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AUGUST 1984 LH: I Wanted to Sit In, If Conway Would Let Me

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AUGUST 1984 LH: I Wanted to Sit In, If Conway Would Let Me VOL. 8, NO. 8 Cover Photo by Robert Herman FEATURES LEVON HELM During the late '60s and early '70s, Bob Dylan and The Band were musically a winning combination, due in part to the drumming and singing talents of Levon Helm. The Band went on to record many classics until their breakup in 1976. Here, Levon discusses his background, his work with Dylan and The Band, and the various projects he has been involved with during the past few years. by Robyn Flans 8 THOMMY PRICE Price, one of the hottest new drummers on the scene today, is cur- rently the power behind Billy Idol. Before joining Idol, Thommy Carneau had a five-year gig with Mink DeVille, followed by a year with Fred Scandal. In this interview, Thommy reveals the responsibilities of by working with a top act, his experiences with music video, and how Photo the rock 'n' roll life-style is not all glamour. by Connie Fisher 14 BOB MOSES Bob Moses is truly an original personality in the music world. Although he is known primarily in the jazz idiom for his masterful drumming, he is also an active composer and artist. He talks about his influences, his technique, and the philosophies behind his Jachles various forms of self-expression. by Chip Stern 18 Michael by DRUMMING IN ATLANTIC CITY Photo by Rick Van Horn 22 Malkin WILL DOWER Rick Australian Sessionman by by Rick Van Horn 24 Photo CLUB SCENE ON THE MOVE COLUMNS Attention To Detail James D. Miller and Bob Pignatiello. 78 by Rick Van Horn 90 IN THE STUDIO EDUCATION DRUM SOLOIST Jim Plank CONCEPTS Philly Joe Jones: "Lazy Bird" by Ted Dyer 84 Drummers And Put-Downs by Dan Tomlinson 96 by Roy Burns 28 REVIEWS EQUIPMENT LISTENER'S GUIDE ON TRACK 46 by Peter Erskine and Denny Carmassi 30 PRODUCT CLOSE-UP NEWS ROCK PERSPECTIVES Remo PTS Update Beat Study #13 by Bob Saydlowski, Jr. 102 UPDATE by David Garibaldi 52 JUST DRUMS 114 by Robyn Flans 108 SHOW DRUMMERS' SEMINAR INDUSTRY HAPPENINGS 110 Dance Accompaniment PROFILES by Lou Grass! 72 DEPARTMENTS THE MUSICAL DRUMMER PORTRAITS Evaluating "Marimba Blues" Tom Ardolino EDITOR'S OVERVIEW 2 by Bill Molenhof 76 by Laurice Niemtus 32 READER'S PLATFORM 4 ROCK 'N' JAZZ CLINIC FROM THE PAST ASK A PRO 6 Funk With 32nd Notes Baby Dodds DRUM MARKET 98 by Paul Nieft, Jr. 88 by Danny L. Read 54 IT'S QUESTIONABLE 106 STAFF: EDITOR/PUBLISHER Ronald Spagnardi FEATURES EDITOR Rick Mattingly MANAGING EDITOR Rick Van Horn ASSOCIATE EDITORS Introducing Susan Hannum William F. Miller ART DIRECTOR MODERN David Creamer ADVERTISING DIRECTOR PERCUSSlONIST Kevin W. Kearns ASSOCIATE PUBLISHER Isabel Spagnardi ADMINISTRATIVE MANAGER Ann Thompson Throughout the eight years of Modern Drummer, we've received numer- ASSISTANT ADMINISTRATIVE ous pleas from various factions of the drumming audience for more insight MANAGER into certain areas of percussion. The requests have come primarily from Ellen Urry players representing four major areas of specialization: orchestral percus- DEALER SERVICE MANAGER sion, mallets, Latin American drumming, and drum & bugle corps. Janet Gola Of course, we've made several attempts over the years to reserve a por- CIRCULATION tion of editorial space for each of these diverse areas. But regular reader- Leo L. Spagnardi ship studies have always clearly indicated to us that the majority of MD Robin De Paul Lori-Jean Syintsakos readers were drumset players, interested in jazz, rock, fusion, studio and Tracy Kearney commercial drumming. And because of this, we've always been somewhat SALES PROMOTION MANAGER hesitant to devote a great deal of feature or column department space to Evelyn Urry the other varied percussion specialties. We've always been faced with the task of maintaining MD's focus on MD ADVISORY BOARD drumset to satisfy the bulk of the readership, while trying not to alienate Henry Adler, Carmine Appice, Louie Bellson, the peripheral areas. In truth, we've never found a way to do it, simply be- Bill Bruford, Roy Burns, Jim Chapin, Billy cause it's extremely difficult to be all things to all people. The only solution Cobham, Les DeMerle, Len DiMuzio, Charlie would be to start up another magazine catering exclusively to the needs of Donnelly, Saul Goodman, Danny Gottlieb, Sonny Igoe, Jaimoe Johanson, Jim Keltner, that segment of the readership which we seemed to be ignoring. This is pre- Don Lamond, Mel Lewis, Peter Magadini, cisely what we've decided to do. After a full year of editorial, design and George Marsh, Butch Miles, Joe Morello, Neil planning meetings, we're proud to announce the birth of MD's sister publi- Peart, Charlie Perry, Charli Persip, Arthur cation, Modern Percussionist, a new magazine for the serious drummer/ Press, Paul T. Riddle, Ed Shaughnessy, Ed percussionist. Thigpen, Max Weinberg. Basically, Modern Percussionist will follow in the editorial and design footsteps of Modern Drummer, though the thrust of all feature material CONTRIBUTING WRITERS will be directed towards artists from the world of orchestral, mallet, Latin Susan Alexander, Charles M. Bernstein, Scott American and drum & bugle corps percussion. We'll be offering the serious K. Fish, Robyn Flans, Simon Goodwin, Dave percussionist insight that could only be obtained in a magazine of this type. Levine, Robert Santelli, Bob Saydlowski, Jr., MP's column departments have also been designed to address the needs Chip Stern, Robin Tolleson, T. Bruce Wittet. of this special audience. Columns like The Orchestral Percussionist, Timp Talk, Vibraphone Viewpoint, Marimba Perspectives, Latin Symposium, Corps Scene and The Marching Percussionist, among others, will be au- MODERN DRUMMER Magazine (ISSN 0194- 4533) is published monthly by Modern Drum- thored by some of the most knowledgeable authorities in their respective mer Publications, Inc., 1000 Clifton Avenue, fields. Of course, there will also be a question & answer department, an op- Clifton, NJ. 07013. Second Class Postage paid portunity to question the pros, new product information, book and record al Clifton, NJ. 07015 and at additional mailing reviews, updates on interesting percussion events, and a wealth of essential offices. Copyrighted 1984 by Modern Drummer information for the serious player. Publications, Inc. All rights reserved. Repro- Modern Percussionist will make its debut in December of this year, and duction without the permission of the publisher will be released on a quarterly basis for starters. We feel strongly that MP is prohibited. SUBSCRIPTIONS: $21.95 per will fill a void which has existed in the serious percussion world for some year, $39.95, two years. Single copies $2.25. time now. And it's our intention to fill that void by presenting informative MANUSCRIPTS: Modern Drummer welcomes manuscripts, however, cannot assume responsi- and entertaining material for those involved in the world of percussion, in bility for them. Manuscripts must be accompa- a fashion similar to Modern Drummer. nied by a self-addressed stamped envelope. Further details on what you can look forward to in each issue, along CHANGE OF ADDRESS: Allow at least six with subscription information, can be found elsewhere in this issue. weeks for a change. Please provide both old and new address. MUSIC DEALERS: Modern Drummer is available for resale at bulk rales. Direct correspondence lo Modern Drummer Publications, Inc., 1000 Clifton Avenue, Clif- ton, NJ. 07013. (201) 778-1700. POSTMAS- TER: Send Address Changes to Modern Drum- mer, 1000 Clifton Avenue, Clifton, NJ. 07013. LARRIE LONDIN PHIL COLLINS ON DRUMS Then, a glimmer of hope... I had heard of I enjoy Modern Drummer very much. I I'd just like to clear up the point raised by a magazine called Modern Drummer enjoy articles about all types of drummers, Ricky Mintz in your March issue, regard- which offered an overseas subscription. including those involved with country ing the pictures taken of me in my article a Believe it or not, it took me over two years music. The Larrie Londin story was great! few months previous. The pictures of me to obtain the address, and it's the best As a former rock and jazz drummer who playing the Pearl drums were taken quite a thing that could have happened to me. I has played country music for the last 10 while ago, when the interview was first have been playing for 12 years, and have years, I can identify with the article. There talked about. When the interview was been a pro for about five. In South Africa is room in music for all types of drum- actually finished, I had by that time been there is not much in the way of musical ming, and most country drummers that I approached by Gretsch and I leapt at the inspiration, thus I had to continually find know are comfortable with all types of chance to endorse those drums. I would ways of inspiring myself. With MD, read- music. Keep up the good work, and don't add, however, that I still possess my two ing about the way name drummers felt forget about Nashville music. Premier kits, two Pearl kits, and four about the art, attitudes, approaches, etc., Wayne Scott Gretsch kits (new and very old), as well as a was really refreshing. It was good to know Clarksville, TN dozen snare drums of varying descent! I I wasn't the only one who went through all will continue to use all these drums for those little frustrations. Concerning your cover story on Larrie whatever sound I wish to make, on what- By the time this reaches MD, I will have Londin (May '84), one is tempted to say ever diverse projects I am involved with. been in England for some time. It's ironic "About time!" Everyone in the business They all sound so different, it would be that it took me two years to obtain the sub- has known about this magnificent drum- bloody-minded not to use them just scription address, and then after obtaining mer for years; perhaps now the younger because I am supposed to use one type of it, I moved to a country where MD is read- players will be inspired to catch one of his drum.
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