December 1988
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FEATURES CHAD 20 WACKERMAN His work with Frank Zappa and Allan Holdsworth has established Chad Wackerman as a drummer who can handle extremely complex music, while his playing with Albert Lee and Men At Work shows that he is equally comfortable with simple grooves. For Chad, the goal is to play each style convincingly. by Robyn Flans ALLAN 26 SCHWARTZBERG A typical day for a busy New York studio drummer in- volves a number of sessions and a variety of challenges. We followed Allan Schwartzberg around on one of those days for a revealing look at the real world of session drumming. Photo by Rick Malkin by Robert Santelli LIONEL 30 HAMPTON Known primarily for his pioneering use of the vibraphone, Lionel Hampton started out as a drummer, and his work on both instruments has contributed greatly to the history of jazz. Here, he traces his long career and discusses the importance of swing. by Burt Korall MD Trivia 88 Contest Win Rod Morgenstein's Premier drumset. Photo by Ebet Roberts COLUMNS VOLUME 12, NUMBER 12 EDUCATION ROCK 'N' JAZZ ROCK CHARTS CLINIC Leroy Clouden: Linear Drumming "Century's End" EQUIPMENT DEPARTMENTS by Gary Chaffee Transcribed by 36 James Morton SHOP TALK EDITOR'S 84 Vater Percussion OVERVIEW CONCEPTS by Adam Budofsky 4 Trusting Your Own THE MACHINE 80 Ideas SHOP READERS' by Roy Burns Recording Your PRODUCT PLATFORM 40 Drum Machine CLOSE-UP 6 by Steve La Cerra Yamaha Power V TRACKING 92 Drumkit ASK A PRO Odd Rhythms And by Bob Saydlowski, Jr. 14 Meters In TV And Film IN THE STUDIO 90 Cues Session Rehearsals IT'S by Emil Richards by Craig Krampf ELECTRONIC QUESTIONABLE 42 94 REVIEW 16 MacDrums JAZZ DRUMMERS' CLUB SCENE by Rick Mattingly DRUM MARKET WORKSHOP Stocking Stuffers II 96 102 "Erskoman" by Rick Van Horn by Peter Erskine 98 1988 READER'S 1988 INDEX 46 QUESTIONNAIRE UPDATE 96a DRIVER'S SEAT PROFILES 120 Solo Fills And Figures PORTRAITS by Gil Graham NEW AND Neil Grover NEWS 78 by Andrea Byrd NOTABLE 64 106 UPDATE 8 INDUSTRY HAPPENINGS 116 I recently reviewed the results of a nationwide A classic example stands out vividly in my poll conducted by The National Research Center memory. Some readers, old enough to remember, For The Arts. One segment of the poll examined may recall a place called Birdland in New York how young Americans are spending their leisure City. Despite its legendary status, Birdland was hours, and what forms of entertainment are most actually nothing more than a rather dingy base- popular. Interestingly, though live music events ment nightclub, with about as much atmosphere scored high in popularity, actual attendance fig- as a Burger King. And yet, hundreds of wide-eyed ures were down an astounding 26% since 1984. musicians would file down that narrow flight of The reasons for the decline ranged from a lack stairs into this literally underground establishment of time, to exhorbitant ticket prices, to a shortage seven nights a week. For a mere two-dollar admis- of performances in certain areas. However, the sion, you could sit for hours in the "Peanut Gal- strongest contributing factor was the increasing lery," not more then five feet from some of the popularity of CD's and VCR's, which apparently finest drummers of all time. Aspiring players would are being used nowadays as substitutes for live come from miles around to sit shoulder to shoul- entertainment. Evidently, a rather substantial per- der in that cramped "Gallery." But nobody cared. centage of young people are content to stay at We were there to watch, to listen, and to marvel home with their entertainment centers, rather than at the greatest drummers in the world. And that's The attend live music events. all that really mattered. It was a truly inspiring This trend seems to further indicate that today's learning experience. young musicians are making less of an effort to We do our best to enlighten you each month on see their favorite artists in live performance. And the styles and techniques of the great players of Live that doesn't strike me as being a particularly healthy our time. But reading about it is only one aspect. sign. Of course, there's obviously nothing wrong More important is to get out and see the players with purchasing the records and viewing the vid- you admire and wish to emulate, and absorb all Action eos. But, in truth, neither can ever really replace you can from their live performances in the con- being part of a live audience. We all learn best cert halls and clubs around the country. This is from careful, repetitive, close-up observation of most definitely one phase of the learning process the players we admire—something recordings and we should never overlook or underestimate. TV simply cannot provide. Observing the live ac- tion is an essential aspect of learning. EDITOR/PUBLISHER ADMINISTRATIVE MANAGER CONTRIBUTING WRITERS Ronald Spagnardi Tracy Kearney Susan Alexander, Robyn Flans, Simon Goodwin, Karen Elvin Pershing, Jeff Potter, Teri Saccone, Robert Santelli, Bob Saydlow- ski, Jr., Robin Tolleson, Lauren Vogel, T. Bruce Wittet. ASSOCIATE PUBLISHER ADMINISTRATIVE ASSISTANT Isabel Spagnardi Joan C. Stickel MODERN DRUMMER Magazine (ISSN 0194-4533) is pub- lished monthly with an additional issue in July by MODERN SENIOR EDITOR ADVERTISING DIRECTOR DRUMMER Publications, Inc., 870 Pompton Avenue, Cedar Rick Mattingly Kevin W. Kearns Grove, NJ 07009. Second-Class Postage paid at Cedar Grove, NJ 07009 and at additional mailing offices. Copyright 1988 by Modern Drummer Publications, Inc. All rights reserved. Repro- MANAGING EDITOR DEALER SERVICE MANAGER duction without the permission of the publisher is prohibited. Rick Van Horn Crystal W. Van Horn EDITORIAL/ADVERTISING/ADMINISTRATIVE OFFICES: Mod- ern Drummer Publications, 870 Pompton Avenue, Cedar Grove, ASSOCIATE EDITORS CUSTOMER SERVICE NJ 07009. William F. Miller Donna S. Fiore MANUSCRIPTS: Modern Drummer welcomes manuscripts,; Adam Budofsky however, cannot assume responsibility for them. Manuscripts must be accompanied by a self-addressed, stamped envelope. MAIL ROOM SUPERVISOR MUSIC DEALERS: Modern Drummer is available for resale at Leo Spagnardi EDITORIAL ASSISTANT bulk rates. Direct correspondence to Modern Drummer, Dealer Cynthia Huang Service, 870 Pompton Ave., Cedar Grove, NJ 07009. Tel: 800- CONSULTANT TO THE PUBLISHER 522-DRUM or 201 -239-4140. ART DIRECTOR Arnold E. Abramson SUBSCRIPTIONS: $24.95 per year; $44.95, two years. Single, Terry Kennedy copies $2.95. MODERN DRUMMER ADVISORY BOARD SUBSCRIPTION CORRESPONDENCE: Modern Drummer, PO A Member Of: Henry Adler, Kenny Aronoff, Louie Bellson, Bill Box 480, Mount Morris, IL 61054-0480. Change of address: Al- Bruford, Roy Burns, Jim Chapin, Alan Dawson, Dennis low at least six weeks for a change. Please provide both old and DeLucia, Les DeMerle, Len DiMuzio, Charlie Don- new address. Toll Free Phone: 1 -800-435-0715. nelly, Peter Erskine, Vic Firth, Danny Gottlieb, Sonny POSTMASTER: Send address changes to Modern Drummer, P.O. Igoe, Jim Keltner, Mel Lewis, Larrie Londin, Peter Box 480, Mt. Morris, IL 61054. Magadini, George Marsh, Joe Morello, Andy New- mark, Neil Peart, Charlie Perry, Dave Samuels, John Santos, Ed Shaughnessy, Steve Smith, Ed Thigpen. AIRTO, SPENCER, AND VELEZ and snare. Your article was very enlighten- with a magazine of your size and profile, Hooray for you guys! It's good to see a ing. I'm sure it will influence the thinking and publication keep its promises. When you Alex Menriquez behavior of both partners in the relation- announced that Modern Percussionist was Arlington WA ship. Thanks for your sensitivity to an issue to cease publication as of the September that affects us all. 1987 issue, I was very disappointed. I am a I can't thank you enough for publishing the Warren Price working percussionist with only a moder- Dave Tough article. It has been long over- President ate interest in the drumset, and I had greatly due. I am sure that many of the people you The Drum Shop enjoyed the features and columns contained feature in most of your issues are better Edmonton, Alberta, Canada in MP. So it was with some trepidation that schooled and have better chops than Davey I subscribed to Modern Drummer, based ever had. But while Dave wove magic car- TRIGGERS II CLARIFICATION on your assurance that MD would dedi- pets, these people drive piles. I know that's First off, I would like to thank all of you at cate a fair share of coverage to the percus- what the music industry requires these days, MD for the fine and most favorable article sion world. But I must say, in addition to and you are to be congratulated all the and review of our Drum Bug contact pickup columns you've already presented by Emil more for printing something that goes and Drum Bug DT-1 trigger in the Septem- Richards and Anthony Cirone, your Sep- against the common wisdom and features ber issue. tember issue—with its cover story on Airto a true drumming artist. Secondly, I would like to clear up some and profiles of both Julie Spencer and Glen Don Robertson possible misconceptions that Bob Saydlow- Velez—reaffirmed my faith in those assur- Brookside NJ ski, Jr. may have had at the time he wrote ances. Thanks very much for all the infor- the article. When using the Drum Bug con- mation on these excellent performers. BUDDY MILES tact pickup as a trigger on the bottom side Please continue to include such excellent Buddy Miles was a tremendous influence of the batter head, we do not ever recom- coverage of the non-drumset side of our on me as a young drummer in the late mend running the cable between the head fascinating percussive world.