in this issue . VOL. 10, NO. 11 Features Cover Photo by Rick Mattingly Columns EDUCATION ELECTRONIC INSIGHTS Midi And The Electronic Drummer: Part 2 by Jim Fiore 40 IN THE STUDIO Working With Arrangers/Producers Mattingly by Ndugu Chancler 42 Rick THE MACHINE SHOP by Living With The Machine by Simon Goodwin 56 Photo BASICS Working With A Metronome by Kenny Zail..... 64 ROCK 'N' JAZZ CLINIC Playing Around With Time by Rod Morgenstein 72 JAZZ DRUMMERS' WORKSHOP JOE MORELLO A Melodic Approach To Soloing When it comes to technique, Joe Morello is in a class by by Stanley Ellis 80 himself, and his work with the Dave Brubeck Quartet proved that he knew how to use that technique musically. Now, as a ROCK CHARTS teacher, Morello is passing down his expertise to a new Mel Gaynor: "Alive And Kicking" generation of drummers. by Andy Rankin 96 by Rick Mattingly 16 CONCEPTS Getting Unstuck DAVID UOSIKKINEN by Roy Burns . 110 CLUB SCENE Although the Hooters seemed to suddenly come out of nowhere, drummer David Uosikkinen explains the years of Hearing Aid development that led to the group's unique sound. by Rick Van Horn 112 by Robert Santelli 22 EQUIPMENT STAYING IN SHAPE: SETUP UPDATE Terry Bozzio And Rick Marotta 74 ELECTRONIC REVIEW TIPS FROM THE PROS Simmons SDS1000 And Rack PART 2 by Bob Saydlowski, Jr 114 The finest drummers in the business share the exercises, diets, JUST DRUMS 118 and warm-ups that keep them in top physical condition. by Ron Spagnardi 26 PROFILES UP AND COMING BARRIEMORE Marillion's Ian Mosley BARLOW by Susan Alexander 38 His experiences with such artists as Jethro Tull, Yngwie Malmsteem, and Robert Plant have given Barrie Barlow some NEWS strong opinions about the current state of music—opinions UPDATE 6 that he's happy to share without pulling punches, INDUSTRY HAPPENINGS 116 by Teri Saccone 30 DEPARTMENTS EDITOR'S OVERVIEW 2 GENE CHRISMAN READERS' PLATFORM 4 His name might not be on the tip of every drummer's tongue, but the list of artists that Gene Chrisman has recorded with is ASK A PRO 10 a virtual Who's Who of the music business. IT'S QUESTIONABLE 12 by Robyn Flans 34 DRUM MARKET 108 NOVEMBER 1986 On occasion, special-interest publications like interfacing equipment, and so on. If you're search- MD need to update and reevaluate certain seg- ing among the confusing maze of available prod- ments of their overall editorial thrust, in an effort ucts for the equipment that is right for you, you'll to stay ahead of, and in line with, the needs and find out about it here. (Our regular, long-running wants of its readership. We've certainly witnessed Product Close-Up department will continue as a number of new developments in the drum indus- usual, with one exception. It will be dealing only try since Modern Drummer first appeared in 1977. with acoustic drums, accessories, and cymbals.) And of the developments we've reported on in ten Finally, we've created a special place for the years' time, perhaps the most significant has been drum machine segment of the electronic revolu- the incredible impact electronics has had on the tion. Another new column, called The Machine MD's drumming world. The remarkable growth of elec- Shop, makes its debut in this issue. Here, we'll tronics, the highly sophisticated technology, and evaluate various types of drum machines and point the extensive amount of information today's out the working details. The Machine Shop will be Expanded drummer needs to understand the subject matter the place to find out what to look for in a drum fully have led us to beef up our coverage of elec- machine and how to best utilize its startling poten- tronics and drumming. Here's how we'll accom- tial, as well as to learn about programming your Coverage plish it. machine. First, most of the information on electronics, Like it or not, the drumming and electronic aside from what's been coming through feature movement is firmly entrenched in a great deal of interviews, has been channeled through our popu- today's music. It would be close to impossible for lar Electronic Insights column. This department us to supply MD readers with the total technologi- will run on a regular basis, and will continue to cal picture in just one department each month. offer even more in-depth information on electronic And, as I mentioned in last month's column, it cer- equipment, how-to articles, and material ranging tainly does appear as though that great wall that from the workings of electronic drumsets to a seemed to exist between "electronic" and "acous- series of articles on MIDI interfacing. tic" factions is now beginning to crack and crum- Next, product testing and reviews of the latest in ble. Perhaps this, along with MD's expanded cov- electronic gear will be presented through a brand- erage of it all, will encourage even more drumming new department called Electronic Review. Here enthusiasts to examine the very latest musical tech- you'll find fully detailed information on complete nology. electronic sets, drumpad kits, triggers, processors, PUBLISHER ADMINISTRATIVE DIRECTOR CONTRIBUTING WRITERS Ronald Spagnardi Isabel Spagnardi Susan Alexander, Chip Deffaa, Robyn Flans, Simon Goodwin, Jeff Potter, Teri Saccone, ASSOCIATE PUBLISHER ADMINISTRATIVE MANAGER Robert Santelli, Bob Saydlowski, Jr., Robin Isabel Spagnardi Ellen Corsi Tolleson, T. Bruce Wittet. ASSISTANT EDITOR ADMINISTRATIVE MANAGER MODERN DRUMMER Magazine (ISSN 0194- Tracy Kearney 4533) is published monthly by MODERN Ronald Spagnardi DRUMMER Publications, Inc., 870 Pompton DEALER SERVICE MANAGER Avenue, Cedar Grove, NJ 07009. Second-Class FEATURES EDITOR Sharon M. Leary Postage paid at Cedar Grove, NJ 07009 and at Rick Mattingly additional mailing offices. Copyright 1986 by CIRCULATION Modern Drummer Publications, Inc. All rights MANAGING EDITOR Leo Spagnardi reserved. Reproduction without the permission of the publisher is prohibited. Rick Van Horn Crystal W. Van Horn SUBSCRIPTIONS: $22.95 per year; $41.95, two SALES PROMOTION MANAGER years. Single copies $2.75. ASSOCIATE EDITORS MANUSCRIPTS: Modern Drummer welcomes Susan Hannum Evelyn Urry manuscripts, however, cannot assume responsi- William F. Miller bility for them. Manuscripts must be accompa- nied by a self-addressed, stamped envelope. MODERN DRUMMER ADVISORY BOARD CHANGE OF ADDRESS: Allow at least six EDITORIAL ASSISTANT Henry Adler, Carmine Appice, Louie Bellson, weeks for a change. Please provide both old and Elaine Cannizzaro Bill Bruford, Roy Burns, Jim Chapin, Les new address. MUSIC DEALERS: Modern Drummer is avail- DeMerle, Len DiMuzio, Charlie Donnelly, Peter able for resale at bulk rates. Direct correspon- ART DIRECTOR Erskine, Danny Gottlieb, Sonny Igoe, Jim dence to Modern Drummer, Dealer Service, 870 David H. Creamer Keltner, Mel Lewis, Larrie Londin, Peter Pompton Ave., Cedar Grove, NJ 07009. Tel: 800- Magadini, George Marsh, Butch Miles, Joe 221-1988 or 201-239-4140. POSTMASTER: Send address changes to Mod- Morello, Andy Newmark, Neil Peart, Charlie ern Drummer, P.O. Box 469, Cedar Grove, NJ ADVERTISING DIRECTOR Perry, Paul T. Riddle, Ed Shaughnessy, Steve 07009. Kevin W. Kearns Smith, Ed Thigpen. STEVE SMITH career, [preferring to] let my playing speak APARTMENT PRACTICE My compliments to Robyn Flans on a for itself. But when someone degrades Because I am an apartment-based drum- superb interview with Steve Smith in your what I have spent a lifetime developing— mer, I immediately buried my nose in Gary August, '86 issue! I found it insightful and that is, a combination of being a good Griswold's article, "Apartment Prac- informative, providing an excellent discus- player and a good teacher—then it's time tice," in the August issue. The article was sion with one of the top players in rock or to raise a voice. very informative and gave me some new jazz today. It's exciting to think that Steve Tom Donlinger insights into muffling the sound of my will be visible—and audible—with both his San Rafael, CA drums. own Vital Information and also with Steps Again, since I am an apartment drum- Ahead. Journey's loss is definitely electric MORE BILLY COBHAM mer, I had already devised a way to jazz's gain. I'm writing to thank you for the great arti- decrease the ear-bending noise I create, Bill Witherspoon cle on Billy Cobham. [July '86 MD] I met and I'd like to share this economical idea Utica, NY Billy during a tour of the Mahavishnu with your readers. I live in an old, two- Orchestra, which performed in Philadel- story, cinderblock apartment with my I have a few thoughts I would like to share phia many times at the Spectrum. Billy let drum room at the upstairs end of our com- in reference to a statement made by Steve me sit behind him to watch the perform- plex. Although the cinderblock walls do Smith in last August's issue. The statement ances (on stage). During this time, I was help to hold in the sound, I had found that was: "The first problem is that teachers are just beginning to have an interest in drum- some of the less understanding neighbors probably teachers because they are not ming. Billy's kindness and understanding were not appreciating my rather lengthy very good players." My first reaction was toward me in my formative years were solos. With the advice of my instructor, disbelief that someone with [Steve's] influ- invaluable, and I treasure the things that John Herrera, and a few ideas of my own, ence and intelligence could make such a he showed me through informal lessons. I came up with the following.