PETER CRISS FEATURES: At the pinnacle of Kiss' success, drummer Peter Criss re- cently decided to leave the band and embark on a new career with his own band. Off came the cat makeup—his trademark— and people got their first glimpse of the real Peter Criss. Criss is determined to prove that he can make it solo, and in this interview, talks at length about his reasons for leaving the security of Kiss for a new beginning—alone. 12 ROD MORGENSTEIN In recent years the popularity of the Dixie Dregs has surged. Rod Morgenstein, drummer for the Dregs, is a well schooled and very musical drummer who feels that, "You have to be thinking of ways to get as many sounds as possible out of the instrument you play . Always hit a different drum. Think of the drums as one of five instruments, as in this band, and what you can do to round out and complete what the others are playing." 24 RICK MAROTTA Studio drummer Rick Marotta has played for some of the top recording artists in the music industry. His much sought-after drumming style has enhanced the music of Linda Ronstadt, Jackson Browne, Paul Simon, Peter Frampton and countless others. Marotta stresses the importance of keeping good, solid time which explains for the success that he has encountered. Marotta also talks about his new venture—as drummer for the group Ronin. 30 GEORGE MARSH: EXPLORING A TRIBUTE TO JOHN BONHAM 20 28 16 REDISCOVERING HAWAIIAN DRUMS SELF AWARENESS COLUMNS: SLIGHTLY OFFBEAT EDITOR'S OVERVIEW 2 So You Want to Write a Drum Book? ASK A PRO 4 by Rich Baccaro 46 IT'S QUESTIONABLE 6 DRUM SOLOIST 8 "Calling Miss Khadija" READER'S PLATFORM by Doug Garrison 52 ROCK PERSPECTIVES PRODUCT CLOSE-UP Tom Toms Sonor XK925 Drum Kit by David Garibaldi 34 by Bob Saydlowski, Jr. 54 SHOP TALK DRUM MARKET 70 The Care and Feeding of Drums, Part III RUDIMENTAL SYMPOSIUM by Frank Kofsky 36 A Wake-up for Drum Sections 4 DRIVER'S SEAT by Nancy Clayton 7 Reading Charts SHOW AND STUDIO by Mel Lewis 38 A Conductor/Arranger Talks to Drummers by Laura Deni 78 THE CLUB SCENE Tips for the Singing Drummer, Part II JAZZ DRUMMERS' WORKSHOP by Rick Van Horn 42 Bass Drum Technique by Ed Soph 82 CONCEPTS INDUSTRY HAPPENINGS 92 Teachers, Studying and Learning 95 4 4 JUST DRUMS by Roy Burns STAFF: EDITOR-IN-CHIEF: Ronald Spagnardi FEATURES EDITOR: Karen Larcombe ASSOCIATE EDITORS: Mark Hurley Paul Uldrich MANAGING EDITOR: Scott K. Fish ART DIRECTOR: Tom Mandrake PRODUCTION This issue of Modern Drummer is the first of our new nine time pub- MANAGER: Roger Elliston lishing cycle. You'll see MD in April, May, June and July; one issue for ADVERTISING August/September and again monthly through October, November and DIRECTOR: Jean Mazza December to round out the year. A word to subscribers: Your subscription expiration dates are being ADMINISTRATIVE automatically adjusted by our computer. You'll still receive the correct DIRECTOR: Isabel Lori amount of issues due you, but you can expect to see your renewal com- ADMINISTRATIVE ing up sooner to adjust to the new frequency. We're expecting a smooth MANAGER: Ann Lambariello transition, but feel free to contact us should a problem arise with your DEALER SERVICE subscription. One of the Circulation Department people will be glad to MANAGER: Carol Morales help. What's up for '81? Well, the basic MD format will remain the same, CIRCULATION: Leo L. Spagnardi though you'll probably note an even wider assortment of feature articles. Ellen Urry For openers, Hal Blaine, Roger Hawkins, Simon Phillips, Steve Smith, Maureen Politi Harvey Mason, Alan Gratzer, James Bradley, Jr., Billy Kreutzmann MD ADVISORY BOARD: and Mickey Hart, Shelly Manne, Ed Blackwell and Terry Bozzio are just a few of the artists on the exclusive interview roster. We'll also investi- Henry Adler Mel Lewis gate the educational programs at Drummer's Collective in New York, Carmine Appice Peter Magadini and the Percussion Institute of Technology in LA; take a tour of one of Horacee Arnold Mitch Markovich the nation's major drum manufacturing plants; explore the world of four Louie Bellson Butch Miles Broadway show drummers in a roundtable discussion, and present com- Roy Burns Joe Morello prehensive reports on how to properly mike your drums, how to open a Jim Chapin Charley Perry drum shop, how to get your product idea on the market, and how to Billy Cobham Charlie Persip publish your drum book. We'll be looking at new drums, old drums, Joe Corsello Joe Pollard ethnic drums, and everything in between. And MD's diversified assort- Les DeMerle Arthur Press ment of specialized columns will continue to help you be the best you Len DiMuzio Paul Price want to be. Along with our standard roster, you can also look forward to Charlie Donnelly Paul Real guest columnists like Dave Samuels, Charley Donnelly, Vic Firth, Hal Sonny Igoe Paul T. Riddle Blaine and Alan Dawson, plus a few more surprises. Don Lamond Ed Shaughnessy We've started off the new year with ex-Kiss drummer, Peter Criss. On Lenny White his own after seven years in cat makeup, the all new Criss reflects on his CONTRIBUTING EDITORS: background and early drumming inspirations amidst an optimistic look to Susan Alexander, John Faraola, Robyn the future. Drummer Rod Morgenstein discusses jazz influences in his Flans, Norbert Goldberg, Harold Howland, musical career, and the role he's played in the overall success of the Cheech Iero, Larry Kanusher, Rick Mat- Dixie Dregs. And San Francisco based George Marsh, an accomplished tingly, Michael Rozek, Boh Saydlowski, Jr., player and teacher, takes an intelligent look at drums and drumming, Michael Shore, T. Bruce Wittet. enlightening us along the way with his own unique "inner approach." A MODERN DRUMMER Magazine ASSN 0194- part of the new breed of jazz rock oriented studio drummers, Rick Ma- 4533) is published 9 times yearly, February, rotta—whose been laying down hit making rhythm tracks for everybody April, May, June, July, August, October, No- from Carly Simon to Peter Frampton—reflects on life in the recording vember and December by Modern Drummer studios of New York. And MD's special, John Bonham: In Retrospect is Publications, Inc., 1000 Clifton Avenue, a fine collection of more than forty Bonham rhythmic transcriptions by Clifton, N.J. 07013. Controlled Circulation author James Morton in tribute to one of rock's most memorable players. Postage paid at Clifton, N.J. 07015 and at In the column department, Frank Kofsky concludes his three part Richmond, Virginia 23219. Copyrighted 1981 Care and Feeding of Drums series, and Bob Saydlowski, Jr., looks close by Modern Drummer Publications, Inc. All rights reserved. Reproduction without the up at the SonorXK925. There's Ed Soph on bass drum development, permission of the publisher is prohibited. SUB- Dave Garibaldi on toms, Roy Burns on drum teachers, Rick Van Horn SCRIPTIONS: $15.95 per year, $28.95, two on the singing drummer, and a challenging Art Blakey solo transcription years. Single copies $2.00. MANUSCRIPTS: by Doug Garrison. Modern Drummer welcomes manuscripts, You'll also find the Third Annual MD Reader's Poll ballot in this issue. however, cannot assume responsibility for Needless to say, your favorite players would like to have your votes. The them. Manuscripts must be accompanied by deadline is March 10th, so don't delay. Look for the exciting results in a self-addressed stamped envelope. CHANGE the June issue. OF ADDRESS: Allow at least six weeks for a change. Please provide both old and new address. MUSIC DEALERS: Modern Drum- mer is available for resale at bulk rates. Di- rect correspondence to Modern Drummer Publications, Inc., 1000 Clifton Avenue, Clifton, N.J. 07013. (201) 778-1700 POST- MASTER: Send form 3579 to Modern Drum- mer, 1000 Clifton Avenue, Clifton, NJ. 07013. Q: Are your snare drum tuning tech- niques different in the recording studio JACK DEJOHNETTE than they are in a live performance situa- Q. Why do you tune your drums so tion? high? Are they tuned to a specific note? Larry Kanusher Keith Demech Spring Valley, NY Atlanta, GA A: Yes, I think so. In a live performance A. Actually, my drums aren't really you can get away with more overtones tuned that high. They sound high in rela- BILL BRUFORD and more harmonics than you can on tion to commercially tuned studio drums, disc. Live, you are going to lose a lot of which have more of a flat; muffled sound. your overtones and harmonics to the en- However, for jazz playing they're not vironment. The sound is going on around tuned high at all. I don't use any damp- you, so you can get away with more. On ening or muffling in my drums. It's a natu- a recording you have to tone it down ral sound of the drums you hear. I don't somewhat. And you have to be very tune to intervals. I just tune them to a careful what frequency the overtone and pitch, higher or lower depending on the harmonics are or else it can be an ac- playing situation. I don't tune to a specif- tual note that is too bothering, so you ic note. have to adjust it. You have to start tuning and see if you can find something that sounds nice. But in both, the drum sounds better accompanied than unac- companied. You see, when it's in with the rest of the music, the sound of the drum is suitable.