Aug-Sept 1980
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MODERN DRUMMER VOL. 4 NO. 4 FEATURES: KEITH KNUDSEN and CHET MCCRACKEN Keith Knudsen and Chet McCracken, drummers for the pop- ular Doobie Brothers, relate how the advantages outweigh the difficulties working in a two drummer situation. The pair also evaluate their own performance styles and preferences within the musical context of the band. 12 JOE COCUZZO Having worked professionally since the age of 19, Joe Co- cuzzo has an abundance of musical knowledge. His respect for and understanding of the drummer's position within the music has prepared him for affiliations with Buddy DeFranco, Gary McFarland, Don Ellis, Woody Herman and Tony Bennett. 20 ED GREENE Ed Greene has the distinction of being one of Los Angeles' hottest studio drummers. Greene explains what it's like to work in the studios while trying to keep your personal musical goals alive, and what the responsibilities of a studio musician entail. He also speaks on the methods used in a recording studio and how the drums are appropriately adjusted for each session. 29 THE GREAT JAZZ DRUMMERS, INSIDE STAR INSTRUMENTS 26 PART II 16 MORRIS LANG: N.Y. PHILHARMONIC VETERAN 24 COLUMNS: EDITOR'S OVERVIEW 2 SHOW AND STUDIO READERS' PLATFORM 4 Music Cue by Danny Pucillo 46 ASK A PRO 7 UP AND COMING IT'S QUESTIONABLE 8 Rob the Drummer: A New Kid on the Street ROCK PERSPECTIVES by Karen Larcombe 48 A Practical Application of the Five Stroke Roll by David Garibaldi 32 DRUM MARKET 56 STRICTLY TECHNIQUE CLUB SCENE Wrist Versus Fingers Space Saving and the Custom Set by Forrest Clark 34 by Rick Van Horn 60 JAZZ DRUMMERS' WORKSHOP Coordinating Accents Independently PRINTED PAGE 70 by Ed Soph 38 RUDIMENTAL SYMPOSIUM DRIVER'S SEAT Rudimental Set Drumming Avoiding Common Pitfalls by Ken Mazur 74 by Mel Lewis 42 TEACHER'S FORUM INDUSTRY HAPPENINGS 78 An Overview by Charley Perry 44 JUST DRUMS 79 Two years ago, MD mailed questionaires to 1,000 randomly selected subscribers in an effort to obtain a profile of a typical MD reader. We received an astounding response. Over the next several months we will be embarking on our second reader survey, this time to a sampling of 3,000 foreign and domestic readers. Those of you included in this study will receive a two-part questionaire which should take roughly 15 minutes to complete. Part 1 will deal with you specifically: Your age, musical education, playing status, perform- ance level, equipment purchasing habits, and so on. The information gathered from this line of questioning is computer tabulated and studied by key MD staff people. It is then passed along to our advertisers to aid them in preparing the advertisements you read, and to help them in de- termining precisely who they are reaching through our pages. The questions in Part 2 relate to the editorial content of the magazine. After computer tabulation, this information is distributed to all individual editorial personnel where it is carefully evaluated. This is followed by several day long full staff editorial department conferences where key decisions are made on the basis of what we've learned. As you can see, the information you supply is of considerable importance to us. The data provided by 3,000 readers acts as a barometer from which we can ascer- tain what feature articles and column departments were well-read; what material you enjoyed or didn't enjoy; which columns were too simple or too complex; what you would like to see more of, or perhaps, less of. In essence, we learn where we've succeeded or failed with the editorial material we've presented to you. The study tells us if it's necessary to adjust the editorial direction of the magazine in any way. Most impor- tant, the information you supply aids us in tailoring future issues to your exact needs and interests. If you are among the 3,000 randomly selected names, please take the time to respond as accurately as you possibly can. We need your input to continue bringing you a magazine you'll not only enjoy reading, but will benefit from as well. MD's August/September issue leads off with Chet McCracken and Keith Knudsen, the two formidable mainstays behind the ever-identi- fiable and infectious rhythm of the Doobie Brothers. Joe Cocuzzo, one of the most highly skilled sidemen in the business, has some not often heard, yet highly perceptive comments we can all learn from. And Ed Greene, who holds the distinction of being one of the most recorded drummers in the L. A. studio clique, describes the climb and what it's like once you're there. A member of the New York Philharmonic Orchestra for over 20 years, leading percussionist Morris Lang supplies us with some insight into today's developing symphonic player. Our recent visit to Star Instruments, innovators in electronic per- cussion, resulted in an inside report on one of the percussion world's fastest growing companies. And MD's historical perspective of The Great Jazz Drummers moves into Part 2. It's the late 20's and Chicago- style drumming now takes precedence. We'll follow the evolution into the big band era of the 30's and learn about the important drummers who made the great bands swing. It's all here in words, music and some fabu- lous photographs. As usual, our column roster—covering everything from David Garibal- di's mind blowing routines for rock drummers, to Rob The Drummer from Sesame Street—rounds out the issue. Enjoy. Congratulations on a super article . "Inside Remo." It was very well done and extremely informative. Remo Belli deserves every accolade the percussion world can bestow upon him for capturing 70% of the world market from a standing Thank you and Cheech Iero for your in- I hope that Stanley Spector's article in start 22 years ago. terview with Neil Peart. I have been your February/March issue, "Challeng- But, there is one small error in the sec- waiting for Neil Peart to be featured in ing the Rudimental System" was not ond paragraph of his interview that I feel your magazine. The interview was great. saying (or even inferring) that rudiments compelled to straighten out. He stated Another drummer I'd like to see in your are not necessary to any kind of drum- that we were not pursuing mylar drum- magazine is Tommy Aldridge. ming including jazz. That would be like heads with any great need. If there was saying that push-ups, sit-ups and weight anyone who needed something besides lifting are not necessary to become a calf skins for drumheads, it was a drum BRIAN WALSH good football player or baseball player. company. We were having a devil of a GRANADA HILLS, CA Rudiments certainly are used in jazz time keeping up drum production being drumming. I cannot believe that a man of always short of good, select skins in Mr. Spector's background hasn't lis- 1957. In fact, all my years in this busi- Thank you for the fine article on Fred tened to what he and all the great drum- ness, we never had enough excellent calf Begun. Your article captured the Begun mers are playing; 4 stroke ruffs, rata- skins for drumhead production. approach to music quite well. I am only macues, single stroke rolls, flams, etc. What was the problem involved in ob- sorry that words cannot express the Constantly. taining enough calf skin heads? Simply warmth, sincerity and generosity of the Any drummer knows that maybe all of this. The meat packers were leaving the man. He is a superb timpanist, but more the 26 standard rudiments are not always cities because of high costs and constant over, a fine human being. Thank you for used. But some are and there are plenty labor strife from the unions. Also, mod- this long overdue recognition of a fine used that are not a part of the standard ern railroad cars preserved the meat effi- musician and person. 26. Why say the 26 are of little use just ciently for long periods of time. Why because they were invented in 1869? ship the whole animal from Denver to Everything becomes dated, like a quar- Chicago and then slaughter it in Chicago JACK STAMP ter note, but it's still used. Has Mr. when you could accomplish the same WILMINGTON, NC Spector discovered a better way of learn- thing near the pasture lands and send on- ing and playing without using rudiments ly the edible parts by rail? Plus taking ad- as part of the foundation? vantage of decentralized plants, lower la- I'm extremely happy with Harold How- bor rates and sometimes a union free en- land's article. It was the best presenta- vironment. Thus the economics of the tion I've ever had—and I've had some BUD ELRICK great packers migration out of Chicago bummers. My thanks to the staff of Mod- GLENSHAW, PA all but sealed the doom of the calf skin ern Drummer. head era. Today's calf skin comes bundled, tied, salted and frozen in tiny individual pack- FRED BEGUN ages and you never know what quality BETHESDA, MD skin you are getting until you thaw it out In the Modern Drummer issue of Febru- and stretch it out on a table. Then and ary/March, I was taken aback by the ar- only then do the blemishes, the salt After reading the article on Neil Peart, I ticle written by Stanley Spector. I was stains and pin holes appear.