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Aug-Sept 1981

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Aug-Sept 1981 Cover Photo by Ross Gadye CONTENTS KREUTZMANN and HART There are certain musicians who do not merely play an instrument—they live it. Bill Kreutzmann and Mickey Hart, drummer/percussionists with the Grateful Dead, are perfect examples. From the many hours spent practicing, to the con- stant search for new and better instruments, to the physical and mental conditioning, their lives are totally structured around their careers. Bill and Mickey share their thoughts on these matters in an MD interview that is as unique as their music. 10 JAMES BRADLEY, Jr. "You just have to believe in yourself," states James Bradley, who at age 18, became the drummer for Chuck Mangione and recorded the top-selling Feels So Good album. Having acquired his first drum set at the age of 3, James speaks with the knowledge gained from over 20 years of involvement with the drums. 14 BARRY KEANE Canadian studio drummer Barry Keane became involved with the record business by taking a job in the shipping department of a record distributor and working his way up. In addition to his recording work, Barry tours with Gordon Lightfoot, and lectures on recording at colleges in Canada. He offers practical advice on playing, teaching, and surviving in the music business. 20 THE PERCUSSIVE WORLD OF JACK VAN DER THE DRUMS OF AFRICA 26 WYK 18 CASEY SCHEUERELL: WITH FEELING 28 THE CARE AND FEEDING OF CYMBALS 23 COLUMNS: EDITOR'S OVERVIEW 2 PORTRAITS John Robinson ASK A PRO 4 by Robyn Flans 56 READER'S PLATFORM 6 STRICTLY TECHNIQUE Bass Drum Control ROCK PERSPECTIVES by Colin Bailey 62 Modular Rock by David Garibaldi PRODUCT CLOSE-UP 32 Aquarian Accessories 64 JAZZ DRUMMERS WORKSHOP by Bob Saydlowski, Jr. The Music of the Drums—part 3 CONCEPTS by Barry Altschul 36 Developing Good Time by Roy Burns 68 ROCK 'N' JAZZ CLINIC The Making of a Demo Tape STAYING IN TUNE by Roberto Petaccia 40 by Hal Blaine 72 DRUM SOLOIST TEACHER'S FORUM Buddy Rich Drumset Applications of Ted Reed's Syncopation by Chuck Kerrigan 44 by Robert Breithaupt 76 SHOW AND STUDIO IT'S QUESTIONABLE Charles Collins: Up Close by Cheech Iero 80 by Bruce Nixon 48 DRUM MARKET 84 CLUB SCENE INDUSTRY HAPPENINGS 90 A Drummer's Survival Kit by Rick Van Horn 52 JUST DRUMS 91 STAFF: EDITOR-IN-CHIEF: Ronald Spagnardi FEATURES EDITOR: Rick Mattingly ASSOCIATE EDITORS: Mark Hurley Paul Uldrich MANAGING EDITOR: Scott K. Fish ART DIRECTOR: Tom Mandrake PRODUCTION MANAGER: Roger Elliston ADVERTISING As we all know, we're living in the age of specialization. And one of DIRECTOR: Jean Mazza the great benefits of a specialized magazine like MD is the ample room ASSISTANT it allows for even further specialized sub-groups. We accomplish this ADVERTISING by way of our numerous column departments: Rock Perspectives, Jazz MANAGER: Maureen Politi Drummers Workshop, Show and Studio, Teacher's Forum, Rudimental ADMINISTRATIVE Symposium, The Club Scene, Driver's Seat, South of the Border, and DIRECTOR: Isabel Lori a host of other performance-oriented columns which are written and ADMINISTRATIVE edited for drummers specifically interested in those highly specialized MANAGER: Ann Lambariello areas. DEALER SERVICE But let's delve a bit deeper into this matter of specialization for a MANAGER: Carol Morales moment. Are we saying that if you're a rock drummer, you shouldn't CIRCULATION: Leo L. Spagnardi bother to read Jazz Drummers Workshop? Or that show drummers Ellen Urry should ignore Rock Perspectives and Rudimental Symposium? Of MD ADVISORY BOARD: course, the answer is no. The truly serious drummer should attempt to Henry Adler Peter Magadini learn from the entire magazine in an effort to continually widen his un- Carmine Appice Mitch Markovich derstanding of the instrument. Rock drummers stand to learn a great Horacee Arnold Butch Miles deal from Barry Altschul and Ed Soph in Jazz Drummers Workshop, if Louie Bellson Joe Morello they're willing to make the effort. Sure, your primary interest may be Bill Bruford Neil Peart big-band or club-date drumming, but that's no reason to not get in- Roy Burns Charley Perry volved with David Garibaldi's unique rock patterns, or Vic Firth's Jim Chapin Charli Persip comments on tuning tympani. Billy Cobham Joe Pollard All knowledge is essential. And there's a great deal to be learned Joe Corsello Arthur Press from every one of MD's columns. Don't let the department titles lead Les DeMerle Paul Price you into the habit of avoiding a wealth of valuable information simply Len DiMuzio Paul Real because it may not be your thing. That's not the way to get the most Charlie Donnelly Paul T. Riddle value out of every issue, or to improve your understanding and capa- Sonny Igoe Ed Shaughnessy bilities as a player. The answer is to always keep an open mind, ex- Don Lamond Lenny White plore the entire spectrum, stay abreast of everything new, experiment Mel Lewis with everything offered. This is the way we attain our goals of excel- CONTRIBUTING EDITORS: lence as musicians. Susan Alexander, John Faraola. Robyn Leading off for August/September are Billy Kreutzmann and Mickey Flans, Norbert Goldberg, Harold Howland, Hart of the Grateful Dead, surely one of the most durable and popular Cheech lero, Larry Kanusher, Michael Ro- zek, Bob Saydlowski, Jr., Michael Shore, T. bands in all of rock. Billy and Mickey—who've been with the band 17 Bruce Wittet. and 15 years respectively—delve into a multitude of percussive sub- jects in this revealing MD exclusive. MODERN DRUMMER Magazine ASSN 0194- 4533) is published 9 times yearly, February, James Bradley, Jr., who has been performing since the age of four, April, May, June, July, August, October, discusses life in the Chuck Mangione drum chair; and from up north November and December by Modern Drum- comes Gordon Lightfoot's Barry Keane, a Toronto-based player who mer Publications, Inc., 1000 Clifton Avenue, also functions as one of Canada's busiest studio drummers. Jack Van Clifton, N.J. 07013. Controlled Circulation der Wyk—principal percussionist with the Oakland Symphony Or- Postage paid at Clifton, N.J. 07015 and at chestra—is also a tabla player, author, teacher and inventor who has a Richmond, Virginia 23219. Copyrighted 1981 lot to say, as does Casey Scheuerell, best known for his masterful by Modern Drummer Publications, Inc. All work with violinist Jean-Luc Ponty. rights reserved. Reproduction without the Frank Kofsky follows up on his popular, three-part Care and Feed- permission of the publisher is prohibited. SUBSCRIPTIONS: $15.95 per year, $28.95, ing of Drums series last year, with a perceptive piece on the Care and two years. Single copies $2.00. MANU- Feeding of Cymbals; and Victor Schlich supplies a truly historic view SCRIPTS: Modern Drummer welcomes of the oldest instrument in the world in his Drums of Africa. manuscripts, however, cannot assume re- Regulars David Garibaldi, Barry Altschul, Roberto Petaccia, Roy sponsibility for them. Manuscripts must he Burns and Rick Van Horn are here again with their usual assortment accompanied by a self-addressed stamped of welcome additions, aptly joined by Colin Bailey on bass drum tech- envelope. CHANGE OF ADDRESS: Allow at nique, Bob Breithaupt on the imaginative use of Ted Reed's Syncopa- least six weeks for a change. Please provide tion book for teachers, and a wicked Buddy Rich transcription from both old and new address. MUSIC DEAL- Paul's Tune, by MD's Chuck Kerrigan. Quite an issue! We hope you ERS: Modern Drummer is available for resale at bulk rates. Direct correspondence to Mod- agree. ern Drummer Publications, Inc., 1000 Clifton Avenue, Clifton, N.J. 07013. (201) 778-1700. POSTMASTER: Send form 3579 to Modern Drummer, 1000 Clifton Avenue, Clifton, N.J. 07013. PAUL HUMPHREY Q. How did you get the job with Lawrence Welk? ALAN James Ross SCHWARTZBERG Orlando, Fla. A. I received a call to do three recording Q. What type of drums, heads, and tun- sessions with Lawrence Welk and his ing methods do you prefer for your diver- band for a new album. A few weeks after the session, Mr. Welk called and asked sified playing? me to be a guest soloist on his T. V. show. C.L Dayton, Ohio After I had finished my solo, he asked if I had ever played a waltz or a polka, and he invited me to play a polka along with A. I prefer to use studio or rental drums. I like the old Diplomat frosted heads as Myron Floren and the band during the taping of the show. A month later I was ED SHAUGHNESSY they seem to sing out the most. I also asked to join the band on a regular basis. prefer double headed drums. As far as Q. What is the most frequently asked tuning is concerned, I just keep moving question at your drum clinics? the lugs up and down until it sounds good Freddie Aydelott to me. I don't use any system and I don't Dallas Texas usually tune the drums in thirds or fifths. If I haven't heard the music, I'll ask what A. The question most frequently asked is, key it's in, so I can determine the tonality "How can I succeed as a professional of the drums. If it's a live date, I'll try to drummer and should I go to the big city to get a little more overtone compared to a make it?" I tell them New York, Los studio date. Angeles, and Nashville are the center of today's music scene.
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