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VOL. 4 NO. 3 FEATURES: CARL PALMER As a youngster, Carl Palmer exhibited tremendous drumming ability to audiences in his native England. Years later, he ex- hibited his ability to audiences world wide as one third of the legendary Emerson, Lake and Palmer. With the breakup of E.L.P., Palmer has expanded in new directions with the forma- tion of his own band, P.M. 12 BILL GOODWIN Bill Goodwin has played with a variety of musicians over the years, including Art Pepper, George Shearing, Mose Allison and currently with Phil Woods. Goodwin discusses the styles and demands of the various musicians he worked with. And though Goodwin is a renowned sideman, he is determined to branch out with some solo projects of his own. 22 DEREK PELLICCI Derek Pellicci of the successful Little River Band, speaks candidly about his responsibilities with the band versus his other love, session work. Pellicci is happiest creating under studio session pressure. The drummer also discusses the impor- tance of sound in regards to the drums and the care that must go into achieving the right sound. 28 THE GREAT JAZZ DRUMMERS: SHOP HOPPIN' AT DRUMS PART I 16 UNLIMITED 30 MD'S SECOND ANNUAL READERS POLL RESULTS 24 COLUMNS: EDITOR'S OVERVIEW 2 DRIVER'S SEAT Controlling the Band READER'S PLATFORM 5 by Mel Lewis 42 ASK A PRO 6 SHOP TALK Different Cymbals for Different Drummers IT'S QUESTIONABLE 8 by Bob Saydlowski, Jr 46 ROCK PERSPECTIVES SLIGHTLY OFFBEAT Odd Rock, Part 2 Pioneering Progressive Percussion by David Garibaldi 32 by Cheech Iero 50 JAZZ DRUMMER'S WORKSHOP DRUM SOLOIST Getting It Together With the Bass Player Elvin Jones Transcription by Rusty Jones 34 by Robert Kaufman 64 DRUM MARKET THE CLUB SCENE 66 The Drummer as Entertainer INDUSTRY HAPPENING 69 by Rick Van Horn 38 JUST DRUMS 70 STAFF: EDITOR-IN-CHIEF: Ronald Spagnardi FEATURES EDITOR: Karen Larcombe ASSOCIATE EDITORS: Mark Hurley Paul Uldrich MANAGING EDITOR: Michael Cramer ART DIRECTOR: Tom Mandrake PRODUCTION MANAGER: Roger Elliston ADVERTISING DIRECTOR: Jean Mazza Before we jump into June/July's exciting issue, I'd like to take a moment to clear up an item which apparently has caused a slight problem ADMINISTRATION: Isabel Lori for a good friend of Modern Drummer. Ann Lambariello In our October-November, 1979 issue we ran a close-up on the Syndrum. The story itself was completely accurate as written by MD's DEALER SERVICE Susan Alexander, however, the editors extend their apologies to Joe MANAGER: Carol Morales Pollard for any wording on the contents page of that issue which may have led one to believe that Mr. Pollard was not the primary force in the CIRCULATION: Leo L. Spagnardi development of the Syndrum. Marilyn Miller On with June/July. Carl Palmer was an artist we pursued for many Maureen Politi months. Palmer does not readily grant interviews and wanted to be completely familiar with the kind of story we do on major rock artists before consenting. However, we finally did get a fine interview with one MD ADVISORY BOARD: of rock's most prolific artists; a story well worth waiting for. Michael Rozek's profile of Bill Goodwin highlights the extreme Henry Adler Mel Lewis versatility of a drummer who has been in a variety of diverse musical Carmine Appice Peter Magadini situations ranging from Phil Woods to Jefferson Airplane. Horacee Arnold Mitch Markovich And Australian drummer, Derek Pellicci of the Little River Band Louie Bellson Butch Miles among many enlightening comments, makes an interesting case for the Roy Burns Joe Morello importance of cultivating respect for your instrument. Jim Chapin Charley Perry This issue also contains the first installment of MD's four part series on Billy Cobham Charlie Persip The Great Jazz Drummers. We've begun by examining the roots of jazz Joe Corsello Joe Pollard drumming within the parade bands of New Orleans, and have taken it Les DeMerle Arthur Press through its subsequent development in the Storyville district and on the Len DiMuzio Paul Price riverboats north to Chicago. The evolution of the instrument is traced Charlie Donnelly Ed Shaughnessy through the biographies, photos and music of the pioneering drummers Sonny Igoe Lenny White who were the start of it all. We think you'll find this special series an Don Lamond education in itself. Finally, the results are in on MD's Second Annual Readers Poll. As usual there were some surprises, a few upsets and a percentage of the MODERN DRUMMER Magazine (ISSN 0194- voting remained similar to last year. The poll reflects the opinions of 4533) is published bi-monthly, February, April, June, August, October and December thousands of enthusiastic MD readers, and we thank you for taking the by Modern Drummer Publications, Inc., 1000 time to voice your opinions. Each of the winners you've selected will Clifton Avenue, Clifton, NJ. 07013. Applica- receive MD's personally inscribed gold plaque. We extend our personal tion to mail at Controlled Circulation Postage congratulations to the winners of this year's poll, with special mention of Rates is pending at Clifton, NJ. 07015 and at Buddy Rich who this year joins Gene Krupa as a member of Modern Richmond, Virginia 23219. Copyrighted 1980 Drummer's Hall of Fame. by Modern Drummer Publications, Inc. All rights reserved. Reproduction without the permission of the publisher is prohibited. SUB- SCRIPTIONS: 59.95 per war, $19.00, two years,. Single copies $2.00. MANUSCRIPTS: Mod- ern Drummer welcomes manuscripts, how- ever, cannot assume responsibility for them. Manuscripts must be accompanied by a self- addressed stamped envelope. CHANGE OF ADDRESS: Allow at least six weeks for a change. Please provide both old and new ad- dress. MUSIC DEALERS: Modern Drum- mer is available for resale at bulk rates. Direct correspondence to Modern Drummer Publi- cations, Inc., 1000 Clifton Avenue, Clifton, NJ. 07013. (201) 778-1700 POSTMASTER: Send form 3579 to Modern Drummer, 1000 Clifton Avenue, Clifton, NJ. 07013. hired for swinging, tastefully backing soloists and propelling the band. Maybe the truth isn't always where we look for it. EDITOR'S NOTE: In our February / Mr. Spector's views on rudiments in March issue, we published an article by the February/March issue have a lot of TOBY MCINTOSH guest columnist Stanley Spector, enti- truth, but isn't he flogging a dead horse? AFTON, OK tled "Challenging the Rudimental Sys- My first teacher, Gus Tobias, told me tem." back in 1935: "The rudiments are good I recently attended a drummer's sym- We received so many letters, both pro for your hands, but when you play with a posium at which Colloquium III per- and con in reaction to this article, that band, you must play musically." Shortly formed. The pieces they performed were we decided to devote a fair portion of after that, I read the "Harry A. Bower brilliantly executed and well written. Reader's Platform to these letters. Un- System," published in 1911, that we Horacee Arnold wrote the music for fortunately, we could not print all of should, "Eliminate all superfluous beats, drum set in an effort to convey the art of them, but we appreciate the interest of rolls and flourishes together with the old a listening drummer in modern jazz mu- everyone who wrote expressing their crude methods and ideas." sic. Mr. Arnold's talent however, did not views. No one puts down the Model T Ford stop there. He is an excellent clinician because it is not adequate for present and a concise communicator of musical day travel. But most of us recognize it as ideas. A personal conversation with Ho- being an important first step in the devel- racee proved more enlightening than opment of the automobile. three months of intensive drum study. In response to Stanley Spector's, I agree that Krupa, Rich, Bellson and "Challenging the Rudimental System," Ludwig should have known better than I'd like to say that it's possible to be- to perpetuate the rudimental myth, but it come a jazz or rock drummer without ROCCO PIZZOLLO was how they learned and the only way FREEHOLD, NJ rudimental training, but all the good jazz they knew to get a student to develop his and rock drummers have had that rudi- hands. mental training, finding that it especially Stanley Spector's article was so in- helped their hand technique. telligently written, I almost didn't realize As for the bass drum and hi-hat, I have ROBERT B. STUART how angry I was. While his challenge is no idea what Mr. Spector was trying to WASHINGTON, D.C. creative and fresh, he failed to mention bring to the readers' attention. Bass that while the rudiments may not have a drum and hi-hat development require dif- direct effect on jazz drumming, they do ferent approaches. serve to develop stamina, control, dy- Rudiments are not the end all to the I'd like to make a brief comment re- namics, clean execution, direction and development of a well rounded drum- garding Stanley Spector's, "Challenging discipline for practicing and probably a mer, but do serve as a good foundation the Rudimental System." better understanding of percussion and for development. They can be quite help- The rudiments are as basic to drum- music in general. ful for getting your ideas from your head ming as scales are to piano playing. In his tirade against the outdated to your hands. Mr. Spector, who is able to name drop methods of Krupa, Rich and Ludwig, Granted, the rudimental system is 111 a whopping three students is in no posi- Spector himself gets outdated and lost in years old, but I contend that just because tion to refute the teaching methods of a 1942 time warp.

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