February 1985
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MODERN DRUMMER VOL. 9, NO. 2 Cover Photo by Rick Mattingly FEATURES MEL LEWIS It was 19 years ago this month that the Thad Jones/Mel Lewis Orchestra started playing Monday nights at New York's Village Vanguard, and the band—now led solely by Lewis—is still there. Mel has had a lot of time to observe what is going on in jazz and jazz education, and here he shares his thoughts on those subjects, as well as his feelings about the importance of knowing the traditions of the instrument. by Rick Mattingly 8 MARK BRZEZICKI Although this is the age of electronics, Mark Brzezicki, drummer with Big Country, feels that it is important to have a real drummer and a real drum sound in today's music. In this exclusive interview, he reveals the means by which he ensures the prominence of the drum part in Big Country's music, and describes his approach to recording when working with artists such as Pete Townshend, Frida, Photo by Rick Mattingly and Roger Daltrey. 14 by Stanley Hall MICK AVORY When the Kinks emerged in the mid '60s as part of the "British Invasion," few people would have thought that any of those bands would still be around 20 years later. But the Kinks—with most of the original members, including drummer Mick Avory—are still going strong. Avory discusses his drumming style as he looks back at his years with the group. by Robert Santelli 18 INSIDE MEINL by Donald Quade 22 NIGEL OLSSON Heart by Robyn Flans 26 Photo by Ebet Roberts COLUMNS EDUCATION THE JOBBING DRUMMER EQUIPMENT The Show Must Go On 98 PRODUCT CLOSE-UP FROM THE PAST by Simon Goodwin Swing Drummers In The Movies Losing Your Grip THE MUSICAL DRUMMER by James E. Murphy 34 by Tracy Borst 30 The Scale—Part 2 122 ROCK PERSPECTIVES 102 JUST DRUMS by Bill Molenhof Study In 16th-Note Triplets by David Garibaldi 56 NEWS CLUB SCENE REVIEWS Studying The Competition UPDATE 114 PRINTED PAGE 110 by Rick Van Horn 58 INDUSTRY HAPPENINGS 118 JAZZ DRUMMERS WORKSHOP Exploring Self-Awareness: Scanning by George Marsh 74 PROFILES DEPARTMENTS ROCK 'N' JAZZ CLINIC UP AND COMING The Benefits Of Left-Hand Ride Jeff Klaven EDITOR'S OVERVIEW 2 READER'S PLATFORM 4 76 by Rick Van Horn 36 by William F. Miller ASK A PRO DRUM SOLOIST PORTRAITS 6 Steve Gadd: "High Heel Sneakers" Bill Lombardo DRUM MARKET 108 84 IT'S QUESTIONABLE 112 88 by Rick Van Horn by Kent Byron PUBLISHER Ronald Spagnardi ASSOCIATE PUBLISHER Isabel Spagnardi EDITOR Facing Ronald Spagnardi FEATURES EDITOR Rick Mattingly The MANAGING EDITOR Rick Van Horn ASSOCIATE EDITORS Future Susan Hannum William F. Miller EDITORIAL ASSISTANT Elaine Cannizzaro Three years ago this month, MD published a special report entitled The ART DIRECTOR Drum Computer: Friend Or Foe? The article actually came about as a David H. Creamer result of the controversy surrounding the new devices, and as drummers ADVERTISING DIRECTOR began to suspect that the age of automation had finally hit home. Kevin W. Kearns A subtle undertone of caution seemed to prevail in that report. Jeff Por- caro strongly recommended that drummers not ignore the computer. ADMINISTRATIVE DIRECTOR Isabel Spagnardi When Jim Keltner was asked if the machine necessitated programming by a ADMINISTRATIVE MANAGER drummer, his response was, "Absolutely not." And Harvey Mason, who Ellen Corsi stated that drummers might be needed for more believability, also felt that DEALER SERVICE MANAGER non-drummers would probably do equally well with the programming. Janet Gola Three years later, we now find that the drum computer is showing up on more and more recordings, and a widening number of studio operators, CIRCULATION arrangers, composers and producers are becoming aware of its uses. From Leo Spagnardi their point of view, the advantages are numerous. The computer shows up Lori-Jean Broseman on time, offers hundreds of possible drum sounds, gets a "good sound" Tracy Kearney faster, and can closely simulate the sound and style of a particular player. SALES PROMOTION MANAGER What about the financial aspect? Well, why would a contractor hire four Evelyn Urry percussionists, when a tambourine, cabasa, cowbell, congas, and every- thing but the kitchen sink, could be obtained from one very cooperative machine? For that matter, why even hire individual players for demos, jin- MODERN DRUMMER ADVISORY BOARD gles or overdubs? The machine saves time and money for these people, and Henry Adler, Carmine Appice, Louie Bellson, Bill Bru- looking at it from this perspective, one clearly sees the threat. This is not a ford, Roy Burns, Jim Chapin, Les DeMerle, Len DiMu- good situation for drummers. zio, Charlie Donnelly, Peter Erskine, Danny Gottlieb, Sonny Igoe, Jaimoe Johanson, Jim Keltner, Mel Lewis, Of course, we've been told that it takes a drummer to program a drum Larrie Londin, Peter Magadini, George Marsh, Butch computer, and though this may be true in some cases, it certainly isn't so in Miles, Joe Morello, Andy Newmark, Neil Peart, Charlie all. Just last month in MD, Jimmy Bralower, a drummer/computer spe- Perry, Paul T. Riddle, Ed Shaughnessy, Steve Smith, Ed cialist in New York, told us that he often sees keyboard players, guitarists Thigpen. and songwriters programming the computer in the studios. The truth of the matter is, anyone with a halfway decent rhythmic sense can do surprisingly well with it, and it remains to be seen what long-term effect this will have CONTRIBUTING WRITERS on the status of the recording drummer. Perhaps it's safe to assume that Susan Alexander, Charles M. Bernstein, Scott K. Fish, work which has been in the hands of a select few to begin with, will narrow Robyn Flans, Simon Goodwin, Dave Levine, Robert Santelli, Bob Saydlowski, Jr., Chip Stern, Robin Tolle- down even more, as computers become more firmly entrenched on the stu- son, T. Bruce Wittet. dio scene. Not everyone will be adversely affected. Those players who currently MODERN DRUMMER Magazine (ISSN 0194-4533) is have a firm foothold in the studio will simply substitute the computer for a published monthly by MODERN DRUMMER Publica- drumset when they're requested to do so. Also very likely to benefit are tions, Inc., 870 Pompton Avenue, Cedar Grove, NJ 07009. those farsighted individuals who have dealt with, and even specialized in, Second-Class Postage paid at Cedar Grove, NJ 07009 and the new technology. at additional mailing offices. Copyright 1985 by Modern Drummer Publications, Inc. All rights reserved. Repro- The point is, we really can't resist the trend, and we surely can't stop it. duction without the permission of the publisher is prohib- This is the wave of the future. If anything, the sophistication of the new ited. technology will even improve in time to come. Understanding this, do we SUBSCRIPTIONS: $21.95 per year; $39.95, two years. really have any other choice but to deal with it by getting involved? 1 doubt Single copies $2.50. MANUSCRIPTS: Modern Drummer welcomes manu- it. As we survey the situation three years later, maybe now it's time to pay scripts, however, cannot assume responsibility for them. careful attention to the words of Jim Bralower: "Those who see the future Manuscripts must be accompanied by a self-addressed, have no problem with it. Those who want to wear blinders are going to stamped envelope. have trouble. It [the computer] is not going to take the place of drums, but CHANGE OF ADDRESS: Allow at least six weeks for a change. Please provide both old and new address. it's here, and it's part of the percussion family now. Certainly I would sug- MUSIC DEALERS: Modern Drummer is available for re- gest that drummers see the machines as their friends instead of their ene- sale at bulk rates. Direct correspondence to Modern mies." Sound advice, indeed. Drummer, Dealer Service, 870 Pompton Ave., Cedar Grove, NJ 07009. Tel: 800-221-1988. POSTMASTER: Send address changes to Modern Drum- mer, PO Box 1176, Dover, NJ 07801. ROGER TAYLOR aging, indeed, to know that many young, 5. Sand lightly with #220 sandpaper on a Thanks for the feature on Roger Taylor of aspiring drummers will read this interview sandblock. If the glue has dried leaving a Queen. Roger is one of the most under- and benefit from Mr. DeMerle's musical hump, sand until the glue becomes even rated drummers in rock today, as well as intelligence, background and integrity. with the bearing edge. If the depression is one of the most innovative. Taylor's Conversely, the interview of Rob Hirst not fully filled, an unsanded area will be drumming influenced me to become a by Bill Wolfe could, I fear, serve as a detri- visible after sanding. drummer. It seems that on every album he ment to those same aspiring, and possibly 6. Repeat the above process, if necessary, comes up with something new. impressionable, drummers. His comments layering until the depression is filled. I got the feeling that Taylor did not mind in the first paragraph on page 42, regarding 7. Let dry overnight before mounting the answering Robert Santelli's detailed drum "the use of gravity to hit harder," "big head. questions, even though he is reluctant to cymbals that can take a great, big wallop," Chips or dents in the bearing edge can be talk about his primary instrument. Taylor and "the use of squash racket toweling filled in this way prior to turning the drum may claim that he does not know much or grips'' are, in my opinion, sheer, ludicrous on a flat surface covered with sandpaper, care to know much about drums, but I got nonsense.