Cover Photo by Lynn Goldsmith

FEATURES
18 JON FARRISS
As the drummer for the popular Australian group INXS,
Jon Farriss is more concerned with groove than flash,
and he is a master at using electronics to enhance his
sound.
by Teri Saccone

CHARLIE
24 MORGAN
Well-known in the London studios for many years,
Charlie Morgan became visible to the public as a result
of his recording and live work with Elton John. He
discusses the demands of the studio and recalls
memorable sessions.
by Simon Goodwin

ALBERT
28 BOUCHARD
Photo by Jaeger Smith Kotos

His drumming with Blue Oyster Cult helped define the

heavy metal style, but these days, Albert Bouchard is as
likely to be writing or producing as he is to be playing
drums. Here, he traces his career and offers numerous
tips about hard rock drumming.
by Deborah Frost

32 INSIDE UFIP
Since 1929, a small group of craftsmen have been
producing cymbals in a small town in Italy. We visit the
factory for a look at the U.F.I.P. manufacturing process
and to learn the history of Italian cymbal making.
by Jon Mclnnes

Photo by Michael P. McLaughlin

 COLUMNS VOLUME 12, NUMBER 10

EDUCATION
TEACHERS' JAZZ DRUMMERS' EQUIPMENT
FORUM WORKSHOP
Books And Lessons: Samba Variations ELECTRONIC
"Do I Really Need by Peter Erskine REVIEW
NEWS
Them?" 74 The Alesis HR-16 UPDATE
by Daniel J. Lauby Drum Machine 8
38 ROCK CHARTS by lim Fiore
Alan White: "Rhythm 56 INDUSTRY
THE JOBBING of Love" HAPPENINGS
104
DRUMMER by James Morton PRODUCT
Making People Dance 80 CLOSE-UP
by Simon Goodwin Piccolo Snare Drums
40 ELECTRONIC by Bob Saydlowski, Jr.
INSIGHTS 70
MIDI CORNER Choosing A Mic' For DEPARTMENTS
Playing Drum Acoustic Drums NEW AND
Machines With by Bob Lowig NOTABLE EDITOR'S
Drumsticks 82 108 OVERVIEW
by Jim Fiore 4
42 CORPS SCENE
From The Drumset To READERS'
BASICS The Drum Corps: PLATFORM
Heavy Metal Power Part 1 PROFILES 6
Fills: Part 2 by Dennis Delucia
by Jim Pfeifer 86 PORTRAITS ASK A PRO
46 Barbara Merjan 12
by Robyn Flans
CONCEPTS
TRACKING Limitations 48 IT'S
The Academy Awards by Roy Burns QUESTIONABLE
UP AND COMING 14
by Emil Richards 96
64 Kurt Wortman
CLUB SCENE by Robert Santelli DRUM MARKET
76 94
ROCK 'N' JAZZ How Much Do You
CLINIC Know?
Style & Analysis: Omar by Rick Van Horn
Hakim 100
by Kelly Paletta
68
 E D I T O R ' S O V E R V I E W
Reader input is something I've commented on in like to see dealt with in greater depth? Are you
this column several times over the years. It's a learning something from MD's interviews and col-
matter of such great importance that it always umn departments—ideas that are helping you
bears repeating. achieve your personal goals as a player? If so, tell us
The success of any special-interest publication what seems to be working well. If not, where do
hinges on how thoroughly it serves its readership. you feel things might be improved? Is there some-
Staying abreast of the needs and wants of readers thing specific you'd like to see more of in MD? Or
is something magazine editors must deal with on less of? Many feature stories have been assigned,
a daily basis. Keeping up on trends in the drum and many new departments introduced, as a result
world and searching out players who are making of readers who have expressed a sincere need for
contributions we feel you should know more about more in-depth information.
is a big part of the job. What about the look of MD? Here again, let us
The input you supply is given greater consid- know what you like or don't like. The manner in
eration than you might think. How a reader actu- which the magazine is received from a graphic
ally feels about a magazine is very important to standpoint is of great importance to us. And truth-

Essential
the people who put it together month after month. fully, we'll never know what appeals to you and
Reader input keeps us attuned to new areas of what doesn't unless you take the time to tell us
interest, supplies us with specific column ideas, about it.

Input
and alerts us to areas where we've tended to lean Open communication is the essential ingredi-
too heavily, or perhaps not enough. ent necessary for us to continually deliver the type
The point is simple: It's essential that we con- of magazine you want and need. Modern Drum-
tinue to hear from you as often as you care to mer was conceived and designed to help you in
write. Though time prevents us from responding your effort to be a better drummer. We try to do
personally to everyone, rest assured that every that by making MD as informative, educational,
letter is read. Many of the ideas expressed in your and entertaining as we possibly can each month.
letters are given careful consideration at monthly We may not be all those things for every reader 12
editorial planning meetings. times each year, but if we fail more often than we
What exactly do we want to know? Well, every- succeed, then we're simply missing the mark. And
thing really! Are there any artists you'd like to you're the only one who can supply us with the
read about who haven't been covered in MD? Is answers. I look forward to hearing from you.
there some particular facet of drumming you'd

EDITOR/PUBLISHER ADMINISTRATIVE MANAGER CONTRIBUTING WRITERS

Ronald Spagnardi Tracy Kearney Susan Alexander, Robyn Flans, Simon Goodwin, Karen Ervin
Pershing, Jeff Potter, Teri Saccone, Robert Santelli, Bob Saydlow-
ski, Jr., Robin Tolleson, Lauren Vogel, T. Bruce Wittet.
ASSOCIATE PUBLISHER ADMINISTRATIVE ASSISTANT
Isabel Spagnardi Joan C. Stickel
MODERN DRUMMER Magazine (ISSN 0194-4533) is pub-
lished monthly with an additional issue in July by MODERN
SENIOR EDITOR ADVERTISING DIRECTOR DRUMMER Publications, Inc., 870 Pompton Avenue, Cedar
Rick Mattingly Kevin W. Kearns Grove, NJ 07009. Second-Class Postage paid at Cedar Grove, NJ
07009 and at additional mailing offices. Copyright 1988 by
Modern Drummer Publications, Inc. All rights reserved. Repro-
MANAGING EDITOR DEALER SERVICE MANAGER duction without the permission of the publisher is prohibited.
Rick Van Horn Josie Cuaycong EDITORIAL/ADVERTISING/ADMINISTRATIVE OFFICES: Mod
ern Drummer Publications, 870 Pompton Avenue, Cedar Grove,
ASSOCIATE EDITORS SALES PROMOTION NJ 07009.
William F. Miller Crystal W. Van Horn MANUSCRIPTS: Modern Drummer welcomes manuscripts,
Adam Budofsky however, cannot assume responsibility for them. Manuscripts
must be accompanied by a self-addressed, stamped envelope.
MAIL ROOM SUPERVISOR
MUSIC DEALERS: Modern Drummer is available for resale at
EDITORIAL ASSISTANTS Leo Spagnardi
bulk rates. Direct correspondence to Modern Drummer, Dealer
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David H. Creamer MODERN DRUMMER ADVISORY BOARD SUBSCRIPTION CORRESPONDENCE: Modern Drummer, PO
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Bruford, Roy Burns, Jim Chapin, Alan Dawson, Dennis low at least six weeks for a change. Please provide both old and
A Member Of: new address. Toll Free Phone: 1-800-435-0715.
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 R E A D E R S ' P L A T F O R M
TAMA RESPONDS has been seriously considered and noted. sic is the fact that it presents characteristics
Editor's note: A Tama advertisement featur- Our intention is not to change deeply held that are less than inviting to many. To try to
ing Lars Ulrich ran in the March '88 issue views, but to show that the creation of this tame or domesticate this or make it out to
of MD, and generated quite a bit of contro- ad was not done for capricious or cavalier be something else, especially when that
versy. Several responses from readers were reasons. It certainly was not to promote the would conflict with the view of the per-
printed in the Readers' Platform departments use of drugs or alcohol, or to portray all former, is not being fair or honest—to any-
of the June and July issues, and several drummers as coarse, unthinking individu- one! (For those who wrote that this ad was
more were forwarded directly to Tama. als. Our apologies to those who interpreted an inaccurate portrayal, we invite you to
Many readers objected to the negative it in this fashion or felt that that was the inspect Metallica's 1987 Tour Book.)
impression they felt the ad gave in regard end result. We have seriously considered everyone's
to drummers in general. Some felt that MD This ad should be seen in light of the opinion, and, as the opinions of the drum
demonstrated poor judgment in allowing other ads Tama has presented. While we community are very important to us, these
the ad to run at all. Since we presented don't deny having engendered controversy views will not be without influence in fu-
these opinions in Readers' Platform, we when the subject warranted, a careful re- ture presentations. However, we do reserve
deemed it fair that Tama be allowed to view of our many advertising contributions the right to express ourselves, our artists'
present its own comments regarding the will show advertising that was not only personalities, and our products in ways we
ad. informative and well within the bounds of feel do them the most justice. We acknowl-
The strong feelings, both positive and good taste, but was also honest to the artist edge that this may conflict with the tastes
negative, generated by our Lars Ulrich ad presented. In previous cases, Tama's com- and convictions of some Modern Drum-
in Modern Drummer deserve a response mitment to portray the artist and his or her mer readers, but we feel that the accurate
by our company. We have been asked by own personality and views in a suitable representation of the many, very different
Lars Ulrich and his management to also environment with suitable prose has caused facets of the drum world is of paramount
represent their views, as the strenuous no problem for anyone. It may have even— importance.
demands of Metallica's production and dare we say it—bored some. After all, isn't the existence of all these
touring schedule would delay their own The Lars Ulrich ad was a product of this differences, varying shades of styles, opin-
correspondence. commitment to honest artist presentation ions, and beliefs what makes the drum-
Let's first clear Modern Drummer of cul- combined with the policies of Lars Ulrich's ming world such an exciting thing to be a
pability in any part of this advertisement. management and his own views. The ad part of? Wouldn't it be dull if it were other-
Due to complications in our production copy that is covered by Lars Ulrich's hand- wise?
schedule, this ad was forwarded directly to writing was the original concept and writ- Joseph Hibbs
the printer without time for review by the ing of that ad. Our material was rejected National Sales And Marketing Manager
MD staff. As the originally scheduled ad by Lars and his management as not being Tama Drums
was one of entirely different content, MD an honest representation of Metallica or Bensalem PA
cannot be faulted for not instituting any Lars Ulrich. We agreed with this and used
form of censorship. the colorful (off-color to some) writing that ON TAPE REBUTTAL
We do thank all those who took the time was conceived and handwritten by Lars My initial comment towards Ms. Jany
to write both MD and us about their reac- Ulrich himself. We did no editing and no Sabins' review of my video [On Tape, Au-
tions to this ad. Part of the positive re- laundering other than the word blackouts. gust '88 MD] was, "Why would such a
sponse to the piece took the form of re- To stir controversy was not our intention; if quality, literate magazine as Modern Drum-
quests—which numbered in the thou- that were so, the ad's original copy would mer allow an obviously unknowledgeable
sands—for the poster reproduction of this have been far different. person to do a review, and then print it?" A
ad. No other Tama poster repro to date has A great amount of "metal" music is exu- lot of people tend to believe the printed
drawn this kind of interest. For those of you berantly rebellious, loud, often deliberately word; I think Modern Drummer could be
whose reactions were less than favorable, alienating, and even "confrontational." An losing its credibility if they continue this
we respect your opinions, and your input important part of the attraction of this mu-
 U P D A T E
Gary Husband of a lot less than he did. The
drum parts that Phil played
show in D.C. where it was the
third encore, and we were
what's the point? The standup
thing started a few years ago. I
Early November '87 saw Gary have to be respected by me really tired. I introduced the always want to dance, and I'm
Husband in America, making insofar as making sure that the song way too fast, but every- too nervous to sit down,
plans to settle, when he thing is recognizable as the body just started playing at anyway. I do lose one foot, so
received a call from Mark King same piece, but there has been that speed. I'm trying to signal, my open hi-hat has to be on a
of Level 42, inviting him to no pressure on me to recreate 'Stop, stop!' But it was too late; sample, and sometimes
join the band. Gary said that what Phil did. In fact, I've they just kept going." different bass drum sounds will
he couldn't, because he was been told that I can do But speed is barely all there appear on different places in
involved in a tour with Allan whatever I want. I think that is to Staples and the rest of the my kit. So then I can do 16ths
Holdsworth that would take Level 42 is lighter than Allan's 'Tops: As one of the more and more complicated bass
him up to Christmas. "Okay," band. That is the heaviest thing individual-sounding bands to drum patterns."
said Mark. "We can get that I've done to date in terms emerge lately, they've taken Though Staples sees some
somebody to fill in for the rest of power and volume. That today's technology, yesterday's problems with the legality
of the year. But after January was "go for it time"; there was soul, and their own fine questions regarding sampling,
the first...?" "I'd love to!" said more of a dynamic margin, but songwriting and created he is also an unabashed fan.
Gary. it's a different style." (especially live) what sounds He cites Keith LeBlanc as his
With all the drummers who The summer of '88 for Gary like one big percussive favorite drummer, crediting his
might have been suitable for is being spent near Nice, in explosion. Staples credits technique, but also his use of
Level 42—many of whom southern France, recording a James Brown as a big influ- technology: "Keith's use of
offered their services when it new album for release in ence on not only the Wooden- technology is seriously
was known that Phil Gould September. "Then will come tops' sound, but on much of futuristic. The beauty of
was leaving—what prompted all the promotional work," what's happening on the sampling is the future of it—
Mark to make that trans- continues Gary, "which, in a English scene today. "James how you can make sounds that
Atlantic call to Gary? "Well," sense, will introduce the new Brown was a drummer have never been used before.
says Gary, "he told me that he band. Up until now it has himself," explains Staples, I'm really thinking of the
had seen some of my early really been a continuation of "and he always told the 1990's now."
gigs in London with Allan the old lineup, because we've drummers what to play. In the —Adam Budofsky
Holdsworth's I.O.U. around been doing established early '70s he discovered that if
1980, and that he'd been
following the band and buying
material. But with a new
album and new material, we'll
he could have the horns and
guitars do the same things as
Manni Von Bohr
all the albums ever since. In be taking on a new character. the drum parts, he could get The unfortunate demise of the
fact, I had been approached by I'm very excited and pleased the most incredible rhythms. Jeton record label in Germany
Level 42 about two years about the way things are His LP In The Jungle Groove has meant that the band
earlier, but on that occasion turning out." has got the track "Funky Bishop (originally Hammer-
Phil didn't leave after all, so —Simon Goodwin Drummer" on it, and it's just head) has been "put on ice."
nothing came of it. Last year, this incredible drumming. That Although saddened by this
Mark thought of me again,
which is great. I actually think
Benny Lee is the beat that everybody has
been sampling or copying
setback, virtuoso German
drummer Manni Von Bohr is
that it was quite courageous of Staples lately; in London it's just really the sort of professional who is
Mark to hire me over the huge. Now it seems that you so much in demand that new
phone, even more so to hire can't have a dance record doors always open when one
my old friend Steve Topping, without a James Brown scream closes. He has renewed a
the guitarist, unheard on my on it." working relationship with
recommendation. It shows The Woodentops have more flautist Lenny MacDowell in a
tremendous faith in me. It's on their minds than merely quartet that also includes two
flattering, and a great way to recreating early American American musicians from
start a working relationship." funk, though, as the gushing Baltimore—Jimmy Welkes on
Gary has a reputation as a press response to their earlier guitar and Blue Savage on
great spontaneous and creative records and to their latest bass. "Lenny is very famous in
player, and yet he has replaced album, Wooden Foot Cops On Germany," says Manni. "We
one of the great "groove" The Highway, has been quick first performed with this lineup
players. It's an obvious point, to point out. And Staples' at The Frankfurt Music Fair in
and one that Gary has methods and style reflect the March. After that we did some
discussed before. "Yeah, that band's uniqueness. His array "test gigs" around Germany to
was something that I thought of electronic drums (where just see what the audience reaction
was a little strange when I was about any sound, including his would be like, and it was very
first approached; but after "What happened to all the fast own sampled acoustic drums, encouraging. Lenny has his
listening to the tapes of gigs bands?" queries the Wooden- is likely to pop up), the own record label called Blue
that I've done with Level, the tops' Benny Lee Staples. And conspicuous lack of cymbals, Flame, but he is trying to get
band is actually a lot simpler from his vantage point, flailing and his standup style of dance- one of the major companies
now than it was. Phil is on his drumset at breakneck drumming all add up to quite a interested. Either way, we
essentially a groove player, but speed, one can certainly see different sight and sound. "For intend to get a record out to
he would play around a lot as where the question is coming me, cymbals kind of hang over support a tour, which is being
well. He'd found this rapport from. "I think it's just natural. and cloud a lot of the frequen- set up in September and
with Mark, which meant that We all get pretty nervous cies that can be used for other October."
they could "push and pull" before we go on stage—that's instruments, and they can be In the meantime, Manni is
with each other a lot. By the first thing," jokes the native really cliche—roll off the toms also touring during May and
comparison, I'm playing a hell New Zealander. "We just did a and hit 50 million cymbals, June as part of the original
lineup of Alex Oriental head-on collision between stuff, but I got out of it. I didn't Krause's album and has been
Experience, which includes rock and funk. It's guitar have any fun playing elec- doing some gigging with Elvis
Fachblatt [German monthly oriented, it's funky, and we tronic pads. Then I got my Costello...
music magazine] editor Horst have sequenced bass lines acoustic drums back into Barry Keane has been busy
Stachelhaus on bass. A new running. It's 'frock.'" action and I haven't gotten with album projects for the
record is planned with this This past year, the band has into triggering. It's a budget likes of Gordon Lightfoot,
band as well. Other projects been finishing their album, thing again now. After the Anne Murray, Rita McNeil,
Manni is involved in include a commuting from their home album was done, we sat down Roger Whittaker, Joan
solo venture by Wolfe Mann's base in Portland six hours to with our management to Kennedy, J.K. Gulley, and
backing singer, Jane Palmer, Vancouver to work with discuss what we needed to Patrick Perez. His recent TV
and his own solo record. "This producer Bruce Fairbairn. pull off the album live, like work has included Danger Bay
solo record by a drummer is "There's a studio up there with different sequencers and and Sesame Street. Currently
going to have a lot of drum- this giant loading bay, which is keyboards, and a drum trigger he is on tour with Gordon
ming on it," laughs Manni. "I a big cement room. They just didn't fit into the budget Lightfoot...
want to include drum battles miked up the drums in the yet. Along with the sequencer, Walfredo Reyes, Jr. recently in
with other drummers, tunes regular studio and sent the SP-12 is running and doing the studio with Jackson
with percussion players, some everything through speakers things like handclaps, tambou- Browne...
bass and drum grooves, plus into this loading bay, and rines, and shakers, and I just Vinnie Colaiuta can be heard
some ideas I have for combin- miked them again in there. It turn everything up loud in my on recent records by Tom
ing acoustic drums with got a big ambient live drum monitor and play with it," says Scott, Lee Ritenour, Peabo
electronics." sound that sounds great." Dan, whose remainder of the Bryson, Kenny Loggins, Brenda
With so much going on, Half of the album was year has been spent on the Russell, David Sanborn, the
doesn't Manni ever find recorded with real drums and road. Rippingtons, Eric Marienthal,
conflicts within the schedules half was done with a drum "It doesn't seem like a tour Djavan, Nik Kershaw, John
of different bands? "No, machine. Pred prefers the to me, though, because all my Patitucci, Allan Holdsworth,
because in Germany, it's tunes on which he played live. notions of a tour were a bus Brandon Fields, and a GRP
accepted that you have to play "'Baby Don't Fade' is probably and giant rooms, but this is Super Live record, recorded in
with more than one band," he my favorite track; I like the riding in a little van and Japan with Lee Ritenour, Tom
explains. "There are, perhaps, groove. I also really like playing a bunch of little clubs Scott, and Dianne Schuur...
ten bands who are big enough 'Forgot To Make Her Mine.' like we always have," he This month Butch Miles is at
that the members make good Those are my two favorites laughs. the Gibson Jazz Party in
livings playing exclusively because they're rock 'n' roll, —Robyn Flans Denver, Colorado, the
with their particular band. and that's what I like best. Minneapolis Jazz Party, and on
With machines, you really a tour of Europe with Peanuts
These are normally the more
commercial bands. Bands that have to swallow your pride,
NEWS... Hucko All-Stars...
are more American-oriented in but I've had to do that before. Steve Smith can be heard on John Molo on tour with Bruce
style, like Lenny MacDowell We had an EP out previously Dweezil Zappa's new record, Hornsby...
or Alex, have good followings where the whole thing was a My Guitar Wants To Kill Your Rick Marotta on Lyle Lovett's
in the clubs, and that is where drum machine, which was Mama, out this past summer, upcoming release and Waylon
they make most of their strictly a budget thing but still as well as on albums by Kit Jennings' newest album.
money. These clubs hold was really hard to swallow. A Walker and Joaquin Liavano. Marotta has also been in the
anywhere up to 1,200 people, drum machine has an undeni- Earlier in the year, Steve studio producing a group
but there aren't enough of able attack mode, and there toured with the Jazz Explosion, called Burning Street and can
them for one band to be are a couple of songs on this which included Stanley Clarke be seen in an acting role in the
touring constantly. Therefore album that we wanted to have on bass, Allan Holdsworth on upcoming film Nightmare On
you have to look towards that feel on. I'm not saying the guitar, Airto on percussion, Elm Street IV...
touring with different bands, so drum machine drives the Randy Brecker on trumpet, Craig Krampf in the studio
that when you go back to a music harder, but it has a and Bernard Wright on with Debbi Lee...
club a couple of months later, different feel. You can't get an keyboards, as well as touring Joe Franco recently played on
it won't be with the same attitude about it or you'll drive in Eastern Europe for a month Fiona's third record, and he is
band. From a recording point yourself crazy. You just have to with the Randy Brecker now in the studio with Dee
of view, one of them might do work with it. I did all the Quintet. His most recent Vital Snyder...
very well, maybe both, maybe programming on it, though. I Information album, Fiafiaga— Billy Goodness on tour with
neither; but you are still hooked up a Roland Octapad, Celebration, was released this Ricky Van Shelton...
working constantly. But I enjoy MIDIed it up, and had a little last summer, and currently the J.R. Robinson on recent
the freshness of working with remote drum pedal. I played band is on tour. DCI's Steve recordings by Steve Winwood,
different people, and the everything on the pads into the Smith, Volume 2 video has Robbie Nevile, Randy
different styles, like hard rock drum machine while I was recently been released... Newman, Deniece Williams,
with Bishop, through to funk/ playing live, so it's not too far Stewart Copeland is working The Pointer Sisters, Natalie
fusion with Lenny MacDow- out. A lot of times you get the with Stanley Clarke in a Cole, The Crusaders, Lionel
ell." six-armed drummer thing project called Animal Logic... Ritchie, Peter Cetera, and
—Simon Goodwin going on." Paul Leim on Tom Kimmel's Holly Knight...
Live, he simply duplicates LP... Richard Bailey touring with
Dan Pred the parts on an acoustic setup.
"I'm not triggering anything as
Jim Blair on the Commodores'
new album and on the road
Billy Ocean...
Billy Thomas recently re-
Check out the Dan Reed of yet. It sounds a little with Howard Hewitt... corded with Emmylou Harris,
Network; it's some pretty different to my ear, but I don't Michael Blair is associate and is touring with the Hot
unique music. Drummer Dan know if it does to the audi- producer and bandleader on Band...
Pred says of it, "We've always ence. I used to be crazy into Gavin Friday's new album. He Keith Cronin touring with
summed the music up as a electronics and have tons of can also be heard on Dagmar the Pat Travers band.
 ASK A PRO
The only time I use a flat-footed technique
CARMINE APPICE is on a ballad where the bass drum is being
Q. As a student of your publications and played softly.
techniques for the past six years, I would I should point out that, quite often, the
like to personally thank you for this invalu- shoes you choose to wear can make a great
able collection of information. My ques- deal of difference to your technique. I used
tion is in regards to the position of the feet to play in Nike high-top sneakers, but I've
on double bass drum pedals. As a progres- recently changed to Snakers, which are
sive hard rock player, for a number of years sneakers made of snakeskin and that have
I have relied on a "toes-on-pedal" position a little bit lower heel than the Nikes. When
as opposed to a flat-footed position. How- you're playing heel-up and have a shoe
ever, I have recently been informed that with a heel on it, you sometimes can't get
"toe players" are likely to be sacrificing your foot down when you need to. You'll
some degree of control due to this method. come down hard and hit the pedal plate or
Could you point out any advantages or the floor with your heel. That's why I play
disadvantages of either position regarding mostly in flat-footed shoes. I did play in
strength, control, etc.? heels for a while, believe it or not, during
Photo by Mike Jachles

Peter Jeffery the Rod Stewart days. In the five years I

Toronto, Ontario, Canada played with Rod, I used only one pair of
A. Basically, it's true that you do lose a shoes to play in, because I had gotten so
little control on the pedals when you play used to them that they were the only shoes
with the heel up. But you gain so much I could play in. But then I switched to the
power that it really makes up for it. The Nikes, and they worked really well.
Seat height is another important element
ANTON FIG advantage there is the volume you can
achieve, and also the actual sound of the of bass drum technique. I think that most
Q. You are my absolute favorite drummer; bass drum, which generally gets a little power drummers tend to sit low, because
I have always admired your playing. One more "crack." Control is then a matter of you get more power that way; your body is
thing that I have noticed is the way you learning how to operate your foot at differ- being supported by the back, and your legs
play your ride cymbal. You don't seem to ent positions on the pedal—up toward the are free to lift up higher and come down
hit it the way most normal drummers do. front, more toward the middle, or even heavier. When you sit high, you tend to
What area of the cymbal are you hitting, further toward the back—in order to do rely on your legs to support your body and
and with what part of the stick? Also, what faster things like double or triple strokes. maintain balance.
type of ride cymbal, sticks, and mic's do
you use? Finally, I'd like to ask if Paul Shaf- "rise to the occasion" during the show. I
fer and the World's Most Dangerous Band remember not only being fairly pleased with
is ever going to make a recording. my performance that night, but also being
J. Peter Elkins amazed at how great music can draw on
Harlingen TX powers that we sometimes forget we have!
A. First of all, thanks! I'm not sure where To answer your question regarding my
most "normal" drummers hit their ride ride cymbals: My left ride is a Paiste For-
cymbal (and naturally, it would depend on mula 602 22" thin Flatride with two rivets
what type of music was being played), but mounted next to each other. One rivet is a
in a forceful rock situation I usually play it Paiste and the other is a Zildjian. I found
somewhere around the base of the bell. that this combination works best on that
Photo by Rick Malkin

This area could extend a few inches in particular cymbal. I also mounted the riv-
either direction. I usually hit the cymbal at ets on the lightest part of the cymbal so that
a point on the stick three or four inches they would stay out of the way. This was
back from the tip. I use Vic Firth's Rock accomplished by putting the cymbal on a
Crusher model drumstick. cymbal stand that was tilted quite a bit,
On the Letterman show I use a Zildjian K with the cymbal almost vertical. I then spun
Custom ride, because the sound is pin-
pointed and does not spread. But often, on PAUL WERTICO the cymbal around a number of times,
making a mark where the cymbal stopped.
recordings and other live dates, I use a Q. I saw you with Pat Metheny at Roy The heaviest part of a cymbal will always
Zildjian K ride that is heavy and dark. I use Thompson Hall recently and was struck by stop at the bottom, so I just put the rivets
the Zildjian ZMC-1 miking system on the your drumming and the sound of your 180 degrees from that spot.
show. It incorporates individual mic's that cymbals. Specifically, I'm interested in what My right ride cymbal is a Paiste 22"
clip onto each cymbal stand just below the you were using for ride cymbals. Sound Creation Dark Flatride. It sounds
bell of the cymbal. Each mic' goes into a John Crown great the way it is! Remember, though, that
mixer where I can control sensitivity and Peterborough, Ontario, Canada a number of factors are important in get-
panning, and then give the engineer a ste- A. Thanks for listening, and I'm glad you ting a good cymbal sound. The type of
reo left and right output mix. The system enjoyed the concert. I remember that show, sticks you use (with Pat I use Pro-Mark
works great, especially when overhead partly because Toronto is the home town of hickory 808s), where you hold the stick
mic's are also used to pick up the liveliness one of the group's vocalists, and partly and how tightly you hold it, whether you
of the toms. because I was so ill with the flu that day play into the cymbal or off of it, and where
To answer your last question, I believe that I almost got struck by a car on the way you play on the cymbal (on Flatrides I like
Paul will do an album sometime in the to soundcheck. I was too weak to run out to move the stick around a lot to pull out
near future, and that the WMDB may be of its way! Yet, because of the tremendous different overtones) are a few critical
partially involved. Keep bashing! demands of playing Pat's music, I had to points to consider.
 I T ' S Q U E S T I O N A B L E
Q. I recently bought a hi-hat stand from a friend of mine. It has no certain value, but that value is in the eye of the buyer, not neces-
manufacturer's name on it, except on a plate at the bottom of the sarily the seller. As in the case of all types of antiques, the condi-
shaft just above the foot pedal. This plate says "Taiwan" and has tion of the item, and the demand versus the availability, are very
the capital letters "C.Y.S." in cursive script. The hi-hat has double- important factors in determining its value. You would have to
braced legs and a memory lock. personally advertise these cymbals in all the percussion maga-
I also purchased a bass drum pedal with an identical footboard. zines and journals to see if anyone is interested."
It has no name whatsoever, but I do know that it, too, was made in
Taiwan. It has a single spring, a nylon strap, and a split footboard. Q. My present snare drum has seen better days, and I'm planning
My question is: Who manufactured these pieces? I think that on replacing it. I have all Ludwig equipment now. My question is:
Tama did, but I'm not sure. They work very well for me. Which snare drum did John Bonham, of Led Zeppelin, use most?
E.P. That's the type I want.
Alamosa CO A.V.
A. If the hi-hat and bass drum pedal were manufactured in Taiwan, Monmouth IL
they were not made by Tama. That company maintains its entire A. According to information provided by Ludwig's Artist Relations
manufacturing operation in Japan. There are several companies in Department, John Bonham used a standard Ludwig 5x14 Supra-
Taiwan who manufacture generic copies of popular name-brand phonic metal snare drum. That drum is still in production and
designs under license for distributors in the U.S. It is likely that quite popular today, so you should have no trouble in obtaining
your items were made by one of these "jobbers." one.

Q. I own a Yamaha Recording Series drumkit. Because of the Q. I have wanted to know for a long time what the difference
addition of more cymbals and drums, floor space is becoming a between a "rack tom" and a "concert tom" is. Could you please
problem. Will Yamaha be producing a drum rack in the near educate me?
future? N.G.
E.S. Courtenay, British Columbia, Canada
Hollywood CA A. The term "rack tom" refers to tom-toms mounted on or above
A. Yamaha introduced its new System Drum Rack at the Winter the bass drum (or drums) on a drumset. In this sense, the term
NAMM show in January of this year. It is a complete system refers more to the position of the drum than to the type of drum,
combining tubular bars with various clamps, connectors, and although the vast majority of rack toms seen today are double-
mounting hardware. Contact your Yamaha dealer for further infor- headed drums. The term "concert tom" refers specifically to single-
mation, or write the company directly at P.O. Box 6600, Buena headed tom-toms designed with no bottom-head lugs. These drums
Park, California 90622. are generally used in classical or symphonic situations when tom-
toms are called for, because they are more easily tuned to specific
Q. I was wondering if you could tell me about the history and pitches than are double-headed drums. In this case, the term refers
value of two cymbals I found while clearing out the warehouse of more to the type of drum than to any particular position in which it
the store I work for. The cymbals in question are a Zilco 14" thin is used. Confusion arises quite often, however, when "concert
crash, and a K Zildjian & Cie. of Constantinople 14" medium- toms" are included as part of a drumset. In this situation, they are
weight hi-hat. Their condition could be described as "faded," yet most often among the smaller toms on the kit, and are mounted as
the quality is very good with the exception of limited, minute rack toms. Occasionally, however, floor toms will also be single-
"nicks" on the edges of both cymbals. headed.
M.O.
Erie PA Q. There are songs that my band does in which I would like to
play double bass as well a playing the hi-hat both open and
Q. I have a question in regards to a 32-year-old Zildjian ride I closed. Is there a device available that would allow me to "lock
have. My father handed it down to me, and I want to keep it and down" the hi-hat (with my left foot) for double-bass passages and
perhaps hand it down to my son. On the other hand, I'm currently release it again (again using my left foot) for passages in which I
playing in a band that does no miking of the drums, and I have want to control the hi-hat?
found no other ride that even comes close to the dynamic sound T.B.
of this one. So my question is, can (or will) the Zildjian company Allenstown NH
copy the exact sound of this cymbal at an affordable cost? A. Drum Workshop offers the DW505 Drop-Lock Clutch for the
B.T. purpose you describe. It is designed to allow the top hi-hat cymbal
BellaireOH to drop free of the hi-hat rod when a lever on the clutch is struck
A. We put both questions to Zildjian's Lennie DiMuzio, who gave with the hand or stick. The cymbal then sits directly atop the
us the following information: "In response to the first question, the bottom cymbal, allowing the hi-hat to be played in a loose "closed"
Zilco cymbal was made sometime during the early 1970s, making fashion. Stepping on the pedal brings the clutch down onto the
it anywhere from 18 to 20 years old. The K Zildjian hi-hat cymbal cymbal again, where it re-engages and lifts the cymbal back up for
is estimated to be approximately 40 years old. The value of the K is normal playing. The device is available from any Drum Workshop
much more than the Zilco, since the Zilco was produced as a dealer, or you may contact Drum Workshop at 2697 Lavery Court,
"second-line" cymbal by the Avedis Zildjian Company at that Unit 16, NewburyPark, California 91320.
time. It was approximately 25% to 30% cheaper than an Avedis
Zildjian cymbal, so I would not place too much value on it now. Q. I know that the Premier Drum Company was recently bought
The 14" K Zildjian, if it is in good condition and not dented on the out by Yamaha. Will I still be able to purchase Premier compo-
edges or cracked, would be estimated at a value somewhere in the nents for my Premier kit?
vicinity of $175.00. T.M.
"To answer the second question: It would be impossible to Lafayette IN
duplicate the sound of an old cymbal that has mellowed out and A. According to Premier spokesman Caryjacari, component parts
stood the test of time. No doubt this cymbal is an antique; it for Premier drums will continue to be available as they have been
should be kept, protected, and used sparingly. Perhaps someday it in the past. The two parties in the Yamaha/Premier merger have
could be sold at a good profit. both stated unequivocally that Premier will continue as an inde-
"As a final comment, remember that old instruments do have a pendent operation, and that production will continue as usual.
photo by Jaeger Kotos
 the key asset that draws listeners into the music and
keeps them there.
Kick courses with pulsating rhythms on every cut, and
it's probably Jon's best recorded drumming and percus-
sion work to date. Farriss agrees with that assessment.
"I've always strived to have a dance feel and solid
grooving. Yet everyone in the band was trying to avoid
falling into the category of being just another funk group,
because not too long ago, all these bands were getting
into that. We still wanted to keep that rock 'n' roll feel
that we had developed live, so that was a priority.
"So with this album," he continues, "Andrew—he
was the one who started writing the songs for it—de-
cided to write in a style that happens to be very harmo-
nious to my drumming style. We seem to think similarly
musically. So Kick was the manifestation of Andrew's
songwriting and my drumming style. This album was
definitely a climax. I was really happy with the results."
Jon says that a lot of what he plays is conceptualized
from the melodies his brother Andrew has written. He
also adds that, because he and Andrew do think simi-
larly, it is an advantage. "'Need You Tonight' was pretty
much straightforward, pretty simple to put together as
far as rhythms go. Then a song like 'Wildlife' has a lot of
drums on it. Andrew had used a rhythm box on that, and
it needed something more interesting than 'Need You'
did as far as the rhythm section was concerned. It's a lot
more built-up, and there's a lot more going on."
The first single off Kick—the aforementioned "Need
You Tonight"—has one of the sultriest dance feels of any
single in recent memory. Farriss achieved the feeling of
movement on that cut by merging his playing and pro-
gramming skills. Says Jon: "'Need You Tonight' is part
machine and part live drums. What I did was to play
kick and snare, four on the floor. And we had about five
snare sounds making up that one snare. There were
three or four bass drum sounds put together as well. We
invented the sounds, then put the rhythm down on the
computer. Andrew had the idea for the rhythm already
written down when he originally brought the song in, so
I just basically followed that general idea. Later, I put all
the top things on it like the percussion stuff—cowbells
and shaker—to make it sound human. So the balls of
Photo by Jaeger Kotos
Innocently and completely unexpectedly, Jon Farriss that are pretty consistent, and the top stuff—the percus-
poses the question, "Are you really sure that drummers sion—is all loose and jangly.
want to read about me?" It was a definite "first" within "I triggered my kit for 'Calling All Nations,' just doing
my realm of experience as a music journalist. Yet, as snare and tom on it. Everything I do recording-wise is
strange as the question was, it was also slightly refresh- played along to a computer. No overdubbing—I just
ing. It is with that question—and with the process of an- play to the computer. With a computer, you can make it
swering it—that we begin our story. sound the way you want it to. With a click, it's just this
Aside from the obvious fact that Farriss is a drummer, big thing clanking in your head—this electronic pulse
the choice to illuminate his career on these pages has that drives me crazy after a while. It's like, 'I can't play
something to do with his ten-year-plus participation in this anymore! I'm turning into a vegetable!' But the
the Australian band INXS. With the 1987 release of computer is like having someone playing along with
Kick, and the eight months it has spent lingering solidly me. I just go for a pattern that's real comfortable to work
among the top-five albums on the charts, INXS have with."
catapulted themselves into the major leagues of rock 'n' Does he enjoy programming, live and in the studio?
roll. "Yeah, I love it," he answers, "and I do it at the live
Most relevant to this story, however, is Jon's drum- shows as much as I can. I mean, I play with this Yamaha
ming experience. The beginnings of INXS go back to the RX5 all the time. I've got headphones here with my
late '70s, when Jon (still a teenager at the time), his two setup, and I can basically create whatever I want. It's an
older brothers, Tim (guitar) and Andrew (keyboard), Kirk aid to me. If I want a percussion player standing to my
Pengilly (sax, guitar), Carry Gary Beers (bass), and front- left side, then I've got one.
man Michael Hutchence came together as a unified "Live, we like to change things around a bit," he adds,
group. "so if I think, 'I reckon this song needs a bit of a push on
From a drumming standpoint, Jon's evolution over six it,' then I'll put something like a conga on it—very
albums and eleven years is prominent and vital. Today, subtle things that I work into the set."
he emerges as an eminently skilled player, devising se- Jon utilized the RX5 in the studio, as well. "I used to
ductive rhythms for INXS's diverse rock stylizations. He use a LinnDrum, but I changed to an RX5 because the
may not be a "drummer's drummer," but that isn't a goal Linn didn't have MIDI. I can make this talk with every-
of his. Instead, his playing serves the music. A fact that thing else because it's MIDI compatible. I also use two
any fan can support is that Jon's drumming has become Akai S900s."
 Among the assorted tools of the trade in his live setup, Ambassador heads for the RotoToms, Pinstripes for the
Farriss has a load of disks with sounds. "I use quite a few top of the floor toms, and clear Ambassadors for the bot-
of them during a show," he comments. "I use four on the toms. All the snare drums have coated Ambassadors on
top Akai, and three on the bottom one. I have a vast the tops and clear Ambassador snares on the bottoms,
library of sounds that I've developed in the studios over and there's an Evans Hydraulic head on the bass drum.
the past few years. I was able to solo-out my kick, snare, Sticks are Pro-Mark Hickory wood-bead 2B customs,
tom, and some of the electronic pads, and just throw and he uses a Danmar wood beater with a small plastic
them on the computer. Sometimes when we're doing a pad attached to the bass drum head, which lends a
soundcheck, my drum tech or the engineer might say, richer sound to the drum. Mic's are all Shure SM-57s.
'Your snare sounds great,' and I'll say, 'Fine. Feed me the All his cymbals are Sabian, and the setup includes
line back and I'll record it.' I'll keep it on a disk to refer (left to right) 14" AA regular hi-hats, two 12" AA splashes
to. So it's a fairly productive little thing, especially for
drums. For keyboards, it's a whole different thing, really.
But something that's live in timbre, like a snare hit,
bang, you can record it and have it there.
"Electronics are amazingly helpful. It's not like this
big, bad, evil sort of thing. A lot of older drummers say
to me, 'You don't need this stuff to play.' Fine, but don't
get me confused with someone who doesn't know how
to play and relies on electronics to compensate. Drum-
mers who use computers are a dime a dozen these days,
and that's fine. It's the medium we're in and there's
nothing you can do about it. But don't get hung up
about it. You can still love the breadth and the dynamics
of drumming; that's an art that will never die. At the
same time, it's a shame that some of the finer points of
drumming have been lost on computers.
"I used to like dancing a lot, so I'd go to nightclubs
and I'd be listening to two or three hours of consistent,
perfect, quantized rhythms. You easily get sick of listen-
ing to that because it all sounds the same, over and over
and over. On the other hand, they put some Beatles on
one night and it sounded so loose that I almost couldn't
cope with that either, you know?
"But you can't get the same feel out of a computer
alone as you can playing live. I'm not saying it's impos-
sible, but the difference is very noticeable. I must admit,
I love computers and I've used Fairlights and other com-
puters over drums on certain songs."
And conversely, on certain songs, no computer is
used at all. "Say we do a ballad like 'Never Tear Us (located directly above the hi-hats), a 16" medium thin Photo by Jaeger Kotos
Apart.' I'm playing just my right cymbal and my snare, AA crash, an 18" AA medium crash, 22" and 20" HH
and I may do an occasional roll on the cymbal. On the Chinas, and a 22" HH heavy ride.
other hand, with some songs, like 'Wildlife,' 'Don't At a live show, Jon shrugs off the constraints of con-
Change,' 'Listen Like Thieves,' or 'Kiss The Dirt (Falling ventional expectations. He tends to dance while he
Down The Mountain),' I use everything in my setup. plays (depending upon the song), often standing up be-
"At the moment I'm triggering an 5900 sampler for my hind his kit when it allows. "It's an outlet for me, and
bass drum," he says, "because I'm having trouble with sometimes I'll just be grooving around, being a little
my knee and I want to make sure I'm not causing more silly," he remarks. "I guess it's a lot more colorful than
damage by over-usage. Eventually, I want to go back to the usual, but I see drumming, dancing, and just moving
an acoustic bass drum sound, or maybe even blend the around as all part of a medium for self-expression. That
acoustic and the electronic. Given the choice, I much doesn't mean I turn into Michael Jackson up there, but I
prefer the acoustic because I can't get the dynamics out like to groove. On some songs I like to be able to get up
of the triggered sound that I can from the acoustic." and have fun. It's a real buzz.
In his acoustic set, he uses a selection of six different "I do a lot of nonsense things that are more theatrical
snare drums, contingent upon the song and the desired than anything else," he continues. "It's a more calisthenic
sound. As his drum tech, Anthony Aquilato, explains, approach to drumming rather than the conservative,
"He doesn't use any triggered or sampled snare sounds. nose-down, don't-look-up-at-people sort of thing. I flip
He prefers to use live snares and switches his snare de- sticks and sometimes pretend I'm hitting something when
pending on the song." Among the selection? Says An- I'm not. [laughs] Don't ask me why, I've just always
thony: "A Ludwig Black Beauty, a Ludwig hammered- done it. I guess it may sound stupid, but it's just part of
bronze, a Slingerland chrome-plated brass, and a Pearl my sense of humor, and I don't even realize I'm doing it.
wood snare." The other guys will look at me and say, 'What are you
The kit also contains three Remo RotoToms—10", 12", doing?' It's really just part of dancing. It's a party and
14"—and four Pearl electronic pads (no longer manu- that's the essential vibe. We're all having fun up there.
factured), three located above the RotoToms, and one to "I love the group, and I love the dance stuff and the
the left of his hi-hats. There's also a 16 x 16 floor tom heavier stuff and the slower stuff. I also love it when it's
and a 22 x 16 bass drum. All acoustic drums are from a bit of a challenge—like when it's difficult to do but it
the Pearl GLX Series, and the acoustic rack is all Pearl sounds easy. Sometimes it's really hard, I reckon. Other
hardware. The electronic rack was designed and con- times, it's so easy it's unbelievable. It also depends on
structed by Vince Cutman of Marc Industries. how I feel. I mean, sometimes I'll really like playing a
Anthony says that Jon chooses coated white Remo dance song that's real cool and slinky, yet sometimes it
 isn't as much fun to play as it is to listen to. Sometimes, and that was incredible for me. It was sort of a tambou-
when you're recording something, it feels weird when rine drum without the jingles on it, and he attached it to
you're playing it, but when you listen to it back on tape, a stool. I can never forget the assimilation I had with that
it sounds good." instrument; it was so intrinsic to my whole nature. I be-
Early this summer, in the midst of their North Ameri- lieve a little bit in an internal psyche that communicates
can tour (which began a year ago), Jon was grappling within, and maybe when I was young I did have a vibe
with something a bit more sobering than what he's been for what I would be doing as an adult. Who knows?
used to. He was afflicted with an acute arthritic condi- "I felt there was this internal guide with drums, even
tion, which manifested itself in his knee. Walking with a though I also felt very unknowledgeable and naive to-
cane, he was dealing with the pain of the arthritis, the wards what I was doing," he continues. "Even though I
problem of not being as mobile and physical as he was plundering in the dark, lacking the technical experi-
normally is, and the fear that his condition might be a ence, it still didn't matter. That was, in a way, the bril-
consistent problem. "There's a lot of inflammation, and liance of how naive I was. I was just going ahead with
the whole matter becomes quite complex when you're tempo, conceiving that before anything else."
playing gigs practically every day," he commented. He Even though his father was not a professional musi-
was receiving treatment occassionally and was on medi- cian, Jon credits him as being his source of inspiration as
cation, but his outlook was pretty optimistic, despite the a youngster. "My Dad used to play in a marching band
inconvenience. when he was a kid growing up in England. I think he
Under normal physical conditions, Farriss relies on a was sort of a frustrated drummer. He would pick up a
series of warm-up stretches based on the martial-art dis- drum and show me how to play things. He was the one
cipline of Tai Chi. Jon explains: "I started with Tai Chi who taught me how to play paradiddles and that kind of
stuff. So I was basically comprehending all of that when
I was really young."
What about his first kit? "I guess I was about six," he
recalls. "It was a really simple kit, and it had very quaint,
very jazzy features. I've never seen anything like it since.
There was a pole coming out of the middle of the bass
drum—classic. I had rigged that first drum that I had
onto it and there was also a snare that was the same
color as the bass drum. I didn't know what I was doing—
riding with my right hand, playing the bass drum with
my left foot, [laughs] For about four years, I was just
jamming like that. I didn't have any hi-hats, I didn't have
a tom-tom, I was just playing the beat."
He says he really dug the Beatles "a helluva lot. And I
played along to a lot of their music." So Ringo Starr had
an indelible influence? An impassioned "yes" is Jon's
answer. "People obviously follow his drumming because
it's really simple. But it's classic pop drumming at its
best. The idea with him is not what you hear but what
you don't hear. I think that taught me form; the drum-
ming I was hearing had a definite shape, and I could
Photo by Kevin Pierce about eight or nine years ago. Tai Chi is a slow form of understand that form as a child. It wasn't some complex
martial arts—of Kung Fu, really. It develops your breath, funk-jazz beat that would be hard to grasp.
your balance, and your strength. I did it really relig- "So yes," he adds, "it was a pop drummer who I could
iously for about two years. As the years went on, I most identify with. That music had a lot of melody, and
started to use most of the exercises for warm-ups, pick- it went through a great range of styles. It was a big part
ing out the bits that I liked and that were helpful to my of my life, as it was for Andrew and Tim."
playing. Growing up in a middle-class suburb or Sydney, the
"It was good for my balance in drumming because in Farriss household fostered a conducive atmosphere for
Tai Chi, everything is round and flowing. And since it's the children to pursue their individual musical paths.
done very slowly, it's almost like you're hypnotized; you "We were in the best possible situation. There was a
sort of meditate while doing it. That flowing, circular piano in the house, plenty of records, and I was allowed
motion naturally comes out in drumming. I never got to play drums in the house! Which is about as unusual
into the defense side of Tai Chi; I pursued it for its as allowing two dogs to mate in the living room, you
therapeutic values. know? My parents knew we could handle the responsi-
"Actually," he adds, "I go through cycles of what I do bility of not playing at 3:00 A.M., and it was cool to get
as warm-up exercises. During the past two years, I've in a quick ten minutes before going off to school, which
been working out right before I play: skipping rope with was something I used to like to do. We also had band
a five Ib. weight on it for about 20 minutes; working out practice at my house twice a week. It was great. I guess
with free weights and a curling bar; doing some Tai Chi it's pretty wild how everything just fell into place."
stretching. Basically, the most important thing is stretch- Jon was always adamant about his resistance to taking
ing, but unfortunately, I haven't been able to do that formal music lessons, and by his own admission, the
recently on this tour." process of self-discovery was part of the mystique of
So how did Farriss get involved with music to begin drumming that was so enticing to him. "Not being taught
with? At three, Jon became entranced by the concept of was really alluring. I was into playing for the love of it,
drums—the sound, feel, and shape. "From the moment I and I felt there was a connection. But when I was about
first saw a drum," he says with a grin, "I instantly zoned 12,1 thought I might go and have some drum lessons. I
in on them. Since then, that's been my predominant had ten lessons, and it was the worst thing that ever hap-
vehicle in terms of artistic outlet. It was something that pened to me from a musical standpoint. The guy was
was so natural to me, I was immediately pulled in by it. telling me that I was holding the sticks wrong and that I
"I had been given a drum for Christmas by my father, was doing all this other stuff wrong. He would tell me to
 Photo by Lissa Wales
do a beat and read it
while I was doing it, Jon Farriss has a slightly different ap-
but I was doing all that proach to rock drumming. His main
kind of stuff years be- concern is to groove, and Jon's ability to
fore. Now I was doing do just that has attributed to the huge
it again because it was success of INXS. Jon's uniqueness comes
a lesson. I became re- from the way he embellishes the beats
ally disturbed about it, he plays. Every now and then, he en-
and that was the end hances a beat by dropping in a cymbal
of that." crash or an unexpected flurry on the
Farriss developed his toms, for example. This spontaneity adds a sense of
skill with percussion excitement and surprise to Jon's playing. The following
the same way he examples show some of the different grooves that Jon
learned to play drums: plays in INXS, and if you listen to these tunes, you will
Harboring an interest, hear how he adds to these beats.
he simply taught him- This first example is from the song "The One Thing,"
self. On Kick, he plays bongos and timbales, as well as from the Shabooh Shoobah album (Atco 7 90072-1). This beat is played
his usual assortment of tambourine, shakers, woodblocks, during the bridge section of the tune.
etc. "It came about in such a simple way, really. It was
just a matter of listening to a piece of music that had
some percussion on it and asking, 'What is that?' Being
naive and curious is basically what it came down to.
"You see, when you realize what it is they are playing
and how they are doing it, you can then adapt that to
doing something you want to do in your band. Conga This is the beat to "Black And White," again from the Shabooh Shoobah
and bongo playing, for example: They are things that album.
take a fair bit of experience, and I certainly don't profess
that I'm a great conga player. It takes practice and time
to get the dynamic range on that skin. It's not a matter of
jumping on it straight away and mastering it, like shak-
ers, tambourines, or cowbells. With things like bongos "Jan's Song," from Shabooh Shoobah , has a reggae-rock feel, and this is
and congas, it takes some understanding of form to play the beat Jon plays during the solo section.
them. There are some very developed conga players
who can do some amazing things. I'm able to pull
through with congas and do the job. It might take me
some time, and I might have to tape my hands up, but
I'm the one playing it because I know what I want to
hear. That's easier than trying to explain what I want to This beat, which has a half-time feel to it, is played in the closing section
some guy who's been brought in. of "Old World New World," from Shabooh Shoobah .
"Nevertheless, I've always been able to adapt to an
instrument and just ad-lib from there and make it work.
I'll sit there, feel it through, and slowly develop a form. It
might take me an hour to get comfortable, and then I'll
be ready to go in and record it. The most important thing
is that I'll know from the start what I want to hear, and The following example is the hit "What You Need," from the Listen Like
how I want the instrument to work with the song. Thieves album (Atlantic 7 81277-1). The first measure is the verse pattern,
"If it's a situation in the studio where we don't have and the second measure is the chorus pattern.
that much time, and we want to knock it down all at
once," he elaborates, "or if we want a certain player's
particular feel on it, then we might hire someone else.
But that's usually happened when we've tried to avoid
confusion, which can happen sometimes when I go in
to try something—the nonsense that goes down when
people keep running in with their opinions.
"But it really depends on the situation. I mean, I did a Here is a hard-driving beat that Jon plays on the song "Red Red Sun," from
lot of my own percussion on Kick because I'm more Listen Like Thieves.
familiar with [producer] Chris Thomas now, and I just
said to him, 'Look, I want to do my own percussion.' On
Listen I did a bit of it, but he brought in Ray Cooper for
some of it. On The Swing I did all my own percussion,
as I did on all the albums prior to that. But on Listen,
Chris was still teething, feeling his way through with the
band. And I must admit, with six members it must be
difficult to balance all that out. Anyway, it's quite amaz- This last example is "New Sensation," from Kick (Atlantic 7 81796-1). The
ing what you can do by teaching yourself. Of course, first measure is the verse pattern, and the second measure is the chorus
there's also a great deal that you can't do, but I think pattern.
time and work eventually fixes that."
Does Jon think that the supportive environment he
experienced at home is the reason behind his early
attainment of a prosperous career? Jon indicates that it
actually goes deeper than that. "I don't know," he re-
sponds. "There was always this intense persistence. Tim,
One of the great things about writing for sample of others, which helps demonstrate doing it live, maybe the audience wouldn't
Modern Drummer is that you are often able his versatility, is Gary Moore (Run For notice if it wasn't quite so good at the
to get behind-the-scenes insights into the Cover,), Linda Thompson, and Tina Turner beginning. The ambience of the moment
workings of the music business. Seeing El- ("Thunderdome" from the soundtrack to can capture an audience. But if they are
ton John recording the backing track for Mad Max 2). Charlie is tall with a well- going to buy a record, they're going to
"Rope Around A Fool" for his 1988 album, modulated voice—the type of Englishman listen to it time and time again, and if it's
Reg Strikes Back, is a case in point. Outsid- you could imagine being cast as James not perfect all the way through, they won't
ers are not generally encouraged at ses- Bond. His expressions while he plays range be satisfied.
sions like this, for obvious reasons: When from boyish enthusiasm to hawk-like in- Elton is one of the greatest live perform-
material is being created, artists like to be tensity. He jokes that part of his success is ers around today. The concerts we did in
able to take their time and get it right with- due to "being nice," but he is the sort of Australia with The Melbourne Symphony
out feeling the need to put on a show for person who is able to generate a feeling of Orchestra proved the point. He is one of
anybody. However, my presence was hap- good humor and pleasantness—a valuable these people who bounces off an audience
pily tolerated, because I was there as the quality, particularly in the studio—so there and the rest of the band. We had a wonder-
guest of Elton's drummer, Charlie Morgan. is probably more than a grain of truth there. ful time on the world tour, but particularly
I had half expected to find Charlie alone SG: I've been watching you record a back- in Australia with an 88-piece orchestra. He
in the studio, reading from a chart and ing track with the whole rhythm section got a particular buzz off the whole thing,
playing along to a click track, so it's good playing together. Is this the way it is usually and performed better than ever. So the best
to find the whole rhythm section, includ- done? way to record Elton is in a semi-live envi-
ing Elton playing piano and doing guide CM: With Elton it is, yes; but the trend for ronment, in which he has the rapport with
vocals, in there together. There is a "click" the last couple of years has been to layer the other players.
from a drum machine, with percussion everything, sequencing a lot of the stuff, SG: Today I saw the band learning a new
sounds that Charlie is experimenting with and often putting drums on later. I've done number, but there seemed to be very little
to give the points of emphasis he wants, a lot of work playing along to a complete in the way of discussion and analysis; you
but otherwise all you have is five musi- track, overdubbing the drums. So doing it all just clicked together. Does this always
cians playing together. The number, a lively this way is quite refreshing. happen?
funky shuffle, is being "routined." They are SC: Do other people tend to record first CM: Normally it does, now. When we
taping it, coming out and listening, making with a full drum machine part, or just a started with this lineup, it wasn't quite so
slight modifications, going again, and lis- click? comfortable. When I first worked with El-
tening again. There isn't a lot of discussion, CM: Usually it's a drum machine guide. ton, I'd never met Davey Johnstone [guitar]
just the occasional word here and there. Nik Kershaw, for instance, would put down and Fred Mandel [keyboards] before. I just
Producer Chris Thomas asks Charlie to a drum machine guide, play along to it, walked into the studio, and there they were.
change his Premier Piccolo snare drum for and build up what he called a "synth pad"— I was originally booked with another bass
something a bit deeper, so Charlie changes a basic pad on which to work. Then he'd player, a guy called Paul Westwood, who
to a Project One. After the next run-through, bring in the musicians, and we'd overdub I'd worked with before. David Paton worked
Thomas says, "Would you go back to the on top. It worked admirably for Nik's style with another drummer on that album, be-
biscuit-tin drum, please?" Charlie sings and and for what he wanted, but I don't think it cause Elton was using about five different
mimes a piece of phrasing to Davey would work for Elton. He's the sort of per- rhythm sections on it. Things clicked quite
Johnstone, the guitarist; Davey nods his son who bounces off the people around quickly because I had developed the knack
head and smiles approvingly. They don't him, and for that reason we do a backing of working with different people and bend-
practice it, but they do it in the next take, track, rather than one overdub on top of ing with their idiosyncracies. But what you
and it seems to meet with tacet approval. another. But, of course, if anything needs saw today was the culmination of two al-
Eventually, Elton John sits in the control repairing after that, it can be done. bums, 170 concerts, and heaven knows
room and sings along to the same take SG: You had the "click" in the form of the how much in the way of rehearsals in the
three or four times, then he says, "That's drum machine pattern. two-and-a-half years since I first met Elton.
about it. We'll come back in the morning CM: Chris Thomas likes to do that; in fact There is almost a state of ESP between us
and do it when we're fresh, but that's the most people do. We're working on 32-track now, and it doesn't take many runs through
way we'll play it." As it turns out, they digital, so if the first half of one take is a song to reach the point where everything
don't, because (as Charlie subsequently tells great, and the second half of another is is clicking.
me) Chris Thomas later decides that the great, the two halves can be digitally spliced SG: Learning a new number and recording
take that Elton has been singing along to is together. You don't physically splice it, but it for an album within the space of two or
the one to be used on the album. you set up the points and transfer them to three hours must put you under a lot of
Charlie Morgan had been one of the another 32-track tape machine, making a pressure to deliver. Do you ever listen to
"happening" young studio drummers in composite take out of the two. So for that something much later and wish that you
London for about six years when he was reason it's really up to me to keep it in time had done it differently?
asked to play on a few album tracks for with the click. I don't mind doing that. I got CM: It has been known. There have been
Elton John, which led to his becoming a used to it when I was doing jingles. It does times when I thought that everyone else
fixture in the band. Some of his recording mean that you can capture what's best from played brilliantly, and I played really badly.
credits appear in the discussion. A small more than one performance. If we were But over the past few years, I've developed
Photo by Tony Mottram

by Simon Goodwin
 do is very satisfying and rewarding.
SG: If you're playing a lot of rock music
that depends on a heavy 2 and 4, doesn't
this become repetitive and restrict creative
thought?
CM: Yes, it can, but there are ways of ap-
proaching it. There was a sketch by Peter
Photo by Sue Stanton

Sellers in which he was playing the head of

a school for pop musicians. He was asked
whether he was looking for signs of musi-
cal talent. "Oh yes," he said. "Any sign of
that and they're out." [laughs] There is some
the ability to work out what I'm going to working with a producer for the first time. truth in that, but just because they want
play on a number within the first five runs- You just have to be confident and launch you to go "whoomp, crack, whoomp,
through, and then stick to it unless I'm told into it. crack" for a lot of the time, it doesn't mean
otherwise. If the producer says that I've got SC: There must be a lot of pressure if you that your creativity goes out of the window.
completely the wrong idea, I have to go are creating a drum part for a song by a You can have that backbeat, but there are
back to the drawing board and start again. major artist that is going to be listened to the embellishments as well that give a par-
In the session field it is a case of trying to by millions of people for years. ticular part its own identity. Also, you don't
play an almost identical track each time, CM: If you think too hard about the pres- have to have the backbeat through every-
until you get the one with the right feel. sure, you don't play your best. I just have thing. I find myself replacing drum ma-
Occasionally you do come up with a dif- to rationalize and say, "Okay, if I don't get chine tracks on which they've put a back-
ferent fill or something like that, but then it right this time, we'll do another take." I beat all the way through, because they can't
it's up to the producer to decide which one do what feels right to me and just go for it. think of anything else to do. I can perhaps
is the take. That is, after all, what they've booked me leave it out altogether for two bars, and
SG: I noticed you doing different things: for; and if not, I'll soon find out. I think that then when I bring it in again it has much
Sometimes you were doing some buzzed that's the session attitude that comes with more impact because of the element of
grace notes on the snare drum, sometimes experience. When I started doing sessions, surprise. What you leave out is as impor-
not; sometimes you were busy on the hi- I was absolutely petrified—almost rigid with tant as what you put in. I try to keep the
hat, sometimes just playing between the fear—that I would play a wrong note and original flavor of a song, but stop its being
beats. You were creating and experiment- everyone else would look at me. I've be- repetitive. If that is all they want, they could
ing, and the other people were leaving you come considerably more thick-skinned over stay with a drum machine part. There are
to get on with it. the years as far as that aspect is concerned. ways of jiggling around with a drum ma-
CM: I think that Chris and Elton rely on my But at the same time, I've tried hard not to chine so that it almost feels like a real
judgment to a large extent in regards to lose the freshness and enthusiasm. You can drummer. But a drummer can vary things.
what sounds right and what doesn't. We become the sort of session musician who's SG: I can't remember whether it differs from
listen to everything we do, and I can think, seen it all and done it all, and it is reflected the original record, but the live version of
"No, that's too busy; maybe I should sim- in your playing. It can get like an office "Take Me To The Pilot" was magnificent
plify it to allow more breathing space." job, and the resulting attitude is what has because of the unexpected backbeats that
Today I think we had problems keeping it given the "session musician" a bad name appeared in it.
in the groove at first, because I was too in some circles. It's an image that the CM: That was a truly magic part, and one
busy. So I honed down what I was doing so younger players are trying to dispel. The which I hardly changed at all from the
that it wouldn't get in the way of what role of a session player has changed over original. It was actually my namesake Barry
Elton was doing. It's not a Charlie Morgan the years. Once they were required to go Morgan who had the original idea for that
solo album, it's an Elton John album, and in, play the part as written, go away, and part. I loved it so much; there was no way I
it's important to remember that. What I do send an invoice. But I've found in recent could change it. With Elton's music, we've
might be clever, but it might not ideally years that people book you for your own made very few changes in the basic feel of
complement the track. On the other hand, expertise or your individual style, and ex- things, particularly the early stuff. Every-
I might leave something out, and Chris pect you to put your own stamp on the thing that was played was right. There are
Thomas might say, "I liked what you were music. It's much more creative, but you're exceptions: For the concert version of "Burn
doing before," so I'll put it in again the next not writing the song for them. It's a ques- Down The Mission," I was asked to nail
time 'round. They keep all the takes, so tion of adding that particular sparkle to it in the backbeat to the floor. It wasn't like that
that they can go back and point out what the way that they want. on the original, but I was asked to play
they want. But if I leave something out, I've found that a problem you do have to more of an '80s part in order to keep it tight
and the producer doesn't mention it, I as- cope with is keeping the same fresh atti- with so many musicians on stage. There
sume that he feels we're better off without tude. It's possible to become jaded and are other classics, like "Don't Let The Sun
it. So while I'm honing down my part, I'm mentally tired, because you get dragged Go Down On Me," in which I do the origi-
trying to be aware of what they might or through a lot of things. But I'm pleased to nal drum fills. They are Nigel Olsson's fills,
might not want. It can be difficult if you are say that a very large proportion of what I but everyone expects them to be there.
 "MAYBE ELECTRONICS HAVE
TAKEN WORK AWAY FROM PEOPLE;
BUT MAYBE IN SOME CASES THE
WORK WASN'T THERE IN THE FIRST
PLACE, AND ELECTRONICS IS BEING
USED AS A SCAPEGOAT."
SG: You mention keeping it tight with the to a certain extent, to me. But there were a way, if you are doing it as part of a band
orchestra. Different drummers have differ- occasions when I needed to follow him. and not as a session player. You are with
ent stories about playing along with sym- For that reason he had to be visible to me. the same group of people, shut away in a
phony orchestras; what's yours? My kit was off to one side of the stage. I studio.
CM: Actually, everything else since then was facing Elton across the stage, and if I SG: Isn't there an element of this with Elton
has been a bit of an anticlimax. It was the looked about 45 degrees to my right, there John? You are part of the band.
biggest buzz of my entire life, as far as was James with his baton. I could follow CM: Yes. In some ways it's a new experi-
playing was concerned. Just before the him, and he could turn 'round to check ence for me, because I cut loose from bands
concert, which was broadcast live across that everything was okay with me. There quite early on. Any band I was in was only
Australia, Phil Collins was interviewed. He was a lot of eye contact going on. One as good as the person who turned up the
said, "I don't envy Charlie Morgan's job, very nice thing was that when I looked latest, drank the most, or took the most
having to keep the orchestra in time." The over and above James, there was one en- drugs. I wasn't prepared to be dragged down
funny thing is that with The Melbourne tire bank of the orchestra. Within a few by people who behaved like that; I knew
Symphony Orchestra, they were so con- dates I was looking up there and smiling, that they were destined for failure anyway.
cerned about playing in time and making and I'd get 10 or more faces smiling back As soon as I got an opportunity to break
the whole thing tight that there were no at me. into sessions, I stayed there. From an early
problems at all. I know from experience SG: How did you feel when it was all over? age I've been a great believer in turning up
that there's a tendency for orchestras to CM: Terrible, [smiles] Coming off tour and on time with the right attitude, the right
keep ploughing on regardless. Most of the not having thousands of people applaud- equipment, and doing the right job.
time it's dragging, but they'll carry on in ing you every night is a bit of a psychologi- SG: Are you signed to Elton while you are
their own rhythm and leave the rock musi- cal blow. It certainly takes time to readjust. not actually working with him?
cians to sort themselves out—because, of Even after getting over the jetlag, I found CM: Yes, although the current album is the
course, when there are 35 string players myself almost having an anxiety attack at first thing we've done since coming off the
and one drummer, you're outnumbered. 8:00 every evening. It was still that magic world tour. In the meantime, I've been free
SC: Surely a sympathetic conductor is the time, the gig time. I found myself pacing to do any other sessions that have come
key to it all? around, unable to relax. It isn't a real situ- along. Elton has kept the band on a retainer,
CM: Yes, a sympathetic conductor ;'s im- ation on the road, but you find bands who which is unusual these days. With most
portant, particularly for what we were doing tour continually because they become bands, the musicians are either members
in Australia, but you must also have an hooked on it. of the band who are receiving royalties, or
orchestra who are willing to listen to the SG: A lot of bands seem to do an annual they are ancilliary players who are brought
band. The great thing about this orchestra album and tour routine. in to do a job and who disappear into the
is that they had a very young average age. CM: An album is a rarified atmosphere, in
Most of them had grown up with Elton's
music and respected him for who he is,
and they were overjoyed to be playing with
him. So they were eager to please. They'd
come up to me in the bar afterwards and
say, "Did we play in time tonight?" I don't
want to damn orchestral players, but in
England you very rarely get them even frat-
ernizing with you, let alone asking your
opinion. It's very much "us and them," but
in Australia, everyone became friends.
SG: During the performance, you were
wearing headphones. What did you have
coming through?
CM: I had a general mix, but heavy on
Elton's piano and voice, light on the
drums—because I could hear them acous-
tically—and a mix of the orchestra so that I
could compensate if there were any prob-
lems. I never needed to, though, for rea-
sons we've been into, and also because at
Photo by Sue Stanton

least half the orchestra had cans as well so

that they could hear me.
SG: Were you following the conductor, or
was he following you and Elton?
CM: James Newton Howard, the conduc-
tor, was listening very much to Elton, and
 Blue Oyster Cult, in its platinum prime, fessional musician. My mother got very
was the rarest of animals: a smart heavy upset, and her first reaction to discourage
metal band. And Albert Bouchard was me was to say, "You can't play the drums.
hardly the typical hard rock drummer. You're terrible; you have no rhythm."
Founder of the band in 1967, he wrote its DF: Where did you live?
most interesting material, often collaborat- AB: Clayton, New York, right where the St.
ing with visionary lyricists R. Meltzer and Lawrence River meets Lake Ontario. It was
Patti Smith. Connoisseurs of the Almighty pretty much a cultural wasteland—no of-
Drum Solo still rank Bouchard's perform- fense to anybody who lives there. I never
ances among the legendary. heard of Chuck Berry until some group
After 15 years, Bouchard left the Cult came over from Canada and played "Johnny
and began recording Imaginos, the solo al- B. Goode." There was only one radio sta-
bum he'd been planning even before B.O.C. tion. It was mostly country & western. Black
was formed (one of Imaginos's songs actu- artists just did not get played.
ally provided the band's name). Imaginos's DF: Your parents were farmers?
strange brew originally included the Doors' AB: Not really. My mother was a trans-
Robbie Krieger, the Dream Syndicate's Karl posed city person who grew up in Boston,
Precoda, Billy Idol drummer Thommy Price, moved to Chicago, and was J. Edgar
Aldo Nova, Kenny Aaronson, Tommy Mor- Hoover's secretary. My father was from
rongiello (lan Hunter), Tommy Mandel Clayton. He was in the Merchant Marine. I

by (Bryan Adams, Peter Wolf), and Helen

Wheels. Bouchard also invited the Cult's
don't know if they met in Chicago or if
they met in Boston. All my father says is, "I
Deborah Joe Bouchard, Allen Lanier, and Buck
Dharma to join him in the studio, a fact
chased her 'til she caught me." Then my
father had a job with the Voice of America
Frost that contributed to an ironic turn of events:
After a six-year gestation, Columbia Rec-
and I traveled all over the world before I
was seven years old.
ords plans to release the tracks they cut as When we came back, he was an inven-
the next Blue Oyster Cult record. tor for Stromberg-Carlson, and then he took
Bouchard returned to B.O.C. for a brief a job at the television station in Water-
West Coast tour, but has been more in- town, about 20 miles inland from Clayton.
volved with new projects—including teach- Anyway, my parents weren't really farm-
ing drums. In addition to numerous session ers, but we owned a farm. I'm the oldest of
dates, recent collaborations spotlight not seven—six boys and a girl—and to keep us
only his power drumming but also his drum out of trouble, my father had a tractor and
programming and talents as guitarist, writer, all the necessary things to grow corn, to-
arranger, and producer. He's written with matoes, string beans, and peas that we'd
Mark Barkan (author of Top-40 classics like sell on a stand.
"Pretty Flamingos"), Richie ("Tossin' and By the time I was getting into playing
Turnin'") Adams, Gene ("Feel Like Making drums, I was hungry to relate to my peers
Love") McDaniels, and singer Robert Cor- and not be on a farm out in the middle of
don. He produced a well-received inde- the woods. Me and my brother Joe, and my
pendent album, Bambo, for David Roter, cousin and his cousin, and a second cousin
with whom he co-wrote "Joan Crawford" to my cousin—everyone was related some-
and "Unknown Tongue" for the Cult. He's how—all got together and had a little five-
been busy out of the studio, too—perform- piece band. We called ourselves the Regal
ing with artists as diverse as Peter Noone, Tones, in honor of the Royal Tones.
the Spencer Davis Group, ex-Plasmatic DF: What was your first drumset?
Richie Stotts, the Mamas & the Papas, and AB: At first, I borrowed one from the drum-
his own group, Bouchard. mer in the high-school dance band and
A once undefeated high-school wrestler, augmented it with stuff from school. Fi-
Bouchard began running not long after leav- nally, I bought a used set with a 26" bass
ing the Cult, and has competed success- drum, with single-tension double heads,
fully in numerous road races, including and a dual-tension wood Slingerland Ra-
three New York City Marathons. Besides dio King snare drum that was made in about
taking home the third-place trophy in a 1939 and would be worth a fortune now. I
recent Sri Chinmoy Marathon, he's proud- had a little tiny hi-hat, where the cymbals
est of beating David Lee Roth in the '87 were about 5", and a ride cymbal I later
New York City race. used for a frisbee, it was so bad, about an
DF: Your mother told you that you'd never eighth of an inch thick, 13" wide. I paid for
make it as a drummer because you didn't it on time, five dollars or something each
have any rhythm. What happened? week. Shortly thereafter, my father went to
AB: I had a very strong desire. I played see relatives in Boston, and he stopped in
piano for four or five years and played Quincy at the Zildjian factory. He came
organ in church. But when I was 11, I back with a cymbal I still have and have
heard "Walk, Don't Run" by the Ventures, used all my career. It sort of has an E-flat
and it had this boss drum solo. Then there overtone, so it doesn't always work with
was a string of drum-oriented hits out; next all keys. I love cymbals. I have a lot of
I heard "Flamingo Express" by the Royal them, and I try to take care of them. That
Tones and "Let There Be Drums" by Sandy one has a little tiny crack in it, but I still use
Nelson. I immediately became totally im- it. I was 12 when I got it. I never took it on
mersed and started talking all kinds of fool- the road, but I've used it on just about
ishness—like I was going to become a pro- every recording. Eventually I got a hi-hat
photo by Michael P. McLaughlin
 dard thing. Chuck Berry was the best singer
I'd ever played with at that point. He'd
give us visual hand signals—play quiet, play
louder. The leg coming down meant "here's
the ending." He introduced a song that
night that, two or three years later, went on
to become a big, big smash. The first time I
heard it, I was playing it. It was like, what
is this? It was "My Ding-A-Ling." Afterwards,
Paul Butterfield's band came down, and Al
Kooper, Elvin Bishop, and Jimi Hendrix.
The promoter said, "Can these guys jam on
your stuff?" We said, "Ohhhhh, do what-
ever! Sure, these guys are GODS."
We came back the next afternoon to get
ready for the show and our brand new
amps were blown, my hi-hat was broken,
all this stuff was ruined. Elvin Bishop blew
the amp; Hendrix would never do that. He
came down and jammed with us a few
months later—once on guitar, another time
on bass—and he was always very respect-
ful and very honest, the nicest cat you can
imagine. So we asked the promoter for
money to fix our stuff. He's like, "I lost my
shirt last night, forget it." We rushed
around—it was Saturday and all the music
stores closed early—and got new amps, a
and two tom-toms. One was a Ludwig and was freshman year, at a fraternity party. new hi-hat, and played another good gig.
the other was a Kent, I think. This was 1965. The band was called the At the end, Blood, Sweat & Tears came en
My drumset was all different colors—a Disciples. We played "My Girl" and tunes masse and said, "Oh, can we use your
brown snare, a black bass, a yellow tom- by Paul Revere & the Raiders, Lee Dorsey, equipment?" We said, "Sorry, we're taking
tom, and a blue tom-tom, so I got this Stones, Beach Boys, Beatles. The next year, it with us tonight." The promoter said, "If
golden-sparkle plastic, and I sanded it and after we went down to Greenwich Village you don't let these guys play on your equip-
glued it on the shells myself. That was my on weekends, we turned into the Travesty, ment, you're fired." So we let 'em use our
first real drumset. Oh, and I got rid of the a Blues Project copy band. By the end of stuff, stayed 'til the end of the jam to make
26" bass drum because you couldn't see the semester, we were getting money gigs sure nothing was destroyed, and the pro-
me behind it, and it was huge and hard to and only one member of the band was still moter said, "Now take your stuff and get
control. There's a whole trick to control- a student. out of here. I never want to see you again."
ling the sound of a bass drum. At the time, I DF: How did the Soft White Underbelly The next night Chuck Berry had another
didn't realize there was such a thing, and evolve? band. Then Generation closed. Jimi Hen-
even if there was, I'd have to practice to AB: Buck Dharma and I had already tried drix bought it and made it into Electric
get it down. So I got myself a 20" bass to get a band together in New York City Ladyland.
drum, and I used that set all during high and couldn't find jobs or musicians. I went DF: Probably not too many people know
school and college. to Chicago, joined a band that broke up in that Blue Oyster Cult was Jackson Browne's
DF: What kind of formal training did you a couple of weeks, and lived in a band pad first back-up band.
have? where everybody was coming by and drop- AB: He was a folkie acoustic act who got a
AB: I was in every band I could possibly ping acid. It was 1967, a crazy time every- gig at Stony Brook College. We'd worked
get in. In grammar school, I was in the little where. Donald was living at home and had with a friend of his. He came out and stayed
orchestral band, which I'm sure sounded a construction job on Long Island, putting at our band house on the Island for three
really horrible. In high school, we had this up aerials on Catholic schools or some- days and we rehearsed. I still have wild
amazing teacher. His name was Anthony thing. He wrote me saying, "Do you re- psychedelic versions of some of his tunes.
Gurvin. Then, we had Frank Sacci, who'd member that terrible magazine, Craw- He just kept shaking his head and saying,
played with Stan Kenton, Gerry Mulligan— daddy? I met one of the writers, who says "This is not going to work."
a lot of heavies. When he took over the he's going to make me a star." We made DF: What was it like when you first started
band, I was the dance band drummer, two records for Elektra, the first as the Soft recording?
which was very fortunate. Now I had a guy White Underbelly. The second was retitled AB: The recording process is always a bit
who was totally into that. He's the one the Stalk Forest Group. We'd played a gig strange with any group, even if they're vet-
who started me playing with heavier sticks. at the Fillmore when Eric Bloom first joined erans. You rehearse, and you get used to
I'd always played with the lightest sticks as lead singer—opening for Jethro Tull and hearing things without earphones. Then you
possible, a thin snare drum, and a very the Jeff Beck Group with Rod Stewart— go into the studio and put earphones on,
delicate style. He'd say, "C'mon, hit those that was so embarrassing we had to change and you feel isolated. I don't know what it
things! Swing!" our name. is—lack of communication? That's discon-
DF: How did you meet Donald "Buck DF: You had a lot of funny experiences in certing. It's just something you have to ig-
Dharma" Roeser? the early days. What happened when you nore after a while, the headphone thing.
AB: I got a college scholarship to Clarkson backed up Chuck Berry? The first record we made for Elektra was
Institute of Technology in Potsdam. The AB: We were booked to open for Chuck very strange because we did some weird
whole freshman class had to go to this Berry and back up Chuck Berry, who was miking techniques. I had a 3 1/2" piccolo
phys. ed. lecture. I saw him going in and I opening for B.B. King at Generation, a club snare that was miked by a shotgun mic'
said, "Wow, man, you're the first guy I've on 8th Street. We were supposed to do it about 20 feet above it pointing down. The
seen who's as short as me!" Later we for five days, but got canned the second bass drum was mounted horizontally, with
jammed, and that was that. Our first gig night. There was no rehearsal—the stan- an upside down cocktail-drum pedal. It was
a 26" bass, because I really missed my
original drum. So I got another 26" with an
inverted pedal. I was crazy. I thought it
would sound good. As it turned out, it re-
ally sounded horrible. It was hard to play
and the beater didn't hit the sweet spot of
the bass drum.
DF: When did you start jumping over the
drums and playing guitar on stage?
AB: We had this routine where we did a
triple drum solo—Eric and Donald would
come back and play the drums and I'd go
out and sing "Fingertips, Part II" and jump
around for a while. It was quite a routine
actually, but after you've done it 150 times,
it's enough. You're on your third time
around the States, you've done it, everyone's
seen it. One of the guys said, "Hey, you
can play the guitar. Why don't we do five
guitars? It's never been done." We realized
that people like to see unusual things, like
a bunch of people really hamming it up for
the crowd.
DF: Who influenced you in terms of play-
ing?
AB: Well, the Ventures' Howie Johnson in-
fluenced me very much. After that, the guy
in the Blues Project sort of influenced me—
but that was briefly. Then I started getting
into some of the blues cats, like Francis
Clay, who played on "The Thrill Is Gone"
for B.B. I met him when he was playing
with Muddy Waters—terrific drummer, great
posture. He played loud and simple. When
a fill came, he just put it in. He was a very
fatherly kind of guy, too. I dug him a lot; it
was a personal thing as well.
Then on our first tour after we were signed
to Columbia, we were the middle group
between Mahavishnu, with Billy Cobham,
and the Byrds. I had heard the acoustic
Mahavishnu, and I thought he was going
out there with this acoustic music. I thought,
"Oh great, we'll come out there, flatten
'em with the heavy metal, and the Byrds'll
do the hits." I didn't bother to catch the useful learning tool or an interesting toy on AB: With teaching, I feel that maybe I'm
opening act the first two or three shows, a track, but they really do not project the giving a little bit back to the music. Instead
which was good for me, because that made primitive physical feeling you get from a of just taking, I'm giving back. And I really
those two or three shows pretty good. Then real drummer. feel like I'm helping other drummers get
I made the mistake of watching, and I DF: Yet you use machines all the time. better. And I see the results; for instance,
couldn't follow Cobham. Nobody had ever AB: Writing, I seldom play live drums. It's one of my students came back and said
heard that before; it was too much. I would usually a drum machine. I'll find some- he'd just practiced for the first time with his
actually get sick before I went on. It's a thing that suits the tune and let it go. If you band since he started taking lessons from
good thing they didn't have vocals and have a drummer programming it, he's going me. I'd just helped him understand the
didn't play in 4/4 time, 'cause they really to know what to do. A lot of people pro- things he'd been doing and showed him
would have killed the audience. gram drum machines who don't know any- how to improve his form to get a better
I became a Cobham freak. The next two thing about logical sounding drum parts. sound. When he went back to his band,
or three albums, I started playing double It's an illusion with a drum machine, so to everybody commented on how much bet-
bass. Then I started overplaying all the time. really work well with it, you have to make ter his drumming was. He said that the
Some people still like some of those re- the illusion seem real. I suppose they'll sessions he had with me had a lot to do
cordings. Especially Tyranny And Muta- find other ways to start using drum ma- with it. And I think so, because I showed
tion—there's crazy, crazy stuff. The quad chines—to generate sounds or augment him concrete things to help him get a bet-
remix is pretty wild. After that, I started your sounds. Maybe they'll find a way to ter sound, and he started using them. But
settling into Bonham, who's still a very big imitate the dynamic of a real drummer. The the most important thing is practice. If you
influence. Live, he blew me away. The big- drumming on that Michael Jackson album, practice this stuff, you'll get it. If you don't
gest influence, I have to say, is Peter Gab- Thriller, for instance—that mega album, the practice it, you won't. One of the hardest
riel. Not Phil Collins, but the stuff Phil most popular album in the universe—did things for my students to get together is to
Collins did on Peter Gabriel's third album. not really knock me out. It sounds thin and have a place and a time to practice.
Even now, when I hear it I salivate. The tinny. Wimpy. But people weren't buying DF: A lot of people think rock 'n' roll is just
next one Gabriel put out was okay, but I'm the album for the drumming. bashing away. They don't seem to realize it
not a big fan of putting drum machines on DF: Do you feel that with teaching, you're takes the kind of discipline you would ap-
records. I think drum machines can be a entering into a new phase of your career?
Exotic pleasures sometimes hide in strange places. Recently I visited the Italian
Cymbal Manufacturers Association in Pistoia, Italy. (In Italian, the company's name is
Unione Fabbricanti Italiani Piatti Musicali, hence the acronym "UFIP.") I was touring
the factory with the president of the company, Luigi Tronci, when an unexpected visit
from one of his salesmen forced him to leave me alone. "Why don't you wait in here,"
he said, opening the door to a room full of various UFIP cymbals: hi-hats, rides, swish-
sizzles, crashes, and China-type cymbals, plus other percussion instruments such as
chimes, bells, crotales, and other bronze objects too numerous to mention.
I picked up a drumstick and wandered around, touching this, tapping that, when I
came upon a 47" gong. As I picked up the mallet, images of oriental palaces came to
mind.
No matter where I touched it, a different sound with a different tone emerged.
When I hit it hard, the sound crashed, lowering to a vibrant hum throughout the
room. When I hit it rhythmically, the sounds mixed together in a cocktail of vibrating
sounds.
I was so lost in my fascinating encounter with the gong that I didn't even notice
Tronci standing behind me. "Do you like it? It's a symphonic gong made of a single
piece of fused bronze, hand hammered till it reaches the form and sound
characteristics required of a truly symphonic instrument."
"What's the cost?" I asked, thinking I'd like one to put in my bedroom.
"This is our largest. It sells for $1,650.00."
I reluctantly hung up the mallet. It was time to get back to our story.
For this isn't a story about gongs; rather, it's the story of a small,
historic artisan cymbal factory as it struggles to run a race against
the mass production and slick marketing techniques of the giant
cymbal-producing manufacturers.
Following Tronci from the office building to the factory,
little did I realize that I was about to witness an operation
combining centuries-old craftsmanship with modern
technology. The result is the production of quality
percussion instruments geared for both the
contemporary drummer and the classical
percussionist.
The atmosphere in the factory was
unexpectedly calm as nine cymbalsmiths were
casting and pouring the bubbly hot liquid into
rotating cymbal molds. Tronci smiled like a
cook about to tell you how the dish carrying
his name is prepared. "We make our own
fusion called B20." He pointed to four 260-
pound slabs of copper against the wall.
"The copper comes from Chile. B20 is
made of 80% copper and 20% tin, which
comes from Vietnam. The metals are
melted together in gas ovens. The semi-
professional, economical cymbals we
make are made with B8, which is 92%
copper and 80% tin."
He led me around the room, explaining A cymbalsmith pouring the
the five phases of the UFIP cymbal liquid hot metal into a
production. rotating cymbal mold.
by Jon Mclnnes
 Phase I off the cymbals. Slowly
When the metal is liquid hot, it is pulled the lucid bronze colors
from the ovens with heavy ladels and emerged from the dull
poured into the cymbal molds rotating at metal plates.
1,000 spins per minute. Tronci explained Phase IV
that the rotating molds are a unique method
of cymbal making called the "rotocasting We left the hum of the
method." lathe room to enter an-
"Rotocasting was invented 10 years ago other room where a man
by the firm Zanchi, ex-partners in UFIP," sat on a chair before a
he said. "It took 14 years of study to perfect hammer press. Here the
the system. Before, the cymbals were sim- shaved cymbals are ham-
ply poured into standing iron molds or mered into shape with an
stamped out from uniform rolls of copper. electric hammer at a pres-
"Rotocasting permits us to work with sure of 125 pounds per
purer, more compact, and harder metals," square inch. Each cym-
Tronci continued. "The metal impurities are bal receives hundreds of
hits (depending on the
pushed to the exterior of the plate by cen-
size of the cymbal). Tronci
trifugal force. We believe the system of
rotocasting not only gives the cymbals a said not only does the
hammering give the final
more decisive sound but makes them much
more resistent as well." shape to the cymbal, it
also serves to give the
Phase II cymbal a compact mo-
The cymbals are taken from the molds lecular structure neces-
and put into an oven where they are "re- sary for the creation of top
cooked" at 600 degrees until cherry red. sonorous qualities.
Then they are pulled out and submerged in Phase V
tanks of cold, running water. Tronci said
this thermic treatment tempers the cym- After getting the day-
bals, permitting them to be worked further. lights beaten out of them,
While tempering is necessary to make most the cymbals are passed
metals harder, with bronze metals—in par- back to the turret lathe
ticular B20—it serves to make the metal shop. Tronci said that at
this point the cymbals are Shaving the cymbals by hand on the lathe.
softer and pliable.
almost ready to be
Phase III played. But one more shaving is needed on We went back to the offices, and I com-
The tempered cymbals are then taken the lathe. After being hammered, the cym- plimented Tronci on UFIP's smooth, effi-
from the casting room to the turret lathe bal is rigid and carries a rather crude sound. cient, and seemingly natural operation.
shop. We closed the door on the furnace The second spin on the lathe is machine Tronci waved off the compliment and ex-
room and watched as the cymbals were regulated and serves to give the cymbal a plained that cymbal making in Pistoia goes
fixed on the lathes. With hand-held chis- final peeling. Little, if any, of the metal is back to the time of the Etruscans. For them,
els, the craftsmen shaved the rough crust removed. The final shaving makes the cym- making cymbals wasn't just a job, but a
bal softer and more har- way of life.
A cymbal being hammered on the hammer press. Hammering monic. It removes ob- It wasn't by accident that cymbal mak-
gives final shape to the cymbal and creates a compact vious hammer marks, ing developed in this small town, 40 miles
molecular structure for better sonority. and it also ensures that east of Florence. Long before Christ, the
each cymbal has the Etruscans were casting and working metals
same weight and thick- in this area. Iron and bronze shops were
ness as the one before operating in Pistoia right through the dark
it. ages. If you lived in the area and wanted
Tronci wanted me to something in metal, you went to Pistoia. In
take note of the second the 18th century, Pistoia was famous for its
shaving. "A common church bells and bronze factories. Church
criticism is that hand- organs, famous throughout Europe, were
crafted cymbals have built in Pistoia by the family Agati Tronci—
weight differences. But direct ancestors of the current president of
the second automatic UFIP.
shaving on the lathe UFIP was born in 1929 through the un-
brings all the cymbals ion of the artisan families Tronci, Biasei,
down to the same and Zanchi. These families owned the
weight." metal-casting shops that produced Turkish-
The cymbals are then type cymbals and other percussion instru-
stacked on pallets and ments. Rather than compete with each
left to age like bottles other, they decided to unite and create a
of racked wine. Tronci single company. They began by producing
said that in a few weeks imitation Turkish cymbals, the kind that
each cymbal would be were originally produced in Istanbul by the
given a final examina- Armenian family Zildjian. Even UFIP has to
tion, stamped with the take off its hat to the man who originally
company logo, and put drummers and cymbals together in the
shipped out. western world.
 At the turn of the century, Avedis
Zildjian believed the musical expressions
created through cymbals could catch on
in the USA. He separated himself from
his family, left Istanbul, and began mak-
ing cymbals in America. With the birth
of jazz, cymbals became popular over-
night. Then came bebop in the 1940s.
With bebop the cymbal was given the
role of keeping time. From that moment
on, the cymbal had a leading role in
modern music.
In Italy, before World War II, even
though UFIP had been making cymbals
for years, the cymbal was an underrated
instrument. At the time, the cymbals were
small, 10-14 inches in diameter, and
were used almost exclusively in march-
ing bands. But immediately after the war,
people wanted to forget the misery and
start enjoying the present. American
music was popular. The request for cym-
bals was hot and heavy. Large orders,
even from countries as far away as the
USA, were backlogged, waiting to be
filled.
The golden years of UFIP came in the
1950s when the Italian handcrafted prod-
ucts were appreciated for their style and
quality. But the good times didn't last
forever. The cymbal craftsmen soon had
to begin competing with mass produc- Luigi Tronci - president of UFIP
tion. Low prices achieved through light-
ning-quick distribution techniques and am- bal is the one with the highest range of years we have enlarged our sector of per-
bitious marketing campaigns of the big cym- notes. Guess which one it is! Every drum- cussion instruments. We're making tubular
bal producers soon pushed UFIP into a mer should make this comparison test. bells, bell trees, marching cymbals, Tibetan
corner. Today, UFIP is fighting its way out Handmade cymbals have more notes than bells, winding chimes, sixtrees and bur-
of that corner. While the company isn't industrial cymbals. That's what we're trying man gongs, tarn pangs, ogororos, tam tarns,
contending for the heavyweight title, it is to achieve. If a drummer appreciates this falt bells, Burma bells, and crotales."
still struggling to be ranked amongst the and wants the best, he's going to have to What will be the future of UFIP? Will
best in the cymbal-making category. check us out. they fold, as 70% of the small, artisan com-
Today, UFIP remains a small company "Unfortunately, economic realities make panies in Italy have recently been forced to
with 12 employees. It turns out about 250 it almost impossible for an artisan com- do? Can a small percussion production shop
cymbals a day with a total yearly sales of pany like ours to remain faithful to the survive the corporate realities of today's
$1 million. The company doesn't want to ancient art of cymbal making. The top bands market?
grow to compete. Their motto is: "Quantity in the world should be using UFIP cym- Tronci sighed. "We're fighting to sell
compromises quality." And quality is the bals. That would help our position on the handmade cymbals for about the price of
ace up their sleeve. market for sure. But they prefer the famous industrially produced cymbals. We're even
"We're the number-one cymbal maker names and the sponsorships that only large producing an economical line of cymbals
in Italy," Tronci said. "But Italy only has industrial cymbal makers can afford to of- called Kashian for the semi-professional and
100,000 drummers compared to millions fer." beginning drummers. Just check out our
of drummers in the USA. We're the sec- Tronci is obviously frustrated with the price list. We're not that much more ex-
ond-biggest-selling cymbal in France and buying preferences of today's drummers. pensive, but you get so much more for the
Holland, and third in Germany. But even if the world should cave in to- money.
"But we're in the little league when morrow, UFIP will remain a popular choice "I think there's room for everyone in this
compared to the big industries like Pearl in amongst classical percussionists. Perhaps a market. At least there should be room for
Japan, Paiste in Europe, and Zildjian in the major rock group never emerged from It- low-priced mass-produced cymbals, and for
USA. Still, we're optimistic about our fu- aly. But this Mediterranean country remains the higher priced, quality cymbals. Theo-
ture. Sure, the big industries will win with the capital of lyrical music: Percussion in- retically, everyone should be able to have
their low prices in the beginning. But there's struments for international symphonic or- a piece of the cake.
a growing movement today to return to chestras is UFIP's main source of bread and "But I think this all depends now on the
quality. People will pay more to have the butter. professional drummers. It's so important
best. Now that's the right kind of attitude to "UFIP has forged custom-made instru- what they use when they play. Do they
have, and it's the right idea when it comes ments at the request of composers. Puccini recognize the quality and difference of
to cymbals, too." had us make a series of bronze bells of handmade cymbals? If they do, then they
Tronci picked up an anonymous cymbal various notes for his opera Turandot. As a should show it by using them on stage.
from one of the leading cymbal makers, result, we're the only ones making those Professional drummers have the responsi-
balanced it on his index finger, and tapped bells today. Want to play Turandott You bility of teaching the younger drummers
it a couple times with a drumstick he had have to pay us a visit to play it right." the difference in sound between machine-
on his desk. Then he picked up a UFIP Tronci said that the company is trying to made cymbals and those made by master
cymbal and played it the same way. "Hear cover the entire arc of a percussion market craftsmen. Our destiny is in their
the difference?" he smiled. "The best cym- in continual expansion. "In the past ten hands."
 T E A C H E R S ' F O R U M
by Daniel J. Lauby

Books And Lessons:

"Do I Really Need Them?"
There are many drummers today who feel read, you can count! Drummers communi- but through mastering counting and
they would not benefit from formal lessons cate to listeners primarily through the power strengthening your creative mind.
from a qualified, local teacher. Most of them of rhythm. Therefore, it is extremely impor- Physically speaking, just how does count-
have been playing for several years on their tant for every drummer to know how to ing work all of these miracles? Well, it is an
own and feel reasonably confident about count. anatomical fact that the speech center in
their playing. Some feel that they would We learn how to count music by reading your brain can have authority over motor
like to study with someone, but are afraid music. On the practical side, this is the nerves. In other words, whatever you say
that the lessons would be "all book" and most important reason there is for learning with your mouth and reinforce with your
no "practical" study. Since most of these to read music. Reading teaches counting, "will" must inevitably happen in your play-
drummers are older and have had little and every drummer's career depends, ing. But you have to involve speech. You
reading experience, books worry them and sooner or later, on his or her ability to have to speak your intended idea with feel-
they feel lessons would be a waste of time count. The Haskell Harr Drum Methods ing before you play it. In other words, count
and money. So some questions arise: "Do I are among the most widely used founda- or sing your intended idea with authority,
need to learn to read?" "Is counting really tional books. They are designed to teach using the same feel and tones as it will
so important?" "Do I need formal lessons, drummers to read and play the basic sound when you play it. This type of count-
or can I just pick it up and 'groove'?" These rhythms and rudiments. (Without excep- ing will develop a powerful mind, totally in
questions are asked by many drummers; if tion, every drummer should have the basic command of your limbs.
you are one, consider the following before rudiments together.) But this is not the pri- Do you need formal lessons, or can you
you make any decisions. mary goal of these books. On page 12, Mr. just pick this up on your own? If at all
It is hard to express just how important it Harr writes, "It is very important to have a possible, take lessons. It is never too late to
is for you to learn to read music. Let me method of counting time, to develop and start. Seek out a competent, dedicated in-
begin by saying, you need it\ If you are one maintain a perfect sense of rhythm." Harr structor and do it right. A good teacher will
of those drummers who asks, "Do I need to did not say that reading develops perfect have a balanced program of reading, tap-
learn to read music?" you should also ask time, nor did he say you must become an ing, improvisation, working with clicks, etc.
yourself, "Did I need to go to school?" excellent reader. Harr said that counting Even if you are an advanced player, lessons
Okay, so maybe your scholastic perform- develops perfect time. The book then pro- will be worthwhile. Keep in mind that, even
ance wasn't so hot, or you never had a vides basic exercises toward developing the if you take lessons, you are still—to a de-
date, or maybe you were often mugged for art of counting. Counting is the primary gree—self-taught, because drumset is an
your milk money. But try to imagine not goal of Harr's text. It is no accident that improvisatory instrument. This means that
being able to read this article—or anything students who are trained by Haskell Harr's drummers make their parts up as they go. A
else, for that matter. School taught you to Drum Method always seem to have an teacher can guide you and expose you to
read and write, to analyze and understand exceptional sense of rhythm, provided they new ideas, but on the job, you will still
the language you speak so that you could have counted aloud and tapped their foot play whatever pops into your mind at any
function successfully in society. That is the as instructed. particular moment. Your soul comes
obvious, practical side of learning to read Through counting, the mind becomes through, not the teacher's. Because we make
and write. But school gave you something strong; it becomes like an absorbent sponge it up as we go, it is important to get some
else, something much more valuable and soaking up all kinds of ideas and rhythms guidance. Learn to read, learn to count,
even more practical. School gave you a from your own thoughts and from the mu- learn to listen, learn to create and express.
stronger mind! sicians around you. You will become some- Do not avoid lessons because you are afraid
When you learned to analyze your lan- what psychic in that you will be able to of books or because you think you don't
guage through reading and writing, you pre-hear stops and breaks, perfect fills and need to read. Take the lessons. Master count-
also developed a greater capacity to think, solos, chord changes, and perfect cymbal ing and you will master your mind; master
reason, and create. With a strong mind, changes from hi-hat to ride cymbal—all in your mind and you master your playing.
you can now change the course of your advance. You won't need to hear tunes When you're playing drumset and read-
life. Learning to read music works in the over and over again to learn them; once ing from a book or a chart, remember that
same way for you as a drummer as school will be enough if you can count. You will you should not necessarily play precisely
worked for you as a student. There is no become more creative, always discovering what is written. Music is not that restrictive.
ceiling to the success potential of the drum- new sounds and ideas for the world to You should play to the interpretation of the
mer who can read. But for the musically hear. Your basic time will become rock music that will be in your mind through
illiterate musician, that potential is dimin- solid. Click tracks will become your friends counting with feeling. If you are reading
ished. Perhaps you are saying to yourself, and you won't fear them anymore. Count- music in a band, don't stay glued to the
"Learning to read written language is im- ing through reading will enable you to put page. Use your ears. Your ears should al-
portant because we need that skill in life, a name on every idea that pops into your ways supersede your eyes, because music
but drummers rarely read music on the mind. You'll be able to retain and quickly is an aural art. If it sounds good, do it.
job." This is true. However, remember that recall your ideas, because you will have Since the drumset is improvisatory, remain
your primary job as a drumset player is to put them into a counting system. Also, flexible and don't feel tied down or re-
keep time. If rhythms are wrong, if the tune through counting you will be able to com- stricted by the written music. In fact, the
doesn't feel right, or if the time rushes or municate your ideas to the rest of the band. written music should make you secure; it's
drags, the responsibility falls on the drum- If these are skills you have been looking a foundation that allows you the freedom
mer. The ability to read prevents mistakes for, you'll find them—not by playing to to build and create within the written
in these areas. How? Because if you can more records or jamming with more bands, page.
 T H E J O B B I N G D R U M M E R
by Simon Goodwin

Making People Dance

There can be nothing more demoralizing ing rhythm is played at a comfortable mer demand things at their special compe-
than sitting on stage and looking out over a tempo, the basic requirement for dancing tition tempi, while the latter find them im-
large expanse of empty dance floor, when is satisfied. Some people are so determined possible to dance to. So either way, the
your band has been booked to play for to dance that you could set a drum ma- band is wrong!
dancing. Assuming that there is an audi- chine going and keep them at it for hours. Now we come to that all-important ques-
ence there, they are supposed to be danc- (Producers of disco records have made a tion: When it comes to making people
ing, and their failure to do so seems to lot of money by doing little more than that!) dance, what do we, as drummers, need to
reflect unfavorably on your function. The On the other hand, a lot of dancers are contribute? The first consideration has to
people who book you for the gig obviously much more demanding. They want tunes be establishing the right tempo, whether
expect people to dance, so the chances are that they know and like before they will you count in or pick it up from someone
that they won't be too pleased with you. venture onto the floor. else. It is necessary to be aware of the
That's the situation on the face of it, but It's always difficult to know exactly what dancers' needs at all times. If a tempo seems
we all know that it isn't necessarily as simple a particular group of people will know and to be uncomfortable for them, you might
as that. Obviously the music has to be like (unless it's a Top-40 crowd), but expe- try adjusting it. If this is likely to upset other
danceable, but it must also be the right rience will make you aware of a few safe band members, it is certainly something
type of music for the particular audience. bets. Most bands have some "get 'em on that should be discussed before the num-
Different age groups, ethnic groups, or other the floor" numbers up their sleeves. Re- ber is performed again.
groupings of people with specific attitudes member these are not necessarily songs Whatever the type of music you are play-
can love one form of music and hate an- that the band likes (often the reverse is ing, give the dancers a clear "beat" to fol-
other. (Remember the scene in The Blues true), but instead are numbers that an audi- low. This generally means playing at a vol-
Brothers when the band is booked into a ence is likely to respond to. To underscore ume that is clearly audible (but not over-
country and western club? In this case, "The the point that some people only respond to bearing), and avoiding overplaying that
Brothers" were able to adapt, which is what familiar tunes: It is often noticeable that might confuse the dancers' perception of
every gigging band should be prepared to people will get up to dance when they where the time is. Remember that musi-
do. But it is possible to take this so far. After recognize a certain melody line or "hook," cians, because of their experience and train-
all, we only see Elwood, Jake, and Co. do while the same song's introduction can be ing, can feel a rhythm that is only hinted at
one country number. How did they cope completely ignored. I have even seen or highly embellished; "normal people"
with the rest of the evening?) people waiting on the dance floor when usually need to have it dictated to them.
It may be that the audience doesn't place one number is finished, listening to the Sometimes it may prove necessary to adapt
the same importance on dancing as does intro for the next one before dancing again a perfectly acceptable (in musical terms)
the club manager. (Managers like people to when the melody starts. Also, if you segue drum part, just to suit the type of people
get hot and thirsty, so that they can in- from a familiar number to an unfamiliar you are playing for. For instance, I used to
crease their takings.) The social atmosphere one—even though it may have an identical enjoy playing the "one-drop" style of reg-
in a room in which music is being played feel—people will often leave the floor. gae drumming, and would incorporate it in
is an important factor for bringing people When playing familiar numbers, it is the reggae-style hit tunes we played. That
in—before they even think about dancing. worthwhile to check that your tempos are was until someone suggested that the pre-
Often that atmosphere is all that people are the same as those of the well-known re- dominantly white, middle-aged audiences
looking for. They might really appreciate corded versions (unless these tempos have we were playing for weren't able to relate
the music, but may just not be in the habit proven to be less danceable than others). to that rhythmic feel. I fell back on the
of dancing in order to show that apprecia- Otherwise, the audience is likely to dislike trusty old backbeat, and the response to
tion. If you are receiving more than just your performance of a particular number— the numbers was instantly better.
polite applause, you know that they like often without even realizing why. Num- Yes, it is disappointing when you have to
what you are doing. bers with changes in tempo should usually be less adventurous in your playing for the
All of the above goes to show that it can be avoided, or these changes should be sake of a dancing audience, but it goes
be factors beyond your control that are "ironed out" to give a steady rhythmic flow. with the territory. Throughout the ages,
keeping the dance floor uninhabited. But it (However, there are exceptions. One of my composers and musicians have needed to
is no good taking the attitude that you are band's "get 'em on the floor" tunes is "New come to terms with the idea that they are
playing perfectly good music and that if York New York"—slow section and all. It producing music to dance to, rather than
the audience don't want to dance to it, seldom misses!) just to be listened to, and have had to work
then they are just tasteless or ignorant. In Before leaving the subject of tempos, we within the constraints involved. However,
order to sell their product, musicians must must remember the "strict-tempo" custom- when you think about it, the positive side
be prepared to analyze the needs of their ers who require every song within a par- to all this is very strong: Many more bands
customers. Obviously the rhythm is an all- ticular style to be at a particular tempo, are employed playing for people to dance
important factor. When a strong, motivat- regardless of any musical or "established than for people to just sit and listen. Also,
recorded version" considerations. (There are what more positive response can you have
"official" tempi for the various dances.) If to your music than crowds of people want-
you are likely to have to play for this type ing to get up and move to it? I introduced
of audience, it is well worth having a met- this article by conjuring up the vision of an
ronome and a list of settings to turn to for empty dance floor. Let me leave you with
support. The problem arises when you get this thought: Imagine that dance floor
a few fanatical strict-tempo dancers mixed packed with people. Isn't it all worth it?
in with a casual dancing crowd: The for-
 MIDI C O R N E R
by Jim Fiore

Playing Drum Machines

With Drumsticks
"Play buttons"—a misnomer if ever there tern/resolution questions may be trivial, and a wide enough variety of sounds to create
was one. You know what I'm talking about: the important things may be: Can I recall the kit that you're after? First looks can be
those little squares of plastic growing out mixes, how flexible is note assignment, can very deceiving here, so be careful. For ex-
of the face of your drum machine. They I detune sounds, and so forth. ample, model A may have three different
don't look anything at all like drums, not There is no law that says that you must tom sounds (high, medium, and low), while
even electronic drums. Yet the user manual program in patterns and sequences for a model B may only have two (acoustic and
always states that you're supposed to "play" drum machine to be useful! Considering electronic). It may work out that model B is
them. Maybe a keyboard player or a typist the prices and capabilities of some of the the best choice here, assuming that you
can "play" them, but I can't. In fact, when- newer units, they make excellent expand- can change the pitch of these sounds. Pitch
ever I want to feel a little spastic (that is, ers for larger systems and can prove to be change was once found only on the most
more so than usual), I just walk up to my very cost effective as the core of a smaller expensive machines, but today can be
drum machine and start hitting the buttons. setup. In such a system you may never found on units in the $500 range. It is
Play buttons, simply put, are not designed need to enter a pattern or sequence! As a possible to produce three or four toms from
for drummers; they are designed for guitar- matter of fact, a pad/drum machine combo one tom sample with this feature. Not all
ists, computer hacks, the guys with the offers quite a bit for the student, not the pitch changers are alike, though. There are
synths, and that most curious of creatures— least of which is realistic sound with a vol- a few different ways of producing a pitch
the North American Table Beater (heard on ume control. shift, and they affect the sound in different
lunch counters across the land). Unless you Okay, so there you are in Ralph's Mondo ways. Of major interest is the range of pitch
have an exceedingly light touch, laser-like Music Emporium, surrounded by two dozen shifting and the number of steps available.
accuracy, and don't mind repair bills, I don't of the latest and greatest in the realm of For natural sounds, you probably won't
recommend using your favorite pair of 7As drum machines. Which one makes the best need more than one half octave of shift up
on those buttons. If you've been following voice module? First and foremost, listen to and down. Pitch shifting generally works
along with our past discussions, you know them. It doesn't matter how many features best with simpler sounds like toms, and is
that the obvious way around this hurdle is a model has, if you don't like the way it less effective with cymbal sounds. (In some
via MIDI. MIDI will allow you to have the sounds, don't buy it. If you do, it's a rea- cases the word "grotesque" comes to mind.)
convenience of the drum machine with the sonable bet that you'll never be happy with For pitch shifting to be really useful, you
comfort of a normal drumkit. it. If you're looking for realistic sounds, need some form of facility to copy sounds.
Any reasonably powerful drum machine make sure that you compare units through In this way you can copy a tom sound to
will allow you to access its sounds (and a reasonable set of full-range loudspeakers several "locations" and shift the pitch of
usually other functions as well) through and not through the bass cabinet that the each of them differently—the net result
MIDI. All that is required is a set of salesman could hook up quickly. If techni- being a set of toms. Some machines also
drumpads (or acoustic drums with triggers) cal specifications are available, look for offer control over the decay—or length—of
and a trigger-to-MIDI converter. If you've machines that have high sample rates and a sound. Again, it may be possible to copy
ever shopped around for a drum machine, high resolution. If you're a stickler for a a sound to several "locations" and indi-
you know that there is a wide variety of bright, strong top end, you'll want a sample vidually adjust decay (for example, to pro-
units on the market, ranging in price from a rate of at least 40kHz. It is possible with duce a choked cymbal). Okay, what's this
few hundred up to a few thousand dollars. certain hardware tricks to get a bright sound "location" business, eh? Well, this is where
The capabilities of these machines vary as with lower sample rates, so don't treat this the different design philosophies of elec-
much as their respective prices. The ques- as an iron rule. On the resolution side, the tronics companies really show up.
tion, then, basically is: "As a drummer, what general idea is "more bits is better." Many If you were a designer, how would you
do I need from a drum machine?" There drum machines use 12-bit encoding these get a given sound out "into the real world"?
are two divergent paths that you can fol- days, with a few of the newer units using The most straightforward solution is: Give
low: (1) You can use the machine in the 16 bits (as do CDs). Some less expensive each sound a play button and an output
"standard" way (i.e., never touching your units, and some of the older guys on the jack. This works well for small machines,
drumsticks), and program the beastie by block, utilize a compressed 8-bit format. but it runs up against a few obstacles. When
hand. This means, of course, that you never Compressed formats offer lower memory you make a machine with a lot of sounds,
really "play" it; in essence, the machine usage, and hence lower cost, with reason- that means lots of buttons and lots of out-
"plays" by itself. Or (2) You can use the able dynamic range. Their one downfall is put converters, amplifiers, and jacks. Each
unit as a voice module, play it in real time, that the noise level tracks the drum sound output path is referred to as a voice. Do not
and (if you need to program it) you do your level. This is kind of like getting a burst of confuse output jacks with voices. You see,
programming with your sticks. (We'll leave hiss every time you strike a drum. This in an effort to reduce cost, manufacturers
the sequencing stuff out for now.) In the effect is more prominent on sounds with use a variety of techniques to share output
first case, your requirements are probably less high-frequency content (like a kick or circuitry across sounds. Usually, you must
pretty much the same as most people's: floor tom), and often goes unnoticed on somehow assign a sound to a play button
How many patterns, how many songs, how sounds like snares or a cabasa. (i.e., a "location"), and then assign the play
do I sync it, what's the maximum resolu- The other side of the sounds coin is quan- button to a given MIDI note number. When-
tion, etc. In the second instance, song/pat- tity. Does the unit you're considering have ever that note number is received, the drum
machine will act as though you hit the play
button. Depending on the complexity of
the machine, you may have the option of
assigning play buttons to specific output
jacks. Simple machines may only give you
a single stereo output pair, while large
machines may give you eight or more freely
assignable outputs. For plug-and-go sim-
plicity, stereo outputs are quite nice, par-
ticularly if you have control over place-
ment (panning). If you ever do a lot of
outboard processing on a number of sounds,
separate outputs will be required for each
processed sound.
Now comes the perpetual favorite: "over-
ring." Remember, a single voice can pro-
duce only one sound at a time. What if you
hit a crash cymbal twice in a row? The
voice sees this as two sound events and
cuts off the first sound in order to repro-
duce the second. The end result is that you
cannot "roll" sounds; they simply will not
blend. To blend sounds, you need the
equivalent of two voices. In this way, the
first sound will be allowed to die out as the
second one starts. Do not confuse this with
layering; they are not the same. In some
machines it is possible to assign multiple
sounds to a given play button. Triggering
the play button produces that combination
of sounds. If you layer the same sound
twice, you don't get the blending effect,
you just get a slightly louder sound. This
blending capability is sometimes referred
to as dynamic voice allocation. Unfortu-
nately, it is not readily available on drum
machines at present. Oddly enough, there
are times when you need to purposely cut
off sounds in order to prevent them from
sounding simultaneously. The obvious ex-
ample is with hi-hats. Unless you own two
of them, there's no way in which you can
play an open and a closed hi-hat at the
same time! Many machines have this sort
of exclusivity built in. If not, they can usu-
ally be coerced into doing so with the
proper voice assignments.
Another useful feature is mixing. This
allows you to control the volume of each
individual sound. In more sophisticated
units, you get control over which sounds
are assigned to what outputs, decay, and
the like. In essence, this is the equivalent of
a synth patch. Usually, this sort of thing
can be accessed via program change com-
mands (although it may take some fooling
around with that song/pattern business). By
initiating a program change from your MIDI
pad controller, you'll be able to call up a
new setup. Finally, make sure that your
unit is capable of operating in at least modes
one and three (OMNI ON/OFF). This will
make multi-unit setups much easier to set
up and alter.
So there it is. You don't have to deal with
those little plastic buttons, and you don't
have to program in sequences either. Drum
machines make very nice voice units and
may just be the perfect complement to an
otherwise totally synthesized electronic
drumkit. I hope this helps you in your
shopping search!
 B A S I C S
Heavy Metal Pow
This month we continue to look at some of the this type of drumming from this man. "You've Got Another Thing
fills played by today's brightest heavy metal drum Comin'" is known for its solid beat, but this sneaky fill after the first
stars. chorus is manufactured by taking the snare, bass, and hi-hat used
in the beat and simply altering the rhythm: Variations of this fill are
Mick Brown
heard throughout the song.
Mick Brown supplies the powerful yet tastefully
designed drum parts for Dokken. His drumming is
beat-oriented, and his fills are right to the point,
like these two from "It's Not Love":
Dave plays this more obvious fill before the guitar solo:

He then puts the toms to use in this fill at the end of the song:

Mick fires Dokken into the first verse of "In My Dreams" with
this short burst:

Here's a one-measure fill that Dave plays in the version of "Out

In The Cold" heard on the Priest...Live! album:
Aynsley Dunbar
Aynsley Dunbar has played with Frank Zappa, Journey, and
Starship. His most recent recorded effort is on the multi-platinum
Whitesnake album. These credentials speak for themselves. In the
Lars Ulrich
Whitesnake hit "Here I Go Again," Aynsley pulls the band out of a
soft intro with this fill, his cymbal crashes telling us that the rest of When you think of a fast car, a Ferrari comes to mind. Many
the song won't be so soft: people consider Metallica's Lars Ulrich the Ferrari of speed-metal
drumming. But Lars is more than just a fast drummer; he's a
drummer whose beats and fills fit the songs in which they are
played, and that is what makes Lars Ulrich a good drummer.
Crash cymbals to the rescue again, this time in the intro of "Bad This fill from "Fade To Black" keeps the song moving forward; it
Boys" with this two-measure fill: kicks in the song's last chorus:

Lars plays this fill in the song's final section:

Here are two more fills from "Bad Boys." In the first, Aynsley
makes use of the open hi-hat for a different crash effect:

In "The Wait," from Garage Days Re-Revisited, this fill is heard

in the first verse:

This fill contains barely audible ghost notes, in which Aynsley

turns a straight-ahead rhythm into a very syncopated one:

Lars stretches out the idea when he plays this beauty in the song's
guitar solo:

Dave Holland
If you're into metal, it's hard not to like Judas Priest. Dave
Holland is Priest's drummer, and there's plenty to be learned about
er Fills: Part 2
by Jim Pfeifer

You'll be in power fill heaven when you've mastered these three These final power fills from "Master Of Puppets" may look easy,
from "Crash Course In Brain Surgery": but looks can be deceiving. When playing a song that is as fast as
this one, even the simplest fills become a challenge!

When playing fast, 8th-note based fills are often all you need.
Lars plays these two fills in "Disposable Heroes":
 P O R T R A I T S

which was quite a full-time

job—going from playing a
club date every few days. I
took a few lessons with Jack
Moscrop at Drummers World,
who's from England, and he
told me a lot of things I didn't
know about the cymbals and
the style. The cymbals used
then weren't as good quality
as they are today, because the
metal was cheap and soft.
Larry Hirschfield, who is a per-
cussionist friend of mine and
who collects old drumsets,
had no use for the cymbals,
so he sold them to me. They're

Photo by Laura Friedman

perfect for the show. I am now
using a little 8" Zildjian splash,
though, and a Zildjian effects
cymbal that I got in Los Ange-
les, because the old ones
started to crack from hitting
them so much. Plus, Joel
I wondered what Barbara Merjan really have to play. They wanted us to sing, too, [Grey] hits it with his cane, so I had to
looked like as I walked backstage at New so we all did that. It was very exciting. I felt make a little compromise there. But by look-
York's Minskoff Theatre after being mes- very good about all my background, be- ing at old pictures and with Jack's help, I
merized by the Broadway production of cause I had played scads of shows in high knew how to make it authentic. I knew the
Cabaret. In the show, Barbara had played school and college and also had been on bass drums were real big, and I was ex-
drums on stage as a member of the Kit Kat stage in a couple of them. The audition cited that I got to use these big old drums,
Klub, a cabaret quartet in 1929. I wasn't was fun, which surprised me since I would even though the band cart is so tiny. I have
sure if it was her as a petite blonde ap- usually be nervous. I got called back with a a Ludwig snare and a 20" Ludwig bass
proached me, for she had taken off the few other people, and we went through the drum on there now, but if I could cut it in
curly wig and no longer sported kewpie- process again. On the third callback, the half, it would be more comfortable," Bar-
doll lipstick. dance captain was there, and he choreo- bara laughed before continuing. "The bass
But by her eagerness to show me her graphed something that we all had to move drum beater has a little attachment called
drums on stage and the pit orchestra where to, because they had to look at that, too. the Milhaud Attachment, so every time I hit
she is able to sub for John Gates, I knew They were looking for an image; it wasn't the bass drum, it hits the little cymbal. I
this was far more than an actress playing a just how well we played and sang." have woodblocks, a triangle, and an Acme
part. From her resume I had actually been Before the third callback, Barbara rented siren whistle."
aware of that fact, though, with such jazz the movie Cabaret as preparation, in addi- There are parts during the show when
festivals listed as the Kansas City Women's tion to emphasizing the qualities that she Barbara actually plays, and there are also
and the Kool/Newport, work with Kit thought should stand out on her resume. times when she is miming John Gates, the
McClure's Big Band and the Mel Lewis Jazz Once she landed the role, the preparation pit drummer. "When I'm miming, I'm hit-
Orchestra (on a night when Mel's plane intensified. No one directed her to do any ting the drums a little bit. I can't really be
was late getting back to town), and a vari- of it, however she knows full well that, had playing much, because the mic's for the
ety of other work as a drummer/percus- she not taken the initiative, its absense people talking or singing will pick up the
sionist. would have been noticed. drums too much. I do that half and half in
Barbara showed me the small band cart "I've been to Mel Lewis's apartment a the opening and closing numbers. While
on which she sits with the other three mu- lot, and he's played me things. Plus, I lis- I'm on stage in the Kit Kat Klub and every-
sicians in the show, and she pointed out tened to the cast recording, of course, and one is singing and dancing, I'm miming. I
how she has to sit sideways to play the different records. Vince Giordiano is a con- may hit a cymbal every now and then be-
bass drum: "Luckily it's just 1 and 3 on the noisseur of the music of the '20s and '30s cause I think it looks good moving, but it's
bass drum, so there's not much compli- and has a room this size full of records," strictly for visual effect. When it's back-
cated footwork," she laughed. Pointing out she said, pointing to the loft in which she ground music, we're playing, and we play
how she knew to bring the setup cowbell practices and stores her equipment. "He the entr'acte, which usually the orchestra
Photo by Laura Friedman

and woodblocks to the audition, she said, even has a whole category of jazz from plays between acts. That's to tell people
"Kit [McClure] had brought us down as a Germany in that period. So hearing all that, the play is about to start up again and to
whole group, so she asked if we could I knew how it should be. get back to their seats. That's our big num-
audition that way. They had drumsets set "We rehearsed for three weeks before ber."
up at the Actor's Equity building, and we we started performances on the road," Bar- While Barbara enjoys the stability of a
played the song 'Cabaret.' Then they had bara continued. "We were supposed to be steady gig (eight shows in six days), she
us sight-read some of the music we would there eight hours a day, six days a week, also relishes the freedom that the job al-
 by Robyn Flans

lows her to play other musical situations.

Since her contract is with the Musician's
Union and not Actor's Equity, she is af-
forded the standard New York City pit or-
chestra contract, which provides the lux-
ury of being able to take off 50% of the
time in a 13-week period.
Barbara also enjoys subbing for John
Gates in the pit when that opportunity pres-
ents itself. "Being in the pit orchestra is real
important to me," she said, "because more
musicians see me there, and it's important
for me that they know I can play the parts,
read, and follow the conductor. Following
the conductor is very important, along with
having a good time, listening, reading, and
consistency. Consistency is really impor-
tant to the performers on stage. Time is also
really important, because you're dealing
with dancers. There's a whole chorus of 'Don't Tell Mama' number and in the kick girl playing drums—guffaw, guffaw.' So I
dancers, and they can't dance any faster line after the entr'acte. That's fun to do; it's guess I dug my little heels in and said, 'I'll
than is called for; it just doesn't look good. one more challenge. Plus, it's important to show them.' It was more than that; obvi-
And they can't do it any slower; they can't know all the percussion instruments for the ously I loved the drums. I loved making the
hold back to get to the next movement. pit orchestra. John combined the two books sounds and the physicality of it, and I loved
The conductor and the drummer really have into one, so he has the xylophone, bells, music. But that was an underlying motive.
to work together. John has a headphone and timpani, which is fun for me because I There weren't any other girls I knew of
setup because he's behind plastic, other- love doing that, even though I knew one doing it until I got to junior high, though.
wise the saxophone players would get their thing I didn't want to do was try out for the "Percentage-wise, there are fewer women
ears blown out from the cymbals. Also, New York Philharmonic or go that route." playing drums than men. There was always
there are numbers on a click track. There's Why didn't she? "There's too much sit- the comment from people, 'Isn't that
also singing that is pre-recorded, so in the ting around for 125 measures waiting to strange?' When I first said I wanted to play
middle of the song, the click track comes play the triangle," she replied frankly. drums, my parents, without asking me, went
on, and you hear the click and '5, 6, 7, 8.' "There's definitely great stuff to play, but I to the music teacher to ask her if it was
So you have to be locked in, or else that knew that was something I didn't want to okay for a girl to play the instrument. The
can be very embarrassing. That's in the do on a professional level. I'm lucky enough teacher told them that a lot of times girls
that I ended up in the actually do better than boys because they're
West End Symphony, really serious about it, while the boys just
where we play some want to bang around, have fun, and quit."
things I wouldn't nor- Some question whether the physical re-
mally get to play; but I quirements of playing the instrument make
didn't have to do that it difficult for women, but Barbara coun-
to the exclusion of tered, "It's just as much a problem for men.
everything else." I hear them complaining about their backs
Barbara chose the and the weight of the drums. Modern Drum-
drums in her fourth- mer has carried a lot of helpful articles on
grade elementary exercises for your back, so everybody deals
school program. Think with that. There are men who are smaller
about how many kids than I am, and they're just monsters. Look
take an instrument in at little Dave Tough."
elementary school, Unfortunately, the problems Barbara
play at it for a year, and encountered didn't end in elementary
that's as far as it goes. school. By sixth grade, she had committed
Whatever inspires herself to being a musician, even though
someone to go further she had little knowledge of what that en-
can make all the dif- tailed. She did know, however, that it was
ference in that person's necessary for her to be as schooled as she
life. "Maybe what could be, and to practice as much as pos-
prompted me to con- sible. "I loved jazz and I loved pop, too,"
tinue," she said, "was she recalled. "I played a lot to the hit singles
that I got teased about of the time, by groups like the Jackson Five
my drum pad. The first and such. When I got interested in jazz,
day on the school bus, though, my first big influence was Buddy
they laughed at me, 'A Rich. I loved to play with those records
and go watch him. Elvin Jones was the next Barbara, and the teacher was a good drum- trombones, and the saxophones all play-
big influence I can remember, and that was mer himself, so he showed me how to do ing. There are so many writers now who
a pretty major shift for me as far as styles of some things. There you had to learn ma- are great with all the influences that are
music. rimba and timpani and all the theory, and I starting to come in, like Latin and reggae. I
"At the end of high school I found a really loved that. I got kind of away from heard Bob Mintzer's band recently, and it
radio station that was playing jazz continu- drumset, although I was actually gigging, was wonderful.
ously, and they'd always say who were on but I was putting practice time into tim- "With a big band, I have to be thinking
the albums. I just loved the Miles Davis pani, marimba, and percussion ensemble about the bigger ensemble I'm playing for,
and John Coltrance stuff. My parents are stuff, which I think really helped me musi- so my playing has to be bigger. In a way,
jazz fans, too, so they always tried to get cally. When you learn about melody and it's like having a little more responsibility. I
me interested in it. I was pretty opposed to harmony, it can't help but open up your can't be playing just what I'm hearing; I
it at first, bringing home Grand Funk Rail- concept of music and help you hear things have to be thinking about what's coming
road, although I never really did play with that are going on." up, and listening to a lot more musicians.
that music. I liked to listen to it, but never It was in college, however, where she In a quartet I can be more responsible to
played with it. I liked to play with Elton realized that not everyone was as open to myself and a few other people. It doesn't
John and Carole King. My mom would take women players as she had thought. "The have to be spread quite as far. I guess when
me to jazz performances, which was great, leader of the jazz band was one of the I'm playing in a big band, I generally think
and it opened up more when I got to col- teachers at school. He had hired me to of the drums being bigger and the stuff
lege and started playing more percussion, play a bunch of gigs with him—quintet being broader."
not just drumset. I went to Ithaca College stuff, outside of school even—and I had Another musical situation Barbara ap-
as a percussion major, so it was a require- been up to his house to listen to records. I preciates is her role in a group called the
ment to take all those courses. They didn't kind of looked up to him, because he was West End Symphony. "There's an organiza-
have drumset lessons, but they did have a the only jazz connection at the college. I tion called Music Outreach, which pro-
jazz lab. I had been playing in a swing think it was the summer going into my vides music for special-ed elementary-
band since ninth grade, though, which was sophomore year, and I had been invited to school children in New York City. I was
a bunch of businessmen who would get play at the Kansas City Women's Jazz Festi- fortunate to get with them when I moved
together once a week to rehearse and play val with Ariel, because we had won the here at the end of 1981. There are five trios
some gigs. I had a great time and got some Combo Competition. Then we got called in their group, and I'm the leader of one of
great experience playing those stock ar- to play the Newport Jazz Festival in New them. We go a couple of mornings a week
rangements. York, which I was very excited about. So I to different schools to play two concerts for
"So I had some experience when I got was in this teacher's office, and I told him from 10 to 40 kids. The kids may be emo-
into the jazz lab at school and got to play about it." She paused, and then explained tionally disturbed or physically disabled and
some more contemporary stuff. The instruc- that he made an unbelievably derogatory in wheelchairs. We play songs that are
tor there opened me up to drummers like comment towards women. "It really familiar to them and bring a big bag of
Tony Williams, Peter Erskine, and Joe La- knocked the wind out of me. I didn't say percussion instruments so that some of them
anything then, but about a year later, I real- can get to play with us. We talk about our
ized just how outrageous this was. After instruments, we sing, and we show them
that, our relationship deteriorated. He didn't dances from around the world. It's been
put me back in the jazz lab; he put a fresh- real rewarding to me to be able to do that."
man in there who I didn't think was as For Barbara, just playing is rewarding.
good as I was. He graded my recital with When asked where her musical heart lies,
some pretty unfounded comments, so I she laughed, "I keep asking myself that. I
wrote to the committee about that and this seem to have to let myself go through the
incident, and repeated exactly what he had stages of what I go through. Before I did
said. I sent a copy to the head of the music Cabaret, I did more pop than I had in pre-
department, and he contacted my percus- vious years. I was in a band playing pop
sion teacher, who then called me into his music and playing percussion for Helen
office and asked me to retract this letter, Hooke's band, as well as playing in Kit
because it would look bad on my record. I McClure's band, which plays contempo-
said, 'No way.' I never got an apology or rary stuff too, not just the old big band
anything. None of this would have ever arrangements. Mel Lewis has given us some
happened if I had been a guy." arrangements to play. When I was on the
As much as she wishes it weren't so, road, I would sit in with somebody after
Barbara realizes that discrimination does the show and play in some jam sessions
exist, even in the Broadway world. She where it was just jazz quartet style, and it
recounted a story she was told recently felt so good to do that. I would enjoy doing
about someone giving the contractor on a more Broadway and playing in the pit or-
new Broadway show a list of possible subs chestras of shows, too. The other thing that
that included a few women's names. His I think is important now for Broadway is
reply was that there were no females in the use of electronic instruments, and I'm
town who could handle the job. Barbara getting more into that. I have the Yamaha
knows otherwise. She emphasized that there RX5 and the Roland Octapad, and John
are many people who couldn't care less Gates has the Roland drumset, which I've
that she's a woman, but only consider that fooled around with some. I'm starting to
she is a capable musician. collaborate with a writer, creating drum
Barbara makes her living playing the full parts for the songs, and I've done some
spectrum of music, from pop with Helen recording, which is fun, too. That's a whole
Hooke, to jazz with Marian McPartland, to other aspect to deal with. I'm not forcing
big band with Kit McClure. "I love big myself to channel energy into just one thing,
band," Barbara exclaimed. "There are just because I like all these things, and I think
so many colors. And they're constantly shift- it's possible to play them all, keep work-
ing, because you have the trumpets, the ing, and be happy."
 record collection, but it was something that
I listened to a great deal, and it was some-
thing I was inspired by."
On the heels of Shabooh came The
Swing, which indulged Jon's inclination for
funk and aggresively pushing rhythms. The
initial single, "Original Sin," kicked off the
collection with its keyboard and sax excur-
sions. Although the production was a little
bottom-heavy in patches, it still yielded
enough propulsive dance rhythms and in-
Photo by Lissa Wales

fectious hooks to garner multi-platinum

status. It also contained material on which
Jon shared songwriting credit. How did that
transpire?
"The general process for writing an INXS
when Jon turned 16—was the original tag song is that we take a tune that one of us
Andrew, and I were so intently on one for INXS, and featured the same lineup as it has written, listen to it, and try it out. If it
track—music—that we were too stubborn does 11 years later. The following year, the doesn't hit all six very opinionated musi-
to let anything else perforate that. It was to band relocated to Perth, on the West Coast cians really well, then we don't do it. If it
the point where we had the will to make it of Australia, to assemble songs and to play does but it needs to be worked on or
happen, and when other people see that, the many clubs that populate the area's changed, we try to smooth it out. With
they allow it to happen as well. The loud mining towns. 'Melting In The Sun' [off The Swing], after
noise from playing all the time, the lack of With their name now INXS, the group we auditioned our various songs to the rest
interest in school, being a bit esoteric—not released their self-titled debut album in of the band, we decided to do two particu-
your normal kid interested in sports—and 1980 in Australia. It was at this point that lar songs—one that Tim wrote and one that
just the total preoccupation with it was the the band started earning a sizable live repu- I wrote. During rehearsals for the album,
way it was for all of us, as far back as I can tation Down Under, playing an average of both of those songs were giving us some
remember. At an early age, we all knew 300 shows a year over the next few years. problems, so we decided to join the two of
what we wanted, and we knew we would They followed up INXS with Underneath them together, keeping my main theme and
be doing this." The Colors, which rapidly propelled their chorus and adding Tim's verse part. Then
Ironically, Jon relates that, although he fame in their homeland. Michael Hutchence came in with his lyric,
and his brothers were ardently devoted But the pivotal point in the INXS story and there you go. That's basically how that
musicians, they never played together until concerning their worldwide—and more song was put together."
they formed an early incarnation of INXS specifically, American—popularity had to In the Autumn of '85, INXS presented
in the mid-'70s. "That was because our be the international release of Shabooh Listen Like Thieves, which marked their
playing was really private to each of us," Shoobah in February of '83. Recorded the status as a Stateside platinum-selling group.
he explains. "I guess it's really strange that previous year and released to high acclaim This album took the funk backbeat of its
INXS came together at all, given that we in Australia (reaching number five on the predecessor several steps further. Spawn-
literally played together for the first time charts there), the third release proved to be ing the hits "What You Need," "This Time,"
when the band became a band." the icebreaker for radio-play recognition. "Kiss The Dirt," and the title cut, the re-
By age 13, Jon had developed a legiti- Its first single, "The One Thing," became a lease emphasized rhythm above everything
mate reputation as a drummer, having staple of American radio that particular else. Additionally, it showcased more of
played with a dozen bands at that early summer, while its video was in constant Jon's songwriting capabilities, including a
age. Yet he remembers that he still had to rotation on MTV. Audiences were gravitat- track titled "Red, Red Sun." The track is
walk in the shadow of his eldest brother, ing towards highly danceable rock at that fast and hard on "Listen," but Farriss ex-
Tim, for most of his adolesence. "I was time, and INXS flaunted danceable rock plains that its outcome wasn't exactly how
always the youngest kid in the bands I was rhythms on Shabooh Shoobah. But what he conceived it. "That was written in a
in. I was always 'Tim's little brother' and elevated INXS apart from a plethora of much slower tempo than the way it was
wasn't taken seriously, always hanging with seemingly similar dance-rock aggregations done. It was written with a funk feel, be-
the big guys. But I was basically respected was their highly definitive yet broad sound. cause it was written around the time we
at a young age because I could play. Experimenting with everything from worked with Nile Rodgers. I was very in-
"By age 13, I played in bands of a more Motown soul and skeletal synthesized funk, fluenced by his guitar style, and in fact, the
serious type, in that we were writing our to frenetic and gutsy guitar breaks that just guitar riff that was written for it was done
own music and creating our own sound," nip at the outer fringes of metal, INXS defy with his style in mind.
he continues. "And we were doing very classification. As documented, the varied "So 'Red, Red Sun' was picked to have a
different styles of music as well: Deep leanings stem from the varied influences of tempo change," he laughs, "and the intrin-
Purple, Led Zeppelin, the Beatles, Crosby, their six discerning members. There are a sic style of the song changed a bit, but the
Stills, Nash & Young, a bit of Motown. compendium of influences merging and basic key, notation, etc. remained. Andrew
When INXS got together, it was the result fluctuating throughout all of their releases, saved the day by changing the chorus and
of our various influences. Our backgrounds but the group as a whole is always moving a couple of parts, so we share the song-
as musicians have been versatile, mine in the same direction at the same time, writing credits."
especially because I played with a club allowing them a recognizable sound that B-sides are an avenue for INXS to stretch
group for a time. It was a bit regressive on a takes risks, but does so with successful re- their wings in alternative directions, and
creative level, but it served primarily as a sults. Jon has made his own contribution. Case
way to get professional at a young age as In Jon's case, there is a fascination and in point: a whacky tune he wrote and per-
well as stylistically versatile. And I was 13, long relationship with funk and soul. "Mo- formed called "You Never Used To Cry."
playing with musicians who were 20 to 24. town was very much a part of my upbring- "We had decided, 'Why do something real
We'd cover Chicago to the Doors. It defi- ing, as it was my parents' choice of music serious for B-sides when, after all that work,
nitely added variety to my background." when we were kids," he says. "It wasn't no one ever really hears it?' Besides, a B-
The Farriss Brothers—formed in 1977 necessarily in my lunchbox in terms of my side could potentially be a good song as a
single. So we thought, 'How do we achieve
doing better than second-rate singles?' We electronics to his songwriting and produc- Future aspirations for 1989, when the
decided to be completely free-form on ing, Jon Farriss emerges as a man who is band will probably partake in a much-
them, allowing each of us the opportunity always looking to increase his knowledge. needed break? "I'd like to do some ses-
to do our own thing. I don't know for the "I scare myself with what I know, and I sions with other players, perhaps. Or, just
life of me why I chose to do 'You Never scare myself with what I don't know," he get back to my domestic life and try to
Used To Cry,' but when I did it, I didn't comments. "It's yin-yang. The more I learn, express myself creatively there for a while,
have any instruments with me, so I thought, the more I learn that there's a lot more to which I haven't done for years because I've
I'll just sing all the parts,'" he says, laugh- learn. And you're always relearning what been so busy.
ing. "So I just played it on the drums, then I you already know. You can see things more "The things I want to do are in my mind—
slowed the tape down, sang on top of it, objectively with time. sort of a subliminal thing—but I've been
and out came the first things that popped "At the point we're at now, we've been psyching myself up for something else. I
into my head! I was singing words that around the globe a few times, and I've don't believe in pushing things. They hap-
were totally out of context with each other. changed. I listen to what I did ten years ago pen when they are ready to happen. I mean,
It was the stupidest thing I've ever done, and say to myself, 'What was I thinking I wasn't searching for the production thing;
but they pressed it and released it anyway. about when I did that?' because I don't I never busted my ass to do it, it just
"I got a bit more serious and did a B-side think that way anymore musically. And in happened when it was supposed to. So
called 'I'm Over You,'" he adds, "and then ten years' time, I might feel the same way you never really know what's in store next."
another after that as well. I was always about what I'm doing now."
interested in doing things in the studio, and
this kind of thing really gave me that
chance. That's how I eventually got into
producing."
Farriss produced Glory Road in 1986 for
Australian singer/guitarist Richard Clapton,
who in fact had produced Underneath The
Colors. Farriss explains: "He had been put-
ting out records that were progressively sell-
ing less and less. He was a friend, and I
was also interested in working with him
because he's a very good songwriter. Any-
way, he had been sending me tapes, and I
had been giving him my thoughts about
them. Eventually, it had come down to the
time for him to record, and I had just got-
ten off our tour in support of Listen. There
had been another producer hired to do it,
and he wanted me to drum on it. We hadn't
discussed the production; he was just very
gracious about wanting me to play on it, so
I said, 'Of course I'll come in and do a few
tracks.' Carry [bass player for INXS] was in
there as well, and during the work on the
first track there was more of a musical
understanding between me and Richard
than between him and the producer. Soon
after, the producer thought he might as well
leave. He had plenty of other projects to
do, and it was obvious that it wasn't work-
ing out that well with him. The guy who
was paying for it told me, 'You might as
well do it yourself because you're already
producing it anyway.' So I did.
"Not that the other producer couldn't
have done it, but he didn't have the musi-
cal capacity to understand the arrangements
I had put together. I wanted to put together
a new sound for Richard, and a lot of that
was based upon my drumming, and no
one knows my drumming better than I do.
Ultimately, it worked out well, although I
was a little nervous at the time. We had
quite a few months in the studio, and there
was quite a bit of money spent on the
project, so it turned out to be a fantastic
learning experience. I learned a lot about
engineering, balancing the mix, understand-
ing the board, understanding the band, and
compiling the sounds for the music. It defi-
nitely was an endless stream of information
and education for me, all the way through."
From his self-taught drumming and per-
cussion to his continual experiments with
 E L E C T R O N I C R E V I E W
The Alesis
people buy a drum machine: (1) They want
to use it as a drum sequencer and program
songs into it, or (2) they want to use it for a
drum/percussion voice module or expander.
In the area of sequencing, the HR-16 offers
the user 99 patterns and 99 songs. Each
pattern can be up to 682 beats long, so if
you need a bar of 53/8, you can get it.
Several levels of "swing" are also
available. Patterns are recorded one
at a time in either real time or
step edit mode. Quantization
will go as fine as 1/64; the
next finer step is consid-
ered "no quantization."
In step edit, you can add
and delete drum events
at each quantization
What's small point. You can also change
gray, and goes the events volume level (at increments
"Boom...crash" in of 1 to 8). The display shows where you
the night? Answer: A are the cursor are in the pattern in beats and sub-beats,
very old burglar. Either keys and numeric keypad, a and also indicates drum events by pad
that, or the new Alesis data entry slider, and two sets of but- name, with the volume level next to it. It is
HR-16 drum machine. The tons: one set for song/pattern functions, and possible to leave step edit and reenter un-
HR-16 is surprisingly small and light com- the other set for voice, tempo, and other der a new quantization level. This new
pared to its competition (partially due to special functions. Positioned pretty much level is only applied to new drum events
the fact that it uses a small AC wall adapter dead center and above the keypad is a (very handy). The one bad thing about step
as its power supply). At first glance, one two-line alpha-numeric display (yellow edit is that editing is forward only; you
may even get the impression that this unit backlighted LCD). This display is your com- have no way of backing up in the sequence
is somewhat of a toy, and should be sold munication window with the HR-16, and short of quitting edit and reentering. (What
next to the $79 "mini-key" keyboards that gives you all of the data pertinent to your ever happened to bi-directional linked lists?)
seem to sprout like mushrooms in every present function. The back panel of the Along with drum events, patterns also have
store. Simply put, the HR-16's guts far out- unit contains the power adapter jack and voice, mix, and tuning assignments associ-
distance its surface "appeal." Alesis has on/off switch, MIDI in/out, tape out, and ated with them. (More on this later.)
packaged a number of features into the two sets of stereo output jacks. The very Once you have created the requisite pat-
HR-16, including a very nice MIDI implem- top of the unit is hinged, and by lifting up terns, they may be strung together to form
entation, and has positioned it at an attrac- on the small tab, a brief but thorough guide a song. The song creation functions of the
tive price point. sheet is revealed. (No, this is not detach- HR-16 are not particularly sophisticated,
The top of the HR-16 is dominated by 16 able.) but do get the job done. You may freely
velocity-sensitive play buttons. Above these Basically, there are two reasons why most insert and delete patterns and tempo
 by Jim Fiore

HR-16 Drum Machine

changes anywhere in the song. You can piccolo snare, gated snare, rimshot, cross setup isn't bad (it's far superior to the single
also copy songs. Interestingly, you can copy stick, brush hit, and more. There are five voice/button arrangement), but when using
a song to itself, which makes the song twice different toms, including power and double- the HR-16 as an expander, the drummer
as long. By the way, the copy function also headed types, as well as a classic electron- should be able to "roll" several different
works on entire patterns, and even on spe- ic tom. You have your choice of normal sources.
cific drum rhythms within the pattern! Un- and "bell" ride cymbal hits, and well over In the land of MIDI, the HR-16 gets even
fortunately, there is no provision for seg- a dozen different percussion sounds, in- better. First, the unit has a few nice pro-
ment looping, as in "play these next four cluding timbales, congas, claves, wood- grammable extras: It can start songs via
patterns six times in sequence, because it's blocks, and so forth. There is a single crash MIDI if desired; it can echo MIDI IN info to
the fade-out chorus." While I'm not an cymbal, and although this may be tuned to its own MIDI OUT; it can ignore drum
advocate of highly repetitive music, I'm produce different sizes, it would have been messages from MIDI (and supress their trans-
sure that many pop arrangers would like nice to have either a China-type or a splash mission); and more. The real neat thing is
this feature. Your alternative here would be cymbal in there. (Maybe having two that you can recall patterns with program
to do this whole thing manually, or to com- different versions of the cowbell, wood- change commands. Since each pattern has
bine the four little patterns into one big block, and maracas was a bit much, eh?) voice, mix, and tuning levels associated
pattern (using copy) and then insert that six From this selection, 16 sounds are as- with it, this boils down to a patch change!
times. The combination of odd-sized pat- signed to the 16 play buttons. Multiple as- This is perhaps the nicest addition to the
terns and instant tempo changes will allow signments are allowed for layering. Also, whole package. Also, each play button is
you to do some neat stuff—if you don't the same sound may be assigned to many programmable as far as its associated MIDI
mind spending a few minutes of calcula- different play buttons. Each button also has Note On number. The note number assign-
tion time. If you've ever tried programming specific tuning and mix assignments asso- ment is global and is not associated with
any of Frank Zappa's Shut Up 'N' Play Yer ciated with it. The tuning range is about a patterns (not a problem). The unit will re-
Guitar drum parts, you know what I'm talk- fifth up or down. "Mix" allows you to set a spond in OMNI mode, or on channels 1
ing about. Yes, you can get a measure of 5/ relative volume (0-99) and one of seven through 16.
4 with the toms doing a 7 into 3 fill; just pan positions for the stereo output of your The HR-16 also has a number of little
remember that the tempo can't go over choice. You cannot assign a pad to both extras. For example, the play buttons can
255 bpm. sets of stereo outs (as in the creation of two be set for soft, medium, and loud dynamic
Okay, enough on the sequncer stuff; what different mixes). Also note that the pan as- response, or at one of eight constant levels.
about the unit's use as a voice module/ signments are ignored if you've only There is also a facility for storing and re-
expander? Here the HR-16 shines very plugged in a single cord (very handy). calling data via cassette tape. The HR-16
brightly, indeed. It has a few limitations, Twelve of the play buttons each use a single manual leaves a bit to be desired, though.
but it is one of the best boxes for expansion D/A "voice." The three hi-hat buttons share While it does cover all the bases, it is rather
yet. First off, the unit comes with 49 16-bit, one voice (exclusive outputs), and the crash short (less than 30 pages) and dry, and
high-sample rate (20kHz bandwidth) drum/ cymbal button uses two voices in order to assumes a previous knowledge of drum
percussion sounds. These samples are nice achieve a blended sound. The sixteenth machine programming—no example ses-
and bright and have very little noise. The voice is used by the click track. There are sions are given. Considering its overall
sound selection is rather broad, and there no rules governing what goes where, so if capabilities and price, though, the HR-16
should be something in there for most every- you assign a ride cymbal to the crash pad, would be a fine addition to any home stu-
body. (This is, of course, a matter of personal you can "roll" the ride sound. Likewise, if dio. The unit's suggested retail price is
taste.) As an example, for snares your you assign three toms to the three hi-hat $449.00.
choices include: ambient wood snare, 13" buttons, they cannot play together. This
woodwork afterwards. Then if they happen ciates this, because it brings other styles definitely one of the all-time greats. There
to be around for the next tour, they're hired and other reactions into the band environ- was this face that I'd seen so many times—
again. I think that Elton wanted to keep the ment with Elton. on album sleeves, on TV; I'd grown up
unit together because, as you say, there is a I did an album and a three-week tour of with it. And there it was, on the other side
certain rapport between us all. This means Japan with a Japanese singer called Koji of the glass in the drum booth, smiling at
that it is particularly quick getting a back- Tamaki. He came to London to make the me and playing along with what I was play-
ing track down, because everyone is able album, and the band who did that were ing. It's one of the few occasions in recent
to compensate for everyone else. I love it; invited to do the tour as well. I had to clear years when I've nearly fallen off the kit
it's one of the biggest things to be said for a it with Elton's office, of course, but it was because of not quite believing what was
band unit. good. It kept me on my toes, and it kept the happening to me. [laughs] I've regarded
Having said that, there is also a lot to be new ideas flowing. I think it's important for Paul McCartney as one of my favorite drum-
said for not knowing how another player is a player to get the stimuli constantly flow- mers, actually. He played on a lot of the
going to react all the time. Session players ing in. If you cease to get any input, it early Wings stuff, and his intuition about
are known for being kept on their toes, and becomes predictable and boring, like doing what to put where shows that he is really
it's that uncertainty that can make things a "9-to-5." gifted. He's a natural drummer in the same
sound slightly more precarious and per- SG: You've also done an album with Paul way that Stevie Wonder is—not a drummer
haps more exciting. I enjoy doing sessions McCartney in the meantime. first and foremost, but someone with some
as an independent, and I think Elton appre- CM: That was another enormous buzz. He's wonderful off-the-wall ideas. People who
aren't trained on a particular instrument
often come up with brilliant ideas, because
they aren't tied down by any technique
they've been taught.
SG: Does McCartney lay down backing
tracks with a full rhythm section, as Elton
does?
CM: Yes, in fact there was one track that
we laid down as a six-piece with hardly
any overdubs. It was an instrumental. We
had Duane Eddy on guitar and Jim Horn,
who played with the Rolling Stones a lot,
on sax. That was a really exciting session.
You see, we're talking about people like
Elton John and Paul McCartney who've
grown up with the idea of putting every-
thing down together—most of the time
because they weren't allowed the luxury of
multi-track recording when they started out.
Multi-track recording is a two-sided thing:
It is possibly one of the greatest technologi-
cal advances in music, yet it is also one of
the most potentially damaging things for
creativity!
SG: What do you consider to be the dam-
aging aspects?
CM: I have done sessions where I had to
play just the bass drum all the way through
the track, then just the snare drum all the
way through, then the hi-hat, then maybe
some tom-toms and cymbals.... This is so
that they could get total separation on each
drum and have ultimate control over the
final product. That's taking it to an extreme.
You have the luxury to be able to do that,
but I think that people who do that have
the wrong idea about recording and cap-
turing a performance—if it is a performance
they want.
SG: But, in general, you and technology
are quite good friends?
CM: Well, perhaps I'm lucky; I don't have
any of this latest thing that people are call-
ing "technophobia." I'm quite prepared to
launch into any new application of com-
puterization or electronics. I'm not scared
of it, and I've been able to maintain my that comes across quite the same way as a
position as a busy session player at a time number of classical players playing together.
when many of my colleagues were saying, Maybe electronics have taken work away
"It'll go away." But it didn't go away. It from people; but maybe in some cases the
became a complete epidemic at one point. work wasn't there in the first place, and
I remember about three years ago, before I electronics is being used as a scapegoat.
joined Elton, 80% of my work was elec- It's like drummers complaining about drum
tronic: triggered stuff, drum machine pro- machines. You can sit there and moan and
gramming, tracks played and then quan- call union meetings, or you can get your-
tized. It was electronic to some extent, self a drum machine, learn how to use it,
whether it was played or programmed. and then persuade the nearest producer
Every new invention that has come along that he is better off having a drummer doing
in the music business has always found its his drum programs, because a drummer
niche. I think that electronics is finally find- knows what to do.
ing its place in the whole master plan, and That's what I've done. It does take a lot
it is starting to swing the other way. It's true of learning and relearning, but I believe
that it won't last to the same degree that it that being in the music business is a con-
has been used in recent years, but there is stant learning process. I also believe that
going to be some element of electronics in people who think that there's nothing else
evidence forever. This kind of thing goes they can learn are working themselves into
back even to the time that the electric gui- a rut. If you stop learning, you will imme-
tar was invented; it stayed. There were un- diately be pushed into a backwater. Changes
ion attempts in the '20s to outlaw the bass are happening faster than they were, but
drum pedal! I think they were frightened they're not happening as fast as some
that every single aspect of percussion was people try to make out.
going to be taken over by one person play- SG: Didn't it ever worry you that the physi-
ing everything. But if you look back at it cal drumming skills, which you had taken
now, classical percussion has remained so long to develop, weren't needed when
untouched by this aspect. You don't get you were programming things?
someone in a symphony orchestra playing CM: Yes, at one point this was true, when
a drumkit; you still get a percussion sec- the only way you could program a drum
tion. machine was to push buttons. Now tech-
SG: Following this line of thought, there nology has advanced so that with the aid
are styles of music—which can loosely be of electronic drumpads I can play some-
categorized as jazz and rock—that have thing into the computer. Then I can choose
grown up in the twentieth century with the to auto-correct it but leave the feel the way
drumkit at their heart. These are the forms I want it, or auto-correct the main pattern
of music that people have latched onto as but leave any fills human. I can control
the popular music. Classical music is more how much or how little it sounds like a
for the elite. machine.
CM: Yes, but I think that in the past ten SG: You use a Roland MC-500 sequencer
years in particular, there's been a move and an Akai 5900 sampler. What sort of
towards going back to popular classical applications do these have?
music for the masses. But, yes, you are CM: For the uninitiated, a sequencer is like
right that electronics has got a firm foot- a tape recorder, but you don't record the
hold in popular music; but then who are sounds, you record the performance, then
we to decide about progress? This is my you trigger the sampled sounds later. The
answer to the anti-synthesizer lobby: I know great thing is that I can get the playing
that synthesizers look as though they are down with any basic drum sound. Then, if
taking away the jobs of classical musicians;
but when it comes down to it, anybody
who can afford to do so would rather have
real string players than a synth. People like
Elton—anybody you care to mention—as
soon as they are successful enough and
have the budget to allow it, they'll have the
real thing. They know that there's nothing
a producer says, "Yes, but we need a deeper ing the dynamics. The feel can change, but quietly and get it to build, you start at the
snare drum sound," I can find him a sample quite often the feel has to do with dynam- edge of the drum and go towards the cen-
of a deeper snare drum. If he says, "Yes, ics—the sheer volume at which someone ter, and if you want to rise to a massive
but I'd like it to have more ambience," I plays something. So it will be perfectly in crescendo and finish on a "popping" sound,
find a sample of a deeper snare drum with time, but there will be exactly the same you'll hit the rim on the very end. So you
more ambience. Meanwhile, this sound is attack as there was before. go from the edge to the middle, and finish
being played from the sequencer. It's doing I am enthusiastic about these electronic with the middle and the rim together. That
exactly what I played, but I can change the gadgets, but I still think that there is noway is impossible to program into a drum ma-
sounds without forefeiting the original per- that a drumpad, a sample, or an electroni- chine or play on an electronic drumkit.
formance. Then when I've got the sounds cally generated sound of any kind can re- You would need an infinite number of vari-
that people want, I can say, "Okay, now create all the nuances of a snare drum, a able samples. So if someone wants a real
this isn't quantized, this is me playing real tom-tom, or a cymbal. There is an infinite sound, I'll play a real kit. If they want an
time." If they have a lot of sequencers play- number of places and ways to hit any one electronic sound, I'll use electronics. The
ing synthesized parts, I can say, "You need of those instruments, and you'll get a com- electronic drum shouldn't be attempting to
a degree of accuracy beyond what I can do pletely different sound from it. The exper- recreate an acoustic drum, it should be
as a human being. If you want that ma- tise that goes into that is totally intuitive; making its own sound. If an engineer is
chine-like quality, I'll quantize my part." I it's something that we drummers don't even going to try to make it sound as close to an
can then quantize the timing without los- think about. If you want to start a press roll acoustic drum as possible, I might as well
play an acoustic drum. And if I can't play
the damn thing in time, I don't deserve to
be there.
SG: How did you break into sessions?
CM: I played in clubs, and although I didn't
get jaded, I got disillusioned with the atti-
tude of some people I played with. But in
1975 I was with a really great band that got
a record deal. However, the company who
had signed us just sat on us. That was an-
other aspect of being in a band that I didn't
like: the fact that you were at the mercy of
people like that. That band went on to
become the nucleus of Kate Bush's band,
who I worked with later on. But I started
doing some sessions while I was with that
record company. They had some writers
and singers signed with them, and they
would use a lot of the people they had on
their books for the sessions. I developed a
taste for doing studio work rather than being
in a band at that stage.
The big break really came a couple of
years later, with Kate Bush. Through work-
ing in Kate's band, I met a lady called
Isobel Griffiths, who was a fixer for ses-
sions, and I think she marked my name
down as someone who might be used.
About a year later, a friend who I had
worked in clubs with co-wrote the big hit
"Too Much, Too Little, Too Late" for Johnny
Mathis and Deneice Williams, and he set
out to do some 24-track master demos of
some of his other songs. He was working
with an arranger, John Altman, who usu-
ally worked with a specific group of musi-
cians, but the drummer, Pete Van Hook,
was on tour with Van Morrison. My friend
recommended me for the session, but John
was skeptical at first. But, by a happy coin-
cidence, he checked with Isobel Griffiths
who gave me a glowing recommendation.
The session was a success and I got a lot
more work through John and Isobel.
At • one point, 70% of my work was
jingles. It got to the ultimate session stage
when I did six jingles in one day, for six SG: You've been subbing for the West End
different people. There was a period in my show Chess [the English equivalent of a
life, before joining Elton, when I was doing Broadway show], so your reading must be
a 65- to 70-hour week. of a very high standard.
SG: How did you get the gig with Elton? CM: In fact, doing Chess was a bit of a
CM: I was doing a certain amount of rec- baptism of fire, because being out on the
ord work as well as jingles. There was Nik road with Elton for the previous 14 months,
Kershaw in particular. Elton adored the first I'd done, virtually no reading at all. When
two Nik Kershaw albums. He was using Graham Ward, the regular drummer, called
different rhythm sections for different tracks me to ask if I would do it, I accepted
on his 1985 album, Ice On Fire, and he because I enjoy challenges, but it was a
said to the producer, Gus Dudgeon, "I'd very sobering experience. I had to get my
like to use Nik Kershaw's drummer on some reading back into shape before I could even
of these tracks." So at Easter of '85 I did my tackle the playing. It's a very hard part.
first week with Elton, then we did Live Aid One passage has two bars of 5/8, one bar
and went into doing the live work. In July of 6/8, one bar of 9/8, one bar of 5/8, one
'86 we did the Leather Jackets album, then bar of 7/8, and then it goes back to two
the American and Australian tours, and so bars of 5/8. Reading that is about well-nigh
we come to this album. It really was a impossible!
snowball effect from the time he heard my It got me back on my toes as far as read-
work on record and liked it—which is, I ing is concerned, and following a stick as
suppose, the best recommendation you can well. Fortunately for me, the musical direc-
get, particularly when they contacted the tors are all people I know. I've done a lot of
producer in question and asked, "Is this sessions in the past for the current one,
manufactured, or is the drummer as good Paul McGuire. He's a very sympathetic
as he sounds?" I think it's important to rec- person. He came to me the first night and
ognize the people who have helped you said, "Look Charlie, just remember, don't
along. Most of my work has been through follow the downbeat. Follow halfway up
word of mouth, and if I hadn't had people the next upbeat, because the string players
saying, "Try him; he's good," I wouldn't be are following that." It was a good piece of
where I am now. advice, because in rock sessions, if you
SG: You had to be able to do a good job in have somebody conducting you, you fol-
the first place, though. Have influences been low the downbeat. But orchestral players
important to you? follow maybe a quarter of the next up-
CM: I'm a great fan of Steve Gadd and Jeff stroke behind.
Porcaro. I've never really followed the vir- It would be nice to get to a point with
tuoso players like Billy Cobham and Lenny Chess where I don't have to rely on the
White; the only one I really got off on was part so much and can concentrate on the
Simon Phillips because he plays with a lot conductor a bit more. Splitting your eyes
of feel as well. I always understood what between the part and the conductor isn't
he did, but Cobham would often go be- the easiest thing in the world. But it's a
yond what I could actually take in. That's different aspect of playing, and one that I
probably a shortcoming on my part, but he hope I rise to. It's the whole point of being
is over my head a lot of the time. I also a versatile drummer.
admire the clique of drummers who have SG: Standard question: What drums do you
played with Steely Dan: It includes Gadd use?
and Porcaro, Rick Marotta, Ed Greene, and CM: Premier. My live kit is a Black Shadow
Bernard Purdie—drummers with feel. with a 22" bass drum, 12", 14", 16", and
SG: I thought I detected shades of Bernard 18" tom-toms, which are all mounted on
Purdie in some of the things you were doing
today.
CM: Yes [laughs], I admit it. Another big
influence on that track would have to be
Richie Hayward of Little Feat, I think maybe
because Elton was playing with a certain
amount of influence from Bill Payne, Little
Feat's keyboard player.
stands, and an 8" deep wood-shell snare got a variety of metal-shell drums for a versatile drum; you can tune it high, but
drum. The stands are all Premier Prolock, slightly more clangy sound. One of my you can also get a lot of depth out of it. I do
but I've got a Tama chain-drive pedal and a favorites is the limited-edition Piccolo drum actually have an old favorite snare drum
Tama throne. That was the kit you saw me that Premier makes. It has such a cut and that isn't a Premier. It's a Tama 5" metal-
using today, but my usual studio kit is a top end to it! That sound is very much in shell drum from before the time they were
Premier Soundwave in natural wood. The vogue again. In the mid '70s they used to called Tama; it's a Royal Star.
bass drum is a 22" with a Resonator lining, have the snare drum and bass drum almost SG: Resonator shells are standard in the
and the toms are 10", 12", 14", and 16", at the same pitch, particularly in disco Black Shadow kit, and you've had the lin-
again all rack-mounted. music. But people have been tuning drums ing added to your Soundwave bass drum.
I've got a selection of snare drums. The up ever since. People like Phil Gould of What is it that you like about them?
reason I like the 8" wood shell for live work Level 42 have done a lot to popularize the CM: When you get behind the kit and play
is that I'm able to tune the top head up to high snare drum sound. I think it's very it, you may notice a fractional increase in
get quite a lot of bounce and crack off it, healthy; there should be a different space the length of the note from the toms, and a
and yet I'm still able to get the depth. I within the music for each drum. slight extra fullness about the bass drum.
need the variation in sound between the The snare drums I tend to take around But if someone else is playing the kit and
rock numbers and the ballads that Elton with me for independent sessions are the you walk away from it, it retains that full-
does, and I needed that depth that Nigel Piccolo and a 6 1/2" wood-shell Project One, ness and it projects.
Olsson used to get. For studio work, I've which has a second shell inside. It is a very SG: Does this help when you are record-
ing, or playing miked-up on stage?
CM: Not necessarily for recording, but for
playing on stage, yes. You do get a lot of
ambience, and it makes the people on stage
feel better. I don't always do gigs fully miked
up; I sometimes do smaller gigs with that
kit. It does have a big sound, and therefore
it isn't necessarily the right sound for every
session I do, and that is why I have the
Soundwave. It's designed to be a more
controllable, "hi-fi" sounding kit. I have a
Resonator lining in the bass drum, because
I love the sound of a double-shelled bass
drum. I think that the bass drum is the one
that changes most with a Resonator shell.
Nowadays we damp our bass drums so
that there is hardly any ring to them. It's
that bottom end the drum can produce on
initial impact that you really notice with
the Resonator.
SG: What about the choice of heads?
CM: I use all Premier heads. On the bass
drum I like the Powerplay heads. These are
the ones with the black "doughnut" patch.
I use pipe-band heads for snare drums, and
on the tom-toms Clearplay, top and bot-
tom, to get the drums breathing. They are
single-ply and quite light; the disadvantage
is that they "dish" easily and get dented a
lot. But having to change the heads regu-
larly is a small price to pay for the superb
sound they give.
SG: What are you using the Drum Bugs
for?
CM: They were originally fitted to trigger
electronic sounds, but at the moment in
the studio they are being used to trigger
noise gates, which we've got on the mic's
for each individual tom-tom, so that the
mic' only "opens" when that particular
drum is being played. This is so that the
sound doesn't spill onto the other mic's.
When I'm using them live, I still have the
noise gates, but each Drum Bug goes into a
split lead so that it can be used to trigger
electronic sounds as well.
 SC: Just to complete the picture, what about CM: Yes [laughs], it's a bit like turning your
the electronic gear you use, apart from the guitar around and trying to play it the other
sequencer and sampler we discussed ear- way up! It was a question of making do.
lier? I'm not ambidextrous and I'm very much
CM: I use Roland Octapads as a MIDI in- right-handed. All the exercises I've done to
terface, with Boss MPD-4 MIDI pads for hi- make me more independent have, if any-
hat and cymbals. I also have four Roland thing, inhibited me. There are a few things
PD31 external pads and a Drum Workshop I do with my left hand, but I don't really
EP-1 bass drum trigger pedal. My drum lead with my left hand and I'm perfectly
machines are a Roland TR505and a TR626, happy to be a right-handed drummer. This
with an MDR-30 module. obsession, at the moment, with leading with
SG: I noticed that you were using black the left hand—I think it can be detrimental.
Paiste Colorsound cymbals in the studio. It can make you feel awkward and stiff.
CM: Yes, I've got 15" hi-hats, 16" and 18" The child who is forced to write with his
crashes, a 20" Power Ride, and a 20" China. right hand when he is naturally left-handed
Originally I just had them for the visual is likely to develop complexes, and educa-
effect on live work, but I've found that they tors recognize that today. I think the same
work very well for recording. I think that can apply to drummers. If you are naturally
there's a stigma attached to colored cym- ambidextrous, you'll do it. There are exer-
bals, but I think it is mistaken. The ride cises to make you as fast with your left
cymbal is particularly good for recording, hand as with your right, and there's noth-
because it doesn't build up, being slightly ing wrong with that! What I'm saying is
damped. I also have a set of 3000s, which I that people who become obsessed with
normally use on sessions with the Sound- trying to play left-handed all the time are
wave kit: 14" hi-hats, 14", 15", and 16" probably doing themselves more harm than
crashes, an 18" Power Ride, and 16" and good. There have been generations of right-
18" Chinas. handed drummers who are dazzlingly good
SG: The 3000s are relatively new. What players.
were you using before, and do you see the SG: Finally, may I put you on the spot and
3000s as an improvement? ask you to sum up your secret of success?
CM: I was using 2002s for ride and crash, CM: [laughs] I was asked this question while
and 602 hi-hats and Chinas, but I'm now I was doing a demo for Premier at The
very happy with the 3000s; they are very British Music Fair, and what I said was, "By
crisp and clear. making up for my technical shortcomings
SG: You've got the attachment for an extra by turning up on time and being nice."
"double" pedal on your bass drum pedal. Okay, it was a bit of fun, but there's many a
Do you use that much? true word spoken in jest. I think that any-
CM: I've never really gotten into using body who aspires to be a session player
double bass drums; I prefer to concentrate has to have the ability to be totally chame-
on speeding up my single drum. The rea- leon-like and have understanding towards
son for the double attachment was that, the people he or she is working for. You
while we were in Adalaide on the Austra- can be the greatest player in the world, but
lian tour, I locked my knee up. Fortunately, be a grumpy bastard and you won't con-
they have some of the best knee surgeons tinue to work. You've got to bite your lip, if
in the world there because of injuries from necessary, keep the producers at ease, and
Australian Rules Football. I had to have an do what they want you to. In his interview
operation, and I only had a day in which to in Modern Drummer, Harvey Mason said,
recover before the next gig. So I phoned "Unless you are prepared to do the job
them and said, "Look, I'll make the gig, but you've been booked to do, you might
get me a double bass drum pedal. That as well give up." I agree with that.
way, if my right leg gives out, I'll use my
left." As it happened, I was able to play
most of the time with my right foot, but
when the leg got tired, I'd take over with
my left for a while.
SG: Did you have any coordination prob-
lems?
 T R A C K I N G

The Academy
I have been the percussionist on the Academy Awards show about who the winners will be. Of course, we always have some idea
eight times so far. Some of the composers that I have been in- who it might be, but we can never be sure. In some cases, like
volved with at the awards include Bill Conti, Jack Elliott, and "Achievement in Art Direction," for instance, there were five dif-
Lionel Newman. This last Academy Awards show was the Sixtieth ferent nominees. To be able to cover the possibility of playing any
Annual show, and we had tons and tons of music to record, of the parts, I needed one bell mallet to play either bells or
perform, and have ready for winner presentations. Larry Bunker xylophone, one vibe mallet to play either vibes or suspended
played timpani, vibes, congas, shakers, suspended cymbal, and cymbal, one chime hammer, and one drumstick.
various other instruments; Harvey Mason played acoustic and Another problem that we ran into was in how the presenters
electronic drums; and I played vibes, xylophone, marimba, or- would announce the winners of categories. For instance, the pre-
chestra bells, chimes, snare drum, piatti, Emulator, song bells, senter would say, "The nominees for 'Original Score' are: George
bongos, and various small Latin and percussion effects. Fenton and Jonas Gwangwa for Cry Freedom, a Universal picture;
We had a total of 97 pieces of music, of which about one third Ryuichi Sakamoto, David Byrne, and Cong Su for The Last Em-
were prerecorded. The reason for prerecording is so the dancers peror, a Columbia picture; Ennio Morricone for The Untouch-
can have the music for the large production numbers about a ables, a Paramount picture; John T. Williams for Empire Of The
week before the show so that they can practice. (In some cases, Sun, a Warner Bros. picture; and John T. Williams for The Witches
they need the music early so that they can videotape some of the Of Eastwick, a Warner Bros. picture. And the winner is...Columbia
sequences.) Recording was done on April 4th and 5th, 1988, and Pictures—Cong Su, David Byrne, and Ryuichi Sakamoto for The
we got together again on Sunday, April 10th for a very long day of Last Emperor," and the downbeat comes, and you have to be
rehearsal and balances. The day of the show was Monday, April playing. The problem is you never know if the presenter will first
11th, and we were all there at 8:00 A.M. The show, which was announce the picture, the company, or the name of the people,
broadcast live from Hollywood, began at 6:00 P.M., and ran a and that's when you panic.
total of 3 hours and 37 minutes. The first piece was the "Opening Look over the music to the "Original Score" nominees section;
'88 Pt. 1," and as you can see, Larry Bunker had a nice solo this will give you an idea as to what we were looking at. The
timpani part. The tempo was about 160 on the metronome. (See percussion chair was easier on this particular category. However,
"Opening '88 Pt. 1.") the timpani part was tougher. Larry Bunker tuned his five drums to
The hardest part about doing the Academy Awards show is F, G, Ab, Bb, and Eb, and he was ready to pedal the D necessary
playing the music for the "nominations" section of the show. We for winners Ryuichi Sakamoto, David Byrne, and Cong Su for The
have to be prepared to play music for each and every nomination Last Emperor. He then had a few moments to retune, if necessary,
at a given moment. For the percussionist, each piece of music for for the playoffs.
each nomination could involve playing a different instrument. Usually the orchestra is made up of about 75 of Hollywood's
Whenever the presenter said, "...and the winner is...," Bill Conti, top studio players. It's a little easier for musicians like the violinist
who was the conductor for this year's show, would give the down- or the trumpeter to deal with some of these problems, like being
beat, and we had to be there with the right piece of music on the ready for the winner. But when you are playing percusion or
right instrument. Larry Bunker, who played timpani, really had his timpani, you are definitely in the "hot seat." The drummer, who as
work cut out for him. Each piece was in a different key, so in some I mentioned was Harvey Mason, also has the hot seat, as he is
cases, Larry had to be ready to play the right timpani, or change responsible for all the right tempos along with conductor Bill
the pitches immediately! Conti. Playing the Academy Awards is always a challenge, and fun
I've often been asked if the musicians know who the winners to do. This is why we, the percussionists, chose to be in the
are going to be beforehand, and the answer is no! No one is told greatest section of any orchestra.

PERCUSSION
60th ACADEMY AWARDS
 by Emil Richards

Awards
 THE UNTOUCHABLES
60th ACADEMY AWARDS ENNIO MORRICONE PARAMOUNT

GEORGE FENTON AND CRY FREEDOM

JONAS GWANGWA UNIVERSAL

RYUICHI SAKAMOTO, DAVID BRYNE THE LAST EMPEROR

AND CONG SU JOHN T. WILLIAMS EMPIRE OF THE SUN
COLUMBIA
WARNER BROTHERS

THE UNTOUCHABLES
60th ACADEMY AWARDS ENNIO MORRICONE PARAMOUNT
ORIGINAL SCORE

GEORGE FENTON AND CRY FREEDOM

JONAS GWANGWA UNIVERSAL

RYUICHI SAKAMOTO, DAVID BRYNE THE LAST EMPEROR

AND CONG SU COLUMBIA JOHN T. WILLIAMS EMPIRE OF THE SUN
WARNER BROTHERS
A
 THE WITCHES OF EASTWICK
JOHN T. WILLIAMS WARNER BROTHERS

THE WITCHES OF EASTWICK

JOHN T. WILLIAMS WARNER BROTHERS
 ROCK 'N' JAZZ CLINIC
by Kelly Paletta
Photo by Rick Malkin

Style & Analysis:

Omar Hakim
Through his work with such diverse artists as Weather Report, Gil Evans, Sting, John Scofield, and David Bowie, Omar
Hakim has become one of the most innovative and influential drummers on the contemporary scene. His playing is a
lesson in creativity and taste. The following transcriptions are examples of the eloquence and wit characteristic of many
of his recent recordings.
The first example is taken from the tune "Techno," on the John Scofield album Still Warm. The basic pattern is stated
in the first two measures and then repeated with variations. Omar avoids playing a straight backbeat throughout the
song. He creates tension by not playing the snare drum on beat 2 in the second measure of the pattern. Notice also how
a feeling of forward motion is implied by the open hi-hat "barks" and the five-stroke rolls leading into beat 3 of measures three and five.
The hi-hat is played with the tip of the stick (not the shoulder) to achieve a light, articulate sound. When practicing this excerpt, pay
particular attention to the accented hi-hat notes (especially in measures two and eight) and to maintaining an even, consistent bass drum
sound.

Next is a series of hand-to-hand coordination exercises to be practiced in preparation for the following excerpts. Play each exercise
slowly and repeatedly until they can be executed in a relaxed, flowing manner. Remember, accented notes should be played loudly,
unaccented notes mezzo (one, and "ghosted" notes should be barely audible.

After mastering the previous exercises, we move on to two related patterns that Omar has played on record. The first is Omar's solo
intro to "High And Mighty," also from the John Scofield album. The next is taken from the middle section of the Weather Report song
"Db Waltz," from the Domino Theory album. Omar plays this pattern very quietly behind the band's sparse rhythmic figures. The fill in
measure five is written as 16th notes to ease readability. To play this pattern accurately, the 16ths should be swung. Don't let all of the
notes scare you; these two examples are just variations on the previous exercises. Once again, the hi-hat is played with the tip of the
stick.
 The next example highlights Omar's unique approach to pop music. The song is "Consider Me Gone," from Sting's album The Dream
Of The Blue Turtles. Throughout most of the tune, Omar plays a very understated jazz shuffle, leaving much room for Sting's vocals. As
the song builds to its powerful conclusion, Omar plays a strong backbeat and adds a cymbal bell pattern that makes this beat sound
more like a 12/8 African groove rather than the straight-ahead shuffle he started with. The written straight-8th notes should be swung.
Cym. Bell

Finally, "Shadows In The Rain," again from The Dream Of The Blue Turtles, is a great example of a solid, hard-driving shuffle. Omar
keeps this beat surging forward by rarely playing the bass drum on beat 1. Again, play the written straight-8th notes in a swing feel.
 P R O D U C T C L O S E - U P

Remember when drum sizes got deeper and snare drums got
deeper right along with them? Many drummers are using smaller
Piccolo Sn NOBLE & COOLEY

drums now, resulting in a renewed interest in piccolo snare drums.

These smaller snare drums are being used to blend in, pitch-wise,
with the other drums in the kit, or for a secondary snare drum
sound.
I prefer to think of a true piccolo drum as one similar to Ludwig's
old 3 x 1 3 model. (By the way, if anyone has one, I'll buy it!)
Oddly enough, Ludwig is not even producing a piccolo snare at
this time. However, many manufacturers today are making "pic-
colo" snares. Most of these, rather than being true piccolos with a
13" diameter, are merely squashed 14" drums. For all intents and
purposes though, we can call them piccolo drums, and here's a
look at some of the currently available models.
CB-700

Noble & Cooley makes a 3 3/4 x 14 piccolo drum, using the

4

same materials and specifications as their standard snare drums.

The drum is built of 1/4" rock maple, which is steam-bent to form a
one-piece solid shell. It has ten double-ended tubular brass lugs.
As with their other drums, the lug posts are mounted at the nodal
point to maximize shell vibration. (On the piccolo, it's just about
center.) Die-cast chrome hoops are used, and there's no internal
muffler. Reinforcing rings are used at the top and bottom of the
shell.
Noble & Cooley's strainer is one of my all-time favorites. The
throw-off is made of lacquered brass, and releases via a center-
throw lever. It has a brass knurled knob fine-tension adjustment,
and on this drum, the 20-strand wire snares are held with plastic
strips. The strainer is incredibly smooth and silent. It's actually
CB-700's new MS Series of snare drums includes a 4 1/2 x 13 simple in design, but works like a dream.
piccolo snare (the only true piccolo in this review). The drum's The drum I played was fitted with a coated Ambassador batter
shell is 8-ply maple/mahogany, and it has eight double-ended and a Diplomat snare-side. Since there's no internal damper, Noble
lugs, with plastic gaskets mounted underneath to "float" the lug & Cooley includes one of their Zero Rings for the batter head. (A
castings. The snare throw-off uses a center-throw lever, with a fine- Zero Ring is a thin Mylar O-ring that lays on the outer perimeter of
tension knob. Twenty-strand wire snares are used on this drum, the head to dampen excessive ring and overtones.)
held with plastic strips. Like all the Noble & Cooley drums I've played in the past, this
CB-700 is using 2mm "Power Hoops" on the MS Series, which 3 3/4 " piccolo had a full, vibrant tone with great sensitivity. It tuned
are a bit thicker than normal and can take higher tensions more up to a high pitch easily, and had more than ample volume;
readily without warping or cracking. To me, they also provide a rimshots resounded with a nice crack. The drum is sensitive to
louder rimshot sound. The drum has two ventholes, and does not feather-touch playing, while at the other extreme, will not choke
have any internal muffling. up under loud playing. Five finishes are available: natural maple
The drum I tested came fitted with a coated Remo Ambassador and honey maple lacquers, and white, red, and black polyure-
batter and a "no-name" snare-side head (presumably made for/by thanes. The drum retails at $598.00 and certainly earns a five-star
CB-700). To be honest, the thing that most hurt the drum's sound rating in all aspects of design, sound, and payability.
(and tuning) was that bottom snare head. I couldn't get it to seat A new addition to the Noble & Cooley line is their 6 x 1 2
properly or tune up evenly; it was plainly inferior. After changing it Drumbali. The Drumbali shares many features with Noble &
to a Remo Diplomat, those problems vanished. I was able to keep Cooley's other snare drums (rock maple shell, brass strainer, etc.),
the head level, tune it accurately, and make an annoying snare but also has some differences. The Drumbali has six chromed
rattle go away. (All the more reason for using quality heads on double-ended lugs, which are a variation on their standard lugs.
your drums—beginners, take note!) They're still tubular, but are formed to a large rectangle at the
The CB-700 piccolo had good volume and response, but I bottom. Each lug is attached to the shell with a single screw; the
couldn't get it to tune up quite as high as I would have liked. Don't rest of the casting does not touch the shell. The shell's interior has
get me wrong; the drum does sound good, and can still be pitched two reinforcing rings: One is near the bottom, at the nodal point
quite a bit higher than a standard-sized drum. (where the lugs attach); the other is equidistant from the top. There
A major appeal of this piccolo snare is the price. Chrome- is a single venthole, and the drum has a 12-strand wire snare unit,
finished, it retails at only $119.50. Blond maple or black lacquer held with cording.
finishes are available for $189.50. CB-700 has always provided I must mention that Noble & Cooley's bearing edges are simply
decent quality drums at a decent price, and the MS Piccolo is a beautiful. They are expertly cut so that drumhead-to-shell contact
good example. (As an added bonus, a vinyl carrying bag is also in- is at a minimum, which allows for sensitive response.
cluded.) The Drumbali sent to me was fitted with a FiberSkyn 2 thin
are Drums
by Bob Saydlowski, Jr.

batter and a Diplomat snare-side head, but no Zero Ring. The R.O.C.
premise behind the design of the Drumbali is to give the drummer
a snare drum also capable of producing a realistic timbale sound.
In its snare drum form, it's crisp and dynamic. Throw off the
snares, and the drum instantly turns into a cutting high-pitched
timbale with great resonance. I wouldn't really recommend the
Drumbali as your primary snare drum, but it can definitely func-
tion as a secondary snare, giving an articulate piccolo snare sound,
plus a good timbale sound for Latin and reggae music. The Drumbali
also retails at $598.00.
IMPACT

R.O.C, makes many different sized snare drums—some even

"exotic." Most of their drums, including the 5 x 1 3 piccolo I tried,
are made of 10-ply mahogany/oriental hickory.
R.O.C.'s 5 x 1 3 snare has six double-ended lugs, all backed with
felt. It uses a simple side-throw strainer, with 11" 16-strand wire
snares. A lock on/off internal muffler is installed. The drumshell
has very acute bearing edges cut on both sides, which finely slope
down for the first 3/4 inch or so of the shell. The primary, head-
4

seating edge is quite thin.

An R.O.C. silver-spot clear head was fitted on the batter side,
and a milky-white smooth head was on the snare side. I don't have
much faith in these heads; they fit very tightly to the shell, negating
Impact makes a fiberglass-shell drum measuring 4 1/2 x 14, which any positive influence the thin edges may have on the drum's tone
is the largest of the piccolo snares reviewed here. It also has 12 and response. Along with the fact that the wire snares were two
double-ended lugs, giving it the most tension points of the drums I inches shorter than the diameter of the snare head, the drum
tested. sounded dry and choked. It did have a quick decay, but was not as
A sophisticated parallel-lay strainer is used. The throw-off side "snappy" as others. The drum had the capability for loud volume,
works via a large cross-lever, and also has a fine-tension knob near but sensitivity for quiet playing was unfortunately not there. The
its bottom. (The butt end also has a tension knob.) Twenty-strand drum retails at a suggested price of $166.00.
wire snares attach directly to both ends of the strainer, and extend R.O.C. also sent a 4 1/2 x 14 drum, made of 10-ply poplar/maple/
past the snare head on both sides. To allow for this, the bottom oriental mahogany, covered in chrome. It has ten felt-backed,
hoop is entirely cut away, leaving an open gate. Steel guard rails double-ended lugs, a parallel strainer with 20-strand split snares
are attached to the tuning rods adjacent to the throw-off and butt (along with a steel rod through the shell), the same acutely formed
assemblies. A steel rod passes through the inside of the drum to bearing edges, plus a lock on/off internal muffler. The strainer has
connect up with both ends of the strainer unit. Impact's snare a fine-tension knob on both ends, and works with a lever release.
strainer is extremely silent when switching on and off; there is It's fairly massive, having two steel guard rails per side, and worked
virtually no slap of the snares hitting the head. It works well, and rather stiffly, I thought.
has various tension and leveling adjustments. Physically, the lugs on this drum were not centered on the shell,
The drum has two ventholes, each of which is surrounded by a and in a few instances, actually touched the bottom head hoop.
rubber grommet. Impact still provides an internal muffler, which This might cause some tuning problems with the snare head. The
will lock its position on or off at a single touch, and can be drum came with transparent batter and snare-side heads. It had
adjusted for the degree of dampening desired. good attack and more snap to it than the 5 x 1 3 , although it was
Four covered finishes are available: chrome, black, white, and still a bit dry-sounding. This snare drum did respond well at its
gray. The drum I tested came with a coated Ambassador batter and higher tunings, but would benefit immensely from different heads.
an Ambassador snare-side head. The drum had a full-bodied, The drum lists for $159.00.
bright sound (thanks to the fiberglass shell). It cut through quite R.O.C. says they've learned to "manipulate" wood for specific
well, and rimshots resounded with a good crack. The extended performance abilities, and can also do shells ranging from five to
snares helped to give this drum a crisp, snappy response. Even at 15 plies using mahogany, maple, birch, teak, rosewood, luaan,
its 4 1/2" depth, it was still able to provide a high-pitched, lively poplar, oak, bubinga, burl, or eucalyptus. PVC covering is stan-
piccolo sound. I would consider using Impact's drum in many dard (in black, white, blue/white, wine red, or midnight blue).
situations—even as a primary snare drum, since it will also tune Mylar and bubinga burlwood finishes are extra. Other piccolo-
down lower and still retain a solid sound. The suggested retail type sizes available are 4 x 14, 6 1/2X 13, 8 x 13, 5 x 12, 6 1/2 x 12,
price is $270.00. and 8 x 1 2 . (On the other end of the spectrum, they make a 14 x
14 snare drum on legs!)
In fairness to R.O.C., I'd like to temper any comments pertain-
ing to the hardware on their drums with the statement that, ac-
cording to company president Glen Quan, their entire focus is on
their shells. They feel that using generically available, moderate-
cost hardware helps them to keep overall drum cost down, and
that they can more than make up for any acoustic deficiencies that
the hardware might cause by what they can do with the shells. In
addition, they are more than happy to create drums for customers
using any specific brand of hardware desired.
TEMPUS

Tempus Instruments of Canada is offering a 4 1/2 x 14 fiberglass

piccolo snare drum. Their drum has ten double-ended lugs, with
nylon washers on the rods to cancel metal-to-metal contact.
Tempus's shell is different from Impact's fiberglass shell in that the
interior has a black matted texture, rather than being smooth.
Also, the exterior colored finish is part of the shell itself, instead of
a laminated covering.
Since Tempus doesn't produce its own strainer unit, the drum I
received was fitted with a Drum Workshop cross-lever throw-off
and a Pearl adjustable-slide butt. The throw-off operates smoothly
and is easy to adjust. The lever is pretty much flush with the top of
the drum so that it doesn't get in the way. Twenty-strand wire
snares are used, and are attached via plastic strips.
The drum came fitted with coated Ambassador batter and Dip-
lomat snare-side heads. Tuned to its upper limits, this drum has a
very loud, piercing sound. Due to the fiberglass shell, it's brighter
than most, allowing it even more cutting power. (At times, it came
close to hurting my ears!) There is no internal muffler, but a thin
Zero Ring dampened out any annoying ring. Throughout its tuning
range, the Tempus drum spoke clearly, and at the piccolo level,
had a nice "pop."
Fiberglass is less prone to being affected by temperature and
humidity changes than wood. The sound is not as warm as wood,
of course, but the reflective qualities of fiberglass make for a nice,
bright piccolo snare sound.
Available shell colors are yellow, red, black, white, grey, and
blue. Other colors are available on a custom basis (as per the Ferro
Enamels color chart). The 4 1/2 x 14 retails at $297.00. When I last
spoke to Tempus, they had successfully developed a 6 x 13 drum,
and were experimenting with other sizes.
Previous Product Close-Up columns have reviewed these other
piccolo snares: Joe Montineri soprano drums: 4 x 12, 5 x 12
(September 1987); Premier 2024: 4 x 1 4 (March 1988); Yamaha
SD-493: 3 1/2 x 14 (March 1988). For a complete overview of
available piccolo snare models, check out MD 's latest Equip-
ment Annual.
JAZZ DRUMMERS' WORKSHOP

Samba
In my last article, I demonstrated some authentic And then, play just the offbeats:
samba rhythms, and showed how they could be
played on the snare and bass drums while the
ride cymbal played a modified 4/4 ride pattern.
Now I would like to show you some ride cymbal
variations, as well as how to play time on the kit
without relying on a steady cymbal beat, i.e.,
playing on the drums, All of these cymbal variations work particularly well with samba-
ablish what the feet are playing: type snare drum rhythms, as well as the half-time backbeat rhythm.
The half-time backbeat opens up the different levels of time going
on in the music, and complements the "two" feel that is so impor-
tant to samba. It also clearly takes us into more of the "fusion"
realm, i.e. jazz, or improvised music, that has elements of straight
8th-note music in it (pop, rock, R&B, ethnic, etc.).
Here are some cymbal variations you can try while playing Try this half-time backbeat with the previous and following
samba. If the tempo is not too fast, you can comfortably play this: cymbal patterns:
Ride Cymbal (or closed hi-hat) moderate tempo

Here are some extensions of the off-beat cymbal idea with the
Another pattern that is effective is the straight 8th-note interpreta-
backbeat:
tion of the jazz ride-cymbal pattern:

I played this beat on the Weather Report recording of "Black

Market," on the 8:30 album (M.M. = 120):
You can also just play quarter notes:

Try accenting different quarter notes; for example, on beats 1

and 3. (These kinds of accents work really well when played on
the bell of the cymbal.)
The reason for playing these different variations is to make your
music (and music-making) more interesting.
Now let's try some beats where we use more of the drumset. In
the following two examples, the right hand plays the ride cymbal
and floor tom notes, while the left hand plays the snare drum
notes :
Now, try this:

The bell tone really cuts through. Now try accenting the offbeats:
 by Peter Erskine

Variations

Photo by Rick Malkin

played on the cymbal earlier) is often played on the snare drum
with a brush. Play the quarter note "swirled," or slid across the
head of the snare, in a left-to-right circular pattern, with the 8th
notes played regularly. The left hand plays the cross-stick and
small tom notes. Once you are comfortable playing the hands
together, add the samba bass drum and hi-hat pattern. A good
tempo to work this up to is quarter note = 158.
Follow the sticking pattern on the next example.

I picked that up from some recordings with Grady Tate, and used it
on the tune "My Ship," from my first solo album.
This is only the beginning. You can create all sorts of patterns and
To get a better idea as to how these patterns, as well as others,
feelings by using different accents, placement (orchestration on
work within samba, I strongly recommend listening to the follow-
the drumset), textures, and so on. Here, for example, is a beat that
ing: any Antonio Carlos Jobim recordings, old Sergio Mendes
I really like to play; it's a brush/stick combination. To make it
albums, any recordings with Airto Moreira, and Eliane Elias' Cross
easier to read, the individual hand parts have been written on
Currents (Denon compact disc). Jack Dejohnette and I are playing
separate staffs, with the left hand on the top staff and the right
drums on this one.
hand on the bottom staff. The right hand 8th-note pattern (like we
 UP & C O M I N G

Kurt
effe of sound that people like to categorize
as New Age. That's thoroughly exciting to
me." Using only electronic equipment and
performing standing up rather than sitting
down, Wortman shares the spotlight with
de Grassi. Yet, Wortman doesn't actively
pursue the onstage attention. "The key is to
make the technology that I use to create
sound seem transparent," he says. "I don't
want the audience to focus in on where the
percussion sounds are coming from. I'm
more interested in their hearing and ab-
sorbing what I'm adding to the music in
the form of rhythm."
RS: How did you get involved with Alex de
Grassi?
KW: Originally, the connection goes back
to 1981 and an album called Clockwork.
Alex called me up, as well as another mu-
sician, Patrick O'Hearn, when we were in
a band called Group 87. Up to that point,
Alex had done only solo acoustic albums,
but for Clockwork he wanted more of a
band sound. The drums on that record are
mine. There's not a lot of them, but the
experience was enough to get involved with
Alex and his music.
RS: You didn't continue to play with him
from that point on, right?
KW: No, I didn't. We began playing to-
gether fairly regularly last year. Alex called
me up again, this time to do a quartet tour
with him. Alex played guitar, Mark Egan
played bass, Clifford Carter played key-
boards, and I was the drummer. On some
dates on the East Coast, Danny Gottlieb
played drums instead of me. Anyway, dur-
ing this tour, there were a couple of pieces
Photo by Robert Santelli

where only Alex and I would play. They

worked so well that the idea for this duo
tour was hatched from the success we ex-
perienced last year.
RS: Is it difficult to play with de Grassi? He
seems to have a guitar style that doesn't
lend itself quite so easily to rhythmic ac-
In a very unassuming way, drummer Kurt de Grassi on stage in the small New Jersey companiment.
Wortman is breaking new ground. He's shore venue called Club Bene, and it's KW: That's true. He's unlike any other gui-
helping to pave a path in a contemporary obvious that New Age they're playing is tar player I've performed with. His rapid,
music form where drummers have rarely hardly sedate or sleepy. Although de Grassi's intense fingerpicking style is very rhyth-
ventured in the past. The music is New acoustic guitar doesn't ring out the way a mic, which, you'd think, sounds best unac-
Age, that often airy, always soothing hybrid rock or jazz guitar might, Wortman's companied. But I think both Danny [Got-
of world folk, jazz, pop, and classical mu- sampled percussion setup is pumping out tlieb] and I enhance Alex's music when we
sic strains. complicated rhythm runs that fill out the accompany him. We certainly don't com-
Since its inception, New Age has been music and allow it to take on a more de- pete with him.
the music form that certain critics love to manding direction. If this is New Age, it's RS: Is there, or has there been, a problem
flatten. They deride the music as possess- New Wave New Age. with volume? After all, de Grassi plays
ing a sound suitable for a hot-tub party and "I'm really quite happy with the results acoustic guitar. It may be amplified, but it's
no more meaningful than what you hear in we've been getting," says Wortman back- still acoustic and still rather soft.
an elevator. But thanks to Wortman and a stage after the show. "It's amazing how you KW: It was an adjustment that I had to
handful of other drummers, New Age may can change the sound of this music by make. He uses a pickup and a microphone
soon have a new sound—and a new repu- giving it a sense of rhythm. What I'm doing in order to preserve as much of the acous-
tation. is bringing my sense of drums and drum- tic sound as possible. I tried to play quietly
One listen to Wortman and guitarist Alex ming to what I view as an expanded pal- and somewhat restrained right from the
Wortman
by Robert Santelli

beginning, and it's worked. But I've got to playing is new and unusual. Can you give sample setup and that I make my own sound
say that there were moments on that quar- me a rundown of your equipment? samples. To tell you the truth, I'm amazed
tet tour, for example, where the rhythm KW: I have a minimal setup, but I really that other drummers aren't using a setup
section simply overpowered Alex. It wasn't believe I get maximum results out of it. As like I have. I'm a pioneer, but only by de-
intentional, of course, but that's what hap- you know, I'm not using a standard acous- fault. No one else has jumped in to do
pened. But later on, when Alex and I played tic drumset. I'm using the Sequential Circuits what I'm doing.
the Telluride Jazz Festival in Colorado, we Studio 440 as my sampler. I also use two RS: And why is that? Why aren't there more
experimented even further. We worked on Octapads MlDIed together so I can have drummers experimenting within the para-
the volume problem and the integration of 16 sound sources. A 17th sound comes meters of New Age and with the equip-
the rhythms I was producing with his gui- from the DW trigger pedal that is attached ment that you're using?
tar. It worked so well that we got a standing to the 440. I assign whatever sound I want KW: I don't know. Maybe the term "New
ovation from the festival audience. Need- to it. So, I have 17 different sample sound Age" scares them. I prefer to call what Alex
less to say, that made us feel real good. sources at any given time. I also have four and I play "New Ethnic World Music." The
RS: What is your musical background? Did Paiste cymbals—two 6" splashes, a China- rhythms we employ have nothing to do
you study in a formal setting before em- type, and a Flatride. I don't use the cym- with New Age. A lot of New Age record
barking on your career? bals a tremendous amount because you companies wouldn't accept what we're
KW: I studied with a lot of Bay Area teach- don't ride a lot with this type of music; it's doing. They'd tell us that there was too
ers when I was starting out, like George not appropriate. Sometimes it's hard for me much percussion going on.
Marsh and Smiley Winters. When I was 17, because I come from that ECM jazz school RS: You and Alex are also doing a bit of
I played in my first band. It was a rock 'n' of cymbal playing. improvising.
roll band, and we played a lot of Santana, RS: How did you make the adjustment? KW: That's right. I can be a snob and say
Chicago, Jethro Tull—that sort of rock. The KW: It's been weird, but really interesting. that what we're doing musically is very
group was lead by a flute player. I also People are starting to refer to me as a per- jazz-based, but I wouldn't call it jazz at all.
attended San Francisco State as a music cussionist. I try to resist it. When I first We dip into jazz, but our music has a lot of
major, but it was more off and on than heard it, it drove me crazy. I used to tell soul to it, too. It's certainly not background
steady. I left school when I realized that I people, "I'm not a percussionist, I'm a drum- music as a lot of New Age music suppos-
was more interested in performing and play- mer." Now I've more or less resigned my- edly is. At times, the music we play is very
ing as much as I could than sitting in class. self to whatever they call what I do. I know intense. I think that's pretty obvious.
I played with Van Morrison, Jan Garbarek, that I'm a drummer first and everything RS: It is indeed. You add to the interest as
Eddie Harris, Mark Isham, and Group 87. I else second. That's what counts. well as the intensity on stage by standing
also played some rock, but I did a lot more But to answer your question, I've had to up rather than sitting down when you play.
jazz gigs. adapt myself to Alex's guitar style and to KW: Oh yeah, that's definitely true. I use
RS: And now you're becoming known as a New Age in general, not only pertaining to my right foot very sparingly. I don't use it
New Age drummer. I know many so-called volume and cymbals, but to a lot of other the way I would when I'm in a more tradi-
New Age artists scoff at the term. Do you? things. Alex plays a lot of inner rhythms. tional setup with acoustic drums. I really
KW: I absolutely resist the term. I mean, My first approach to that was to do the don't use my left foot, either. My left and
I've recorded a fair number of things with normal drummer thing—two- and four-bar right hands, however, are constantly in
Windham Hill, it's true. But I've also done patterns. But what I wound up doing was motion.
a lot of other stuff. The term "New Age mimicking what he was playing. So now I RS: I guess rudimental exercises would pre-
drummer" almost doesn't exist. I've done a lock into patterns, but I go up and down pare a drummer for what you're doing.
lot of sessions and live dates with New Age dynamically. I'm also using a lot of me- KW: Yeah, they would. They would give a
players. But I'd consider myself a jazz player lodic sounds. Because of all of this, I've drummer that fluidness you need. But on a
more than anything else. Now Alex is la- really grown as a drummer. drumset you tend to go up and down and
beled a New Age artist, because that's where RS: What drummers have you looked to for lift up and move to another drum, even if
he came from. He got his first bit of notori- influence and inspiration? the motion is very rapid. What I do is move
ety as a New Age artist. KW: The question has a two-part answer. laterally between the small pads.
RS: You and drummers such as Stuart Nev- As far as what I'm doing now with Alex, RS: I know Stu Nevitt of Shadowfax listens
itt of Shadowfax have been called "New there are no players whom I've emulated. to a lot of world music at home for both
Age drummers." Yet, you say the term But as far as drumming in general goes, I inspiration and new ideas. Do you do the
doesn't really exist. Can you explain that? can point to players like Tony Williams, same?
KW: Sure. Because a drummer or percus- Jack Dejohnette, and Elvin Jones. KW: I listen to more music in my car than I
sionist plays in a New Age style doesn't RS: Do you consider yourself a pioneer of do in my house. Strangely, I listen to a lot
mean he's a New Age drummer—not when sorts when it comes to drummers who are of pop and a lot of jazz, and some rock,
he does a lot of other kinds of music, too. I interested in New Age music? Certainly too, of course. Basically, I listen to stuff that
mean, if someone said to me, "Name a what you're doing with Alex de Grassi is really grooves. Yet, I'll also listen to Indian
great New Age drummer, " I couldn't think turning a few heads. and other ethnic music. When I was a kid,
of one. Maybe that will change in the fu- KW: I do consider myself a pioneer. The I used to go see Santana a lot. I'm talking
ture. reason I say that is because of the response about early Santana bands, back when they
RS: If more drummers follow your lead, I've been getting from people after the show. played the Fillmore West. I especially lis-
then perhaps it will change. Drummers are constantly coming up to me tened to [Jose] Chepito Areas, the timbales
KS: That's true. and saying, "Wow! What were you doing player in the band. I recently ran into him
RS: Your stage setup certainly gives your up there? What is this?" as they point to my in San Francisco. I walked downstairs to let
audience the impression that what you're 440 and pads. I tell them that I'm using a my girlfriend into the place where Alex
and I were rehearsing, and this guy was doing in some capacity? you can, and then just dive into it.
standing there. I immediately knew who he KW: There are two reactions I get. One is a RS: Do you think that in the future there
was. He looked at me and said, "Hey, re- timid one. There are drummers who are will be more work for drummers within the
member me? 'Black Magic Woman'?" I fearful that I have some knowledge that realm of New Age?
yelled, "Chepito!" We talked, and he said they don't. That's not true. Some, though, KW: Yes, I do. Within the circle of musi-
that he heard some guys were jamming seem relieved when they find out what I'm cians I'm involved with—Patrick O'Hearn,
upstairs. He wanted to bring up his tim- doing. You can see them saying to them- Alex, Mark Isham—there's a growing de-
bales and jam. He was like a hero to me selves, "Oh, I could probably do that." mand for percussion and rhythm. And these
when I was a kid. When I used to do drum RS: Do you give out advice? three names are pretty big names in New
exercises, I'd put on Santana records and KW: I do, especially when it comes to Age. I read an article the other day where
improvise within what I heard. equipment. Patrick was called a New Age solo master.
RS: You said before that, since you've been RS: What do you tell them? But the key here is that all three artists are
playing with Alex, you have drummers KW: I tell them to spend very little, be- now writing music that is very rhythmic as
coming up to you and asking about your cause the equipment is out of date before opposed to the more traditional styles of
equipment and your role onstage. Are they you know it. Don't skimp, though. Spend New Age. If these guys are writing very
simply curious, or do they seem moved maybe $3,000 on some good-sounding rhythmic music and it's still being called
enough to perhaps emulate what you're equipment. Strive to get the best product New Age music, then the scope of New
Age is definitely changing. And that's good
news for drummers who want to explore
something new and different. Prior to this,
drummers were pretty much excluded from
the New Age process. That's definitely
changing. I'm a product of that change, as
a matter of fact.
RS: The best thing about New Age becom-
ing more rhythmic is that it will undoubt-
edly be more stimulating. The old conno-
tations of New Age—namely, that the mu-
sic is overly gentle, almost to the point of
making you drowsy—might become obso-
lete. That's got to be good for the music.
KW: Oh, yeah. When I play with Alex or
any other so-called New Age artist, I see
my job as one in which I strive to get
people's bodies moving.
RS: What about when you are in the stu-
dio? Does your approach to the music
change?
KW: In the studio, things are more com-
positional, so I do a lot more thinking be-
fore playing. You can get away with a lot of
stuff live. But in the studio, it's going to
sound far too busy if you put everything in
that you might put in on stage. So, I tend to
work from a compositional viewpoint in
the studio and take one part at a time. Live,
I really go for the control and smoothness
of the performance, but I also shoot for a
lot of excitement.
RS: Which do you prefer more, studio work
or live dates?
KW: It's funny. When I'm in the studio, I'll
say to myself, "Yeah, this is where it's at.
The money's good. I'm learning a lot. I'm
getting a lot done." But then I go out on the
road and I go, "Boy, this is great. I perform
for people and get that instant feedback.
I'm getting to see places." The truth is, I
consider myself a performer, be it in the
studio or up on the stage.
RS: Over the next few months, who will
you be touring with?
KW: I'll certainly tour with Alex, and also
with Patrick O'Hearn. But the tour I'm really
looking forward to—which I believe be-
gins in October—is one with guitarist Dave
Tom, bassist Mick Karn, Mark Isham—who
will be playing synths and trumpet—and
Terry Bozzio. I'll be playing electronic per-
cussion. It ought to be quite a tour.
practice. This is not to say that you should ignore LIBERTY DeVITTO
In Jany's review, she mentioned that some any faults; this is only in situations where I can't begin to tell you how much I en-
of the views chosen by the camera opera- the faults outnumber the good points." joyed the July cover story on Liberty
tor occasionally restrict the viewer during When I wrote the review of Mr. Tachoir's Devitto. I have long felt that Liberty's con-
crucial closeups. Jany, this is not the Mi- instructional video, I advised MD that the tribution was a very significant percentage
chael Jackson Thriller video; this is an in- tone of my review would not be overly of Billy Joel's successful sound, and I'm
structional vibraphone video. The shots positive, and left the matter to their discre- glad that Liberty was given the opportunity
were designed to show technique and exe- tion as to whether my judgment was justi- to explain how some of that contribution
cution of musical passages. We purposely fied and whether the review merited publi- came about. While I enjoyed the descrip-
wanted hands to be seen and tried to cover cation at all. They are qualified individuals tion of the Russian tour and the experi-
a lot of the keyboard. At the same time, we and, like myself, will seek out (and, in fact, ences that Liberty and the rest of the band
had to show the performer occasionally to sought out) information to support and/or had, I was especially pleased at the depth
keep interest. verify facts and opinions in order to pre- to which Liberty went when explaining his
Jany mentions "a debatable choice of serve the excellence of the magazine. My approach to the various tunes on The
verbiage and terminology: Tachoir refers to views in this case were not solitary or un- Bridge. His clear and honest statements
black or white sets of bars as 'registers,' supported. regarding his philosophy of drumming were
and calls the independent (or Musser) grip In consideration of Mr. Tachoir's protes- also most refreshing and welcome. He
the 'marimba' grip." My response to this is: tations, I can only encourage the discrimi- makes a strong case for the fundamental,
I'm sorry, Jany, my instrument (a vibra- nating reader to consider my comments in drum-loving player who doesn't feel com-
phone) doesn't have black and white bars; view of the total context of which they are pelled to rely on heavy technology in order
I have a silver set and a gold set. This was a part. Any journalist worth the proverbial to perform entertaining and commercially
intentional, not to confuse the beginner and grain of salt knows that arguments may be successful music. All I can say is, if Liberty
have him looking for something else. Not made for or against an opinion by arbitrary DeVitto is still looking to play a local club
all mallet players have a piano background. selection of words or stress placed on the gig for a night or two, he's welcome to
"Register" refers to an instrumental voice. language involved. Arguing semantics is a come and sit in with my band anytime!
For example, the C scale or natural notes fruitless pursuit; I am more concerned with Donald Wretrough
could be one register and the sharps and whether or not the intent of my writing is Clifton NJ
flats another. My choice of "marimba" grip unclear. As for my musical competence in
was a general term. If you would get around reviewing, I am more than willing to bow RON TUTT
more, you might realize that in addition to to the judgment of the MD staff and reader- Thank you for the super interview with my
the Musser grip, there are other independ- ship should it become apparent that their favorite drummer, Ron Tutt [July '88 MD}. I
ent marimba grips. Ever heard of Leigh Ste- consensus agrees with Mr. Tachoir's. To my remember watching the television on Janu-
vens? knowledge, it has not done so, thus far. ary 14, 1973 and seeing Elvis perform live
Jany said, "Tachoir's doubling of left or Debate is healthy. Caveat emptor—let from Hawaii. I was only nine years old at
right stickings in linear patterns is in direct the buyer beware. the time, but I'll never forget seeing the
opposition to a majority of teachers, who
expound the virtues of alternate sticking."
Jany, where have you been? This is 1988,
and the old tilted military snare drum per-
cussion techniques have been passe for
some time. This is the contemporary way
of performing. Maybe we should have a
challenge and see who can execute lines
cleaner, faster, and more musical. Remem-
ber music that's what I'm striving for not
unorthodox technique, or maybe I'm just a
creative genius.
Jany goes on to say that my video is
inconsistent in aiming at one level of play-
ing ability. Thank you; that is exactly what
we wanted. We wanted the beginner to be
able to learn the vibes and the advanced
student to be able to polish his or her tech-
nique and see what others are doing.
Jany goes on to say that some of the
beginners will be confused or discouraged.
Obviously this reviewer is misguided and
confused. I don't know of Jany Sabins and
never heard of her, but maybe she should
start at the beginning of my video and take
it a step at a time. One can't be expected to
understand everything in just one viewing.
Jerry Tachoir
HendersonvilleTN
Jany Sabins replies: Modern Drummer pro-
vides review guidelines to all contributing
writers, from which I quote this pertinent
portion: "...we prefer to call attention to
good material, and ignore the junk. There-
fore, if you feel that you cannot give some-
thing a fairly positive review, please con-
tact our office and advise us accordingly.
 R O C K C H A R T S

Alan White:
Photo by Lissa Wales

This month's Rock Charts looks at Yes, a group that has been around for a while, and Alan White, the drummer for the
group ever since Bill Bruford's departure in the early '70s. From the album Big Generator (Atco 90522-1), "Rhythm Of
Love" features Alan's identifiable high-pitched snare sound, along with other trademarks: his patent precision and
cleverness in modifying something mundane (8th-note rock) into variations that are downright interesting. Alan also
instinctively knows that absence makes the ear grow fonder, for when he drops out the bass drum at letter G, his
interspersed kicks are all the more effective.
 Transcribed by James Morton

"Rhythm Of Love"
 E L E C T R O N I C I N S I G H T S

Choosing A Mic'
The current boom in electronic drum tech- transducer, which is the heart
nology has fostered a change in the of all microphones. A transducer
drummer's sound and role within music. is a device that converts acous-
Thus, today's drummers are quite different tical energy (sound) into electri-
from their counterparts of eight to ten years cal energy (AC current). The
ago. An interesting side effect of this new current is then transmitted down
technology is the modern drummer's re- the line to a mixer, amplifier, or
tape machine. Many
kinds of transducers
are available, but the
three most important
for drum applica-
tions are the moving
coil, the ribbon, and
the condenser.
Moving coil trans-
ducers achieve elec-
tro-acoustical con-
version by suspend-
ing a coil of wire at-
tached to a dia-
phragm within the
magnetic field of a
permanent magnet.
As sound waves move the dia- tricity. The ribbon is extremely light in
phragm, the coil is moved weight and can reproduce transients faster
within the magnetic field, gen- and better than a moving coil. Transients—
erating an AC current. This al- sounds that reach their highest level and
ternating current corresponds decay in a fraction of a second—are com-
directly to the nature of the mon in drum sounds.
sound wave creating the dia- Condenser microphones use a diaphragm
phragm movement. The result coated with a conductive material. The
newed interest in acoustic drums and the is a very low level audio signal. Micro- diaphragm is suspended between two metal
methods used to mike and record them. phones employing this type of transducer plates that are polarized by an external
Drummers are discovering that combining are generally called "dynamic" mic's. D.C. supply. Because gold is the best con-
acoustic and electronic drums can create a Ribbon mic's achieve the conversion by ductor of electricity, the best condenser
percussion system able to meet the demands suspending a strip of aluminum (or "rib- microphones use it as a diaphragm coat-
of almost any contemporary musical situ- bon") between two permanent magnets. The ing.
ation. strip of aluminum acts simultaneously as As sound waves move the diaphragm,
Miking acoustic drums seems intimidat- the diaphragm and the conductor of elec- the distance between the diaphragm and
ing to many drummers, sound reinforce- plates will change. This causes a
ment technicians, and recording engi- change in capacitance, which can be
neers. Because drums produce many measured as an alternating current.
different frequencies at high sound pres- Condenser microphones have a very
sure levels (SPL), they are considered fast transient response and are usually
the most difficult instruments to repro- quite durable. Most of today's mixing
duce accurately. However, by examin- consoles have phantom power sup-
ing choice and placement of micro- plies that will power condenser mic's.
phones, many miking problems can be Some condensers can operate with
identified. self-contained power supplies.
As the first link in the audio chain,
Different Features
the microphone is of critical impor-
tance. Even if the rest of the recording Each type of transducer offers spe-
gear in the chain works perfectly, mi- cific features and benefits. Under-
crophone deficiencies will be repro- standing these features is important
duced intact—especially with digital when choosing the proper type to
equipment. reproduce the various drums in a kit.
Moving coils are more durable than
Transducers
ribbons and condensers. They can
The ability to select the right mic' withstand the higher sound pressure
and use it properly depends on a thor- levels produced by drums. If the con-
ough understanding of design charac- struction of the mic' element is small
teristics. A good starting place is the enough, the transient response is suf-
 by Bob Lowig

For Acoustic Drums

ficient to reproduce the initial attack tran- drums for better control over the
sients a drum produces when struck. sound.
Ribbons have an exceptionally fast tran- An omni ("omnidirectional")
sient response, allowing the most accurate pattern microphone reproduces
reproduction of drum sounds. They pro- sounds arriving from all direc-
duce a warm low end, clean, smooth tions in equal levels (Figure 1). A
midrange, and a crystal-clear high end. They microphone with a "cardioid"
are, however, more delicate than moving pattern is insensitive to sounds
coils and can be susceptible to damage arriving from the rear, but picks
from the high sound pressure level of drums. up sounds in front (Figure 2). On
Condenser microphones have excellent paper the plot resembles a heart,
transient response, produce a higher out- hence the name "cardioid." A bi-
put than dynamic mic's, and are reasona- directional (or "figure-eight") pat-
bly durable—all the ingredients of a good tern is sensitive to sounds com-
drum microphone. Condensers, however, ing from 90 degrees off-axis from
can be very expensive. When considering the front of the microphone and
price versus performance, moving coil mic's insensitive to sounds coming
are generally the recommended choice. from both 0 degrees on-axis (di-
When money is no object, condensers are rectly in front) and from the rear
chosen most often. (180 degrees) (Figure 3).
Frequency Response.
A frequency response
graph (Figure 4) displays
each microphone's tendencies to A small mic' will allow proper place-
increase or decrease the output ment without interfering with the drummer's
level of certain frequencies. This technique. Finally, a small, lightweight
is extremely important when moving coil diaphragm will properly re-
choosing a mic'. produce the fast initial attack transients of
Each drum has its own particu- the snare drum.
lar tone or frequency response The mic' should be placed 1" to 2" from
based on different shell lengths and the top of the drumhead at the rim, with
materials, head types, and the way the rear of the mic's cardioid polar pattern
the drum is played. For optimum facing the rack toms. For a fatter sound,
results, a microphone's frequency move the mic' closer to the head and more
response should be precisely toward the center. A second mic' can be
matched to the sounds of the drum placed under the drum to pick up a more
on which it is used. Understand- concentrated snare sound. This can then
ing transducers, polar patterns, and be blended with the sound generated by
frequency response is vital for the top mic'. (Figure 5).
choosing and placing microphones With the double-mic' method, the mic's
when miking a drumkit. Now let's must be out of phase with each other. A
consider each drum individually drum having the upper and lower heads on
to determine specific needs and will produce sound waves from the top
considerations when miking. and bottom that are out of phase with each
Terminology
other. If you mike these out-of-phase sounds
Snare Drum
A knowledge of basic mic' terminology and combine them together at the mixing
and functions can provide valuable insights The snare drum exhibits a frequency re- console, you cancel the midrange frequen-
into the performance capabilities of differ- sponse primarily in the midrange (500 to cies of the drum. The resulting sound is
ent microphones. The following are some 1200 Hz). When miking a snare drum it is unacceptable; it sounds like playing a gar-
of the more common terms used in de- essential to use a microphone with a flat bage pail stretched with newspaper. To
scribing the characteristics of a particular (no obvious increases or decreases) fre- overcome this problem, one of the micro-
mic'. quency response in the midrange. The mic' phones should be wired out of phase. Some
Polar Pattern. A polar pattern is a printed should be less sensitive to sounds below miking consoles have phase reverse con-
plot of the microphone's sensitivity to the 500 Hz to prevent it from reproducing the trols that do this.
sounds arriving at all angles in a 360-de- low-end frequencies of the bass drum and Another way to alleviate the problem is
gree sphere around the mic' head. These floor toms. This is often called a "rolled to split the signal from a single snare mic':
patterns indicate particular areas in the off" low-end response. One output can be sent to the mix and one
sphere where the microphone is either more The mic' should have a cardioid polar to an electronic drum synthesizer that also
or less sensitive to sound. Each microphone pattern in order to be insensitive to sounds feeds sound back to the mixer. Then, these
can be constructed to exhibit a specific entering from the rear. Positioned properly, two sounds can be blended.
polar pattern. This is an important aspect it will reject unwanted sounds from the
Bass Drum
to consider when placing the drum mic's, rack toms, bass drum, or hi-hat, yet accu-
because it can help to isolate individual rately reproduce the sound of the snare. The bass drum plays a role second only
to the snare in the make-up of a good over- bi-directional) polar pattern. This pattern ing console is adjusted to create proper
all drum sound. This drum creates the low offers unique advantages. First, the front of input levels when the mic' is subjected to
frequency tones that make us move our the mic' will be sensitive to sounds gener- 120 dB of sound pressure level from the
feet. ated by the beater. The rear of the micro- beater, the rear of the mic' will only hear
There are more devices for and opinions phone will be sensitive to sounds gener- sounds of 120 dB at the same distance the
on reproducing the sound of the bass drum ated by the vibration of the head on the mic' is from the beater. Because the mic' is
than on any other part of the drumset. The front part of the drum. usually not more than 6" to 8" from the
nature of the bass drum sound, however, When tuned properly, the front head is beater, any sound source outside the drum
demands that—whatever mic' is chosen— an integral part of the overall bass drum would have to produce a sound pressure
it must have certain performance charac- sound that we hear acoustically. It should level of at least 120 dB, 6" from the rear of
teristics. be considered when using a mic' to repro- the mic'. In practical applications, this al-
The ability of the mic' to handle high duce the sound of a bass drum. Most sig- most never occurs.
sound pressure levels is essential, since the nificantly, a "figure-eight" polar pattern re- Considering its advantages, a "figure-
bass drum can produce sound pressure lev- sponds to a problem all drummers and en- eight" polar pattern in a bass drum mic'
els of 130 dB or more. A large diaphragm gineers try to alleviate: Its off-axis response becomes a very important component when
element is also necessary to reproduce the is designed to be insensitive to the shell's attempting to create the most accurate rep-
low-end frequencies and sub-harmonics "ring." (Figure 6). resentation of the bass drum sound.
generated by a bass drum.
Figure 6 Hi-hat
The polar pattern necessary for a bass
drum mic' has become a topic of contro- The hi-hat exhibits the same frequency
versy, as new methods employing different range as the snare drum. Therefore, micro-
types of polar patterns have recently phone considerations are similar. The mic'
emerged. The one most commonly used is should be small so that it can be moved
the cardioid polar pattern. around the hi-hat without interfering with
When placed in the drum, this type of the drummer's technique. It should exhibit
microphone is sensitive to sounds from the a cardioid polar pattern to isolate its sound
beater head and to shell "ring." It is insen- from the rest of the set.
sitive to sounds produced by the front head The hi-hat's frequency response should
and to sounds entering the drum from other be rolled off at the low end so it will not re-
sound sources (i.e., stage monitors for the Some engineers feel that using a "figure- produce the low frequencies of the bass
drummer). If this type of mic' has a large eight" pattern for the bass drum in live drum. When positioned, the mic' should
diaphragm for low-frequency response and applications may cause feedback or bleed- point toward the top cymbal (Figure 7) of
can handle high sound pressure levels, a through problems. One claim is that the the hi-hat. This will help to accurately re-
good sound can be achieved. sensitivity at the rear of the mic' will cause produce both the sound of the hi-hat clos-
A technique currently being advanced, it to pick up stage monitors and other in- ing and the sound of the drumstick hitting
however, is the use of a "figure-eight" (or struments. However, if the gain on the mix- the cymbal.

Figure 7

Rack Toms
Mic's for the rack toms should be small
for easy placement and, like the snare and
hi-hat mic's, should have small element
diaphragms for fast transient response. This
way, initial attack tones created by drum-
sticks hitting the heads of the drums will be
accurately reproduced.
Since the sound of the bass drum radi-
ates up and around the rack toms, the rack
tom mic's should have a rolled off low-end
frequency response as well. This helps to
keep the bass drum sounds out of the rack
tom mic's.
If your set has only one rack tom, mic'
placement is easy. But more drums calls for
more mic's, which usually means more
problems. Here again, the snare drum is
the point of reference. A mic' should be
placed 1" to 2" above the head near the
upper rim (the one furthest away from the
snare) (Figure 8). Ideally, the cardioid pat- cancellation will be directly proportional
tern should face the top head, but such a to the difference in distance from each mic'
placement would interfere with the to the sound source.
drummer's technique. One way to overcome this problem with
a single sound source is to observe a simple
3-to-1 distance ratio: The second mic' must
be more than three times the distance from
the source than the first mic'. But since a
drumset presents multiple sound sources,
this can be impractical.
The problem can be solved by placing
the two overhead mic's at a 45-degree angle
to each other (the X-Y technique) (Figure
10). The distance between the sound
sources will be the same , eliminating any
phase cancellation relationships. Since the
Figure 8 objective of the overhead mic's is to repro-
duce not only the cymbals, but all of the
drums as they sound naturally, a mic' with
Floor Tom
a full frequency response is recommended.
Floor toms require a full frequency re- Since crash and ride cymbals produce
sponse to capture their true power and to- very fast transients at high frequencies, a
nal capability. Once again, a mic' with a condenser microphone is most commonly
cardioid pattern is the preferred choice. used for this application. Condensers can
The mic' placement is not as critical as be expensive, however, and there are some
with a rack tom because a floor tom's fre- excellent moving coil alternatives for over-
quencies will radiate in all directions. heads at a fraction of the cost of condens-
The mic' should be placed near the head, ers.
as on a rack tom, and out of the way of the
drummer's playing (Figure 9). Pointing the
rear of the cardioid polar pattern at the low
ride cymbal will help reduce any bleed-
through.

Figure 10

Expertise in the art of mic' choice and

placement comes with years of experience.
The basic principles outlined here will help
those who are just beginning to learn how
to successfully reproduce the many sounds
of the modern drumkit. If you follow them,
your immediate results will surpass your
Figure 9 expectations. In addition, experimentation
will help to improve your miking skills as
Overhead Mic's
much, if not more, than any instruction.
Overhead mic's present one of the big- Above all, begin with properly tuned drums.
gest challenges of drum miking. All too After all, the right mic's, correctly posi-
often, engineers indiscriminately place two tioned, can only reproduce badly tuned
microphones over the drums in the vain drums exactly as they sound to the ear,
hope of attaining complete coverage. Un- or worse.
fortunately, with this type of miking (two
microphones mixed together in mono), the
problem of phase cancellation becomes ap-
parent. It occurs because the distance be-
tween any multiple sound source (i.e. cym-
bals) and each of the microphones will be
different. The sound from each individual
source will arrive at the mic's at different
times, and thus will be out of phase with
the other sound source. The degree of phase
 C O R P S S C E N E
by Dennis Delucia

From The Drumset To The Drum Corps: Part 1

Contemporary drum corps explores an extremely wide range of musical idioms. The "drumset-oriented" tunes seem to present serious
problems for percussion arrangers and performers alike. Arrangers often fail to distinguish the characteristics that differentiate one groove
from another, and players frequently interpret all charts in the same manner. This column, as well as future ones, will present examples
of how a variety of grooves (idioms) might be written in drum corps or marching band.
For the writer/arranger, there are a few important guidelines to be followed when trying to interpret the drumset to the drumline. First
of all, the most basic consideration is the rhythmic characteristics of the style in which you are attempting to write. For instance, what
rhythmic patterns differentiate a rock groove from a samba, nanego, funk, or jazz tune? Another point to consider is the textural
characteristics of a style, or what parts of the drumkit are used to portray various idioms (i.e., hi-hat, cymbal bell, heavy toms, snare,
etc.). Another important guideline for the writer/arranger is don't over-write! Every player does not have to play in every measure. The
last thing to keep in mind is to write it as you would play it. When writing these parts, you should think as if you were playing the
drumset part.
The drum corps players have a few guidelines they should follow as well when interpreting the drumset for drum corps. First of all,
tempo control is an element of musicianship that is always considered to be a drummer's (or drum section's) most important function.
Another guideline for the player is dynamic sensitivity. Each person in the section must be keenly aware of how his or her volume level
contributes to the ensemble blend and balance. It is important for each player to understand which voices must dominate the ensemble
in order for the idiom to be portrayed correctly. Another guideline for the player to follow—which is the key intangible ingredient—is
that of feel. This is best described in terms of how natural and comfortable a player or ensemble is when performing.
Another guideline is that of interpretation of the time. This has to do with where the groove is played in relation to the beat. For
instance, should a particular groove be played "on top" of the beat, or in a "laid-back" manner? This critical but often-ignored facet of
percussion performance is really an important element of "feel." The secret is to work hard on interpreting time so that it sounds like you
don't work at it at all! One other guideline I have for the player is his or her mind-set. What I mean by this is allowing your emotions and
your body language to flow and change as the music that you are performing flows and changes. Joe Franco's approach to playing would
be as out of place in a symphony orchestra as Vic Firth's would be in Twisted Sister! Music is the communication of mood and emotion
from writer, through the player, to the listener. Without the emotional involvement of the performer, the writer/arranger's ideas cannot
reach the audience.
The following are examples of how I, as a percussion arranger in drum corps, might interpret drumset grooves. This month I will show
you a basic rock beat and a funk beat arrangement for the drumline. In future columns, I will cover different types of grooves. In the
following examples, the snares are written on the top staff (which includes the closed hi-hat sound indicated with an "x" above the staff),
the quads are written on the second (from top) staff, the bass drums are written on the third staff, and the cowbell and tambourine parts
are on the bottom staff (the cowbell is notated with an "x" on the fourth space; the tambourine is notated with an "x" on the first space).
Basic Rock
Some of the rhythmic characteristics of a basic rock beat are: a 4/4 meter, a solid 8th-note ride played on either a closed hi-hat or open
ride cymbal, a strong 2 and 4 backbeat played on snare, a steady bass drum pattern emphasizing beats 1 and 3, and a tempo of a quarter
note = 120-144. The textural characteristics include a "treble" combination of snare, hi-hat, and tambourine, a fairly straight-ahead bass
drum "bottom," and little or no tom involvement except during fills.

Funk
Some of the basic rhythmic characteristics of a funk beat include: a 4/4 meter, an intense 16th-note syncopation among the snare, hi-
hat, and bass drum, and a slightly slower tempo than a basic rock tempo (quarter note = 112-120). The textural characteristics include a
"treble/bass" combination of snare and hi-hat with bass drums that must interact to create the net ensemble sound, and the cowbell and
tambourine are added for color rather than for basic rhythmic pulse.
ply to seriously studying anything else. gone home, and Donald said, "Let's give it
AB: That's because it's supposed to look a shot." It was just Donald and me on the
easy. If it doesn't look easy, you're doing it track. He played the bass, too. But I had a
wrong. pretty clear idea how I wanted to present
DF: How do you make it look easy? all the fills and stuff. I could've played it
AB: I keep it simple. I also feel that it's got without anybody else. But you always have
to be accessible; it's got to be competitive artistic remorse—if you're any kind of art-
on the radio with everything else. But I like ist. You're never really satisfied, even if the
to throw in a few things that attract atten- thing sells 20 million. I'm sure with Mi-
tion. Lately, I'm getting into fills on the bass chael Jackson, if you looked really deep
drum—even if that's not really the function inside his heart, you would see places
of the bass drum. The function of the bass where he thought, "Oh man, that guitar
drum is to lay down the most solid beat. If sound on 'Beat It' is a little thin." It's al-
you have a moment where the beat can ways something. So I feel like maybe if
stop and there's a hole, you can make an we'd recorded the lead guitar simultane-
exception to your bass-drum-being-simple ously with the drums, instead of the rhythm,
rule. Using the bass drum in fills really we could've gotten something a little more
opens up a lot of different territory. When I happening. But I just sort of plowed ahead,
first started making records, I used to do doing my own thing. Later on, he overdub-
bass drum fills all the time—maybe in ex- bed the lead and tried to match up to my
cess. I evolved to a point, somewhere drums. There are things I would make bet-
around "The Reaper." I was still getting ter, if the lead and drums were locked in
pretty busy then, but right after the big really tight.
commercial success, I started simplifying DF: Live, you've always sounded heavier
my drum parts. I found that I preferred the and more powerful than the way your per-
simpler drum styles of Simon Kirke and formance has been recorded.
people like that. AB: With the Cult, we didn't really get a
DF: What's your favorite drum track you've chance to play the songs very much before
recorded? they were recorded. Sometimes it wasn't
AB: "Burnin' for You" is one of my favor- even worked out until we got in the studio.
ites. That's just Donald Roeser and me. We Then, of course, you go out and play it 500
tried several times to get it to sound right times in a row and you get it right eventu-
with the whole band, but it always sounded ally.
too cluttered, or one thing or another was DF: How do you approach the individual
wrong. One time, Donald and I happened components of the drumset?
to be in a studio, the rest of the band had AB: Well, with the snare, it's important to
hit a clear, solid shot right to the center of
the drum. I like to hit a rimshot every time.
First of all, to lay the stick in there for a
rimshot, there's not a whole lot of variation
as far as where you can put the stick.
It's very important to have an ultra-con-
sistent snare and bass drum sound for re-
cording. You've got to get the meters going
to the exact same spot every time. I never
practiced with meters, but I would always
go into the playback, and if they weren't
reading like that, I'd want to do it again.
The muffler system that I have allows me to
hit consistent rimshots without a lot of ring
and without losing any power doing it.
DF: Don't you have a rather special snare
drum that's had a career of its own?
AB: That's my Black Beauty, a Ludwig snare.
It's some brass alloy. They stopped making
it for a while. But due to popular demand,
I'm told, it's available again. It's a 6 1/2"
drum. I used it on "Burning For You." And I
lent it to Thommy Price, although I wasn't
going to mention his name in this inter-
view because he didn't mention mine in
his! I hired him to do my solo record. Origi-
nally, it was just to do the demos, but I
liked working with him so much that I had
him do the record. In rehearsal, we did
some double drumming, which was quite
amazing. But when it came time to record
the songs that were supposed to have the
double drumming in them, the engineer
was like, "Oh man, this is too much." It
literally took two or three days to get
Thommy's sound. It was just ridiculous. So
he didn't want to take another two or three
days to get a sound out of another drumset.
We were rolling; we didn't want to stop
and go through all of this stuff. So I let
Thommy be the drummer.
What happened first was, we really got
into what we liked about the scene right
now, drumming-wise. For instance, we both
freaked out about Phil Collins. We thought,
"This guy is amazing." Then we'd trade
versions of each one of his licks. We pretty
much analyzed everything he put out at
that point. I'm not talking about the early
Genesis stuff, but Peter Gabriel's third al-
bum and Collins' first solo record, Face
Value. And we'd compare what we could
hear him doing to what we saw in the
videos. We really got into heavily analyz-
ing it. It wasn't only Phil Collins, but other
drummers as well; we went through our
favorite Bonham licks. Bonham and Phil
Collins were the main ones.
DF: There are probably a lot of drum freaks
who'd love to have been the fly on the
wall. It's too bad you didn't record it. So
what did Thommy do with your Black
Beauty snare?
AB: After we finished the recording ses-
sion, he got a gig to do the record for
Scandal. I was over at his house one day,
and he said, "You know, I really like your
black snare drum. Can I borrow it for these
sessions?" I said, "Sure, no problem." So I
gave him the snare drum, and they did that
album with "The Warrior" on it. And I be-
lieve that he was using my snare drum. It
sounds like it. At the time, I wasn't doing
any drumming. I was working on my solo
album, doing the vocals, the guitars, and
all the other stuff. Then, while he was doing
the Scandal record, he started working with
Billy Idol. I think they were briefly in the parts of the kit—the snare drum, the cym-
same studio. He'd do Scandal downstairs, bals. And as you go down to the floor tom
then go upstairs and do Billy Idol. He used and the bass drum, it starts to get simpler.
my drum on "Rebel Yell," too. It's a proven DF: How do you teach this to people?
drum. AB: Well, the lesson is divided into three
He gave it back with a small modifica- parts. The first part is technique. That can
tion that actually made it a lot better. He include the rudiments, the drumset rudi-
took the muffler head and revised it. Origi- ments—any aspect of the technique. I be-
nally, it was made out of rubber and it lieve that the technique of doing it is really
deadened the sound, diminished it a little what I'm teaching, so that's the most im-
bit, made it not quite as loud. The idea was portant thing. The second part of the lesson
to take off the ring without really deaden- is stuff we've gone over or want to go over,
ing the sound. So he substituted an old like a fill, or some record that I think is
drumhead that he cut up in the same shape. cool. More or less, it's the same thing I did
It worked just as well for killing the ring, with Thommy Price; we'd go through rec-
yet it did not lay on the head so heavy that ords that we liked. Or maybe it's my rec-
it really killed the sound. ords. A lot of people who come to me are
DF: What about your other drums? into the way I play drums, and they want to
AB: Well, the bass drum technique is some- know: "How do you play that weird
thing that I modified after playing with 'Godzilla' beat?" It's really not that weird if
Thommy. I used to put a lot of stuff in the you understand what it is. And I write out
bass drum to damp it. Now I don't use all the phrases. Not that I'm into reading
anything. And I use the bass drum beater that much, it's just so you can see it. It's
itself to dampen the bass drum. I hit the more input, and it's easier to visualize what,
drum and hold the bass drum beater into exactly, you're doing. The third part of the
the head. It's got to be loose enough that lesson is whatever the students want to go
you can do this. If it's too tight, it'll just go over. If they have a tape that they made or
"brrrrrrruppp." It'll make multiple beats. something that they're excited about and
With no padding, the bass drum is louder,
and because you're damping it with your
foot, you have more control and more vari-
ation on the sound. When you're playing
very fast, it's automatically damping from
the time you hit it before.
I use all different kinds of pedals, but I
like a Speed King, except for the fact that
they always squeak and you have to keep
oiling them. It's mysterious, because you
can't figure out where the squeak is com-
ing from, and you have to coat the thing in
oil. My new favorite is the Drum Work-
shop double bass setup. I'd love to work
out a deal with them. The bass drum parts
I've been playing lately are a little different
from what I used to play. I think I played a
lot of 16th- and 8th-note parts, whereas
now I'm playing half notes. That seems to
help the sound—a clear shot for the bass
drum and a clear shot for the snare drum.
My overall philosophy for sound organi-
zation—which I try to teach in lessons—is
that as you go down the sound spectrum,
you get wider sound waves, which have to
be more organized so they don't create
beats. So the stuff that tends to be fast and
crazy should be on the higher sounding
they'd like to go over that, it's more or less the most amazing music I'd ever heard.
their time. I'm their servant; I do whatever They'd be playing along or singing along,
they want in the last part of the lesson. And and all of a sudden, they'd be shouting in
what's also important is to try to encourage this chant—haiwhachahaiuh! It was a big
individual expression and creativity. sound, lots of dynamics. Since then, I've
And the students motivate me, too. I tried wanted to make a record with that kind of
all of these radical things—playing songs sound. The primitive thing has already been
without cymbals, leaving certain things notated, recorded, and all that. I was think-
out—but there was a certain element of ing of trying to make something that re-
swing and attack I'm only starting to get lated to the modern world that would be
into since I've been teaching. It gives me a just singers and drummers. And I hope some
way to go inside drumming that I couldn't of the drummers will be some of my stu-
get inside before. I cannot be caught off dents.
guard. I have to know more than my stu- DF: Do you ever think you should have
dents—why you're using this sticking pat- listened to your mother?
tern, which hand you're going to start or AB: What she said was, "A musician's life
end with. I go back and deal with these old isn't for you. It's too hard. There are too
rudiments and minute technical details that many traps." But I never saw myself as a
passed me by when I was learning because "rock star." I don't want to get like Mick
I was in a hurry to get to the other part— Jagger. I know the guy is talented, but he's
like Madison Square Garden. got it a little too easy now. His biggest
DF: Talk about your "drum corps" idea. problem is being tempted by drugs or
AB: When the Soft White Underbelly signed women or whatever. I'm a musician. I'm a
with Elektra Records, they gave us a pro- music freak. And I'll keep doing it until I'm
ducer who played me a tape from the South too old or senile to do anything. I'm ad-
Sea Islands, somewhere in Polynesia, a dicted to it.
group of two to 400 people—and all it was
was drummers and singers. It was some of
huge double-bass set and the man playing quality hardware (nuts, bolts, etc.). Tommy's
it with such power and grace. I was so rack uses 120 feet of stainless tubing.
impressed that I begged my parents to get I have also built racks for Rod Morgen-
me a snare drum so that I could be just like stein (the one he used at the Modern
him. I listened to every Elvis record I could Drummer Drum Festival last year), David
find, and tried to imitate the man who had Beal, Billy Cobham, Mickey Hart, Tony
impressed me so. I even bought an Elvis Thompson, Joe Franco, and several for Pre-
poster because Ron Tutt and his drums mier Percussion.
could be seen over Elvis' right shoulder! Greg Voelker
Over the past several years I had lost Whittier CA
track of Mr. Tutt and his playing. Then, in Editor's note: Some of Tommy's hardware,
1982,1 picked up a copy of Neil Diamond's including his hi-hat pedal and a couple of
album Heartlight. To my surprise, there he the cymbal stands that are hanging from
was again: my favorite drummer with one the rack, are Sonor Signature series, and
of my favorite singers. I've been very fortu- that seems to be the reason for the error.
nate to see Mr. Tutt play live on two differ- We apologize for any confusion this may
ent Neil Diamond tours since then, and have caused.
every time I see him I'm totally amazed at
his playing ability and style. THANKS FROM ALEX
I would like to say a big "thank you" to I would like to thank all the Modern Drum-
Ron for inspiring me, and to Modern Drum- mer readers for their support and for select-
mer for featuring him. Ron, if you're ever ing me as their favorite Latin/Brazilian per-
in Denver, stop by so I can thank you in cussionist for the past two years [in the MD
person. Readers Poll]. This award means a lot to
Mike Eaton me and encourages me to continue giving
Aurora CO my best to the art.
Alex Acuna
TOMMY'S RACK Van Nuys CA
In your recent Tommy Aldridge article [June
'88 MD], reference is made to Tommy's ON THE PERCUSSION SIDE
drum rack being constructed by me from Some months ago my favorite magazine,
Sonor Signature hardware. That is incor- Modern Percussionist, ceased publication.
rect. All bits and pieces, clamps, etc., were As I understand it, there was a merger of
fabricated at my facility in Whittier, Cali- that magazine with yours.
fornia from type 304 stainless steel, then I would like to commend you on your
mirror polished [and fitted] with aircraft July issue, which has a good balance of
articles devoted to the "rockers" and the
"readers." Karen Pershing's article, Anthony
Cirone's column, and the article on elec-
tronics in the symphony orchestra were very
welcome.
I realize that you are in the business of
selling magazines. I am sure there are more
drumset players than symphony types who
buy your publication. But I just wanted to
let you know we appreciate any material
that pertains to "classical" percussion.
Jack Rumbley
Timpanist-Percussionist
Fort Worth Chamber Orchestra and
Symphony
Fort Worth TX

THE WHOLE PACKAGE

Just a note of commendation for the Club
Scene article, "The Whole Package" [June
'88 MD]. I consider this to be an excellent
and totally fulfilling article on electronic
drums, etc. I only wish it came out about
five years and a few thousand dollars back.
Before electronics was really "field-
tested," there were a lot of "grey areas."
I'm sure a lot of drummers, like myself,
suffered a loss of cash and sanity trying to
get the best reproduction of their electroni-
cally generated sounds. I know I went
through a lot of speakers, bass amps, horns,
etc. Then there was the challenge of get-
ting used to hitting pads in front of you and
hearing the sound beside or behind you!
Then, after yelling at the sound man (be-
cause one couldn't "feel" the sound), be-
fore we knew it, a great "up and coming"
band had disbanded. Somewhere down the
road, I finally thought everything was hap-
pening—until I realized that some of my
licks were not coming out exactly as I was
hitting them. More equipment...more
money, etc. And now I hear about "Sim-
mons knees" or "Simmons wrist"
syndromes...and yet enough cannot be said
of electronic drums. Again, a great article,
from a great magazine.
Michael O'Handley
E. Taunton MA

IT'S QUESTIONABLE RESPONSE

I would like to reply to a question raised by
one of your readers in the It's Questionable
department in the July issue (page 12, ques-
tion 2). I believe the new C-Ducer Drum
Wizard would be a solution to A.M.'s prob-
lem. Using his existing five-piece acoustic
set and a Drum Wizard, he would be able
to achieve the acoustic miked sound of his
drums, as well as being able to trigger his
Pearl Drum-X electronic brain. Addition-
ally, he would be able to trigger sounds
from any MIDI equipment and would not
need a mic' mixer, since the Drum Wizard
incorporates an 8-into-2 stereo mixer out-
put. I hope this will be of interest to A.M.
and other MD readers with problems of a
similar nature.
Andre Walton
C-T Audio Marketing
3050 S.W. 14th Place, Suite 3
Boynton Beach FL 33435
 D R U M M A R K E T
FOR SALE

STUDY MATERIALS
INSTRUCTION
WANTED
 C O N C E P T S
by Roy Burns

Limitations
means that, to one degree or another, we the going is tough. However, music is al-
It is not a new concept that many of our
limitations are self-imposed. I was once have to play music that people want to ways changing, the music business is al-
again made aware of this while reading an hear. So, most of us will play music that is ways changing, and—believe it or not—
interview with the great musician Herbie popular at the time that we enter the play- we are always changing. In order to re-
Hancock. In the interview, Herbie states, "I ing scene. main in the swim of things, we must grow,
realized I could never be a genius [jazz In my own case, I became a studio musi- and growth means change. Growth is ad-
player] in the class of Miles, Charlie Parker, cian to get away from endless road trips. justing one's attitudes, goals, and concepts.
or John Coltrane. So I decided to forget Although I loved to play big band jazz, I Looking at music as one vast opportunity
about becoming a legend and just be satis- wanted to be at home when my children is one way to shed limitations in your think-
fied to create some music to make people were growing up. I couldn't make a living ing. There are many kinds of music and
happy." playing jazz without traveling. I also real- many styles of drumming, all of which are
What strikes me most about this reveal- ized that I was not going to become a valid. Even if you don't play jazz, or rock,
ing comment is Herbie's honesty. It also genius any time soon. This meant that I or classical music, try to be aware of all of
shows a great deal of self-analysis and had to change my thinking. it to some degree. Co to a symphony con-
humility—particularly from someone who Much to my surprise, I found studio work cert and watch the percussion section. You
has played with so many great jazz artists to be a great learning experience, because might find it to be a great show, and you
and in so many styles. Yet, Herbie Han- a studio drummer must be able to play might even pick up some ideas for practice
cock is probably one of the few musicians many different types of music. The best or performing.
who could have made a living just playing example of this for young drummers is Ed I went to a heavy metal concert recently
pure jazz. Shaughnessy on the Tonight Show. Ed never to see Megadeth and Dio. I didn't know all
To some, it might seem like he gave up a knows what he will be expected to play of the songs, but the power drumming of
dream. To me, Herbie is a great case of from night to night. Vinny Appice was something to see and
someone ridding himself of self-imposed I have met drummers who get stuck in a hear. Chuck Behler of Megadeth was also
limitations. For example, his album certain style and/or a certain place in time, very good. It was a very stimulating experi-
Headhunters is a funk classic, and his and never update their thinking. This has ence, and I'm glad I went. At the very least
"Watermelon Man" and "Chameleon" tunes been especially true for older jazz players. I gained some idea as to what is happening
have reached a huge audience. (Buddy Rich However, I encounter the same attitude with in that style of music and drumming.
recorded a high-powered version of the young rock drummers who only listen to When I read the Herbie Hancock inter-
latter song.) Herbie has also written scores one group or drummer, and spend time view, I couldn't get over how much this
for such films as Deathwish, A Soldier's criticizing most other forms of music. man has done and is doing in music. He
Story, JoJo Dancer, and, of course, 'Round I have a friend who wanted to be a fa- has a very broad view of music and moves
Midnight, which won him a number of mous rock 'n' roll drummer. He carried his easily from jazz to electric funk. Chick
awards. dream so far that when it didn't happen, he Corea, one of Herbie's close friends, is able
That's a pretty impressive record for became very depressed. He is nearly 40 to do the same thing. And Dave Weckl, the
someone who gave up on becoming a leg- now, and he finally did give up on his fine young drummer who plays with Chick
end! I think he achieved this kind of suc- dream a few years ago. Let me rephrase Corea, has the same kind of ability, playing
cess by giving up his limitations. In other that: He didn't give up, he adjusted his acoustic drums and yet embracing elec-
words, he became a total musician instead goals. He made a real attempt to adopt a tronics.
of purely a jazz musician. Don't misunder- broader view of the music business. Today Take a new look at yourself and see if
stand me; being any kind of a musician is a he is in real demand as a teacher, and he your thinking is holding you back. If you
worthy goal, whether it be in jazz, classi- plays every week. He's raising a nice fam- feel it might be, try to be like Herbie Han-
cal, rock, or whatever. It's just that some- ily, while still working to improve his drum- cock. Don't worry about being a legend,
times we may limit ourselves by taking too ming. And he plays all kinds of music, and just play some music to make people feel
narrow a view of ourselves and of music. is much, much happier. good. Who knows, then you just might
Many of us become all-around players Dreams are great, and they are usually become a legend, as Herbie Hancock
due to necessity. The need to make a living what sustain us in the early years, when truly has.
by Joe Morello by Gary Chester by Bob Moses
The book on hand development and This is not just another drum book, but Here is a clear presentation of the unique
drumstick control. Master Studies fo- rather a system that will help you to and refreshing concepts of one of the
cuses on important aspects of drumming develop the skills needed to master to- most exceptional drummers of our time.
technique. day's studio requirements

Here are more than 75 of the most infor- If you missed out on any of the issues of Complete your MD Library with Modern
mative and helpful articles from our ten Modern Drummer's first year, now you Drummer's Second Year, a special
most popular Modern Drummer columns, can have all four of the rare, out-of-print reprint of Volume II: Issues 1-4. If you
written by some of our most popular au- issues of Volume I: Issues 1 -4 from cover missed out on any or all of these issues,
thors! to cover—even the original ads. here is your chance to own them!
 C L U B S C E N E
by Rick Van Horn

How Much Do You Know?

When you play regularly in a club band, cables for each connection, etc. One way stands, this is another situation in which a
technical things usually go the way you to make your patching system virtually fool- simple diagram would tell all. Just draw an
expect them to. The frequency with which proof is to label each cable clearly with overhead view, showing where you want
you perform serves to establish the best some sort of tag, and then label your patch- your drums and cymbals to be placed.
system in which to do things. The mem- ing diagram in a corresponding manner. (Make sure to show each of your band-
bers of your band generally assume spe- (This would make things more convenient mates how your drum mounting system
cific non-musical duties, and everybody for your regular P.A. person, anyway!) works, and how you wish your cymbals to
eventually melds into a pretty efficient team. Setting up equipment in an emergency be placed on their respective stands.) If
This is all to the good, because the process can go beyond the P.A. system. Any given you happen to use a drum rack, be sure to
of setting up and breaking down is made band member should have at least a rudi- explain how the rack itself sets up, and
much easier when everybody knows their mental idea of how each individual's in- then use your diagram to indicate which
job and just what is expected of them. strumental amps and speakers connect, and stand section fits into which clamp on the
However, there is a down side to all this how that player likes his or her equipment rack.
efficiency. What happens when somebody to be arranged. When it comes to fancy Again, I stress that these measures are
can't do their job? Suppose a band mem- patches for a multi-keyboard player, a dia- taken against the possibility of an emer-
ber is ill or injured, and can't make the gram might once again be the answer if an gency. In such a case, everybody has to
gig—or must be late for some reason and emergency setup is called for. At the very remain flexible and make the best of things.
so is unable to contribute to the setup? least, every band member should be able Your drums may not be in tune, and you
What happens if you can't handle your to get the keyboard (or boards) set up on might be a bit uncomfortable until you can
own setup or breakdown some night? Does the appropriate stands, connected to the personally set them straight, but at least the
this well-oiled machine fall apart? appropriate amp/speaker setup, and pow- gig will be able to start as soon as you
Well, it certainly could, but it doesn't ered up. If the patching is too fancy for arrive, rather than being delayed while you
have to. There is a fairly simple solution to anyone else to do, that will simply have to are setting up the drums after arriving late.
the problems I've brought up, and that is wait until the keyboard player can do it. The bottom line to all of this is that today's
for everybody in the band to have at least a The same goes for guitar and bass set- equipment is getting more and more so-
rudimental knowledge of everybody else's ups. Any band member should be able to phisticated. As a result, the musicians who
job. Of course, I'm talking about the get the amps and speakers in place, con- use that equipment are turning into spe-
technical aspects, not the musical ones. nected, and powered. If the guitar or bass cialists. While this specialization works to
No one expects anyone to be able to play player uses an elaborate pedal or effects a band's advantage musically, it can defi-
everybody else's axe. But it is important setup, that may have to wait until he or she nitely be a detriment technically. In order
that everyone know something about arrives. If a sub is coming in, chances are to overcome this detriment, a band must
everybody else's equipment, along with that that person will be bringing in his or take appropriate steps to overcome the
how any mutually shared equipment (typi- her own, so your band members shouldn't "mystery" element in each other's equip-
cally the P.A. system) is set up and control- have to worry about them. ment, and to make it (relatively) simple for
led. "Ah ha," you say. "But what about my each member to cover each other member,
In most bands, one individual is respon- drumkit? It's one thing for me to learn how should the need arise.
sible for the setting up and operation of the to set up the P.A., but how can I expect Having said all that, I'd like to relate a
P.A. system. This may be an onstage band other members of my band to set up my short anecdote that serves to illustrate two
member, or a sound technician. No matter drums the way I want them if I need to things: First, it underscores the importance
who it is, the rest of the band members come late some night myself? My kit is of knowing something about other people's
should also have a thorough knowledge of much too personal; it's more than just con- jobs in your band. Second, it proves that
how the system is assembled. They don't necting up some patch cords!" Of course, even when you think you know everything
need to know how it works, or why a given you can't expect your bandmates to set there is to know about club work, you may
cable goes where it does; they just need to your drums up perfectly for you. But with a still be surprised.
know where and how everything connects little prior planning on your part, you can This past weekend, my band was sched-
together. The idea is for anyone in the band make it possible for them to get your kit uled to play, as usual. Our bass player,
to be able to get the P.A. operational. From within 90% of where you need it to be, who normally handles the setup and con-
that point, hopefully, the regularly desig- thereby making it possible for you to come trol of our P.A. system, had planned a va-
nated individual (or a qualified substitute) screaming in at the last minute, make a few cation for the week prior to the gig. He
should be able to take over. adjustments, and get on with the first set. gave us plenty of notice, mentioning that
Learning how to put together a P.A. sys- (You can always fine-tune as you proceed he would be flying in on the day of the gig
tem is really little more than putting to- through the night.) and might be forced to arrive at the club at
gether a puzzle: Piece A fits into piece B, As we all know, this is the age of the the last minute. We all felt it wise to distrib-
etc. All that is required is a clear diagram memory-lock. It shouldn't be difficult for ute the equipment he normally carries
of the patching system, indicating where anyone to put your drum stands together if among the rest of the band members, so
each mic' cable comes in, where each they are clearly marked as to what part that we could get it to the gig and have it
speaker cable goes out (and to which connects with what other part. This is just a set up without his having to be there. At
speaker box), and where each patch cable matter of color coding, numerical I.D. tags, this point we realized that none of the rest
connects (and what it connects to). Beyond or some other identifying system. Most of us really knew the patching system that
that, each band member should be familiar drummers I know do this for themselves was employed for the P.A., (a fact that
with the necessary cables, so as to be sure anyway; just make sure that your band- prompted this entire column), so the bass
which are mic' cables, which are speaker mates know your coding system. As far as player created a diagram and gave it to me.
cables, which are the appropriate patch which drums and cymbals go on which Since I normally got to the gig early to set
up my drums, it was decided that I would
take the P.A. board, amps, and effects. Our
reasoning was that I could set up my drums
first, and then cable up the P.A. The speak-
ers would come with other members, but
all that had to happen with them was to
mount them on their stands and plug them
in.
We felt very clever and proud of our-
selves for all of this prior planning. And, in
fact, much of the planning worked out per-
fectly. However, we did make one classic
error: We forgot that the P.A. board and
amps stacked up on the bass player's
speaker cabinet. I was unable to carry that
cabinet along with my drums and the extra
equipment I was already taking. Conse-
quently, when I finished setting up my
drums and dutifully got out the diagram to
begin patching in the P.A., I realized that it
would be useless to do so. There were two
small, but heavy, racks full of amps and
electronic effects, along with a separate
mixing board—and no final place to put
them. It would have been fruitless to patch
them in on the ground and then try to
place them on the bass cabinet when it
arrived, because the two racks and the
board—when connected by all the patch
cables—would have been impossible to lift
into place. Something would have been
dropped, tom loose, or in some other way
damaged. I simply had to wait until the rest
of the band got to the gig (some 45 minutes
later) with the bass cabinet before I could
realistically begin the patching.
All of this goes to show that when plan-
ning to cover someone else's tasks in a
band, you have to make sure that every
detail is accounted for. Had I been able to
carry the bass cabinet, I could have had
the P.A. ready to go when the band arrived.
Perhaps some of my own equipment (which
I could certainly have set up rapidly) could
have been carried by someone else, while
I carried all of the pieces necessary to make
the P.A. setup work. Extraordinary circum-
stances call for some extraordinary meas-
ures—which generally only amount to a
little extra forethought. In a way, I'm rather
glad this minor debacle happened the way
it did. It was a humbling experience, serv-
ing to remind me that after 20 years in
clubs, I still don't know it all.
 I N D U S T R Y H A P P E N I N G S
MD TRIVIA with his own quartet.
During the early '70s,
Colaiuta, and Jim Chapin will
be among the artists participat-
"We're very excited to be
named the exclusive importer
and distributor of the Wuhan
CONTEST Richmond also ventured into
rock with a three-year member-
ing in this event, with other
artists to be announced. Each cymbals and gongs," Real said.
WINNER ship in the Mark Almond Band,
dates with Joe Cocker, and a
drummer will meet with one of
the artists for a 15-minute
"There are many China-type
cymbals on the market, but
The MD Trivia Contest in the tour with Elton John. In 1979, evaluation. The sessions will be those who know, want Wuhan.
June issue offered two prizes, Dannie teamed up with pianist open to the public, and will be And we'll now be able to pro-
and so there are two winners. Don Pullen, saxophonist conducted four hours a day on vide a steady supply to the
A pair of DW/5000 Turbo bass George Adams, and bassist Thursday, Friday, and Saturday. American market. This means
drum pedals and one DW5500 Cameron Brown, forming a Sign-up sheets will be available that drummers will now be
Turbo hi-hat will go to both quartet that proved to be one of at the PASIC registration desk, able to go into their favorite
Mike Calisa, of Parksville, Brit- the most exciting of his career. and will be handled on a first- music store and see a com-
ish Columbia, Canada, and It was a perfect vehicle for his come, first-served basis. There plete selection of Wuhan
William Ash, of Brooklyn, New spontaneous approach to is no fee for this evaluation, but cymbals and gongs."
York. These drummers' cards drums. Several other projects participants must be registered
were the first two drawn at ran-
dom with the correct answer to
sprouted on the side, including
work with the Lew Tabackin
for the convention. Equipment
is being provided by PASIC ex- DREW'S
June's trivia question. That
question was: Name the drum-
Trio and Benny Wallace. But
the Pullen/Adams group
hibitors, and the event is being
coordinated by the PAS Jazz MUSIC NEW
mer who once threw a cymbal
at Charlie Parker because he
remained Dannie's mainstay for
over eight years, up until the
Committee and Modern Drum-
mer magazine. ROGERS
didn't like the way Parker was
playing. That drummer was the
time of his death.
"Dannie was a very passion-
PASIC '88 is being held No-
vember 16-19 in San Antonio, WARRANTY
inimitable Papa Jo Jones.
Congratulations to Mike and
ate person, and that was re-
flected in his playing," com-
Texas. For further information,
contact the Percussive Arts So- AGENT
William from Drum Workshop, mented Cameron Brown, ciety, 214 West Main Street, Al Drew's Music, in Woon-
Inc. and Modern Drummer. Dannie's close friend and col- Urbana, Illinois 61801. socket, Rhode Island, has been
league in the Pul- named the official warranty

IN len/Adams
quartet. "He was
agent for all pre-1987 Rogers
drum equipment by the Fender

MEMORIAM: also a very warm

and very funny
Musical Instrument company.
(The Rogers name and designs,
person who as applied to the manufacture
DANNIE always kept the of new drums, was purchased
band laughing." by Island Musical Supplies, of
RICHMOND Richmond was Staten Island, New York, in
The jazz world knew Charles as adept at han- 1987.) Drew's Music has pur-
D. (Dannie) Richmond as an dling highly chased the entire existing in-
inspirational drummer who abstract musical ventory of Rogers equipment
always kept his bandmates on ideas as he was at from Fender, including all
their toes with his cascades of getting down to a American-made drums, Swiv-
fresh ideas. Musicians and au- gritty blues O-Matic and Memriloc hard-
diences will miss this inspira- shuffle. He will al- ware, parts, accessories,
tion who died of a heart attack
earlier this year in New York
ways be remembered as a
player who sought to take risks PAUL REAL TO heads, sticks, etc. The store
has established a new division
City. Born in New York,
Richmond's first musical pur-
with his drumming and stretch
the boundaries of rhythmic/ DISTRIBUTE to handle new and used
Rogers drums and accessories.
suit was the tenor sax. He
played in rock 'n' roll bands as
melodic interplay within a
group. He is survived by his WUHAN According to store owner Al
Drew, "This Rogers inventory,
a teenager, but found his
unique musical voice when he
wife, Juanita, and daughter,
Tamia. CYMBALS combined with our expert staff
that has been handling Rogers
switched to drums.
Richmond gained acclaim as
—Jeff Potter
EXCLUSIVELY equipment since 1960, will
enable us to maintain any of
a member of Charles Mingus'
group between 1956 and DRUMSET Paul Real Sales has announced
the signing of an agreement
the existing Rogers drums, as
well as providing service to
1970. After participating in
several free-lance projects, EVALUATIONS with the Wuhan Cymbal and
Gong factory in China naming
any of the new R-360, R-380,
and Memriloc sets that are still
including a stint with Chet
Baker, he later rejoined AT PASIC Paul Real as the exclusive im-
porter and distributor of Wuhan
available."
Further information may be
Mingus, providing provocative Drumset players attending the Lion cymbals and Chau gongs. obtained by writing Al Drew's
drumming up until the bassist's Percussive Arts Society Interna- The signing climaxed a two- Music, 526 Front Street,
death in 1979. Dannie helped tional Convention (PASIC '88) week trip to China, where Paul Woonsocket, Rhode Island
spread Mingus' good work will have a unique opportunity met with officials of the Wuhan 02895. The store may also be
(with the help of other Mingus to have their playing evaluated factory, was briefed on the his- reached by phone at (401)
alumni) as a member of the by a notable drumset artist. Pe- tory of cymbal and gong mak- 769-3552 or 766-4871
Mingus Dynasty band. He also ter Erskine, Danny Gottlieb, Joe ing in China, and observed the between the hours of 1:00 and
found time to lead and record Morello, Ed Thigpen, Vinnie manufacturing processes. 9:00 P.M. Eastern Standard
Time.
ZILDJIAN JOHNSTON tor of Fibes.
Thomas Kearns was presi-
hand at the American Legion
Hall in Seaford, Long Island to
EXPANDS NEW PURE- dent of a management and
consulting firm specializing in
inspire, instruct, and, above all,
play! Clinician/drummer Dom
FACTORY CUSSION VP manufacturing productivity.
He brings a strong background
Famularo hosted the festivities,
which were co-sponsored by
The Avedis Zildjian Company Bruce Carlson, President of of general management and the Long Island Drum Center.
recently announced a program PureCussion (manufacturer of consulting expertise to Fibes. Rick Latham kicked things
to dramatically expand the ca- RIMS Drum Mounts and Pure- off to a rousing start, setting the
pacity of their Norwell, Massa- Cussion Drums) recently an-
chusetts manufacturing facility. nounced that Walt Johnston, SIMON pace for the entire day. Zeroing
in on the teaching aspects of
According to company Presi- former President of Pearl Inter-
dent Armand Zildjian, "This is national, has joined PureCus- GARDNER his book, Advanced Funk Stud-
ies, Latham both discussed and
the most significant investment sion as Vice President. "We are
this company has made since pleased to have Walt join our MANAGING displayed tips on how to keep
solid time, as well as the appli-
we moved to this new facility team at this critical period in
in 1972. Our philosophy is to our growth," stated Bruce. DIRECTOR OF cation of rudiments on the
drumset.
preserve the old-world crafts- "Walt brings tremendous
manship, yet make our produc- credibility and experience to SONOR (U.K.) Although Jeff Watts had
originally been scheduled to
tion as efficient as possible. We PureCussion and is, in a way,
will be able to raise our quality our proof statement that we're LTD. appear, he couldn't attend due
to recording commitments. His
standards even higher and in- serious about being a major last-minute replacement was
crease our levels of production force in the drum industry as Bernard Purdie, whose
at the same time. This will well as the percussion presence more than sufficiently
mean even faster delivery to our accessory market with our filled the void. The veteran
dealers." RIMS Drums Mounts." player shared some of his
Much of the investment is in Long an advocate of the studio secrets with the youthful
capital equipment, involving RIMS system, Walt stated, crowd, and even his subtler
many engineering design inno- "While unable to offer RIMS techniques were not lost on the
vations. Most important among Drum Mounts as standard 10- and 11-year-old drummers
the new equipment is a state- equipment on Pearl drums, it who were present. Overall,
of-the-art gas-fired rotary type was obvious that the major crowd response to Purdie was
hearth. According to Jim Pearl endorsees and knowl- extremely enthusiastic.
Roberts, Zildjian Executive Vice edgeable pro drum shops over- Next up was Jim Chapin,
President, "This new hearth whelmingly requested their who was greeted with a stand-
permits tight controls over the kits be made to accept RIMS ing ovation. Chapin demon-
consistency of heat being Mounts. In this stage of its de- Horst Link and Steve Gardner,
strated the Sanford Moeller
applied to the cymbal castings velopment, PureCussion is a current Directors of Sonor
hand-conditioning technique
during the basic heating and young, vibrant, and aggressive (U.K.) Ltd., recently an-
while the audience followed
rolling stages. This will dramati- company with some in-de- nounced the appointment of
along with the exercises on
cally increase our yields at this mand products. I look forward Simon Gardner to the Board of
practice pads. Chapin's setup
level. Most importantly, we will to being a part of it and help- Directors in the role of Manag-
was unique, in that his bass
be able to spend more time on, ing guide its rapid growth." ing Director. Although only 24
drum was situated far off to his
and train more people in, the years of age, Simon has distin-
left side, and was played via a
truly skilled areas of hammering guished himself academically
and lathing." FIBES DRUM- and musically, achieving an
left-lead double pedal.
Brothers Vinnie and Carmine
Chris Noblett, Sales & Mar- honors degree in economics
keting Vice President, cites in- STICKS and philosophy from the Lon-
Appice rounded out the lineup
in a collaborative effort. They
dustry statistics supporting the don School of Economics,
growth of the percussion indus- ACQUIRED while maintaining his musical
started things out with an open-
ing spot where each soloed in
try in recent years. "The latest career playing with various
information from the American FROM professional artists on Euro-
rotation, followed by a section
where the two played together.
Music Conference shows that pean tours, records, etc.
the U.S. domestic percussion MARTIN Sonor (U.K.) Ltd. also dis-
Then came an extended solo
from each player, followed by
category grew by 12% in 1987 tributes Sabian cymbals and
over 1986, passing the $ 100 GUITARS Yorkville Sound amplification,
a question-and-answer period.
This format served to demon-
million level for the first time. Thomas Kearns has acquired and it is felt by these manufac-
Fibes Drumsticks from the C.F. strate the contrast in each
Our own sales confirm that turers that the presence of
Martin Guitar Company. The drummer's playing skills: Car-
growth." someone of Simon's age, en-
drumsticks will continue to be mine delivered a display of
Armand Zildjian adds, "We thusiasm, and knowledge can
sold under the Fibes trademark wicked funk grooves, while
have an urgent need to fulfill only be of great importance in
by Fibes, Inc. Vinnie presented a more heavy
the huge world demand for helping the company to grow
Fibes will now be based in rock style. Carmine also illus-
Zildjian cymbals. There's no in the future.
New Jersey and will continue trated his technique for hitting
shortcut to making a Zildjian,
to supply a wide variety of se- the toms with extra attack via a
but our modern factory allows
us to do it on a much larger lect hickory drumsticks SABIAN DAY rimshot. Overall, the Appice
through wholesale distributors May 1 was Sabian Day on brothers presented a well-re-
scale and to a much higher
under a new logo. C.F. Martin Long Island, New York. Five hearsed and informative clinic.
level of quality and consis-
will continue to be a distribu- Sabian artist/clinicians were on —Teri Saccone
tency."
 NEW AND N O T A B L E
samplers from their acoustic add, "The EFX
drums. For further information, Piggyback
contact Simmons Electronics actually
USA, 2391 7 Craftsman Road, sounds incred-
Calabasas, California 91302, or ible on its
call 1-800-TECDRUM. own, produc-
ing a unique,
high-pitched
NEW sharp China
sound."
ZILDJIAN New to
Zildjian's K
CYMBALS Custom series
Zildjian is now offering two is a 22" model.
new cymbals: the EFX Piggy- (The series had
previously only
SIMMONS back and a 22" K Custom
model. The EFX Piggyback is been available
in 16", 18",
TRIXER designed to be used in con-
junction with other cymbals to and 20" sizes.)
Simmons Electronics recently produce a variety of special Designed pri-
introduced a new device for re- effects sounds. The cymbal is marily as a ride cymbal, the 22" ducing a new entry-level
inforcing the sound of acoustic available in 1 2" size only. It is model combines both hand and drumset line and expanding its
drums called the Trixer. very thin, with a round bell and machine hammering with an library of sounds for the D8
Housed in a single, rack- a turned-up edge similar in pro- unlathed surface. The result, series of electronic percussion.
mountable case, the Trixer file to Zildjian's Swish cymbals. according to Zildjian, is very For mallet percussionists,
consists of four clearly defin- This size and shape is the result clean stick definition (a charac- Yamaha is now offering the YV
able areas: of extensive field testing and teristic of a thick cymbal) along 3400 and YV 2600 vibes. Both
1. Four "kits" of drum discussions with various top with a warm, shimmering instruments are three-octave
samples are on board, each drummers. undertone (a characteristic of a vibes featuring aluminum alloy
containing bass, snare, and The EFX Piggyback can be thin cymbal). Colin Schofield tone bars. The bars and resona-
four toms. The sounds can be used in a number of ways. It states, "When played forcefully, tors of the YV 3400 are
individually tuned, and further can be placed inverted inside the 22" K Custom generates finished in glossy gold; those
"kits" can be more volume and has a 'bigger' on the YV2600 are in silver
accessed overall sound than that of the satin. The YV 3400 features
through sound other K Customs. However, adjustable regulator caps for
memory cards. when played more gently, the the resonators in the lower
2. Simmons cymbal's beautiful, darker and octave to allow players to
has developed more mellow overtones be- adjust for acoustics in different
a new circuit come more prominent...the playing venues. The variable-
for triggering type of sound that many players speed motor offers a touch-
from acoustic would use in a jazz trio set- pause system. According to
drums. Called ting." For more information, Yamaha, this system eliminates
"Learn," it actu- contact Avedis Zildjian Com- click noises when the fan is
ally samples the pany, 22 Longwater Drive, Nor- turned on or off during per-
trigger profile of well, Massachusetts, 02061. formance. The fan can also be
a miked or stopped at a predetermined
bugged acous- point with total accuracy. The
tic drum and NEW YV 3400 incorporates a folding
rail frame that is height-adjust-
automatically computes the
correct signal processing for
an inverted China Boy or Swish
cymbal separated by felt. In this PRODUCTS able. The YV 2600 does not
include the folding frame, nor
the most accurate and dynamic
triggering of the sound
position, the EFX Piggyback en-
hances the intrinsic "trashy" FROM does it feature the lower octave
resonator regulators.
samples.
3. An on-board mixer en-
sound of the cymbal and re-
duces the overall decay to pro- YAMAHA In the area of marching per-
ables the drummer to blend the duce a much shorter, sharper Yamaha has recently been ac- cussion, Yamaha now offers a
sound of the miked acoustic "China sound." Alternatively, it tive in the introduction of new variety of new stands and per-
drum with the digital sound to can simply be rested the right concert- and marching-percus- cussion accessories. The MTS
create a reinforced drum way up on top of a crash or sion products, along with intro- 3 and MTS 4 are stands de-
sound. A stereo mix of this ride cymbal. This combination signed to effectively sup-
sound can then be sent to a again produces a very distinc- port Yamaha trio or quad
P.A. board. tive "trashy" sound. Two toms mounted on Yamaha
4. The Trixer also features a sounds are readily available to carriers during rehearsal
16-bit digital reverb to further the drummer, by striking either situations, while the MQAT
enhance the reinforced drum the edge of the bottom cymbal 5 Marching Quint Carrier
sound. or the EFX Piggyback itself. Attachment allows a 6"
A MIDI interface is also in- Other ideas have been marching tom to be added
cluded for those drummers experimented with, and to a quad setup to create a
who wish to trigger the sounds Zildjian's Marketing Manager, quint. A new line of gray
of drum machines and Colin Schofield, is quick to molded polyethylene cases
for marching drums is ther information can be ob- be available in mid-September.
now available, featuring tained by writing Sabian Ltd., Also new to DCI's catalog is
heavy duty straps and Meductic, New Brunswick, Joe Franco's Double Bass
hardware. Finally, all EOH 1LO, Canada. Drumming, a video textbook
Yamaha marching bass that details an easy-to-follow
drums will now be fitted method for strengthening con-
with Sound Impact Strips, LP JAM BLOCK trol and independence on
to eliminate unwanted double bass. The tape features
Latin Percussion recently intro-
overtones. on-screen music graphics and
duced its Jam Block, a percus-
In the field of concert close-up shots of Joe's foot-
sion device with a "cutting"
percussion, the 65 112 wood sound, but made of a
and BS 412 are bass synthetic material (Jenigor) for
drum stands designed for easy Yamaha Music Corp. USA, P.O. extra durability. According to
portability and use either in- Box 7271 Grand Rapids, Michi- LP, it is the only product of its
doors or outdoors. The 65 412 gan, 49510, or call 800-253- kind that's virtually indestruc-
is fitted with casters, brakes, 8490. For drumkits and elec- tible. As a result, the company
and a footrest. tronic percussion, contact is offering a one-year limited
For entry-level drumset play- Yamaha Music Corp. USA, warranty.
ers, Yamaha has introduced the Drums, Guitars, Amplifiers Di- The shape of the 7am Block is
Power V series drumkit. The vision, 6600 Orangethorpe the essence of its sound. It has a
drums feature nine-ply shells Avenue, Buena Park, California, raised striking surface for opti-
made in England of Phillipine 90620, or call (714)522-9011. mum performance, and three
mahogany, using Yamaha's Air mounting locations for versatile
Seal System. The drums are
available with outer coverings NEW SABIAN positioning. A steel mounting
bracket is included. For further
work. (This video was re-
of jet black, winter white, mir- viewed on its first release in the
ror chrome, and Italian red. CYMBALS information, contact Latin Per-
cussion Inc., 160 Belmont
September, '85 issue of
Modern Drummer.) Joe Franco
The insides are finished with Sabian has recently introduced Avenue, Garfield, New Jersey
clear lacquer. Hardware is noted for his work with the
a new series of ride cymbals 07026, (201)478-6903.
includes a new FP 725 bass Good Rats and Twisted Sister,
called HH Classic, available in and has recently recorded with
drum pedal and an HS 820 hi- 20" and 22" sizes. According to
hat (both featuring lightweight
foot pedals) and a new TH
the company, these new mod- BOZZIO AND Leslie West and Vinnie Moore.
els were created in response to
80W Tom Holder. Drum sizes
available are 10x10, 10x12,
numerous drummers' requests FRANCO ED THIGPEN
for a ride cymbal that captured
11x13, and 1 2x14 rack toms,
16x16 and 16x18 floor toms,
the cymbal sound popularized VIDEOS BRUSH BY
by the great drummers of the
16x22 and 1 6x24 bass drums,
and a 6 1/2x14 metal snare.
'40s, '50s, and '60s. FROM DCI CALATO
Nort Hargrove, Assistant
For electronic drummers, DCI Music Video Inc. has pro- Joe Calato, President and
Vice-President of Production,
Yamaha has introduced four duced the first-ever instruc- founder of Calato Manufactur-
states, "The HH Classic is a
new Waveform ROM cartridges tional video by Terry Bozzio. ing, announced that he has
highly musical cymbal. Inten-
to expand the musical capabili- Sixteen hours of footage was "recently completed the re-
sive hand hammering of its
ties of the D8 Electronic Per- edited to create the 60-minute search and development of a
high profile and large bell have
cussion System. The WRC01 videotape, including solos, unique drum brush designed
produced a sound that is higher
cartridge offers Latin sounds, technique analysis, equipment for one of the masters of brush
pitched than our standard HH
DX synthesizer voices, special talk, and other items of interest. technique, Ed Thigpen." The
models, but also highly fo-
sound effects, and vocal "I didn't want this to be a brush is now available in
cused. Its rich, full-bodied 'play-the-greatest-hits/explain-
sounds. The WRC02 cartridge sound peaks within tonal music stores throughout the
features 25 sounds created for the-greatest-hits'-type of video, world.
parameters that are extremely
contemporary jazz and fusion like some instructional tapes," The Ed Thigpen Model brush
tight. This means that each
applications. These include a says Bozzio. "Instead, I went for is made of special thermo-plas-
cymbal retains its own very
wide variety of bass drum, the inspirational aspect. This tic wires held together in a
specific voice regardless of the
snare, and tom-tom sounds, tape has interesting drum per- flexible plastic handle, which
volume at which it is played."
along with rhythm guitar, formances and offers some allows the brush to mold to the
In addition to the HH Clas-
fingered bass, cowbell, and insights on new techniques." player's hand—a breakthrough
sic, two other new listings to
three hi-hats. The WKC03 The tape also goes over Terry's in comfort and control. The
the Sabian catalog include 12"
cartridge features heavy metal innovative drumkit, focusing on flexible plastic wires produce a
Mini-Hats
drum voicings for toms, snare some clean, "pingy" sound on cym-
(heavyweight
drums, and bass drums, along unusual per- bals and a warm, mellow
cymbals said to
with a picked bass and metal cussive items sound on drumheads. "Like all
offer substantial
guitar sounds. The WRC04 car- that Terry Regal Tip brushes," Calato
volume and cut
tridge offers high-tech voicings has incorpo- said, "the Ed Thigpen Model
in a size ideal for
of "processed" drum and synth rated into his was designed with quick wrist
main or second
bass sounds popular in playing. The response in mind." For more
hi-hat applica-
contemporary dance music. video, en- information, write Calato, 4501
tions), and a 12"
For further information on titled Terry Hyde Park Boulevard, Niagara
Splash in the 68
any Yamaha mallet or marching Bozzio: Solo Falls, New York 14305.
Plus series. Fur-
percussion item, contact Drums, will
 next month in ADVERTISER'S
NOVEMBER'S INDEX
MD... Atlanta Pro Percussion
73
55
Bamo, Inc.
Sam Barnard 47
44
Calato/Regal Tip
Gary Chester Tribute 72
44
Collarlock Canada, Inc.
89
Comprehensive Music Services
Corder Drum Company 79
Dallas Percussion 91
DC1000 Percussion 92

Photo by Jaeger Smith Kotos

DCI Music Video 78
D & F Products 90
ddrum 40,58,62,91
D.O.G. Percussion 89
Drum/Keyboard Shop 47,92
Drum Workshop 84,101
Electro-Voice 1
Evans Products 45
Explorer's Percussion 96
Fibes Drum Sticks 51
Gallien-Krueger 50

JEFF GC Music 65
Grant's Drum City 95
Gretsch Drums Inside Back Cover

PORCARO
Hot Licks Productions 13
Impact Industries 75
Imperial 85
Latin Percussion 7
Victor Litz Music Center 61
Ludwig Industries Inside Front Cover,69
L.T. Lug Lock 96
JEAN-LUC PONTY'S MD Back Issues
MD Equipment Annual
111
102

RAYFORD MD Library
Music Connection Products
Musician's Institute
98/99
67
62

GRIFFIN Noble & Cooley

Paiste
Pearl International
65
36/37
16/17,109
Percussion Paradise 103
Percussive Arts Society 107

RIKKI
Precision Drum Co. 90
Premier Percussion USA 5
Professional Video Corp. 88

ROCKETT
Pro Mark 67,85
Purecussion 11
Remo 13
Resurrection Drums 89,96
of POISON RIMS 89
R.O.C. Drums 91
Rogers Drums 39
Rolls Music Center 72
Sabian 59,61,63
DRUMS ON "Set The Pace" Pedal Practice Pads
Shining Mountain Workshop
59
88

CAMPUS
Simmons Electronics USA 58,60
Sonor Percussion 9
Tama .. .52/53,105
Tempus Instruments 15
Plus columns by: Thoroughbred Music 103
Thunderstick .
Rod Morgenstein Valley Drum Shop
60,91
61
Kenny Aronoff Veneman Music 90
Vic Firth, Inc.
Craig Krampf Waddel's Cymbal Warehouse
41
63
and much more... Glenn Weber Drum Studio
The Woodwind & The Brasswind
59
63
don't miss it! Yamaha
Zildjian
6,43
56/57,112, Outside Back Cover