Oct-Nov 1980
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MODERN DRUMMER VOL. 4 NO. 5 CONTENTS FEATURES: LOUIE BELLSON The talent of Louie Bellson has been recognized world wide for many years. Love of and dedication to music, fostered at a young age by his father, prepared Bellson for the bands of Ted FioRito, Benny Goodman, Harry James, Tommy Dorsey and Duke Ellington. In this special interview, Bellson discusses the many facets of his career, his innovative double bass drum con- cept and the function of the drummer within a big band. 12 MICK FLEETWOOD At the helm of Fleetwood Mac, Mick Fleetwood is one of rock's most popular musicians. Fleetwood discusses his drums, the requirements of the recording studio and the importance of playing within your limitations to retain tension within the music. According to Fleetwood, "Drums are there to compli- ment. The rhythm section is there to be subservient to ... the vocals and the music." 16 ROY HAYNES A 'natural' drummer, Roy Haynes has played with an array of jazz artists throughout his career, including Charlie Parker, Thelonious Monk, Sarah Vaughan and John Coltrane. Haynes reminisces about the artists he has played with and explains how he approaches each new musical challenge that faces him. 30 PERCUSSION INNOVATIONS FROM GREAT JAZZ DRUMMERS, PART III 22 DOWN UNDER 20 INSIDE LATIN PERCUSSION 26 COLUMNS: EDITOR'S OVERVIEW 4 DRIVER'S SEAT 7 Listening and Learning ASK A PRO by Mel Lewis 60 IT'S QUESTIONABLE 8 JAZZ DRUMMER'S WORKSHOP READERS' PLATFORM 10 A Primer on Hi-hats CONCEPTS by Jack Scott 68 Drumming and Breathing RUDIMENTAL SYMPOSIUM by Roy Burns 38 Alex Duthart: Close Up SOUTH OF THE BORDER by Keith Duff and Neil Kirby 70 Brazilian Rhythms SHOP TALK by Norbert Goldberg 42 The Care and Feeding of Drums, Part 1 THE CLUB SCENE by Frank Kofsky 74 Cleaning Your Set by Rick Van Horn 46 DRUM MARKET 82 ROCK PERSPECTIVES PRODUCT CLOSE UP Steve Gadd: Up Close Pedals in Perspective, Part I by Rick Latham 50 by Bob Saydlowski, Jr. 86 STRICTLY TECHNIQUE JUST DRUMS The Three Stroke Roll NAMM Show Report by Brent Brace 54 by Clint Dodd 93 Occasionally we feel it's important to report on the general health of the percussion industry. To do so, we turn to the American Music Con- ference which gauges the state of the music industry through its Annual Industry Review. Despite the tight money market impact on big ticket items, the music industry reported sales of 2.3 billion dollars last year. The percussion industry portion was equally impressive with domestic sales volume reported at 70.4 million dollars, up from 61.2 million the year before, and 48.3 five years ago. Of course, some might say that price increases accounted for a large chunk of that growth, and this is true to some extent. Interestingly enough, however, various other musical in- struments had price increases last year and still reported losses in sales volume, or more modest gains by comparison. A real gain of 5% for our industry is actually quite satisfactory, particularly in light of today's gloomy economic picture. Percussion exports were especially strong reaching 12.5 million dollars from 8.1 recorded the year before. The leading customers of U.S. per- cussion exports are currently Canada and West Germany, apparently in that order. Imports were slightly down at 12.8 million dollars, with Tai- wan (not Japan) the United States' principal source of percussion im- ports. The AMC survey also reveals that there are 2,700,000 amateur drummers in the U.S., 94% male, 6% female, with a median age of 16. Ten years ago there were 1,900,000. These figures clearly indicate that the percussion industry in this coun- try is in admirable condition. The demand for new and improved equip- ment continues with no end in sight, and that demand is being met by new and improved product designs each year. Our cover feature this issue is Lou Bellson, a dear friend and supporter of MD since its inception. Bellson has ranked high among the world's most outstanding drummers for nearly forty years and continues to main- tain his position as a consistently dynamic player. Mick Fleetwood, of Fleetwood Mac, talks about the band, his role, and the long climb up the music business ladder of success. Good taste, sensitivity and versatility perhaps best describe Roy Haynes, whose ca- reer has run the gamut from 52nd Street to fusion. MD's first in a series of close-ups on the revolutionary new drum sus- pension systems begins with Australian Don Sleishman's pioneering ef- forts in Percussion Innovations From Down Under. For seventeen years, Latin Percussion has led the way in the design and manufacture of Latin American percussion. MD's Karen Larcombe re- cently visited with President Martin Cohen for a tour and a closer look at the man and his company. And Part Three of The Great Jazz Drummers closely examines the bop drummers of the forties and the eventual transi- tion to the 'hard' and 'cool' schools of the fifties. You'll also find some powerful Steve Gadd rhythms, a guide to proper hi-hat technique, Roy Burns on breathing, Rick Van Horn on custom- izing, and Part 1 of a special three-parter on The Care And Feeding of Drums by Frank Kofsky. We've also once again devoted the entire Just Drums department this issue to what's new in percussion from the annu- al NAMM (National Association of Music Merchants) Expo. Clint Dodd was our man in Chicago this year, and he's brought us a super wrap-up to an exciting issue. HENRY ADLER Q. Did Buddy Rich actually help you A. The book was written to combine write the famous Buddy Rich snare drum what Buddy Rich does, with a method book? for practicing the rudiments. I tried to put Phillip Potash the rudiments down in a manner that Oklahoma City, OK would help the drummer to achieve that type of technique. Even though Buddy may not have written the actual notes, the book was developed from his meth- od of playing. Thus, the name Buddy Rich's Modern Interpretation of the Snare Drum Rudiments. It's his interpretation and his ideas. JOE FRANCO A. I'm asked this question more than any other. I developed my left foot on the Q. How did you go about developing hi-hat before moving it over to the left ROY HAYNES your left foot technique? bass drum. I practiced playing eighth Q. When did you play with the immortal Anthony Beneditti notes with the left foot on my hi-hat in Charlie Parker, and what did you learn Newark, NJ standard rock beats. This strengthened from that experience? my left foot, improved my independence John Reilly and balance, and gave the rhythm a Boston, MA strong eighth note feel. It also freed my right hand to compliment the rhythm in other ways. When I was comfortable with the eighth notes in the left foot, I moved over to the left bass drum, play- ing the eighth notes on the downbeat. When I played the upbeats with my right bass drum, I basically had my sixteenth note single stroke roll together. I've stayed with this concept for all my bass drum work and continue to lead with the left foot. The most important thing to re- member is to play with the ball of your left foot. This establishes the correct point of balance you need to play double bass drum rolls with the kind of power necessary for today's rock drumming. A. I was about 23 or 24 years old when I started playing with Charlie Parker. It was in the autumn of 1949 and I worked with him until '52 or '53. I became more sensitive as a player. I played with Les- ter Young before Charlie Parker. He was very sensitive to drums, and he loved what I did. But "Bird" was beautiful. We would do a week somewhere, some- times two, then I wouldn't see him for awhile. The Lester Young gig was steady for two years. I listened a lot. They both added to my sensitivity as a drummer. by Cheech lero Q. Did Maynard Ferguson's current drummer once play with a famous American rock group? Hasn't he written a book on funk/rock drumming? D.B. Q. Would you please explain what two dots after a note in- Weyburn, Canada dicates? L.B. A. Roberto Petaccia, now with the Maynard Ferguson orches- Tampa, FL tra, joined the Mark Almond Band for their U.S. tour in 1978. Roberto has written a book entitled Progressive Steps to Progres- A. One dot after a note increases that note by half of its original sive Funk which can be purchased through R. P. Publications, value. A double dot indicates an increase of one half the value 74 Fenway, Boston, MA 02115. of the first dot. Therefore the note would be increased by three- quarters of its original value. Q. I recently purchased a four octave Leedy Marimba with rosewood bars. The bars are in beautiful condition, and I was Q. I know that drummer Butch Miles left the Count Basie band, wondering if you had any suggestions on how to keep them that and for awhile I saw him with the Dave Brubeck Quartet. way? Where is he now? R.W. L.S. La Mirada, CA Chicago, IL A. Your marimba bars will shine and stay looking like new if A.