FEATURES: GENE KRUPA VARI-PITCH SYNDRUMS MICHAEL This special tribute issue The inventor of Pearl's Electronic wizards Joe SHRIEVE honors the legendary Vari-Pitch, Randy May, Pollard and David William- At 17, Michael Shrieve Gene Krupa. A master discusses the instrument son designed the unique became the drummer for of the instrument, Krupa and its obvious ad- and increasingly popular the innovative group created a respectable vantages for drummers. Syndrum. The two relate Santana. Shrieve gained place in the music world Photographs of the oscil- the difficulties getting much acclaim for his for drummers. We've loscope used to test Vari- a new product on the drumming prowess and pointed out the high- Pitch sound waves are market, and why drum- discusses his approach to lights of Krupa's suc- also a part of this special mers will find the Syn- drums. Shrieve also ex- cessful career (which report. 28 drum a welcome addition plains his reasons for spanned nearly five de- to their set-up. 29 leaving Santana and cades) in words, pictures eventually forming his and musical transcrip- own group, Patterns. 30 tions. 12 COLUMNS: EDITOR'S OVERVIEW COMPLETE PERCUSSIONIST READERS' PLATFORM Interpretating Marches by David L. Codrey ASK A PRO TEACHER'S FORUM IT'S QUESTIONABLE Finding the Right Teacher JAZZ DRUMMER'S WORKSHOP: by Peter Magadini Foundational Studies for Ride Cymbal Technique PRINTED PAGE by Ed Soph SOUTH OF THE BORDER ROCK PERSPECTIVES Brazilian Percussion Developing Hand/Foot Coordination by Norbert Goldberg by David Garibaldi DRUM MARKET DRIVER'S SEAT More on Phrasing INDUSTRY HAPPENINGS by Butch Miles IN MEMORIAM JUST DRUMS STAFF: EDITOR-IN-CHIEF: Ronald Spagnardi FEATURES EDITOR: Karen Larcombe ASSOCIATE EDITORS: Cheech Iero Paul Uldrich MANAGING EDITOR: Michael Cramer ART DIRECTOR: Tom Mandrake PRODUCTION MANAGER: Roger Elliston Gene Krupa was once quoted as saying: "I'm happy I succeeded in doing two things; I made the drummer a high priced guy, and I was able ADVERTISING DIRECTOR: Jean Mazza to project enough so that I could draw more people to jazz." Without a doubt, an unpretentious opinion of a musical contribution which was ADMINISTRATION: Isabel Lori considerably more extensive than Gene chose to give himself credit for. Ann Lambariello Prior to Gene Krupa, the drummer was not nearly as respected a musician as he is today. Outside of basic timekeeping and supplying DEALER SERVICE background novelty effects, the role of the drummer had never been clearly MANAGER: Carolyn Padner defined. The potential of the instrument hadn't been fully realized. Krupa changed all this. He gave the drummer an identity. He transported CIRCULATION: Leo L. Spagnardi the instrument from the shadowy background to the center stage spotlight. Marilyn Miller And in the process, the drummer was given his opportunity to be a star, Nancy Schuller a leader, a key member of every musical aggregation that was to follow. Few drummers haven't been influenced in some way by Krupa's playing. His drumming concepts, passed down from one player to another, are actually a part of us all. His 1979 nomination to the Modern MD ADVISORY BOARD: Drummer Hall of Fame was still another indication of the respect and admiration drummers of all ages have for Gene Krupa. Henry Adler Mel Lewis Surely there's not a percussion manufacturer or music publisher Carmine Appice Peter Magadini in existence who doesn't owe a debt of gratitude to Krupa. The development Horacee Arnold Mitch Markovich of the modern day drum set as we know it was certainly a result of the Louie Bellson Butch Miles influence Gene had on the evolution of the entire percussion industry. Roy Burns Joe Morello An influence which was indeed far-reaching and all encompassing. Jim Chapin Charley Perry This issue has been on the drawing board for the past six months. Billy Cobham Charlie Persip We've tried to capture the essence of the man and his music through words Joe Corsello Joe Pollard and pictures. Along with a career profile, we've included a discography, Les DeMerle Arthur Press several transcriptions, a look at the small group years, Gene's personal Len DiMuzio Paul Price thoughts on drumming, and comments from musical figures who knew Randy Hess Ed Shaughnessy and loved him. Sonny Igoe Lenny White Whenever a publication undertakes a project of this magnitude, Don Lamond there are many people to thank: Roy Anderson of the Gene Krupa Jazz Association, the staff of the Rutgers University Jazz Institute, Peter Mallon, Henry Adler and Cozy Cole. And special thanks to the late MODERN DRUMMER Magazine (ISSN Roy Knapp, dean of drum instructors and loyal supporter of the Krupa 0194-453311 is published bi-monthly. February. legacy, who passed away just prior to the release of this issue. Finally, April. June. August, October and December by mention must go to MD's Features Editor Karen Larcombe who Modern Drummer Publications, Inc., 1000 Clif- ton Avenue, Clifton. NJ. 07013. Second class was responsible for coordinating the entire project. As coordinator, she postage paid at Clifton, NJ. 07013 and at ad- researched scores of sources, wrote tons of letters, made hundreds of phone ditional mailing offices. Copyrighted 1979 by calls and weeded through piles of photographs to move this issue from Modern Drummer Publications, Inc. All rights a concept to the finished product. Also, the credit for our original reserved. Reproduction without the permission cover art design goes to Tom Mandrake, MD's new and very talented of the publisher is prohibited. SUBSCRIP- Art Director. TIONS: 59.95 per year. $19.00. two years. I never had the privilege of meeting Mr. Krupa, a fact I deeply regret. Single copies $1.75. MANUSCRIPTS: Modern However, during my years as editor of MD, I have had the opportunity Drummer welcomes manuscripts, however, can- to associate with many musicians who knew him well. The consensus of not assume responsibility for them. Manu- scripts must be accompanied by a self-addressed opinion has never wavered; friendly, serious, dedicated, self-disciplined, a stamped envelope. CHANGE OF ADDRESS: total musician. Gene was a man obviously respected by everyone he came Allow at least six weeks for a change. Please in contact with. Though I never knew him, I think it's apparent that provide both old and new address. MUSIC had it not been for Gene Krupa, there probably would not have been DEALERS: Modern Drummer is available for a reason for the existence of the publication you're reading at this moment. resale at bulk rates. Direct correspondence to In light of this, MD dedicates this issue in its entirety to the memory of Modern Drummer Publications. Inc., 1000 Clif- Gene. A man especially important to me, as he should be to each ton Avenue, Clifton. NJ. 07013. (201) 778-1700 and every one of us. POSTMASTER: Send form 3579 to Modern Drummer. WOO Clifton Avenue. Clifton. NJ. 07013. I have been waiting to write this letter with hopes that possibly you would rectify the situation, but since you haven't, I am com- pelled to write. I am speaking of Keith Moon, the late drummer for the Who. You have failed to mention him since his death in the fall of last year. Moon was a pioneer in rock drumming. He lifted the drummer's role from a timekeeper only, to that of a creative, musical voice in the I enjoyed the interviews with Bernard Pur- I was thrilled to hear of a Gene Krupa band. He was a stylistic performing in- novator, whose playing brought the rock die, Grady Tate, Herb Lovelle and Ralph commemorative issue. I'm sure many MacDonald in your May/June issue. All drummers will appreciate what you are do- drummer into the limelight. Listen to his the articles were top rate. After having ing to make available past impressions of work on Tommy, or early singles like "I read the entire magazine, I still find myself maybe the most important single man in Can See For Miles." These works, as well picking it up every now and then and re- drumming history. as his other studio and live work with the Who attest to his creative genius. As a reading all of the material. I know now I'd like to relate an experience I had drummer and a fan, I feel a great debt to that in the future I'll always look forward with Mr. Krupa in the fall of 1963 when I him for the musical inspiration, entertain- to the upcoming issue of your magazine. was a senior in high school in a small ment and listening enjoyment he provided JODY ROBERTSON Missouri town. Gene Krupa was to appear me and his countless fans. I feel that your HURST, TX at the Crystal Palace in Gas Light Square. failure to mention Keith Moon's death was I hitched to St. Louis to see Gene Krupa a gross oversight (which I hope it was). and saw a good show with Charlie Ven- LEE NEGIN tura on sax. After the show, Gene dis- appeared behind a curtain and so I hopped WEBBERVILLE, MI on stage to follow him. The stage manager tried to stop me. Gene heard us shouting on the stairs and told the stage manager to let me in. I couldn't believe it, I was ac- tually going into Gene Krupa's dressing There are so many variables to drumming room. He was very nice and he wanted me that it is truly frustrating at times. Pedals, to know I was welcome and that he wasn't cymbals, heads, sticks, drums, stands, just going to throw me out.