Dec-Jan 1979
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VOL. 3-NO. 6 FEATURES: MICHAEL CARVIN Tradition and jazz are DANNY BARRIEMORE words synonymous with SERAPHINE BARLOW each other in Michael Danny Seraphine and Barriemore Barlow's in- Carvin's vocabulary. Chicago have come a tuitive drumming tech- Having played with all long way. Always experi- nique has colored the the jazz greats, Carvin menting, always grow- music of Jethro Tull — has a religious-like de- ing, Seraphine has adding the complexity of votion to the purity and managed to keep his per- rhythms marked by traditions of jazz and the formances fresh, adding many British rock drum- melodic properties of the new sparks to the legen- BOB MOSES mers. Barlow talks about drumset. 28 dary Chicago style. As a child, Bob Moses his past musical af- Seraphine reminisces had the opportunity to filiations and the oppor- about his years with meet drummers of all tunities playing with Tull Chicago and early teach- styles and musical back- have afforded him. 24 ers that helped build a grounds, including Ed foundation for his con- Shaughnessy, Max tinued development as a Roach and Elvin Jones. musician. 12 With that influence behind him, Moses has developed a philosoph- ical, "spiritual" view towards teaching and playing the drums. 18 CHARLEY PERRY ON BRUSHES 16 A MODERN LOOK AT CALFSKIN HEADS 21 SHOP HOPPIN': PRO PERCUSSION CENTER, NY 30 COLUMNS: EDITOR'S OVERVIEW 3 SHOP TALK READERS' PLATFORM 4 How to Weather-proof Your Cases by Jim Piekarczyk 46 ASK A PRO 5 DRUM SOLOIST IT'S QUESTIONABLE 8 Tony Williams Transcription ROCK PERSPECTIVES by Skip Shaffer 48 More Rock Studies TAKING CARE OF BUSINESS by David Garibaldi 34 by Cheech Iero 50 JAZZ DRUMMERS' WORKSHOP ON TRACK Developing a Musical Approach 52 by Ed Soph 38 SLIGHTLY OFFBEAT by Karen Larcombe SHOW AND STUDIO 54 Victor Feldman: Up Close DRIVER'S SEAT by David Levine 42 Being Equipped for Big-band by Butch Miles 56 STRICTLY TECHNIQUE Perfect Practice WHERE IT'S AT 58 by Danny Pucillo 44 DRUM MARKET 60 INDUSTRY HAPPENINGS 68 JUST DRUMS 69 STAFF: EDITOR-IN-CHIEF: Ronald Spagnardi FEATURES EDITOR: Karen Larcombe ASSOCIATE EDITORS: Cheech Iero Paul Uldrich MANAGING EDITOR: Michael Cramer ART DIRECTOR: Tom Mandrake This issue of Modern Drummer is especially meaningful for us because it marks the end of our third complete year of publishing. Those of us PRODUCTION MANAGER: Roger Elliston involved with MD have experienced three years of hard work and growing pains. And yet, they have been three of the most totally ADVERTISING DIRECTOR: Jean Mazza fulfilling years of our lives. We were fortunate to accomplish something that isn't easy in the modern publishing world; launching a national ADMINISTRATION: Isabel Lori magazine with hardly any initial circulation, virtually no advertising, and Ann Lambariello insufficient cash to see it through that bleak stage. Individuals with more publishing expertise advised that it was sheer DEALER SERVICE lunacy to attempt getting MD off the ground. How could we be sure MANAGER: Carol Morales drummers wanted their own magazine in the first place? Well, we went ahead despite it all. We soon realized that everything they said was CIRCULATION: Leo L. Spagnardi initially true. For awhile, we were never sure there would be a next issue Marilyn Miller since we had to rely on the income generated from the previous issue to Nancy Schuller finance the next. We stood prepared to return money to early subscribers at anytime, with an apologetic note. To say that MD was a high anxiety venture during its first year is a genuine understatement. MD ADVISORY BOARD: The magazine had originally been planned as a newsprint tabloid. The magazine format (a much better looking product, but three times Henry Adler Mel Lewis more expensive to produce) was adopted at the very last minute. It Carmine Appice Peter Magadini was a decision we've never regretted. Our premier issue ran at a mere Horacee Arnold Mitch Markovich 3,000 copies. We remember remaining with the printer throughout the entire Louie Bellson Butch Miles night to watch the first magazines roll off the presses. Only about half Roy Burns Joe Morello of those 3,000 magazines were actually destined for paid subscribers. Jim Chapin Charley Perry The rest were mailed free to anyone even remotely related to the Billy Cobham Charlie Persip percussion industry. Joe Corsello Joe Pollard Most advertisers understandably took a wait and see attitude. Les DeMerle Arthur Press No established company likes to tie in with a fly by night. It's interesting Len DiMuzio Paul Price how that issue, with 28 solid editorial pages, little advertising, and no Randy Hess Ed Shaughnessy graphics to speak of, has since become the most in-demand issue in the Sonny Igoe Lenny White history of the magazine. Don Lamond We were forced to quickly learn a great deal about publishing survival. It was a time of intense determination. Long days often ran into equally long nights. But in retrospect, it was the ultimate education. MODERN DRUMMER Magazine (ISSN It compelled us to assemble the finest editorial package we possibly could. 0194-45331) is published bi-monthly, February, It's a policy we've consciously attempted to maintain ever since. April, June, August, October and December by Today Modern Drummer Magazine is in every corner of the U.S. Modern Drummer Publications, Inc., 1000 Clif- and over 40 foreign nations with a total readership exceeding 35,000. ton A venue, Clifton, NJ. 07013. Second class Advertising has grown from the six daring firms who took a chance postage paid at Clifton. NJ. 07013 and at ad- with the first issue, to all the major percussion people in the country. ditional mailing offices. Copyrighted 1979 by Modern Drummer Publications, Inc. All rights We've seen those 28 pages grow to nearly triple that amount. reserved. Reproduction without the permission We've seen the development of a national network of correspondents, of the publisher is prohibited. SUBSCRIP- and the formation of a top-notch 25 member Advisory Board. The TIONS: $9.95 per year, $19.00, two years. magazine has grown from a quarterly to bi-monthly publishing schedule. Single copies SI.75. MANUSCRIPTS: Modern The magazine is now available at more than 600 drum shops and music Drummer welcomes manuscripts, however, can- stores, and at record shops, bookstores, libraries and newsstands across not assume responsibility for them. Manu- the country. scripts must he accompanied by a self-addressed Our thanks to those readers who believed in us then and to our stamped envelope. CHANGE OF ADDRESS: Allow at least six weeks for a change. Please new readers. Likewise, to the advertisers who ultimately came on board, provide both old and new address. MUSIC and stayed. Together, we've been able to open a line of communication DEALERS: Modern Drummer is available for between a thriving industry and an information deprived musician. resale at bulk rates. Direct correspondence to A liaison which did not exist before. And therein is perhaps the most Modern Drummer Publications, Inc., 1000 Clif- meaningful accomplishment of all. ton A venue. Clifton, NJ. 07013. (201) 778-1700 POSTMASTER: Send form 3579 to Modern Drummer. 1000 Clifton Avenue, Clifton. NJ. 07013. I enjoyed your August/September issue and the articles on Billy Cobham and the second part of the foreign drum company report. Another eye catcher was "Shun- ning Bach For Rock." I would also like to compliment Andrew Sobczak for wanting to see drummers Neil Peart of Rush and Graham Lear of Santana. To add to the list, I would like to see Peter Criss of Kiss and Gil Moore of Triumph. Both are ex- The future of the drumming profession I'm a professional bass musician and I cellent soloists. worries me when I read articles such as get a lot out of reading Modern Drummer. ACE CUNNINGHAM your "Shunning Bach For Rock." The The magazine has helped me to understand BELLEVILLE, ONTARIO, CANADA history of professional drumming and the my rhythmic partner — the drummer. One success of such throughout the centuries day, I hope to obtain the same rank of has been one of serious study and dis- respect as Steve Gadd, Bernard Purdie, Your August/September issue was out- cipline, imparted to the student by a Elvin Jones and Ralph MacDonald. standing, especially Bill Meligari's article master drummer. The student/apprentice Reading the articles in your magazine on "The Gladstone Technique." I would has never dictated to the teacher what will keeps me going when the politics of the be interested in seeing a follow-up to this or will not be learned. Perhaps the key music business makes me want to quit. article dealing with the application of the does lie with the student since he or she has Modern Drummer, along with my family Gladstone technique to the "double" hopes of becoming a pro someday. If that and friends helps me to believe that I can stroke. student is intelligent enough, a master make it. I also have some comments on snare drummer will be found who can provide WAYNE PITTMAN drums. With all due respect to Thomas something more meaningful than a garage WEST MEDFORD, MA LaFlame, his suggestions on what to do bund environment. Who needs to pay good when "no replacement snare is available" money for that? are not particularly feasible. For instance, JACK GILFOY a set of six, 36" gut cello strings cost at INDIANAPOLIS, IN least $60.00. Quite a price to pay for a set of snares. A better idea is to visit a sport- An alarming number of drummers have ing goods store that re-strings tennis apparently come to the conclusion that rackets.