February 1987
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VOLUME 11, NUMBER 2 COLUMNS Features Cover Photo by Ebet Roberts EDUCATION LISTENERS' GUIDE by Butch Miles and Mark Herndon 38 ELECTRONIC INSIGHTS Multi-Instrument MIDI Percussion Systems by Jim Fiore 42 JAZZ DRUMMERS' WORKSHOP Creative Triplets For The Advanced Player: Part 1 by Mark Hurley 46 SOUTH OF THE BORDER Latin Drumset Beats by Glenn Weber 54 ROCK PERSPECTIVES A Real Job by Neil Peart 58 STRICTLY TECHNIQUE Hand-To-Foot Coordination by Glen Bush 80 DRUM SOLOIST Elvin Jones: "Cross Purpose" by Ted Moore 82 DRIVER'S SEAT Maintaining The Flow: Part 1 Photo by Ebet Roberts by Chuck Kerrigan 84 CONCEPTS ANTON FIG Teaching By Intimidation Taking over the drum chair on Late Night With David by Roy Burns 102 Letterman has suddenly given Anton Fig a lot of exposure, but CLUB SCENE his credits on records by such artists as Mick Jagger, Cyndi Dealing With House Equipment Lauper, and Kiss prove that he's more than just an overnight by Rick Van Horn 104 sensation. by Robert Santelli 16 EQUIPMENT JOBBING DRUMMER Setups For The Jobbing Drummer CONNIE KAY by Simon Goodwin 68 Best known for his work with the Modern Jazz Quartet, PRODUCT CLOSE-UP Connie Kay has also worked with Benny Goodman and CB-700 Rack Systems Cannonball Adderley, and even drummed on a number of by Bob Saydlowski, Jr 108 early rock 'n' roll records. by Jeff Potter 22 PROFILES PORTRAITS Barrett Deems JERRY KROON by Tracy Borst 34 Although breaking into the Nashville scene can be difficult, UP AND COMING Jerry Kroon's work with Reba McEntire, Terri Gibbs, and Gary Wallis Ricky Scaggs proves that he had what it took. by Claudia Cooper 62 by Robyn Flans 26 NEWS UPDATE 6 NEW YORK'S HIGH DEPARTMENTS SCHOOL OF THE ARTS EDITOR'S OVERVIEW 2 MD explores the percussion program at the school upon which READERS' PLATFORM 4 the TV show Fame was based, and whose alumni include Billy ASK A PRO 10 Cobham, Susan Evans, Steve Jordan, Kenny Washington, IT'S QUESTIONABLE 12 and Buddy Williams. DRUM MARKET 90 by Rick Van Horn 30 JUST DRUMS 110 For months, rumors had been circulating on the things fell apart for Slingerland is not easy. We do condition of the Slingerland Drum Company. The know that it wasn't one problem that appeared first of these rumors began to reach our office overnight, but rather a series of events over a nearly a year ago, yet, no one could get a straight lengthy period, which ate away at the fiber of a answer or a clear evaluation of the situation. once successful company. Valiant attempts were Later, we learned that several firms were consider- made by Sanlar to lift the shadow that had been ing the purchase of the company, but up until very cast over Slingerland during the past few years, but recently, many of us in the industry had just about apparently, too much damage had already been written Slingerland off the books—that is, until up inflicted. Dwindling sales, inefficient service, a popped Fred Gretsch. Fred, owner of the Gretsch poor image, minimal advertising visibility, and a Drum Company, revealed that he had decided to soft acoustic market were problems that plagued purchase Slingerland in the hopes of breathing new Slingerland in an era of survival of the fittest. life into the floundering firm. Finally, time and good fortune just seemed to run Slingerland's history can be traced back to 1916, out, and a once superb reputation was not suffi- when H. H. Slingerland founded the Slingerland cient to keep this sinking ship afloat—until Gretsch Banjo and Drum Company in Chicago. Just appeared. before World War II, the company discontinued Of course, there's no guarantee that Gretsch can banjos to devote its full energy to drum manufac- revitalize a company that has been in poor shape turing. When Bud Slingerland, son of the founder, for a while now. Only time will tell. Slingerland became president, he soon established Slingerland had a great many serious problems, which did not Gretsch as one of the largest, most innovative drum com- win the company any favor among dealers who panies in the world. It was during Bud's reign that carried the line and the consumers who purchased the firm introduced the famous Radio King line, from them. However, the Gretsch people have Rescues and Slingerland endorsers included everyone from already been making the necessary moves for a Davey Tough and Sid Catlett, to Cozy Cole, Ray smooth transition, which entails moving all inven- McKinley, and Buddy Rich. And of course, the tory and equipment from Illinois to a 22,000- Slinger- presence of Gene Krupa behind Slingerland square-foot facility in South Carolina. A confident drums, first with Benny Goodman and later with Fred Gretsch claims that he's pleased to have the his own band, added prestige that was pretty hard company under his wing and to have the opportu- land to match during the heyday of the big bands. nity to keep Slingerland American-made. In 1970, Slingerland was bought by the MacMil- The reality of all this is that another great Amer- lan Publishing Company and remained under that ican drum legacy nearly slipped by us, leaving us banner until 1980, when it was purchased by music with only the remnants of a company that was once company entrepreneur Dan Henkin. Four years great. Not unlike Rogers Drums, which died a later, Slingerland reverted back to more of a fam- slow, painful death not long ago, the demise of ily type operation when it was purchased by the Slingerland would have marked the end of another Sanlar Company, who maintained ownership until era that, sadly, could never have been replaced. the recent Gretsch takeover. Modern Drummer extends its best wishes to Determining exactly where, when, and why Gretsch/Slingerland. PUBLISHER ADMINISTRATIVE DIRECTOR CONTRIBUTING WRITERS Ronald Spagnardi Isabel Spagnardi Susan Alexander, Chip Deffaa, Robyn Flans, Simon Goodwin, Jeff Potter, Teri ADMINISTRATIVE MANAGER ASSOCIATE PUBLISHER Ellen Corsi Saccone, Robert Santelli, Bob Saydlowski, Isabel Spagnardi Jr., Robin Tolleson, T. Bruce Wittet. ASSISTANT ADMINISTRATIVE MANAGER EDITOR Tracy Kearney MODERN DRUMMER Magazine (ISSN 0194- Ronald Spagnardi DEALER SERVICE MANAGER 4533) is published monthly by MODERN DRUMMER Publications, Inc. 870 Pompton Sharon M. Leary Avenue, Cedar Grove, NJ 07009. Second-Class FEATURES EDITOR CIRCULATION Postage paid at Cedar Grove, NJ 07009 and at Rick Mattingly Leo Spagnardi additional mailing offices. Copyright 1987 by Modern Drummer Publications, Inc. All rights Crystal W. Van Horn reserved. Reproduction without the permission of MANAGING EDITOR Denise Genna the publisher is prohibited. Rick Van Horn Agnes Joyce SUBSCRIPTIONS: $22.95 per year; $41.95, two SALES PROMOTION MANAGER years. Single copies $2.75. ASSOCIATE EDITORS MANUSCRIPTS: Modern Drummer welcomes Evelyn Urry manuscripts, however, cannot assume responsi- Susan Hannum bility for them. Manuscripts must be accompa- William F. Miller nied by a self-addressed, stamped envelope. MODERN DRUMMER ADVISORY CHANGE OF ADDRESS: Allow at least six EDITORIAL ASSISTANT BOARD weeks for a change. Please provide both old and Patricia Distefano Henry Adler, Carmine Appice, Louie new address. Bellson, Bill Bruford, Roy Burns, Jim MUSIC DEALERS: Modern Drummer is avail- Chapin, Les DeMerle, Len DiMuzio, able for resale at bulk rates. Direct correspon- ART DIRECTOR Charlie Donnelly, Peter Erskine, Danny dence to Modern Drummer, Dealer Service, 870 Gottlieb, Sonny Igoe, Jim Keltner, Mel Pompton Ave., Cedar Grove, NJ 07009. Tel: 800- David H. Creamer 221-1988 or 201-239-4140. Lewis, Larrie Londin, Peter Magadini, POSTMASTER: Send address changes to Mod- George Marsh, Butch Miles, Joe Morello, ern Drummer, P.O. Box 469, Cedar Grove, NJ Andy Newmark, Neil Peart, Charlie Perry, 07009. ADVERTISING DIRECTOR Paul T. Riddle, Ed Shaughnessy, Steve Kevin W. Kearns Smith, Ed Thigpen. ISSUE DATE: February 1987 STAYING IN SHAPE creative ability to convey a feeling of com- able to grasp the basic concepts upon Thanks for the great series "Staying In radery and support among drummers is which Joe has built his incredible tech- Shape: Tips From The Pros," in your enhanced throughout his writings. nique. What Joe has taught me with October and November issues. I'd like to I empathize with Roy's philosophy of respect to the drums has carried over into share a tip that has proven to really work the "natural approach" to playing and every other aspect of my life. for me. I've attached my Billy Gladstone instructing: setting the guidelines and then Joe's approach is truly a natural one practice pad to the handlebars of my sta- letting the students develop at their own based on logic and common sense. How- tionary bike. Not only does this help my pace in accordance with their individual ever, it is a departure from today's norm of chops, but it really keeps me pedaling away talents. Adhering to this idea—freely "same day service" and "overnight deliv- without getting bored at all. The coordina- expressing one's creativity on the instru- ery." His approach requires hard work, tion factor of using the feet and hands has ment—encourages a musical exchange of discipline, patience, and persistence. It really improved my independence, as well. ideas in any playing situation. It exposes requires goal-setting and it strives for I hope this idea proves useful to others. the student to the most natural and condu- excellence. These values can be of benefit Mike Roth cive method of playing, thus helping him to any person in any endeavor. Joe taught Jacksonville, FL or her to become not only a better player, me the importance of these things.