Quick viewing(Text Mode)

January 1992

January 1992

VOLUME 16, NUMBER 1

FEATURES MEMPHIS DRUMMERS MIAMI SOUND MACHINE'S Though this southern city is ROBERT RODRIGUEZ experiencing a musical renais- MARK sance these days, newcomers & RAFAEL PADILLA might be surprised by some of BRZEZICKI the bands responsible for that Much of the credit for MSM's huge rebirth. In this special report, MD His work as an in-demand ses- success goes to its burning checks in with some local drum- sion player in England, as well Latin/pop rhythms. The messen- mers who are pushing as his landmark performances gers of that hot stuff are drummer the new Memphis with , Pete Rodriguez and percussionist sounds way past the Townshend, and , proved 30 Padilla. In this special story, MD city limits. was one of the pokes its nose into the Sound • by Robert Santelli strongest drum voices of the Machine's kitchen and discovers past decade. The '90s look to be some of the secret as busy and exciting: In this recipes of their success. INSIDE exclusive interview, Mark dis- • by Robyn Flans cusses his new work with Procul 26 VIC FIRTH Harum, Big Country, and old crony . A peek behind the scenes of one 20 of the industry's top drumstick • by Simon Goodwin makers—and at its dynamic namesake. • by Rick Van Horn 34 MD's YAMAHA DRUM RIG GIVEAWAY

Your second chance to win a Yamaha Drum Rig worth 64 $12,400!

COVER PHOTO BY EDMOND WALLACE COLUMNS

Education

52 ROCK CHARTS Neil Peart: "Where's Equipment My Thing?" TRANSCRIBED BY JEFF WALD 40 PRODUCT CLOSE-UP 66 HEAD TALK Drum Workshop Departments Choosing The Products News Correct Job BY RICK VAN HORN 4 EDITOR'S AND CHAP OSTRANDER BY MICHAEL BLAIR OVERVIEW 8 UPDATE 41 Rhythm Tech Products BY RICK VAN HORN Neil Peart, , 84 LATIN Steve Smith, Tony Impact Bags And 6 READERS' SYMPOSIUM 42 MacAlpine's Mike Cymbal Pockets Brazilian Rhythms: PLATFORM Terrana, and Smashing The Bossa Nova BY RICK VAN HORN Pumpkins' Jimmy BY CHUCK SILVERMAN 12 ASK A PRO Chamberlin, plus News 110 NEW AND 88 CONCEPTS NOTABLE 16 IT'S 108 INDUSTRY Applying Information QUESTIONABLE HAPPENINGS BY ROY BURNS 1991 DCI Championship Results 60 CRITIQUE 114 DRUM MARKET Profiles 46 PORTRAITS Ronnie Zito BY STEPHAN NIGOHOSIAN 94 ENCORE : BY ROBERT SANTELLI EDITOR/PUBLISHER Ronald Spagnardi ASSOCIATE PUBLISHER Isabel Spagnardi Editorial And Advertising MANAGING EDITOR Rick Van Horn FEATURES EDITOR William F. Miller ASSOCIATE EDITOR Adam J. Budofsky

CONTRIBUTING EDITOR Rick Mattingly Ever notice how some magazines tend to vary in EDITORIAL ASSISTANT Karen Walsh size from issue to issue? Some months you'll find ART DIRECTOR Scott G. Bienstock your favorite magazine out at a whopping 150 to 200 pages. The next month that same publication ADMINISTRATIVE MANAGER Tracy A. Kearns may feel unusually light at 98 pages or less. What's ADVERTISING DIRECTOR Bob Berenson happening? Have the editors run short on materi- al? Is half the staff on vacation and hoping you ADVERTISING ASSISTANT Joan C. Stickel won't notice ? SALES AND MARKETING Crystal W Van Horn Not quite. Most publications have more editorial material than DIRECTOR they know what to do with. And with the exception of a few weeks CONSULTANT TO THE Arnold E. Abramson vacation alternated among editors, most magazines run at full-staff PUBLISHER capacity all year long. The truth is, it's a simple matter of eco- nomics. MODERN DRUMMER ADVISORY BOARD: Henry Adler, Kenny Though some portion of a publication's income is derived from Aronoff, Louie Bellson, Bill Bruford, Roy Burns, Jim Chapin, Alan its circulation, the bulk of it is actually generated from the sale of Dawson, Dennis DeLucia, Les DeMerle, Len DiMuzio, Charlie advertising space. Unless you're talking about TV Guide—which Donnelly, , Vic Firth, , Sonny Igoe, Jim Keltner, Larrie Londin, Peter Magadini, George Marsh, Joe Morello, Rod reportedly sells 17 million copies each week—most small con- Morgenstein, Andy Newmark, Neil Peart, Charlie Perry, Dave Samuels, sumer magazines rely on ad sales to pay their bills. Simply put, in John Santas, Ed Shaughnessy, Steve Smith, Ed Thigpen, Dave Weckl. certain months when ad sales go flat, a publication is compelled to CONTRIBUTING WRITERS: Robyn Flans, Simon Goodwin, Ken make adjustments that parallel its weak sales. And those adjust- Micallef, Jeff Potter, Teri Saccone, Robert Santelli. ments generally mean issues will thin out somewhat. Let's take this one step further and see how Modern Drummer is MODERN DRUMMER magazine (ISSN 0194-4533) is published monthly by MODERN DRUMMER Publications, Inc., 870 Pompton affected—not only by publishing economics—but by the eco- Avenue, Cedar Grove, NJ 07009. Second-Class Postage paid at Cedar nomics of the drum and percussion industry as a whole. Grove, NJ 07009 and at additional mailing offices. Copyright 1992 by During periods of recession, the average drum consumer is apt MODERN DRUMMER Publications, Inc. All rights reserved. to be a little more careful with his or her money—particularly on Reproduction without the permission of the publisher is prohibited. big-ticket items. This in turn has an adverse effect on thousands of EDITORIAL/ADVERTISING/ADMINISTRATIVE OFFICES: MODERN music dealers, who react by slowing up their buying. When dealers DRUMMER Publications, 870 Pompton Avenue, Cedar Grove, NJ cut back, the manufacturers are next in line to feel the pinch. 07009. Tel.: (201) 239-4140. This is where we come into the picture. Though the manufac- MODERN DRUMMER welcomes manuscripts and photographic mate- turers have a number of cost-cutting options, you can rest assured rial, however, cannot assume responsibility for them. Such items must that—right or wrong—advertising expenditures will be one of the be accompanied by a self-addressed, stamped envelope. first things they'll consider cutting back on. And as those manufac- MUSIC DEALERS: Modern Drummer is available for resale at bulk turers run fewer ads, we in turn are forced to cut back on the size rates. Direct correspondence to Modern Drummer, Dealer Service, PO. of an issue to reduce our costs of producing it. Box 389, Mt. Morris, IL 61054. Tel.: (800) 334-DRUM or (815) 734- Of course, as the economy improves, the whole procedure 6013. reverses itself. When consumers spend more, dealers can increase SUBSCRIPTIONS: $27.95 per year; $49.95, two years. Single copies their purchasing, the manufacturers look to advertise their prod- $3.95. ucts more, and the overall size of an issue of MD will return to nor- SUBSCRIPTION CORRESPONDENCE: Modern Drummer, PO. Box mal levels. As you can see, though nothing would please us more 480, Mt. Morris, IL 61054-0480. Change of address: Allow at least six than to continually release extremely hefty issues of MD each weeks for a change. Please provide both old and new address. Toll Free month, sometimes the economics of publishing as they relate to Tel.: (800) 551-3786. the national economic picture simply don't allow it. POSTMASTER: Send address changes to Modern Drummer, PO. Box So, the next time you notice a slightly lighter issue of your 480, Mt. Morris, IL 61054. favorite magazine, check out the advertising. If it appears to be on the low side, there's your answer. Or in our case, does it get back to the fact that you decided to wait until next year to buy that new drumset? Hmmm!

READERS' PLATFORM

Editor's Note: Articles and letters appear- Memorial Concert projects in the past, nal from the bass is plugged into channel ing in MD often generate follow-up corre- and we plan to continue that support. 2. The Russian Dragon will indicate if the spondence. This generally comes from However, we cannot go along with the bass is rushing or dragging—and show drummers/readers, but in some cases "new, modified" stick design concept. by how many milliseconds. comes from industry personalities, as well. Simply put: It's not Buddy. So if you really want to get serious This month, we thought we'd feature sev- The bottom line here is that Buddy Rich about your timekeeping, one of your tools eral such letters. used Pro-Mark 5^4 sticks for more than 20 should be the Russian Dragon. years, starting in the early '60s with our Jeanine Davis "Professional" oak model (1/8" shorter than Jeanius Electronics our 5A). For the last 2 1/2 years of this life San Antonio TX Herb Brochstein Buddy's primary stick choice was Mike On Buddy's Sticks Balter's hickory SA. Both the Pro-Mark I am compelled to respond to the and Mike Balter 5As, are considered to be "Disrespect For Buddy" letter from Josh true, traditional 5A designs—not longer, On Paiste's Carroll [October '91 MD] and Vic Firth's not thicker, and not "modified." Advertising Approach reply. Josh is correct: Buddy never used Herb Brochstein I am writing in response to what I hope the stick that today bears his name. The President, Pro-Mark Drumsticks does not become a trend in percussion current model is longer, has a larger diam- Houston TX industry advertising. The item in ques- eter, and is not at all what Buddy ever tion is a rather lengthy Paiste cymbal ad used—particularly since it lacks an acorn in the September '91 MD. This ad refers bead (tip). to a "large manufacturer in North With all due respect to Vic—my good Timekeeping With America," which, as anyone could easily friend and worthy competitor—I would The Russian Dragon recognize, is the Zildjian company. Paiste like to share some factual and historic This letter is in reference to the article continues to almost lambaste Zildjian's information with your readers. I first met entitled "Getting Serious About cymbals as being "the same old alloy, the Buddy in 1948 in Chicago, while I was a Timekeeping" in the September 1991 same old sound." The ad seems to state student of Bobby Christian. Buddy's band MD. In that article, Peter Cohen forgot to that Paiste is the superior brand because was playing at the Regal Theater. That was mention a very important timing indica- of their refusal to stand by a single alloy. 43 years ago. I believe that this long-time tor called the Russian Dragon. The open- I feel that this attack against Zildjian is friendship and professional association ing sentence reads: "This is the Day of unwarranted. To choose a cymbal just qualifies me to speak. the Click." There is only one device on because the company claims to be more Buddy preferred hickory sticks. In the the market that helps a drummer play modern is preposterous. I personally own early '70s, Pro-Mark marketed a line of with a click, and that is the Russian several models of both Zildjian and Paiste hickory sticks and Buddy chose our stan- Dragon. The other devices mentioned in cymbals, and I cherish them all. The two dard 5A (without his name imprinted), the article help a drummer keep his brands may not always do each other's which he used for about eight or nine tempo steady, but he may still be drifting jobs, but I am afforded a wider variety of years. That same stick is still in our line from the click. sound colors to choose from. While I today. This article also describes the tension suppose Paiste has the right to make Vic is correct when he says that Buddy that drummers feel when other band their claims, I can only hope that drum- tried other brands. However, he usually members complain that they are rushing mers will use the only true tools for relied on sources that could supply him on or dragging. With the Russian Dragon, selecting cymbals: their ears. instant notice. We always made a special there is no question about the timing; it Michael Pierce selection for Buddy (l 3/4-ounce sticks). will show immediately if the drummer is Kansas City MO Occasionally, Buddy's manager would go rushing or dragging—or right on time. directly to our factory to personally select The display is large enough that all the Erik Paiste replies: "We couldn't agree his sticks. other band members can see the results. more with you: The only true tools for I expressed my personal disappointment Another very important feature is the selecting cymbals are your own ears. If a with the Buddy Rich model to Vic, Steve Russian Dragon's, ability to check the cymbal sounds good to you, then it is Arnold, and Cathy Rich when the "new" timing accuracy of the bass player against good for you. stick was introduced. Pro-Mark has been the drummer. The signal from the kick "With our ad, we are pointing out that one of the supporters of the Buddy Rich drum is plugged into channel 1; the sig- Paiste has created all bronze alloy inno-

Neil Peart "This one was particularly painless to make," mentions Neil Peart of Rush's most recent release, Roll The Bones (on Atlantic). "A lot of effort went into it, but at the same time, it was a pleasurable effort. The basic song ideas flowed very freely, and the musical interchange the three of us had was immediate. We finished the writing stage ahead of schedule, which gave me the opportunity to rehearse like a maniac right up to the time I had to record my parts. I felt very prepared, and because of the extra practice, I had an added feeling of freedom to stretch a bit drumming-wise. I felt on top of my game." Neil must have been up for recording, because he was able to record all of his tracks for the in only a day and a half. According to Neil, "I was amazed. We spent an hour or so setting up drums and getting sounds, and then I just banged out the tunes, one after another. It's the quickest I've been." After listening to the disc, one finds that hard to believe. "That just shows the importance of proper preparation," comments Neil. "This was the first time we spent more time preparing for the album than we did making it, and the results, we think, speak for themselves." As usual on a Rush record, on Bones you can find some fun I've been coming up with all sorts of patterns, like the one I used drumming patterns, which are uniquely Peart creations. "As I've on 'Bravado.' My left hand alternates between the hi-hat and the said before, when I hear the early demos by Geddy and Alex, they floor tom, while my right hand is moving from the snare drum to use a lunk-headed drum machine part and build from that. My the ride cymbal bell on the upbeats, to another tom-tom on my parts try to expand the whole picture of the music, and that's the right side. It's fun to get a bit daring. goal I'm reaching for." "Another song on the album, 'Heresy,' had an interesting gene- On earlier Rush records, you occasionally come across long sis to the drumbeat. I was on a bike tour of western Africa, and on instrumental sections, or even completely instrumental songs. one hot night I was laying on a rooftop in Togo. Off in the distance After ten years, the band has come up with another, "Where's My I heard two native drummers playing; the pattern they played just Thing?" "It was good to get back to that. In recent years, when- stuck in my mind. I was inspired by that groove for part of the ever we would come up with an instrumental part we liked, we song. And on another section, the beat I played was inspired by a used it as a section of a song with vocals. I finally told them that I rhythm I heard when I was in Ghana. As I rode past a church one wasn't going to give them any more words until they wrote an Sunday morning, I heard the congregation singing, and accompa- instrumental," jokes Neil. You'll hear a few classic Peart nying them was just a stick sound a basic rhythm. That moments on the track, along with some nice extras. (See this influenced the hi-hat pattern I play in the beginning of the song." month's Rock Charts.) Neil mentions that he feels it's imperative to try new things, For the new album Neil made a change in his drumkit. "I such as different setups, and to investigate different sounds and removed the second —I'm using a double pedal—and I rhythms. "I do need to keep changing things from time to time, altered my tom setup. I went to smaller drums, and I added a because I can't stand still musically, repeating what I've done floor tom over by my hi-hat. I found that before I made the switch before. I think it was Oscar Wilde who said, 'Self-plagiarism is I was tuning the drums so tight that the lugs were pulling away style.' But it was Picasso who said, 'Repetition is death.' I lean from the shells. To get the pitches I wanted to hear I decided just more towards the latter." to go to smaller drums. As for the added floor tom, it's been a joy. • William F. Miller Bill Bruford "There's no doubt that seeing 10 to SDX was again 15,000 people deliriously happy at every invaluable in that gig is a great pleasure," says Bill Bruford context." of his summer-long tour with the Now that the Yes regrouped Yes. According to Bill, though, tour is history, it's he had some mixed feelings about "going time for Bill to, as back in time" musically. "There were he puts it, "get moments onstage where I was left feeling back to work, more like an observer of what was hap- which might be pening than a participant, because I think less fun but infin- the audience prefers that music much itely more reward- more than I do. Musically I've moved on ing. And that work to other things." for me is Earth-

Even though the number of dates—80 works." Bill and his Wales

cities in just over as many days—was a messengers are Lissa bit gruelling, the tour did have its fun currently on tour in by

times. "The tour had the feeling of a frat Europe, with Japan Photo house party, us acting like a bunch of and the States to school kids, misbehaving," Bill chuckles follow, all in support of a new release, All bringing a new electronic slant to the at the recollection. "And musically, there Heaven Broke Loose (Caroline Records). recorded direction of the group. were a few nice moments. I also enjoyed The album was recorded in Germany last In summing up the differences of play- working with Alan White, as he is a very January, the recording actually starting on ing rock with Yes and with Earth- solid player. I had an admirable descrip- the day the Allied armed forces began the works, Bill has an interesting outlook: tion of our teaming: He was the meat and air campaign against Iraq, thus inspiring "It's in the nature of rock to affect a great- potatoes, and I was the hollandaise sauce! the album title. According to Bill, the er number of people less profoundly than I think the best moments musically troubled times greatly affected the direc- in jazz, where the numbers may be small- between us were when I was acting more tion of the music, from the prayer-like er, but you move people more deeply. At as a symphonic percussionist, adding title track to some of the more "bombas- least that's the way I think of it." sounds and textures alongside Alan's tic" other cuts. Also, guitarist David Torn • William F. Miller rock drumming style. And the Simmons was brought in to coproduce the effort, Steve Smith Steve Smith wants to say thanks to the peo- Journey—it is a situation that comes natu- ple who voted for him in the last MD Readers rally to him. "I feel that it's one role that I Poll, and, in fact, for five years in a row. "It's play. I can compare myself to actors who surprised me every time I've gotten it, but I have had hit movie series, like Harrison really feel great about having that award. It Ford or Sean Connery, but who have gone means a lot that people are listening to my on to prove themselves as great actors. I've playing and have responded in that way." established my credibility outside of this Steve's band, , has type of setting, so it feels okay for me to step recently released Vitalive! on Manhattan back into that role. But I don't have to live Records, and Steve says the album is a good that all year round." representation of what he does live in that Steve can also be heard on a new record setting. "It's a nice blend of straight-ahead by Stuart Hamm (along with Jonathan jazz and more fusion jazz. I designed it more Mover and Lee), on Frank or less for the people who are fans of Vital Gambale's Note In A Million Years (Steve on Information. It's not one of those records four tracks and Dave Weckl on four), and on where I'm necessarily trying to expand my two tracks on Mariah Carey's newest. As far audience. It's for those who want to hear the as touring, he's been doing quite a bit with band stretch out. Vital Information, and with Steps Ahead Steve is also a member of the Storm, a new ("I've really grown a lot from doing so much rock/pop band comprised of ex-Journey members Gregg Rolie consistent playing with that group"), but he says that the Storm and Ross Valory, along with guitarist Josh Ramos and singer has no plans to tour, unless the record's success warrants it. Kevin Chalfont. While the music isn't anything like Vital • Robyn Flans Information—Steve's role is more like his former one in Mike Terrana Last year, after recording Dirty But Well Dressed with Beau out? He said, 'I want you,' so he was really cool to let me inter- Nasty, Mike Terrana joined up with Tony MacAlpine. "His music pret the music the way I felt it. But most of the cool landmark requires a lot of chops," Mike begins. "A lot of control and a lot of fills are there, so people who have the records will get them. I try endurance is needed because there's fast double-bass stuff and to execute them as closely to the original as I can, but there is many intricate changes. It's probably the only rock band I've ever also a lot of stuff I throw in that's my own." been in where I'm actually thinking about what I'm going to play Out of all the bands Mike has been in, he says he feels the next. Since we only rehearsed for ten days, for the first ten shows most comfortable playing Tony's music. "All the other bands I've I was thinking really hard. I wasn't looking out into the audience been in have sort of been the big-hair bands," Terrana explains, or daydreaming about what I was going to eat after the show. It "where the look of the band and the singer count more than the was, 'What the hell is coming up next?'" actual musicianship. I don't mean to cut down hard rock bands; Steve Smith played on MacAlpine's first record, and Deen it is a lot of fun to just kick back and play a solid groove. But with Castronovo played on his second one. "They're both excellent Tony it's a real musical thing." players," says Mike. "I asked Tony what he wanted from me: Did • Robyn Flans he want me to copy every little roll and nuance, or could I stretch Jimmy Chamberlin Don't be fooled by Chicago's Smashing a '50s show band before joining the music to stamp his own signature on gish, Pumpkins. Drummer Jimmy Chamberlin Pumpkins, says his aim is to push the band which quickly shot to Number 1 on the is a dyed-in-the-wool jazz lover. "My father in the manner of a big band drummer, yet College Music Journal chart. "I look at fills was a clarinet player, and I started out by bring a modern feel to the Pumpkins' as taking the song to the next level or listening to Gene Krupa and Louie swirling psychedelia. plateau," he says. "We try to be as diverse Bellson," Chamberlin says. "People may "They didn't even have a drummer in our musicianship as we can, and there's not believe this, but I really listen to Benny before I joined—they were using a drum stuff we play live that we can't get right in Goodman records at home. I have almost machine live," he says. "Billy [Corgan, recording, and stuff we record that we can't every Goodman and Duke Ellington record singer] would still write drum parts on the pull off live. ever made, and I pipe big band music all drum machine after I joined, and some of "But it's just as challenging for me to through my house." them would be physically impossible to play a 2-and-4 and do it right as pulling off But with the Pumpkins on the road sup- play. But there's something to be said for a 7/8 beat. If you approach drums in terms porting their sterling Caroline Records the human element in music. So I of how they can enhance the song, you'll debut, gish, only the trained eye will see the approached the record in terms of the always be ahead of the game." result of eight years of private study in songs, not thinking, 'I can pull off this real • Matt Peiken Chamberlain's otherwise free-flowing cool fill here or there.'" frenzy. The 27-year-old, who spent time in Still, Chamberlin sees space within the

with Swedish pop star Anders Louis Molino on new Days. News... Glenmark. Julian Lennon LP, Help John Link replacing Paul Mark Zonder on new Paul Monroe on XYZ's Yourself. Cancilla in Cry Wolf. Fates Warning release, Hungry. Dave Palmer on tour with can be Parallels, produced by veteran Faith No More's Mike Rod Stewart. heard on Heart's live album, Rush producer Terry Brown. Bordin can be heard on Chris Hooper on the Rock The House Live! Michael Blair recording Primus' latest release. Grapes of Wrath's These

Joe Franco I have been playing drums as a self-taught, "heels- ing into the bass down" player for ten years. I have recently started tak- drums to keep your ing lessons, and need advice on how to play "heels-up." I get balance. One thing the impression from my instructor that it's not technically cor- that you should rect to play "heels-down" unless playing at low volumes. I have consider is your seat been practicing "heels-up," and would like to master it, but height. I've noticed have run into two problems: First, I can't keep the beaters off that most drum- the heads (I play double bass), and second, I lose all balance mers that play and feel like I'm going to fall forward! Could you tell me a good "heels-down" sit a exercise to practice "heels-up"? Please explain in detail (do the lot higher, and this legs move as one unit, or do the feet control the beaters more, might explain why etc.). I've heard some volume increase, but I still lack speed and you fall forward control. I'm wondering if changing this technique is going to be when trying to lift worth the effort. your legs. Try sit- Jim Albrecht ting lower. It will Burbank IL enable you to lean back more, and In my opinion, there is no "technically correct" way to could improve your play when it comes to "heels down" or "heels up" in balance. playing a bass pedal. I think that you can achieve more power You say that when playing "heels-up" you lack speed and con- when playing "heels-up," and if you're a hard-rock player, I sug- trol. Are you lifting your legs too high? If that's the case, it's gest that you play that way. But then again, there are drummers, hard to achieve speed or control. Although you lift your legs such as , who can play very powerfully with their when playing "heels-up," you shouldn't have to lift them more heel down. than an inch or so. The power should come from a combination The main difference is when playing "heels-down" you're of leg, ankle, and foot. As far as double-bass exercises go, the using your ankle and foot, while in playing heels up, you're also best one, to me, is a single-stroke roll. Play as relaxed as possi- using your leg. Since you are lifting your leg—and in the case of ble; avoid tensing up and digging in. Concentrate on your bal- double bass, both legs—balance is important. You say that you ance and the evenness of your feet. can't keep the beaters off the heads. It seems that you're lean- I hope some of this advice helps you out. Good luck!

Phil Collins You're not just a phenomenal noticed (during the brief moments when Thank you for your flattery. I'm drummer, but an inspirational the camera was on you) that your hi-hat afraid I really don't know how I've one as well. One of the things I admire seems to be almost level with your snare. avoided banging my sticks together over most about your drumming is how musi- When you cross your left hand over your the years, but fortunately I've managed cal it is. I've loved listening to you play for right to play the hi-hat, how do you avoid to. Perhaps it's because my snare drum is years, but now, since I've begun playing banging your sticks together? Also, what tilted slightly towards me. drums myself, I'm also curious about kind of leg/foot action do you use when Regarding my foot action, the ball of how you play. playing the bass drum? my foot is usually half-way down the I own the And Friends Audra Supplee pedal, and my heel is never on the plate concert video, with you on drums. I've West Chester PA at all. I hope this helps you out.

Who Makes The According to Zildjian's Lennie block under one foot of the throne, and Nada Drum? DiMuzio, the Zildjian company put that foot directly to your rear—thus I would very much appreciate your help had a series of trademarks that they used tilting the entire throne forward a bit on in locating a source of the Nada Drum. I over a period of time. The stamp that the other two legs. This may achieve the understand it is a modern adaptation of appears on your older cymbals was used angle you need, and does not require a the talking drum. during the early '30s and '40s. It was put specially designed throne. Frank O'Brien aside for 25 to 30 years, then brought out Boones Mill VA again briefly in the late '70s—and then How Do You Fix A Cracked only on certain models. He suggests that We hadn't heard of a Nada Drum, the cymbals you have are probably from Slingerland Shell? so we checked with our resident that later group. I own a 5x14 Slingerland snare drum that esoteric-percussion expert, Emil is stamped "P June 62." The shell is, I Richards, who gave us this information: believe, mahogany with glued maple rein- "That name does not show up in any of Are There Any Tilting forcing hoops. The wood on the inside of the musical instrument dictionaries. Drum Thrones? the shell has started to split in a couple of However, there was someone at the 1991 I am looking for a drum throne that has places where the tension casings are PAS convention in Philadelphia who may the ability to tilt its seat forward. I've affixed. Is it possible to repair the cracks, have been selling a drum called the Nada been unable to find one in any music and can the shell be protected from fur- Drum. store or catalog. I want such a seat to help ther cracking? "The two best sources I know for straighten up my back and to free up my Stan Sheppard 'modern adaptations of the talking drum' legs more on the pedals. If such a prod- London, England are JAG Drums, made by Joe Galeota, 88 uct exists, can you help me find it? If not, Hibbert St., Arlington, MA 02174, (617) can you offer me any suggestions on how We checked with noted drum 648-6456, and Jun Jun African Percussion the results I seek could be achieved? restorer (and MD Advisory Board Drums, made by Paolo Mattioli, 103 N. Justin Bender Member) Charlie Donnelly, who gave us Highway 101 #331, Encinitas, CA 92024, Waterloo, Ontario, Canada these suggestions: "If the cracks are just (619) 720-2328. Joe Galeota is trying to on the inside of the shell, you can simply locate the fellow from the PAS show who The Roc-N-Soc Nitro series lift the plies a bit and fill the cracks with might be calling his drum 'Nada,' so if throne offers a bicycle-style seat glue, then put a clamp over the plies and you give Joe a call, he might be able to with a reversible mounting block. let the glue seal up the cracks. If the give you that name." Depending on how you affix the seat, it cracks go all the way through the shell, it can tilt a bit forward or a bit backward. may be more difficult to fill them suc- Once installed, this is a permanent posi- cessfully, but you can try. To strengthen Info On Zildjian Cymbals? tion, and is not adjustable. Ask your deal- the shell and prevent further cracking, go Ten years ago I bought a used er to contact Roc-N-Soc, or write them to a woodworking shop and ask the drumset that came with Zildjian cymbals. yourself at 2511 Asheville Rd., Way- craftsman there to glue a 1/16"-thick sheet Only recently, I noticed that the Zildjian nesville, NC 28786. of mahogany veneer to the inside of the logo stamp on these cymbals is different Several companies now offer thrones shell. This 'lining' will need to be care- from those on the new Zildjians I bought with bicycle-style seats, which might fully drilled with holes to match those in three years ago. The stamp on the new "free up your legs" without your needing the original shell. After you re-install the cymbals reads: "A Zildjian Co. Genuine to tilt the seat itself. Before you tilt your hardware, the drum will be as good as Turkish Cymbals." The stamp on the seat "to straighten up your back," check n e w . " older cymbals reads: "A Zildjian & Co. with your doctor on proper posture when Genuine Constantinople Cymbals." Can seated. Tilting your seat may do you more you explain the difference? harm than good. Amy Boettcher If you still wish to tilt the seat, a quick Kenosha WI and easy way is to put a 1/4" to 1/2"-thick

By Simon Goodwin Photos by Edmond Wallace

In many ways Mark Brzezicki is singing, and guitar playing of SG: You are one of a rare breed of the epitome of the modern Simon Townshend. The band is drummers who manage to be in a regu- drummer. He has his own indi- signed to Atlantic and is plan- lar band and work steadily in the stu- viduality, yet he manages to ning an album and an dios. How do you balance the two? combine it with a flexibility to American tour. The picture is MB: When you're in a successful band, perfectly complement whatever confused by the fact that Mark it's easy to get complacent. If you get a musical situation he finds him- also plays on the 1991 release record deal and a retainer, some people self in. He is always a loyal and of the revived Big Country. just like to live that band. That's great committed band member, as Mark makes it clear that this as far as it goes. I'll do it to the extent well as the consummate studio role is as studio player; officially that I'll do everything necessary. If player. And though he has he is no longer a band member, there's a tour, I'm there; if there's an developed a hardened profes- although it's likely there will be interview, I'm there. But there's a lot of sionalism that makes him 100% further and tours with "down time." In fact, the bigger you reliable in any situation, he has them, schedules permitting. become, the easier it gets. You get retained the wide-eyed enthusi- Mark Brzezicki's enthusiasm drum techs, you get paid to travel asm of a beginner, which keeps for his chosen instrument and everywhere, you get put in nice hotels, him fresh and creative. profession manifests itself in the people want to give you free equip- Mark is genuinely modest way he talks about drumming ment...everything's easy. I felt that my about his ability as a drummer, and the music business. His independence was being taken away. but that ability has been put to mind seems to be constantly It's good to get a phone call, turn up at good use by people like Pete whirring with thoughts, ideas, a studio, shake hands with three people Townshend, , Roger and opinions. He is forever you've never met before, and develop a Daltrey, Joan Armatrading, the absorbing influences and draw- chemistry that is going to make a new Cult, Procul Harum, and ing inspiration from them. The record. It's a different sort of excite- Fish—all artists who can have point is that he lives it and loves ment to being in a band. A band is your the pick of the world's best stu- it. home; doing sessions is a challenge. dio drummers. In addition to I have an equal liking for both. When what he has actually done, it's "If it's rocky, you're in a band, you do tours and per- interesting to note that Mark haps one album a year. That album was first contender to do Sting's I'll tend to play with might take six months to do, but the 1991 tour. He only missed the a slight jazz feel. drums usually go on first, and you can title when get that done in a week. So what do you accepted the gig. At the time If it's jazzy, I'll tend do for the rest of that six months? this interview took place, Mark Drummers are often the most enthusi- was asked to play on Mick to play with a astic musicians when it comes to actu- Jagger's solo album. The out- ally wanting to play; so if you can do come will depend on whether slight rock feel. some playing for somebody else in the Mark can fit it into his busy It's not something meantime, great! schedule. If I'm in the studio, I love being able When he came to promi- that I set out to do to hear my drums back, getting excited nence as a member of Big about a new idea and trying it, trying a Country in 1982, Mark was deliberately, but different sound and a different snare already becoming established drum.... On the other hand, a live gig is as a session player. It is, howev- because of this I for the moment. You play what you play, er, important for his sense of always end up and it goes out into space. Recording is identity that he is also a mem- documenting a certain time. It's inter- ber of a regular band. When sounding like esting that you can buy the album six Big Country disbanded in 1989, months later and often find that it Mark picked up on a close rela- myself. That's sounds different to the way you thought tionship with the Townshend it would. I also sometimes get the family, and helped form the what's important chance to go out live with the act, which band Huge Big Thing, which to me." is very nice—being able to get both centers around the songwriting, sides of it. When I'm on a tour, I get used to playing live. I get used to the monitors, and the punch in the back from the bass drum. I don't particularly enjoy playing the drums acoustically; it's too one-dimensional. It doesn't excite me the way it does when I can feel the power of being miked up, with the sound reverberating around the place I'm playing in. When I get back into the studio, I have to get used to the sound just in the cans; it's so controlled and "un-live" sounding. When I'm touring I also find that I develop the endurance that you need for playing live. I found with Big Country that after a week of touring I was exhausted, but after a month I was fine. I could go on and on. SG: Considering that you might record drum parts in a week, and then the album takes a further six months to complete, doesn't it ever happen that the music evolves and a change of drum part is required? MB: Yes, it happens. It happened with the latest Big Country album. Some bands like to go in and "routine" the material. This means that you go through it all so that you know all the parts and you know exactly how things the disadvantages is that you can commit myself. Not being too familiar are going to fit together. This has its remove the spontaneity. I don't usually is a very exciting way to play; you can advantages and disadvantages. One of want to sit there and bash it all out and create your own dynamics. It's almost playing on the edge. I'm not talking about not knowing the structure of the Brzezicki's (Huge) Big Beat song, but I prefer not to commit myself Here are the records Mark lists as most representative of his drumming. to hitting a particular tom at a particu- Album Title Artist Label/Catalog# lar point in the song. The Crossing Big Country Mercury 812870 With the new Big Country album, we Peace In Our Time Big Country Reprise 25787 spent two weeks routining: going White City Atco 90473 through the material again and again, Under A Raging Moon Atlantic 81269 working out with the producer exactly Love The Cult Sire 25359 what would be right. Eventually we Midge Ure Chrysalis 21649 recorded a number that was a potential Radio Music Cola Nik Kershaw * single, but as it developed I suggested The Prodigal Stranger Zoo 11011 that we ought to change it. Big Country And here are the albums Mark listens to most for inspiration. tends to play in a particular rhythmic Album Title Artist Drummer Label/Catalog# form that comes from the way people Unorthodox Behaviour Blue Plate CAROL-1387 strum guitars. That guitar strum usual- Richard Bailey Epic 33409 ly influences the drum feel, because it Brother To Brother Gino Vannelli Mark Craney A&M 75021-3170 is already there as a rhythmic element Thrust Herbie Hancock Mike Clark Columbia 32965 that is dominating the song. I thought any Steely Dan that this particular number should be Guitar Shop Jeff Beck Terry Bozzio Epic 44313 slowed down and given more of a any the Police Stewart Copeland Captain's Journey Lee Ritenour Harvey Mason Elektra TC5-136 groove, to make it more "single-y" and Robbie Robertson Robbie Robertson Manu Katche Geffen 24160 commercial. Everybody else approved, saying, "Great, we've broken out of our * unavailable at press time mold." So we redid it. I played a slightly weird dance rhythm on it, and we were all pleased. But when the record com- pany heard it, they told us to redo it again! I had to go back to the original style, and suddenly I had my hands tied. I think that you've got to take a chance sometimes, otherwise music gets stale. People get a formula that seems to work, and they are reluctant to break away from it. Music comes in certain styles, and those styles remain set until someone has the imagination to break out of them. Then if that catches on, the whole industry will fol- low that style, until something else comes along. In the '70s there was that "pea soup" drumming with the gaffer's-tape drumheads on cardboard- sounding toms. Everyone did it because it was successful. People who are in the position to call the shots want to play safe, and they get you to do the same thing. Then when you get something new like the open drum sound, they all want that. There's as much fashion in recorded drum sounds as there is in anything else. SG: A recording engineer told me at the time that they had to have dead- sounding toms, because it was the only way they could mix them and not have overtones producing harmonics with other sounds. MB: That's not true. It wasn't that they had to have that drum sound, it was just the only thing they were used to working with! It's amazing how many engineers these days don't know how to record a drumkit. They are so used to the instantly big, stereo-ed, press-but- ton, computerized drum sound that they get from machines that they can't feel comfortable with a real kit. It hasn't got the bottom end on the bass drum that a machine has, it hasn't got the fat- even an orchestra—and sitting at the SG: Does the public know the differ- ness of the snare. They need to work to foundation there's this drum machine ence, and does it care? achieve this with a kit, and that worries ticking away with no groove. Because MB: I think the public is at the mercy them. the engineer is able to press the but- of what we give them. If we give them I'm always worried about things tons, get a sound, and get into an area great music, do they care? If we give sounding too good straight away. Drum he was never able to before, he gives it them crap, do they care? Is it a human machines are a convenient short cut, to the "thumbs up." The big sound they drummer, or a machine? Perhaps they the extent that people have been able to can get with it makes them feel satis- don't know. But they do know when it get away with murder. They make a fied. But when it gets onto the radio gets downright monotonous and every- master of everything else and a demo of and the public hears it, it's just a weedy thing sounds the same. How often do the rhythm side. They can have a pol- machine ticking along with no feel, and you hear people talking about "the state ished backing track, polished vocals, no excitement. of the charts"? It's because of the peo- ple who sign up the bands. They look for the Simon Townshend Band, as it now I find that sometimes the phone for bands who all sound the same. was known then. I went into the audi- never rings; and then sometimes it Therefore the bands will look for the tion last, so that I could stay outside never stops ringing. I suppose the sounds that will make them sound the and listen to them playing. It really answer is that you have to be of a cer- same. It's all about playing safe; then excited me; they were similar to tain standard so that people are going you get the stagnation that keeps hap- Genesis or early Yes, and here was a to want to book you, and you have to pening. It's happening from the foun- chance to work with great musicians make yourself available. I've always dations upwards, and drum machines and to contribute. I had always listened wanted to be good at whatever I do, so I have had a lot to do with it. The excite- to other people's records and copied don't do too many things; I don't want ment of real bands with their own them. This seemed like a chance to to spread myself too thin. Drumming rhythmic character is missing. You can make my own records and maybe have has always been my number-one pas- try to deceive yourself and other people other people copy them. sion. It's a hobby as well as a profes- by thinking that as long as you have SG: How did you break into sessions in sion. Therefore I've always taken it plenty of stuff going on over the top, it's the first place? seriously and done it to the best of my okay. But for me it isn't; it just festers MB: People ask me how to get ses- ability. underneath. You can bury your rubbish, sions, and I wish I knew! [laughs] Even The sessions started for me when a but sooner or later it's going to start stinking. The other sad thing is that there are so many good drummers around who just don't get the chance. There are Mark's Kit fewer job opportunities these days. The skill of actually playing drums isn't used as much as it used to be. In time there won't be so many people doing it and it won't be handed on to new peo- ple. It'll be a dying trade, like ship- building. So much instrumental skill is suffering in this way. Who needs musi- cians when one person can do the lot on a keyboard? But for me it's not real music. It's like a building on a Hollywood film set; as long as the front looks okay, it doesn't matter if there's nothing behind it. But quality stands the test of time. If you want to be remembered as a classic band, you have to be a band, not just a bunch of ses- sion musicians, and you have to have Drumset: Pearl MLX Cymbals: Zildjian your own sound. (or Custom Z series in slightly deeper sizes) 1. 13" Quick Beat hi-hats SG: Did you start at a professional level A. 8 x 14 Custom Classic maple snare 2. 10" splash as a session musician, or as member of B. 6 1/2 x 14 Free Floating brass snare 3. 16" (or 18") A thin crash a band? C. 12 x 14 tom 4. 6" splash MB: I really got into the business by D. Quarter toms (6" diameter, in lengths 5. 8" splash doing sessions. I was doing TV jingles of 12", 15", 18", and 21") 6. 20" K heavy ride and working with various songwriters E. 8 x 8 tom 7. 19" A thin crash in different studios. I was doing pubs F. 10 x 10 tom 8. 13" Z Dyno Beat hi-hats and clubs in the evening so that I could G. 10 x 12 tom (fixed or remote) 9. 20" China Boy low spread out a bit more and learn to play H. 12 x 14 tom anything that came along. I reached a I. 16 x 16 floor tom J. 16 x 20 gong drum Heads: Remo coated Emperor on snare stage where I was able to play most K. 16 x 22 bass drum batter, Ambassador on bottom, styles and copy most people, but I felt Pinstripes on tom and bass drum that my own input was missing. I want- Hardware: All Pearl, including a Pearl batters, clear Ambassadors on bottoms ed to be in a band where I could say, rack "Hang on, I'd like the rhythm to be Sticks: Zildjian Super 58 this." I answered an ad in Melody Maker local songwriter asked me to play pad for me to get some of the better was supporting the Skids, which drums on a demo he was doing at a stu- session calls. When the 12" singles got included . After the dio in Hammersmith [West London]. It played on the radio, people heard my Skids broke up, their manager, lan was owned by Steve Hall, who now has drumming and liked the style I was Grant, was looking to put another band Hallmark Studios. He liked the way I playing. So from doing jingles and together using the songwriting of played when I was 16, and he got me demos for bands who were looking for Stuart and . By one of playing on some of his songs. I didn't deals, suddenly I was doing things for those coincidences, lan saw Tony and charge much, I wasn't any hassle, I people who had deals and wanted me me doing a live gig with Pete could make his drums sound good, I on their records. I don't really know Townshend—it was for a "Right To would bring my own cymbals—which why, but I hope it's because they liked Work" march in Brockwell Park in sounded better than his—and he liked what they were hearing. London—and asked who the bass play- what he heard. Then he started offer- SG: Was Big Country established er and drummer were. When we met, it ing me other things, which I accepted before you joined? turned out that we already knew his even though they didn't pay much. You MB: No. , who was to singer/songwriter. There was a lot of can't start demanding this and that become the bass player in Big Country, record company interest, and Tony and when you're not established. I met had been playing with Simon I were very excited by the demos. Tony more people and started doing sessions Townshend since he was about 11 years was extremely keen to go with Big for them, and it just grew. Another important factor is attitude. You must be open-minded and get on with people. You can get somebody who is a great musician, but who wouldn't be seen dead playing country & west- ern, hates jazz, and will only play thrash metal. He might be a brilliant player, but he wonders why he never works. It's because of his narrow-minded approach. SG: What you say is obviously quite true. But how do you strike a balance between being open-minded and being single-minded enough to develop a dis- tinctive style of your own, which you have done with Big Country? MB: I'm fortunate in that I like all sorts of music. I particularly like the things in which the drums "shine." They shine in jazz and fusion, but they also shine in rock. I love ' jazzy approach to rock, and is just outrageous! I listen to all styles of music, but particularly to old. I came into that band in the later Country, and we decided that we the really good players in that style. I stages, and while I was there we went should do it together as a rhythm sec- like to absorb the different approaches from being a five-piece playing tion. We split very amicably with Simon. to different styles, but I try to keep my Genesis-style music to a three-piece He was going in a different direction own identity. Being in a band is very similar to the Clash or . It was a with his songwriting at the time, and helpful from that point of view. In Big drastic style change that happened due we seemed to have come to the end of Country I became known for this to the punk scene having a big influ- the line with that particular line-up. almost military sound: a big, thumping, ence on Simon's writing. By this time But I've stayed friends with him over rolling style. People would book me Tony and I were doing sessions togeth- the years, working with him as a solo wanting that. But I'd go along to the er, including one of Pete Townshend's artist. session and it wouldn't be Big Country, solo albums, . Other than SG: How did your sort of "funky mili- so I wouldn't play as if it was Big with Pete, we didn't do any major ses- tary" style of drumming with Big Country. I can't just play that way when sions, but we were working quite Country happen? the music doesn't demand it! steadily. MB: Big Country's music was very Big Country and my early work with Simon's three-piece band was called Celtic and anthemic, and it stirred me Pete Townshend was a huge launching On The Air, and the first tour we did to approach it in a slightly military way. amburger and black exercise album. That was the best beans—two ingredi- experience I had had back then. It ents that make Miami was so different, really fresh. It was Sound Machine cook. 50% pop music and 50% Cuban Drummer Robert music." Rodriguez and per- Padilla's participation early on Hcussionist Rafael helped establish the sound of the Padilla describe their music. "The 2 and 4 is something roles in the music thusly, Robert you don't use in Latin music," he supplying the American element of elaborates. "The bass lines that Joe hamburger, and Rafael injecting the used were probably 20% Latin, and music with the spice of the Cuban the rest was more along the lines of beans. It's the perfect marriage for the drums. My part was to put as the fusion of elements the music much Cuban influence in the per- demands. Rodriguez and Padilla cussion as I could without taking it actually attribute this fusion to for- away from pop. It was not the typical mer Miami Sound Machine producer music you might dance to in the Joe Galdo. streets of Cuba in the carnivals. I had "Joe called me one time to do an to get as much as I could of that exercise album," Padilla recalls. "It street conga and insert it into what was very interesting—pop music Joe did, this 2 and 4 backbeat. with 2 and 4 snare, but with a Cuban "There are parts of the song influence mixed in. The name of the 'Gonga' where Gloria says, 'You've album was going to be Salsasize. We got to listen to the beat,' when they finished it, but the person who was exit the drums, and I'm by myself. In supposed to come up with the money those bars is where I really go back to didn't show up, so Joe kept the tapes. the traditional conga. When the When Emilio Estefan, Gloria's hus- drums come back in, I have to take band, hired Joe to program drums for some of that out to get the feel of the a supermarket jingle [as well as for conga, but not make it 100% tradi- Miami Sound Machine's first Epic tional. Otherwise it just isn't going to Records release, Eyes Of Innocence], work. But that is the magical thing Joe played this for Emilio. Because of about the Sound Machine's sound. that first album, Emilio asked Galdo Also, Joe used a Cuban piano player, to coproduce Primitive Love. Paquito Hechevarria, who was a big "We went into the studio for the part of the sound. Paquito played like Miami Sound Machine album with he was in Cuba in the 1950s—really the same team of people who did that traditionally. He was a big part of it."

By Robyn Flans Rafael was born in Havana, Cuba, and started on the drums at age five. Well, sort of the drums. "In Cuba, you can't find a drumset," he explains, "so I would thing I knew about play with my mom's frying pan and make my own percussion instruments was what 1 drumset. My first drumset wasn't until we went heard in Cuba in the neighborhood I used to live to in 1970. I was nine. It was hard because in. There used to be a lot of black people who I didn't have a kick drum. I was playing the kick were mostly playing a lot of Santeria parties. and the snare parts with one hand. I taught Santeria is an Afro-Cuban religion that uses a lot myself by playing with records and the radio. I of African drums [in its ceremonial music]. I was mainly into rock back then; Elton John was used to sneak in and watch the people play." hot in Spain." Rafael's father supplied him with congas and But it wasn't until the Padillas moved to timbales, which Rafael would practice with in his Miami, as Rafael hit age 14, that he began to pick room, once again, playing to records. He never up different percussion instruments. "The only had a lesson. "When people ask me to teach

Photos By Jack White PREPARING FOR AN MSM TOUR

Ask Robert and Rafael about the two months of pre-tour rehearsals, and the first thing they mention is Cuban food. Sitting in an L.A. hotel room with the two men, who affectionate- ly call each other "Malanga" (slang translation: buddy; literal translation: starchy potato), we proceeded to talk about the food, the music, and preparing for a tour with Miami Sound Machine. Robert: We have Cuban food every day for lunch. It's very fat- tening and rich. Sometimes we'll hear a keyboard player who doesn't really have it, doesn't really groove. We'll say, "Maybe we should give him a shot of black beans." Rafael: That's definitely part of the rehearsals, [laughs] Musically, the first thing we do before a tour is all the sampling. Robert has his Octapad, so we sample the sounds they use on the album. You don't want to go out on tour and use different them, I say, 'I don't want to steal your money.' You can take sounds, because then it sounds too different from the album. drum lessons, but percussion lessons? Impossible. I can teach Robert: We rehearse three weeks before Gloria comes in. She you, for example, the basics of Cuban music on the conga, and rehearses with us for a couple of weeks, and then we go to a yes, if you want to play in a salsa band, fine. But for any other full-stage production. music, it won't help. You've just got to play whatever you feel. RF: When there's a new album out and there is material you didn't do last tour, how do you get together and work out your You have to tune your instruments according to the songs and parts? Give me a taste of the interaction between the two of you the concept. It's mainly by heart. Percussion has to do with with a specific song. feel. You have to pick whatever instrument you think is going Rafael: Most of the songs we try to do as close as we can to the to go with the song." original. There is a song called "Live For Loving You" that we Rafael's first gig was with a Miami rock band, but his sec- changed completely from the album. I didn't play that song in ond, at 16, was with salsa keyboardist Luis Santi. For the three the studio; they programmed all the percussion. When I played years he worked with Santi, Rafael learned a lot about Cuban it live, it just didn't sound right. roots. "At 16 I was really happy to be playing with this guy, but Robert: That's one of those songs that just doesn't translate at after a few years went by, it was too limiting [to play only all. Rafael: For that one, I just started to come out with a different salsa.] I wanted to do more creative things. Once you've rhythm than what they had on the album—same concept, but a learned the salsa pattern, that's it. Playing percussion for different rhythm. other types of music will give you more creativity to pick up Robert: Since he set that pattern up, I just had to complement other instruments, and you don't have to follow that path. For that, which is simply playing the bass drum on all fours, hi-hat, example, if you are playing with Anita Baker, you can come out and pretty much no snare; just keeping the four on the floor and with five or six conga patterns that can go with a song. It's a keeping it simple. I was trying to play the original groove on the matter of opinion and a matter of taste, but you can do many record, which is 2 and 4, but it just didn't happen. So I ended up things with that song. But with salsa, there is really only one playing a little bit like a calypso thing. RF: Rafael set the tone for that song. Did you talk about it? way." Rafael: We don't talk about anything. It wasn't long after his gig with Santi that Padilla hooked up Robert: When something doesn't feel good, he tells me because with a band whose leader had a studio and booked session he's been here longer, and I don't want to get in the way of the work. It was great experience for what was to follow when he percussion. met up with Galdo and Miami Sound Machine. RF: You must have worked the opening out together, where the Padilla cites Primitive Love and Let It Loose, done with two of you play a drum duet. How did that come about? Galdo as coproducer, as his most creative album work. Aside Rafael: It was one of those nights that I was pretty bored on the from "Conga" on Primitive Love, Padilla recalls particularly road. I got my drum machine and started working with it. I had enjoying "Surrender Paradise." "That rhythm is called "afro," the pattern a long time before Robert entered into it. I came out which is a very old rhythm from Cuba. I played that on the with this pattern of drums and percussion, and three months later, Robert had to do something for one of the drum compa- congas. The bass and the congas are playing mainly the same nies... thing through the whole song, really old-fashioned rhythm. Robert: ...so I started playing with some African keyboard Then I was playing a lot of toys." grooves, and I said to Rafael, "I need you to come in and help Of course the big hit from Let It Loose, "Rhythm Is Gonna me with this." He listened to it and said, "I have a pattern that Get You," was great fun to record. "I spent the whole day with might work with this." We have the same drum machine, so that particular song. I did about 16 percussion tracks, and it Rafael dumped his patterns into my machine, and my part was very creative. I used a lot of different types of instru- worked great against his. Then we got Randy, the Sound ments—the whole kitchen," he laughs. "I used a Brazilian Machine trumpet player who also plays keyboards, to help us instrument called a surdo, a shekere, cowbells, congas, out with the whole arrangement We went into the studio, called a guitar player, and that was it. RF: How did this piece end up becoming the opening piece of the show? Rafael: Actually, they came to us for an opening and we said, "Why don't we play them the thing we worked out?" And Gloria liked it. Robert: It's called "Merewotimeo." It's an African word. RF: On the opening, are you guys playing to tape? Rafael: Robert is playing live on the opening. I programmed a lot of percussion; it's like a tribe, so I can't do that by myself. We have that same track that I programmed sequenced, so I'm playing different parts live around that pattern. Robert: I wear earphones. In a production like this, where every- body is so spread apart, it helps me to keep time that way. In my headphones, I have him and the click track. That's my time- keeper. That's where the groove is, three people—me, Rafael, and the click track. claves—you name it. They're the same instruments I take to RF: So you play to the click on a lot of the show? the studio all the time, but usually I don't get to play them all Robert: Oh, yeah. The bass player is so far away and the key- in one song. I tried to create a different rhythm, but if you ask boards are so spread out that it can get really bad. The time ref- me what kind of rhythm I played in that song, I have no idea. I erence gets strange. played a combination of things. I just created a pattern that RF: Can we talk about each one of your roles? Who is following felt good with the track, and that's mainly what percussion is." whom, or does it vary from song to song? Live, Rafael often has to make practical choices. On Rafael: It depends on the song. Ninety percent of the show, I "Rhythm Is Gonna Get You," for example, he has to play along follow Robert. But the opening has so much percussion going on that he follows me. "Live For Loving You" is kind of the same. to a sequencer, since there are so many percussion parts. "And RF: Robert, do you count off the songs? on 'Remember Me' from Into The Light," he explains, "I'm Robert: Yes. I get a reference from my click track and count it playing shaker and bata drums on the recording, but I just do off. I need that reference because the horn players are over the conga live. I can play the bata rhythm on a cowbell with my there and the guitar player is running around the stage. I'm way foot at the same time as the conga. Then there's a part when I up there and he's way down there. play triangle, so when I do that part live, I think the triangle is RF: So define for me, each separately, what your roles in the going to be better than the conga, so I'll stop playing the band are. Robert, timekeeper? conga to play the triangle. The conga pattern should stay Robert: Yes, it's always been that. Everything always comes there, but I can't do both live. I try to find the main part that's back to the drummer. Time is my job. Everybody has to listen to me. going to carry the song, and play that part." RF: Rafael, do you ever need to be keeping the time so he can About three years ago, Rafael moved to Los Angeles to get fill? more into recording, since when the band is not touring or Rafael: There are songs like "Remember Me," where in the first recording, there just isn't much work for him in Miami. few bars he'll be doing colors on the cymbals and I'm the one During time off recently, he worked on albums by Whitney keeping time on the congas, setting up the groove. Then he Houston, Aretha Franklin, Elton John, Go West, and Martika, comes in and he is the one holding the time and I'm adding col- and even went on a three-month tour with Paula Abdul. Padilla ors. smiles when asked about the experience. Robert: Rafael always talks about a pocket. There are players "The band was good, but we had a lot of stuff in think the drummer is the only one who is supposed to keep the time. When you have a rhythm section, everyone has their . I think it's just too perfect. I think it's fun when own time feel, and you have to find that pocket. A lot of players you play with live musicians where the time is live and you can think since you're the drummer, only you keep time. I say at move around a little bit. I don't mind playing with times, "I'm not going to keep time for you. We're going to keep sequences—when I go into the studio, it's very often drum time together." machine—but I never played live with a band where they used RF: Robert, as the timekeeper, would you say you're more so many sequences. And when something goes wrong with involved in the pop aspect of the music? How Latin is this for a that computer, which happened a few times, it's like, 'Okay, drummer? here we go. Somebody step on the cable and unplug the Robert: We get Latin. We get songo and timba mona—that is Synclavier.'" an intense groove. Timba is a groove that has mona. We cook, [laughs] This is Cuban talk. Getting back to the drums and Miami Sound Machine, Rafael: We have a few songs during the show where we do that, Rafael thinks before answering what it is he needs from a but yes, on most of the songs he's the one who plays the drummer. "I like space and simplicity, no overplaying at all. pop/rock, and I'm the one who takes it to the other side, [point- Robert and I work together great. What I mainly like about ing to Robert] Hamburger, [pointing to himself] black beans. drummers is when they have a great feel, that great pocket. Not too many drummers can do that. You find a lot of drum- If Memphis never contributed another note to American pop music, its name would, nonetheless, still be forever enshrined in rock 'n' roll history. But these days Memphis is on the verge of becoming, once again, a major contributor to pop music. It was in Memphis, at the Sun Recording '80s the Memphis Sound went flat. time before the rest of the country finds Studio on Union Avenue, where in 1954 a Presley's death in 1977 at Graceland, his this out." young set the rock 'n' roll Memphis home, sent the city reeling. Where there is music, there are drum- machine in motion. With Sam Phillips at Stax/Volt closed shop. Even Beale Street, mers. And in Memphis you'll bump into the control board, Presley mixed his coun- Memphis's internationally known row of any number of them at Robert Hall's try and blues roots and created a sound blues bars where B.B. King and other Memphis Drum Shop. Located on that revolutionized not only pop music, but Delta bluesmen cut their performing teeth, Madison Avenue, just across the street pop culture. fell victim to urban blight and neglect. In from Ardent, the Drum Shop is a sort of In the '60s Memphis became known as short, Memphis, not too long ago, was a clearing-house/headquarters for the city's the home of Stax/Volt, the record compa- city in musical decay. drummers. Check in with Bill Frazier ny responsible for the decade's most No one knows for certain how Memphis behind the counter, and you'll get the lat- explosive soul sound. Thanks to singers managed to turn off of the path of doom est gossip on who's touring with whom, such as the great Otis Redding, Wilson and gloom and on to one leading to sunny who's recording and where, and who's hot Pickett, Arthur Conley, Eddie Floyd, Sam & pastures. Yet within the past two years, no and who's not. Dave, and Rufus and Carlo Thomas, as less than three of the city's best rock Wanting to find out more about the well as musicians like guitarist Steve bands—Human Radio, the Eric Gales "new" Memphis music scene and the Cropper, bass player Donald "Duck" Band, and Roxy Blue—have signed major young drummers who are supplying its Dunn, and legendary drummer Al recording contracts. Ardent, the city's top fast pulse, I spent some time at the Drum Jackson, Jr., the Memphis Stax/Volt sound recording studio and the place where Shop during a recent trip to Memphis. made an indelible mark on the '60s pop Stevie Ray Vaughan, Steve Earle, and ZZ Within a few hours, I made connections to music scene, and provided the perfect Top have made records, is booked solid. interview four of the city's hottest young alternative to the more slick Motown A&R reps from major labels and indies players: Steve Ebbe, John Patterson, Sound emanating out of Detroit. make regular trips to Memphis in search Hubert Crawford, and Scotty T. Here's Like all great American music cities, of new talent. "There is an excitement in what they had to say about their city, their Memphis has seen its share of ups and this here town that hasn't been here in a bands, and themselves.... downs. The '50s and '60s were times of long time," says one local. "Memphis is Text And Photos By Robert Santelli triumph for the city, but in the '70s and happening, man, and it's just a matter of Steve Ebbe There aren't a whole lot of bands pre- Talk about the latest generation of Memphis rock drummers, and tending to be doing Steve Ebbe's name almost always pops up first. Schooled at something here. nearby Memphis State University, and currently the beat-keep- Also, there's not er for the band Human Radio, Ebbe is a drummer's drummer. really a whole lot "Everybody around here respects him, because he knows his to conform to instrument," says Bill Frazier. "He can explain things to other down here. In drummers and tell them what they're doing right and what L.A., how many they're doing wrong. He kind of leads the way." bands do you see Human Radio released its self-titled debut album on CBS in in clubs that 1990. Currently, Ebbe and the band are working on a follow-up have hair down album. to their waist RS: You know the Memphis music scene as well as anyone and are waiting these days. There have been three or four bands that have got- to get their pic- ten major record deals within the past year or so. Is the scene as tures in BAM healthy as it seems? magazine or SE: I think so. Things are happening here. What Memphis L.A. Weekly? really has going for it is that the poser factor is really low here. You don't

continued on page 96 time over at the Ardent studio, which we used to make a demo. John Patterson Then we put out a cassette and sold about a thousand of them. Ardent was pretty impressed with how the cassette sold, so they John Patterson's band, Tora Tora, was the first of the "new" gave us a spec deal. They didn't manage us; they simply Memphis rock bands to receive a major recording contract. The shopped the tape. They got us our record deal with A&M. group signed with A&M Records in 1988. Its debut album, RS: For those who haven't heard Tora Tora, how would you Surprise Attack, released the following year, proved that not all describe the band's sound? Memphis music was rooted in rockabilly or soul. Tora Tora's JP: It's rock 'n' roll with a heavy blues influence. We listen a lot sound is hard rock, and Patterson's drum style is a long way to Led Zeppelin, , and Bad Company, but we don't from Ebbe's more cultivated approach. But Patterson gets results imitate them. We just use them as inspiration. just the same. "I feed off of emotion," he says. "My emotion, the RS: I know Tora Tora opened for Bonham and the Cult at one band's emotion, the song's emotion." point. Were there any other bands that you toured with? RS: Did you grow up in Memphis? JP: L.A. Guns and Dangerous Toys. We did some shows in JP: Pretty much. I moved to Memphis from Jackson, Mississippi which we were headliners, but not many. In fact, we when I was eight years old. haven't played or been on the road as much as RS: When was Tora Tora formed? most other bands on our level. JP: About four years ago, just when the scene RS: Why's that? here in Memphis was really starting to hap- JP: Our theory has always been pen. We used to have this radio station in that if you play too much, espe- town, Rock 98, which would have this thing cially around town, people are called the "Memphis Music Hour." They'd going to get sick of you. We keep play music by local bands. That's how Tora our gigs to a minimum because Tora got started. We'd make demos, send of that. them to the radio station, and hope they'd RS: You recorded your debut get played on the air. One of the DJs at the album at Ardent. station, Malcolm Ryker, was the one who JP: And our second album, too, really started getting record companies though it's not out yet. We like the interested in Memphis bands. He did a lot idea of staying in Memphis to for the scene. He'd call up a record com- make records. pany and say, "Hey, there's this great RS: Why's that? band in town that you just have to come JP: There's a good feel to this town. and check out." Eventually the labels did We're right at the northern tip of the start coming around. [Mississippi] Delta, so there's a lot RS: Being from Memphis means being of blues in Memphis, and we enjoy part of a pretty substantial rock 'n' roll that. It just feeds us with song ideas. heritage. Rock 'n' roll was practically RS: A lot of the musicians I've talked born in the Sun Recording Studio on Union Ave. Do you with here in Memphis, especially find that people expect you to live up to that heritage ? drummers, went to Memphis State JP: It's weird, you know. Everybody thinks we drive tractors or and played in the university's marching band. Do you have that something down here. We'll play up North and people get really same background? shocked that a band like Tora Tora comes from Memphis. We JP: I just enrolled at Memphis State, but I did it too late, so I find that more people outside of Memphis think we ought to didn't get the music courses I was hoping for. I started at sound more country. I don't know why that's true, except for the Memphis State when I first got out of high school, but I wasn't fact that an awful lot of people confuse Memphis with Nashville. ready for it. I fooled around too much and didn't last very long. A lot of them are really quite surprised when we get in their face But now I'm more serious about school. and rock 'n' roll. RS: How can you go to college and meet your commitments to RS: Where does Tora Tora's hard rock sound come from? Tora Tora? What happens when you tour? JP: Well, me and our guitar player, Keith [Douglas], were play- JP: I plan to take courses when we're not touring. When it's ing in this left-field heavy metal band. It was a dead-end kind of time to go on the road, the band is my number-one priority. I'm thing, though. Eventually the band just sort of died. We then on the 15-year plan at Memphis State. [laughs] began playing with our bass player, Patrick [Francis], who in RS: Are you a self-taught drummer? turn introduced us to our lead singer, Anthony Corder. This was JP: Yeah, for the most part. And, I'll tell you, it's definitely in 1987. We started writing our own songs, and doing, I guess, something I regret, because along the way I picked up a lot of what all young bands do—you know, play parties, rehearse a lot, bad habits. I grew up just listening to rock 'n' roll, which means hope that someone thinks you're pretty good. Anyway, a year I'm pretty limited as to what I play and how I think when I get later we entered a battle of the bands contest and won it. There behind a kit. That's why I've taken lessons from Steve Ebbe of were 75 bands entered. That won us $1,000 and some recording Human Radio. He's helped me broaden my view of drumming. Hubert Crawford

One of the most exciting of the new Memphis bands is the Eric HC: When Eric was 12 years old, if you can believe that. We Gales Band, and one of the most exciting of the new breed of didn't really get serious about the band until he was 14. He's Memphis drummers is Hubert Crawford. When I met up with still in high school, but, man, he can play. I think you heard that Crawford and the band, they were in the midst of recording their today. self-titled debut album for Elektra Records at Ardent. Crawford RS: Is the kind of blues-rock that the Eric Gales Band plays stole some time to take me on a tour of Beale Street and tell me representative of what other Memphis bands are playing these his views on the prospects of his band and the Memphis music days? scene. HC: Not really. You hear a lot of metal in Memphis clubs. We're RS: The Eric Gales Band was part of a recent spate of band more the exception than the rule. I bet a lot of the bands that signings by major labels. Explain to me how the record deal play the clubs aren't familiar with Grand Funk Railroad, and I'm became a reality. a big fan of that band. Eugene is a big fan of Hendrix and Wes HC: Well, we did a bunch of showcases for a number of record Montgomery. We didn't connect with the Bon Jovi sound that companies, including Atlantic, A&M, and Elektra. We had a lot everybody else was interested in. We went with the inspirations of interest. We chose Elektra because we thought Atlantic was that we believed in. just too big. We wanted a company that didn't have so many RS: The Memphis scene is a lot hotter than I anticipated it to artists on their roster. We signed the contract the middle of last be. Am I overstating the case, or is the scene really that good year and began the record this past winter. these days? RS: How would you describe the band's sound? HC: I can say this: The scene hasn't been hotter since the '60s. HC: It's blues-rock. If you think along the lines of Jimi I've been around for a while, and before me, my dad played gui- Hendrix, Cream, Eric Clapton, and Grand Funk Railroad, that's tar and was involved with the Stax organization. He played with where we are. the early Bar-Kays before they teamed up with Otis Redding. In RS: The leader of the band, guitarist Eric Gales, seems so fact, before the Eric Gales Band was formed, I played with the young. How old is he ? Bar-Kays. That was in 1986. HC: He's just 16 years old. He's amazing. Don't judge him by But back to your question, even though I was just a kid, I his age, though. He plays a lot older than he is. And the rest of remember the days when Carla and Rufus Thomas, Isaac the band is older than that. I'm 32, and our bass player, Eugene Hayes, Albert King, and the other Stax artists were making all Gales, is 33. Eugene and I were in high school together. Eric those great records. I remember seeing Steve Cropper at my used to hang around when we played. house. My dad knew Al Jackson real well. Now that guy, I don't RS: When did the band begin? think a drum machine could top him. He was an incredible Scotty T

The way Scotty T tells it, Roxy Blue is going to be the big ST: Geffen got interested in us because of a tape that fell into Memphis band everyone in the city has been waiting for years to their hands. At the time, I wasn't in the band. Geffen really liked materialize. "I'm not boasting, I'm just telling the truth," he says, Roxy Blue, but thought the band needed a different drummer. At half joking. "We're a Memphis hard rock band, and we're proud the time I was playing with Jimmy Jamison's new rendition of of it." Survivor. I was doing some recording with the band for Scotti The day I interviewed Scotty, we drove over to Graceland to Brothers as well as playing drums for a Memphis band that was pay tribute to the King. "I must have been here a million times, showcasing the same night Geffen came to hear Roxy Blue. and each time I go, I get the chills thinking about who lived When I was asked to join Roxy Blue, man, I jumped at the offer. It here," continues Scotty. "To be able to accomplish just a fraction all happened so quick. of what he accomplished would make me a very happy person." RS: Was Roxy Blue a popular Memphis band at the time it was Roxy Blue's debut album will be released shortly on Geffen offered its record deal? Records. When Scotty and I spoke, the band was finalizing the ST: Oh yeah, it was the most noted of all the local hard rock tunes that they hope will make Roxy Blue a household name in bands. I'd been banging around Memphis for the last ten or Memphis—and beyond. twelve years looking for a band like Roxy Blue. This band is like a RS: There seems to be quite a Roxy Blue buzz around dream come true for me. It's gonna put Memphis back on the Memphis these days. rock 'n' roll map again. ST: Yeah, well, we're hopin' the buzz goes nationwide in a few RS: A lot of musicians I've talked to here are particularly excited months. about the possibility of Memphis becoming a rock 'n' roll capital RS: How did your record deal with Geffen materialize? in the very near future. drummer. But, you see, when Stax went out of HC: Well, I'm a groove play- the picture, Memphis got real quiet. Sun had er. But I play very hard. I try already faded out. Things were quiet for a long to get the same type of inten- time. sity that I heard Brewer get RS: So when did the scene heat up? on all those Grand Funk HC: I'd say in 1988 or so, when Tora Tora got records. But unlike Brewer, I signed. From that point on, things opened up. have a double bass set. People in the music business started to pay RS: Playing in a trio often attention to Memphis. It seemed like we were requires the drummer in the ready to get placed back on the map. band to fill out a lot of space. Is RS: Coming from a musical family, I pre- that the case for you in the Eric sume you began playing drums at an early Gales Band? age. HC: I think the best way to say HC: I was about four years old when I start- it is that there isn't any empty ed. I heard a lot of music in my house when space in our music. Whether it's I was growing up—jazz, soul, rhythm & Eric or Eugene or myself, we take blues, rock, blues—you name it. I always care of business. We get a full thought Al Jackson was great, but I think sound, and I do what I have to do the drummer that had the most effect on on the drums to make that happen. me was Don Brewer from Grand Funk RS: You were born in Memphis. Railroad. I never got the chance to see Growing up in the shadow of Elvis, Grand Funk in concert, but I saw the band on tele- Sun, and Stax must have had an vision once. My dad and I watched their performance. I couldn't impact on your view of music and believe the way Brewer played. I thought he had two bass perhaps the drums, too. drums—you know, a huge set. As it turned out he had one bass HC: Oh, sure. You don't think about it until someone from out drum, a couple of floors, one tom, three cymbals, and a hi-hat. of town—somebody like yourself—comes to visit and starts talk- He just amazed me to no end. He put his groove in the pocket ing about all the great music history that's here in Memphis. and let it go, man. He's definitely one of my favorite drummers, That always gets me thinking. I feel privileged to have grown up even to this day. here and felt the presence of so much great music. It can't help RS: Would you say that you play like Brewer? Have you incorpo- but affect me or any other musician who lives here. rated much of his style into your own?

ST: Well, that's because Memphis is very hot and compete with just six or seven other bands." This won't right now. Scenes get hot when other scenes are last, though. Once the word gets cooling off. Nashville is cooling off. I think LA. out that Memphis bands are and New York are getting a little bit stale. So being signed, more and more now industry people are looking to cities like bands will move here, and the Memphis for new sounds and new bands. Not competition will get stiffer. only is Memphis producing its own bands, but RS: How much of the old lately, a lot of bands from other parts of the Memphis music legacy is part of country are coming here and settling. this new fascination with the city's I think the word is that it's fairly easy to get music scene? a record company's attention if you're from ST: It's there, you know. Who isn't Memphis. Bands are showcasing all the time an Elvis fan? I mean, Roxy Blue here for A&R people. Roxy Blue happened so plays hard rock, something like quickly because the scene is happening so you'd expect to hear from a band quickly. Look at Tora Tora and Human like, say, Skid Row. But still there's Radio. These bands came together, and this loyalty to Elvis in what we play. boom, they got record deals. It's a pretty Musicians who live here drive by Sun amazing thing. Memphis musicians are and Graceland every day. How could saying to themselves, "Shoot, why pick up you not be touched by all the history? and go to LA. or New York and compete Rock 'n' roll was born in Memphis. with nine million other bands, when in You don't forget that too easily when Memphis, you can be the top of the heap you live in this town. By Rick Van Horn I'm 20 years younger than Vic most successful drumstick com- got into business without any Firth, and I wouldn't try to keep panies. From what began as a intention of doing so. As he up with him on a bet. In order to few sticks made by hand as a relates, "Back in the early '60s, a appreciate what I mean, you have favor for some students, Vic couple of my students expressed to picture several different indi- Firth, Inc. now boasts sales in their dissatisfaction with the viduals. First, there is the con- over 50 countries around the drumsticks that were available at summate classical musician who world, and a substantial follow- the time. I talked with them performs as principal timpanist ing of major endorsers. about what they wanted, and with the Symphony Why would a classical tim- went home and actually whittled Orchestra—to say nothing of panist get into the drumstick and sanded a few pairs by hand. I guest appearances with orches- business? Well, it happens that did the same thing with timpani tras all over the world. There is Vic didn't start his musical sticks, creating them for some also the respected faculty mem- career as a timpanist. He got his friends of mine. I had no idea ber at the New England professional start as a big-band that anything would ever come Conservatory of Music, who also drummer, touring the country from those sticks; I made them counts some of the world's top on band buses. However, a fortu- just to accommodate the needs drummers and percussionists itous chain of events turned him of those individuals who had among his past and current pri- toward classical music, and he asked for them. But they showed vate students. Then there is the ultimately determined to make them to their friends, and soon I "New England Gentleman," who that his career. But in the mean- was making more sticks for divides his at-home time (what time, he never let go of his love other people—still all by hand. there is of it) between for, and his abilities on, the At some point it got to where I and Maine, and drumset. As both a player and a was making quite a few sticks at enjoys fishing, boating, art col- teacher, he came to appreciate a time, so I decided to at least lecting, and playing host to stu- the subtleties of drumstick put my name on them. So we dents, artists, and percussion design, and how individual started putting the name on with industry personalities. drummers required drumsticks a wood-burning set! We just put Along with all of this, Vic Firth tailored to their individual needs. 'Vic Firth'; we didn't have any also finds time to oversee the As was the case with several of logo or anything. operations of one of the world's his industry contemporaries, Vic Boards from put them together with rubber bands, the sawmill because I believed that drummers should are turned always be able to roll each pair for into dowels straightness and check them for match- for drumstick ing weights. One thing we didn't do was construction. give them model names. Knowing abso- lutely nothing about salesmanship at the time, I couldn't understand that nobody could tell that a given model was an SD1 just by looking at it. I finally got a rubber stamp and an ink pad, and stamped each stick by hand after the name was burned on. I say this with amusement and amazement at how primitive we actually were. Two genera- "All the work was done in the basement tions of Firths of my home in Dover, Massachusetts, on direct the a couple of ping-pong tables cut in half. company: By this point we had somebody machine- Kelly and Vic. turning the sticks. But our volume was still miniscule: We'd have a couple hun- "By 1963 I realized that I was dred pair done all at once, and the guy inadvertently getting involved wouldn't hear from us again for a couple in a business. But there were of months!" several years of just dilly-dally- Vic Firth, Inc. has been a family opera- ing around like that before tion since the very beginning. As Vic drumshops started picking up explains, "My wife, Olga, has always been on the fact that there were guys a part of it. She did the bookkeeping in coming through playing Vic the beginning, and was very much a part Firth drumsticks—and started of everything. My two daughters, Kelly inquiring as to where and how and Tracy, were my first 'employees.'" they got them. It was '65 or '66 Kelly Firth, who today administers the before we started sending front office and oversees all company them out to shops. operations in Vic's absence, describes Raw dowels are rolled and checked for flaws "At the beginning, we just how she helped out in the early days: before they ever reach the lathes.

Vic and Bill Keoskie discuss drumstick production, surrounded by the lathes that accomplish it.

(Right) Sticks are lacquered in a rotating tub, in a process called "Japanning."

(Far Right) These are just a few of the hundreds of silk screens required for both production and custom stick labels. "I've always worked in some way in the Eventually, the demand for Vic's sticks have much personal contact with business, since I was old enough to put grew beyond the capability of his base- them—or I might have known them as rubber bands around the first drum- ment operation. So he contracted with former students. But I never really made sticks. When we used to work at the various jobbers to produce his sticks for any commercial overtures to them. One house, we'd pair the drumsticks on the him. As business continued to improve, day, one of the people working for me basement floor, and Vic would give us so even that proved impractical, and so 12 said, "Everybody else has artists endors- many pennies per pair that we put years ago Vic became primary partner in ing their sticks; why don't you?" So I together. At the end of the week we'd get the operation of Kingfield Wood thought about it, and decided that it a dollar and a half or so! But when you Products, in central Maine. "I'd been would be a good idea. My first endorser were six or seven, that was okay. doing business with Kingfield since was . You might as well start "We used to hand-write the model about 1965," says Vic. "But Bill Keoskie at the top! number and the price on the bags of tim- [Kingfield General Manager] and I went "As we got more and more involved in pani sticks with a black felt marker. I into the joint venture about 1979, giving the business, and my daughters got think back on that and wonder what the me control over the whole operation. involved, I began to think, "Hey, this shopkeepers must have thought to see "Even though I had been totally could be serious. Maybe now I should this funny little squiggly handwriting on immersed in the activity, we didn't get take it seriously." I had to realize that the bags." down-to-earth serious about the business things had developed past my own Following their graduation from col- until that time. Prior to that we did no involvement, and that I had other people lege, both Kelly and Tracy Firth came to advertising, no promotion—there was no who were dependent upon it. Now I sud- work at the company. "Neither of them marketing involved. And that was proba- denly felt an obligation to keep things majored in anything to do with the busi- bly due to lack of expertise in how to do afloat. So we do, and we're happy and ness," says Vic, "but in this day and age, it." doing reasonably well at it. We're lucky to the people with smarts get the jobs and So how did Vic set about getting that be one of those bread-and-butter acces- learn their skills as they go, and that's expertise? "Trial and error," he says. "I sories that do well through thick and what they did. And though neither of never wanted to run before we could thin; we're not a high-ticket item." them play drums, if you start talking to walk, so I proceeded to walk for a long "Keeping things afloat" is rather an Kelly about weights, measures, and mod- time. I've had a busy life, musically, any- understatement for the production and els, she'll surprise you with what she way. It isn't as if I had all day, every day, to distribution of Vic Firth products. knows. Tracy left a short time ago to work sit around and consider what I wanted to According to Bill Keoskie, the Kingfield with an organization that raises money to do next. I thought about it for a couple plant is constantly running at maximum support a school for the deaf in Boston. I hours a day, then did it, and then went off capacity. As Bill puts it, "We have seven was sorry to see her go, but she's tremen- to do something else. One example is machines running eight hours a day and dously happy doing what she's doing, and endorsers. Of course, a lot of guys had three machines running another night that's the most important thing." been playing the sticks, but I really didn't shift of eight hours. We also do outside

Each stick is carefully labeled with a Any given production run will feature There is no mechanical substitute for hand- model designation and the Vic Firth logo. sticks of many different shades. These rolling to determine stick straightness. will be sorted to create matched pairs.

Drum Workshop Products

5000A Accelerator Pedal Long ago, there was this terrific bass drum pedal. It was made by Camco, and it featured an offset-cam drive system that used a leather-strap linkage. This cam provided lots of leverage, making the pedal very fluid on the downstroke and quick on the return. The overall design was lightweight, and the pedal gained popularity with players who appreciated speed and portability in a pedal. Upon the demise of Camco, Drum Enter the new 5002A Accelerator. It's primary pedal. I particularly liked the Workshop, Inc. purchased the dies and so simple, one wonders why DW took fact that the primary pedal could be used tooling, and re-introduced the this long to introduce it. The pedal fea- alone or with the double-pedal system; pedal—adding a few improvements—as tures a chain-drive system, but puts the one wouldn't be required to buy a single the original DW 5000. One of the axle through the sprocket well off-cen- pedal and a separate slave unit as well. improvements was the replacement of ter—thus giving back the eccentric rota- And this whole system is smaller and the leather strap (which tended to tion (and additional leverage) that had much easier to pack than DW's 5002 break) with a nylon-web strap. Essential- been lost. In a nutshell, this pedal fea- Turbo, which requires an oversized base- ly, the action of the pedal remained the tures the best of both worlds. It's every plate to accommodate the totally sepa- same—wonderful. bit as quick and responsive as the strap- rate "slave" yoke. Ahh, but times got tough for our drive models of yore, yet it's as durable Other improvements to this new dou- pedal. Players started hitting their bass and powerful as any chain-drive model ble pedal include an axle that puts its drums harder and harder, and the nylon would be expected to be. Fitted with DW's twin universals at each end, at the points web straps started stretching. This familiar baseplate (that features a rubber where the axle connects to the two ped- aggravating feature led DW to introduce grip surface on its bottom side) and two- als. (Previously, the universals had been the most important design element in surface beater, this pedal is just about placed several inches up the shaft.) This bass drum pedal history: the chain-and- everything one could ask for in terms of provides for a very smooth action, with sprocket drive. (They don't claim to have power and responsiveness. It just feels no binding whatever. In fact, the left invented it; they just offered the first great to play! It's priced at $189. pedal could be used as a primary pedal; commercially successful model.) Rick Van Horn it felt that good. (Part of that I put down The chain-drive pedal solved the to the new Accelerator offset-cam drive.) strap-breaking or -stretching problem. 5002A Accelerator Double Pedal Overall, the playing action of the double But there was a trade-off. The sprocket This is a complete double-pedal sys- pedal was smoother and more responsive was a perfect circle, with the pedal's axle tem based on the 5000A described than any I've played. I was even able to going through the middle. Thus, the above. However, the primary pedal fea- accomplish more with a relaxed, heel- downstroke and the upstroke were exact- tures a new design for Drum Workshop. down playing style—which would reduce ly the same. This pedal gave plenty of Instead of a completely separate primary fatigue over the course of a night. power, but it didn't have the quickness pedal and a "slave unit" that mounts Other nice touches include drumkey- that had made its predecessor famous. alongside—as is the design of DW's operated bolts to adjust the connecting Many drummers who cherished that 5002 Turbo—the 5002A features a split axle spread. These are retained in their quickness went ahead and changed over axle and two beaters right on the primary sockets by a plastic liner, so they can't to the new pedal, but secretly longed for pedal. The axle that extends from the work loose and fall out in transit. I also both its strength and the quickness they left (slave) pedal connects to the left appreciated the complete Velcro-ed felt they'd lost. beater; the right beater is driven by the lower surface on the left pedal. On any carpeted surface, it was just locked tern that would be! But even in cymbal below). While this down. And finally, the primary beater its present configuration, the might prove most useful could be adjusted slightly to the right of DW 5002A Accelerator double for mounting a small center on its axle. This allowed me to pedal is the most responsive and splash above a ride, I "split the center" of the bass drum head most comfortable such system tried it with a variety of with both beaters, thus evening out the I've ever played. You should defi- crash combinations, and impact sound. nitely check it out. It lists at $439 found that if the upper I had only one minor complaint with for the complete two-pedal sys- cymbal was smaller than this system, and that was that it didn't tem. the lower by only 1", I clamp onto my Yamaha bass drum hoops. Chop Ostrander could comfortably posi- I've heard that this has been a problem for tion it so as to be able to several pedals due to the thickness of DW 909 Cymbal Stacker strike either without any those hoops, and it may even be that Here's an accessory that interference from the Yamaha has reduced their size since mine allows you to mount two cym- other. were made (in the mid-'80s). But you bals, one above the other, on the The Cymbal Stacker should be aware of the possibility if you same DW stand or boom, and is easily adjustable, and are a Yamaha player. still retain excellent positioning features drumkey-operat- I also wished that DW had fitted the left capability for both. The Cym- ed locks on the rotating pedal with a hoop clamp, beater, and bal Stacker combines two rotat- drums to make doubly spring of its own; that would allow me to ing drums with two steel shafts to give sure they stay put. It's a solid, use it as a separate beater for a left bass you almost universal positioning for the lightweight way to replace an entire cym- drum as well as in its double-pedal upper cymbal, including forward, back, bal stand or boom, and it lists for $95. "slave" capacity. What an economical sys- left, or right of the central shaft (and the Rick Van Horn

and tensions the snares, it is also claimed to resonate Rhythm Tech sympathetically with the bottom head, making the entire assembly "sing" Products with the snares for greater projection. Upon my testing, I by Rick Van Horn found that all of the above claims were pretty well born out. Snare sensitivity Active Snare System was excellent (I used a 5" You may have read Bill Miller's review of Solid Percussion maple a snare replacement device called snare), most noticeably directly over the snares were going to get to as "tight"- IMPAC in the November '90 MD. That snares. I did find a bit of a snare "ring" sounding as possible. Any more than that was a Canadian product, and the Rhythm when I played just to one side or the pulled the carrier up so tight that it Tech company, of Mamaroneck, New other of the drumhead. This wasn't nec- choked the bottom head dramatically. York, has licensed it for manufacture, essarily bad; it gave me two distinct qual- What it boils down to is that you need to added a few improvements and modifi- ities from the drum with the slightest re- agree with Rhythm Tech on what "opti- cations, and released it as their Active direction of my sticks. mum" snare tension is; you can't really Snare System. Simply put, its a pre-ten- The only problem I noted was that the change it. sioned set of wire snares mounted in an adjustability of snare tension was Considering that the carrier should aluminum "carrier," designed to retro-fit extremely sensitive. Obviously, tighten- protect the snare wires and thus extend to any snare drum using a single-sided ing the strainer didn't really tighten the their life indefinitely, and that the snare strainer. The object is to provide opti- snare wires; it just pulled the carrier up sound was as good or better than any I've mum snare response with less pressure against the bottom head a little more. As heard from less well-protected snare against the bottom head, and protect a result, a minimal amount of adjust- sets, I'd say the Rhythm Tech Active against choking due to over-tightening. ment (less than 1/4 of a turn) was enough Snare System would be a good invest- The "carrier" not only holds, protects, to go from as "loose"-sounding as the ment. It lists for $29.95. The Balance Beater The Balance bass Impact Bags And drum beater features a two-surface beater head and an adjustable Cymbal Pockets weight on the shaft. The object is to offer a beater that can deliver by Rick Van Horn either a powerful attack or deep, warm lows, Impact has been making quite a stir in with the additional the drum/cymbal bag market lately with capability of having its some innovative designs. I had the balance fine-tuned to opportunity to work with several of these any player's foot com- recently, and found them both well-con- fort. DST Drumset Tambourine structed and extremely useful. I liked the weight This is an item that's been around for adjustability. I tend to quite some time, but we've never had Double Pedal Bag prefer a heavy beater to occasion to really examine it. I'm happy I One of the aggravating aspects of a start with, and I've found that on some got the chance to rectify that omission, double bass drum pedal is that it's diffi- nights (when the band is driving and the because the DST is a terrific addition to cult to carry around. You have a primary excitement level [and volume] is up) I the sound spectrum of a drumset. pedal, a slave pedal, and a connecting axle want an even heavier attack. The Bal- Created of hard nylon/plastic in a cres- to deal with—a pretty bulky amount of ance beater head is heavy on its own, and cent-moon shape and fitted with a spe- stuff to add to one's trap case. Impact has the addition of the adjustable weight cial adapter for clamping to any sort of solved that problem by offering a 32"-long made it possible for me to adapt the 3/8" or smaller rod on the drumset, the square-sided bag designed specifically to beater (and pedal action) to these DST can really take a wallop. (After sev- carry double pedals. It's fitted with a changes in my style on a night-to-night eral weeks of whacking the thing, I removable hard-plastic insert that both basis. Other players may simply find that haven't even noticed a dent—the reinforces the center of the bag and a single position of the weight provides nylon/plastic appears to be harder than serves as a divider, creating separate sec- the most comfortable action, and choose wood drumsticks.) I tried mounting it on tions for each pedal. A pouch on the out- to leave it there. The nice thing about a couple of different cymbal stands, my side of the bag is designed to accommo- this system is that you have a choice. hi-hat pull rod, and a cowbell rod, and it date the axle. Virtually any double pedal I don't think that the two-surface beat- worked equally well on any of these. It (including the DW 5002 Turbo with its er head really offers as much of a differ- mounted securely, stayed put when hit, oversized base plate) will fit in the bag ence in sound as was intended. The hard and provided a nice alternative sound conveniently. (I've also been told that the side gave a walloping attack with lots of source for ride patterns. If you happen to bag works well for carrying two junior- high-end, but the "softer" urethane side be playing a lot of R&B dance music sized congas.) I've actually been carrying didn't really get as warm and deep as I (most of which features drum my double pedal and my drum stool in would have liked. I would suggest either machines), you may have noticed that the same bag (without the insert). I use going to a felt surface, or an even softer many of the tunes feature tambourine- several different drumsets, but always rubber-like material. But this is a ques- like sounds instead of hi-hat rides. If want the same pedals and stool. By simply tion of personal taste. you're looking for authentic reproduction grabbing this one bag, I know I always The shaft of the Balance beater is of those sounds, here's your instrument. have what I need. Very handy, indeed. hardened steel and is molded right into The DST is available in a variety of the head, so the beater should be quite colors, with nickel jingles, at $33. Models durable. For those who like to experi- featuring brass jingles are available for ment with sound and feel from their $37. A special adaptor clamp is also avail- bass drum pedals, this is a nifty device. able; contact Rhythm Tech at 511 Center It's available at $26.95. Ave., Mamaroneck, NY 10543 for further information. Offered in either the Signature series tion against scratching due to cymbals (rip-stop Tolex) at $116, or Impact II rubbing together, and so might be well series (polypropylene) at $88, the bags worth whatever adaptations you might are well-padded and feature soft-grip need to make to permit their use. They handles and reinforced zippers. I've been list at $28 per set, in either version. using the Signature model, and even after a lot of handling, it looks as good as new—a testament to its durability.

Deluxe Cymbal Bag

The second version of the Cymbal Pockets is a set of separate discs with Aside from being a well-constructed reinforced holes in their centers. These bag, Impact's Deluxe cymbal bag has a are intended for use in hard-shell cases nifty additional feature. A separate zip- with center posts. pered compartment on the outside of the The Cymbal Pockets do add a bit of main bag is designed for hi-hat cymbals thickness to the overall stack of cymbals, (and anything smaller). This compart- and so might make your bag a bit bulkier ment is centered on the bag, so it helps than you're used to. They also might prevent the bulkiness that occurs when reduce the capacity of a hard-shell case smaller cymbals slip to the bottom of the slightly. But they provide excellent protec- bag and their bells aren't centered over those of the larger cymbals. The other side of the bag features a large, rectangular pouch for sticks or small accessories. A reinforced zipper and shoulder strap complete the design. This is just a very well-made, well- thought-out bag design. It's available in the Impact II and Signature series (I test- ed the Impact II), at $64 and $75 list, respectively.

Cymbal Pockets For drummers who desire extra pro- tection for their cymbals, whether in a bag or a hard case, Impact has created Cymbal Pockets. These are slightly padded fabric discs designed to be insert- ed between cymbals while they are being transported. The discs vary in size to help contain cymbals of various sizes. Two models are available: The first is a group of the discs connected at their bot- toms by a small cord. This model is designed to be inserted in a cymbal bag. Most drummers would want to keep the discs connected, but the cord may easily be cut and the discs separated if they should not.

Ronnie Zito From Big Band To Broadway

by Stephan Nigohosian

Jazz veteran Ronnie Zito's personality mirrors his drumming style: earthy, colorful, and, most of all, genuine. His deep, con- fident tone is marked with an occasional pause when he intent- ly contemplates his next response. His dark brown hair and eyes, neatly trimmed beard, and solid 5'll" frame lend him a rugged "outdoorsman" appearance. Make no mistake, though. His place is behind the drumkit, where he strives to improve his performance with each passing day. Chances are, although you may not be familiar with his name, you probably have heard his work. His twenty-plus years in the music business have included performances with such heavyweights as Bobby Darin, Woody Herman, and Peggy Lee, lessons for a year and a half at fourteen. At eighteen he fur- as well as countless TV and radio commercials. Whether the thered his education by joining a showband, where he honed music calls for a lightning-fast samba pattern or the soft his somewhat "limited" chart-reading skills. "Aside from what finesse of a brush stroke, Zito has the technique and experi- I learned in high school," Ronnie says, "I didn't really know ence to execute it tastefully. Those qualities helped Ronnie much about reading big band charts and such because, unlike secure his current gig in the hit Broadway production Grand today, there weren't programs and schools where you could Hotel. learn that." Previous work commitments in the New York area initially Yet the bandleader was so fond of Ronnie's playing that he prevented Zito from accepting the job in Boston. However, decided to teach him to read by going over the charts before when the production moved to , Peter Matz, the each show. Soon Zito realized that the music he had to perform show's orchestrator (who was familiar with Zito's work), in new shows was similar to the material he had played the requested Ronnie for the job. week earlier. "I was learning how to play by doing it every The many different styles of music found in Grand Hotel week," he says. After a year and a half, he performed one night require Ronnie to perform orchestral arrangements along with with a singer who would change his future. His name was traditional jazz, bolero, and tango numbers and odd rhythms Bobby Darin. on the drumset. "It's a lot of independence between feet and "One night in Syracuse, New York, during the time of his big hands," Ronnie explains, "and it's interesting to play." The two hit 'Mack The Knife,' Bobby came in with just a conductor," hours of performing without any intermission also improved Ronnie recalls. Darin was so impressed with Zito's drumming his endurance, and he has enough stamina to manage playing that he asked him to join his entourage after the performance. eight shows per week. "I watched singers come in and perform with their own drum- Although performing the same music eight shows each week mers, and I thought that gig was so cool—just playing for would cause many drummers to grow tired of the gig, Zito them," he says, smiling broadly. varies the stickings and written patterns within the context of During his four years of performing with Darin, Ronnie was the music to keep his playing fresh. This breathes new life and enthralled by Bobby's "pop" style of music: "As much as I meaning back into the repertoire, sparking the orchestra's loved to play jazz," he says, "there was something about pop enthusiasm. music I always liked playing. I really got a kick out of it because As a veteran live performer, Zito considers interaction with it was a certain sound," he explains. the audience extremely vital to his playing. "I get a kick out of Both Darin and Zito participated in creating drum parts, a seeing the people's reaction to the show," he says, smiling with relationship that Ronnie looks back upon fondly. "Bobby would delight—the audience's excitement definitely is Ronnie's most ask me to play certain ways on certain things, and then I would cherished reward for performing live. embellish them with my own ideas. He'd always tell me if he Zito began playing the drums at age ten, and took formal liked or disliked what I played," he recalls. This rapport also instilled a sense of professionalism in Zito that is still apparent music that Zito appreciated and learned from. Today, Ronnie's today. "Part of being a professional musician," he says, "is to be respect and admiration for the late bandleader is still apparent: able to channel criticism in a positive way without taking it per- "He was a great bandleader because he really made you relax sonally. If an artist doesn't like what you played, you have to and not worry about charts. He wanted to capture spontaneity." look into your own musicianship and try to see if you can Beginning in 1969, Zito became extremely active with com- please that person and yourself." mercial and studio work in New York City, playing on countless Playing as often as possible keeps Ronnie's chops in order radio and television advertisements. He also recorded with and uncovers new possibilities. "It excites me to stumble onto such famous entertainers as Cher, and was one of the busiest something interesting while playing," he says, "and I'll explore studio players in the business. But all of this ended when that new realm to see what develops." As a result, he has a music and production houses began purchasing drum ready reserve of drum parts at his disposal. machines in the . After leaving Bobby Darin in 1961, Thereafter, Zito, along with many other Ronnie played for the queen of smolder- studio drummers, found considerably less ing vocals, Peggy Lee. Lee made a prac- work. As he recalls these trying times, the tice of hiring the most competent jazz "If an artist usual smile on his face vanishes. "Before musicians to complement her vocal style. drum machines, we used to record demos for "If you had a certain feel, you got the doesn't like commercials and then get called for the job," Ronnie explains. "If she felt good final," he explains. "But when machines came singing while you were playing, that was what you out, arrangers started using them for the enough for her." He describes Lee as demos—and for the finals, too." being more concerned with how he played, you In an attempt to stay one step ahead of the played than with what he played. "She situation, Zito purchased a drum machine liked good taste—especially good dynam- have to look and began learning how to operate it. Howev- ics, which is important when playing for a er, punching buttons on a machine paled in singer. Sometimes I just knew to play into your own comparison to his true passion of sitting brushes on a tune by the way she sang," behind the drums and feeling the music flow he recalls. musicianship through him as he played. "I'm still trying to After leaving Lee's band, Zito worked sit down at the drums and play the best I pos- with singer/songwriter Paul Anka in Las and try to see sibly can," he says. "There is still so much to Vegas for a while. In 1965, the opportuni- learn." Still, Ronnie does believe that ty any drummer would have given his if you can machines can be used as an invaluable prac- eyeteeth for arose: the chance to join the tice tool. Woody Herman Band. "Leo Ball, a trum- please that Probably one of the most commercially suc- pet player in Anka's band, told me if I cessful periods of Zito's career was during his didn't take the job, I'd regret it for the person and studio sessions with singer/songwriter Barry rest of my life," Ronnie recalls. So Ronnie Manilow. Ronnie performed on the albums took a leave of absence from Anka's band yourself." This One's For You and Even Now, as well as in order to substitute in Woody's band for on the hit single "Copacabana." During these a month until a permanent drummer was sessions, Manilow would try to capture the found. But Herman soon requested that energy and excitement of Zito's live drum- he stay and take the job himself. Ronnie ming in rather unusual ways. "For 'Copaca- wound up staying almost two years, play- bana,' Barry would stand at the piano and do a ing on four albums, including such Her- dance, and tell me to picture the mood—the man gems as My Kind Of Broadway and attitude—of the Copa, with the dancing The Jazz Swinger. girls." Zito laughs as he illustrates Manilow's Herman, who praised Zito for "doing a great job for the lighthearted dance by wildly flailing his arms about. "Will Lee band" in the January 1987 issue of Modern Drummer, intro- was playing bass, and together we tried a few things. We had duced him to his unique method of not running through the the tune within ten or fifteen minutes, and they started record- charts before a show. "On my first night with the band, I want- ing it." ed to go over the music with Woody," Zito chuckles, "because I Oddly, even with his impressive credentials and experience, was used to playing for acts and things. But Woody said 'Nooo! Zito is not widely known to much of the drumming public. He I'll just count off the band, and you come in swingin'!"' attributes his low profile to the anonymity of studio work. "A lot Herman's approach added a dimension of spontaneity to the of records in the 1970s did not credit the studio players," Zito says. But this doesn't seem to bother him too much; Ronnie After a brief pause, he laughs and adds, "I still do! And Philly seems more concerned with having played his best on the Joe—his solos are the most creative drumming I have ever albums than having his name displayed on them. With Zito, the heard. They still don't sound dated to me." music, not the recognition, is clearly the main priority. Ronnie also admires some of the younger players, like Dave Yet, probably the most important explanation for Zito's Weckl. "He's a brilliant fusion player, and the sound he gets anonymity involves his dedication to family life. Although he and his playing ideas are brilliant. He really has great technical was offered many opportunities that would have made him ability." more visible, he opted not to accept them so that he would be However, there is one drummer in particular who still fills able to be with his wife, Patricia, and their three children. Zito with inspiration and reverence: Buddy Rich. "Buddy's However, he still satisfied his love for live performing by play- playing goes beyond whether or not you like his style. He was ing local jazz gigs. As a result, he was able to enjoy the best of such a creative genius that we're all still trying to figure out both worlds, a deci- what he was doing." sion he still stands Today, in addition to working on Grand Hotel, Zito is still behind today. active in the studio, including doing jingles and television Zito credits many shows. He is also a three-time recipient of the National Acade- of the jazz greats, my of Recording Arts and Sciences award for his notable con- like Art Blakey and tributions to the recording industry. Philly Joe Jones, What is the secret to Ronnie's longevity in the music busi- with giving him the ness? "I've just been trying to play the best I can. I play better inspiration and now than I ever did, but you can never be good enough!" he desire to play. "I laughs. "When you're a musician, you never feel like you're used to want to play done, because drumming is a never-ending learning process." like Art," he admits.

Neil Peart: "Where's My Thing?"

Transcribed by Jeff Wald

This month Rock Charts focuses on an instrumental tune off the new Rush record, Roll The Bones (Atlantic 82293). On "Where's My Thing?" you'll see some classic Peart traits, like his ride cymbal patterns and tasty double bass work. You can also hear him using a left-hand floor tom on some of the fills, and there are a few of those "round-house" fills Neil likes to play as well. The band has a real "go for it" attitude on this one. Check it out.

RECORDINGS Bailar; The Day After; In The Clear; : sx The River; Thru A Window; ELVIN JONES: dr Children's Song CHARNETT MOFFETT: bs Promises Kept; Who Does She Hope To Be?; Little Rock; As We Used To Sing; Many Mansions; Once Upon A Time.

Vazquez knows how to pick 'em, and how to play 'em. The result this time is a very upbeat Latin jazz collection that really grooves. There's This is Elvin Jones' most almost an hour's worth of explosive recording in many material here from the drum- years, calling to mind his work mer, who mixes east and west with John Coltrane. That's not ROBERT HOHNER This is a very well-balanced coast players. It's melodic jazz, surprising, though, consider- PERCUSSION ENSEMBLE program, running the gamut far warmer and spontaneous ing the fact that Sonny Different Strokes from primitive jungle sounds than, say, your typical Rip- Sharrock cites Coltrane as DMP 485 to the industrial quality of pingtons tracks. being his main influence, and ROBERT HOHNER: cond. Cage's "Third Construction," Good soloists push things that Pharoah Sanders—who JAMES ARMSTRONG, CARLA BECKER, from Keiko Abe's marimba along, help get the rhythm sec- was part of Coltrane's band DOUGLAS CORELLA, JAMES COVIAK, quintet arrangement of a tion fired up, and give the ear toward the end of 'Trane's ANDREW DUNHAM, JOAN HILL, ERIKA Milhaud piano piece to a ricky- distinct voices to focus on. life—is also on this disc. And JACOBS, JON JOHNSON, SETH KILBOURN, ticky Harry Bruer rag; and Guitarist O'Neill keeps a several of the tunes have defi- JASON LEWIS, SUSAN LINDAMOOD, BRAD from exotic steel drums to a rhythmic metal crunch hap- nite Coltrane overtones. So LOWMAN, JAMES MCCLOUTH, DAVID bombastic tribute to John pening, and Tavaglione shows who better to occupy the drum RADTKE, DAVID STEFFANS, SCOTT Bonham. Hohner and company real depth in his sax work. throne than Elvin? VERNON, DAVID ZERBE: perc. bring out the sensitivity of per- They also bring out some of Jones rekindles the old fires Ku-Ka-llimoku; The Songlines; Third cussion as well as the power. the drummer's best playing. on these six tracks, from his Construction; Scaramouche; Wildlife; • Rick Mattingly His tasty soloing at the end of hissing brushes on "Who Does Powder Puff; Bonham "Bones Of The Dead" is part She Hope To Be?" to the thun- Very little percussion ROLAND VAZQUEZ David Garibaldi, part Harvey derstorm of drums and cym- ensemble music has made its No Separate Love Mason. Vazquez may not be bals on "Many Mansions." way to disc, tape, or vinyl, and RVCD7001 the most adventurous skins- Saying that he's overplaying what is available is often on ROLAND VAZQUEZ: dr man, but his parts do embel- would be missing the point. such obscure labels that it can ANTHONY JACKSON: bs lish and drive, and they're right This is pure sound and inten- be almost impossible to Luis CONTE, FRANK MALABE, JOE in the pocket. It should also be sity. Drumming such as this acquire. So it is good news that DELEON, PAUL GUERGUERIAN: perc noted that Vazquez composed only works if the other players DMP has chosen to release DAVE WITHAM, MARK SOSKIN, VIRGINIA and produced all the selections are equally strong, which this recording by Robert PERRY LAMB: kybd here, resulting in a unified Sharrock, Sanders, and Moffett Hohner and his student MlKE O'NEILL: gtr feeling from start to finish. definitely are. ensemble. The fact that DMP WALT FOWLER: tpt • Robin Tolleson • Rick Mattingly produces audiophile-quality STEVE TAVAGLIONE, WALT WEISKOPF, products is another thing to be ALBERT WING: sx FAMOUDOU DON MOVE thankful for, given the sonic No Separate Love; No Rest For The Ask The Ages Jam For Your Life requirements of the average Bones Of The Dead; Turn Back The Axiom 422-848 957-2 AECO 007 percussion group. Dark; In The Space Between; Teresa; SONNY SHARROCK: gtr FAMOUDOU DON MOYE: dr, perc ARI BROWN: sp, tn, and al sx Luba Raashiek work well, Listen carefully to "Traffic beauty through most of the LUBA RAASHIEK: vcl especially a terrific, swinging Along The Rail": The sections brilliant playing we've come to THOMAS PALMER, ROLLO RADFORD: bs version of Wayne Shorter's flow together effortlessly, and expect from Di Meola. One of KEN PRINCE: pno "Black Nile." Bobby's playing in the first the invigorating qualities in KEWU: congas From ancient to future, pri- section perfectly shows how is listening to SONNY COVINGTON, BILL BRIMFIELD: trp mal to complex, Moye's music the less-is-more philosophy the five musicians interact; JOEL BRANDON: whistler retains a positive, on-the-spot works. their musicianship never gets LT. BEAUCHAMP: harmonica urgency with all the right In this age of rehashing the in the way of the composi- SELA ALLEN: weja roots grit intact. past and "fuzak," Weather tions. ENOCH WILLIAMSON: talking dr, vcl • Jeff Potter Clear, Track Fast is a refresh- Turkish percussionist Arto SURA RAMSES: bs tamb, vcl ing alternative. Tuncboyaci and Puerto Rican/ Two City Suite; Solomon/Jam For BOBBY PREVITE • David Larson Cuban congero Gumbi Ortiz Your Life; One For Skip; Black Nile; Weather Clear, Track Fast demonstrate that what mat- Kamsar; Richard's Tune; My Enja R2 79667 AL Dl MEOLA ters is not the negotiations of Romance; Miles Mode BOBBY PREVITE: dr World Sinfonia stylistic rhythmic constraints, DON BYRON: clar, bar sx Tomato-Mesa/Bluemoon R2 79750 but the ability to interact and MARTY EHRLICH: clar, bs clar, al sx, fl : gtr dig deep from an emotional ANTHONY DAVIS: pno : bandoneon level, taking the music to soar- ROBIN EUBANKS: trbn ARTO TUNCBOYACI: perc, vcl ing heights. Whatever type of ANTHONY Cox: bs GUMBI ORTIZ: perc feel they interject into the GRAHAM HAYNES: cornet CHRIS CARRINGTON: gtr music, from bright-tempoed Quinella; Weather Clear, Track Fast; Perpetual Emotions; Orient Blue; Middle Eastern flurries to Traffic Along The Rail; 3/4 Pole; Tango Suite Parts 1 and 2; Falling Latin-laden deep grooves, Backstretch; Photo Finish; Weather Grace; Last Tango For Astor; No these two percussionists take Cloudy, Track Slow Mystery; Lustrine; Little Cathedral; nothing for granted, interpret- La Cathedral ing the music with special Best known for his sponta- flair. neous kit work and pan-ethnic World Sinfonia stands as a percussion as a member of the perfect example of Al Di Art Ensemble of Chicago, Meola at the peak of his Moye has now released his power, unleashing incredible own diverse solo disc. The harmonies and rhythms every- Ensemble's motto, "Great where. Welcome back! black music; ancient to the • Carlos Tabakof future," applies here as well. The opening track features a UNCLE FESTIVE surprising blend of wailing Bobby Previte's latest The Paper And The Dog blues harmonica, talking recording, Weather Clear, World Sinfonia marks a new Bluemoon R2 79169 drums, African percussion, Track Fast, is his best yet. The plateau in the illustrious Bud HARNER:dr and a wide selection of folk- title tune is a refreshing career of talented guitarist Al BRAD DUTZ: perc loric flutes and whistles, straight-ahead romp; in fact, Di Meola. After releasing RON PEDLEY: keys including the singular human there is a great spirit in the three heavily Brazilian-influ- JOHN PONDEL: gtr instrument of "master whist- compositions and playing enced albums in the mid '80s, MARC LEVINE: bs ler" Joel Brandon. "Kasmar," throughout the album. Di Meola has shifted his muse The Paper And The Dog; The Road a playful duet with Brandon, Eubanks on trombone and to another musically fertile To Kent; Jessica; Boy King; Fantastic showcases Moye's overdubbed Davis on piano particularly ground: Argentina. Then; The Super; Green Village; African percussion crowned embody and provide much of Prominently featured Sunday Thoughts; All Rise; Up And by balafon and talking drum. that energy. throughout World Sinfonia are Down (And Speedin' All Over); Not Moye shines on kit also, Bobby's writing and playing the luscious timbres and syn- For Nothin' (live) driving a quintet, stretching always have a great sense of copations produced by the With their fifth album (and out, and peaking on a flaring space to them, and Weather bandoneon, a concertina-like fifth ) the mem- extended solo intro to Clear is no exception. The instrument superbly played bers of Uncle Festive have dis- "Richard's Tune." Three ver- sound is never too busy or here by Argentinean Dino covered how to work together, sions of vocal standards fea- cluttered, and the tone is Saluzzi. The music moves instead of just as four powerful turing the deep, rich voice of beautiful and grooves solid. with serpentine fluidity and soloists. With more sharing of New York NY 10011 a duet between the two Smiths. BOOKS Price: $44.95 ea; $79.95 for both. They've each got plenty of HISTORY OF THE LUDWIG DCI is once again offering chops, and technical challenges DRUM COMPANY highlights from the Buddy Rich are thrown back and forth by Paul William Schmidt Memorial Scholarship concert, throughout. But they were real- Centerstream Publishing this one held April 8, 1991 at ly listening and responding to P.O. Box 5450 the Ritz in New York. As each other, making the perfor- Fullerton CA 92635 before, the various artists per- mance a conversation, not a Distributed by Hal Leonard form with the Buddy Rich Big battle. Price: $29.95 Band. Tape Four opens with two Anyone who has ever enjoyed solos and collaboration among Tape Three opens with Neil tunes from , who thumbing through drum cata- the composers, the band Peart, who would seem an seems to feel that the band is logs will be delighted by this emerges as a cross between the unlikely candidate for such an there just as a background for 171-page scrapbook of the pop leanings of the Elektric event. But Peart approached his solos and fills. Living history of the Ludwig Drum Band and the jazz sophistica- the project with the attitude Colour's William Calhoun is Company. The "history" part tion of the Yellowjackets. That that it was up to him to adapt next, performing "No Exit." of the book comes largely from they do this and remain dis- to Rich's style, rather than try Given the rock influence of the a pamphlet Ludwig used to tinctive says much about the to impose his type of playing on chart, Calhoun is in fairly safe publish called "My Life At The group's integrity. the big band. So he performed territory, and his playing is Drums" by William F. Ludwig, Drummer Bud Harner lays on a four-piece kit and con- pretty much what you would Sr., and the author's personal aside the electronic samples fined himself to a straightfor- expect from him. interviews with William F. this time to concentrate on ward reading of the chart to After a 1939 clip of Rich per- Ludwig, Jr., much of which solid timekeeping on acoustic "One O'Clock Jump," with no forming with Artie Shaw, the once appeared in Modern drumset. Particularly notable is drum solo and very few fills. winner of the Rich Scholarship Drummer. As interesting as the title track, where he keeps After Peart's one tune (he is brought out. His name is that material is, the most fasci- the groove on a Zawinul-esque performs again on Tape Four; Larry Wright, and he is often nating part of the book is the song with a strong backbeat on more on that later), Marvin seen around the streets of wealth of pages reproduced 2 and a restrained shuffle the "Smitty" Smith plays three Manhattan performing on plas- from old Ludwig catalogs and rest of the time. When he plays tunes. Of all the performers, tic buckets. He proceeds to do copies of The Ludwig Drum- a fill, he throws in triplets ele- Smitty has the most genuine just that, evoking the spirit of mer. gantly balanced below the jazz credentials, and he seems Buddy Rich better than the There are also patent docu- dynamic highs of the soloist. very comfortable in the big name artists. Like Rich, this ments in History... detailing Special guest Brad Dutz adds band setting. His playing is kid is a natural. There is no several Ludwig inventions— color and spice throughout the modern and rhythmically explanation for the amount of some classic, some forgotten. ten studio tracks, including a inventive, and obviously built music he makes with a couple The artists who have played timbale solo on a cover of the on tradition. of sticks on a plastic pail. Ludwig over the years are rep- Allman Brothers' "Jessica" and One of the best features After Buddy's daughter resented, too: some through mutitracked layers on "Green about this series of videos is Cathy performs "Them There ads and bios, others through Village." Brad's a veteran of all that clips of Buddy Rich are Eyes," backed by the band with written reminiscences about five Uncle Festive albums, and included. This one features a her husband, Steve Arnold, on their favorite drums. on The Paper And The Dog he drum solo from late in his drums, Neil Peart closes out You can spend hours reading and Harner leave plenty of career, showing that he never the concert with two more Rich this book, or you can flip space for egos at the door. lost his amazing touch or sense charts. This time he takes a through the pages at random, Adam Ward Seligman of humor. For all of the chops solo, which is notable for its pausing at different items that heard on these tapes, no one melodic structure. From a catch your eye. One of my VIDEO has yet matched Rich's finesse. purely technical standpoint, favorites was the "Synco- BUDDY RICH MEMORIAL The Buddy clip is followed Peart is the most restrained on Jazzstick," said to produce a SCHOLARSHIP CONCERT by Steve Smith, who has more this tape, and those looking for hundred different effects and Tape Three: Neil Peart, Marvin jazz in his background than sheer technique might be dis- to be a necessity in every "Smitty" Smith, Steve Smith people might be aware of. His appointed by his performance. drummer's kit. They don't Time: 73 Minutes three tunes range from funky But for my money, he's the only make products like that any- Tape Four: Omar Hakim, Will to straight-ahead, and his solos drummer on Tape Four who more, and sadly, we may never Calhoun, Neil Peart are especially powerful. He also came there to play with the again see a family-run drum Time: 60 Minutes seems comfortable in the big band. business like the one portrayed DCI Music Video band setting. • Rick Mattingly in this affectionate remem- 541 Avenue of the Americas The climax of Tape Three is brance. Rick Mattingly

Choosing The Correct Job

by Michael Blair

Some readers might look at this heading and think, "What? It's Let's say you want to develop your own style of playing and be hard enough to find any job!" But I'm quite serious about the recognized for that. Spending years on the hotel circuit is proba- ramifications (musical, emotional, and financial) of knowing bly not going to help. Of course there are always exceptions. where to put yourself. Record company executives and rock stars do stay in hotels. But Of course we all know there are monetary and psychological playing the Sheraton lounge waiting for Chuck D or Mick Jagger temptations that muddy the waters of decision, as well as prag- to make you famous may prove disappointing. matic putting-food-on-the-table considerations. But music, at its Again, in the spirit of this article heading, more power to you if highest and purest manifestation, is an expression of the self. A you make a good living working in bars and hotels. I love hearing player's personality has a chance to be heard and acknowledged great players in those establishments. It's fun to hear live music through making sounds. This should never be taken for granted. up close. And, to some, playing any music on a regular basis is In one sense, work is work. Any job is worth taking a look at better than not playing at all. It's important to remember that we (even for people who end sentences with prepositions). But there are all different. That is what makes music interesting. are as many ways to solve the work/money problem as there are But getting back to finding your own voice on an instrument: people. You must make your own way and keep close tabs on why We must create our own market in this world. No one points a you are doing what you are doing. gun to our heads and says, "You must be different, you must If you want to make tons of money quickly, have your pick of sound like no other!" But for many of us, a little voice does nudge the cutest temporary mates, and walk around in hip clubs with us along that path. So we must be convincing enough in our the correctly ripped jeans and leather, good luck. The odds are vision and expertise to win people over. If we can help people you will only be a legend in your own mind. Becoming an expand their musical palettes and challenge preconceived overnight sensation takes an incredible amount of time and notions, that's great. effort—and the collision of what you have to offer with what is As in every phase of life (and show biz), finding people with desired by the public. (This is true for everything from bar mitz- similar interests takes time and research. Go to the local avant- vah bands to speed metal groups.) If your group hasn't broken jazz club and check out what is happening. Read the papers to through after ten years of bashing about in the clubs, the see who is making breakthroughs. Knowledge is power, and "net- romance may have worn off. But again, focus, persistence, and working" can be quite useful. being honest about your objectives are the key elements. The big If your jazz band needs a place to play, get to know the owner of rock 'n' roll dream may still happen. Just don't be shocked if it the local showcase club. If you make hip-hop tracks that need to doesn't. be road-tested, get to know the DJs at the cool dance clubs. If Many players feel a need to stay close to home to develop a your metal band needs experience in front of humans (as family life, or simply because they don't like traveling. If these are opposed to video cameras or mirrors), find out where the clubs your priorities, local commercial work may be the desirable are that have unsigned band nights. Really learn how to play. choice. Find out who the top jingle and television people are in If you want television or film score work, get the names of the your area. Learn as much as you can about what that kind of work composers and producers who put the projects together. For demands, and meet everyone. Be neat, clean, and punctual, and example, in Chicago, I found the best jazz/fusion players were be able to sound like anyone (or no one) at any time. Don't, how- doing jingles by day and performing in the clubs at night. So ever, expect to be asked to sound like yourself. Unless you're the between asking loads of questions and looking things up in the songwriter or singer, it ain't gonna happen often, if at all. yellow pages, I found lots of information pretty fast. Through all of this, though, I want to stress that being realistic If you are pursuing the admirable profession of teaching, go to does not mean succumbing to a boring lifestyle, or giving up on the best drum shops in your town to advertise. Get to know the your dreams, or getting depressed by how difficult it may be to owners. Make sure you have something real to offer. And, again, find the work you want. It is hard. But, it can also be worth every ask questions! ounce of self-criticism and every minute of practice. I think there are two main points to consider. First, always ask Accomplishment can be fun. yourself what it is you want—what style of music, what experi- ences, how much money, etc. Be receptive to surprises, but start from a clear point. Second, be conscious of who you are approaching (artists, club owners, record company executives, potential collaborators). You need to economize your substantial efforts. Many people in positions of authority have go-betweens, secretaries, or someone else you must get to before you talk you really want. Learn how to express yourself with confi- dence and clarity. Be respectful while being persistent. Some of you may be grumbling and saying, "What is this bull- shit? Blair already has connections!" Fair enough. But every year there are periods where I don't work much. After dealing with disappointment and the inevitable temporary freak-out ("Will I ever work again?"), I find things that need attention. I'll concen- trate on writing, technique, listening skills, and catching up on correspondence. Spending time at home and having a balanced life provides reasons for making any art at all. Creativity is a renewable resource. There is an old saying (that I did not write): "When a fisher- man cannot fish, he mends his nets." I've been a bartender, accompanied a zillion modern dance classes, worked for catering companies, cleaned apartments, and spent more years than not wondering how I was going to pay the rent. The thing that kept me going was knowing what I wanted to do. Following my own path made the little successes mine, and all the failures became tests of my resolve. If music is a manifestation of individual expression, it is our responsibility to be as honest with ourselves as possible. In many ways, we do have control over what we do and with whom we work. By keeping a constant check on our motivations, needs, and goals, we can put our personal mark on the music we make and the people who hear it. No matter how you want to serve it, or have it serve you, let's hope the music always wins.

Michael Blair is mainly known as a drummer/percussionist, work- ing with Lou Reed, Elvis Costello, Tom Whits, Suzanne Vega, and the Replacements, among others. He has produced records for Victoria Williams and Two Nice Girls and has lent his arranging skills to Mr. Costello, producer Hal Willner, and Gavin Friday. Mr. Blair travels between New York, Los Angeles, Austin, and Stockholm, seeking the soft dark underbelly of . The author would like to thank Lena Berger for transcription assis- tance.

MARK BRZEZICKI

My rudimental playing might be quite bad if you judge it according to formal pipe band standards, but I adopted that kind of feel while incorporating some funk patterns on the bass drum. It wasn't really "rock," it was more a case of using fusion patterns incorporating the floor tom and ride cymbal as well. Marching drums have always excited me, but the bass drum part is always very strict and predictable. Change that and allow the whole thing to become less rigid—per- haps a bit sloppy—and you've got some- thing danceable. SG: Did the other band members and the producer take to this approach from you easily, or did they need convincing? MB: Steve Lillywhite, who produced the first two albums, was a big inspiration for me. I had this drum idea for the single "" to use a "Let's Dance"-type bass drum pattern with a constant five-stroke roll happening on the snare, and getting the hi-hat in as well to produce a dance feel. Steve was very open-minded; if it was different, he want- ed it on a record, which is unusual for a producer. They normally want to play safe. Anyway, for "In A Big Country," Steve told me to carry on playing with the click after the band had stopped. So after going through the song, I kept my drum rhythm going and started to change it: I came off the main backbeat on the snare and played on the floor tom instead of the hi-hat, so that it became more thunder- ous. I came off the floor tom onto the China cymbal, and I'd get my grace notes to be more dominant. Then I came off the China and joined the grace notes, which had already started to form the rolls. Steve loved that, and encouraged me to develop in this way. It was stirring and passionate to match the band's songs; it helped to give the band an identity. It's so nice when you do something new, not to have the talk-back button pressed and have, "Yes...er...can you stop that? Play it straight. Save that other stuff for your solo album." It's terrible when new ideas get squashed by producers whose only priority is being safe! Stewart Copeland did what he did because he was allowed to do it. He was able to turn drumming around and generate fresh interest. He If the guy behind the desk knows what wrong for the music, or whether it's gave drums so much personality and he's doing, there should be no problem. because he doesn't know what he's doing inspired so many drummers. Suddenly But if not, you get the inevitable demand and he wants an easy time. If I'm playing there was hope again; you can be yourself for muffling. a song that seems to need an open, ambi- and become successful. Imagine what it I like a certain amount of ring and sym- ent sound, and that's the way I hear it would have been like if someone had said pathetic vibration. I find that the bass when I play it and I know I've done a great to him, "It's a good song, but we don't drum sounds odd when the snares are pass, and then I hear a playback and it want those ringing sounds and accents off; I want that natural EQ. I don't like sounds dead and dull, I know they'll say, where we don't expect them; just give me gates on drum mic's, you lose your grace "I don't think that's the right drum part." a good solid backbeat"! notes. Grace notes are all part of the It is the right part, but they're getting the It is important to be yourself. Be origi- drum track. They are not on the same wrong sound! Then you start on a wild nal, create your own style. One fill and level as the bass drum and the snare goose chase: They ask you to play hard- you know it's Phil Collins. Look at people drum backbeat. There's a natural level; er...they ask you to play less...they ask like Gadd and Copeland; they're instantly you don't need to gate them out. Dolby you to play more...they might even say recognizable, they've got their identities. kills the hi-hat sound; it vacuums away they prefer the drum machine. What you I was lucky at the start of Big Country; any little "set-up" notes. It's nice to hear need is to be heard the way you perceive my approach and my input was valued, these things. it, and that's not always easy. The best the music was successful, and I found You get problems in studios for a vari- thing to do is to get them to listen to it myself becoming established. ety of reasons: The engineer might not acoustically, and ask them to reproduce SG: Does that mean that you have be competent, the studio itself might be that sound when they get into the control become free from unwelcome sugges- unsuitable for getting a good drum room. Then if they want to put embel- tions from producers and engineers ? sound—although I like to think that you lishment on, it can only sound better. MB: Oh, no! [laughs] I like to think that I can get a drum sound anywhere—or The drum sound on a record is so get booked for my particular qualities. I they've got the wrong mic's or not important. You can actually get away with try to be myself. But I still get told that enough of them. I go in with a drumkit a duff guitar or keyboard sound, but the the snare drum needs tape on it, or asked that sounds the way I think it ought to drum sound is the foundation of every- if I've got one of those dampening rings. I sound. If I'm asked to change it, I have to thing. A good drum sound can carry a bad try to keep my drums as ringy as possible. decide whether it's because he thinks it's song; and that doesn't apply to any other instrument. So you have to tell them what sir." where. We are always the first to arrive you want. You've got to fight; you can't Even on live gigs you are very much at and the last to leave. afford to be too timid. If you're lucky the mercy of what someone else is doing There's also a thing that I refer to as enough to be booked because of what with your sound. I've stood by mixing "being great immediately." A guitarist you've done, then you're halfway to desks at gigs; I've seen drummers doing can sit in front of the TV, and when the winning. If not, you've still got to stick up hand movements, but all you hear is a adverts come on he can pick up his gui- for what you believe in; otherwise you'll hole in the music, you can't hear the hi- tar—which he can hear acoustically—and just blend into the background and not hat at all. It looks as though he's doing a work out a lick. A drummer can't do that. be noticed. great pattern on it—he must be doing it Okay, there's a rubber pad, but you can't SG: If you are not an established player, for a reason, he obviously feels it's his work out kit parts on that. The only way a surely you have to be careful not to upset contribution—but you can't hear it! I drummer can be good at his instrument anybody. want to go up to the engineer in a situa- is to play it. I know rehearsal studios that MB: Yes, but you can often afford to be a tion like that and say, "I can't hear the hi- are full of drummers practicing. There's little bit cheeky, and get away with it. For hat." He probably isn't even aware of the a certain dedication you need to be a instance, sometimes if a producer asks hi-hat; for him the song is the vocal and drummer. me to change something, I'll say that I've the bass line—he can hear that, so why Okay, "Be great immediately": When a done it when I haven't. He'll be satisfied; worry about anything else? drummer turns up at a studio and wants he doesn't really want you to change any- SG: That sort of thing can make drum- to tune his snare drum, he gets told to thing, he just wants to be seen to be in mers wonder whether anybody cares shut up. But it's accepted that the gui- charge. This doesn't apply to all produc- about what they are doing. tarist will spend time tuning! Then when ers, but some of them think that they've MB: Well, I think that drummers have a you actually start playing, you're expected got to be seen doing something. They can unity that isn't seen so much with other to get it right at once—but you can't destroy the music by wanting to control musicians. It's more of a club. Drum- because all your life you've been told to everything, when perhaps the drummer mers often have a hard time. We have the shut up. knows best about the rhythm, because most equipment to deal with. There are What happens when you're in a new that's what he spends his life doing. It all the jokes about drummers not being and enthusiastic band with a record deal? ought to be a collaboration, not just the musicians. We have to have transportation It's time to do the master, you've done drummer having to say, "Yes sir," "No to get ourselves and our equipment any- your demo. The drummer goes first, and

the nerves are on the drummer. It's not on the guitarist taking his solo. By the time it's time for that, everybody else has gotten bored and gone down to the pub. The guitarist sits in the control room with the producer, completely free and able to overdub his solo. But during the first week, everyone's keen, everyone's there, everyone's watching the drummer do his drum takes. The poor drummer's got this pressure on him to deliver—to be great immediately. SG: It's surprising how many drummers seem to get replaced on the session under those circumstances. MB: Yes. I've done sessions with bands who've had deals with major labels, and they've had very good drummers of their own. What's been the problem? They haven't been quick enough when the pressure's on. But how could they be? They haven't had the experience. It's always a shame when that happens. The drummer has had his own style and cre- ativity within the band, to the point where he's helped them get a record deal; then when it comes to being heard by the pub- lic, he's taken off. There's so much more to learn about than just playing the drums. There's a lot of situations you have to deal with. SG: We keep coming back to the drum- mer's input and creativity. Is there a way of developing originality with taste? Somebody might be a brilliant technician, but that doesn't necessarily mean that he can do anything except perhaps copy other people's licks. MB: Everybody is wary of the sort of "techno-whiz" drummer, who will put in every rudiment he knows regardless of the needs of the song. Your technical ability to play must always be used to enhance the song. In a strange way, I think that a certain amount of naivete can be helpful. Your style can develop natural- ly without your knowing too much. For example, sometimes when I start a fill I won't know how I'm going to end it. I'll create it on the way down, rather than picking one out of the book. Creativity comes from spontaneity rather than cal- culation. What you must have is the con- fidence to go for those moments without fear of messing up. I find it almost impossible to do exactly the same thing again. I don't like when I do something and get told, "That was tive style is something that can be taught, great, but do it in the middle eight in the sense that other people could learn instead." It's very difficult, because from it. I see it as being like painting. You things are always going to come across can be literal with your painting: You can differently. I did learn to read so that I have everything looking exactly as it does could write my parts down and re-create in real life. Or you can have your own them, but I've never needed to apply it. interpretation and still be a great painter. SG: Do you ever need to read for ses- If you are taught, you are taught to be lit- sions? eral. Do you lose your uniqueness? I like MB: No. I always work from my own the idea of improving my rudiments and notes: "Intro—Verse—Gadd-type sec- reading, and perhaps checking that I'm tion—etc." This way I always know where sitting properly, but... I am and I know how many bars there are. SG: Rudiments? You are known for That's all I need to be inventive. If every- incorporating rudiments into rock. thing is written down for you, you can MB: Yes, but how correct are my rudi- become too literal and you can lose feel. ments? There are areas I would love to There are some great players who I study: Swiss rudiments, Scottish pipe- admire very much who can be fed the band rudiments. I've only scratched the information, get their hands and feet surface so far. I'm interested in doing responding to it, and produce a great some studying with Jim Kilpatrick, who is track. I'm much more "on the edge." I accepted as a leading authority on pipe- sometimes get frustrated with myself, but band drumming. I find that wanting to know more keeps SG: On the subject of equipment: Do my enthusiasm fresh. you tend to use different stuff for the stu- SG: Would you ever consider teaching? dio and for live situations? MB: Not really. I am schooled by my own MB: I always aim to get the same sounds experience and my own motivation to on everything. Again, this has to do with learn. I don't know whether my instinc- my personality coming out, so people know it's me. I do go through changes, one at a particular time. For instance, The only thing I often vary is the rack although I always use Pearl drums and sometimes I'll take about ten snare tom situation. I like to have a range from Zildjian cymbals. At the moment I'm drums to a session, but once I've chosen small to large ones. I vary that often using 13" Quick Beat hi-hat cymbals. one I'll try to stick to it. If a slight change depending on how I feel. I'll sometimes They are very fast and thin-sounding, and in sound is required for a particular track, set the kit up differently, just to stop very mic'-friendly. I use them all the time I'd rather make adjustments to the one myself from getting into a rut with my because they sound right to my ears. I go I'm using than change to another one. I positioning. through phases of using different snare use the same ride cymbal on everything. I I was once quite paranoid about posi- drums, but if possible I like to only use vary crashes, but I use the same splashes. tions changing, to the extent that I used to say, "If I ever become successful, I'm never going to have a drum tech; I'll trav- el with the crew and set my own drums up." [laughs] But here I am now, lucky enough to be able to turn up and find the drums set up for me so that I don't have to touch a thing. If something does hap- pen to be an inch out—which can seem like a mile on the drums—I won't let it bug me so much. I've learned over the years not to let things worry me, but just to get on with it. If you're doing a live fes- tival and there's no time for a sound- check, you just have to go out there and play without letting things bother you. SG: Do you have any particular prefer- ences when it comes to the materials that drums are made out of? MB: I find that I like the natural sound of thin-shelled drums because they "sing" more; but they are not always micro- phone-friendly. I do like the sound of maple, but I got out my birch kit recently and enjoyed that because it was a bit dif- ferent. There is one kit that I love to use in the studio: It's one of my early kits, a Pearl fiber glass. It records well, but live it hasn't got a natural acoustic roar. So I'm quite happy to leave that in the studio and take my maple kit out for live gigs. MB: I'm very proud of playing with The The snare drum, ride cymbal, and hi- Prince's Trust [a series of British all-star hats are your sound; those are the things rock concerts for charity]. It was a thrill I'm particularly fussy about. If I'm going playing with Phil Collins. I'd never played somewhere where I know I'll be getting a along with another drummer before, and kit out of a box, I'll take my cymbal bag this was a unique experience. With him and a snare drum. Those are my funda- being left-handed and me being right- mental requirements for feeling comfort- handed, we could be placed looking able. Drumkits can vary around me. towards each other's hi-hats. I had to SG: Getting back to your career, it seems home in on certain areas. For instance, he you've come full circle now that you have would anchor the bass, snare, and hi-hat a regular band, Huge Big Thing, with on some numbers, while I'd take care of Simon Townshend. Isn't it a bit strange the toms and ride. Then we might that you are recording again with Big change around. We'd find our own level Country? and get cross-rhythms going. I've been MB: Well, I'm not actually a member of doing it for three years, and playing with Big Country anymore. The band broke up Phil has been unbelievable; he's a superb about two years ago. I decided to carry on musician. with the sessions, but also to make a We did the Nelson Mandela show as commitment to form a band with Simon. well. Not only was that great, but it was When Big Country broke up, Simon and I one of the few opportunities I've had to agreed that we would do it for real now. play live with all these different people. We'd get a good band, good management, Some of them I'd worked with in the stu- a good record deal, and give it a year and a dio, some of them were just people I'd half or so to get it on its feet. About five admired. It was a fantastic experience. months later I got a call saying, "Big Playing "Sledgehammer" live was some- Country's back in action," which was thing I thought I'd never do unless I did a rather strange for me because I'd origi- tour with Peter Gabriel, but here I was, nally tried to persuade them not to split doing it as one song in a set. There were up. At that time I'd made the commit- people on stage with whom I'd worked ment to Simon, I was touring with Fish, I but never thought I'd be out live with, like was getting good response from new Joan Armatrading, Midge Ure, and Fish. management—it was generally an excit- I'd look over my ride cymbal and see ing time. Although I'd been very disap- Elton John playing piano; over to the left pointed when Big Country split up, I felt was Eric Clapton; in front of me was that I'd been to the funeral, and I now Mark King. There was this whole rain- wanted to look forward to other things. bow of musicians; it was a real personal They did a tour without me, and then high for me. I'd have to pinch myself asked me to play on their new album. At when I came off stage and say, "I don't the moment they are talking about a tour. believe I've just done that!" [laughs] But my priority is Huge Big Thing, and SG: How do you see your long-term allocating time can be difficult. future? SG: Is there anything in your career that MB: I'm into playing my drums, and suc- stands out for you as something you are cess for me depends on how lucky I am particularly proud of? with association. It's being in a successful band like Big Country, or playing on suc- cessful albums. It's weird when I get asked, "What's it like being a rock star?" because I don't know! I don't think that if you're a real person you'll ever know. You just deal with whatever you have to deal with. I deal with playing my drums; and I'm as frustrated now as the day I started. I want to know more. I want to be happier with my playing. I want to sound better. As I've said before, the further you go down that road, the further you want to go.

Brazilian Rhythms; The Bossa Nova

by Chuck Silverman

Brazil, that rhythm-rich country in South all bossa nova, and if you want to get into the feel of Brazil, this America, holds many secrets for musicians, music is a must. Other artists and albums to check out: Airto and I feel (selfishly perhaps) that this is Moreira (Natural Feelings, Fingers, The Happy People with especially true for drummers. The two Cannonball Adderly), Caetano Veloso (Dentro de Estrella rhythms that immediately come to mind are Azulada—a great artist and an album worth the search), Mil- samba and bossa nova. There are hundreds ton Nascimento, Elis Regina, Ivan Lins, Hermeto Pascoal, and more—baion, frevo, maculele, baion, partido alto.... But the many other albums that feature batucada, the Brazilian per- next few articles will examine some of the more popular cussion jam session. Escola de Samba, or samba schools, are rhythms from Brazil and practical applications of these the places where you'll find batucada. These "schools" are rhythms. social gatherings for drummers. They compete against each Within these practical applications there will be some that other rhythmically to see which one will be the best during the are typical. These can be used as straight dance rhythms. Let's Carnaval. The batucada that comes from these schools is a say you're playing in a big band at your local college. The chart great place to learn the rhythms of Brazil. calls for a "Latin" groove. It's been my experience that this Let's begin our study with patterns that can be used for the usually means for the drummer to play samba. Of course the rhythm of bossa nova. The story of bossa nova starts with best thing to do is to ask the band director. If he/she asks for a musicians who wanted to continue playing batucada, but the samba, you have to be ready. music was too loud. They couldn't all crowd into the small There will also be practical applications that are not typical. apartments where many of them lived. Someone decided to They will be used for many reasons. Some can be used for take certain percussion instruments and translate their sounds independence or hand conditioning exercises, while others to the drumset. The shaker (caxixi) became the sound of the may pique your interest as contemporary groove ideas. These hi-hat. The tamborim became the cross-stick pattern. Part of ideas should not be the end-all to your study of Brazilian the pandeiro pattern became the bass drum. Now the music rhythms. They are simply the result of my exposure to the could continue in a mellower vein, and thus was born "apart- music. Many other drummers have found other ways of ment samba," or bossa nova. As you listen to Brazilian music, expressing the music's influence on them. It's up to you to listen to these instruments and imagine how they'd fall on the investigate. drumset. It'll give you a good idea of how you should sound. Listening should be a big part of your learning process. Hav- Let's investigate two hi-hat patterns with corresponding ing these rhythms in your ears is one of the fastest ways to cross-stick patterns. The first four exercises are for indepen- make the patterns your own. As I'm writing this article I have a dence. The rest are patterns that work well. Take your time to new CD by Joao Gilberto playing. This album is a classic. It's work them so that they feel comfortable.

Through my teaching I've developed some practice tech- of the sounds. For example, while the hi-hat and bass drum are niques that work quite well. Try them and see if they help you being played piano (softly), the cross-stick is being played forte to achieve a higher level of command and control. First, play all (louder). This practicing concept forces you to pay close atten- the patterns in the bossa nova section with your "weak" hand tion to what each limb is doing while the focus of your atten- playing the hi-hat or cymbal pattern and the other hand play- tion can be on the "soloed" limb. For extra practice, combine ing the cross-stick pattern. This way you're using the rhythms both of the techniques! to develop many facets of your playing: typical grooves, inde- Future articles will feature the rhythms of Brazil and what pendence, and strengthening your weak hand. You'll find exe- can be done with them in typical and contemporary ways. Take cuting the accented patterns particularly tough, but stick with your time to learn the patterns and get into the feel of the it and you'll see a vast improvement. rhythms. There's a lot to learn if you keep your ears and mind Another technique is soloing each limb. Play one of the open. exercises with each sound source at an equal dynamic level. Any questions or comments? Please feel free to contact me Then bring all the sounds down to a soft level, except for one through Modern Drummer.

if the part is less impressive. It's okay to "It's not what you do that counts, but the Applying way in which you do it." Great drummers work out the fancier fills, patterns, solo figures, and drum breaks at home. But have a way of playing things that at first remember, it usually takes some time seem like standard parts, but they'll Information before they become a part of you and change something—often very little—and begin to sound natural. Keep practicing, suddenly it sounds better. They might and if a spot in the music occurs where simplify the part, use a different sound by Roy Burns the part you have been working on feels source, or add an accent or two, which right, it will come naturally. You just have makes it musically powerful. Several of my students have asked ques- to be patient. Another aspect of this idea was tions about how to apply information After you've prac- expressed to me years ago by musically and effectively. They'll com- ticed all these ideas the great drummer Cozy monly ask questions like, "Why can't I as much as possible, Cole. Cozy said, "Every play this material at the lesson as well as I when it comes time "The live gig drummer—even if he's not played while I was practicing?" to play a gig, forget very good—has one or two I think there are several reasons for about them. Say to can put you in licks that are his own and this. For one thing, you can play some- yourself, "I have all that he plays well. You can thing a number of times at home until it these great ideas a very different learn a lot by watching and feels comfortable. At the lesson, though, that I can play. But I listening for those one or two you basically have one chance to play it don't have to play frame of mind good licks." well. This creates a certain amount of all of them tonight. Most successful drummers stress. And conscientious students always I'll concentrate on than the one eventually play better than want to do well and have a good lesson, grooving, and just the teachers they studied which can also add stress. I tell students play the things that you were in with. This is because their not to worry about it—just keep practic- fit the music—and teachers had valid concepts. ing and improving, and it will be okay. I'll sound great." when you were The talented student takes Another question that often comes up Then relax, knowing those concepts, adds his own is, "Why is it that I can play things at you have more ideas in the comfort ideas, develops and expands home, and yet when I get to the gig, I and chops than you on them, and creates his own can't get them to work?" Again, part of need, and go to the of your prac- style. the problem is the added pressure of gig ready to groove. Consider this saying: "It is playing live with other people and in front This approach, if tice room" the student who determines of an audience. Also, the tempo might not practiced for a while, how much is learned." A be quite the same as the one you prac- will allow you to be teacher can only present his ticed to at home. These and other factors spontaneous, cre- or her experience and con- can put you in a very different frame of ative, original, and cepts. Some students take mind than the one you were in when you musical—all at the these ideas and run with were in the comfort of your practice same time. them, while others do not. room. A famous person Some students come back Another factor is that you might be once said, "The the week after a lesson and "forcing the issue." By this I mean that source of information is less important say, "You know that rhythm you showed the licks or patterns you practiced at than what you do with it." A good exam- me last week? I've changed some things home might not be appropriate for the ple of this is when you hear a great drum and added some accents, and it sounds particular groove or song you're trying to fill or pattern on a recording. You may or really interesting. I would like you to hear play them on. Very often young drum- may not be able to play it exactly like that it." I always encourage this. mers will attempt to play a killer fill that drummer did. But that doesn't matter. The point is, no matter what the idea they have carefully worked out at home, Use the idea to develop one of your own. or where it came from, you must practice but in the process they lose the tempo, Play it in different ways until you are it, expand it, and make it your own. This the groove, or the style of the song. comfortable with it. Then use it to spur is what I mean by "applying information." My advice is to put the music first. your creativity, rather than just copying it. Take all those great ideas you learn and Instead of playing something that might This way you make it your own, and it will find a way to apply them creatively and impress other drummers, try to play sound natural for you. musically. something that really fits the music, even Another example of this concept is, MIAMI SOUND MACHINE type of music that would come my way, drummer is the one who keeps it all mers with incredible chops who studied I'd just try to imitate it and get into it." together, so you shouldn't overplay and and practiced eight hours a day, but when Rodriguez did have various teachers think about it; just do the simplest thing. it comes time to just lay it down and play along the way, despite his "street" atti- To me, the core of being a drummer was that 2 and 4—which sounds so simple tude. "One teacher was good for tech- always the groove. Whatever music I was but is so hard—they can't do it. That's nique," he remembers, "but he couldn't playing, it had to feel good, even if I what I really admire in a drummer." keep a beat. I had another teacher who played the simplest thing. Robert Rodriguez, also born in Havana, would tell me to do all the rudiments and "As far as reading, the other instru- Cuba, began on at age three. "Or be very military at a lesson, but when I ments I played early on helped that. I'm tried," he laughs, explaining that at four, sat at the drums to play, I should forget not a great reader, but I played in the con- he began classical piano, and by six he all the technique. I should be part of the cert jazz band at the University of Miami, was going to conservatories...and getting music, forget that the drums exist, and where the charts were incredible, like 50 promptly kicked out. "I was a brat," he let it be natural to play with music. The pages long." admits. "I was Bart Simpson! "My father would sit at the piano next to me and say, 'Practice, study.' I believe that as a drummer, you should have that piano background. Believe me, I'm not any genius at piano, but it really helps later when you play with other guys. When you first get into drumming, it's 'Listen to this guy's chops.' But when you get a little older and play with groups, you become more aware of the music. To me, I'm not a drummer anymore. I'm a musician who is grasping at everything that is coming at me. I know a lot of drummers with incredible chops who are masters at the drums, but when you sit them in a playing situation, they just don't have it. Then you have guys with no chops at all, but they can really do this musical thing that feeds everybody." Robert began playing drums at age 11 because he tapped around the house so much that his father brought him a little 1966 Ludwig black oyster kit with a miss- ing floor tom. "What really started it off for me was an Art Blakey album my dad had lying around the house," Rodriguez recalls. "That was when I really got into it: 'Listen to him! Listen to how he grooves!' My biggest influence was the radio—the Beatles, Earth, Wind & Fire, James Brown. And Cuban music was always there. I really never learned it; it was just there. Though Robert had enough talent to be playing casuals with his dad at 14 years of age, he admits that he "was never a very studious kind of guy. I would just get distracted. I didn't really plan it this way, but I wanted to be schooled—but not schooled—at the same time. I never wanted to lose that street thing. The music told me that. John Bonham and Elvin Jones were not exactly your college- degree guys. I didn't know that then, but instinct told me. They sounded so great; they just had this thing about them. Any Jazz was Robert's focus in those days, Rob Cargell. Sitting at the drums and One semester Robert registered late, so he went to the University of Miami to playing was so natural to this guy. How he and because he couldn't get into a group, be around other players. "Guys who were played to the music was the main thing. he decided not to enroll. Instead, "I prac- just phenomenal were coming down from The other guy was Van Romaine. He's ticed, practiced, practiced," he says. "I other states. I was staying in school playing with now. We just lived in this room at school and slept in because that gave me the chance to play exchanged drumming information by my car. I would play to records and tran- with different players and learn from hanging out, talking, and sharing tran- scribe stuff and play with anybody I could other drummers. I learned a lot from two scriptions. We were like the Three get a hold of. By the next semester, they particular drummers at school. One was Musketeers." had heard me, and when I registered, the teacher for the bebop ensemble handed me a card and said, 'Come aboard.' That was an honor; I felt like I had arrived!" Robert took more time off from school to go on the road with sax player Paquito D'Rivera, which proved to be an invalu- able experience for the drummer. "We played festivals all over Europe, and I jammed with Freddie Hubbard and Herbie Hancock in these little bars in Europe. I also played with Jaco, which was amazing." He doesn't elaborate much on the sub- ject, but at age 24, Robert quit music and moved to Europe. He says he was burned out. "I moved to Monaco and worked in a business where I got to travel all over the world. I was a man with a briefcase. I was working 24 hours a day, didn't have any friends, and didn't have any creativity. But I had everything else. Yet honestly, there wasn't any happiness. I ran a car into a Swiss chalet at 110 miles per hour—I was probably thinking about some transac- tion. So I got on the Concord and came back to Miami. "Actually, it was my grandfather, may he rest in peace, who put a lot of sense into me. He got back into law when he was 60 years old, after 20 years of living in America and working in a shipyard. He studio is really the gig. "Check out the play the pop groove—the 2 and 4 that came from Cuba, where he was a lawyer, earlier tunes like 'Conga' or 'Rhythm Is people can identify with—along with the but he couldn't practice here. Then they Gonna Get You,' which are my favorites Cuban thing that is the important part of gave a chance to Cuban lawyers to get to play. 'Rhythm' is a perfect example of this gig. Cuban music is all based around their degrees back. My grandparents sold that integration. There are other cuts as the clave. It's African. Originally, this their house so my grandfather could well, like 'Surrender Paradise,' where you music was for people to dance. That's the study law again. He got his degree back at hear more authentic Cuban stuff, but still important thing." 60, practiced for 15 years, and lived hap- with that pop flavor to it. It's being able to pily ever after. He said, 'I love what I do. You must do what you love. That's what life is all about.' "So it was a new beginning," Robert continues. "The fun part of life was start- ing to happen, not the questions of 'What should I do?' or 'Am I good enough?'—all the insecurities that everybody has. My parents were always there for me, and I lived at home. They just wanted to see me happy." In 1988 Rafael Padilla recommended Rodriguez when Miami Sound Machine was looking for a new drummer. Robert knew Rafael and, coincidentally, Robert knew Gloria Estefan and her husband/ producer Emilio as well—when he was 15 years old, Robert's father played on some very early Miami Sound Machine albums. Robert had always wanted to play in that band. So when they gave him a tape and told him to learn the songs, it came natu- rally to him. "I pretty much knew what I had to do," he recalls. "I felt if there was one guy to play drums in this band, it was me. It was inside me." Robert has played selected tracks on the two most recent Sound Machine albums: Cuts Both Ways and Into The Light. According to Robert, the integra- tion of pop and Latin both live and in the

READERS' PLATFORM vations in cymbals in this century. We have done so to bring new sound choices to drummers based on musical trends and the sound desires of musicians that have been brought to our attention. If you some- times prefer a traditional sound, then by all means, cherish it! "Our intention was not to 'attack' any- body. We are mostly interested in telling our own story. Sometimes, as in this case, one has to use a point of reference to put matters into perspective and thus clarify them. Our point is simple: Paiste always has something new and different to offer, and you should at least try our cymbals—nothing more, nothing less. And thank you for disagreeing with us. Most of our sound innovations resulted from people disagreeing with the status quo. Disagree- ment breeds innovation. Thank you for taking the time to respond to our ad." original group in 1973. Birds Of Fire, hang in there and maybe not analyze Billy Cobham: which perfected the startling musical ideas things, because, at that time, I didn't think introduced on , I was capable of understanding and was popular enough to make it into absorbing what was behind the music. Birds Of Fire Billboard's Top-20. According to Billy RS: Is it correct to consider Birds Of Fire Cobham, that album also contained his a religious or spiritual album? by Robert Santelli best drumming while a member of the BC: For John, not for me. I was coming . from just playing the drums. At that time, RS: How did you get involved with the ultimate religion for me was going up McLaughlin and Mahavishnu? on stage with that band and playing. But BC: John and I started discussing the pos- we also had down days. When that hap- sibility of working together back around pened, it was a case of the music not being 1969, when we were working with Miles as good as the night before. That could be and on other projects to help us keep food depressing, because, as musicians, we on the table. We had a small school of became spoiled. We really believed that musical philosophy going—as painters or what we were doing could only get better. photographers would have. I'm talking When we found out we had limitations, about John, , myself, Larry that was a big problem. We could only go Coryell, Joe Zawinul, and Wayne Shorter. so far based on the concept that was in All of us worked for Miles at one point or place. We needed more input. The con- another. We also worked together at a cept had a strong foundation—which John small recording studio in Greenwich created. But his mistake was not allowing When John McLaughlin formed the Village, doing demos and things. It was a us to participate openly and freely Mahavishnu Orchestra in 1971, his first pretty exciting period. This was before and—with his support—to develop more choice to play drums in the experimental and before Miles did material for the band. He wanted it all for band was Billy Cobham. McLaughlin was . himself. That's what sent it down the well aware of Cobham's penchant for But to get back to your question, John tubes. cross-rhythms and intricate, unconven- told me in 1969 about the commitment he RS: At the time of Birds Of Fire, what tional time signatures—not to mention the had made to this Indian sect and a guru drummers were you listening to for inspi- sheer power and intensity Cobham dis- named . Rick, I recall, had his ration? played, both on stage and in the studio. own thing going with another Indian guru BC: I guess I was still embedded in Roy Prior to Mahavishnu, McLaughlin and at the time. But John really needed to be Haynes, Art Blakey, Elvin Jones, Max Cobham had both worked with Miles into it at the time, and when John believed Roach, Louie Bellson, Buddy Rich, and, of Davis, and the two musicians quickly in something, he went whole hog. There course, Tony Williams—that school of developed a mutual respect for each were some good things about that organi- drumming. Those were my people. other's complex instrumental techniques zation, but, philosophically speaking, I RS: What was the studio vibe during the and musical visions. didn't understand a lot of things they were recording of Birds Of Fire! In addition to McLaughlin on guitar into. BC: Very, very clear. The reason why The and Cobham on drums, the Mahavishnu RS: Did Sri Chinmoy become your guru? Inner Mounting Flame wasn't exactly clear Orchestra also included Rick BC: No, I embraced the by-product of was because the music was so avant-garde. Laird, violinist , and key- him and his organization, which was the I remember saying that if we got any live boardist . Together, this quin- music. I didn't exactly understand how the dates, I wouldn't be surprised if they were tet mixed McLaughlin's growing interest Indian philosophical concept worked; I opening for Marion Brown or Archie in Indian music and philosophy (inspired still don't to this day. But having been to Shepp. I really couldn't figure out where in part by Sri Chinmoy and John India since then, at least I have a better we would fit in—or if we would fit in. I Coltrane) with jazz and rock—the result understanding of what it was all about. didn't expect anything to happen with that of which helped spark a brand new genre Actually, while I was there, I took a few first record. It was a lot of fun to play and called "fusion." lessons from musicians who taught John. to let out all of my emotions, but I didn't The Mahavishnu Orchestra recorded RS: If you didn't understand the philo- know back then about finesse. It was, two classic studio albums, The Inner sophical ideas behind the music of "Yeah, let's play and have a good time." Mounting Flame [1972] and Birds Of Fire Mahavishnu, why did you stay with the RS: How old were you at the time? [1973], before personal, philosophical, and band? BC: I was about 27. I wanted to learn musical conflicts caused the demise of the BC: I felt that it was important to try and about finesse and how to play dynamical- ly—not just loud and soft, but more player relationship? music the Allmans made represented their dimensionally dynamic. But that comes BC: Rick chose the position that he took. I social environment, and it had a much with experience. often wondered what would have happened deeper base than anything that Mahavish- RS: Are there any songs on Birds Of Fire to my playing if Rick had been another nu did. Mahavishnu was a temporary aber- that you are especially fond of, or that con- . I would never have had to ration. The timing was right for it. tained your best playing? play so much. But Rick left a lot of space in Hendrix had died and John became the BC: It's been a long time. a very definitive kind of way. His patterns Great White Hope of Guitar. RS: Let me read off some of the song were always there rhythmically, but one RS: Did you or anyone else in Mahavishnu titles: "Celestial Terrestrial Commuters," had to, well, get through it contribute to the songs on "Sapphire Bullets Of Pure Love," and fill in those spaces. And Birds Of Fire? "Thousand Island Park." that's what I did. "I played the BC: Absolutely not. But you BC: [laughs] Man, I still don't have a clue RS: When you look back on way I did see, everybody enjoyed as to what those song titles meant. Once the fusion concept, do you playing the music John we made that record, I put it away. I do, think it worked? Was it a because I wrote so much that the however, remember live performances, and viable hybrid music form? music the other members I remember them by the material we BC: Yeah, it got everybody's thought in the band wrote sounded played. But those song titles [laughs], they attention. But the thing was, Mahavishnu like John's. That's why I sound so contrived. They feel false now, fusion is cerebral music, never wrote anything for and they felt false back then. To me, the and, generally speaking, peo- needed a per- the band, and why I came titles didn't feel like they should be the ple don't want to think when out with my own solo titles of the songs that are on Birds Of Fire. they go out to enjoy them- cussionist. But album, Spectrum. I wanted The title piece was a very, very strong selves. Most people want to we didn't have to do something that did piece for me. That I remember. And go out and groove. Even- not reflect the heavy influ- "Open Country Joy" and "Resolution" tually they'll get tired of that, one, so I ence of John McLaughlin in were beautiful. We used to do a song called and they'll want to think. But such a major way. "Binky's Beam." Later the name of the musicians who make cere- ended up RS: What about the music? song was changed. It might have been bral music will always be in being the Did the Mahavishnu Or- changed to "Sapphhire Bullets Of Pure the minority. chestra accomplish what it Love." RS: A lot of people consider drummer and set out to acheive on Birds RS: The amount of drumming that's Birds Of Fire a classic Of Fire? heard on Birds Of Fire is almost equal to album. Do you? the percus- BC: I don't know. Person- the amount of guitar you hear coming from BC: Oh yeah. I thought it sionist." ally, I know I played the John McLaughlin. Was there ever a com- was the cleanest album the drums on that album the petitive thing going on between the two of Mahavishnu Orchestra did. only way I knew how. It was you? The live album [Between one of those things where BC: No. My objective was always to be Nothingness And Eternity, you could definitely say that supportive. I played the way I did because I 1973] was good, but not the ideas for what to play thought Mahavishnu needed a percussion- great. came from the heart—and ist. But we didn't have one, so I ended up RS: Why was that? only the heart. There was being the drummer and the percussionist. BC: Because it was something that we put no way to analyze what we were coming up That situation forced me to look for ways out in place of what we had originally with. The presentation was a radical one, in which to make all the pieces fit together. intended to do, which was to make another and maybe that's one of the reasons why At the same time, I still had to keep time studio album. So Birds Of Fire stands as the whole thing went over so well. I mean, and support whatever else was going on the most refined of the three albums we we had two guys on stage wearing pure musically. In essence, that approach helped did with the band's original line-up. white. The band had an Indian name, and me to develop a concept that took me to RS: On the other hand, some people feel everybody thought it was an Indian acous- where I am now. that it sounds dated today. Do you think tic band. Then along come these other RS: Which is where? that's the fault of the times or of the people—one with real long hair, a black BC: Well, I'm looking to work in a big, music? cat, and one guy from Europe. The whole rack-mounted percussion environment BC: It's the fault of the music: It didn't concept had very strong marketing appeal. that includes drums, exotic percussion, have enough dimension or depth to it. Had we not had that combination at that sequencers, computers—the whole bit. Back then, the Allman Brothers were hap- time, I doubt whether the band would RS: Was your musical relationship with pening. That band had this very organic have succeeded the way it did. the standard drummer-bass thing happening, and it's still there. The STEVE EBBE Presley and Sun Records, influenced the Otis Redding and Sam & Dave sum up, to even want to go see a band like that, current scene much today? me, what Memphis was best at. So why because until one of them beats you over SE: Sure. In fact, it's almost become should we do revisionist music when you the head, you're just not going to believe something of a sore spot for the musi- can't do it any better than they did? that they're any good. cians who are trying to do something RS: How would you describe the sound When a new band surfaces here, every- now. In the media's eyes, Memphis has of Human Radio? body goes to check it out. If it isn't a hap- always been this great music town. But it SE: When I listen to our band I hear ele- pening band, they're pretty much forced seems, until recently, everyone always ments of a lot of different things. back to the garage. But if the band is wanted to look back at the city's music Sometimes there are so many influences good, there are enough clubs to play in history rather than at what's going on in a song that it's difficult to pinpoint and around the city that the members of now. We'd always be going, "Hey, what them. But you'll hear bits of , the band don't have to hold down a day about us?" The battle cry became: the Police, , early Beatles, job. That keeps a lot of musicians in town "What's the difference between Memphis the two Elvises. But when Human Radio as opposed to going to LA. or New York. music and music from Memphis?" comes together and picks up their instru- RS: Were you born in Memphis? Fortunately, things are turning around. ments, we like to think we made sense of SE: No. I moved down here from Joplin, We are starting to get a little recognition. all our influences. Missouri when I was 17. I enrolled at People are supporting the original music RS: How did the band get the attention Memphis State, which has this great scene around here more and more. Seven of CBS? commercial music degree program. It's or eight years ago, that wasn't the case. SE: We got signed pretty quickly, actually. patterned after the University of Miami Yet, on the other hand, my band, Human All five of us had been sidemen or had and some of the other noted music Radio, has had a hard time with some played in other bands before we got schools. I got a full scholarship to go critics who really weren't prepared to talk together. Memphis is a city, but it's still there. It was a perfect place for me to go positively about a Memphis band that small enough so that all the musicians to school because I had always loved the sounds like we do. I almost feel that some know each other or, at least, are aware of Stax Sound, and in the '60s, that's what critics want us to sound like Stevie Ray each other. We all became a little disen- Memphis was all about. At one point I Vaughan just because they believe that's chanted with what we were doing in early was even in a band with Duck Dunn. what a Memphis band ought to sound 1988. We just quit what we were doing RS: Has the Stax legacy and Memphis's like. Well, we don't, and we are a and started the band that April. Two other big musical connections, Elvis Memphis band, and that's the way it is. months into the life of the band we already had some label interest. We were studio. On both of them I was left to play ning that the track came out great. doing a lot of showcasing right from the what I had come up with in the first RS: What about "Harsh Light Of start. place. Strangely, on both songs, what you Reality"? One of the nice things about Memphis hear are first takes. I'm proud of that. SE: Well, it's not as exciting as "Monkey is that each year in the spring the man- When we cut "Monkey Suit" it was about Suit," but it's a real departure from your agement companies, the production com- 2:00 or 3:00 in the morning. We had only standard timekeeping on the drumset. panies, and the studios here put on been recording for about two days. We It's nothing that I invented, but I wanted something called the Memphis were still really excited about being in to get more of an ethnic-sounding thing. Showcase. The whole purpose of the L.A., which is where the album was I wouldn't call it African, because there event is to show a lot of bands at once to made. I remember we did two songs that are other things going on in what I the labels. We played the Showcase in '88 day and thought about going home. But played. I turned the snares off for the and got a buzz going, but it wasn't until then we said, "Hey, let's cut 'Monkey basic pattern and did a thing with the the next year's showcase, which we also Suit.'" We had so much adrenaline run- toms. It almost sounds like something played, that a little bidding war began over the band. We had four or five offers on the table. We chose CBS and signed in 1989. We recorded that fall, but the album didn't come out until late May of 1990. RS: It seems to me that Human Radio, more than most Memphis bands, plays quite a bit around town. SE: We try to do eight dates a month, not only in Memphis, but also around the mid-South. We've developed a regional following so that we can play Nashville and Knoxville and Little Rock and places like that. We're trying to branch out all the time. RS: Let's shift gears a little bit and talk about you as a drummer. What is your approach to drumming? SE: I try to get so in tune with a song that the melody and the lyrics sort of "play me." It's the kind of thing you could never get from a drum machine. The feel has to be there. The groove has to be there. I don't like to play something with- out a good reason. I'm more inclined to leave something out than put something in, though "busy" doesn't necessarily have to be a bad thing. RS: What players do you listen to these days for inspiration? SE: I listen to anything I can get my hands on that has Terry Bozzio on it. I'm a big Frank Zappa fan, which got me into Bozzio. I was also very influenced by Stewart Copeland. I followed the Police with unstoppable enthusiasm. But then there's the Memphis thing I have, too. I love what Al Jackson did behind a drum- set. RS: If you had to select one Human Radio song that best represents your drum style, which would you pick? SE: I'd have to boil that down to two songs: "Monkey Suit" and "Harsh Light Of Reality." I pick them because they were pretty much left untouched in the you would have gotten had you had a drummer today than I was when we bunch of drummers playing. That's what recorded the album in 1989. I've grown up I was thinking when I recorded the part. as a drummer since then. I don't overplay When I got to the chorus, I switched the anymore. I try to keep things pretty sim- snares back on and did a 16th-note riding ple, but right. I think every drummer goes pattern between a bell on my left and a through a period when he or she is basi- bell on my right. cally saying, "Hey, listen to me. Watch RS: Did you use a drum machine on the what I can do with these sticks." I've album? learned a lot since then. I'm sticking more SE: It's funny you should ask that, to the groove these days, which is the because I've gotten that same question right way to go. The fills that I do mean a more than once, and the truth is, I didn't. lot more. They're not just thrown in for I guess I should take that as some kind of the heck of it. With the first album I'd compliment. throw in a lick every time I got the chance to. Fortunately, that doesn't happen any JOHN PATTERSON more. RS: It sounds as if you've become a stu- Actually, I'm always taking lessons from dent of the drums. somebody. I'm trying to soak up as much JP: I'm trying to be. I really regret not as I can. being more open-minded about other RS: What one or two songs from Tora kinds of music when I was growin' up. If Tora's debut album do you think best there's one thing I could pass on to drum- represent your drum style? mers just starting out, it would be to make JP: I'd say "Walkin" Shoes" and probably sure they keep an open mind and absorb "28 Days." I played what felt good on as much as possible. Whatever you take in those two songs and I think, given where will help you define your own style. But as a drummer at the time, they you don't listen, you don't learn. sound pretty good. But I'm a far better

INSIDE FIRTH up again. because it's important to those guys. "Something else that slows up a day's "You could write an entire article on turning jobs that don't relate to those production is 'signature' sticks. We do all just the problems of drumstick produc- machines—novelty items, such as wood- kinds of custom and special work for all tion, and I'm amused myself at the fact en fruit, wooden puzzles, and handles. of our endorsers. I will tell you with the that what we're making with all this care Those jobs help underwrite the stick greatest of humility that we have close to and detail may very well be used by a guy operation, to keep it going at the quality 500 endorsers—which is very gratifying, with purple pants and green hair who'll level we need for Vic." but also presents its own set of problems. hit one rimshot and it's gone. But we How many sticks does the plant actual- For instance, it requires 500 different silk wouldn't do it any other way." ly turn out per week? According to Vic, screens—and some guys only want 24 "We aim for around 40,000 pairs per pairs of sticks. That means a special Stick Design week. We've hit higher and lower. setup for Bill, and that kind of thing takes The Vic Firth drumstick line is notable Sometimes we'll have a bad week and away from the big picture. But it's impor- for its variety of models. How does a only do 10,000, and boy does the phone tant to us to cater to the small picture as drumstick evolve from somebody's ring!" well." design concept to a finished model? Vic What causes such a difference in pro- That "small picture" includes drum- explains the way his company goes about duction figures? "Usually," says Vic, "it's mers who aren't endorsers, as Vic it. problems with the wood, which is a natu- explains. "Some drummers have been "If we did it the Japanese way, we ral material. Sometimes it's a quality playing our sticks for years, and they would probably have some terribly problem, and sometimes we have delivery scream if we change or delete a model sophisticated electronic equipment, and problems. We're in the best part of the they're fond of. We slightly redesigned we would calibrate, and make charts, and world for maple, but our hickory has to our SD4 model several years ago—but we design and describe the prototype to the come out of another part of the world. For still make a run of the 'old' version once nth degree. Since we can't afford to do it example, we've experienced a problem or twice a year to supply a half-dozen that way, we do it instead by the old-fash- with delivery over the last several months guys who just can't live without them. Bill ioned way, which combines experience because it's been raining in the needs that kind of situation like he needs with 'trial and error.' Tennessee hills for several weeks a hole in the head, because the new SD4 "Let's suppose an artist asks us to straight. When they have a lot of rain it's knife has to be shimmed 97 different make a stick for him. I know the style that very hard to cut the hickory trees. Once ways to get it to conform to the way the he plays. I know what he wants to get out the rains let up, our delivery picks back old stick was cut. But we do it anyway, of the toms and cymbals. We know we're in the ballpark with a 5B stick as a begin- we decide that the shaft should be this, inch makes an astronomical difference to ning. So we now fool with combinations the tip should be that, and we modify the the balance. of shaft thicknesses, tip shapes, shoul- design. We've taken as long as six months "To answer the original question, there ders, tapers, butts, etc. The guy in charge to a year to get a stick right. There really is no set way to design a drumstick. of the actual machining work out there is isn't a way to do it that's so technically You're dealing with an aesthetic piece of Doug Archer. He's a listener, and he has oriented that we can say, 'Tell us what you equipment in that the guy who plays it infinite patience. I'll say to him, 'Here are want and we'll spec it out and do it.' has to be sympathetic with his hands, his the specs; make me ten variations on That's because a guy can tell us, 'I want head, and the sounds. So it's a long circle these.' And that's all he needs to hear. this shape and that tip—and I know I'm around to get to the end. And that end He'll do it on Saturday so that he doesn't gonna love it,' and when we make it for result requires the cooperation of a num- tie up the machines during the week. him, come right back with, 'Boy, does that ber of people, along with their good will "So now I have the theme and nine feel lousy!' It's because most drummers and good spirit. Bill and Doug don't variations, which go either to the drum- don't realize—when they ask for a stick a always agree with what I want to do. It's mer or to me. We play with the sticks, and half-inch longer—that a sixteenth of an hard for non-players to believe that a seemingly insignificant change is all that important. And yet they go along with my saying that these changes are justified, and need to be made." Some drummers may wonder how much input any given artist really had in the design of his "signature" stick. Vic is quick to respond: "A great deal. I don't try to tell them what they want. I give them the various prototypes, and let them work with them. They pick, modify, accept, reject; they make all the decisions. For example, Dave Weckl wanted a color to go with his drumset. Steve Smith wanted an elongated tip and some other elements. I asked him about name, color, wood, and so on, and he picked every detail. The sticks are the artists' creations. I do the technical part, they do the creative part. "It's as important to a drummer that a stick be just what he's looking for as it is for a violinist or oboe player to have just the instrument they need—even though a drumstick seems incredibly crude when compared to those more complicated instruments. A stick has to have that kind of refinement—which is laughable when, as I said, it might only last for one rimshot. But we hope that when the drummer picks up the next stick, he's just as happy and just as comfortable." Stick Production Although Vic does employ some out- side turners for overflow production and some special models, the Kingfield Wood Products operation handles the majority of Vic Firth stick production. The factory covers several acres, and includes a stor- age area for raw logs, a sawmill, sheds for milled lumber, drying kilns, and the machining areas. The sawmill is one of the unique aspects of the Vic Firth operation, because it allows the company to begin production with raw logs—thus maximiz- ty of re-using tips from sticks rejected at referred to as "Japanning." A certain ing their control over the quality of the the shipping point. The company also has number of sticks and a measured amount wood they use. The mill cuts the logs into its own machine shop, and maintains its of lacquer is put into a large tub, which is machinable lumber, which is then dried own equipment. According to Bill: "We then rotated to tumble the sticks and coat to precise moisture-content specifica- have a minimum amount of down them evenly. Colored sticks are done in tions in house-sized kilns. The storage time—usually when a part must be the same manner by adding stain to the and drying processes make a great differ- obtained from Germany—but nine times lacquer in the tumblers. For the past cou- ence to how straight the grain of the lum- out of ten we can do our own milling and ple of years, the company has been apply- ber is, which in turn affects how straight machining of tooling right here." ing a special lacquer that took 16 years to the sticks can be made. Wood dowels are turned into drum- develop. Rather than creating a slick fin- In order to overcome delivery problems sticks on lathes, and the Vic Firth opera- ish that becomes slippery when the previously mentioned, the company uses tion uses several different models. The drummer's hand perspires, it becomes machines capable of handling lumber oldest lathe is a hand Hemphill, which is more tacky when the hand heats up. both from its own mill and from other used for small-batch, custom-made jobs. Although the company currently pur- sources. As Bill Keoskie explains, "We An operator turns every stick. A back- chases nylon tips for drumsticks from buy some hickory from lumber compa- knife lathe is the next oldest, with a outside sources, Vic and Bill are investi- nies that pre-cut and mill it—either in sander connected to cut and sand the gating the possibility of making them in- squares or dowels. We have the diversifi- sticks in one continuous operation. But house. "We have no problems getting cation to make sticks from whatever form sticks made on those lathes still need fur- nylon tips." Vic says, "There are several of lumber we can obtain, which is impor- ther machining to finally form the tips very good suppliers. The decision is not tant in order for us to keep our produc- and butts. The newest lathes are CP- based on supply; it's a matter of eight or tion flowing. That way if one source dries 500s, of which the company has six. A ten thousand dollars to get a tip operation up, we can go somewhere else to keep dowel goes in, and a fully-shaped stick set up. But we've been considering it for things up and running." comes out—with no additional machin- years. Our cost is now about twelve or fif- Combining economy with ecological ing steps necessary. This has facilitated a teen cents per tip, where it used to be two awareness, the company uses wood waste massive increase in production. The CP- or three cents. The excuse is that nylon is (sawdust, chips, etc.) for fuel in the dry- 500s also sand the sticks automatically, a petrochemical byproduct. We could do ing kilns, or sells it for packing material but the company does an additional sand- our own, either with a screw machine or or animal bedding. As this story went to ing step for further quality. injection molding, and we would take that press, Bill was researching the practicali- The process for lacquering the sticks is 15-cent cost and knock it down to three or four cents. We'd like to do that in the tip the same bulbous shape as the wood on the stick. That took a lot of figuring. hopes that it will afford us the luxury of tip, because the sound of the nylon is We got the most special glues you can lowering the price, or at least eliminating going to supersede the shape, whether imagine, but how you hold a nylon tip on a price change at some point. So we're it's perfectly round or not. In a wood tip, isn't all in the glue." looking at a long-term project. It would the subtleties of shape are more critical As automated as everything else is, amortize itself in a few years, so the pro- to the sound production. So our nylon every stick—whether it's a signature stick ject would be worthwhile—especially in tips are all essentially the same for an artist or a production model—goes light of the variety of tips that we use. shape—just different diameters and dif- through a silk-screening process that is "Currently, we design and spec out our ferent degrees of mass. The exception is hand-controlled. Bill explains the reason tips to the supplier. We don't try to make the spherical Omar Hakim tip. That cre- for this: "Silk-screening is very exact. We the tip the identical shape to the wood ated a lot of problems, because a spheri- could pad-print the sticks, but you can't tip, but we do try to make it proportional. cal tip allows for less penetration by the get the quality or the wrap-around. Other There's no need to make the Rock nylon shaft of the stick, and so is harder to keep people do hot-stamping, but there's a potential to lose sticks doing that. We grade out so many in the first place that we can't afford to lose more in the last operation we do—just putting the name on them. Doing them this way, if we goof up the labeling we can salvage the stick and do it over again." It would seem as though every possible aspect of drumstick production has been carefully considered and dealt with by the Vic Firth operation. However, as with any other, the drumstick-manufacturing business is not without its mishaps. In December of 1989, Kingfield Wood Products moved several operations into new and larger buildings, leaving the doweling operation, machine shop, and sawmill in their original locations. On March 1, 1990, those sections were destroyed in a major fire, leaving the company with no milling operation and no equipment with which to repair other machines. Without the sawmill, the com- pany had to buy all its lumber, pre-milled, from outside sources. As such, it lost its ability to control the quality of the wood supply. They also had to rely on outside sources for much of their machining. As Bill puts it, "Big mistake! The quality was not there." It was only as of October, 1990 that everything was back up to full opera- tion. Shipping and Quality Control

At the close of each work day, the day's production run is boxed and trucked to the Vic Firth, Inc. offices in Dedham, Massachusetts, a suburb of Boston. This is where the sticks are processed for shipping to dealers and distributors around the world. It is also where Vic maintains his headquarters and oversees the business. Naturally, the question aris- es: Why locate the manufacturing opera- tion in Maine and the shipping operation well for us." "My accountant once told me," Vic in Massachusetts? Vic replies, smiling, What takes place at the Dedham offices comments, "that I take home $50,000 in "Because I can't get Bill to move to the is a sophisticated system of grading and 'firewood' every year. But I've made that city, and I don't want to move to the sorting the sticks that come in by the decision; I've never wanted to market a sticks. Seriously, to have a manufacturing truckload from the Maine factory. Quality line of 'seconds.' I've always used the line operation like the one we have in Maine control is a major issue for Vic. "As each that 'Rolls-Royce doesn't make seconds, located in Dedham would be impossible. box of sticks comes to us," he explains, so we don't either.'" You couldn't get that large a facility going. "it's labeled so that we know who sorted In addition to drumsticks, Vic has an On top of that, from a selfish point of the sticks at the plant, who rolled them, extensive line of keyboard mallets, tim- view, I live near Boston, and besides my and who turned them. Every step is cate- pani and bass drum sticks, and a new line work with Vic Firth, Inc. I play with the gorically registered and accounted for. of marching mallets and sticks. Several Boston Symphony Orchestra. I like being That way, if a problem or defect is discov- individuals in the Dedham area service able to commute from my home to either ered, we know from whence it came and these lines as "cottage industries" on a of my jobs. I'm able to get up to the facto- we can correct it. When it comes to ship- piece-work basis—cutting felt, stitching, ry in Maine every couple of weeks; more ping, every box is coded as to who did the sewing, etc. And they're kept busy. than that isn't necessary. What Bill does, sorting, when they did it, etc. It isn't so According to Vic: "It's amazing; in the he does far better than I could. The only much that we want anybody under a rep- course of a month, we send out more disadvantage is the one day it takes to get rimand, it's just a method of finding out timpani sticks than there are timpanists the sticks from Maine to Boston." where a problem lies and eliminating it." in the entire world. They've gotta be Why not bring the shipping operation After the sticks arrive in Dedham, they going to drumset guys and marching up to Maine, then? "I'm fussy enough," are rolled for straightness and sorted for corps. I've got a stick case with some tim- responds Vic, "that I want to keep my color variation. Most models will have a pani sticks I've had for 20 years, and it's nose on the shipping part of it every day. range of three or four different "colors" the same with all timpani players. We It would be more economical for me to within the natural wood finish; other don't break sticks, because we don't put ship from Maine; labor costs in the sticks can be spotty or have grain stripes. them through the abuse that other play- Boston area are out of sight. But we've The sticks are separated to make it easier ers do. So somebody else must be buying chosen to work this system out this way for the pairers to pair the sticks cosmeti- them—and lots of 'em!" for both our benefits. Between the 'citi- cally, as well as acoustically. There's also a While the construction methods for fied' approach to selling and the 'countri- box for absolute rejects, which is marked timpani sticks may be fairly old-fash- fied' approach to manufacturing, we have "firewood." Vic takes boxes of them home ioned, Vic has applied new approaches to the best of both worlds, and it's worked every day. stick designs. "Everybody used to have a stick where the mallet would go on from Then the pairer bounces the stick on a people around and not have to look over the top," says Vic, "and be held on the special surface in front of a microphone, their shoulders to make sure they're stick by a screw head, pin, or whatever. and the computer takes an average of the doing things correctly. We can only do For years I looked at that and thought that pitches to measure the resonant frequen- that because we're so small and concen- there had to be a way to put the head on cy of the stick. The computer files away trated, and we don't really have a huge the stick without all that threaded busi- both pieces of information, and assigns number of operations to do. We basically ness that tended to break. It never that stick a number in the rack. After do only one thing: drumsticks. To other occurred to anybody to put it on from the we've done 100 sticks, the computer companies, the way we work makes no handle end, and have the cap be a molded determines which sticks should be sense at all, but it works for us." part of the stick itself—which is the way matched for the closest match of both Putting Kelly Firth on the spot, I asked we now do it." pitch and weight to achieve the 'perfect her what her father's job description was. pair.' In some cases, a stick won't match Her diplomatic reply was, "Well, first and Pitch Pairing well with any other in that group of 100. It foremost it's coordinating the production, Vic has invested a tremendous amount will be held over to match up with one but it's really coordinating everything: of money and effort into the science of from the next group. In other cases, the advertisements, trade shows, endorse- pitch-pairing—the matching up of two computer rejects a stick outright. Even at ments—a lot of the endorsers will only individual drumsticks according to this point—which is the last stage in pro- talk to Vic—and dealing with people who weight, density, and resonant frequen- duction before the sticks are shipped— need advice. We get some great letters cy—to create Vic's trademark "Perfect we'll pull it out of the line for Vic's fire- from kids. They draw pictures, they send Pair." Neil Larrivee, who oversees the place." photos...and Vic takes care of all of them. sorting and shipping operations for the Vic adds, "We've worked the system up And sometimes he'll answer the phone, company, explains the process. to where we're now pairing up to 10,000 which surprises people. They'll say, 'Why "We have a sorting rack with 100 slots sticks a day. This system is not used by are you answering the phone?'" in it. Our pairer places each stick on a anybody else—and we've got five stations "Basically," says Vic, "I do nothing and scale tied into a computer. The computer doing it full-time." I do everything. If somebody wants a job has been pre-programmed with the exact Vic is tremendously proud of his opera- description of what I do, well...I do clean specs for the 'ideal' stick in this model, in tion and of the people who make it work. the toilets on Friday if they need terms of weight and pitch. The weight As he puts it, "The job description for it—among other things. But so does differential between any two sticks can be everybody here is probably only l/32nd of everybody else; it isn't just me. My name tremendous—especially in hickory. The an inch thick, but 14 feet square. We all is on the door and on the drumsticks, but scale reads the weight of the stick, and spread out. Everybody helps cover every- it's a team effort all the way." feeds the information to the computer. body else. That way we can easily shift

MD Trivia Winner Tom Kondra, of Rockaway, New Jersey, is the winner of MD's September '91 triv- ia contest. Tom knew that the Ludwig drummer whose "Pieces Of Eight" appeared exclusively in Modern Drummer was Neil Peart. In recognition of his win, Tom will receive a hand- engraved, limited-edition Ludwig Black Beauty snare drum, featuring a brass logo plate carrying the serial number 0002 and the signature of William F. Ludwig, Jr. The drum will also be supplied with a special wood-and-vinyl carrying case. The Phantom Regiment drumline in action Congratulations to Tom from Ludwig and Modern Drummer. the Madison (Wisconsin) Scouts (99.0, The Freelancers, of Sacramento, Snare Drum); Rell Fargue, of the California, scored an 86.4 (17.1 in drums) Cavaliers, Rosemont, Illinois (97.0, for tenth place, with a repertoire that fea- 1991 DCI Timpani); and Amy Putnam, of the tured Vaughn Williams' Hodie, Bartok's Bluecoats, Canton, Ohio (98.0, Individual Dance Suite, and their popular 1985 clos- Championship Keyboard). er of Bells. New to the "top 12" were the "Best Percussion Ensemble" went to Blue Knights, from Denver, Colorado, Results the Cavaliers, who scored a perfect 100 who scored an 87.7 (17.9 in drums) for Drum Corps International (DCI) dedi- with their performance of Square ninth place. With their contemporary cated its 1991 World Championships as Corners, a composition by David Samuels musical program, the Knights made a "A Patriotic Celebration" in honor of the commissioned especially for them. The strong impact both musically and visually. members of our armed forces. From a Santa Clara Vanguard won both the Bass In eighth place with a strong drum line Desert Storm veteran marching in one of Drum Ensemble and Cymbal Ensemble were the Crossmen, from Philadelphia, the finalist corps to the fireworks display categories, scoring a 96.0 and a 90.0, Pennsylvania. They scored 89.7 (18.8 in at the end of the finale, the 1991 edition respectively. drums) with a suite. of the Summer Music Games was truly a Thursday's quarter-final and Friday's The Madison Scouts scored a 92.0 spectacular salute to the military roots of semi-final scores were averaged together (18.2 in drums) for seventh place, per- the drum and bugle corps activity. to select the top twelve corps who would forming selections from the Broadway The week of competition (August 12 compete in the Saturday night finals. musical City Of Angels. The Cadets of through 16) took place in the Cotton That contest began with exhibitions by Bergen County, who were 1990's winners, Bowl and the Convention Center in the Class A-60 and Class A champions, placed sixth this year with a score of 93.7 Dallas, Texas, and included preliminary along with the U.S. Marine Drum & (18.5 in drums). Their "ABCs of Modern and finals for corps of various classes, Bugle Corps and The Dallas Brass (a American Music" included works by John and individual and ensemble competi- professional brass ensemble). Adams, Aaron Copland, and Leonard tions as well. The first corps in competition was the Bernstein. Class A-60 corps was won by The Sky Ryders, of DeSoto, Texas. Performing The Blue Devils, from Concord, Pioneer, from Milwaukee, Wisconsin, selections from Camelot before their California, scored a 93.8 (17.2 in drums) with a score of 86.0. Southwind, from "hometown" crowd, they scored an 82.9 for fifth place with their "Conversations Montgomery, Alabama, scored a 92.7 to (16.6 in drums) for twelfth place. In In Jazz" program. Fourth place went to win the Class A championship. eleventh place with a score of 84.4 (16.9 the Santa Clara Vanguard with a score of In individual competition, a new solo in drums) were the Bluecoats, with a pro- 94.4 (19.3 in drums) for their realistic percussion category of Multiple gram that included jazz and Latin perfor- interpretation of the Broadway musical Percussion was won by Sean Mireau of mances. (Their tenor drum line included Miss Saigon—including helicopter effects the Velvet Knights (Anaheim, California) lance corporal John Hord III, who was created with unmounted bass drum with a score of 84.0. The four "tradition- wounded in Kuwait. Having lost most of heads. al" awards went to: Lee Hansen, of the one foot and injuring the other, he still The Phantom Regiment placed third Phantom Regiment, Rockford, Illinois traded his crutches for marching shoes with a score of 95.4 (18.1 in drums) with (96.0, Multi-Tenor); Jovan Hawkins, of and "aged out" with his corps.) their program, "Phantom Voices." The musical selections included various oper- in existence was the Star of Indiana, from aisles in the stands, while the corps atic pieces, and included such touches as Bloomington. With a score of 97.0 (19.3 members who were "aging out" (at the tuned gongs and tuned frying pans! The in drums), Star finished a week of victo- age of 21) gathered at the front of the horns and drum line did a magnificent ries with the sweetest one of all. Their field to be recognized. The lights in the job of swinging the Maynard Ferguson performance of "Roman Images" fea- stadium went out as the twelve compet- arrangement of Pagliacci, and the crisp- tured music from Respighi's Pines Of ing corps filed in, while a dazzling fire- sounding snare line powered its way Rome and Roman Festivals. From the works display lit up the sky behind the through the drum solo while giant jingle opening musical fanfare to the stunning Cotton Bowl. After the announcement of sticks in the pit got the crowd clapping in visuals in the closer, Star captivated the the scores, all twelve horn lines played time. Although they didn't win the title, crowd with their difficult program. The "You'll Never Walk Alone." This was the the Phantom Regiment won the hearts of drum line complemented the music and best finale staged by DCI to date, and a the over 25,000 people in the Cotton the snare drummers even played small fitting tribute to "A Patriotic Celebra- Bowl. hand bells from the back of the field. The tion." Next year, the DCI Championships For the second straight year, the pit was split on both sides of the 50-yard return to Madison, Wisconsin, to cele- Cavaliers took second place with a score line, allowing the horn line to march brate the twentieth anniversary of DCI. of 96.3 (19.3 in drums). Their program, directly to the front and center of the Lauren Vogel entitled "The Cavalier Anthems: An field. During the second movement, four Advent Collection," included works by sets of marching bells creatively captured Samuel Barber, Benjamin Britten, John the original orchestral effect. A star for- Rutter, and Ralph Vaughan Williams. The mation in the drill could be briefly seen drum line was an integral part of a com- before the final formation of a cross plicated and fast-moving drill. formed on the field. Winning the 1991 DCI World The closing ceremonies featured the Championships in only their seventh year Marine Drum & Bugle Corps lining the from the shell by the patented Sonor The trigger measures only 3/16" in diame- Sonor Signature Hilite insulation system, select maple ter, permitting it to be mounted in any drumshells, rack and floor toms equipped convenient position on the edge of the Special Edition Kit with seamless Megahoops, and a Bubinga drumhead without altering the drum's wood exterior finished in high-gloss lac- acoustic sound. Offered as an option with quer. The kit comes equipped with the trigger is a rugged, reliable lug- Sonor's Protec hardware made from a mount for holding a high-quality 1/4" jack. special lightweight alloy for stability with Fishman Transducers, Inc., 5 Green low weight. HSS, Inc., Lakeridge Park, St., Woburn, MA 01801, tel: (617) 938- 101 Sycamore Dr., Ashland, VA 23005. 8850, fax: (617) 932-6633. Fishman Purple Third Foot Microdot Trigger Hi-Hat Lock Fishman Transducers' new Purple Capitol Products has recently introduced Microdot drum trigger delivers a much The Third Foot—a patented hi-hat locking hotter "spike" and much faster rise time device for double bass drummers. The key Sonor drums recently unveiled the new than conventional triggers, according to feature of the device is a retraction/ Signature Series Special Edition drumkit. the company. The fast transient response release cylinder connected at the bottom New innovations have been added to makes the Microdot ideal for use with to a horseshoe-shaped piece—the actual Sonor's already top-of-the-line Signature "smart" MIDI interfaces such as the "Third Foot." This piece rests flat on top features, including drum mounts isolated Aphex Impulse and the KAT midiK.I.T.I. of the joint connecting the hi-hat pedal to the cymbal support rod. "go on the road" and can be performed in As a result, when a Exercise Video a small area. For further information or to drummer presses the order, contact Richard Norris, M.D., 12 Third Foot pedal, the hi- For Musicians Whitney Ave., Cambridge, MA 02139. hat pedal is automatically Dr. Richard Norris has just released a activated, locking the hi- video entitled Therapeutic Exercise For hat cymbals closed. De- Musicians. In it, Dr. Norris presents a Aquarian Offers press the Third Foot basic balanced exercise program includ- again, and the hi-hat is ing warm-ups, stretching, strengthening, Hi-Fi Earplugs released. As opposed to breathing, and non-impact aerobic condi- Aquarian Accessories is now offering drop-lock clutches that tioning. Of note are instrument-specific E.A.R. Hi-Fi Earplugs through the Pro close hi-hat cymbals only exercises with particular goals, such as Drummers Club. As opposed to all-pur- under their own weight, stretching chest muscles that become pose or shooters' earplugs, these patent- the Third Foot can apply tight with keyboard playing, or other ed plugs were designed for musicians a variable amount of compensation strengthening and stretch- only. According to the manufacturer, they pressure on the closed ing exercises for lateralized instrument attenuate all frequencies evenly for a cymbals, according to the players (such as violin, guitar, or flute). more accurate, natural sound. A special drummer's desires. For Many of these may also be applicable to triple-flange design makes them more further information, contact the licensing specific problems experienced by drum- comfortable to wear, even for long peri- agent, Technology Licensing Consul- mers. ods. Aquarian Accessories, 1140 N. tants, Inc., Convention Tower, 960 Dr. Norris collects his material from Tustin Ave., Anaheim, CA 92807. Penn Ave., Pittsburgh, PA 15222, tel: various sources, including Yoga, Tai Chi, (412) 261-4915. dance, and orthopedics. The program can ers, felts, lug bolts, etc.) and custom Gibraltar Percussion drum parts to the latest cymbal and per- cussion mounting products. Also includ- Service Center Catalog ed is a wide variety of drum rack clamps Kaman Music Corporation, distributor of and accessories. All Service Center prod- Gibraltar Hardware, recently released the ucts are individually packaged and avail- Gibraltar Percussion Service Center able through most retail dealers. For a Catalog. The catalog contains photos and free catalog and price list, write to descriptions of over 150 items, ranging Gibraltar, c/o Kaman Music Cor- from high-use accessories (snares, wash- poration, P.O. Box 507, Bloomfield, CT 06002. Buyer's Guide Errata We'd Tike to correct a few errors made In October's special Buyer's Guide issue. First, in the Product Reference Chart, the price for Impact's Double Kick Pedal Bag in the Impact II series is $88 (not $116, as shown). Second, in the Manufacturers Directory, the correct street name for GMS Drums is Louis (not Lovis, as shown). And finally, also in the Directory, we inadvertently omitted the entry for Deven Chase drumsticks. Their address is Deven Chase, Inc., 188 Bessemer St., Tarentum, PA 15084.

LARS ULRICH PLUS: BILLY HIGGINS FROM THE PAST: ZUTTY SINGLETON COLUMNS BY JOE MORELLO DAVID GARIBALDI EMIL RICHARDS HIGHLIGHTS OF MODERN DRUMMER'S FESTIVAL WEEKEND '91

ADVERTISERS INDEX

ADVERTISER PAGE NUMBER ADVERTISER PAGE NUMBER ADVERTISER PAGE NUMBER ABK Rocks 98 HQ Percussion Products 76,82 PureCussion, Inc. 80 Aquarian Accessories 99 Horrigan Drum School 93 Remo 97 Institute of Music 67 Innovative Specialties 78 Rhythm, Tech, Inc. 43,48 Atlanta Pro Percussion 111 Kansas City Drumworks 107 RimSHOT Drumsticks 71,109 Audio Technica 100 KAT, Inc. 83 Roc-N-Soc 110 Bison Drum Co. 10 L.T. Lug Lock 93 Royce Percussion 107 Calato/Regal Tip 17 Latin Percussion, Inc. 89 Sabian 70,99,101,103,105 Cappella Drumsticks 110 Ludwig Industries Inside Front Cover Sam Ash Music Stores 90 CMP Records 67 Mapex Percussion 69 Sapphire Percussions 111 Corder Drum Co. 71 MD Festival T-Shirt 104 Shure 63 Custom Drum Shop 107 MD Holiday Subscriptions 68 Slap Happy Productions 91,93 DCI Music Video 113 MD Sound Supplement Collection 92 Slobeat Musical Products 112 Dopple, Inc. 116 MD & Yamaha Drum Rig Giveaway 64/65 Sonor 58/59 Drum Doctors 93 Modern Drummerware 18/19 Suncoast Music Distributing 106 Drum Workshop 38/39 Mechanical Music Corporation 43 Super Gloss/Sam Barnard 93 Drummers Collective 70 Meinl 90/91 Tama 79,81,117 Drums on Sale 116 Music Dispatch 102 Taw Sound Co. 112 Drumstix 116 Music Tech 96 The Drum! 82 Duratech 106 87 Thoroughbred Music 10,93,109, 112,116 Evans Products 1 Noble & Cooley 76 UDU Drums 10 Falicon Design 10 Paiste 44/45,77,120 Voter Percussion 57,112,116 Fork's Drum Closet 82 Pearl Corporation 49,50/51,118 Vic Firth, Inc. 7,78 Gibraltar/Kaman Music Corp. 13 Precision Drum Co. 116 Waddell's Cymbal Warehouse 112 Glenn Weber Drum Studio 116 Premier Percussion 5 XL Specialty Products 80 Gorilla Snot 93 Proscenium Enter. 107 Yamaha 11,48 Gretsch Inside Back Cover Pro-Mark 72/73 Zildjian 14/15,Outside Back Cover

Top View