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November 1983

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November 1983 VOL. 7, NO. 11 CONTENTS Cover Photo by Lewis Lee FEATURES PHIL COLLINS Don't let Phil Collins' recent success as a singer fool you—he wants everyone to know that he's still as interested as ever in being a drummer. Here, he discusses the percussive side of his life, including his involvement with Genesis, his work with Robert Plant, and his dual drumming with Chester Thompson. by Susan Alexander 8 NDUGU LEON CHANCLER As a drummer, Ndugu has worked with such artists and groups as Herbie Hancock, Michael Jackson, and Weather Report. As a producer, his credits include Santana, Flora Purim, and George Duke. As articulate as he is talented, Ndugu describes his life, his drumming, and his musical philosophies. 14 by Robin Tolleson INSIDE SABIAN by Chip Stern 18 JOE LABARBERA Joe LaBarbera is a versatile drummer whose career spans a broad spectrum of experience ranging from performing with pianist Bill Evans to most recently appearing with Tony Bennett. In this interview, LaBarbera discusses his early life as a member of a musical family and the influences that have made him a "lyrical" drummer. This accomplished musician also describes the personal standards that have allowed him to maintain a stable life-style while pursuing a career as a jazz musician. 24 by Katherine Alleyne & Judith Sullivan Mclntosh STRICTLY TECHNIQUE UP AND COMING COLUMNS Double Paradiddles Around the Def Leppard's Rick Allen Drumset 56 EDUCATION by Philip Bashe by Stanley Ellis 102 ON THE MOVE ROCK PERSPECTIVES LISTENER'S GUIDE Thunder Child 60 A Beat Study by Paul T. Riddle 110 DRIVER'S SEAT 30 by David Garibaldi Rufus "Speedy" Jones 76 CONCEPTS EQUIPMENT by Robert Barnelle Drumming and Discouragement 82 PRODUCT CLOSE-UP NEWS by Roy Burns Percussive Potpourri UPDATE DRUM SOLOIST 28 by Bob Saydlowski, Jr. 118 Mel Lewis: "Tiptoe" by Robyn Flans by Chuck Kerrigan 84 120 122 INDUSTRY HAPPENINGS JUST DRUMS TEACHER'S FORUM Establishing a Teaching Practice DEPARTMENTS by James E. Murphy 86 PROFILES 2 EDITOR'S OVERVIEW 4 JAZZ DRUMMERS WORKSHOP PORTRAITS READER'S PLATFORM Improving Your Sight-Reading Skills Sandy Nelson ASK A PRO 6 by Randy Martin 98 by Robyn Flans 32 STAYING IN TUNE 108 by Hal Blaine CLUB SCENE SHOW AND STUDIO 112 The Ambition Blues Alan Schwartzberg DRUM MARKET 116 IT'S QUESTIONABLE by Bobby Bank 42 by Rick Van Horn 100 STAFF: EDITOR/PUBLISHER Ronald Spagnardi FEATURES EDITOR Rick Mattingly On MANAGING EDITOR Scon K. Fish The Road ASSOCIATE EDITORS Susan Hannum Mark Hurley To ART DIRECTOR David Creamer Success ADVERTISING DIRECTOR Kevin W. Kearns ASSOCIATE PUBLISHER Isabel Spagnardi ADMINISTRATIVE MANAGER One question which seems to arise repeatedly from the younger segment of Ann Thompson our readership is, "Can I really expect to make a living from a professional ASSISTANT ADMINISTRATIVE drumming career?" It's obviously a valid question which comes most often MANAGER from young adults at that critical stage in their lives when important career Ellen Urry DEALER SERVICE MANAGER decisions must be made. Janet Gola To answer the question, I think it's important for one to first make a CIRCULATION careful evaluation of his or her own natural abilities and aspirations. "Do I I.eo L. Spagnardi really believe I have what it takes?" is the question you must ask yourself, Robin De Paul and it's imperative that it be answered honestly. Along with the confidence Lori-Jean Syintsakos you should have regarding your own ability as a player, you should also be SALES PROMOTION MANAGER picking up positive indications from other musicians, peers, music teach- Evelyn Urry ers, family and friends. However, there's more to it than positive reaction to natural talent. Preparation for a music career takes hard work and effort, though how you MD ADVISORY BOARD go about it is a personal decision. College, intensive private study, solid Henry Adler, Carmine Appice, Louie Bellson, playing experience in a wide range of musical situations, or any combina- Bill Bruford, Roy Burns, Jim Chapin, Billy tion of the above are all acceptable methods. Natural talent is one thing; Cobham, Les DeMerle, Len DiMuzio, Charlie molding talent into attributes which add up to a complete musician is Donnelly, Saul Goodman, Danny Gottlieb, somewhat of a different matter. Sonny Igoe, Jaimoe Johanson, Jim Keltner, Versatility is also key. Evidence of this has surfaced time and time again Don Lamond, Mel Lewis, Peter Magadini, George Marsh, Butch Miles, Joe Morello, Neil within the pages of MD. An understanding of all styles of music enables Peart, Charlie Perry, Charli Persip, Arthur you to handle any musical situation, and thereby increases your chances of Press, Paul T. Riddle, Ed Shaughnessy, Ed success. Versatility also means the ability to teach, write, and perform Thigpen, Max Weinberg. competently on other percussion instruments. Determination and persistence are two essential ingredients which con- tribute to success in any endeavor, and in the field of music, they're twice CONTRIBUTING WRITERS as important. There are very simply too many ups and downs, frustrations, Susan Alexander, Charles M. Bernstein, Robyn and disappointments in the music business to venture into a career without Flans, Simon Goodwin, Stanley Hall, Dave an excess of determination and persistence. Sure, it's been said many times Levine, Bob Saydlowski, Jr., Chip Stern, Robin before, but it always bears repeating. Tolleson, Rick Van Horn, T. Bruce Wittet. Interestingly, and in an effort to be as up front as possible, even if you excel in all of the areas mentioned above, there's still no guarantee of suc- cess. Unfortunately, that's the nature of the business and the cold reality of MODERN DRUMMER Magazine (ISSN 0194- it all, which is something you should be aware of. Luck, breaks, knowing 4533) is published monthly by Modern Drum- the right people, being in the right place at the right time, doing a good job mer Publications, Inc., 1000 Clifton Avenue, when it really matters, and a host of other factors all play a role in your Clifton, N.J. 07013. Second Class Postage paid success. On the positive side, assuming you have the talent and work hard at Clifton, N.J. 07015 and at additional mailing offices. Copyrighted 1983 by Modern Drummer at it, there's certainly no reason to believe that your chances of success are Publications, Inc. All rights reserved. Repro- any less than anyone else's. duction without the permission of the publisher Amidst all the uncertainties, one thing is certain, and that is, there's is prohibited. SUBSCRIPTIONS: $21.95 per probably no greater pleasure in life than to be paid for work you love to year, $39.95, two years. Single copies $2.25. do. Though it's not an easy goal to achieve, it's certainly worth going after. MANUSCRIPTS: Modern Drummer welcomes manuscripts, however, cannot assume responsi- bility for them. Manuscripts must be accompa- nied by a self-addressed stamped envelope. CHANGE OF ADDRESS: Allow at least six weeks for a change. Please provide both old and new address. MUSIC DEALERS: Modern Drummer is available for resale at bulk rates. Direct correspondence to Modern Drummer Publications, Inc., 1000 Clifton Avenue, Clif- ton, N.J. 07013. (201) 778-1700. POSTMAS- TER: Send Address Changes to Modern Drum- mer, 1000 Clifton Avenue, Clifton, N.J. 07013. AIRTO & MAXWELL READER'S POLL MIKE CLARK Although I'm a saxman, I picked up your After having just viewed your 1983 read- I was so glad to have a full-length interview August issue for the Billy Maxwell feature. er's poll, the results quickly reveal that it on Mike Clark. I've been a fan of his since We used to jam together at a club called isn't much more than a popularity contest. the Herbie Hancock Thrust album. I've The Esquire. Also, I'm surprised Robyn Although Neil Peart is one of the best found out that a friend/teacher of mine Flans didn't ask Airto about playing pig rock drummers we have seen, a true heavy- knew Mike. He gave me Mike's number (squeezing a piglet) on an album by Her- weight, I don't believe he is yet to be placed and I called him. When he answered the meto Pascal. Seems like it would've tied in above the likes of Billy Cobham, Buddy phone, he scared me to death. His voice nicely with the "sausage" story. Wonder Rich, Bill Bruford, and Airto (not to disre- was about three octaves below middle C. Wart-Hog lives! gard others by lack of mention). Whether Mike invited me out to see him play a be- Larry Hollis or not Peart deserves to be elected, once bop gig. Not only did he play great, he was Oklahoma City, OK one gives a drummer a vote for the honor also a great and informative person. I'll of MD's Hall of Fame, shouldn't one leave never forget his expression in his three-oc- other categories open for other drummers tave-below-middle-C voice: "Come out REGGAE DRUMMERS (four categories!)? Buddy Rich is also an and we'll hang." I just have to thank and congratulate Rob- example of this. Although Mr. Rich de- Jimmy Griego ert Santelli and MD for the enlightening serves big band drummer hands down, the Sacramento, CA and amusing interviews of the Reggae category for jazz should have been left for drummers. Such color and character these Cobham, DeJohnette, or Louie Bellson. musicians portray! Also—Terry Bozzio for Up and Coming Sal D'Amato STEVE GADD drummer? Most drummers would agree San Francisco, CA The Gadd article was very nice because it that playing on albums and live with Frank was different; more towards life with peo- Zappa signifies that you've made it.
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