Modern Drummer #009.pdf

VOL. 3-NO. 1

IN THIS ISSUE

Welcome to MD's third year. To anyone

who might have missed our previous an-

nouncements, there will be six issues this

year, one every other month. Our shirt

sleeves are rolled up and we're raring to

go. Many subscribers have written asking

how their subscriptions will be adjusted

from the four to six time cycle. Expiration

dates are being automatically computer

adjusted. Those subscribers who paid the

old rate will receive the issues due them

and be notified when their sub has expired.

A four time subscriber will simply expire

sooner to adjust to the six issue year. We

anticipate a smooth and painless conver-

sion though there are always those few ex-

ceptions. Should you find yourself among

them, feel free to contact the Circulation

Department. Someone will be glad to help.

On with '79. This issue contains your

ballot for MD's First Annual Readers

Poll. We feel it is about time drummers

select artists who warrant honoring. Our

poll is the first of its kind in terms of

drummers honoring drummers and we

need your vote. Your ballot is on page 29.

Bill Bruford is on our cover for January,

a notable rock drummer with some unique

and refreshing concepts. What can one say

about Max Roach? An innovative artist of

many talents who surely made his mark on

the American music scene. And Les

DeMerle, who reflects on his brand of per-

cussion adding some helpful tips for young

players on the way up.

Inside Zildjian (first of two parts) is a

close-up on one of percussion's oldest com-

panies. Cheech Iero, MD's wandering tour

guide, leads us through every phase of the

cymbal making business. And Rob Cook's

visit to Frank's Drum Shop illustrates why

this 40 year old Chicago landmark is one

of the leading shops in the nation.

MD has also commissioned an im-

pressive array of guest columnists this

year, starting off this issue with Ed Soph's

Jazz Drummers Workshop, Danny

Pucillo's Show and Studio. Randy Hess'

Electronic Insights and Dave Levine's

Drummer/Percussionist. They'll be joined

shortly by Henry Adler, David Garibaldi

and Butch Miles. Looks like a very in-

teresting year ahead. Enjoy.

FEATURES:

BILL BRUFORD

INSIDE ZILDJIAN

MAX ROACH: Back on the Bandstand

FRANK'S DRUM SHOP

LES DeMERLE: Up Front

MD READERS POLL

COLUMNS:

Editor's Overview

Readers Platform

It's Questionable

Rock Perspectives: Miking, Part 2

Jazz Drummer's Workshop: Brushes

Rudimental Symposium: Drum Corps

Show and Studio: Adjusting to Conditions

South of the Border: Calypso

Electronic Insights

Drummer/Percussionist: An Introduction

Shop Talk: Drum Maintenance

Drum Market: Classifieds

Printed Page: Book Reviews

From the Past: Dave Tough

Industry Happenings

Just Drums

STAFF:

EDITOR-IN-CHIEF:

FEATURES EDITOR:

ASSOCIATE EDITORS:

Ronald Spagnardi

Karen Larcombe

Cheech Iero

Paul Uldrich

Michael Cramer

Bryan Mitchell

Roger Elliston

Jean Mazza

Isabel Lori

Leo L. Spagnardi

Carol Padner

Louise Haack

Nancy Schuller

MD ADVISORY BOARD:

Henry Adler

Carmine Appice

Horacee Arnold

Louie Bellson

Roy Burns

Jim Chapin

Joe Corsello

Les DeMerle

Len DiMuzio

Randy Hess

Sonny Igoe

Don Lamond

Mel Lewis

Peter Magadini

Mitch Markovich

Butch Miles

Joe Morello

Charley Perry

Charlie Persip

Joe Pollard

Arthur Press

Paul Price

Ed Shaughnessy

Lenny White

MANAGING EDITOR:

ART DIRECTOR:

PRODUCTION MANAGER:

ADVERTISING DIRECTOR:

ADMINISTRATION:

CIRCULATION:

As a musician/drummer, I agree with

much Art Blakey said in your October

issue. Unfortunately, he didn't mention the

most serious, finest trumpet player he

worked with, Clifford Brown. Shame

Arthur.

There is one thing about Modern

Drummer that I find distressing, especially

among my younger students. Their parents

object to your use of four letter words that

have appeared in your interviews with

various drummers. As a musician, I realize

that some of us speak this way, but I don't

think my students should be introduced to

these words by a magazine of high caliber

in every other respect.

RAY RICHARDSON

SILVER SPRING, MD

JOHN BOCK

ELMSFORD, NY

In reference to the interview with Art

Blakey, I was impressed with what he had

to say. The last comment in the interview

really hit me. He is right. A lot of

musicians prostitute themselves to make a

buck. I respect Art Blakey for being an

honest musician. Long live Art Blakey and

his kind of feeling towards the art.

ROBERT ROMANELLI

TRAPPE, PA

I would like to see more emphasis on the

philosophies of non-famous, working

drummers. Often, we forget about the "lit-

tle guy" who is a great player but doesn't

record or do concerts; who instead works

on the road in lounge groups. This is a

specialized type of drumming and many

readers would have a better chance getting

this type of work, rather than TV, show or

studio work.

JOEL KLEIN

YONKERS, NY

Thanks for the interviews with Gadd,

Blakey and Erskine. They were very

enlightening, but why do most interviewers

neglect to ask what type of pedals are used.

I realize, as Blakey said, "It isn't the in-

strument, it's the musician," but for me, it

helps to know the equipment used by great

musicians.

Just finished the October issue and must

commend you on a fine job. The articles on

Blakey, Gadd and Erskine were excellent.

How about an article on Charlie Watts of

the Rolling Stones?

STEVE MULDOFSKY

BROOKLYN, NY

CHUCK SILVERMAN

HOLLYWOOD, CA

I've just attended another Chicago con-

cert. Their drummer Danny Seraphine gets

better and better. He's got to be the most

tasty drummer around, aside from his in-

credible technique. Love ya Danny!

I'd like to request an article on Jake

Hanna, one of the finest jazz drummers on

the scene today. I'm sure there are a lot of

young drummers who have never heard of

Jake, but could learn so much if they only

listened to him.

SHAMUS CORBY, JR:

SANTA ANA, CA

J.C.

BIRMINGHAM, MI

I have been a subscriber to your

magazine since it started, but I've found

that you quickly became super commer-

cialized like the rest of the music business.

You overstress technique and seem to

forget that music is art. The drummer

should interpret the instrument in his own

way to express himself to the fullest.

JONATHAN EDWARDS

BLOOMSBURG, PA

Your magazine offers great insights on

the top drummers today, but I have yet to

see an article on E.L.P.'s Carl Palmer.

After seeing the man play, I can say

without a doubt he is the fastest and most

precise drummer in the world.

LOU EGER

YONKERS, NY

Editor's Note — An interview with Carl

Palmer will appear in a future issue of

MD.

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