. It might would look like a medley. I'd say, "What are his views, but sometimes we do think have two pitches so that I can hear the is this? Is this three or four songs?" And along the same lines. I do identify with difference between the downbeat and they'd say, "No, that's what we want you what he's saying. I also think that the sit- the upbeat. I use that as a guide to make to play." And I'd say, "Okay," and I'd play uation with pop and rock 'n' roll music sure that I'm locked in with the it. And then they'd say, "Why does it today has become so unbelievably stupid. sequences and stuff. Now with all sorts sound so bad?" "Because there's noth- I mean, you've got people blaming the of control, you can zero the click into ing happening," I'd say. "This is not a death of their child on a piece of plastic, everything. For about 3/4 of the live show song." So I had to rewrite the parts. At and somebody's artistic freedom is being I use a click, because there's so much first [Elfman] couldn't do it that well, infringed upon in the process. I've really going on and I'm relied upon to do it all. but after a couple of years he got the pic- fought for Danny's freedom to write PL: Does that leave you any room for ture and actually got to the point where whatever he wants. Danny's a fantasy spontaneity? he knew what I would do with it. So child and he has pretty vivid dreams. And JH: Not with a band like Oingo Boingo, sometimes he'd come in with specific if he wants to write songs about them which is a very large ensemble. And like parts, and other times he would just let and somebody takes him seriously...I all large ensembles, somebody's got to me come up with my own parts. With the mean, you're not suppose to. It's all for hold down the fort, and that's my job. last couple of albums, it's been pretty fun. With a name like Oingo Boingo, isn't The spontaneity comes when we go into loose. He has a basic idea, but still leaves this suppose to be fun? And talk about the studio with set drum parts and then things open. Even in the studio, we're backward masking—we got so angry we'll change everything around, so noth- always tweeking things. It's an ensemble, about all that stuff. When it was just ing is ever set. So in the studio it's and that's the situation that is important starting to happen, we put backward always interesting. But as far as doing for me to be in. I need to be a part of masking on one of our records that said, things like playing a roll around the that. "If you're listening to this backwards, drums, you have to think of the overall PL: What about all of this film compos- you're an idiot," and another one was, production. When you're working with ing that Danny's doing? Are you at all "Mickey Mouse is God." guys and you know what guitar parts put off by the amount of time that he PL: You use a click track in the studio. they're going to be laying down and you spends away from Boingo? JH: I'm really glad for Danny. When I see him playing with his orchestra, he really communicates to me. And we both have such a great love for orchestras. Sure the band has suffered, but not that much. Besides, with the larger record companies, it takes time for an album to come out. You can have it recorded, and it may not come out for six to nine months afterwards. So there's all this time, and rather than sit around, Danny's a workaholic. One of the things that we're kind of glad about the movie thing is that Danny used to bring in 30 songs to the band, and we'd be beating our brains out. Now he's so busy he can only bring in 15 songs. And we still have too many to choose from! Now things might change if we were to get large, worldwide acceptance and have to go on the road a real long time, which hasn't happened yet. But we did real well in Brazil and Australia on this last tour, so we might start doing more international travel. PL: Elfman's lyrics deal with some pret- ty morbid subjects, like isolation, death, and suicide. Do you personally subscribe know how everything's going down, you a four-count click count-off. "Click, want to make sure to leave room, click, click, click"—then the song starts. because in the medium of recording, less Sometimes I'm one click off—because is more. the crowd's yelling too loud and I can't PL: Since you play to a click so much of hear it. Or sometimes I won't hear the the time, you must be very comfortable count-off at all—now that's a real fun working with click tracks. Do you have moment. I mean, everybody's screaming, any advice for those of us who aren't? it's total confusion, and everyone's rely- JH: You just have to keep working at it. ing on me. You have to learn to lock into the rhythm. PL: How do you prepare for your live If you can make up a rhythm in your shows? Tell me about the "Vatos" rituals. head and keep that going along with the JH: "Vatos" rituals usually consist of get- click, then you'll be able to count out the ting there early, like around 12:00 or 1:00 music. If you just keep working on it, it in the afternoon. I usually change the happens. tom-tom and bass drum heads every PL: It's also a matter of not fighting it. other show. I go out on stage, and my JH: Sure. You also want to analyze your drum tech will have pre-tuned the playing, make sure that you're well-cen- drums, and then I go out and re-tune tered and that you never tighten up any them. Then we go through a sound of your appendages. You always have to check, and we'll go through all of the have a point of relaxation. So you always individual drums. Then the band comes have an "on" and an "off." For example, in and we go through all the relation- if your foot is constantly riding up real ships with all the other instruments. high and the heel never gets to rest, or Then generally, if I'm going to have your hands are constantly tense—you something to eat, I'll eat. Then I'll go have to really center your appendages and lay down usually for about an hour and then breathe, attack, breathe, attack. and just get real quiet and focus and not You certainly don't want to tighten up think of anything else—try to clear my and get yourself all worked up when the mind. At that point, I just like to be left click starts to stray or your time strays. alone. You see, in order to put out so PL: How do you keep things interesting much energy, one of the things that I playing to a click? have found is you must be calm. Other- JH: You have four appendages, and you wise, if you go out there all nervous and can do anything. I mean, it's even more overly pumped, you burn out real quickly. amazing if you constantly hear time that It's better to build the fire. It's better to way. That's how guys like Jack go out with the strength and the confi- DeJohnette and Vinnie Colaiuta do dence that you have with clarity of mind, it—they can step right out of the world and that building up and tension will just and come right back in. It's fun. That's naturally happen. the beauty of it. Also, I'm freer in other PL: Do you still practice stretching situations outside of Boingo, where I play before the shows as well? without a click. But with Boingo, it's so JH: Oh yeah, I do that all the time before orchestrated that I'm locked in. And the shows, because once you start going that's what really locks me in, not neces- forward and leaning and pushing, you sarily the click. will tighten up. The looser you can go in, PL: When you're playing to a click in a the better, the more balance and live situation, can you hear the band as strength you have. I do a lot of stretch- well? ing, breathing, and back twists and JH: All I have is the click for a reference, turns, just to make sure all the energy is and I have a real small, open set of head- flowing. You've got to make sure your phones, so I can hear the monitors and I legs aren't going to fall asleep because can hear my drums. I don't totally they're cramping. enclose my ears. I need to hear the bal- PL: You seem so buried in drums. Do ance. Here's the scary part about the you sit low on your throne? click, for all of the Boingo songs: There's JH: Actually, I sit pretty normal. I sit up straight and my trunk is always up stick. It's the same kind of technique. straight. I like stuff in front of me. Peo- Dan Inosanto and Jet Kun Doe and most ple who usually sit behind my drums of the Filipino martial artists hold a stick can't play them because they say I sit up pretty much the same way. It's really high. kind of centering the whole hand. And PL: Since a typical Boingo show lasts I've been really lucky with all the support close to three hours, does sitting like and the right foundation, I can really lay that increase your stamina? into the drums and get out of them. I'm JH: It connects the strength. When also able to preserve the front end—the you're leaning over a set, you have to feathering, the finger stuff, and all the constantly throw your upper body into it, real light things that I like to do, too. It rather than having your upper body set gives me a chance to club and thrash, and just being able to reach. It's like and that's one of the reasons that I'm not being able to punch a guy to your left- afraid to go into the drums, because I'm hand side, without having to lean into not going to hurt any of my other tech- him. Once again, if you lean into it, nique. Some people play with different you're committed into the drum or into parts of their fingers and hold the sticks punching that guy. And that guy's going funny, but I've got a good set of mitts, to pull your arm out, or you're going to and they're deeply rooted with all the fall into the drum and get real tight. It's greats that Freddie Gruber has taught a good balance of strength and center and has been influenced by. and poise. So I sit up real straight; that's PL: You do drum clinics around the one of the things that I work on. country. What is one of the more impor- PL: How important is it for you to dupli- tant points that you try to stress to the cate the song in a live situation note-for- youngsters? note? JH: You have to study and really get to JH: Well, the note-for-note thing in a know your instrument well. Learn every- live situation is important with the larger thing that you want to learn to play or ensemble. The larger the group, if you might want to play, because you never do something strange, the more you're know where the cards may fall. I tell all going to throw something off. With Boin- the kids that now is the time to practice, go, I'll change a drum fill or I'll change now is the time to do it. If all of a sudden things slightly, but it's pretty much been you're playing and you're worked out. Otherwise everybody has a making a lot of money and you're taking comment. The horn players can say, care of your life and it's good music— "Wait a minute, we're playing a figure maybe like the Desert Rose Band...what here, so don't open your hi-hat"—that the hell? You're going to turn it down kind of stuff. And everyone relies on you. because, "I want to play with Guns N' If I drop one snare drum beat or one hi- Roses"? Wait a minute, Guns N' Roses hat beat, they'll all turn around and look already have a drummer. So keep your at me. But I complain too. I'll yell at mind open and make sure you keep every Danny or Steve: "Can you tune up?!" opportunity open, because it's all fun. PL: You're a very hard hitter. Where Whether you're playing drums at the does all that power and precision come pizza parlor or sitting in with your from? friend's blues band, it's fun. JH: It comes from having a good founda- You can't get narrow-minded about tion, a good teacher. Freddie Gruber anything. Oingo Boingo said to me, "You really taught me how to use my entire want to play in this band? Well then, put hand. You've got to use the support from on this monkey suit. And underneath the way back at the back part of your wrist all monkey suit, put on a jazz outfit. And the way up to the front of your fin- underneath the jazz outfit, put on a tank gers—using your whole hand like you're top and a pair of shorts. So you will grad- going to pick up a club and just beat an ually strip down into another outfit." old tire. It's like taking martial arts, Now, what if I had been very narrow- where you beat on a big bag with a big minded and not done any of that? Mistakes

ideas don't help. They just make you feel pay attention. The most aware person is bad, and you don't learn anything. one who has just had a close call." For by Roy Burns Instead, try this approach: The next time example, if you've nearly been in a car you make a mistake, ask accident—but just managed yourself, "What caused to escape injury—you will I don't like to make mistakes. I find them me to make the mistake? usually drive more carefully frustrating, and I imagine that most peo- Did I stop concentrating? "Making a in the future. ple feel the same way. How many times Did something distract Making a mistake playing have we said, "Why did I do that?" or "I me? Or was I simply not mistake the drums won't be a risk to can't believe I did that!" We are all human well-prepared? Should I your person—but it can be and we all make mistakes at one time or have practiced this piece doesn't frustrating. Ask yourself, another. more?" "Do I concentrate on my School, especially when we are quite In other words, instead make you mistakes as a musician? Do I young, teaches us that mistakes are bad. of criticizing yourself, try remember my mistakes bet- In fact, mistakes are often punished. We to identify the problem. a bad ter than I remember the are told, "Do it again, and keep doing it Once you understand why things I do well?" Many until you get it right!" you made the mistake, you person. times we agonize too much In school, there is always a "right" can go about correcting over our mistakes. As a answer to the problem. But in real life it's it—and avoid making the It just result, they often rob us of not so simple. And in drumming, there is same mistake in the self-confidence. The best very often more than one way to play a future. proves that approach is to develop a bal- song and make it sound good. A lot By understanding the anced view of things. For depends on how creative the player is. So mistake, you can learn you're a example, if you play 20 songs when you begin to play a musical instru- from it. After all, making a very well and only mess up ment, or engage in any creative activity, mistake doesn't make you human on one, then I would say you mistakes take on a different meaning. a bad person. It just had a good night. If one mis- James Joyce, the famous writer, once said, proves that you're human and not a take can ruin your whole "Mistakes are the portals of discovery." and not a machine. night, you're in need of a Woody Allen said, "If you aren't making Preparation helps to machine." new viewpoint. Strive for mistakes, you aren't trying." Without reduce the number and excellence, not for perfec- mistakes there is no experimen- severity of mistakes. After tion. Your goal should be tation...no learning...no growth. Mis- all, it is much better to simply to do your best. takes are a necessary part of the learning make several small mis- The next time a mistake is process. takes than one gigantic really getting to you, make a Unfortunately, I know of a few drum one. Preparation helps you list of all the things you did teachers who yell at their students when to improve your average. If well that day. You will proba- they make mistakes. As a result, some- you make fewer mistakes bly surprise yourself. We all times a student decides not to try. (If you as you develop and grow, do more things well in one don't try, you can't make a mistake, and then you are improving. As long as you day than we give ourselves credit for. therefore no one will yell at you.) This is are improving, you are doing many things So look at it this way: Be aware of mis- sad, because real teachers should be right. takes, learn from them, keep improving, there to explain, encourage, and offer When things go well we tend to take and give yourself credit for all the things support. They should not berate, put them for granted. Consequently, we don't you do well. You will be happier, more down, or intimidate their students. learn as much when everything goes balanced, and almost certainly more pro- Do you ever say things like, "I hate smoothly. A wise man once said, ductive. You will also make fewer mis- myself" or "I'm really stupid"? These "Mistakes are life's way of getting you to takes.

EQUIPMENT THEFT pro system will put a triple-figure dent line is cut (triggering the monitor line), importantly, their job is to serve cus- in your pocketbook. But, after adding up the outside alarm will go off, alerting the tomers, not to baby-sit a drumset, so the total value of drums, amps, key- neighbors." Adds Resnick, "The loud they cannot be responsible for what goes boards, P.A., recording equipment, and noise of the external is usually on away from their stations. miscellany housed in the rehearsal area, enough to scare off burglars." To provide quick identification from a the question to pose is, "Can we afford distance, mark all cases and their lids not to contract a professional service?" Securing The Venue with a large, distinctive design. The How much will a quality system run? Few musicians form bands without the common practice is to make a stencil out Expect to pay an installation fee of about intent of performing in public. Playing of heavy cardboard and spray-paint the $300 for a motion sensor and coverage for strangers in an unfamiliar environ- musician's name onto the case in a color on two doors. Add approximately $100 ment takes concentration as it is. So why that vividly contrasts that of the case. for window protectors. After installation, be distracted with concerns about equip- Use of stickers is discouraged because a monthly monitoring fee of $30 will be ment security? they can be peeled off. assessed. Figures may vary in your area. A little organization goes a long way Labeling with a name is not mandato- A motion sensor detects the presence when it comes to eliminating security ry. Paint any unique design you desire. of an intruder who has entered through problems. Before playing anywhere, The idea is to mark cases so they are dis- an opening rather than a door or window, decide who is going to be doing what tinguishable at a glance. for example, a hole cut out of the roof. from the moment you leave the rehearsal If your artistic abilities are strictly The monitor is a circuit board at the hall until you return. In addition to musical, don't fret. Get a few rolls of security company's central station under defining roles, this gives a more profes- masking tape of different widths. Choose round-the-clock scrutiny. When an alarm sional image. a sequence of widths and run the tape is tripped, a signal travels from the site Develop a rotational system for toting across the case, leaving a randomly to the monitor, where the sentry imme- equipment from buildings to vehicles selected space between each strip. Upon diately informs the police. and vice versa. Never leave a partially or duplicating the pattern on all cases, Security specialist Ray Resnick ad- fully loaded vehicle unattended. It only spray paint directly over the taped areas. vises, "Install two sirens—one on the takes a moment for a dishonest passerby Allow a few minutes for drying, peel off inside, and another in a strategically to stop, grab an item, and drive off. the tape and—viola—you've created a located spot outside. If the telephone A loader should not enter or return to neat "racing stripe" effect you can iden- the building until another band member tify from across the room. is within close proximity of the car or The preceding precautions put a van. When leaving the concert hall or severe dent in the scam artist's style. club after a show, rotate in a way that Equipment under constant scrutiny is allows a third person to maintain a posi- impossible to access. Nonetheless, there tion by the equipment remaining inside. will be times when the musicians by the This prevents a) a member of another gear will be distracted by post-concert band on the bill from accidentally (or activities. An opening as brief as a few otherwise) loading one of your cases into seconds may be all the scammer needs his vehicle, and b) scam artists from ply- to lay his hands on a cymbal caddy and ing their trade. We'll go into greater head for the exit. In the event of such an detail about the latter in another section. occurrence, a well-marked case will Club owners generally expect bands to eliminate the con man's key weapon if set up between mid and late afternoon caught—the argument over to whom the the day of the initial gig of the engage- equipment belongs. ment. A security problem arises in clubs Unfortunately, the best-labeled cases that double as bars or restaurants during under FBI surveillance won't eliminate the period prior to show time. An orga- the scam artist. He may strike during the nized band will schedule meals and very vulnerable period between the end other breaks in a manner that requires of the last set and the time equipment is each member to spend an equal amount placed in the cases. of time keeping an eye on the equip- The span during which the stage is ment. struck after an opening act is particularly A mistake that may have dire conse- inviting because there are two teams of quences is assuming that because a bar- equipment handlers at work, half of tender or waitress is on duty, there is no whom are strangers to the other half. A need to guard instruments. The club scam artist may feign being part of the employees have no idea who is author- stage crew, casually grab a snare drum ized to handle equipment for you. Most and, instead of placing it in the appropri- ate case off stage, stroll right out the Obvious Markings star enclosed within a triangle. Have the door with the drum concealed under a The previously described case-labeling design engraved on a leg of each cymbal jacket. technique is an example of an obvious stand and the bottom of pedal foot- There are two excellent ways to thwart marking. I'm not suggesting you stencil boards, too. scams while clearing a stage with the your name or paint a racing stripe on The design will not scare off any assistance of strangers. You can use a your shells. But there are ID methods thieves. Nevertheless, it provides a dis- rotation similar to your loading routine, that instantly confirm ownership while tinctive mark, making your kit easy to pairing band members with strangers so barely affecting the aesthetic quality of identify. The criminal will have to go all equipment remains within eyesight of the equipment. through a lot of trouble to disguise your at least one member of your group. A Drums manufactured by major com- equipment before he can sell it. Once second method is to form a line from the panies have serial numbers on the again, you will make the thief's work dif- stage to the cases and pass equipment "badges" (metal logo labels). Have the ficult, in compliance with the Golden from one person to the next, the same seller write all numbers on a dated Rule. Of course, a plate sans a proper way old-time fire fighters manned the receipt at the time of purchase. The name will pose no problem when the bucket brigade. Have band members receipt will then serve as a second-party equipment is sold by its rightful owner. positioned at the first and last places in verification of ownership. Store the It is impossible to affix a plate to a line to prevent "appropriations" on receipt in a place where it won't be lost cymbal without radically altering its tone. either end. or accidentally discarded. I keep mine in Because of their abundance, size, value, After the equipment is struck, make a small fireproof strongbox along with and (with the exception of the recent an effort to thank the strangers. You other important documents. Paiste line) lack of serial numbers, cym- never know: They may be admirers of Copy the serial numbers on a piece of bals are cherished by thieves. They are your music who will volunteer to help at paper to be carried in your wallet or far and away the percussion instruments future shows because you showed grati- shoulder bag. Make a second copy of the most frequently stolen at live engage- tude, not attitude. Every friend you have numerical list and place it somewhere at ments. After all, it's much easier to con- in the house provides another pair of home where it will be accessible to a ceal a pair of hi-hats than it is a floor eyes to watch your equipment—not to housemate. A list attached to the inside tom! mention hands to carry it! of a personal phone directory will do just An indelible felt-tip marker is a fine. The duplicate record may come in superlative tool for labeling cymbals. Marking Your handy in an emergency when the on-per- Equipment son list is misplaced or in question. Labeling cases is a good first step. But A more personalized ID system avail- why not take it one step further and label able to musicians is a metallic plate your equipment? Markings serve a two- engraved with "Property of (musician's fold purpose. First, they prevent back- name)" and attached to an instrument stage mix-ups. For example, say you're via rivets or super adhesive. Having a sharing a bill with two or more other name affixed to an instrument has one bands. Because of limited area in the serious drawback: You have to remove wings, your equipment is crammed the plate when it comes time to sell. together with that of another drummer Unlike a thief, you have plenty to lose if who also happens to use a Speed King you damage a shell attempting to remove bass pedal. Properly marked equipment a plate. For that reason it is advisable to eliminates the confusion over what steer clear of labeling drums with a belongs to whom. proper name. More importantly, markings simplify Don't entirely discount the use of the process of identifying equipment in plates. With a little creativity they can the event it has been stolen. We have all still serve a useful function. Make up a heard the expression "Possession is nine fictitious, official-sounding security tenths of the law." In other words, if you agency name such as "DrumGard." should locate what you believe to be the Have the technician engrave "Registered missing gear, it is not enough to simply With DrumGard Security Systems" on claim it is yours; you must prove it. the plate. You will know the agency I have split markings into two cate- doesn't exist, but the would-be thief gories, obvious and subtle. Obvious won't. The phony label may be enough to markings are those that are plainly visi- discourage the criminal. ble to the eye. Their subtle counterparts You can also have the plate engraved are intentionally obscured. with a generic pattern of your own design. It can be something simple like a Unlike paint, the marker fluid is so thin gives authorities time to catch him red- it will make no noticeable difference in handed. the tone of the cymbal. Affix a design close to the bell on the bottom of the Subtle Markings cymbal. It will not be very visible to an Diligent thieves will do their best to audience, nor will it wear off via repeated remove, alter, or cover an obvious mark- sticking and fingertip choking. Felt-tips ing. Therefore, you will need a means of work equally well for marking cowbells, identification the crook will overlook. gongs, and other metal traps. This is where subtlety comes into play. Tubular chrome cymbal stands and It may appear as though the deck is percussion mounts lack a flat, porous stacked against us in regards to post- surface, rendering the felt-tip ineffec- theft identification through obvious tive. We need a liquid so thin it will not markings. However, we have a definite affect the ability of the hardware to tele- edge in the subtlety department: A scope closed, yet one that will adhere to drummer knows the instrument better chromed metal. The miracle fluid: nail than anyone else. Exploitation of this polish! Granted, you are restricted to knowledge is the key to gaining an extremely basic markings. But you are advantage over the criminal. only applying a stripe or two to a seg- The types of subtle markings fall into ment of tubing, not touching up the either the camouflaged, concealed, or Mona Lisa. invisible subcategories. There are tricks The prescribed methods for marking of the trade in each group. The following cymbals and related metal objects pro- are some, but certainly not all, of the vide limited protection. For that reason, options. and due to the frequency of theft, cymbal An item that is camouflaged is one storage should take top priority when that blends in with its surroundings so packing after a show. Time and space well it is difficult to detect. One of my permitting, bring the trap case on stage favorite stratagems involves the use of and immediately place the cymbals and inexpensive rubber stamps. They are snare within it. perfect for creating authentic-looking, If all the equipment must be struck false markings that a layman will over- before packing, load the trap case first. look. Secure the lid once the case is filled. I Have a print shop make a stamp with know a drummer who locks a chain 1/4" letters of your initials and your around his trap case. Some find this a bit numerical birth date. For example, if extreme. To them he replies, "Yes, but I Bob Remington was born on June 30th, haven't lost a cymbal yet." his stamp would read "BR630." Apply Have a few color photos of your set the stamp just below the logo on each taken. Thirty-five millimeter cameras drumhead. Wite Out is a suitable substi- are preferable over Polaroids because tute for ink when matching the logo on a multiple prints can be quickly processed colored head. By this simple procedure from a negative should the need arise. you have affected what appears to be an Photo prints will be an immeasurable aid inconsequential product number that in in illustrating the exact appearance of reality is a subtle label. the missing items to police officers and It is improbable the thief will have the music store employees. know-how or willingness to spend the Shell color is the first thing laymen money to replace all heads on a stolen notice about a drumset. A verbal kit. Since it is a possibility, you must use description of a color is vague at best; a a similar deception to mark shell interi- photograph leaves little room for misin- ors. terpretation. The more exotic the shell This time, due to the roundness of the finish, the more important it is to have a drums, you'll need individual stamps and photo. numerals preferably in the 1/2" to 1" A pro rarely swipes an item for his own range. Ask your printer to sell, lend, or use. His modus operandi is to unload the give the five or six pieces of lead type stolen goods for cash as quickly as possi- needed. Toy and hobby shops stock rub- ble. Every obstacle we place in his way ber stamp kits that work equally well. Apply the initials and numbers in a placed anywhere and on any part of the may not be entitled to recoup the funds straight line but not in the center of the kit. needed to replace stolen gear through shell interior. (An off-center mark is less Some video rental outfits daub a clear the member's homeowners' insurance conspicuous). This will give the appear- liquid known as coin lacquer on the policy. It all depends upon the reason the ance of a matter-of-factly marked manu- spools of each tape. That way they can be equipment is on the site in the first facturer's imprint. sure customers are returning the same place. Why use specific letters and numbers? tape they borrowed. Due to the chemical The insurance adjuster may deter- Upon locating missing drums you can content of the liquid, all object parts coat- mine that the band functions to make point out the markings to a law officer, ed with the lacquer will give off a lumi- money and, therefore, is classified as a then present your driver's license to nous glow when placed under a "black business. A homeowners' account will illustrate the similarities. Even the most light." compensate for no more than $2,500 in creative thief will have a difficult time You can do the same on your drumset. business property losses. Separate explaining how your initials and birth Because it is transparent, you can apply floaters are available for higher date happened to be on "his" drums. the lacquer on any shell or hardware fin- limits—at an additional cost. Conversely, A concealed ID is one that is visible ish with a swab or paint brush. The dried if your unit congregates for pleasure but out of plain sight. There are hollow fluid loses its reflective quality in time, so rather than financial rewards and you do portions of your kit that are ideal for it should be reapplied routinely. Black so on one of the musician's personal concealment techniques. Examine your light tubes come in a variety of sizes and property, compensation is in order. equipment thoroughly, paying close should be available at your local home Rental property tenants should not attention to metal parts. improvement store. One will last years. assume the landlord will shoulder the All cymbal stands and most tom The obvious and subtle marking tech- responsibility of theft insurance as part mounts have a hollow section. To place a niques illustrated above are only a few of the rental agreement. Generally, the concealed mark on these you'll need a examples of what can be done to imple- fine print on the lease includes a waiver flashlight, cotton swabs, and light-col- ment the Golden Rule. If you've got a of any such responsibility. Read the doc- ored nail polish. Shine the flashlight into great marking tip you would like to share, ument carefully. the hollow to illuminate a section of the why not send it to MD care of DrumLine? There is a gray area here worthy of piece normally not exposed to light. Dip You will receive a $15 check if your sug- discussion. Performers of original mate- the swab in polish and apply the liquid gestion is published. rial may work for years before they put liberally to the selected area. any black ink in the ledger. New artists You now have a hardware part of which Liability hoping to gain exposure will often play only you are aware of the mark location. If your equipment is stolen, there is a for fees that do not cover expenses. To the thief's eye it looks like any other possibility that someone may be liable. Though no profit comes from the gigs, piece of equipment. Because of peeling That is, a second party may be legally money does change hands. The receipt due to metal-on-metal contact, it is wise obligated to financially reimburse the of any payment makes a performer a to regularly check markings. They may victim for the loss. This does not mean professional and the band a business in need a periodic touch-up. they are particularly at fault and, as such, the eyes of the insurers. The majority of acoustic drums have a should not be blamed for the crime. It is possible to insure a specific hollow area in the tension rod casings. Pointing fingers after the fact does noth- object. Art and jewelry collectors do it all Remove one head and unbolt the casing ing but create ill will. the time. You can do the same for your closest to a reference point, for example, instruments. But be forewarned: The the initial/birth date stamp or a mounting Rehearsal Hall Theft policy will be expensive, and it won't be bracket. Type or neatly print your sur- Contrary to popular belief, musicians easy to find an agent willing to write it. name on a thin strip of paper. Fold the who practice in a band member's house Worse yet, this type of policy will have a paper and place it into the hollow, and bolt the casing back to the shell. Repeat the procedure on each drum. No code name is needed in this proce- dure. The odds of a thief unbolting every casing or even being aware it's possible to do so are extremely small. If he did and found a hidden slip of paper, he would toss it regardless of what was written on it. Invisible markings are those that are imperceptible to the naked eye. A sec- ondary tool is required to disclose their presence. So an invisible mark can be $250 - 500 deductible clause. In plain claim. You will be in big-time legal trou- sonal safety, not the musician's private English that means you will not receive a ble for attempting to defraud the insur- property." cent for lost equipment valued at or ance company. Those without insured instruments below the specified deductible figure. Don't get greedy. Upon the settlement are advised to discuss a loss with a repre- The agent will need two lists and a of a legitimate claim, you will already sentative of the promoter's office before measurement to initiate your account. benefit by having your used stuff instituting formal legal action. Present a First, record every single piece of equip- replaced with new equipment. Besides list of the stolen items, approximating ment likely to be used in performance. being illegal and unscrupulous, insur- their value. The rep may file a claim for Be specific, listing brand and model ance deceptions drive the rates up for the loss on the establishment's insur- names. Don't forget non-musical items everyone. ance policy or, if the value is below the such as thrones, cords, cymbal springs, deductible figure, offer to make a reim- multi-clamps, sticks, and caddies. Those Public Theft bursement with company funds. accessories add up! You will occasionally book a date in a A quick settlement as outlined above is Secondly, note equipment that will venue where the house policy requires far from automatic. In some cases involv- remain in the rehearsal area at all times. musicians to return the afternoon fol- ing theft it is necessary to take the club Examples include recording machinery lowing the show in order to transport owner to court. Losses valued under and PA monitors. Finally, tabulate the equipment out of the building. Lounge, $5,000 can be settled in small-claims square footage of the room. Inform the society, and cover acts frequently are court. It will be the burden of the plain- agent of all theft deterrents installed at contracted for extended runs. They may tiff (you) to provide evidence of willful the site; you may qualify for a slight dis- perform for a week, a month, or a sea- negligence (such as unlocked doors) on count. son; some are held over indefinitely. the part of the defendant. It is an enticement to radically Under any of these circumstances To sue or not to sue? That is the ques- upgrade your set by listing more or bet- there is a period during which a drum- tion. The answer depends on how ter equipment than you actually own. mer is away from his set until the next important it is to the band to stay on Bluntly put, that makes you a thief. If day. In the interim, equipment may dis- good terms with the promoter. Say, for your avarice overrides your guilt, consid- appear due to burglary or sticky-fingered example, you lose a stick bag at a presti- er this: Suppose your stolen equipment employees. A question arises as to who is gious nightspot where you are booked turns up after you have filed a falsified liable for such losses. one weekend per month, and the owner Musicians who insure their instru- offers no compensation after the theft is ments have "worldwide" coverage on reported to him. A lawsuit over an item items on the first list. That means their of low financial value could ruin what policy will pay for the replacement of was otherwise a solid business relation- instruments stolen at home or on the ship, jeopardizing future bookings. road—provided the instruments are list- By the same token, the desire to main- ed on the insurance record. The premi- tain goodwill sometimes works in the um is based upon the specified items; plaintiff's favor. When asked how his consequently, the insurer is under no employer, one of the East Coast's largest legal obligation to award reimbursement promoters, would handle such a suit, our for items excluded from the worldwide anonymous source said, "If Mr. X was a list. That's why it is important to notify big draw and we wanted to keep bringing the agency whenever equipment is him here on every tour, we would offer changed or added. an out-of-court settlement and write it In general, venue managers feel it is off as a business expense. Not only are up to the owner of valuable property to we keeping Mr. X happy, we're also keep tabs on it while the Showplace is avoiding friction with his agent, who open to the public. A manager who handles other acts we book." requested anonymity drew an analogy: "If you've got a cigarette case or coat Post-Theft worth a lot of money, common sense tells The ugly reality is, despite thorough pre- you to take precautions against losing it cautions, you may become a theft victim. by not leaving it unprotected. The same As previously stated, a thief attempts to thing goes for instruments. The estab- sell the stolen goods as quickly as possi- lishment cannot be held responsible if a ble. A swift "counterattack" on the vic- musician fails to safeguard his property. tim's part often spells the difference "On occasion there will be a security between retrieving an instrument and stipulation in a contract rider," he con- losing it forever. tinued. "But we are concerned with per- Although you will be in a frazzled state of mind upon discovery of the theft, your al numbers, and all obvious markings. tributed newspaper(s). The ad should first phone call should not be to a sympa- Do not mention subtle markings; you appear in the "Instruments For Sale" thetic close friend but to the police may inadvertently tip off the thief to their section and the column where bands department. Do your best to deduct the presence. seeking new members advertise. Men- period during which the crime occurred Print the word "stolen" in large letters tion the reward if one is being offered. by recalling the last time you saw the across the top of the list and put your Newspaper ads will reach fellow musi- missing equipment. Provide the officer name and phone number along the bot- cians who do not frequent the local with a detailed description of the stolen tom. (An offer of a reward upon the music stores, and they'll warn drummers items. The police will keep a record of return of the instruments is optional.) in the market for used sets to avoid pur- your lost instruments and refer to it Make a photocopy for the police depart- chasing your stolen kit. You could even whenever they arrest a criminal in the ment, insurance company, and each store be lucky enough to have your ad read by possession of stolen goods. contacted. Once the pictures are pro- an acquaintance of the criminal willing After speaking to the police, your next cessed, attach them to the list and dis- to turn him in for the reward. "Honor objective is to spread the word on your tribute the information. among thieves" often goes straight out loss throughout the community. Find a Drummers who live in large cities can the window when the price is right. one-hour photo lab and order numerous hand-deliver the info to stores in the Let's face it: You can follow every pre- prints from your negatives. While the central business district and mail it to caution suggested in this article, but that pictures are being developed, break out those in the outlying areas. First-class will not guarantee the security of your the phone book and call every music mail usually travels cross-town in one equipment. As long as there are valu- shop and pawnshop in the immediate day. Ask or add a brief note inquiring ables, there are going to be thieves. On vicinity. Give them a general description whether the store has a bulletin board on the other hand, despite the fact that we of your equipment and a phone number which to post the notice. cannot eliminate the crime, we can sub- where you can be reached for more Another method of reaching those who stantially reduce the frequency in which detailed information. may come in contact with missing equip- it occurs by implementing the security Type or neatly print a list of the miss- ment is to place an ad in the classified methods we've described. ing items, noting brand, color, size, seri- section of the town's most widely dis-

BILL STEWART practice...things like sound production on the drums, getting ing the past three years." the sound that I like, playing time. I'll still play along with Stewart plays the same basic kit for all his jazz gigs, though records and practice soloing on standards, but one thing I don't he does make some alterations when he plays with Maceo Park- do is sit around and practice real technical things out of a book. er. "Maceo's gig is more R&B/funk-oriented than his record, I've never really been into that. I might play rolls once in a even though we do play some material from his record. We end while just to see if I'm getting a good sound. But I try to prac- up doing more dance-oriented stuff because some of the peo- tice musical things." ple who come out to see him are people who heard him with P- One thing Bill doesn't need to practice is the art of listening, Funk and James Brown. They're screaming and hollering for a quality that many young drummers would do well to emulate. that stuff, and Maceo gives it to them. Says Bill, "It takes some experience learning to play with peo- "So with Maceo I use a bigger bass drum, and I tune the ple. And it has to be something that you value for it to come drums a little lower. And I don't use the same cymbals; I use a out. A drummer who's only concerned with what he or she is Zildjian 17" crash and a heavy unfinished Istanbul ride. The playing, and not with what the other musicians are playing, is Istanbul is loud, but not real bright. It's not like a rock 'n' roll probably not going to sound very musical within a group. So cymbal, but it is heavier and louder than most jazz you have to familiarize yourself with what the other instru- cymbals—which I really need to be heard in Maceo's band. ments are doing. When I play with people, I listen to the other With Sco and most of my jazz gigs, I use two old 22" K Zildjian musicians. Even when I listen to records, I don't just listen to cymbals from Turkey on my right and a 20" American-made K the drummer. I listen to all the musicians. I guess the key is to Zildjian on my left." make the group sound good. That's a drummer's first priority; Bill plays a Gretsch kit—a 22" bass drum for Maceo gigs, an everything else comes after that." 18" bass drum for jazz gigs—with an 8x12 mounted tom and a Stewart's solo debut came last year on a Japanese release. 14" floor tom. His snare for both gigs is a Ludwig 6 1/2 x 14 ham- Playing with Bill were bassist Gary Peacock, pianist Marc mered brass, and his hi-hat also remains the same for both set- Cohen, and trumpeter . He has recently stopped tings: an old K Zildjian on top and a new American-made Zild- playing with Maceo Parker to concentrate on touring with the jian on the bottom. John Scofield group, and he can also be heard around New Though Stewart feels he is still growing as a drummer, he York between tours with Lee Konitz. Those hefty credits are prefers to make his leaps on the bandstand rather than in the only the beginning of what promises to be a full and vital career practice room. "I work on real basic things when I for this exciting new talent on the drum scene.

TIMEKEEPING Indeed, my bandmates were worried, Naked Pulse can get overshadowed. tized surface that rests on the drumhead at first, that I would fall into this trap. Sometimes, because of similarities in and picks up the vibration that comes However, when playing with them I have drum and frequencies, from each strike. It divides the interval learned to use the Beat Bug only for you might find that you can't always tell between any two consecutive strikes into "spot checking"; sometimes I forget if your stroke is exactly on the a minute, then displays a figure that sig- about it for many measures at a time, beat—flams tend to become blurred. nifies beats-per-minute on the large, paying more attention to them, the audi- Also, working with drum machine easy-to-read LED display. Simply, at ence, and my general "feel." If it feels sounds may not prepare you for the every moment in a tune (assuming that like we're beginning to rush or drag, I starkness and unforgiveability of the I'm playing backbeats on the snare) I can give it a check. Often, it just turns out to standard click track you might encounter tell both 1) how many beats per minute be some kind of subjective sensation; I in a studio situation. Still, these are just I'm playing at—the tempo, and 2) find (to my repeated surprise) that we're quibbles; practice time with a drum because the read-out is instantaneous really right on. Other times, I might use machine can be time well-practiced (pun for each strike, how evenly I'm keeping the feedback to fine-tune the tempo up intended). at this tempo—the meter. Two birds or down. It's amazing, I've found, how with one Bug. subtle a modification in stroke action can And The Practa Pal, Too Now, with my Beat Bug, I can tell if it's change those LED numbers—and from There was one particular situation, me or the guitarist who's "right." It those, the performance of the whole however, where no amount of training or doesn't matter how many cups of coffee band. feedback seemed to help me: when I had I've drunk or how much sleep he's got- All the same, there are times you might to keep up a steady four-on-the-floor ten: I have objective feedback. I may still choose to ignore the device altogether. bass drum beat for many measures, decide to move with the guitarist, to While we were working up one tune dur- without striking anything else. I don't speed up a bit or slow down, depending ing practice, my bandmates actually know, but I can't help but suspect that on the organic flow of the band and the insisted that I not play a certain repeating I'm not alone here: I find it hard to tune; but now I can do this with a confi- figure that the Beat Bug said I was solid remain steady with only the bass drum dence I never had before. I still feel in on, in favor of one that I was rather doing quarter notes alone for a minute or control of things, no matter which way I uneven on. They just preferred the feel of more—a situation that happens to occur might go; and the band, in turn, feels the latter, regardless of the "objective" several times in my band's repertoire. that confidence. They know, more perfection of it. So that's the one I'm So I came up with a simple solution. I securely than ever, that I am the time- playing now, all the while improving my cover my wood block with foam and play keeper, even if I'm, in fact, following evenness during performance with the "silent" 8th notes on it with my right them. help of my ever-present digital friend. I hand, as if I were riding the hi-hat. The Beat Bug does have its limitations, never leave home without it. That's all there is to it. There is just however. Because it provides bpm feed- something about the simple act of play- back only on intervals between strikes Using A Drum Machine ing that accessory pattern with another that are regular and repeating (such as Beyond basic metronomes of any kind, limb that keeps the foot even on the backbeats), it can give only indirect data perhaps the most useful device for the quarters—at least for me. At times when about fills. Also, it cannot provide feed- training of timekeeping skills is the drum I don't want to clutter up my bass drum back during tom-tom or bass drum-alone machine. The key word here is variety. rim with the woodblock, I strap on my passages. It carries with it, as well, the Used as a click track, the drum machine Practa Pal—a rubber practice pad prod- potential for abuse: You can easily start to can give you as your signal anything from uct that uses a Velcro strap to secure it fixate on those insistent red numbers, a rimshot to a conga. As a sequencer it on the thigh—and play my 8ths on that. eyes narrowed and unblinking, becoming can give you infinite varieties of patterns Works like a charm. oblivious to your bandmates and to the and tracks, pre-programmed or pro- Just another way I have found to adapt feel of the tune itself. grammed by yourself. It can give you any to this, the Day of the Click. Sometimes number of standard or non-standard it can be a tyrant, yes, and sometimes it rhythms to practice to, all with sounds can feel heartless; but the fact remains either from its own bank or triggered that The Click cannot be ignored, if you from other sound modules via MIDI. are going to play popular music today. Undeniably more interesting to spend And meanwhile, if you can use its time with than a mere metronome, the demands to turn you into a better time- drum machine constitutes a formidable keeper—if you can harness it to fuel your learning tool. I would just caution, how- groove—then it has really done nothing ever, that it's easy to get so complicated but make you a better drummer. And with it that, as with recordings, the what can be the harm in that?

Pro-Mark Indy Quickies Endorser News Yamaha drums are being used on stage Mason Treat with country artist John Project X Continues for each of the city of Chicago's six 1991 Anderson is endorsing Ludwig drums, Pro-Mark's Project X, which seeks to get Summer Events, including the Chicago Evans heads, RIMS mounts, and Pro-Mark direct response from drummers regard- Gospel, Blues, Jazz, and Country Music sticks. ing the company's products, has yielded Festivals, as well as the Viva! Chicago and Paiste cymbals are now being struck by positive results, according to Sales Taste of Chicago shows. Michael Blair, Andy Sturmer of Manager Pat Brown. After running an ad Slobeat Music Products has promoted Jellyfish, Scott Crago with , soliciting participation from drummers, Randy White to the position of National John Dittrich of Restless Heart, Roger names were selected via computer to rep- Sales Manager. White has been the gen- Earl of Foghat, Dan Hickey with Joe resent a wide range of ages, geographic eral manager of the company for the past Jackson, Michael Baker of the Joe locations, and musical preferences. When two years, and will continue in that capac- Zawinul Syndicate, and David Palmer the company needs product evaluation, ity, as well as handle the duties that his with . Project X members are sent samples and new position demands. Vinnie Colaiuta, Dennis Chambers, asked to send back evaluation forms by a Premier drums will now be offered Rick Marotta, Jim Keltner, Stu Nevitt, specified date. "Doing so assures that with RIMS mounts as optional equip- and Doane Perry using KAT products. they will continue to receive periodic no- ment with selected kits. New PureCussion RIMS endorsers charge samples for testing," says Brown. Mapex Percussion has been awarded include Jeff Crandall of the Altar Boys, Members who don't respond are taken off two patents for their design of the tension Alan White, Chris Branco of Black Eyed the mailing list and replaced by members adjustment mechanism on their Orion, Susan, Joe Bellia with , from an alternate list. The company Saturn, and Mars series hi-hat stands. Bruce Carter with ., Johnny states that so far they have had nearly Dee of Britny Fox, Mark Craney, Lynn 100% participation. Williams with John Hiatt, and Sean Burke of the Atlanta Rhythm Section.

technical ability. Overby Enterprises, New Impact Bags P.O. Box 5436, Bryan, TX 77805. New From Impact has released two new bags—a double pedal bag and a deluxe cymbal PureCussion bag. The double pedal bag is 32" long and Aquarian Kick Pad PureCussion's shell-less 12" snare drum features foam padding, a removable hard- Aquarian's Kick Pad is an impact pad for has been introduced, and the company shell insert, and soft-grip handles. It can bass drums that, according to the compa- states that its lack of sympathetic vibra- also be used as a hardware bag. ny, will save drummers considerable tions makes it an ideal recording "picco- Impact's deluxe cymbal bag is 22" in money on bass drum head replacements. lo"-type snare. diameter and features a separate hi-hat The pad measures 3 3/4" in diameter. compartment on the side, 1/2" foam cush- According to Aquarian, this small size ioning, and a large pocket for accessories allows the Kick Pad not to inhibit the and sticks. Both types of bags come in bass drum from speaking. A Double Kick Signature (rip-stop Tolex) and Impact II Pad measuring 6 1/8" x 3 1/2" is also avail- (1000 denier polypropylene) versions. able. Aquarian Accessories, 1140 N. Impact Industries, Inc., 333 Plumer Tustin Ave., Anaheim, CA 92807. St., Wausau, WI 54401, (715) 842-1651. Simmons Trixer II Simmons' Trixer II offers expanded sounds and programability over the company's original model. In addi- tion, owners of the original Trixer can send their units back to Simmons to have them upgraded to the Trixer II's capabilities. (Call The company's Rimbali is a combina- Dennis Grzesik at [805] 494-5007 tion of 12" and 14" NE series drums fitted for return authorization.) The price with Evans Cad/Cam white-coated 750 of the upgrade is $250, which includes heads. The pairing simulates timbale Octagon Gloves up/down, kit select, and footswitch. sounds, and a set comes complete with Octagon drummer's gloves are made Trixer II enhancements include an an adjustable cymbal holder, a cowbell from super-thin, strong, and moisture increase in the number of factory pre-set holder, and a Tolex carrying bag. An resistant Cabretta sheepskin and calfskin kits from four to eight, and an increase of optional suspended brass shell section leather, and are available in three styles. user-programmable kits to ten. Sim- may be added to achieve a traditional The gloves go through a chemical treat- mons Drums, 756 Lakefield Road, piala sound. ment process that makes them repel Unit C, Westlake Village, CA 91361, Also new from PureCussion is a tradi- moisture up to 40% more than other tel: (805) 494-5007, fax: (805) 494-9415. tionally shaped 14"-diameter throne seat drummer's gloves on the market, accord- that features a grey velour top, and their ing to the makers. Octagon Corpora- Double Drop Clutch, which can be used tion, 6970 Aragon Circle, Suite 2, Cappella as a regular hi-hat clutch or as a drop Buena Park, CA 90620, tel: (714) 522- clutch. PureCussion, Inc., 3611 1471, (800) 828-8877, fax: (714) 522- Marching Sticks Wooddale Ave. South, Minneapolis, 6490. Cappella's Patriot Marching Series sticks MN 55416, (612) 927-2330. are made from white hickory and are available in 1S, 2S, and 3S models, all Overby Flutter Bar with wood tips. The company's Elite Slingerland Marching Overby's OVB-1000 Flutter Bar is a 9000 model stick comes in nylon tip, and device designed to allow drummers to is also made from white hickory. Percussion Carriers quickly and easily perform one-handed Cappella Drumsticks, P.O. Box 247, Slingerland's Magnum marching percus- rolls and fly-away drumstick tricks. Applegarth Road, Hightstown, NJ sion carriers include models for snare Overby claims that this device (which 08520, (609) 448-1153 or (800) 262- and bass drums, plus one for multi-toms. attaches inconspicuously to any drum BEAT. All are made from aircraft-grade alu- rim) will increase showmanship and minum. Snare carriers mount easily and

offer four-way adjustability, bass carriers former." Some of the subjects covered mahogany, have been engineered as "a feature three-way adjustability, and multi- are snare drum care and tuning, timp plausible alternative to the total birch or tom carriers offer five-way adjustability techniques, an Ed Shaughnessy drum total maple sound," according to Pearl. plus a tilt feature to help reduce fatigue. clinic, and the 40 P.A.S. rudiments. The makers state that the drums produce HSS, Inc., Lakeridge Park, 101 Folders are available for $3.00 from "the same pronounced upper- and lower- Sycamore Dr., Ashland, VA 23005, Ludwig Industries, P.O. Box 310, end frequencies present in the 100% (804) 550-2700. Elkhart, IN 46515, (219) 522-1675. birch Prestige Studio." In other Pearl news is Pearl News, the drum company's periodical, which Updated Ludwig New From Pearl includes articles on Pearl players, reviews Two new Pearl kits have been intro- of their recordings, new Pearl product Educational Pack duced—the CZX Studio, and the Prestige overviews, and info on Pearl "imagewear" Ludwig has introduced their updated Session Elite. CZX Studio drums are and posters. Percussion Educational Materials Folder. made of 100% birch, and kits come stan- Finally, the Pearl Corporation has Featuring articles by Danny Gottlieb, Ed dard with Pearl's B-914D brass-shell entered into a distribution deal with Om Shaughnessy, Butch Miles, and others, Free Floating snare drum. Pearl's aim was Percussion, makers of a wide variety of the pack is available in two forms. The to create a kit that "projects presence in wind chimes and other percussion prod- first is aimed at band directors and con- the upper and lower frequencies unparal- ucts. Pearl Corporation, 549 Metro- tains articles helpful in assisting younger leled in professional birch drums." plex Dr., Nashville, TN 37211, tel: students. The second contains articles The Prestige Session Elite drums, (615) 833-4477, fax: (615) 833-6242. intended for the "serious percussion per- which are made from a blend of birch and

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THOUSANDS OF PRODUCTS, PRICES, AND SPECS DRUMMER'S GUIDE To SHOPPING, PRICING, TESTING, AND BUYING DRUM MANUFACTURERS DIRECTORY

ADVERTISERS INDEX

ADVERTISER PAGE NUMBER ADVERTISER PAGE NUMBER ABK Rocks 81 Mechanical Music Corporation 88 Alfred Publishing 105 Meinl 87 Aquarian Accessories 112 Music Tech 104 Atlanta Pro Percussion 76 Musician's Institute 117 Australian Drum Manufacturers (A.D.M.) 112 OM Percussion 70 Boulevard Music 112 Overby Enterprises 97 Calato/Regal Tip 49 Paiste 5,53,69 Chardan Percussion/The Kick-Stop 116 Pearl Corporation 36/37,95,98 DCI 82 Play It Straight 80 ddrum 67 Precision Drum Co. 92 DL Productions 112 Pro-Mark 64,75,78,108 Drum Workshop 109 PureCussion, Inc. 90 Drummers Collective 72 PureTone 91 Drums on Sale 88 Remo 71,83 Drums Only 53 Rhythm Tech, Inc. 63,89 Drumstix 88 Roc-N-Soc 74 Duratech Music Products 53 Roland 111 Evans Products 1 Russian Dragon/Jeanius 49 Falicon Design 93 Sabian 14/15 Gibraltar/Kaman Music Corp. 59 Sam Ash Music Stores 100 Glenn Weber Drum Studio 116 Slingerland 43 Grant's Drum City 92 Sound Judgement Records 93 Gretsch Inside Back Cover Suncoast Music Distributing 66 HQ Percussion Products 79,99 Super Gloss/Sam Barnard 112 House Ear Institute 79 Tama 11,13,68 Imperial , 92 The Woodwind & Brasswind 104 Impact Industries 61 Thoroughbred Music 116 Kansas City Drumworks 88 UDU Drums 88 KAT, Inc. 61,113 Unique Percussion 116 Kawai 73 Valley Drum Shop 88 L.T. Lug Lock 76 Vater Percussion 63,107 Latin Percussion, Inc. 65 Vic Firth, Inc. 7,96 Ludwig Industries 118, Inside Front Cover Waddell's Cymbal Warehouse 112 Mapex Percussion 77 XL Specialty Products 72 MD Festival Weekend 50/51 Yamaha 17, 80 MD Subsriptions 58 Zildjian 44/45,Outside Back Cover MD & Ludwig Trivia Contest 102/103 Photo Gallery Fish Photo by Michael Jachles

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