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40 Steve Gadd Master: the Urgency of Now
DRIVE Machined Chain Drive + Machined Direct Drive Pedals The drive to engineer the optimal drive system. mfg Geometry, fulcrum and motion become one. Direct Drive or Chain Drive, always The Drummer’s Choice®. U.S.A. www.DWDRUMS.COM/hardware/dwmfg/ 12 ©2017Modern DRUM Drummer WORKSHOP, June INC. ALL2014 RIGHTS RESERVED. ROLAND HYBRID EXPERIENCE RT-30H TM-2 Single Trigger Trigger Module BT-1 Bar Trigger RT-30HR Dual Trigger RT-30K Learn more at: Kick Trigger www.RolandUS.com/Hybrid EXPERIENCE HYBRID DRUMMING AT THESE LOCATIONS BANANAS AT LARGE RUPP’S DRUMS WASHINGTON MUSIC CENTER SAM ASH CARLE PLACE CYMBAL FUSION 1504 4th St., San Rafael, CA 2045 S. Holly St., Denver, CO 11151 Veirs Mill Rd., Wheaton, MD 385 Old Country Rd., Carle Place, NY 5829 W. Sam Houston Pkwy. N. BENTLEY’S DRUM SHOP GUITAR CENTER HALLENDALE THE DRUM SHOP COLUMBUS PRO PERCUSSION #401, Houston, TX 4477 N. Blackstone Ave., Fresno, CA 1101 W. Hallandale Beach Blvd., 965 Forest Ave., Portland, ME 5052 N. High St., Columbus, OH MURPHY’S MUSIC GELB MUSIC Hallandale, FL ALTO MUSIC RHYTHM TRADERS 940 W. Airport Fwy., Irving, TX 722 El Camino Real, Redwood City, CA VIC’S DRUM SHOP 1676 Route 9, Wappingers Falls, NY 3904 N.E. Martin Luther King Jr. SALT CITY DRUMS GUITAR CENTER SAN DIEGO 345 N. Loomis St. Chicago, IL GUITAR CENTER UNION SQUARE Blvd., Portland, OR 5967 S. State St., Salt Lake City, UT 8825 Murray Dr., La Mesa, CA SWEETWATER 25 W. 14th St., Manhattan, NY DALE’S DRUM SHOP ADVANCE MUSIC CENTER SAM ASH HOLLYWOOD DRUM SHOP 5501 U.S. -
SCOTT HENDERSON TRIO (USA/F) Feat
SCOTT HENDERSON TRIO (USA/F) feat. Romain Labaye (bass) & Archibald Ligonnière (drums) - Jazz-Fusion Powertrio - live @ Mainz, Mitternacht 8 So. 28. Mai 2017, 20:00 Infos & Karten => www.jazz-mainz.de/Scotty.html Scott Henderson (guitar) Romain Labaye (bass) Archibald Ligonnière (drums) SCOTT HENDERSON (guitar) Born in 1954, Scott Henderson grew up in an era where blues-rock was at it's peak. His formative musical years took place in South Florida where he played the clubs with various bands, playing everything from Led Zeppelin to James Brown. As he was learning his instrument, Henderson was influenced by Jimmy Page, Jeff Beck, Jimi Hendrix, Ritchie Blackmore, and his favorite blues guitarist Albert King. Even though Henderson claims to be more of a blues-rock player, it was the influence of jazz that led him to the style of playing and composing that he is now famous for. Scott studied arranging and composition at Florida Atlantic University, then moved to Los Angeles in 1980. He toured and recorded with Chick Corea's Elektric Band, violinist Jean-Luc Ponty, and was pleased to get the opportunity to work for four years with one of his favorite musicians, Weather Report's Joe Zawinul. He recorded two albums with the Zawinul Syndicate, "The Immigrants" and "Black Water". Henderson formed the legendary band Tribal Tech in 1984 with bassist Gary Willis, and recorded ten critically acclaimed albums. The most recent recording is "Tribal Tech X" released in March 2012. In 1991, Scott was named by Guitar World as the #1 Jazz Guitarist, and in January 1992, he was named #1 Jazz Guitarist in Guitar Player's Annual Reader's Poll. -
Jack Dejohnette's Drum Solo On
NOVEMBER 2019 VOLUME 86 / NUMBER 11 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert. -
Compact Disc C6604 2016 5-27.Pdf
CDI -4frl-; 53-=; PROGRAM f God Only Knows ...................!.?J..................................................... Brian Wilson and Tony Asher (.:;'-5: 2 Country Song ............................ :.~.............................................................................. Dave Holland 3 AScream in the ShirtS ................:.:'.:..!........................................................................... Dan Dean 4- People Make the World Go 'Round ............J..C.€l?. ........................... Thorn Bell and Linda Creed ~ SanJuan ................................~:..1.f?:........................................................................... Tom Collier CDl-1f /"r-l f;3 3 I Slipped Disc. .......................... I..':.~~....................................Teddy Wilson and Benny Goodman ~ ~'~~ L- Anyone Who Had aHeart .................'.....0......................................... Burt Bacharach and Hal David. 3 Genesee ......................................Cf?~.~0.........................................................................Tom Collier 1" Scrapple from the Apple .................JP::.f..1........................................................... Charlie Parker r; 1M (o-f£ ~ .&-r La., sT (t;'; I'-f ) - 60·n~fonj~ ~ TOM COLI.IER, vibes / marimba Professor Tom Collier has appeared in concert and on recordings with many important jazz and popular artists including Eddie Daniels, Ry Cooder, Earl "Fatha" Hines, Roger Kellaway, Emil Richards, Don Grusin, Frank Zappa, Victor Feldman, Howard Roberts, Ernie Watts, -
January 1988
VOLUME 12, NUMBER 1, ISSUE 99 Cover Photo by Lissa Wales Wales PHIL GOULD Lissa In addition to drumming with Level 42, Phil Gould also is a by songwriter and lyricist for the group, which helps him fit his drums into the total picture. Photo by Simon Goodwin 16 RICHIE MORALES After paying years of dues with such artists as Herbie Mann, Ray Barretto, Gato Barbieri, and the Brecker Bros., Richie Morales is getting wide exposure with Spyro Gyra. by Jeff Potter 22 CHICK WEBB Although he died at the age of 33, Chick Webb had a lasting impact on jazz drumming, and was idolized by such notables as Gene Krupa and Buddy Rich. by Burt Korall 26 PERSONAL RELATIONSHIPS The many demands of a music career can interfere with a marriage or relationship. We spoke to several couples, including Steve and Susan Smith, Rod and Michele Morgenstein, and Tris and Celia Imboden, to find out what makes their relationships work. by Robyn Flans 30 MD TRIVIA CONTEST Win a Yamaha drumkit. 36 EDUCATION DRIVER'S SEAT by Rick Mattingly, Bob Saydlowski, Jr., and Rick Van Horn IN THE STUDIO Matching Drum Sounds To Big Band 122 Studio-Ready Drums Figures by Ed Shaughnessy 100 ELECTRONIC REVIEW by Craig Krampf 38 Dynacord P-20 Digital MIDI Drumkit TRACKING ROCK CHARTS by Bob Saydlowski, Jr. 126 Beware Of The Simple Drum Chart Steve Smith: "Lovin", Touchin', by Hank Jaramillo 42 Squeezin' " NEW AND NOTABLE 132 JAZZ DRUMMERS' WORKSHOP by Michael Lawson 102 PROFILES Meeting A Piece Of Music For The TIMP TALK First Time Dialogue For Timpani And Drumset FROM THE PAST by Peter Erskine 60 by Vic Firth 104 England's Phil Seamen THE MACHINE SHOP by Simon Goodwin 44 The Funk Machine SOUTH OF THE BORDER by Clive Brooks 66 The Merengue PORTRAITS 108 ROCK 'N' JAZZ CLINIC by John Santos Portinho A Little Can Go Long Way CONCEPTS by Carl Stormer 68 by Rod Morgenstein 80 Confidence 116 NEWS by Roy Burns LISTENER'S GUIDE UPDATE 6 Buddy Rich CLUB SCENE INDUSTRY HAPPENINGS 128 by Mark Gauthier 82 Periodic Checkups 118 MASTER CLASS by Rick Van Horn REVIEWS Portraits In Rhythm: Etude #10 ON TAPE 62 by Anthony J. -
James Last Was, in 1975, One of the Most Popular Recording Artists
06007 5305679 ward the end. It’s easy to hear why Watts has always been Hollywood’s go-to man for romantic sax. “Summertime” is said to be one of Maestro Last’s favorite songs, and he’s often performed and recor- ded it, though more in the traditional James Last style than heard here. An edited version of “Summertime” was issued on 45 as an “A” side in Europe (Polydor POSP 45) and as a “B” side to “Love For Sale” in the United States (Polydor PD15108). I Can’t Move No Mountains – From the first Blood, Sweat & Tears album after founder David Clayton Thomas left the group, “New Blood” (1972), this song featured a jazzier sound, no doubt promp- ted by the jazz musicians in the band at the time, which lent itself well to the cover it gets here. The solos are by Larry Muhoberac on syn- thesizer and Larry Carlton on guitar. Love For Sale – Had Cole Porter lived through the disco age, he would have no doubt appreciated this take on one of the greatest tunes of temporary companionship ever written. The strings, the horns and Larry Muhoberac’s vibrant electric piano make this a classic that could have been equally at home in any blaxploitation film of the pe- riod or, more appropriately, a European dance club. While James Last has performed Cole Porter’s classic many times, it never got near as funky as this. The “Love For Sale” single went to Top 80 in the Uni- ted States. Bolero ’75 – There have been quite a few attempts to rock the clas- sics, or in James Last’s case, bring the “classics up to date”. -
116C 11Eiing
K 47947 / $1.95 116C 11EIING Ice ML1JIIC MAY 1983 VOL. 9 NO. 5 Volunteer Jam IX Au ° ocs'or w Aph ' , ralExciter , NpTeS: hë Great Matchiñg'Myth www.americanradiohistory.com Full Bandwidth Digital Delay... Naturally: The EFFECTRONTM series is the only low cost, full bandwidth, high performance line of digital delay pro- cessors. A real technological breakthrough unmatched by anyone!!! At last -you can afford high quality, natural sounding digital delay. Visit your local dealer and check it out! Listen and compare .. ADM -256 1/4 Second Delay M $499* EFFECTRON ADM -64 Flanger /Doubler $399* ADM -1024 Full Second Delay AOM 1024 $699* N (ms) ION DIßRAL DELAY OUP.1 Music & Electronics...Naturally! DeltaLab *Manufacturer's Suggested Retail Price www.americanradiohistory.com MAY 1983 /h ERN VOL. 9 NO. 5 Co f2DII1G Err Rom . ,, . ..:.::: - THE FEATURES '`"`.4 ' M THE STAPLES 1` 4:(61644N.; ;; " ¡ii s .4.41¡ ti t i Ñiar RECORDING TECHNIQUES - 4114. Ì LETTERS TO THE EDITOR 2 PART XII By Bruce Bartlett 10 TALKBACK The rewards of a monitor you can trust! Experts' answers to your questions 6 Continuing the discussion on monitor- ing systems, Mr. Bartlett elaborates on THE PRODUCT SCENE 14 their use with emphasis on the importance The notable and the new, with items from of speaker placement, power requirements, Biamp, Fostex, Ibanez, and others. room equalization and the proper use of the monitor. He also discusses the pros and cons MUSICAL NEWSICALS of headphones, and the cue system. By Fred Ridder 19 New products for the musician. VOLUNTEER JAM IX By Erin Morris 22 NOTES No chance for change -what you hear, is what By Rick Chinn 38 you get. -
Edge8-Web.Pdf
stevie nicks’ jimmy pAXSON, UP CLOSE WITH DANNY SERAPHINE & STUDIO MASTER JR ROBINSON MAGAZINE The Official PublicaTiOn Of Drum WOrkshOP • 8.0 ABE LABORIEL JR. INTHROUGH THE OUTDOOR HOW HE LANDED ALL THE INSIDE GIGS PLUS DW ARTISTS HIT EUROPE, Q&A WITH THE DRUMMERS OF NASHVILLE, DW’s laTEST GEAR AND MORE! NOWHEARTHIS EDGE 8.0 16 Introducing the DW Collector’s Series Super Solid, a completely new look at solid shell drums. Why is Super Solid so dramatically different? The answer is a groundbreaking Molecular Compression Process that produces the most dense solid maple shell ever created. And this is truly a one-piece shell, no glued reinforcement hoops or plies. We endured years of research and development and expense to do only one thing, bring you our best sounding solid shell drum ever. 12 24 06 22 IN EVERY ISSUE 06 Time Machine: JR Robinson 10 Up Close: Danny Seraphine ARTIST FEATURES 11 Road Tips with Drum Tech - Robbo 22 Road Stories: DW Artists hit Europe 12 Drummers of Nashville 24 Artist Feature: Jimmy Paxson Featuring Billy Mason, Travis McNabb and Cactus Moser 26 DW Drum Clinic with Denny Seiwell 16 Abe Laboriel Jr 28 New Artists A Legacy Endured. Family, Schooling & the beginning of a legend. PRODUCT NEWS 02 Exo-X Project 04 PDP Update ©2009 Drum Workshop, Inc. All Rights Reserved. ©2009 Drum Workshop, 08 8000 Series Pedals & Hardware 14 SSC Technology 20 3Drumsticks EDGE Magazine is a publication of Drum Workshop, Inc. ©2009 Drum Workshop, Inc. All Rights Reserved. #PRCAEDGE-V8.0 For promotional use only. -
Steve Smith Steve Smith
• SPEED • POWER • CONTROL • ENDURANCE • SPECIAL TECHNIQUE ISSUE STEVESTEVE SMITHSMITH VVITALITAL TTECHECH TTALKALK BBUILDUILD SSUPERUPER CCHOPSHOPS!! BBOZZIOOZZIO,, PPHILLIPSHILLIPS,, BBISSONETTEISSONETTE,, BBELLSONELLSON,, WWECKLECKL,, AANDND MMOREORE TTHEHE TTECHNICALECHNICAL EEDGEDGE HHUNDREDSUNDREDS OOFF GGREATREAT EEXERCISESXERCISES FFOROR YYOUROUR HHANDSANDS AANDND FFEETEET WIN JJOHNOHN DDOLMAYANOLMAYAN Exciting Sights OOFFFF TTHEHE RRECORDECORD And Sounds From Sabian & Hudson Music TTHEHE MMANYANY KKITSITS OOFF BBILLILL BBRUFORDRUFORD $4.99US $6.99CAN 05 WIN A Drum Lesson With Tico Torres 0 74808 01203 9 Contents ContentsVolume 27, Number 5 Cover photo by Alex Solca STEVE SMITH You can’t expect to be a future drum star if you haven’t studied the past. As a self-proclaimed “US ethnic drummer,” Steve Smith has made it his life’s work to explore the uniquely American drumset— and the way it has shaped our music. by Bill Milkowski 38 Alex Solca BUILDING SUPER CHOPS 54 UPDATE 24 There’s more than one way to look at technique. Just ask Terry Bozzio, Thomas Lang, Kenny Aronoff, Bill Bruford, Dave Weckl, Paul Doucette Gregg Bissonette, Tommy Aldridge, Mike Mangini, Louie Bellson, of Matchbox Twenty Horacio Hernandez, Simon Phillips, David Garibaldi, Virgil Donati, and Carl Palmer. Gavin Harrison by Mike Haid of Porcupine Tree George Rebelo of Hot Water Music THE TECHNICAL EDGE 73 Duduka Da Fonseca An unprecedented gathering of serious chops-increasing exercises, samba sensation MD’s exclusive Technical Edge feature aims to do no less than make you a significantly better drummer. Work out your hands, feet, and around-the-drums chops like you’ve never worked ’em before. A DIFFERENT VIEW 126 TOM SCOTT You’d need a strongman just to lift his com- plete résumé—that’s how invaluable top musicians have found saxophonist Tom Scott’s playing over the past three decades. -
Roger Sadowsky Carves a Guitar Neck by Hand
Right: Roger Sadowsky carves a guitar neck by hand. Below: Roger takes a break beneath a wall of customized guitars and basses. ROGER SADOWSKY he job of the instrument maker is to provide a tool that “ allows the musician to express himself. Ultimately, the changes in sound and design don’t come from us, but New York’s T from innovative musicians whose talent demands something new. The most dramatic example we get is people Acclaimed Craftsman from all over the world requesting the ‘Marcus Miller bass sound’.” Tailors Instruments —Roger Sadowsky For Everyone From “Roger was the first repairman to take an interest in my playing. He asked a lot of questions concerning how hard I played, the Springsteen and Sting kinds of music I was involved with, and what sort of sound I was looking for. He has great insight into the wood and To Di Meola And Stern electronics that make up an instrument, and he suggested I try one of his preamps. At the time, I was having trouble conveying my style through my bass. With the preamp, I gradually noticed that I could do more with the instrument and the sound was By Chris Jisi projecting better. What Roger did was give me a sound with which I could communicate my style.” —Marcus Miller PHOTOS BY EBET ROBERTS PHOTOS Similar accolades arrive from all corners of the music busi- New York in 1979, 95% of my clients were top studio and ness for New York luthier/repairman Roger Sadowsky, from guitar touring musicians in town. -
Intermixx Webzine Online Edition
by Noel Ramos I recently interviewed the lovely Quinn Lemley, a rather unique InterMixx mem- ber in that she performs a hybrid of jazz, cabaret and lounge music. INTERMIXX: Quinn, I am very pleased that you have joined InterMixx and are in- volved in our activities. Do you consider yourself an "indie" artist, and if so, how do you define indie? QUINN: Yes Noel, I am definitely an "Indie," so much of the jazz/cabaret/lounge community is these days with labels pulling back their support in our genre. The great thing about being an "Indie" is that I had the opportunity to create my own vision for each of my recordings. INTERMIXX: In your opinion, what are the main problems concerning indie musicians at this time? QUINN: Financing and Distribution. We are "the engine" for everything. INTERMIXX: Your style of music is still somewhat unique amongst our membership, and I commend you on your DIY attitude. Can you describe what you do for our readers? QUINN: Of course, I am a hybrid of lounge/jazz and caba- ret. Some of my music is a big band feel and others a small four piece combo, it's sultry, sexy, fun music. Sort of a cross between Keeley Smith, Ann-Margret and Julie London. INTERMIXX: Tell us more about your portrayal of Rita Hayworth, and how that came to happen. Was it largely because of your resemblance to the beauty queen? QUINN: You are a doll, yes, I was doing a musical off Broadway and a friend of mine, Preston Ridge saw it, and he said that I should do a musical about the life and music of Rita Hayworth because I resembled her. -
Volume Xl - Number 48 - April 14, 1979
www.americanradiohistory.com www.americanradiohistory.com VOLUME XL - NUMBER 48 - APRIL 14, 1979 THE INTERNATIONAL MUSIC RECORD WEEKLY COSH BOX GEORGE ALBERT President and Publisher If The Price Is Right MEL ALBERT EDITORIAL Vice President and General Manager of records by these un- In the wake of discussions on alternative pricing structures for is a way to increase exposure and sales CHUCK MEYER and similar com- known artists, while at the same time encouraging the consumer Director of Marketing new artists at the recent NARM convention, ments from rack jobbers in this week's survey article (page 8), we to be more willing to take a chance on lesser known acts. to DAVE FULTON believe that the following editorial from the Oct. 7, 1978 issue of We propose a sliding scale of suggested retail list prices Editor In Chief The Cash Box warrants reprinting. While a number of industry ex- cover the various career stages that artists pass through. the J.B. CARMICLE ecutives responded favorably to the concept presented therein, easiest way to establish such a scale would be to base it on Manager. East Coast General no concrete action has yet been taken on this or any other sales history of the respective act. might list for $6.98, a JIM SHARP variable pricing proposal for new acts. For example, a completely unknown artist Director, Nashville proven 250,000 unit seller would list for $7.98, a gold album for $9.98, and so on. The East Coast Editorial New artists are the lifeblood of the music business.