Editor's Overview If this months issue of MD feels a bit heavier, it's simply because we've enthu- siastically expanded to 36 jam-packed pages with this, the premier issue of Volume Two. 1977 was an exhilarating year for the entire MD staff and as a re- sult, we've formulated some sensational plans for this year, many of which we've IN THIS ISSUE already put in gear with this issue. Thanks, to all who've sent us literally FEATURES: hundreds of suggestions and creative ideas. We hear you. Tony Williams: Exclusive Interview 6 8 On our cover this time around is the Shop Hoppin' remarkable Mr. Tony Williams, perhaps Larrie Londin: Nashville Session King 10 one of the most progressive stylists in Finding and Restoring Relic Drums 12 14 the entire evolution of jazz drumming. David Garibaldi: Funk Stylist In contrast-though no less intriguing-is an inside glimpse at the world of Larrie Londin, one of Nashville's busiest studio drummers. One of many behind the COLUMNS: scenes musical elite, Larry may very 1 well be one of the most recorded drum- Editor's Overview 2 mers in the world, today. For 'funk Readers Platform 4 freaks', ex-Tower of Power rhythmic It's Questionable force David Garibaldi has some candid Rock Perspectives 16 20 reflections on his career and his distinc- Jazz Drummers Workshop tive brand of percussive artistry. Show and Studio 22 The drum shops of America. A high- On the Job 23 ly specialized network of retail and ser- Shop Talk 25 vice operations catering to drummers The Drum Soloist 26 only. Who are they? Where are they, The Complete Percussionist 27 and what do they offer? We'll be visit- Printed Page 28 ing drum shops in some of the nations Rudimental Symposium 30 major cities this year, talking to the peo- Industry Happenings 33 ple in charge, and reporting on our find- Drum Market 33 ings. We call this new editorial entry, Just Drums 34 Shop Hoppin'. Old drums and catalogs, restoration techniques and collecting represents another area we'll be examining closely EDITOR: Ronald Spagnardi MD ADVISORY BOARD this year. Drum buffs in search of new ASSOCIATE EDITORS: Paul Uldrich and rewarding hobbies shouldn't miss Thomas Varelli Henry Adler Sonny Igoe Ray Benjamin's, Finding and Restoring MANAGING EDITOR: Michael Cramer Carmine Appice Don Lamond Relic Drums, the first in a series of arti- ART DIRECTOR: Bryan Mitchell Horacee Arnold Mel Lewis cles on an uncommon, yet truly fasci- PRODUCTION MANAGER: Roger Elliston Louie Bellson Peter Magadini nating pastime. ADVERTISING: Jonathan Wolf Roy Burns Mitch Markovich Our column line-up for January is as Isabel Lori Jim Chapin Butch Miles wide and diversified as usual, ranging CIRCULATION: Leo L. Spagnardi Joe Corsello Charlie Persip from descriptive examples of funk Nancy Schuller Randy Hess Arthur Press rhythms, and Peter Magadini on poly- Carol Padner Paul Price rhythms, to advice for the college Jean Mazza bound percussionist, a Tony Williams solo transcription, and an eye-opening insight on show charts, by Shelly Elias. We've also got humor for the club date drummer, how to test and select cym- bals, a batch of book reviews and . well, really a great deal more. Enough said. Enjoy. EDITOR ter, and a home correspondence course all wrapped into one attractive package. I'm of the opinion that "reader input" READERS PLATFORM is vital to the life of a publication such as MD. I hope the following suggestions might be of some value to you. 1) Per- haps MD could set up an ASK THE DRUMMER column, a vehicle by which readers could submit specific questions to the drummer of their choice. 2) A I have enjoyed reading your new maga- straints. For example, the confirmed special feature on brush playing. 3) A zine, and may I congratulate the found- "jazzer" may have to confine his aspira- story on the art of cymbal making. ers for a much needed news and educa- tions to the basement, while earning the 4) A special feature on cleaning cymbals tional enterprise. Two of my former bulk of his income at a regular job. The including best polishes, applicators and students, Duanne Thamm and Louie prescription for this ailment is knowl- methodology. 5) Miking drums, includ- Bellson have articles in your first edi- edge and Modern Drummer helps to fill ing a discussion of types of mikes, trans- tion, along with the memorium to Bob that order in that it helps define the ducers, sound reinforcement systems, Tilles who was one of my teachers for drummer and his craft. Dogmatic etc. 6) How about a "consumer report" over twenty years at my school. I'm al- approaches never serve for the advance- type feature in which specific items ways highly honored to see and read ment of knowledge unless they are seen (sticks, heads, pedals, lugs, etc.) might about my former students. If I can in conjunction with the spirit of open be tested and rated. assist you in any way, please advise. criticism and dissidence. Thus, the opin- TIMOTHY A. KECK Now 86 and retired from playing since ionated Mr. Rich is tempered with the SPARTANBURG, S. C. 1960, I still keep active by attending amenable Mr. Bellson. Similarly, the everything from symphony to rock con- rocker is contrasted with the jazzer, and Thank you Tim for some fine sugges- certs. May I wish you the very best in the latin drummer with the show drum- tions, several of which are already in the every way in the publishing of MD. mer; at this point, readers begin to see works. Come on readers - let's have ROY KNAPP viable alternatives and the shackles of more of this kind of thing. We want to CHICAGO, ILL. ignorance are shaken off. The greatest hear from all of you. benefit of MD will be for those whose ED. To Mr. Knapp, truly the dean of percus- circumstances do not permit them ac- sion instructors, we extend our deepest cess to the thoughts and styles of other and warmest thanks for the very kind drummers. The beginner in a small words. town, the hobby-drummer, the drum- ED. mer whose road work allows him little time to reflect on his art....all will I'd like to see more articles on rudi- profit. ments. Many drummers get turned off T. BRUCE WITTET when rudiments are mentioned, but OTTAWA, ONTARIO, CANADA rudiments have changed. Rudimental drummers are using the more difficult A topic which arises everytime drum- Swiss rudiments, back-sticking, one- mers talk equipment is, "how do I get handed rolls, etc. Most jazz drummers that full, rich, deep sound out of my don't realize the importance of rudi- drums?" The problem is this: Many ments which aid in giving the drummer drummers start with a standard set-up speed, power and control - traits inher- of small drum sizes (5" x 14", 8" x ent in all the great drummers. The fact 12", 9" x 12", 16" x 16", 14" x 20") that you can play rudiments doesn't and expect to extract a clear, deep automatically make you a good jazz sound by tuning the heads lower, while drummer, but it does get you off to a in reality they are only producing a good start. flimsy, dead sounding drum which is GLEN A. BUSH susceptible to head breakage and is CLEARWATER, FLORIDA uncomfortable to play because it lacks bounce. The solution? Use larger drum I would like to comment on the remarks sizes. Larger drums will sound lower to made by Phil Ehart of Kansas (Ehart begin with, and you will achieve a rich Energy-MD-No. 3, July 77) at the con- sound by tuning them evenly and with clusion of the interview regarding medium tension. You'll be much hap- "making it". Let me ask Mr. Ehart why pier with the sound and the drums will we play. To "make it", or because we be more comfortable to play. Tuning a love music and drumming? I, for one, small drum lower than normal is com- play because I love playing. "Making it" parable to putting a tuba mouthpiece is secondary. on a trumpet to get a low sound. The instrument just isn't made for that pur- CHAD RACER pose. COLUMBUS, OHIO JOHN FRONDELLI Musicians, I believe, have always had a JACKSON HEIGHTS, N. Y. tougher job than most in terms of trying to preserve their integrity and identity Thanks for a fine magazine. I consider it in the face of social and financial con- to be a professional journal, a newslet- IT'S QUESTIONABLE by JIM PIEKARCZYK A. First, be sure to choose a school that puts emphasis on the kind of percussion playing you're most interested in. Some schools offer percussion, and not drum set instruction. Let this be a key factor in choosing since you are a drum set player. Secondly, write the admissions office of several Universities for a current catalog. Most of all, try to spend a couple of days at the school you 're considering. This will give you a chance to see the facilities, take in a concert, and perhaps talk with the students. See Modern Drummer Vol. 1, No. 3 On the Q. I am looking for a drum and bugle corps book which will Ontario College of Percussion. keep me up to date with what's happening. I have found the W.F.L. Drum Corps Manual helpful, but I'm looking for some- Q. Do I need to read music to be a successful Jazz/Rock thing more advanced.