in this issue . VOL. 10, NO. 7 Features Cover Photo by Rick Malkin Columns EDUCATION IN THE STUDIO Rock Drumming In The Studio by Vinny Appice 40 ROCK PERSPECTIVES Phrasing Concepts: Part 2 Five-Note Groupings by Joe Franco 42 JAZZ DRUMMERS' WORKSHOP Polyrhythms And Soloing by Peter Magadini 60 ROCK 'N' JAZZ CLINIC Creating Your Own Funk And Fusion Patterns by Ed Soph 64 STRICTLY TECHNIQUE Malkin Foot Pedal Technique Rick by Dennis Lester 74 by SLIGHTLY OFFBEAT Drum Trivia #2 Photo by James Morton 76 TEACHERS' FORUM BILLY COBHAM What Are You Worth? by Rodman A. Sims 90 Since moving to Switzerland a few years ago, Billy Cobham's popularity in the U.S. had been on the decline, but now he's CONCEPTS back with a new album and a new commitment to regain his Tempo Problems former position at the top. by Roy Burns 92 by William F. Miller 16 CLUB SCENE The Fine Art Of Listening TICO TORRES by Rick Van Horn 96 While his work with Bon Jovi proves Tico Torres to be a EQUIPMENT consummate rock drummer, it is only one aspect of his varied SHOP TALK career and background, Creative Refinishing by Teri Saccone 22 by Douglas A. Smith 62 PRODUCT CLOSE-UP Casio RZ-1 Digital Sampling Rhythm JEFF HAMILTON Composer Jeff Hamilton wanted to do the near impossible: make a living by Bob Saydlowski, Jr 98 playing only the music he believed in. And Jeff was just JUST DRUMS 102 stubborn enough to pull it off! by Robyn Flans 26 PROFILES PORTRAITS Gary Chaffee INSIDENOBL E& by Tim Smith 44 COOLEY NEWS UPDATE 6 The newest name in professional drums actually has one of the INDUSTRY HAPPENINGS 100 oldest histories, and even though a lot of drummers don't realize it, a Noble & Cooley was probably their first drum, DEPARTMENTS by Donald Quade 30 EDITOR'S OVERVIEW 2 READERS' PLATFORM 4 '86 READERS POLL ASK A PRO 10 IT'S QUESTIONABLE 12 DRUM MARKET 78 RESULTS 34 JULY 1986 Shelly Manne Scholarship Winner Congratulations to Richard F. Craig, Jr., win- expand conceptually as a player, and gain even fur- ner of the 1986 MD Shelly Manne Memorial Schol- ther experience in various facets of drumming. arship. This year, the scholarship was coordinated Ultimately, Rick hopes to become a proficient ses- through the Percussion Institute of Technology sion drummer and apply that ability in the Los (PIT), a division of the Musicians Institute in Hol- Angeles recording studios. lywood, California. The Shelly Manne Memorial Scholarship is open Rick Craig, a 23-year-old drummer from St. to any drummer, age 18 or over, with aspirations Petersburg, Florida, has been playing drums for 18 for a professional career in drumming, and the years. Following high school graduation, Rick potential to achieve that goal. This is demon- enrolled at the University of South Florida in strated through good basic skills in the areas of Tampa, where he obtained a Bachelor of Arts in technique, coordination, time conception, read- Music in 1985. During college, Rick taught percus- ing, ensemble playing, and solo work. The recipi- sion for several Tampa Bay area high schools, per- ent should also be able to show some degree of ver- formed with the University of South Florida Jazz satility through his or her ability in more than one Orchestra, and pursued further private drumming phase of drumming. For example, any applicant instruction on a limited basis with Peter Erskine in who can demonstrate performance skills in rock, New York, and David Garibaldi in Los Angeles. jazz, and big band would be given greater consid- Throughout college, Rick also engaged in a vari- eration than an individual skilled in only one spe- ety of musical endeavors, ranging from perform- cialized area. ances with the West Coast Symphony Orchestra as Richard Craig was selected for the Shelly Manne an extra percussionist, to drumming in shows Memorial Scholarship from a group of applicants, behind artists like Doc Severinson, Dinah Shore, each of whom submitted background information Marilyn McCoo, and Sergio Franchi. Rick's and a taped performance demonstrating his or her drumming interests have also extended to small playing in both a solo and ensemble format. All jazz groups, funk, and big band settings. Cur- applicants were pre-screened by the PIT Scholar- rently, he is performing with a contemporary ship Committee. Resumes and tapes were then for- fusion band called Tapaztry. warded to the MD home office, where the final win- Playing since the age of five, Rick credits Omar ner was selected from the top five finalists. Once Hakim, Peter Erskine, Steve Gadd, Elvin Jones, again, Modern Drummer extends its sincere con- Dave Weckl, and Mel Lewis as the drummers who gratulations to Richard F. Craig, Jr., and wishes have had the greatest influence on his playing. His him success in all his future musical endeavors. immediate goals are to continue to develop and PUBLISHER ADMINISTRATIVE DIRECTOR CONTRIBUTING WRITERS Ronald Spagnardi Isabel Spagnardi Susan Alexander, Chip Deffaa, Robyn Flans, Simon Goodwin, Jeff Potter, Teri Saccone, ASSOCIATE PUBLISHER ADMINISTRATIVE MANAGER Robert Santelli, Bob Saydlowski, Jr., Robin Ellen Corsi Isabel Spagnardi Tolleson, T. Bruce Wittet. ASSISTANT EDITOR ADMINISTRATIVE MANAGER MODERN DRUMMER Magazine (ISSN 0194- Ronald Spagnardi Tracy Kearney 4533) is published monthly by MODERN DRUMMER Publications, Inc., 870 Pompton DEALER SERVICE MANAGER Avenue, Cedar Grove, NJ 07009. Second-Class FEATURES EDITOR Angela Hogan Postage paid at Cedar Grove, NJ 07009 and at Rick Mattingly additional mailing offices. Copyright 1986 by CIRCULATION Modern Drummer Publications, Inc. All rights MANAGING EDITOR Leo Spagnardi reserved. Reproduction without the permission of Rick Van Horn Sharon M. Leary the publisher is prohibited. SUBSCRIPTIONS: $22.95 per year; $41.95, two Crystal W. Van Horn years. Single copies $2.75. ASSOCIATE EDITORS MANUSCRIPTS: Modern Drummer welcomes Susan Hannum SALES PROMOTION MANAGER manuscripts, however, cannot assume responsi- William F. Miller Evelyn Urry bility for them. Manuscripts must be accompa- nied by a self-addressed, stamped envelope. MODERN DRUMMER ADVISORY BOARD EDITORIAL ASSISTANT CHANGE OF ADDRESS: Allow at least six Henry Adler, Carmine Appice, Louie Bellson, weeks for a change. Please provide both old and Elaine Cannizzaro Bill Bruford, Roy Burns, Jim Chapin, Les new address. DeMerle, Len DiMuzio, Charlie Donnelly, Peter MUSIC DEALERS: Modern Drummer is avail- able for resale at bulk rates. Direct correspon- ART DIRECTOR Erskine, Danny Gottlieb, Sonny Igoe, Jim dence to Modern Drummer, Dealer Service, 870 David H. Creamer Keltner, Mel Lewis, Larrie Londin, Peter Pompton Ave., Cedar Grove, NJ 07009. Tel: 800- Magadini, George Marsh, Butch Miles, Joe 221-1988 or 201-239-4140. Morello, Andy Newmark, Neil Peart, Charlie POSTMASTER: Send address changes to Mod- ern Drummer, P.O. Box 469, Cedar Grove, NJ ADVERTISING DIRECTOR Perry, Paul T. Riddle, Ed Shaughnessy, Steve 07009. Kevin W. Kearns Smith, Ed Thigpen. ED SHAUGHNESSY and my own experience and initiative, we ten drummers of the world at the time— I'm writing in appreciation of the article have evolved a unique and dynamic per- from '65 to '70—and was well respected by on Ed Shaughnessy in the April '86 issue. I cussion core for our trio. I have purchased jazz as well as rock drummers. He really think Ed is one of the finest drummers in a very sophisticated drum box of my own, influenced my playing. To this day, when I the world, and he's also a wonderful and use it in conjunction with my other sit in with people, they ask me, "Where did human being. God bless him. I was fortu- acoustic and electronic instruments. I have you learn that stuff?" nate enough to attend one of his clinics my congas and bongos set up, and next to I know that jazz is really different and a back in 1978, in Winnipeg, Canada. I was them is what is essentially the top half of lot more expandable, but there are a lot of 18 at the time, and it was a thrill. Ed was my drumkit. It consists of my timbales, good rock 'n' rollers that learned from great, and he cares about the younger with an electronic snare in the center of playing records and listening to their drummers. I hope I can set as good an them, three electronic toms up above favorite players. I'm sure Ted McKenna example for up-and-coming drummers as them, an extended hi-hat, and both a ride will be interested to know that I also have Ed has done and continues to do. cymbal and some crash cymbals. I play it the Tear Gas album mentioned in your Curtis Osmundson all standing up. I do all the programming profile of him, and I've always enjoyed it Minneapolis, MN of the machine, and use different combina- and Ted's drumming. I just have this to tions of sounds for different songs. If I say: Whether it be rock or jazz, be open- want to play congas or timbales, I put a minded and just respect the other person. WORKING WITH MACHINES whole kit in the box; if I want to play Ralph Trunell As a long-time reader of Modern Drum- drums, I just put in what is missing and Pittsburgh, PA mer, I would like to thank you for the play the rest myself. The results have information and inspiration that has dynamics, depth, and consistency, plus the JERRY MAROTTA helped me to improve and expand my play- excitement of a person playing. My I guess I won't be the only drummer who ing. I would like to return a little informa- machine sounds great and does what I tell will want to tell Jerry Marotta [March '86 tion that may be helpful to others.