VOL. 5 NO. 7 Cover Photo by Veryl Oakland CONTENTS FEATURES: SHELLY MANNE After making a name for himself in the Stan Kenton band, Shelly Manne went on to become a major figure in the West Coast Style of jazz. As a studio player he is known for his ability to play a wide variety of styles. In this exclusive MD interview, Shelly discusses his background, his varied experi- ences, and his melodic approach to playing drums. 10 TOMMY ALDRIDGE As a result of being forced to stay in a band that he did not want to play with, Tommy Aldridge has learned the importance of dealing with the legal aspects of music as well as the creative aspects. He shares this knowledge with MD readers while discussing everything from his first drums to his current activi- ties. 14 JIM CHAPIN Although best known for his book, Advanced Techniques for the Modern Drummer, Jim Chapin has actually spent most of his time as a performer, rather than as a teacher. During his long career he has been involved with many different areas of music. He speaks of his experiences, and how he came to write what is often referred to as THE jazz drum book. 25 INSIDE: MILESTONE PERCUSSION 18 SHOP HOPPIN': CHARLEY DONNELLY'S A TRIBUTE TO BILLY GLADSTONE 20 DRUM CENTRE 32 NAZARETH'S DARRELL SWEET 28 COLUMNS: EDITOR'S OVERVIEW 2 PORTRAITS Reggie Smith ASK A PRO 4 by Dave Levine 68 READER'S PLATFORM 6 ROCK 'N' JAZZ CLINIC Ambidexterity—Part 1 IT'S QUESTIONABLE by Roberto Petaccia 72 by Cheech Iero 34 PRINTED PAGE 76 TEACHER'S FORUM Joel Rothman in London SHOP TALK Soundproofing the Practice Room by Bill Moody 36 by Steven J. Lake 79 ROCK PERSPECTIVES ELECTRONIC INSIGHTS "Playing Rock Music Is Not Dumb" Heavily Wired—Part II by David Garibaldi 44 by Vince Gutman 82 CLUB SCENE DRUM SOLOIST Miking Your Drums—Some Pros and Cons Jo Jones—Adlib by Rick Van Horn 46 by Richard Egart 86 ON TRACK 52 PRODUCT CLOSE-UP Gretsch Nighthawk II Plus DRUM MARKET 56 by Bob Saydlowski, Jr. 90 MALLETS JUST DRUMS Musical Development '81 NAMM Show Report by David Samuels 58 by Clint Dodd 96 STAFF: EDITOR-IN-CHIEF Ronald Spagnardi FEATURES EDITOR Rick Mattingly MANAGING EDITOR Scott K. Fish ASSOCIATE EDITORS Mark Hurley Paul Uldrich ART DIRECTOR Tom Mandrake Occasionally, problems arise with subscriptions. I'm hopeful most of ADVERTISING DIRECTOR those problems can be dealt with right here. Jean Mazza When you enter a subscription, please allow six to eight weeks for ASSISTANT ADVERTISING MANAGER your first issue. Do not send a second order. Our computer will simply Charlene David enter the second order and you'll receive two copies of each issue, ADMINISTRATIVE DIRECTOR along with another bill. Isabel Lori MD mails bills and renewal notices every two months. To avoid a ADMINISTRATIVE MANAGER second notice, you should mail your remittance within two weeks. If Ann Lambariello you delay, the computer assumes you haven't received notice, and will DEALER SERVICE MANAGER promptly send another. Of course, if you receive another notice after Carol Morales you've paid, the notice and your check probably crossed in the mail. CIRCULATION Disregard it. Leo L. Spagnardi If you begin receiving two copies, compare the mailing labels. You'll Ellen Urry see a difference. Even the slightest difference is significant to the com- SALES PROMOTION MANAGER puter. Send us both labels and tell us which is the correct one. Evelyn Urry Should your magazine stop coming altogether, we may not have re- ceived your payment or renewal early enough to avoid an interruption MD ADVISORY BOARD in service. Or, your issue may have been lost in the mail. Notify your Henry Adler, Carmine Appice, Horacee Ar- nold. Louie Bellson, Bill Bruford, Roy Burns, local post office, and if it occurs repeatedly, contact our Circulation Jim Chapin, Billy Cobham, Les DeMerle. Len Department. DiMuzio, Charlie Donnelly, Saul Goodman. If you've moved and haven't received your magazine, there could be Sonny Igoe, Jaimo Johnson, Don Lamond. several possible problems: we may not have received your change of Mel Lewis, Peter Magadini, Butch Miles. Joe address; you may have failed to supply us with your old address which Morello, Neil Peart, Charlie Perry, Charli enables us to change your record; we may not have received your new Persip, Joe Pollard. Arthur Press, Paul Price. address in time to change it prior to the mailing of the next issue. Paul Real, Paul T. Riddle, Ed Shaughnessy, If you've written us about a problem and didn't receive a reply, we Lenny White. probably solved the problem with the information you sent and no fur- CONTRIBUTING WRITERS ther correspondence was needed. We certainly want to give you good Susan Alexander, Rich Baccaro. Robert Carr, service, but we need your help and cooperation. Jim Dearing. Clint Dodd. Robyn Flans. Stan- October's MD is off to a rousing start with jazz master Shelly ley Hall. Harold Howland, Cheech Iero, Dave Manne. Widely acclaimed for his role in the development of fifties, Levine. Bruce Nixon, Michael Rozek, Mi- west coast "cool jazz," Shelly ranks high on the list of the most artis- chael Shore, Robin Tolleson, T. Bruce Wittel. tic and influential drummers of all time. And Tommy Aldridge, formerly of Black Oak Arkansas, gives some MODERN DRUMMER Magazine ASSN 0194- unique ideas on drumming, and also touches on the business of music 4533) is published 9 limes yearly, February, and the importance of legal advice for those caught up in the glitter April, May, June, July, August, October, and glamour of this big-money industry. November and December by Modern Drum- MD's Rick Mattingly brings two rather diverse interviews to this mer Publications, Inc., 1000 Clifton Avenue, Clifton, N.J. 07013. Second Class Postage month's issue: Darrell Sweet, the articulate Scotsman of Nazareth paid at Clifton, N.J. 07015 and at Richmond, fame, and author/teacher Jim Chapin, known the world over for his Virginia 23219. Copyrighted 1981 by Modern book, Advanced Techniques For The Modern Drummer. Published in Drummer Publications, Inc. All rights re- 1948, the Chapin book is now considered a drum classic and is among served. Reproduction without the permission one of the most important texts in contemporary drumming literature. of the publisher is prohibited. SUBSCRIP- 1981 marks the 20th anniversary of the death of drummer Billy Glad- TIONS: $15.95 per year, $28.95. two years. stone. In tribute. MD asked Billy's dear friend Ted Reed to pen the Single copies $2.00. MANUSCRIPTS: Mod- story of this drummer extraordinaire who gave so much to the drum ern Drummer welcomes manuscripts, howev- world. er, cannot assume responsibility for them. Manuscripts must be accompanied by a self- We've also visited Canada for a glance at Milestone Percussion, and addressed stamped envelope. CHANGE OF Newington, Connecticut for a Shop Hoppin' tour of Charlie Donnel- ADDRESS: Allow at least six weeks for a ly's, a busy, drum-collector's paradise. change. Please provide both old and new October rounds out with Roberto Petaccia on ambidexterity, Rick address. MUSIC DEALERS: Modern Drum- Van Horn on the do's and don'ts of clubdate miking, a look at the mer is available for resale at bulk rates. Gretsch Nighthawk II Plus, a visit with Joel Rothman in London, and Direct correspondence to Modern Drummer Steven Lake's ideas on soundproofing a drum studio. Publications, Inc., 1000 Clifton Avenue, Clif- Good reading, all in all. ton. N.J. 07013. (201} 778-1700. POSTMAS- TER: Send form 3579 to Modern Drummer, 1000 Clifton Avenue, Clifton. N.J. 07013. DANNY GOTTLIEB Q. Do you use charts in the studio with the Pat Metheny Group? If so, who writes them? Richard Santorsola Totowa, New Jersey PAUL T. RIDDLE Q. What kind of drums and cymbals do you play and what are the sizes? Gary Isola Sandusky, Ohio A. I endorse Pearl drums. I use a 22" bass drum, 8" and 10" concert toms, 12" and 13" shell-mounted toms, 14" and 16" floor toms, and a 14 x 6 snare drum. All PETER CRISS my cymbals are Zildjian: two 18" medi- um-thin crashes, a 22" medium ride, a Q. On your Out of Control album it 22" swish, and 15" Quick-Beat hi-hats. sounded like you used Deadringers on most of your songs, but not on all of them. Why? FREDDIE WAITS Doug Fuller Joplin, MO Photo by Lissa Wales A. I didn't actually use Deadringers. The way I muffled my drums was by taking a lot of tissue paper, folding it into a square, and taping it to whatever section A. By the time the Pat Metheny Group of my drum that seemed to ring a lot. I put gets to the studio, we've already played a couple of blankets in my bass drum for the music, usually for six months to one the good "thump" sound. On some of the year. We rarely use charts at all. When tunes we wanted to get a "live" sound, so we first rehearse a tune, everybody gets I took the mufflers off and made sure the same part. There's no drum music each head was tuned perfectly by check- per se, usually just the melody and ing the pitch at each lug. Plus, I had the chords. It most likely doesn't even re- drums on a wooden floor instead of on semble anything that was written on the carpeting. page by the time we get it done.