MD 93
MD 93
MD 93
BASICS
Mental Techniques In Drumming:
Part 2
by M. Rupert Walden 42
ROCK PERSPECTIVES
Man Vs. Machine
by Kenny Aronoff 80
JAZZ DRUMMERS' WORKSHOP
Drummers And Bass Players
by Dave Calarco 82
TEACHERS' FORUM
The Working Teacher
by Peter Donald 84
ROCK CHARTS
Chad Wackerman:
"Tink Walks Amok"
by Glenn Deitsch 88
ELECTRONIC INSIGHTS
MIDI And Realism
by Jim Fiore 92
ROCK 'N' JAZZ CLINIC
Styles Are Related: Part 1
by Rod Morgenstein 102
CONCEPTS
Bob Yeager: "Ya Gotta Try"
by Roy Burns 116
CLUB SCENE
MIKE BAIRD
His recording work with such artists as the Manhattan
Thoughts On Buddy
by Rick Van Horn 120
Transfer and Eddie Money, and his live work with Rick
Springfield had already established Mike Baird as one of EQUIPMENT
L.A.'s top drummers. But it was last summer's infamous ELECTRONIC REVIEW
Journey auditions that brought Mike's name into the Simmons MTX-9 Expander
spotlight, and here he tells what really went on during that by Bob Saydlowski, Jr. 122
time. JUST DRUMS 126
by Robyn Flans 16
PROFILES
BUDDY RICH UP AND COMING
Cyndi Lauper's Sterling Campbell
by Tom Stephenson 48
REMEMBERED
When Buddy Rich died on April 2, it was definitely the end of
IN THE STUDIO
Jim Salamone
an era. In this special tribute to "the world's greatest by Tom Stephenson 56
drummer," we recall the highlights of Buddy's career, hear PORTRAITS
Maynard Ferguson's Ray Brinker
what his friends and colleagues say about him, and talk to the by Lauren Vogel 66
man who restored Buddy's classic Radio King drumset.
by Burt Korall and Joe MacSweeney 22
NEWS
UPDATE 6
TOM BRECHTLEIN
While his seven years with Chick Corea and his recent work
INDUSTRY HAPPENINGS 124
AUGUST 1987
On April 2, 1987, the drumming world lost per- poor musicianship.
haps the greatest drummer of our time. I doubt Music critic George Simon once said,' 'To some,
that any drummer who followed Buddy Rich's he is cocky, overbearing, at times unnecessarily
career would question the validity of that state- arrogant. But calm Buddy down, show him that he
ment. doesn't have to spark every gathering the way he
What can one say about Buddy's playing that sparks a band, and you've got the warmest, most
hasn't been said before by a world of admiring sensitive gentleman you'll ever meet."
drummers? Buddy was the embodiment of natural Of all the memories I personally have of Buddy,
drumming talent, which included that very special there's one I'll always treasure. It's a story very
combination of incredible speed, power, endur- few people know, and one I'd like to share with
ance, imagination, musical sensitivity, and good you.
taste. Buddy could send your head reeling with Late in 1976, I and a few devoted supporters
drumming that would, at times, defy human capa- were crammed into a measly 300 square feet of
bility. He was truly one of those once-in-a-lifetime basement office space, mapping out the first issue
musical phenomenons. As far as total technical of a magazine we planned to call Modern Drum-
mastery of the instrument goes, no one came any mer. We were about ready to go, with one rather
Buddy...
closer than Buddy, and it's doubtful whether we'll serious exception. We had everything except a
ever again see the likes of such remarkable, innate solid cover story. Back then, MD was completely
ability. unknown and little more than a very good, but
As a person, Buddy was often accused of being very under-capitalized, idea. Well, despite all that,
arrogant and demanding. And yes, he could be it was Buddy Rich who came to our rescue by con-
those things at times. However, one must under- senting to be MD's very first cover story. That
stand that Buddy was an extremely intense individ- interview was conducted in a small dressing room
ual, with very strong beliefs and high performance between sets of a one-nighter in St. Louis.
standards. He had no tolerance for insincerity in Buddy felt good about what we were trying to do
people or music, and expected a great deal from with Modern Drummer. And obviously, having
those with whom he worked. The man spoke his him on the cover of the January '77 issue gave us
mind, no doubt about it. But the abrasive side of the impetus we really needed to get the magazine
Buddy was the image he seemed to like to project. off the ground. It was a genuine act of caring and
Beneath that hard-nosed exterior was a man who kindness—one that I'm not likely to forget. I like
cared deeply about music, high standards in drum- to think it also says something about just what
ming, and the state of the music industry as he kind of person Buddy really was. That's the man
viewed it. Oftentimes, he was less than thrilled I'll always remember. Yes, we've certainly lost a
with what he saw, and he made no bones about it. true giant with the passing of Buddy Rich. Surely,
Buddy had very little patience for bad music and he'll be missed much more than most of us can say.
Mark Presley spent a good playing with a slide show. I last couple of years, and I try
deal of '86 on the road with had a click in my monitor in to play the music like I would
country artist John Conlee. about three or four tunes that hear it on the radio. I try to
They did Farm Aid and the synched us up to the slides. pretend I'm playing on a
Volunteer Jam, two big coun- "I don't think I would like record every time I play the
try events, during their 200 to do the whole show with a song. Consistency is something
days on the road. While Mark click, but since it's only a few I go for more than playing
isn't complaining, it certainly tunes, I don't mind. It's actu- licks.
does restrict the possibilities of ally good preparation for the "I was never expressly told
getting into the Nashville stu- studio. John's music mostly to play like the record; I think
dio scene. "I want to have a requires time. It's definitely that's something I've gone for
mixture of live and studio changed the way I play. I was on my own. When I auditioned
work," Mark explains. "Ide- trained in jazz and funk, and for the job, I intentionally
ally, I would love to do John's when I moved here, I was over- charted out every tune on all
live stuff and his album." playing like crazy. John's is the records I was supposed to
Being on the road so much, We're going to run the horn definitely a groove gig. It's put- learn, down to the fills, to have
there's not too much time to tracks to the house and the hi- ting it in the pocket, and fortu- a foundation to go by. Once I
do anything in town. "And we hat tracks will run into my nately, I have a good bass have the tunes locked in that
expect to have even more dates headphones. It will be like player to work with. He lays it way, maybe I'll change a fill
this year. We're doing some playing with a click, live. That right in there, so it makes life from night to night to hold my
new things in the show. John's will synch us up to the horn real easy for me. And the click interest, but there's enough
new album has horns on it, so tracks. That shouldn't be too has helped me lock in even pressure just to keep the
we've pulled the horn and hi- much of a problem for me, more. I've really started to groove locked in."
hat tracks off the master. because last year, we were concentrate on my time in the —Robyn Flans
In October 1985, Bobby that I knew, if they heard me, I Invasion album. "We actually ing out backstage was really a
Rock, who lives in Houston, would get the gig. I was so cut the drums in this vacant cool experience for me. When
made a decision: "The clubs psyched. I said, 'Listen, man, theater that was in the base- we switched over to Iron
were basically going to be his- give me a shot. Once you hear ment of the studio," Bobby Maiden, we played the Sum-
tory for me; I wanted to go for me, I know you're going to recalls. "They had this big mit, which is the big arena in
the big deal. I can actually hire me.' He said they'd check wooden stage, and they set the Houston. Over the years, I'd
remember the day I decided me out, so I packed up my van drums up in there with every- always gone there to see the
that. What's funny is that, just with my drums and drove out thing wide open, except for the concerts and fantasized what it
a couple of weeks later, I heard there. I had zero money at the kick drums." would be like to be on the
through another Texas band time, so I had to turn to my Bobby enjoyed the record- stage. I imagined my parents
that [bassist] Dana Strum was parents and say, 'Just one ing, but it was really the tour- being there, after all they put
looking for a drummer on the more time. This is the big one.' ing he was looking forward to. up with, and I imagined getting
West Coast for Vinnie Vin- They covered me, and I went "That's when I began to live to do the solo at the end of the
cent. I literally called the cat up out to audition. I'll never for- through all those boyhood fan- show. The day of the show was
on his answering machine and get that day, October 1, 1985. tasies of getting on a major like I was actually walking
said, 'This is Bob Rock. I'm It was such a joyous experience tour. We went out with Alice through everything I had
calling from Houston, Texas. for me, and I was hired on the Cooper first for four or five dreamed over the years. Need-
Call me collect.' You can spot." months, and he was one of the less to say, it's been a very ful-
imagine the kind of rap I had Six to eight weeks later, they figures that inspired me to filling year."
to lay on him just to get a shot, began preproduction and then want to be a rock star when I —Robyn Flans
but I was so hungry and ready recorded the Vinnie Vincent was 10 or 11. To see him hang-
Alvino M. Bennett had a 'This is going to be real com- in Chicago years ago, when we never knew what mood she was
dream come true in June of fortable.' I got there a little did a commercial together. She going to be in. One night, we
last year. "I was sitting at early, heard the tail end of the came in and did some vocal might do 'Night In Tunisia,'
home one day, making my reg- other drummer, went in, set overdubs after I laid down my which is a jazz tune, and the
ular telephone calls, and I my stuff up, got comfortable, part, and I didn't see her any- next night, we might do some
talked to a bass player friend and started playing. It felt more until I got the job with rock 'n' roll tune instead. It's a
of mine who said that Tony good immediately. It just her. We rehearsed everything lot of fun to play, and there are
Patler, Chaka Khan's musical locked. We went over three or without her and then flew to a lot of breaks and drum parts
director, was looking for me. I four songs, and Tony said he Canada. I met her during for me to play. The music is
called Tony, but his phone would call me the next day. At soundcheck. We were still challenging, and it's not your
machine was on, so I figured I 2:00 that morning, I was half going through the song when everyday pop/R&B type
missed him and he was out of asleep when I got a phone call we were introducing ourselves music. You really can't classify
town. About five minutes later, and Tony said, 'Alvino, I've to one another. The show came her music, because you never
Tony called and said, 'We're got bad news for you. You got off great, and we've been hav- know what she's going to do.
looking for a drummer.' I the gig.' I asked when we ing a lot of fun." We may be doing some funk
asked when the auditions were, started rehearsing and he said, He enjoys what the music tune, and she may sing some
and he said in a couple of 'Tomorrow.' As soon as I requires of him: "I have to be jazz lick over that. You don't
hours. He told me the names hung up, my wife and I very tasty, first of all, and be get that all the time. She's very
of the tunes I should learn and jumped for joy." able to play different colors, innovative, and a very bright
said I should come down later He didn't meet Chaka until different types of music—jazz, and articulate young lady."
that evening. I didn't get to his first gig with her in Canada. R&B, pop, and rock 'n' roll— Currently, they are on a sum-
play until close to 8:00 or 9:00 "I thought she would be there because we never know what mer tour of the States, to be
that night. Another friend of when I auditioned, and I was we're going to play. We used followed by a European tour in
mine, James Jamerson, Jr., biting my nails about it, but to have a set list, but we the fall.
was playing bass, so I thought, she wasn't there. I had met her stopped going by it because we —Robyn Flans
Gregg Field has been work- in the midst of a tour of Scan- Tone Soap, and the Lottery ners, Campus Man and Russ-
ing with Ella Fitzgerald. Marc dinavia, Europe, and Japan. Pick 3, as well as projects with kies, as well as working on Ted
Droubay in the midst of a Steve Houghton on Scott Hen- the Bone Daddies and Janey Nugent's upcoming album.
world tour with Survivor. derson's new album out this Street, and tracks for the Glenn Symmonds of the Eddie
Tony Coleman working with month. Jonathan Mover is cur- soundtrack Tape Heads. Mike Money Band recently returned
Silent Partners in Northern rently working on a new album Baird in the studio with Russell from a series of dates in South
California. Norman Roberts is with GTR. He is also produc- Hitchcock. Eric Singer is with America and Europe. Congrat-
working with The Mizii Link. ing and playing on a project by the Gary Moore Band. ulations to Ricky Lawson on
Tommy Wells recorded with Paul Julian. Eddie Bayers has Recently in Argentina for a winning a Grammy for Best
Almost Brothers and The Girls been recording with Alabama, week of clinics were Casey R&B Instrumental for his com-
Next Door. Bob Gullotti has Sweethearts of the Rodeo, Scheuerell, Emil Richards, position, "And You Know
been touring with The Fringe, Tanya Tucker, Terri Gibbs, Steve Houghton, Efrain Toro, That" off the Yellowjackets
which has also resulted in a live Charlie Pride, Kenny Rogers, and Joe Porcaro. Herb Shu- Shades LP. Ricky Sebastian
recording entitled The Raging and jingles for Burger King cher is touring with Leon Rus- recently on a three-month tour
Bulls, which was released dur- and Coca-Cola. Marvin sell as well as working with with Bushrock. He is currently
ing the spring. Peter Clemente Kanarek has been working on Edgar Winter. Keith Edwards beginning work on a solo
recording with Michael Mon- jingles for such products as is touring with Gary Chapman. album.
roe, former lead singer for Chevy S-10, Chevy Trucks, Michael Mason worked on —Robyn Flans
Hanoi Rocks. He is currently Volkswagon, Nissan Trucks, such film scores as Five Cor-
GREGG
BISSONETTE
Q. I had a chance to catch you at a
clinic recently, and I greatly admire
you as a drummer and musician. Your
playing on David Lee Roth's Eat 'Em
And Smile album is hot! In January's
issue of MD, the chart for "Shy Boy"
was written out. Although that helped
a great deal to get a better under-
standing of what you did in the open-
ing of the song (before the actual time
started), I was hoping you could write
out the sticking you use during the
32nd-note passage. It seems that
cross-sticking would be the most flu-
ent way to play it at the speed you take
it. asked MD to reprint that opening sec- issue had contained an error in the
Dave Mullaly tion of the "Shy Boy" chart, and I've introductory section. Although the
Mt. Clemens, Ml indicated the sticking (including the bass drum part was played in an alter-
A. Thanks for the compliment and for "sticking" for the bass drum foot nating style with both feet, the chart
making it to my clinic. You're right, parts). I hope that will help. showed several of the bass drum
cross-sticking would have been a Editor's note: When Gregg submit- notes on the same line—indicating
great way to play the lick. I didn't use ted this Ask A Pro response, he that only one bass drum was used.
cross-sticking, but instead used a pointed out that the original transcrip- The introduction is correct as shown
right-left, right-left alternating stick- tion of "Shy Boy" featured in the Rock here. Our apologies to Gregg and our
ing, and my sticks never crossed. I've Charts department of the January '87 readers for the original error.
JONATHAN
MOVER
Q. I had a chance to see you perform
with GTR in St. Petersburg last sum- "Reach Out" Fill #2:
mer, and was extremely impressed
with your playing style, timekeeping,
and flexibility. Could you please
explain the three drum fills you played
at the end of "Reach Out," and the
replacement fill for the snare drum roll
in "When The Heart Rules The Mind"? "Reach Out" Fill #3:
They were very creative as well as
original.
Phil Vincent
Jacksonville, FL
A. Thanks for the kind words and com-
pliments. The drum breaks played in
"Reach Out" varied from night to "When The Heart..." Replacement
night, but I went back to my show Fill:
tapes, and I believe that the ones
shown below were the three I played
in St. Petersburg. The fill used to
replace the snare roll in "When The
Heart..." was a linear phrase that is
subdivided into groups of 4 and 6. I
hope this information helps you In
your studies, and I'm glad you enjoyed
the show.
Q. I am the owner of a four-year-old Pearl Export drumkit with a Q. I have a seven-piece Sonor drumkit and a set of student-quality
beautiful green flash finish. I'd like to add another 22" bass drum cymbals. My problem is that, although the cymbals are perfectly
and an 18" tom, but I can't find the green flash finish in any of my adequate for practicing, my band wants to start playing some gigs.
catalogs or in my local music stores. Can you please tell me if Pearl What would you suggest?
still makes drums with this finish and, if so, how I could obtain T.D.
them? Toledo, OH
J.R. A. When it comes time to start playing professionally, you natu-
Batavia, NY rally need to examine your equipment to see if it will meet the
A. According to a spokesman for Pearl, the company has discon- requirements of the gig. With this in mind, you really only have
tinued the green flash finish. However, it may be possible that some two options.
drums exist in leftover inventory. You should ask your authorized If you are unhappy with the sound of your current cymbals and
Pearl dealer to contact the factory to see if the drums might be you have the money to upgrade, then you should probably do so.
special-ordered for you. You can reasonably expect that, as your band starts to play more
frequently, you'II earn the money back. In this sense, the cymbals
are an investment, and you'll recoup that investment along with
Q. I have a pair of Zildjian Quick Beat hi-hat cymbals, which have gaining the satisfaction of playing with high-quality cymbals. It
holes in the bottom cymbal to eliminate the problem of air-lock. might even be possible to borrow the money from some source,
However, I still seem to get air-lock about 50% of the time, and the and to pay it back out of band earnings.
rest of the time, I get a very loose sound. I've tried every adjust- If you do not have—and cannot borrow—the money necessary
ment possible but can't manage to get a tight "chick" sound. to buy new cymbals right away, then the only alternative is to go
Could the problem be the cymbals . . . the hi-hat stand . . . my ahead and play out with the cymbals you have now, in order to
left-foot technique? earn the money necessary to pay for better ones. It's sometimes a
S.K. painful experience if your cymbals are really poor-sounding, but
Las Vegas, NV there is really nothing else to do. You certainly don't want to refuse
A. We passed your question on to Zildjian's Lennie DiMuzio, who to play paying jobs on the basis of your equipment, because that's
offered the folio wing suggestions. "Try the cymbals on several dif- self-defeating.
ferent hi-hats to determine if the same problem exists. If it doesn't, The main thing is to get out into the musical marketplace as a
then the problem is likely with your hi-hat stand. If the problem performer. Take a look at your financial situation and decide what
does exist, it might be that the cymbals aren't seating properly. In option is open to you with regard to cymbals. Then take that
that case, return the cymbals directly to the Zildjian factory, option, and start playing!
describing the situation to our Return Goods Department. That
way, they can take a look at the cymbals, determine what could be Q. I am a left-handed drummer and have been playing for about
the cause of the problem, and take appropriate action to solve it." three years. My problem is that, when I originally started playing
drums, I learned on a right-handed setup. I am still playing with
the kit set up this way. Should I continue playing it set up like it is
and "train" my right hand and foot to keep up with my left hand
and foot, or should I rearrange my set and "retrain" both hands
and both feet to play left-handed?
G.L.
Kenai, AK
A. If you're already used to playing on a right-handed kit, you
might want to continue with it, while at the same time experiment-
ing with a left-handed setup to see how it feels. In a way, you have
an advantage over some other players. With your experience on a
right-handed kit, along with the strength and skill you probably
possess in a left-handed approach, you're in a great position to
develop an ambidextrous style, enabling you to lead with either
hand and possibly to play excellent double bass drums (if you're
interested). The main thing is to find the setup with which you are
the most comfortable. Try both left- and right-handed setups;
your body will quickly tell you which feels more natural.
deserves to relax. It's his first week off the road with Journey, and it is
Photo by Denise Marie Luko
obvious that it has been a rough one.' the Roxy. We did two tracks at A&M Studios and David started say-
Sometimes we carry around the misconception that success- ing, "You should be doing dates." The next thing I knew, I got a call
ful musicians are immune to hassles and insecurity—that if from David for a demo session for Brian and Brenda Russell. I went
they've had hits, they're always treated like gold and no one down to the small room at Village Recorders, set my stuff up, and the
messes with them. It isn't so. Even someone with Mike's list of snares broke on my snare drum. I totally freaked. The producer taped
credits must deal with difficult situations. Having worked with the snares and said, "We'll get through it, no problem." The tune
such people as Rick Springfield, Donna Summer, Manhattan came out incredible. I went back into the room for the playback and I
Transfer, Melissa Manchester, Joe Cocker, El Debarge, Olivia said, "Who's the bass player? He's pretty good," The room went
Newton-John, Kenny Rogers, the Pointer Sisters, Natalie Cole, deadly silent. They said, "You don't know who that is? That's Lee
Peter Cetera, Eddie Money, and Journey does not make it any Sklar." I said, "Who's Lee
easier on him. Sklar?" They said, "Where
It's been trials and tribulations since day one. On his first have you been?" I felt like a
recording session with a Swedish artist, Flemming Rasmussen, total jerk when I said, "Look,
Mike allowed the producer to alter his sound so much that "the I came from Southgate,"
sound I was used to getting was completely blown out the win- and they said, "Southgate?
dow and I was totally freaked out. "Mike worked with Rasmus- Where's that?" I said, "Just "WHEN YOU START
sen for a couple of years until hooking up with the Friends Of before the earth drops off."
Distinction. Eventually, their backup band, H.P. Riot, broke They wound up keeping that OUT IN THE
off onto its own, and Mike traveled with them for a couple of track because they tried to redo BUSINESS, YOU, AS
years. Upon returning to L.A., however, he received a phone it, but they couldn't get it to feel THE DRUMMER, ARE
call from a production company that was creating two late- like the original track. So I
night T. V. pilots. They had gotten Mike's name from someone wound up being on the album ALWAYS WRONG."
he had briefly met while traveling, and they wanted him to audi- with Jeff Porcaro, who played
tion for the part of "Bruce," who was a member of a band. on the rest of the songs—great
"It was a major acting role, and they went on to tell me that company for the first album
he was a tall, dark, handsome, Vic Tanny type. I said, 'Look, out!
first of all, I'm not tall and dark. I'm not exactly handsome and RF: What was your goal at this
I don't have a Vic Tanny body, so you're talking to the wrong point? Had you decided to be a
cat.' They wanted me to go down there and audition anyway. I session guy?
was completely insecure at that point, not knowing what I was MB: Right out of high school, I didn't really know what I wanted to
going to do, and all of a sudden, I was supposed to be an do. I also wanted to be a commercial artist and a cartoonist. I did
actor." some work for Hanna Barbera years and years ago and thought that
He went for the audition anyway, and they liked him so much was what I wanted to do, but I was torn between the two. I finally
that they changed the role to cater to Mike and his personality. decided I didn't want to be stuck in a room with no window and a
Nothing happened with the T. V. pilots, but it began an associa- drafting board for the rest of my life, so I pursued being a drummer.
tion that was to change his life. And my goal was to be a studio musician, which happened, thanks to
MB: The musical director was David Foster. David Foster was some people in the business like David Foster, Lee Sklar, Jay
the new kid in town, playing live in the Rocky Horror Show at Graydon, and a lot of different people.
Photo by Rick Malkin
RF: You have told me that a studio player
must have something unique to offer. What
do you feel is your unique point?
MB: Just what I think differentiates anybody
in that situation. It's a feel. It's the interpreta-
tion of what kind of fill to play where and how
it's played. Even though Jeff Porcaro and I
have two different styles, we're very similar.
Feel-wise we're a little different, though. I
play more towards the center, if not back, and
Jeff plays more on top. We can still work
together, though. If someone wanted us to
play the same fill, the way that fill would be
played, how it would be accented, and how it
would feel would be totally different. Both
would be correct, but it comes down to what's
right for the situation and what the producer
wants to hear. Does the producer want to hear
the way Jeff interprets it or the way Mike
interprets it?
RF: Where do you think your style came
from?
MB: A big influence in my early years was
Nigel Olsson. I loved his playing. I also loved
Jim Gordon and John Bonham. I always
thought Bonham was an unbelievable innova-
tor over any other drummer I could name
from that period. I don't know that his style necessarily carries over to mine, RF: So you were suddenly a rock player.
but in those days, when I was first starting out doing dates, you got catego- MB: Right. My whole premise was, "Now I can show
rized. Who do you hire for a pop tune? You hire this guy, because that's all people that I can play rock 'n' roll," even though it was
he can play. Even though everybody could play everything, if you played on more pop than rock. I learned a lot from that tour. The
a record, everyone said, "Oh, that's his niche," which was not necessarily one thing about being in the studio is that you don't get
the case. I got classified for a while as a ballad player. You want a ballad, you the feedback from an audience, and I realized that I
call Baird; you want a pop tune, you call Jeff. missed that. You get an instant reaction that you don't
RF: Do you think your work with Rick Springfield helped change that mis- get from producers, even if they jump up and down and
conception? say you're the best thing to ever hit the planet. It's still
MB: Yes, and during that period, everybody said, "Oh, he's a rock player. not the same as having a whole crowd of people respond.
Don't call him.for pop; don't call him for ballads." When there used to be RF: Most producers don't do that anyway.
contractors, that's what they'd do. MB: True, they give you a handshake.
RF: What happened after that first demo session? RF: So what did you learn?
MB: I started doing more dates with David Foster, and Lee Sklar and I really MB: I learned that there is a huge difference between live
hit it off. It was like a match made in heaven. I love the guy dearly, and he's a and the studio. First of all, you realize that, if you just sit
brilliant musician. I think he told David Anderle, who was a staff producer there and play, you're not only cheating yourself, but
at A&M, about me. David was producing Rita Coolidge, and she needed a
hit record. Lee said, "I know this new kid in town. You've got to use him,"
and he talked David into using me. I was on drums, Lee Sklar was on bass,
Dean Parks was on guitar, and Booker T. Jones was on Hammond B3. We
did the tune "Higher And Higher," which was when the disco thing first
came in. I remember saying, "Where do you want the tempo of this tune to
be?" David Anderle said, "You listen to the radio and go to these clubs, so
you pick the tempo." I picked the tempo, and I remember doing the tune in
three takes. It wound up being a number-one single for Rita. The date was
three or four days, and a lot of the tunes were real magical. We did the Boz
Scaggs tune "We're All Alone," which was also a hit for her. From there,
my career just kind of snowballed, and my name started getting around
town.
RF: You were already established in town when you got a call to work for
this unknown bubblegummer, Rick Springfield.
MB: Right. Keith Olson had to produce two tunes on him. It was Neil
Geraldo—Pat Benatar's guitar player—and I. The bass player didn't show
up. Rick and Neil played guitar,and we went in and did this thing, "Jesse's
Girl," which was only semi-arranged. That was a huge hit for him, and
Photo by Denise Marie Luko
during that period, while that was being finished, I was also working with
Jay Graydon with the Manhattan Transfer—we did "Boy From New York
City"—and with Mike Post, doing Rockford Files and Hill Street Blues.
When Rick's tune hit, those other tunes also hit, and I had three tunes on the
Top Ten. I was totally jazzed.
RF: You did all of Rick's records at the time, and finally you went out on the
road with him, which was your first big road gig.
MB: Yes. That was 1984.
Photo by Rick Malkin
with no padding, except a little bit to
eliminate the ring. With Journey,
the toms sounded good, but they
were pretty dead. The type of PA
you use makes a difference—what
kind of speakers, what kind of
amps. Having a tom that rang real
long would have gotten so boomy in
all the halls that it would have been
this giant feedback wash. So they
were very tight and the pitch was
kind of high, but not real high—
maybe a half again higher than nor-
mally in the studio.
RF: In the studio, sometimes it takes
minutes to get a good drum sound,
and other times it can take days.
Why the difference in time? Why
does it take days? What goes on?
MB: When you start out in the busi-
ness, you, as the drummer, are
always wrong no matter what hap-
pens. The engineer is buddies with
the producer, and if he isn't, he's
trying to be, so you already have two
strikes against you going in. You
wind up doing a lot of things you
don't want to do, and if it doesn't
you're cheating the people who spent the money. Granted, they're not there sound happening, the engineer goes to the producer and
to see me—they're there to see Rick or whomever—but the more I interact, says, "Hey, man, these drums sound like shit." As you
the better it comes off and the more energy that can develop. Feel is a real get older and become more experienced, you can say,
important thing, and live, tempos can get real carried away. That was a hard "Look, I need to talk to you. You come out here and
tour, too. There were a lot of things where they had a two-track rolling that listen to it." I've always been the kind of person to work
had special sound effects, background voices, extra synth parts, and stuff my fingers to the bone to help a guy out as long as his
like that. I had to play to a click track, but the click track was never laid attitude is cool. The basic difference is engineers. It can
down to begin with, so what wound up happening was Rick put a click track also be the room. Maybe I've gotten a good sound at
on it. He took a wooden ruler and a plastic ashtray, and made a homemade Sunset Sound, and maybe I go into Studio 55 and the
click track to this stuff. There were spots where the thing was all over the engineer isn't that familiar, so it is different. But gener-
place. The guys in the band had to listen to me because they didn't have ally, it should sound the same. Any good engineer can
headphones. There was one tune, "Taxi Dancing," which Rick co-sang with walk into any studio anywhere, and get a good drum
Randy Crawford, and every night, right in the middle of this big fill in the sound without taking hours and hours and hours.
tune, the tempo would go way up and then drop like half of a beat, so I'd RF: How do you approach it initially?
have to find the middle ground and just barrel right through the center of it. MB: I usually go in and make sure everything is tuned to
That was a trip, but it was a challenge. the way I hear it. Then I ask what kind of attitude we're
RF: You mentioned before that you were fanatical about tuning drums. looking for. Are we looking at a ballad? Is it a rock tune?
How does it differ from studio to live? What are we doing? Then I take the appropriate snare
MB: I tune things a lot higher live than in the studio. What winds up happen- drum out.
ing is, live, the lower you make things, the more you start getting in the range RF: What do you use for what application?
of the bass and the synthesized keyboards, so it's going to get lost. All you're MB: On almost everything, I use a 5 1/2 Ludwig bronze,
going to get is basically the attack. Also, it depends on what the sound mixer although, sometimes I use a 6 1/2 for ballads. That's a
and monitor mixer want. With Rick, I left my drums pretty much wide open great all-purpose snare drum, and it works in just about
Mike with his drum tech, Peter Moshay any situation. The thing I like about it versus a
Ludwig Black Beauty or a regular chrome snare is
that it still has the bite, but it seems to have less
overtones to deal with. You can get a nice, fat,
crisp sound out of it. You can tune it up, you can
tune it down, and in all applications, it works well,
within the middle ground, so to speak. Then I'll
work with the engineer on it. He'll say, "I need
more top end," or "I've got this ring," so I'll
adjust the tape and the padding accordingly. I
always keep my bottom heads tight on the snare
drum, which is one thing some drummers don't
do. That works in most situations—the middle
Photo by Rick Malkin
B
UDDY Rich was a star in every sense ers. had been playing again after decades away
of the word. The ace drummer The key fact when considering Buddy from drumming, he merely smiled and
remained in the foreground from Rich is that he was not like most people. said, "Just play; have fun; it'll all come
childhood until his death on April 2. He He couldn't be expected to behave as the back." It didn't, really; too much time had
knew he was special; he couldn't help but majority of us do. A man of tempera- passed. I stopped playing after a period of
be aware that what he was capable of doing ment—a perfectionist whose behavior var- time, realizing that Buddy was talking
was freakish, impossible—beyond all oth- ied, depending on his mood—he could
Remo Belli
It was my good fortune to have been able
to know and understand, to some degree,
Buddy Rich during the many different
phases of his illustrious career. Buddy
Rich's contribution in elevating the drum-
set player to an acceptable social, artistic,
and musical position should be remem-
bered forever by those of us who depend
on such leadership as a constant source of
inspiration. The world will surely miss
Buddy Rich, but we must be grateful for
the time he did spend with us.
Louie Bellson
I cannot express in words what I feel about
the passing of my dear friend, Buddy Rich.
All I can say is that I'm sad, but then I real-
ize that, when God can give us one or two
days of happiness with a person, that
should be enough, and I had over 40 years
of wonderful times with this great man. He
was like a dear brother to me, and he
inspired me so much as a player. People
like Buddy, Gene Krupa, Shelly Manne, Jo
Jones, and Chick Webb were the select few
players that God gave all this extra talent
to. All drummers should look up to Buddy
and say, "Thanks Buddy for a great life
and showing us how." This next year, I'm
dedicating all my concerts to this great
man.
I just can't get it into my mind that he's
gone. Of course, to me he's always going
to be there, because every time I sit down
to play, I'm going to be thinking about
A very young Buddy Rich began his nearly 70-year career as "Traps, The Drum him, Jo Jones, Chick Webb, and all these
Wonder, "on the 1920s RKO vaudeville circuit. beautiful guys.
Lennie DiMuzio
Buddy in his 20's behind an early set of Slingerland Radio Kings.
Armand and I were with Buddy the day
Jim Chapin
before he died. I personally found him to
Back in early June, 1937, I had just begun be one of the most courageous, strongest
to play drums. In the previous six months, people that I ever met in my life. He had
I had marveled at Gene, Cozy, Chick, been through 14 days of chemotherapy
Lionel, the two Rays—Bauduc and Mc- and cobalt treatment, which was really
Kinley—Davey, O'Neill, etc. One night, very hard on him. He was paralyzed on his
after leaving the Savoy about 3:00 A.M., I left side, but there was a very slow, gradual
decided to try another Harlem spot called increase in strength that was coming daily.
Dickie Wells'. I walked down the stairs He was in a lot of pain, but he was still
into madness. A vibes player was playing a trying, and he was showing us how he
very fast tempo. It seemed as if he were could move his fingers and toes a little bit.
riding a whirlwind created by a human The fight was still there to the very end.
dynamo who was playing effortlessly on a That's what intrigued me so much. Most
set of inadequate drums. It was Buddy people would have never lasted that long
Rich—all 19 years of him. He was well after what he had been through. He was
known uptown; he'd already been a star in tough in spirit and in attitude. His whole
show biz for 17 of those years. On this par- life was just dedicated to the drums. Right
ticular night, he was just sitting in. His epic up to the very last moment, he was talking
commitment to jazz started the next winter about going back out on the road. I con-
at the Hickory House. sider it to be probably the saddest, but
For all of us who grew up in the swing most wonderful, moment in my life to
era, he was the ultimate paragon of skill. have been with Buddy at the end and to
Styles have come and gone, but to many, have witnessed the absolute, incredible
Buddy remained the incomparable deline- strength in attitude that he had right up to
ator of what was good in drumming— the final day. I admired his attitude and his
always on top of any worthy advance in the inspiration. He showed us how to live as
art. Who will fill his shoes? No one can, musicians, and then he showed us how to
but if we just heed his example and fill our die. He went out with a lot of dignity and
own shoes, maybe we will work wonders. with a lot of pride.
On the movie set of Ship Ahoy in 1942, with Tommy Dorsey & His Orchestra featuring Buddy and Frank Sinatra (far right).
Bobby Columby
Fred Gruber
For some reason—I'm not exactly sure
As far as the twentieth century goes, the why, because I never had that much faith
best of what we are is represented in people in my own abilities as a drummer—he
like Babe Ruth, Joe Louis, Albert Ein- always complimented me, and he had been
stein, and Buddy Rich. The contributions known as someone who never said any-
that people like these made will always be thing good about another drummer. But I
with us. Buddy was a total artist, the likes found out that I was one of the drummers
of which we will never see again. And per- he liked, although my playing was real dif-
sonally, with his passing, I lost the best ferent. Eventually I met him and thanked
friend I ever had. I miss him. him for all the nice stuff he had said. I had
heard these terrible things about Buddy
Buddy in action somewhere around 1950-51. Rich—that he was real nasty and all this
stuff. When I first met him, I sure didn't
experience any of that. I could see in his
eyes that he was a tremendously warm per-
son.
Soon after that, he called me and asked
if I wanted to go to a dinner, and warned
me that it would be a rather unusual din-
ner. Upon finding out that Gene Krupa
had leukemia, Buddy had decided that,
rather than let his friend die without pay-
ing homage to him, he would throw a
good-bye party for Gene Krupa. He
invited people from Zildjian cymbals,
Slingerland drums, Frank's Drum Shop in
Chicago, Manny's in New York, and
drummers like Joe Morello, Zutty Single-
ton, Jo Jones, Sonny Igoe—I apologize to
those I've forgotten. He asked me to be the
representative of the young drummers. We
each made a toast to Gene and thanked
him for all of his contributions as a drum-
mer. We were all crying. The only one in
that room who looked good was Gene, and
he looked fantastic.
For Buddy to pay tribute on this very
personal level to a person, without waiting
until after Gene was dead to do it—this
was the most incredible evening I've ever
spent in my life. He did it because he loved
Gene, and he wanted to say good-bye the
right way. The pity is that we didn't get a
chance to do this for Buddy, because if
anyone deserved it, he did.
Norman Granz's famed Jazz At The Philharmonic tours of the
early to mid - '50s featured both Gene Krupa and Buddy Rich in
their now historic "Drum Battles."
Peter Erskine
About 11 years ago, Buddy's band and
Maynard Ferguson's band were playing on
the same bill at an amusement park in
Ohio. It was summer, and it was hot. Dur-
ing his drum solo in "West Side Story,"
Buddy played the most magnificent single-
stroke roll in the history of the world. The
sound, the control, the stick height—
everything was perfect. And in that
unlikely place, it was like seeing the Pieta
or something. You could certainly com-
pare Buddy to Heifetz, Horowitz, or any
of the great instrumental masters of music.
I was so moved that, after his set, I went
back to his dressing room and got down on
one knee in front of him to shake his hand
and express my complete admiration. He
could see that my gesture was sincere, and
he didn't think that it was too corny or dra-
matic of me. I've always appreciated that.
Buddy was the greatest drummer ever to
pick up a pair of sticks. His bands always
sounded so good. He was also the best
brush player there ever was. Somehow, I
thought he'd always be there for us. Sonny Igoe
I first saw Buddy play when I was about 16
years old. He's always been a great influ-
ence on me, like he's been on so many
Buddy as he appeared on MD's very first cover in January 1977, other drummers over the years. Nobody
could play in a band like Buddy. He was
the only drummer I know of who would
amaze you every time you heard him play.
In a world where there have been very few
real drumming "stars," you could hon-
estly say that Buddy was a star in the true
sense of the word. There's never been any-
one like him. If there is anyone like him out
there, well, I certainly haven't seen him
yet.
Stan Levey
No one has ever played the way Buddy did,
and I don't think we will ever see anyone
equal his natural ability. I've known
Buddy since 1939, when he was with Artie
Shaw, and we stayed close until the day he
died. The amazing thing about Buddy was
that, through the years, his playing kept
getting better. He influenced, either
directly or indirectly, anyone who has ever
been near a drum. I can relate Buddy to a
Rembrandt or an Einstein—one of a kind.
Larrie Londin
As controversial as Buddy was, the people
I've met who really knew him loved him a
great deal. There had to be quite a large
heart inside the man, even with all that
facade in front of it. I know all the players
that I've worked and practiced with were
strongly influenced by Buddy. We've lost
another legend, and he's going to be deeply
missed.
Mel Lewis
Buddy and I once did a benefit at Hastings
High School to raise money for the stage
band. We had each played, and then we
were going to do a thing together. My
daughter Donna said, "Oh my God.
What's Buddy going to do to my dad when
they get up there?" Buddy overheard her
and laughed. I had this little, tiny set of
Asba drums, with a 10 x 18 bass drum, a
snare drum, and a couple of small cym-
bals. Buddy had this big, full set with the
big bass drum, three tom-toms, and all
that. So when we got out on stage, I turned
to Buddy and said, "Okay, look, you're
bigger than I am, so take it easy.'' That got
a big laugh out of the audience. We sat
down and had fun. Everything was real
simple. There was no cutting—just simple
and very musical. Generally, every time he
was on the stage with another drummer, it
always turned out to be a big battle. He
always had to sort of wipe the guy out
because the guy was proceeding to try to
wipe him out, which was an impossibility.
But we just kept it simple. He told me
afterwards, "Man, why can't guys just do
things like that all the time?" There was
such a warmth.
We lost the one drummer that I think
everybody had some respect for—either a
ton of it or a little of it, but something. I've
Armand Zildjian
During all of my life in this business, there
was always Buddy Rich. He gave me the
best musical experiences of my life. He had
talent, musicianship, and natural ability
with that drive behind it. You could recog-
nize his playing 100 miles away. I don't
know how to explain it except to say that
he just knew how music should sound.
A casual Buddy Rich relaxes in his He'll forever be a legend. The world is
New York apartment during MD's going to miss that fire he had in his drum-
Buddy Revisited interview in 1981. ming.
BUDDY'S CLASSIC
Shortly after Buddy Rich passed away, a
number of MD readers wrote in to express
their thoughts about this great man. A
RADIO KINGS
sampling of these letters follows.
The music world has lost yet another by Joe MacSweeney
genius. He will be truly missed, but never
forgotten, for he left everyone who ever
saw him perform with a sense of awe for
his professionalism and honesty in his
music. He loved playing and we loved lis-
tening.
The Buddy Rich Fan Club was founded
in 1984 to honor Mr. Rich for his brilliant
playing. The legendary Buddy Rich is
gone, but our club will help continue to
keep the memory of Mr. Rich alive.
Charles Braun
The Buddy Rich Fan Club
P.O. Box 2014
Warminster, PA 18974
I picked up my first pair of drumsticks at
age 16, listening and learning all of the
rock and pop stuff. One evening while I
was watching TV, there he was, playing the
greatest things I'd ever heard. He was no
by Tim Smith
Photo by Tom Copi
TB: Yeah, it was great! I was 16. We went to Echo Sound Studios
in New York. I think it was 16 tracks, maybe more. They made me
take all my bottom heads off, but still miked on top. I really didn't
know the difference, but it was the first time I had ever seen anyone
put tape on a head before.
TS: Did that bug you?
TB: No! I thought it was cool! They even put tape on the cymbals
to cut some of the overtones. I really got into it. After the session, I
left all the tape on and tried some live gigs with it, but I didn't like
the sound. I only had a four-piece set and two cymbals, so I needed
all the sound and resonance I could get.
TS: Once you got out of high school, did you dive right into the live
gigging routine?
TB: I did play out a lot, but I also went to Nassau Community
College for two years. I hooked up with a teacher there by the name
of Ronnie Gould. He taught me a lot about snare drum and tim-
pani technique, a lot of which I incorporate into my set playing.
That was really helpful, because he showed me how to throw the
stick to get it to rebound and keep the hands level with the snare
drum, which is essential for control and getting optimum sound
from the drum. He taught me a lot. Sometimes when you study
improvisation group, voice classes, Theory I & II, modern arrang- from a legit percussionist, you get a different approach to what
ing, and independent study. I mean, these teachers were really into you're doing. You get people who are real rudimental, and they're
preparing people, you know? Each of the main ensembles would kind of regimented and everything, but there's something about
record every year and the jazz ensemble did little tours. It was the people who are in orchestras or percussion ensembles. They
great! Usually fourth period was jazz improvisation, which was have a different kind of form and outlook that's really nice.
lunch. So everyone would give up eating and just play tunes! The I was raised basically playing rock 'n' roll—you know, Led Zep-
music department had a wall-to-wall library of records—King pelin, Yes, Cream, King Crimson, Genesis. Then Chicago, Blood,
Crimson, Miles, Emerson, Lake & Palmer, Art Blakey, Return to Sweat & Tears, and Cold Blood came out. This was really a new
Forever, big band stuff, everything. There was such a well of influ- thing for those of us who played rock. From there, a lot of the jazz
ence and information there. It was also a place where I was given influences started filtering through. I got into Elvin and Tony. I
good basics. In the jazz ensemble, they used to bring in guys from started listening to big band as well as small group stuff. Then Steve
New York City to rehearse us as if we were a professional band, Gadd, Chris Parker, and Rick Marotta came on the scene, and a
instead of treating us as if we were just kids. They used to pick whole other world opened up! I suddenly had a new set of idols. I
great material like Woody Herman, Quincy Jones, and Thad was 18 and I loved Elvin, Tony, and DeJohnette, but now there
Jones/Mel Lewis for us to play. were all these new guys—Dave Garibaldi, Harvey Mason, Bernard
TS: You had your first recording experience with that jazz band, Purdie. I can't forget Bernard. He wigged me out. I remember I
right? had just gotten home from a band rehearsal, and I turned on the
Midnight Special and Cat Stevens was on. They had two drum-
mers. One drummer—I think his name was Jerry Conway—was
really good, but all of a sudden, this black guy got up on this
Ludwig kit and started groovin'. He wasn't doing anything else—
no fills, no crashes—just groove. I was dancing in my seat! I
thought, "Holy shit, this guy is burning!" I knew right there that
that was it. After that show, I kind of Aretha Franklin'd out. Soon
after that, a friend turned me on to Tower of Power and Garibaldi.
I almost died the first time I heard "Squibb Cakes" and "Oakland
Stroke"! I used to go to New York City to see Gadd and Chris
Parker play with Stuff. Then I'd go across the Street to Sweet Bas-
il's to listen to Al Foster. All that sort of rekindled getting the
bebop and the straight-ahead stuff together. Then I sort of melded
it. I started putting the rock stuff into the bop and the bop stuff into
the funk. At the time, it was kind of confusing, because I had all
this stuff inside but didn't know how or when to use it. When I
finally got into Chick Corea's band, it started to file, not in the
sense of this is this style and this is that style, but how and when to
pick and choose—put that stuff in there, that other thing here. I
started to meld styles and influences together so it would come out
sounding like me.
TS: How did you first hook up with Chick Corea?
TB: That was while I was still in college. During the time I was
there, I always wanted to get out, but I didn't want to just up and
quit. Some of my friends were going to North Texas, and some
were going to Berklee. They were all trying to get me to go some-
where. I said, "No, no, I'm going to stay near the City and try to
get a gig." So here I was playing around town and studying music
education. I had been doing weddings, bar mitzvahs, and private
Photo by Tom Copi
parties, plus playing with this R&B band, and not getting much
sleep or study time. I finally realized I wanted to be a player. If
you're going to college, you've got to know what you're going for.
I mean, there's nothing bad about it, but for me, I shouldn't have
been going. It didn't offer anything that I wanted. So on February
10, Chick called up and wanted me to go on the road with him. This
was after my second audition. Needless to say, I dropped out of
school the next day. A couple of weeks later, I was on my first plane
ride ever, heading out to California.
The day I got in, I went to S.I.R. to prepare for rehearsal. I set
up and began practicing. After a while, Chick came in and I
stopped playing. Tucked under his arm was this flatride cymbal.
He said, "Here, try this." It was the cymbal used by Roy Haynes
on Now He Sings, Now He Sobs and Airto on Return To Forever. I
guess it was the first flat cymbal made by Paiste. It first belonged to
Roy, who gave it to Chick, or something like that. So we sat down
and played, and he was teaching me little pointers about playing
outside. He showed me something he called the Grand Pulse. It's
like where once I counted 1, 2, 3,4 and listened for spaces like half
and whole notes, I learned to listen and count by the chord
changes. We would start with this little vamp, and go round robin
and trade. In about 20 minutes, we were flat out blowing—inside,
outside, sideways, smokin'! But no matter which way it went, I
knew where I was all the time. Chick taught me a lot about playing
in a rhythm section.
TS: You were just a kid. What sort of things did he like about you?
TB: Well, I used to take a lot of chances, and I think that's one of
the things Chick liked. I was young but pretty wide open. He
taught me about what he called "leaving corners for a soloist." It
was like, to really be basic, when you are playing a groove, you
might do a fill after every four or eight bars as sort of a lead-in to
the next section of the tune. A corner was similar, in that, instead
of a fill, you'd be playing a pop or tail end of a rhythm that might
be in the melody in that part of the tune. It's kind of sneaky, but
that's when you know where you are in the tune and in the time.
When you know where the corners are in a tune, you can go as far
out as you want, for as long as you want. It doesn't matter what
style of music you're playing. It applies to everything. The first
recording I heard that really emphasized this concept was the first
Standards album with Keith Jarrett and Jack DeJohnette. Jack
was playing this brushes thing and using the hi-hat for accentua-
tions. It wasn't just in time; it was the time! The brushes and hi-hat quintet, which turned into a septet. With the septet, I got to play
made the music ebb and flow so much with the changes that it was with Don Alias. I learned a lot from just watching Don play. He
like there was no 1,2, 3, 4; the changes became the pulse! The gave me a lot of my Latin and Afro-Cuban stuff. Don and Airto
music flowed in waves! It's a pretty basic idea but very strong in really helped me get that stuff down. Don didn't join the band at
application. first. We were on the road after the Tap Step album was done, and
Anyway, I stayed with Chick on and off for about seven years. I he sat in one night. I was really scared. I said to myself, "Oh my
did three albums with him: Secret Agent [Polydor], Tap Step God, this is Don Alias. He's played with Miles and with Elvin!
[Warner Bros.], and Again And Again [Elektra Musician]. So that He's such a monster!" But we got up on stage, and it clicked! It's
was nice. The last tour I did with him was in 1982. like we became this percussion section. It was pretty wild, and it
TS: With Chick, you played in a variety of group sizes and settings, was more fun than I could ever remember. From there, he stayed
right? on with the band. Sometimes Don had to go play gigs with Jaco
TB: Yes. The first band was really kind of a big band—13 pieces. and the Word of Mouth band, so Laudir DeOliveira would fill in.
The second band was in 1980. It was a quartet, which turned into a It was like I just started opening my ears. I'd be listening to Don
play, and I'd be an extension of what he played and vice versa. It
wouldn't sound like drums and percussion. It started to sound like
Tom's Grooves one instrument. It was so hip! Every night was such a new learning
experience for me. We did two tours in 1982, and Don was on both
of them.
Transcribed by Tom Brechtlein After the second tour, near the end of '82, I was asked to sub in
"The Slide," Chick Corea: Tap Step (Warner Bros.) Christopher Cross' band. So I played with him, and he asked me to
stay on. I did a small tour with him and a couple of Solid Gold TV
shows. I didn't record much with him, but I really had fun. We did
a live recording at the Universal Ampitheatre for the King Biscuit
Flour Hour. During a rehearsal, I was messing around on some
Latin stuff with the percussionist James Finner, and Chris came up
and suggested that we do a little thing up front before one of the
tunes, like an intro. Of course I said, "Sure," so I got to use some
"Again And Again," Chick Corea: Again And Again (Elektra of my Latin stuff. It fit real well with the music and wasn't this
Musician) weird offbeat thing that the audience couldn't relate to. It was a
solo for us, and everybody went nuts!
TS: Tell me about your relationship with Joe Farrell.
TB: I met Joe when we did the first tour with Chick's 13-piece
Named below are those drummers
whose talent, musical achievements,
and lasting popularity placed them first
in MD's Readers Poll in the categories
indicated for five or more years. We
will include these artists, along with
those added in the future, in each
year's Readers Poll Results as our way
of honoring these very special perform-
ers.
GARY BURTON
Mallet Percussion
Photo by Lissa Wales
AIRTO
Latin American
and Latin/Brazilian Percussion
VIC FIRTH
Classical Percussion
1987
STEVE GADD BILLY
COBHAM
All Around Drummer;
Studio Drummer
NEIL PEART
Rock Drummer; 1986: Tony Williams
Multi-Percussionist 1985: Louie Bellson
1984: Steve Gadd
DAVID GARIBALDI 1983: Neil Peart
R&B/Funk Drummer 1982: Keith Moon
1981: John Bonham
BUDDY RICH 1980: Buddy Rich
Big Band Drummer 1979: Gene Krupa
Photo by Rick Malkin
STEVE
Photo by Paul Jonason
SMITH
2. Simon Phillips
3. Omar Hakim
4. Stewart Copeland LOUIE
Photo by Annie Colbeck
5. Vinnie Colaiuta
BELLSON
2. Ed Shaughnessy
3. Mel Lewis
SIMON 4. Butch Miles
5. Terry Clarke
PHILLIPS
2. Jeff Porcaro
3. Larrie Londin
4. Anton Fig
5. Vinnie Colaiuta
John "J.R." Robinson
STEVE
Photo by Rick Malkin
JORDAN
2. Tony Thompson
DAVE 3. Steve Gadd
4. Harvey Mason
SAMUELS Dave Weckl
2. Ed Mann
Photo by Rick Malkin
3. Lionel Hampton
4. Mike Mainieri
5. Bobby Hutcherson
Milt Jackson
Leigh Howard Stevens
ALEX
ACUNA
Photo by Greg Toland
2. Tito Puente
3. Nana Vasconcelos
4. Manolo Badrena
Ralph MacDonald
ANTHONY
J. CIRONE
2. Arthur Press
3. Al Payson
4. Fred Begun
5. Fred Hinger
Ed Mann
Photo by Rick Malkin
ALEX
Photo by Rick Malkin
VAN
HALEN
2. Gregg Bissonette ROD
MORGENSTEIN
Photo by Lissa Wales
Tommy Lee
4. Nicko McBrain 2. Terry Bozzio
5. Tommy Aldridge 3. Steve Smith
4. Simon Phillips
PHIL 5. Bill Bruford
COLLINS
2. Bill Gibson
Jeff Porcaro
4. Kenny Aronoff
5. John "J.R." Robinson
Photo by Paul Natkin/Photo Reserve
STEWART
COPELAND
Photo by Rick Malkin
2. Ed Mann
3. Airto
4. Ray Cooper
GREGG Alannah Currie
Photo by Douglas Richardson
WECKL
CHICK COREA:
THE CHICK COREA
TONY ELEKTRIC BAND
Photo by Jaeger Kotos
In order to present the results of our Readers Poll, the votes were tabulated and the top five names in each category listed here. In
the event that a tie occurred at any position other than fifth place, both names were presented and the subsequent position was
eliminated. When a tie occurred at fifth place, all winning names were presented.
by M. Rupert Walden
Mental Techniques
In Drumming: Part 2
I once had a Kung Fu instructor tell me mental exercises are necessary. You can Visualization is now an essential compo-
there were masters who no longer needed think of what you want to play and how nent for many programs and performers.
to practice physically but did their practic- you're going to do it." Its applications are most observable in
ing in their minds. That sounds pretty far- James Loehr, in his book Mental sports but are equally dramatic in other
fetched, right? But consider this. Charles Toughness Training For Sports, refers to fields. In the last Winter Olympics, U.S.
Garfield, a researcher and expert in opti- visualization as "one of the most powerful downhill skier Phil Mayer was seen by mil-
mal human performance, reports a study mental training strategies available." Gar- lions as he mentally rehearsed his race
in his book Peak Performance, which field calls it "the master skill,'' and stresses prior to winning the gold medal. Concert
involved several groups of world-class ath- that it can strengthen our present skill cellist Pablo Casals mentally practices and
letes. Various training methods were uti- level, as well as help us develop new skills. memorizes a new piece of music before
lized, and the groups were tested prior to He feels the term visualization is mislead- ever sitting down to play it. Use the follow-
the 1980 Olympic games. The top group ing as it implies using only the sense of ing as a basis for developing your own
had used a combination of 25% physical sight. He's found that musicians often mental training routines.
and 75% mental training! Maybe there's report hearing in their imagery. So it's
something to this mental thing after all. important to use all the senses—sight, Guidelines
Maybe we drummers can better learn to smell, taste, hearing, and touch—to get a
tap our own mental powers. complete mental picture. 1. The starting point for effective visual-
Mental attitude has long been cited as Why and how does mental practice ization is becoming physically relaxed. Use
the deciding factor between champions work? In 1960, Dr. Maxwell Maltz pub- a method of your choice, or simply sit qui-
and the rest of the pack. Gold medal lished a remarkable book called Psychocy- etly in a comfortable position, close your
decathlon champion Bruce Jenner has bernetics, in which he wrote, "The brain eyes, and take several deep, slow breaths.
said, "I always felt that my greatest asset and nervous system cannot tell the differ- As you exhale, imagine yourself releasing
was not my physical ability; it was my men- ence between an actual event and one that all tension, worry, and negativity. With
tal ability.'' As far back as 1899, experts of is vividly imagined." There were many each inhalation, you are bringing in posi-
the day were debating whether gymnasts skeptics at the time, but research since then tive energy, peace, lightness, and relaxa-
could improve by practicing in their heads. has systematically confirmed the truth of tion.
Interest in the inner side of sports really his ideas. (As an aside, I heartily recom- 2. Experiment with using a still shot, a
began to mushroom in the 1960s. Today, mend this book! Charley Perry and Jack slide show, or a full-length movie to see
findings and applications have spilled over DeJohnette discussed it in an article sev- what works best for you. Some evidence
into many other areas as well. Research on eral years ago. One college football coach suggests that using action or motion in
the mental component in such diverse thought it was so good that he gave every your images is very important.
fields as health care, business, sports, and member of his team a copy.) New York 3. Use both external and internal imag-
the arts continues to grow. Biofeedback City movement therapist Irene Dowd ery. External imagery is taking the role of a
has proven that our thoughts, words, and explains that there are two parts in learning spectator by watching yourself playing the
inner images affect virtually every cell of any movement skill: physical conditioning drums, as if you were in the audience. You
the body. This relatively new knowledge for the muscles, and neurological pattern- might think of yourself as a cameraman
has an important impact on drummers. ing or the sequence of a move. According employing various shots and angles to get
The mental barriers that inhibit musicians to Irene, "You have to learn the complex the best shot. Internal imagery involves
are the same as those faced by performers patterns or nerve signals that are needed to assuming the role of the performer and
in other disciplines. We can apply what produce movement." Repetition of the experiencing the attitudes, feelings, and
they have learned! movement is one way to learn the skill; sensations that accompany that role.
One of the major mental techniques is using imagery is another. 4. Remember that this is a learned skill.
called visualization, or mental rehearsal. In a series of experiments, monitoring The more you practice, the better you get.
It's been referred to as practicing in the instruments were attached to downhill ski- Use both long and short training sessions.
mind's eye, creating movies of the mind, ers during their mental practices. It was You don't have to go into a deep trance.
and projecting onto your own mental found that the nerve and muscle fibers used It's important to use longer periods at first,
screen. Golfing legend Jack Nicklaus in the various movements actually fired up. maybe five to ten minutes, to get the hang
believes that his success is due to three It was like a scaled down version of a real of it. Shorter sessions will then reinforce
major factors: 10% to his setup, 40% to run down the slopes—"proof," says your previous work. A number of short
his stance, and 50% to the mental imagery Dorothy Harris, Ph. D., director of a grad- sessions is more effective than one or two
he practices before every shot. The concept uate program in sports psychology, "that, long ones. A frequently seen pattern is
is not entirely new to musicians. Drummer when you imagine something, there's more that, after practice, a single word or image
Herb Lovelle stated in an MD interview, going on than just between the ears." will trigger the entire sequence, and one
"I practice every day. I practice mentally, "According to researchers," writes Gar- can get the benefits in a fraction of the
which is something Max [Roach] im- field, "we enhance and accelerate our time.
planted in my head. If you don't have the physical learning process by combining 5. Think of everything as happening
opportunity to physically practice, then mental imagery and physical training." right now, even when reviewing past per-
formances or previewing future ones. This ing hard. Gently guide your images instead future.
is very important. Think of immediate of forcing them. If your mind wanders— Close your eyes, breathe deeply, and
results. and it surely will—simply accept this and relax. Pick a recent performance, and
6. Use all your senses. The goal is to go back to the task. mentally review it. You can stop action,
make your imagery as detailed, vivid, and 9. Use both an active and passive use slow motion, rewind, and replay. Did
realistic as possible. Some people report approach—active being when you act to you make any major or minor mistakes?
that they just don't see pictures in their direct the process in a structured way, pas- How was your tempo? What do you think
head. If this applies to you, just focus on sive being a more unstructured approach of your interpretation of the tunes? Were
your other senses and imagine in your own in which you just kind of sit back and you synchronized with the rest of the
style. This will not decrease the effective- watch to see what happens. band? How were your dynamics? Did your
ness of the exercises. ideas flow freely? What attitudes,
7. Give yourself permission to imagine Review For Improvement
thoughts, or feelings did you have? Did
and fantasize. This came naturally as a This is an exercise similar to reviewing they enhance or detract from your play-
child, but you may have to recapture it. game films in sports. Basketball hall of ing? How would you rate your perform-
With some success, you'll be motivated to famer Pete Marovitch would mentally ance?
continue. relive every game to determine his mistakes Note any aspects of your playing that
8. Let the process happen instead of try- and reprogram himself to play better in the you want to change or improve. Rewind
and play through those sections, editing in
your modifications. Repeat the improved
version several times. Get a detailed, crys-
tal-clear image of this enhanced perform-
ance. Forget the mistakes, and remember
the corrections. Focus on what you want,
not what you don't want.
Review For Inspiration
Close your eyes and relax. Mentally
review some of the high points of your
playing career—those times that you really
feel good about. Did you get positive feed-
back from others? What were you wear-
ing? Were other people involved? What
impresses you most about these events?
Mentally fill in such details as temperature,
sound, color, and lighting. Recapture the
richness of your own special moments, and
re-experience them as fully as you can.
Replay your highlight film often. It's a
good confidence booster and will inspire
your continued development.
Becoming Fully Focused
The human mind is a perpetual motion
machine. It's been referred to as "a
drunken monkey" and as a chariot drawn
by a team of wild horses with no driver.
Our challenge is to keep it fully focused on
what we choose.
The martial arts have long recognized
the importance of tuning out extraneous
material and paying complete attention to
the present moment. This instruction was
given to a medieval student: "You must
concentrate upon and consecrate yourself
wholly to each day, as though a fire were
raging in your hair." The samurai used the
term "mokuteki hon'i" to emphasize this
concept. It translates as "focus on your
purpose!" Buddy Rich displayed this atti-
tude. He said that, whenever he sat down
to play, he put aside all his problems, per-
sonal or business. His sole concern was
giving his utmost at that particular point in
time.
Here are some techniques you can use to
increase your focus. One is to imagine how
you would look if you were being filmed.
What if the camera were overhead, under-
neath your drums, to the sides, far off, or
up close? Another is to find a key image
that symbolizes your progress, goals, or Use these focusing strategies during or be." Basketball great Larry Bird pro-
ideals. Arnold Schwarzenegger visualizes both practice and performance. In prac- jects himself into the future in preparation
improvement by thinking of his biceps as tice, you might pause periodically to sing for upcoming games. During the 1986
mountains that fill up the whole room. the patterns to yourself and imagine exe- playoffs, his coach said, "You can almost
Swimmers think of themselves as a ship's cuting them flawlessly in your mind. While see the movie projector go off in his head,''
bow slicing through the water. Dancers see playing, you can flash your key images on as Bird would dribble the ball and then uti-
themselves floating through their steps! your mental screen—the images that repre- lize one of the many options he'd mentally
Sprinters and high jumpers imagine their sent the ideal you are striving for. rehearsed numerous times.
legs as powerful springs that propel them. Previewing The following exercise will help you to
Some athletes identify themselves with an program yourself for peak performance in
animal—perhaps a leopard, cheetah, or Our mental pictures write the scripts for future situations. Close your eyes and
gazelle—that represents qualities they wish our futures. Dr. Emerson Fostick wrote, relax. Review your previous exercises,
to express. What meaningful image can "Hold a picture of yourself long and your improvements, and your high points.
you think of? Give this some thought. steadily enough in your mind's eye, and Scan your own history, and recapture
Steve Gadd uses the image of Airto to you will be drawn toward it . . . . Great those times of increased mind-body inte-
inspire him when playing samba patterns. living starts with a picture held in your gration—times when everything clicked
He says, "I'm just trying to be like him." imagination of what you would like to do and just seemed to flow. Dwell on these
images.
Now project yourself into a future
event. This could be the wedding reception
next weekend, or playing in concert for
20,000 screaming fans. How would things
be if everything were as you wanted it to
be? What do you need to add to make the
scene more detailed and real?
Take the role of an observer. See your-
self now—your facial expressions, your
clothes, your equipment. See yourself
behind your drums. How does that per-
former project himself or herself? What
spirit does he or she radiate? What does he
or she play, and how does he or she play it?
What do you notice most? In your mind's
eye, see yourself as the confident, creative,
poised, and talented person you aspire to
be. These qualities are now yours.
Now become that drummer. Feel your
body sensations—the tingle of excitement,
the heat of the lights. Sense the energy in
your muscles and the focused power of
that energy. Feel the sticks in your hands
and the pedals beneath your feet. What are
you thinking and feeling? What do you
notice most about playing your best? You
may want to rehearse the moves you want
to make or the ideas you want to express,
or you might prefer to focus on the mood,
the atmosphere, and the positive feedback
from yourself and an appreciative audi-
ence. Dwell on this experience, and live it
fully. Know the exhilaration of having per-
formed your best. Let go, and trust that
this exercise has positively influenced you
for future excellence.
Will visualization work for you? No,
not unless you do so some work yourself.
"Knowing is not enough; we must apply.
Willing is not enough; we must do," wrote
Goethe. Make a game of these exercises
and have fun with them, but don't under-
estimate their power. Expand and modify
them in your own individual way. The
proper images, rightly used, have the
power to stimulate, inspire, motivate, and
improve us, and can have a profound and
sustained impact on our drumming skills.
Our mental pictures are the blueprints for
future performances, so keep them posi-
tive.
by Tom Stephenson
Cyndi Lauper's
Sterling Campbell
Photo by Laura Friedman
York: Lots of people go out to clubs and SC: I was fortunate in that I studied with a
see the bands. couple of teachers, such as Sticks Evans, a
TS: What was next? percussionist who played with a lot of peo-
SC: Things started to get better. The ple in the old days. I was fortunate to have
"Introducing on drums: Sterling Camp- Pedantics was signed to Elektra for a cou- teachers who more or less said,"This is the
bell . . . You should be reading about him ple of months, but that didn't work out too way you play," and then let me play. They
soon; he's that good." —Cyndi Lauper well. But I continued with the band talked more about life and the music busi-
Sterling Campbell has come a long way because I believed in it. Then I got a call ness, and just taught me the basic things. I
in his 21 years. Already he has one of the from this guy named Scott from an Aus- studied with Michael Carvin, too. He
more prestigious touring jobs around: tralian band called Kids In The Kitchen. definitely made it fun. I went to some
Cyndi Lauper. Besides that job, he has sev- They are really big down in Australia. I did teachers who just made it boring; they
eral other bands vying for his time when he a concert with them for the New Music didn't have any fun with it. But Michael
is off the road. Seminar in New York, and it ended up actually made it fun, and I could incorpo-
In person, Sterling is surprisingly quiet being a TV production. They ended up rate it into what I was doing.
and almost shy. He in no way has devel- asking me to come down to Australia with TS: How did he do that?
oped the ego that might easily come with them. SC: He would just let me play a groove,
such elite territory acquired at so young an TS: So did you go to Australia? and then he would write out a pattern and
age. In fact, he is almost self-effacingly SC: Yeah, with Cyndi! A week before I say, "Now add this to what you were play-
humble. was supposed to go to Australia, I was ing." He'd have me play naturally, and
His approach to playing has been very doing a gig with Kit Haines, and Cyndi's then he'd add little things to it. The thing
personal and natural. He has spent less bass player came into the club. A group of that made it fun was that he let me be
time than most with the rudiments and on my friends told him about me because myself.
the training grounds, and much more time Cyndi was looking for a drummer. At first, TS: Did he work mainly with jazz?
listening to his own inner musical senses I told him I wasn't interested, because I SC: No, he would let me play anything. He
and his own imagination. Possibly there is was so set on going to Australia. But the was a Motown drummer, too. Now, Ken-
a lesson in that for other aspiring drum- next day he called me up again, so I said, wood Dennard . . . .
mers: Listen to what your own musical "The hell with it. I'll go for this gig." If I TS: Did you study with him also?
instincts have to say, and then play from didn't get the gig, it wouldn't have mat- SC: I went to see him only two times. But I
these inspirations. This may be the road to tered because I already had a good one. My had started getting distorted. I didn't
a natural and unique style that will sepa- attitude was confident, so I just went in know what I wanted to do on drums. I
rate you from the crowd. and played. The next thing I knew, they didn't know what I wanted to be. I knew I
TS: Let's start with your background. came out and said, "Cyndi really likes wanted to be myself; I didn't want to be
Where did you start playing, and how did you. You got the gig." I was shocked! Omar or anybody. I love those guys, but I
you get to this point so fast? TS: How many auditions had you done up wanted to be myself. So I went to Ken-
SC: Well, I grew up in Manhattan. I first until then? wood. I always had a problem in terms of
started getting into the drums in junior SC: About three or so. stamina. I've learned how to pace myself
high school. Then I went to the High TS: On an audition, do you try to play now that I'm playing the larger venues, but
School for the Performing Arts. Omar exactly what's on the tape or just what you that's what I went to Kenwood for. He was
Hakim, Billy Cobham, Steve Jordan— feel? teaching me all of these different breathing
they all went there. I studied with Justin SC: I usually try to balance it out. I try to techniques and finger exercises, like mak-
DiCiocio, the drum teacher there. It was keep it in the artist's medium but put some ing your fingers crawl up and down the
pretty much a scene rather than a formal of myself into it at the same time. I mean, I stick. It looks like nothing until you do it a
learning situation. After high school, I do listen to the tape and try to get the parts few times. He was saying some stuff that I
decided not to go to college, because I down. understood, but it was so heavy that it is
knew that playing was what I wanted to TS: Do you write the parts out? really hard to explain.
do. I joined this band called the Pedantics. SC: No, I could never do stuff like that. I TS: How much do you practice, and what
We were playing around and became sort think that it would take away from my own do you play?
of a big local act. I started playing with a personal playing. Whatever I do, it's really SC: I don't practice very much. At one
lot of local bands. Another band was not a knowledgeable approach—which I point I was in five bands, so I would just go
Urban Blight. Then I got to play with wouldn't mind having. But I sort of like to from one rehearsal to another. I was play-
heavier players like Percy Jones, and Daryl have the naive approach—the natural ing all of the time. Then, before a job, I
Jones from Sting's band, so I started approach. would practice on a pad just to warm up.
building up a name playing the local scene. TS: Besides high school, what kind of TS: What do you play when you warm up?
That's one of the good things about New training did you have? SC: Double strokes or maybe something
from the Buddy Rich book: maybe flam- changed my whole approach. lived in my building, and he was doing
paradiddles. I'm not a really schooled TS: What records in particular? Bowie. He took me to a Bowie show with
player. SC: Gabriel 3 and Security really changed him in the late '70s. I was blown away.
TS: Did you ever woodshed a lot? me. Jerry Marotta and Phil Collins played Then I got into the European thing with
SC: One summer—I think it was 1980—I on 3. I was into Genesis and a lot of those Marotta, Gabriel, Mel Gaynor from Sim-
definitely practiced two to three hours bands also. ple Minds, Robert Fripp, Andy Newmark,
every day. I played the Buddy Rich and TS: What other drummers influenced you? and Bill Bruford.
Chapin books a bit, and played to records. SC: I guess the first drummers that I really TS: Let's talk about time. Did you ever
TS: What styles? listened to were Nigel Olsen, Elton John's practice with a metronome?
SC: In 1980, I was really into jazz-rock drummer, and Bonham. And I was always SC: I played with records. I really concen-
fusion styles and some pop stuff. Then my into the Motown drummers. Then I got trate on time. I try to pull the beat back
whole direction changed. By 1982, I was into a lot of rock and funk, like Sly Stone, slightly on fast tunes. I really don't know
into a lot of European rock and pop, and and other popular music. Then, in the late how to explain it. I just feel it. I don't
art rock like Roxy Music, Japan, late '70s, I was really into fusion: Gerry know what it is. I listened to a lot of
Bowie, Crimson, and XTC. I was into a lot Brown, Steve Gadd, Billy Cobham, Den- records. I listened to the drummers, and I
of unconventional drummers. Peter nis Davis. There were so many influences, listened really carefully. If I know the
Gabriel was a big influence. Gabriel really but Dennis Davis was definitely one. He record, I know all of the parts: guitar,
bass, keyboards, little subliminal percus-
sion noises.
TS: When you're playing live, do you lis-
ten the same way to all of the details?
SC: It's subliminal. I hear it all. I can't say
that I directly listen to it, but it's there.
Sometimes it's hard. You're on stage and
you just have drums, and the rest is
''wahhhhhh.'' I concentrate on time, and I
try to set up fills. For time, I also try to
listen to the overall thing. If Cyndi starts to
speed up a little, I'll go with her, but I try
not to be obvious. I sort of work into it.
TS: When you constructed a part for
Cyndi, what did you do? David Rosenthal
[Cyndi's keyboard player] told me that she
really wanted his parts to be just like the
record.
SC: Well, she was kind of demanding at
one point, but later I just started playing. I
did listen to the records once or twice—
especially the new album. It's mostly drum
machine, and I'm very much into real
drums. I mean, I like drum machines.
Gabriel is very creative with drum
machines and the counterrhythms that he
comes up with.
TS: Did you get to work with Jimmy Bra-
lower?
SC: Yes, he was the music director of the
show. He did the record, and he knew all
of the stuff. I really like Jimmy.
TS: Did he talk to you about parts?
SC: Yeah, he did. He helped me out with
little things that I didn't hear on the
record, like adding an open hi-hat after the
fourth bar or something. It was stuff that
he programmed. He was there all of the
time at the initial rehearsals, and we would
listen to the record together.
TS: How much did you rehearse with the
band before you went on the road?
SC: We rehearsed every day for a month.
We were there for a long time, but they
weren't grueling rehearsals.
TS: Do you get to hear the gig tapes to see
how the show is progressing?
SC: Yeah, I finally got to hear the Japan
concerts. They were okay, but I wasn't
really satisfied with my own playing until
Australia. That's when it really started to
sound professional. I don't care if the licks
are happening or not, as long as the time is
rock steady. mostly real drums. SC: I have a Pearl kit, with 10", 12", and
TS: Have you done much work in the stu- TS: Are you using machines live on this 13" toms, a 15" floor tom—they're all
dio? tour? [At this moment, Sterling's drum power toms—a 22" bass drum, and 5 1/2"
SC: I have, but not in a day-by-day type of technician, JW (John Walsh), entered the chrome and 6 1/2" maple snares. For cym-
situation. Probably the most interesting dressing room and added a few com- bals I'm using Zildjian: two 16" K Bril-
thing that I've done was with Percy Jones. ments.] liants, a 20" K Brilliant ride, and a 20" K
His music is very unorthodox. We would SC: Yeah, but manually, just with trigger- China Boy. The hi-hats—the ones that
go into the studio with just an idea of what ing and no actual machine programs. The everybody seems to be using these days—
the song was supposed to be like. He let me kick and snare are triggering a Simmons are a 13" Z bottom and a 13" K top. They
do my stuff. I came up with a lot of parts SDS 1000. Am I correct JW? Does it have a really sound incredible. I've also got an
and then did some drum overdubs. It was gate into the Yamaha Rev 7? 18" K China Boy. I'm also using the
great. JW: We're using the Marc Expert unit to Roland Octapads, and I will probably start
TS: Did you work with a click? trigger it, and Barcus-Berry pickups on the using the Pearl Syncussion electronic
SC: Yeah, on all of it. It surprised me that I kick and snare. drums. I also use the Pearl double-bass
could use the click with all of the stuff. It SC: And we use the Octapad with the E-mu pedal with two beaters on one drum. I only
was weird. I didn't really listen to it; it was SP-12. We use sampled sounds from the use it for some fills. I'm not really a dou-
just part of the music. Live, I've worked album for "True Colors." ble-bass player, but I add it in there occa-
with a lot of machines. The Pedantics JW: We tape the pickups on with cloth sionally. I use Emperor heads on the top
wasn't a great band musically, but in terms duct tape and change it every day. It works and Ambassadors on the bottom of my
of our ideas, that's where I started getting very well—no problems. toms, all clear, and an Emperor on the bass
into creating stuff and just using my imagi- SC: But everything is manual—no pro- drum, with Ambassadors on the snare. I
nation. I was the first kid on my block to grams. With Cyndi, you can only go so far muffle with a bit of napkin and duct tape. I
use Simmons. After Bruford had them, I or she cuts you off. Even the percussionist, went from skinny sticks to heavy sticks. I
was the first local guy to have them. But I Sue [Hadjopoulos], uses the LinnDrum, guess the harder the gigs got, the heavier
never thought of Simmons as drums. I but she plays it manually. the sticks got. I don't really have great
always thought of them as sound effects. I JW: They wanted to get away from click gripping technique. If I get too tired, the
already had drums. I just started using my tracks, playing to tapes, and such. It's a stick can end up at the tip of my finger. I
imagination. I never had a lot of money, so live band. They sampled things and so on, have a bad right hand. I had an accident in
I would get just some Roland Boss effects but people are actually playing the 1975 when I first started playing. It almost
and MXR effects, and start altering the machines, rather than playing along with paralyzed my hand, so it's kind of weak.
sound. The thing with Percy was great. them. TS: Have you had to work harder because
There was time to be creative. Usually, the SC: We use two patches, one for "True of it?
budget doesn't give you much time to try Colors'' and another for the rest of the set. SC: Yeah, I have. It's still a problem. Play-
new things. Percy's thing was definitely a JW reminds me if I forget to change it! ing live is all psychological. There are times
creative outlet. He just let me go. It was TS: What about your equipment? I can just play for hours, and it's just a
matter of going up there with the attitude
that it's just another gig as opposed to
thinking, "There are all of these people
out there, and I can't screw up," which
sometimes gets to you, and you start get-
ting tense. There are times when I play for
hours. Some gigs go for two and a half
hours.
TS: Playing a strong 2 and 4 seems to be a
constant in the rock world. How can you
get around that?
SC: I play 2 and 4, but I just do things over
it as opposed to constantly playing the hi-
hat. That's what I used the Simmons for. I
used different parts of it for the hi-hat or
the cymbals. At that time, I was doing
some pretty unique stuff. A lot of those
things had a lot of character to them. I
always experiment. I like drummers who
are more into total colors and textures as
opposed to total chops. This world needs
more drummers with imagination as
opposed to technique. There are not too
many out there, and hopefully, I can be the
next one.
by Tom Stephenson
Jim
Usually, the only musical instrument any-
Salamone
TS: Did you start using it to make money? Randy Cantor, and I began to get into
one associates with Philadelphia is the JS: Well, when I first bought the Linn, I more sophisticated syncing with the key-
cracked Liberty Bell. But actually Phila- could hardly afford it. I had to take out a boards. The next step with the LinnDrum
delphia is having a resurgence of its musi- loan, but within about seven or eight was buying all of the different sound chips.
cal life. Especially in the recording indus- months, I ended up paying the machine And then came MIDI, triggering boxes,
try, Philadelphia has become a hotbed of off. At the time, I tried to rationalize my and Garfield's Dr. Click, and syncing up
record making to easily rival the place it purchase by thinking that it might help me the Linn with a Garfield Mini Doc and an
carved in R&B years ago in the heyday of get through some doors that I might not MSQ100 or 700. Eventually, I got the Linn
Gamble and Huff, Thom Bell, and Philly have gotten into by just being a drummer. 9000 and the Fairlight.
International Records. And at the center TS: How much live playing were you doing TS: What kind of pressure do you feel to
of this rebirth is one of the most talented, in the studio at that time? keep buying stuff?
but least heralded, drum programmers on JS: To make a living, I had to play in clubs JS: Well, I think that I still need to. Basi-
record today: Jim Salamone. His album and go on the road a lot with bands. Studio cally, as technology changes, I gauge what
programming credits include artists such work was a treat and not a staple. Then the producers are asking me to do, what is
as Sheena Easton, Bon Jovi, Billy Preston, LinnDrum came along, and slowly but coming out in the field, and what people
Grover Washington, Stephanie Mills, surely it started to switch over. At first, need. It's like riding the stock market.
Gladys Knight, the O'Jays, Sister Sledge, people didn't even know what a LinnDrum Sometimes you make an investment, and it
Lou Rawls, Rose Royce, Robert Hazard, was. So I set up a sort of educational tour. doesn't work out quite the way that you
Bricklin, Pretty Poison, and Bonnie I went around to every recording studio, hoped it would. As for pressure, I think
Pointer, many English albums with artists and let them know who I was, what the that I have enough equipment to handle
including Helena Springs, Charms School, machine was, and how it was capable of most jobs thrown my way. But there's
Loose Ends, and Ian Foster, and pro- coming up with all of these sounds that, in always a little bit of pressure to keep up
ducers including Nick Martinelli, Neil the studio, might take a long time to with the latest. I certainly can't sit back
Dorfsman, Bobby Eli, Dexter Wansel, achieve. One of the first things that I also and say, "Well, I've got it all," because I
Thorn Bell, and Ken Gamble. He has also did was tell people that they could have would be out of business in six months.
backed live artists from Chuck Berry to their drum charts done by mail. I adver- TS: How did you first decide to get a
Barbara McNair to Tiny Tim. Sitting tised to have people send me a drum chart, Fairlight?
together in his home, we talked about what and I would program the parts. Then I JS: When I first got into the high-tech
it's like to program records and what really could meet them in the studio and cut the world, the Fairlight was the king of the
makes a studio musician successful in parts. At first, I got a lot of guitar players mountain. I had always been very
today's high-tech world. who wanted to practice with drums, or I impressed with the sounds and the moods
TS: How did you make the transition from got drummers who would mail John that the Fairlight was able to create. The
acoustic work to machine programming? Bonham charts to me so that they could Fairlight seemed to be the perfect culmina-
JS: In 1978, I started doing some jingle hear them and learn them. It was a modest tion of everything all in one. It's a com-
work at Morning Star Recording. Over the fee at the time. But that was what I did at puter, a sequencer, and a sampler. Also, at
years, I started to hear about drum first. one time, if you had a LinnDrum, you
machines. One day, I found out that some The term "preproduction" became a were the only kid on the block to have one,
work that could have come my way had part of my new career. That was a big and that set you apart. But then, shortly
been taken away by an Oberheim DMX come-on: showing people that they could after, everybody had one. This forced you
drum machine. I guess it was the early '80s. save a lot of studio time and a lot of money to buy the next machine, because nobody
At that point, I became slightly concerned, by getting the drum tracks together in else had it. Eventually, it all comes down to
so I figured that I should research the situa- advance. who is best. I mean, the person who
tion. Eventually, I made the decision to TS: This was all pre-MIDI? invented the drums got all of the calls when
buy a LinnDrum. I didn't buy it for the JS: Yes, it was pre-MIDI. I would plug the somebody wanted a drummer. After a
sole purpose of earning a livelihood from it LinnDrum into the clock-in and get a period of time, everyone had drums, and
or replacing drumming. I bought it more pulse. All you would get was an 8th-note then what set people apart was who was
as a tool for songwriting. But about then, I pulse, but at that time, with the way pop better.
began to smell the onslaught of the high- music was, that was a really big deal. It was TS: Why is the programming of one drum-
tech invasion of drum land, so I figured very limited, but it was fun. It was like mer better than someone else's, or better
that I'd better be prepared. About four blazing new paths. than a keyboard player's programming?
months later, it began to turn around, and TS: What was the next step? JS: If you play drums, you will have a
I started to use it a lot. JS: I met the guy who became my partner, drummer's perspective. Getting the
sounds is part of it, but having the right JS: Yeah, sometimes. A few years ago,
playing attitude and knowledge is another. when I was doing a lot of rap records and
Most keyboard players won't necessarily all I had was a LinnDrum, I was limited as
have the knowledge of what the left foot is to the amount of sounds that were avail-
doing on the hi-hat at any particular time. able. You could burn your own chips,
On the other hand, keyboard players can which I did, but it was a lengthy process to
pick up a drum machine and—maybe -due get a new sound, so whenever you got a
to their ignorance of the concepts of drum- new sound, the first thing that you wanted
ming—come up with amazing things. So to do was let everyone know that you had
it's not a steadfast thing. I would just have it. Then, after a month or so, everybody
to say that, in general, drummers have a started to hear that snare sound and would
better sense of what to do with drums than say, "Hey, what are you doing using my
keyboard players do. I have a lot of key- snare sound on his record?"
boards and I can program sounds, but I I still run into the same problem. If I
would never pretend to be a keyboard work for the same group of producers over
player. If somebody called me up and and over again, it becomes just that much
wanted keyboard sounds, I would recom- more work to come up with unique sounds
mend a keyboard player. And I would for them, so that they don't think it's just
hope that a keyboard player would do the the same sound that everyone else is get-
same with drums. ting. There's pressure to always come up
TS: When you are programming, how with new sounds. I'll spend hours coming
close is that experience to playing? Are you up with a new tom sound. I'll sit there with
thinking as if you were playing, or do you the board, reverb, and all sorts of strange
think more individually about the parts? things, and combine samples to try to
JS: I'm thinking more as an arranger than come up with new sounds.
as a drummer. But during that whole proc- TS: Do you have the leisure to do that in
ess, I picture myself playing the parts as a the studio during sessions, or do you do
drummer. Often, the drum program can that in preproduction time?
have a strong influence on the arranging of JS: I try to do most of the sound building
a tune. So arranging and drumming are in preproduction. A little of it always takes
very close together nowadays. place in the sessions, but you do the best
TS: So you think compositionally with the you can in advance.
parts? TS: As a drummer, how much of an engi-
JS: Sure. Usually when I hear a tune, the neer do you have to be? Do you have to
clients or artists will give me some ideas on know effects units really well? Do you have
how they want the song to go. They tell me to know EQ—where to boost and cut?
the mood. The first thing that I will con- JS: Yes, it definitely helps. When you go
cern myself with is the groove. Almost from one studio to the next, you know
hand in hand with that is the choosing of your own sounds, and you know that tak-
the sound—the colors. After the groove ing the upper mids out of this sound
and the colors are picked, everything fol- works. If the engineer is having trouble,
lows. But I usually find that choosing rather than waste time in the studio—espe-
sounds is the most difficult thing when cially when the producer is sitting there
starting. What is the right snare sound? thinking that it's your sample that is no
What odd sound do you want to use here? good—you can help the engineer out by
Can you take a regular sound and use it telling him what to do. It's funny, but pro-
differently? Can you take a piece of metal gramming and music have gotten to the
and use it instead of a tom-tom, or use a point where the categories in the studio
door slamming for a hand clap? have gotten very fuzzy. It's difficult to say,
TS: What equipment are you working with "I'm a drummer" because I don't always
now? hit drums. Sometimes I program drums,
JS: I have a couple of Linn 9000s that and that entails a bit of arranging, a little
Bruce Forat customized for me, and I still bit of production, and a little bit of being
have my trusty LinnDrum, although I an engineer.
don't use it that often. My Simmons don't TS: What do you do to make a part sound
get as much use as they did in the past. I like it is being played?
have an SDS5, SDS7and SDS9, but I don't JS: There are all sorts of tricks that you can
use them as much, mainly because any use. Sometimes you take the quantizing off
sound that I might have used on them I for some of the parts. If the band is push-
now have sampled in the Linn. ing it a bit and it sounds like the bass drum
TS: How many samples do you have? is stuck in the mud, you take the quantize
JS: Hundreds. I've never counted. On lit- off and play it in by hand, so that it feels
erally every session that I do, even if I'm right. I'll do that with fills a lot. If you
using the same snare drum that I used the want the snare to lay back a bit, it's the
day before, if the engineer EQs it a bit dif- same. The nice thing is that you can do it in
ferently or uses different reverb and I like a two-bar pattern, and then every time you
it, I'll sample it. loop it, you get that same snare drum feel.
TS: Do you find that engineers or artists Occasionally, I put it in a slight shuffle
are possessive about the sounds you have mode to give it a different feel. But you
created for them? have to be very careful when you do stuff
like that, because whenever live musicians vocal?
are playing to a drum machine, there could JS: No. Generally speaking, we get a rough
be trouble. You have to gauge that to the demo from the writers. We'll chart it out,
caliber of musicians that will be playing. and then we will sit down with the pro-
TS: One consideration in live playing has ducer and talk out the arrangement.
always been playing ahead of the beat or TS: When you chart the song out, how spe-
behind the beat, and locking with other cific do you get with your maps? Are they
players. Now that the machine's clock is measure by measure?
determining the placement of the beats, do JS: I'm not quite that specific. I try to stay
you still have to think about that at all? Do as spontaneous as possible and let the
you ever try to push the tempo going into a machine do the remembering. Some of our
section or pull the snare drums back? Or is best tracks have been done by putting the
it pretty much straight ahead? sequencer part in record, letting the key-
JS: Most of the time, it is pretty much board players play for 100 bars or more
straight ahead, and any feel changes will be over the grooves, and then creating the
generated by the musicians who do the final parts out of what we get. The music
overdubs. The 9000 will take tempo almost always goes down with the drums.
changes down to a tenth of a beat, but I It's very rare that I do drums by them-
don't do it often because it is time-consum- selves. The fills come last.
ing to get the feel exactly right. There have TS: Have you ever tried triggering the Linn
been times that I have programmed in with drums?
slight tempo changes. More often, I have JS: No, I've never done that. I have a set of
pulled the quantize off and altered the SDS9s that have the capability to do that,
snare feel as we talked about before. With but I've never actually done it. When I'm
the Fairlight, if you don't like the way the working in preproduction, I may be work-
sample is sitting, you can just move it ing seven days a week, two or three ses-
around the beat so that it affects the feel. sions a day, and sometimes I am up around
With the Linn 9000, you can only get accu- the clock. If I have two keyboard players
rate to a 32nd-note triplet, and after that, who are jamming, I don't want to say,
you have to take the quantize off. Then you ' 'Wait, let me get this right." Basically, I'll
get pretty much your own feel. Also, sam- put up the basic groove and let them jam
ples can be a little funny to begin with; they into the machine. Then I'll go back after
might be a little late or early. the music is done. If it was my own mate-
TS: What I've often noticed about key- rial and I had the time to do it, I would. I
board players' drum parts is that they tend consider that to be something that I would
to stick with exactly one part for the verse do if I had leisure time.
and another for the chorus. I think a trade- TS: Do you often end up playing in fills
mark of your programming is that you put from pads?
in interesting and unexpected parts that JS: I don't play into the machine, but a lot
flavor the main parts without disrupting of times, I'll play fills live over the machine
them, in a way that would be difficult for a onto tape. Or I may take the quantize off
non-drummer to imagine. Are there any the Linn and play the pads into it in real
generalizations that you can make about time.
how you construct the parts and their vari- TS: In what percentage of the sessions that
ations? you do now do you actually use sticks?
JS: I always try to make the song build, so JS: You mean those primitive wooden
maybe in the introduction, the instruments things? [laughs] Well, I would say that in
introduce themselves until they are playing 40% of the sessions I might use sticks for
in full, and then the first verse comes in and something, even if it's only cymbal or bell
it breaks down. The second verse might be tree overdubs. But maybe only 10% of the
different from the first. And every fill is dif- sessions involve playing with real drums.
ferent. A lot of times, people come in and It's funny, because I view myself as almost
say that they want the same beat, but it's two people: There's the real drummer in
very difficult for me to do that, because as a there, and there's the drum programmer.
drummer, I would never play that way. The better I do with the drum program-
Pop music has to be fairly consistent, and ming , the more I almost put myself out of a
I'm aware of that, but I always try to make job as a real drummer, because people will
sure that I program as if I were playing say, "Why bother? It sounds like a real
drums. drumset, it's quicker, and it's less aggrava-
TS: What do you have to watch out for? tion." With programming, you're con-
JS: You don't want to crush the vocal; vincing people to let you use the drum
that's the biggest thing. Or if it's instru- machine, and then you have to turn
mental, you don't want to step on the lead around and almost beg them to let you use
instrument. Normally, the vocal is the real drums. Man is striving to make the
main thing, and you can't be so busy that computer sound more like man. It's very
you detract from the vocals. It's purely a ironic.
question of taste, and it's subjective, but TS: You mentioned that occasionally some
the artist will usually be the first to let you artists have asked you to play the parts
know if you overstep your bounds. live. When does that happen?
TS: Do you usually work with a rough JS: Usually on ballads. I think that most
producers and artists still feel that, on bal- That's really all it is. They're just toys. But
lads, you need the feel that you just don't somehow we were able to fuse our playing
get out of the machine. That's a general- with toys with our musical career. I think
ization, because certainly you can use a that people can sense that zeal. I think pro-
drum machine on a ballad. But, for exam- ducers and clients like to be around people
ple, a lot of the reason that Anita Baker's who are really into what they are doing and
album sounds as warm as it does is because are confident. It instills confidence in
there is a lot of live playing on it. I don't them.
think that you will ever get rid of acoustic There is one thing that I would like to
drums. Drum machines and sequencers are say. A lot of people think that, because it's
all tools. During any new move in technol- a machine and there is a button that says
ogy, there tends to be a lot of abuse at first. "on" and a button that says "off," any-
People always say, "Let's get back to real body can be an expert. This definitely isn't
this or that." I don't view it as getting true. It's like saying, "Here's a drum, and
back. It has never gone away. People have here's a stick; hit the drum, and you're a
to learn to stop polarizing everything and drummer." That also is not true. There are
just consider the drum machine as another lots of people with drum machines, but
tool of expression. that doesn't automatically mean they can
TS: Do you think that there has been an create great music. The level of sophistica-
overreaction to the machine? What do you tion is progressing rapidly. As I said, when
see in the future? I bought my first LinnDrum, being the
JS: I see the equipment becoming more only one on the block helped me get
and more sophisticated and, at the same started. Now, everybody has drum
time, more user-friendly. I don't think that machines, and it's definitely the musician
drum machines are ever going to go away, that makes the machine. I'm personally
because laying drums in the studio is prob- very adamant about this electronics versus
ably one of the most difficult and time-con- real stuff. The same way that I had to edu-
suming parts of the recording process, and cate people about the LinnDrum, now I
drum machines are really allowing people want to grab them and say, "It's still me
to get on with the creative process. As a doing the job, either way." When the
drummer, I love to play, but I don't feel DMX was taking my work away, I was
that I am being stifled by using a machine afraid of it. But now that I've worked with
on most of my jobs. machines, they have become my friends,
TS: If you were talking to young drum- and not my enemies. And I know what
mers who wanted advice on what to learn they can't do, as well as what they can do. I
that would help them in the studio, what sleep a lot better at night, because I know
advice would you give them? Would you they can't do everything.
tell them to learn to play real drums or just TS: How do you train to be a great pro-
to learn to program? Is it important that grammer?
you did all of that live playing? JS: I don't think that it's a conscious
JS: Yes, sure it is. Every experience counts. effort. I think it's the enthusiasm you have
It's like the English language. By playing when you buy something new and you
live, every little experience becomes part of can't go to sleep that night because you
that language. Those skills help you have to sit with it. You're so amazed at
become proficient at communicating. So I what it can do that you can't put it down.
would say, "Be a drummer, but also, You have a relationship with your instru-
besides going to 'Drums 101,' don't forget ments. Each machine has its own personal-
'Electronics 102,' because it helps." ity. You need to become very proficient at
TS: How would you define the difference relating to the machine's personality.
between the people who are making it in When I first got the Linn 9000, it seemed so
the studio and those who aren't? awkward. I thought that I would never
JS: Certainly, you have to have a talent at become proficient with it. And now I can't
your specific craft. Also you need taste, see working on any other machine. But
you have to be very flexible, and hopefully, basically, success stems from enthusiasm
you can maintain a unique style to separate and the feeling that you're into it. You just
you from everyone else. You need ambi- can't keep away from it.
tion and aggression, without being over-
opinionated. You need a great sense of
humor—that's for sure—and a lot of
patience. There's an awful lot of luck
involved. You also need equipment. But,
you know, when somebody is really into
it—the people who don't care about the
money . . . .When my partner and I got
into this, we never thought that we would
make a whole lot of money or work with
the people that we are working with now.
We were just two kids who hadn't grown
up, and we had these expensive toys that
replaced our toy soldiers and trucks.
Maynard Ferguson's
Ray Brinker
Photo by Rick Malkin exactly is "alloy rock"? Enthusiasm fills be the leader of a rock 'n' roll band. Does
Ray's face as he explains. "The term this create any special problems for Ray?
'alloy' is a metallurgical term meaning a "The main problem," he explains, "is that
mixture of metals, or in our case, music. logistically I am not out in front of the
We use that term, because we're looking band. Mark, as the vocalist, is the most vis-
for the energy of heavy metal without its ual part of this band. Therefore, on stage,
ponderous quality. Our music is more of a he is the center of attention for most of the
heavy metal with a pop hook and dance- show, and it's up to him to pace the show
ability." and establish a rapport with the audience.
The band was actually begun in 1978, As a drummer, it's hard to front a band in
when Ray met fellow freshman and bass the sense of talking to an audience. Aside
player Steve Bailey at North Texas State. from that, there are really no other prob-
"We played together for the first time at a lems."
Once upon a time, there was a young boy jam session in the dormitory,'' recalls Ray, Besides the musical aspects of leading a
growing up in a small town who fell in love "and there was an instant rapport between band, there is a whole other world that
with drumming. Through perseverance us. From that point on, we wanted to put a exists off stage—the business aspect. Ray
and practice, he slowly perfected his craft band together." However, their paths learned a lot about dealing with people in
of making music. One day, he left his soon separated when Steve moved to the music business from watching May-
hometown to further his musical educa- Miami. While Ray was playing with May- nard Ferguson. "You have to be very pro-
tion at a school in the Lone Star state nard Ferguson, Steve was enjoying success fessional in approaching business peo-
known for its hourly rehearsals of its with Dizzy Gillespie and Paquito ple," Ray explains. "Musicians are
famous lab bands. This boy, who by now D'Rivera. The opportunity to put Brinker usually stereotyped as animalistic, wild,
had become a young man, was becoming together arose when they received financial and crazy, and also ignorant and irrespon-
quite good on his drumset and had the backing from Hit-Ray Productions, a pro- sible businesswise. While that may be true
opportunity to realize one of his childhood duction company formed by Ray Brinker of some musicians, it is an obstacle to over-
dreams by playing with one of the top jazz and his partner Ray Shiding, who is the come, even for musicians who are not like
musicians. His creative talent was soon executive producer of the band's current that. When dealing with business people,
enveloping him, and he left the band of his album. they're automatically hesitant to talk to
dreams to create his very own dream band. Ray continues, "When I left the road, I you in any kind of intelligent fashion.
This ''fairy tale'' story did come true for went to Miami to start rehearsing with Being a 'rock 'n' roller' immediately classi-
the young man—a man named Ray Steve. There I met a friend of his, Andy fies you in their eyes, and being a drummer
Brinker. Following a very musical high Timmons, who is a great guitar player. The opens you up to even more stereotyped
school career, Ray studied at North Texas three of us began rehearsing together with classifications. I've found that I have to
State University. After a stint in the drum the intention of writing tunes and record- prove myself immediately. You have to let
chair of the well-known One O'Clock Lab ing an album. After a month and a half, we them know that you are an intelligent
Band, he joined forces with Maynard moved to Denton so that we could use the human being who has an idea of what is
Ferguson and his band. But even though so recording facilities in Dallas and Las Col- going on, and that you're able to take care
many dreams had come true, there was still inas. While rehearsing in Denton, we hap- of business in a professional and intelligent
one more. pened upon Mark Pyburn, who joined our manner.
What made Ray change the direction of band as a vocalist." "I think this is one thing that young
a successful drum career? "I decided to Following several months of rehearsal, musicians need to become aware of: They
leave Maynard after the opportunity to Brinker recorded its debut album at Castle are going to have to deal with business.
start my own band arose," he replies. "It Audio in Dallas and mixed it at Telelmage You cannot just be an artist and expect
was an idea I had thrown around for quite in Las Colinas. Most of the music on the someone else to handle that for you.
some time—the idea of being able to go album was co-written by all four band You've got to be on the ball for yourself.
into a studio and record an album of music members. Ray elaborates, "It's interesting It's not all the glamour and glitter of what
written especially for me and my band. how someone will bring an idea for a tune happens on stage; there is quite a lot of
Fortunately, I left Maynard's band on very to rehearsal and how we mold the tune to footwork underneath."
good terms. I'll always love Maynard for the band. Everyone has input to every tune Endorsements fall under the subject of
what he is and what he did for me, but I that we play. That's the neat thing about business, and Ray uses and endorses sev-
just felt the need to go on." having a band and writing music specifi- eral lines of products. With Brinker, his
And on he went to form his own band, cally for us: We feel an attachment to every drumkit is an eight-piece Recording Cus-
called Brinker, which performs a type of tune we play." tom set by Yamaha. It consists of various
music called "alloy rock." Just what It is a little bit unusual for a drummer to combinations of 8", 10", 12", 13", 14",
by Lauren Vogel
And
The Working
Teacher
In the past few months, I've read at least Because they, themselves, have spent long drumsets of yesterday and read articles
two articles in which name musicians have hours developing their craft, they can about older drummers, but it's much more
expressed doubts about training so many appreciate how much work is involved in important to have listened to the music
young players to be professional musi- attaining proficiency on an instrument— that was played by those people on those
cians, thereby encouraging them to go into regardless of the kind of music being drumsets. Many young players have only
a field in which the job market is changing played. So, whether one has aspirations to had a cursory listen to Elvin Jones or Tony
and employment is perceived as being great artistry, refined craftsmanship, or Williams, let alone Roy Haynes, Philly Joe
unstable. If, indeed, one does choose a some combination of both, experiencing Jones, or Kenny Clarke—let alone Papa
career in the performing arts, job security (or at least being aware of) a variety of dis- Jo Jones, Baby Dodds, or Sid Catlett.
should not be at the top of one's list of life- ciplines that are part of our heritage can Beginning rock drummers would be vic-
style preferences. The legendary ups and only broaden one's ability to communi- tims of the same historical myopia by
downs of our profession are not for the cate. ignoring such players as Al Jackson, Gary
fainthearted. But with talent and dedica- This is the age of eclecticism. A tremen- Chester, and Joseph "Zigaboo" Mode-
tion, a life in music can have rewards that dous amount of information—musical liste. Absorbing and listening to these
far outweigh those offered by more con- and otherwise—is being beamed at us con- important stylists will give you more mate-
ventional pastimes. That the music busi- stantly. To make use of all this input, one rial to draw upon when approaching con-
ness of 1987 is changing is no secret to any- must have an open mind and an ability to temporary styles. (The practical applica-
one, and the question of how to prepare absorb different musical languages. The tions become obvious when we see periodic
our students for a fulfilling career is one risk is not that drummers may be overly revivals of pop music styles long since
that concerns teachers everywhere. eclectic and have no original vision, but past.) Furthermore, an awareness of his-
It would be unfair, in many cases, to dis- that they might render too limited a view tory will show you that no definitive style is
courage young players from studying from not responding to what is going on born in a vacuum.
music seriously, because we, as seasoned around them. As modern-day drummers, One of the most important develop-
professionals, are experiencing what is we must acquaint ourselves with many ments in drumset playing within the past
apparently a dwindling demand for tradi- things that don't seem to have much bear- ten years has been the grafting of Afro-
tional instrumental skills. To a beginner, ing on how hip our ride cymbal pattern is Cuban and Brazilian hand drumming onto
the desire to play has nothing to do with or whether our press roll is even enough. the set. Using different limbs to reconstruct
prospective employment. Rather, it is a Being a well-rounded musician doesn't the clave, bottom, middle, and top lines
deeply rooted need that must be fulfilled at necessarily mean that you are going to be a of "la batteria" has given a new meaning
almost any cost, and no amount of practi- studio player who can walk into a session to drumset independence. The tradition-
cal dissuasion will (or should) change that and play any style that is asked of you. al roles of the feet and hands, which
fact. As working teachers, we owe our stu- What it does mean is that you have made have always had basic similarities in rock
dents the benefit of our knowledge of the some thoughtful choices about what you and jazz, have been turned upside down
music business, and we can share with want out of music. You have explored dif- in some cases to accommodate Latin
them—in very practical ways—how we ferent disciplines, have rejected some and rhythms. This can only help to freshen up
have utilized our natural talents and embraced others, and have, through a already established styles, as well as to
acquired skills. It is for the students to process of elimination, reached some con- break new ground. The intricacies of Latin
decide how to adapt and/or expand upon clusions as to what it is you do best and percussion should be dealt with on their
this knowledge when they put it to the tests derive the most satisfaction from. There's own. However, as part of drumset playing,
peculiar to their own generation. nothing worse than being forced into a they have redefined a lot of old assump-
The joy of making music should not dis- style of playing entirely because of limita- tions.
appear from our lives once we decide to do tions. Of course, in some cases, the oppo- Mallets, timpani, or "tuned percus-
it professionally. In anything that takes site holds true: Some great styles were born sion" have been embraced by more and
commitment and hard work, there are cer- out of limitations! But how many of us, more "serious" set players over the years.
tain times when it seems more like a "job" given a choice, are going to take that Percussionists, likewise, have done the
-than other times. Transforming something chance with our own lives? reverse to some extent. To be honest, I
that's basically fun, such as playing, into a To play any instrument, one must have a wish, in retrospect, that I had spent more
draining bore often has more to do with sense of its history. Although marching time dealing with these skills. But as a stu-
the people you're doing it with than with drums have a past that long predates jazz, dent, I felt I was much too hip to be fooling
the music itself. For some, the act of play- the drumset didn't appear until the begin- with the likes of a xylophone! Although
ing is as important as the content of what is ning of this century. It's gone through some proficiency on the keyboard is essen-
being played; for others, content is every- many evolutions to get to where it is now tial for the study of harmony and theory (a
thing. But even the most rabid purists can and will certainly continue to do so. It is all must for any complete musician—drum-
still enjoy many different styles of music. very well to look at pictures of the quaint mer or not), it can be advantageous to
work on these areas simply to exercise and come up with programs that could and sophistication that goes into produc-
some of the same muscles that you use to enhance a live performance in a more natu- ing what we finally hear on a record or see
play the drums. Spending some time with a ral and interesting way than a non-drum- in a video. Those who have achieved media
mallet instrument can only enhance your mer could imagine. Beyond that, we just success apparently without a background
basic hand technique. Equally important, have to keep going with the flow that the of hard work and discipline are skating on
dealing with melody and harmony will ulti- technologists dictate and hope that people thin ice that most likely won't support
mately bring you into the music-making don't get tired of watching us play the them if (or when) their "magic" fades.
process that everybody else in a band is instrument! There are no shortcuts.
involved in. From a more practical stand- It should be said that there are prerequi- The music business is not immune to
point, being a "doubler" makes you a sites for taking all this on. They are: the those forces that afflict the rest of the econ-
more valuable resource to producers and ability to read, a rudimentary knowledge omy. We are feeling the effects of automa-
composers, and can open up more areas of of drumming, and a grasp of basic music tion in the studios with synthesized, sam-
work. The extent to which you involve theory. Reading seems to be the most com- pled, and computer-generated music
yourself with percussion has to do with monly daunting hurdle for the young reducing the actual number of players
aptitude and personality, but it is some- player. The long hours of concentration needed to produce a "full" sound. And
thing that should not be ignored. that must be spent programming the there is a new breed of musician who is
Last, but certainly not least, there is our human hand/eye computer comprise a dis- more comfortable working alone with
crucible of the 1980s: electronics. So much cipline that can be quite tedious. Some electronics than with an ensemble. Our
has happened in this area in the past few people have a greater gift for it than oth- unions are besieged by more strident man-
years that drummers have been left reeling ers, but to ignore reading completely is agement demands for concessions that
under an onslaught of confusing and foolish. The time you spend aurally memo- reflect an increasingly competitive global
expensive hype. To some degree, the rizing a given piece of music is wasted and nonunion marketplace. Live music
advances in electronics are perceived as when you could be concerned with playing will never disappear, but it will continue to
threatening, so we scramble to keep up. On that piece of music without the worry of be subject to the usual vagaries of eco-
the other hand, they have been liberating, your part being right. The potential for nomics. There will always be those few
as we are now able to expand our range of fresh musical experiences is severely cur- people who, through sheer force of will
expression to include synthesizer program- tailed if you can't quickly and competently and/or consummate talent, can rise above
ming, sampling, and signal processing. interpret a part. Reading facilitates learn- these problems, but most of us have to
Involvement in this new technology is ing: Imagine studying literature without steer the slippery course that has become
exciting and mind-expanding, but the being able to read prose . . . . the life of the professional musician.
choices are almost too many and the In my teaching experience, I've encoun- To deal with all this discouraging news,
expense potentially ruinous. Having a tered students who have run the gamut in the aspiring player should marshal all of
working knowledge of musical electronics terms of natural ability, ambition, and his or her resources to become as proficient
can save you a lot of grief, time, and self-discipline—qualities that are neces- and adaptable as possible. For drummers,
money. sary for sustaining a career in music (or this means beginning private studies as
With the advent of the synthesizer stu- any other area, for that matter). Natural early as possible in order to obtain the
dio, it is true that a certain amount of work ability is mysteriously bestowed on us at basics of reading and technique; partici-
has been lost for drummers—especially in birth, and it must be nurtured consciously pating in as many school and community
the areas of demo recordings, basic track- or it may never surface as a viable skill. music programs as time permits; playing—
ing for records, and increasingly in com- Ambition varies from person to person, for work or for fun—in as many bands as
puter/synthesizer-generated scoring. depending on emotional needs and self- possible in order to gain experience; seeing
There is the common myth that drummers expectations. The issue of self-discipline is as much live music as possible (records and
are somehow more qualified than anybody something that I have seen defeat many videos are often "done with mirrors");
else to program drum machines, and that, talented students. and staying informed through workshops,
therefore, that process should be left to us. Thoughtfully working through new clinics, and the media. Although not to be
I've never thought this was entirely true, as technical challenges and patiently training disregarded early on, studies in arranging,
any musician with a good ear can put a mental and physical reflexes—i.e.,practic- composition, and theory can perhaps be
decent—and sometimes first-rate—pro- ing—is the only form of commitment that dealt with more comprehensively at the
gram into a drum machine. What drum- will reveal your true musical personality. post-high school/college level. Electronics
mers can do is become adept program- Without some basis in technique, even the and computer technology are an ongoing
mers: Spend the time to get better sounds most basic musical idea cannot be learning process for everyone, and we can
than non-drummers can through sampling expressed clearly. Much of pop music has a come to terms with them through a mix-
and other forms of sound manipulation, simplicity that belies the craftsmanship ture of education and personal experience.
Sustaining some form of academics and
supporting that with a musical environ-
ment will lay the groundwork for coping—
and hopefully thriving—within the reali-
ties of our challenging and unpredictable
profession.
Transcribed by Glenn Deitsch
Chad Wackerman:
"Tink Walks Amok"
This month's Rock Charts features Chad Wackerman on a cut from the Frank Zappa album The Man From Utopia
(Barking Pumpkin FW 38403, recorded 1983). Frank Zappa's music is known for many things, including complex
meters and rhythms. In "Tink Walks Amok," Chad has to play musically through changing meters, and these time
signatures are not the "usual." Bars of 11/16, 13/16, and 19/16 can be found in this piece, along with a few others. If
you are going to attempt this piece, practice each of the different metered sections individually first, before working
through the piece from beginning to end.
Many people equate electronic drums with many musicians. The reason most people
haven't seen them is that most people
MIDI and given period of time. A 20 KHZ rate indi-
cates that there will be 20,000 sample
terms like "artificial," "special effects,"
or the like. Seldom do people think in don't know they exist! words in one second. Generally, the higher
terms of an electronic replacement for Before you run down to your local music the rate, the better. The rate will determine
acoustic sources, or in other words, real- store and start asking about these mysteri- how high in frequency the resulting sound
ism. With the advent of MIDI, it's become ous unknown setups, be advised of two can go. At best, the highest tone that can
possible for modern drummers to access things: (1) The salesperson will most likely be successfully sampled will be one-half of
realistic drum and percussion sounds elec- think that you're suffering from paranoid the sample rate. Effectively, this tone is the
tronically, for a reasonable price. Okay, schizophrenia, and (2) these systems sim- highest harmonic recorded. If you're try-
how does one define realistic electronic ply don't exist as a single unit. " What? But ing to sample very bright sounds such as
drum and percussion sounds? Simple—if you just said . . . ." Yes I know, things cymbals, claves, and the like, a high sam-
you listen to a recording and can't tell are starting to spin, and you're seeing red. ple rate will be required to avoid a dull-
whether the sounds were created acousti- You see, the key word here is system. sounding sample. (The sonic effect is akin
cally or electronically, you've got realism. Through the use of MIDI, you can assem- to turning your treble knob way down.)
Most of the people I talk with these days ble a very high-quality, versatile, and real- This suggests that a sample rate of at least
(particularly drummers) are sure that elec- istic electronic drum system. You no 30 KHZ is required with 40 KHZ + being
tronic systems will never sound like acous- longer need to be trapped into one manu- preferable. (Remember, most people can
tic systems. The reasons are varied, but in facturer's vision of electronic drums. The hear to at least 15 KHZ, and many people
most cases, the bias comes from personal major problem with a MIDI-based drum can hear in the area of 20 KHZ.)
experience. Given the present state of the system is homework. You must be willing A given sample rate and memory size
music industry, I'm really not surprised. to scout around for specific pieces of will yield a specific sample time. If you
To put it simply, most players have never equipment, and you must be willing to sample at 20 KHZ and have 40 K words of
heard a good system in operation, let alone spend some time learning how to program memory available, this will produce a max-
having the chance to play one. No, I'm not them. This means reading the manuals, imum sample time of two seconds. It's eas-
talking about $100,000-plus Synclavier and experimenting with various sounds ily seen that, with a fixed memory size,
systems and the like. I'm talking about and settings. I'm constantly amazed by the there's a trade-off between sample rate and
affordable systems within the reach of number of people I've met who simply find maximum sample time. There's also a
it a "chore" to read the instructions! Time direct relationship between memory size
well spent can produce some startling and charge account balance! The question
results. then becomes: "How much memory can I
First, let's look at some limitations get away with?" This can be tricky,
inherent in many electronic drum setups because it depends on what you want to
and, indeed, many poorly planned MIDI sample. Sounds such as kick drums, hand
systems as well. First and most obvious is claps, etc., require very little memory,
the actual sound-generating circuit. Sorry, while long, sustaining sounds such as cym-
but a simple swept sine oscillator will never bals will require considerably more.
sound like a real tom-tom. The tone pro- You may notice that many drum
duced is just too simple. (That's why so machines produce truncated sounds in an
few people use space drums today.) This effort to save memory and, thereby, lower
can be enhanced with items like noise gen- the cost. User sampling allows you the
erators and filters, but not many people option of allocating memory as you see fit.
will be fooled by it. This process could con- You might opt for five or six short sounds,
tinue by adding more oscillators, filters, or just one long sound. When shopping,
and amplifiers, each step getting closer to look for devices with high sample rates and
reality, but with costs and programming large memories. Most drum machines and
difficulty climbing as well. For single-shot samplers are set with maximum rates in the
applications like percussion sounds, digi- 28 to 32 KHZ range. Many people can hear
tal sampling is probably your best bet with a big difference with the higher rates
the present technology. Sampling is essen- afforded by machines such as the Sequen-
tially the process of recording a sound tial Prophet 2000, Akai S9000, and E-mu
directly into computer memory, instead Emax (around 42 KHZ for each).
of, say, a tape recorder. Like a tape The final arbiter in fidelity is the word
recorder, several levels of fidelity are possi- size and encoding scheme. Today there are
ble ranging from portable cassette to two basic forms: (1) 8-bit log, and (2) 12-
beyond studio reel-to-reel mastering. (You bit linear. Generally, the more bits, the
guessed it, costs go up accordingly.) The better. A larger number of bits means that
items to look for in samplers are sampling the word can define a large number of dis-
rate, word size, encoding, and available tinct signal levels. It also indicates a higher
sample time. All of these items will have an memory usage. In linear encoding, each
effect on your resulting sound. successive step has the same size for a con-
Sampling rate indicates how many indi- stant resolution. In an effort to save on
vidual sample words will exist during a memory, some people have used a loga-
Realism
by Jim Fiore
rithmic coding scheme. Here, the step size Dynamic variation is the other major do you compensate for this? Some pad-to-
changes in accordance with signal size. problem. If you strike a drum softly, you'll MIDI interfaces give you the option of sev-
While an 8-bit log form may be superior to notice that its timbre is a bit different than eral different dynamic curves. Two such
an 8-bit linear form, it's not necessarily when it's struck forcefully. Generally, the devices are the Roland Octapad and the
superior to a 12-bit linear form. In fact, hard strikes produce a brighter sound with Simmons MTM. Besides the ordinary lin-
many engineers feel that 12-bit linear cod- faster attack. An excellent example of this ear response offered by most interfaces,
ing is superior for uncorrelated sources is a crash cymbal. In this area, the capabili- these guys let you choose from logarithmic
like percussion. By the way, log coding is ties of a good sampler can be a godsend. and exponential types as well.
not new. It's been around for a few years Let's look at some of the functions a The MTM includes a few others such as
and is basically an outgrowth of the tele- good sampler will implement. First, the step type and reverse, which can be of good
phone industry. There are a few other sample can be shaped with a VCF (voltage use in velocity layering of sounds. The best
schemes on the market as well. For com- controlled filter). This will enable you to way to approach the curves is to simply try
parison, the modern CD uses a 44.1 KHZ filter the high harmonics of a sample and them, as they may not respond the way
sample rate with 16-bit linear encoding, thus change its timbre. The VCF will nor- their graphs might lead you to believe.
complete with error handling data. mally be set to respond with key velocity, Both of these units also offer a minimum
Okay, let's say we find a great sampler or meaning that loud notes will open the filter loudness setting, which can be used in con-
drum machine with a high sampling rate, and produce a brighter sound. A VGA junction with your chosen curve. No mat-
gobs of memory, and a gonzo word (voltage controlled amplifier) will proba- ter how soft a strike is, it will always be at
length/encoding scheme. In the case of the bly be present, and its attack time can also least as loud as the minimum setting.
drum machine, forget about memory and be controlled by key velocity. The trick Advanced users may wish to take advan-
think nice, long, realistic samples. We now here is to make subtle adjustments for real- tage of the gate time settings on the MTM
hook up our device with these incredibly istic sounds. The sampler may also have and Octapad, which, in conjunction with a
outrageous, totally gnarly, and tubular control over the sample start point. Very sampler's VGA, allow you maximum con-
drum samples to our MIDI interface loud strikes will produce the entire sample, trol over the sample's loudness contour.
device. We assign note numbers, channels, while soft strikes will produce everything The final stop on our tour is emulation
and so forth as explained in earlier articles, except the very beginning of the sample. of the venerable hi-hat. This is tricky, to
and—instant drumkit! The problem is that This is where the attack information is, say the least. Unfortunately, I know of no
the more you listen to it compared to a real and by ripping out pieces of the attack, a company that makes a dedicated MIDI hi-
drumset, the less lifelike it seems. How can forceful sample can sound a lot like a more hat controller. There are, however, a few
this be? After all, we've got ultimate sam- mellow strike. options open. First, some interfaces like
ples! The above techniques all attempt to take the J. L. Cooper Drumslave have provi-
Simply put, there are two basic prob- a single sample (typically a forceful one), sion for a hi-hat footswitch. This allows
lems here: (1) lack of overring and (2) vir- and simulate a soft strike from it. Judi- you to switch between two different sounds
tually no dynamic variation. All drummers cious use of these controls can produce (open and closed hi-hat), depending on the
know that, if they hit a cymbal, it rings. If excellent results. Another technique is to footswitch position. Some drum machines
they hit it again, the second strike will use two separate samples—one forceful, also offer this feature, like the Kawai R100.
blend with the ringing from the first strike. one not—and blend them together in vary- This isn't bad for many applications, but it
In other words, the first strike ring doesn't ing degrees. Typically, this is referred to as will not emulate a half-open hi-hat or a
immediately stop when the cymbal is velocity layering. Low-key velocity will simple step on the pedal. Another tech-
struck again. This is how we get cymbal produce the mellow sample, high-key nique involves dynamic adjustment of the
crescendos and buzz rolls on a snare drum. velocity produces the forceful sample, and release time on a sampler's VGA. This sim-
Unfortunately, most drum machines will a medium velocity will produce a mixture. ulates pedal modulation, but it can be diffi-
not do this. Every time a pad is struck, the This can be very effective in many situa- cult to set up (with some machines, almost
corresponding drum sound will be re-trig- tions. Obviously, a combination of VGA, impossible). It seems that the hi-hat is the
gered from the beginning without any ring- VCF, sample start, velocity scaling, over- one area that most MIDI manufacturers
ing or resonance. This makes for rolls that ring, and layering can produce some star- have not spent a lot of time on. Hopefully,
sound more like machine-gun bursts and tling results! Again, for realistic drum this situation will change in the near
cymbal crescendos that are next to useless. sounds, subtlety in programming is the future.
A way around this is to continue the sam- watch word. As we've seen, it's quite possible to
ple playback of early strikes, along with All of the above techniques can produce assemble a very realistic and expressive
the new strikes. While this isn't exactly wonderful sounds if used correctly, but it MIDI-based drum system. All that's
what's happening in the acoustic domain, will all be for naught if you're not comfort- required is a little homework, some experi-
it is much more realistic. able playing the set. One item that bothers menting, and a little patience. As we've
Fortunately, there are some machines some people is the correlation (or more seen in the past, the advantages of an all-
on the market that will allow this sort of appropriately, lack of correlation) between electronic kit are numerous, including no
overring. A good example is the Korg the force of the drum strike and the result- mic's (or mic' bleed) and a consistency of
DDD-1. This device can be set for normal ing volume. As previously mentioned, sound that won't require hours to recreate
(non-overring), overring, and overring- some adjustment of scale is possible with when needed. As an added bonus, think of
exclusive (which is useful for hi-hats). most samplers. However, the transfer this: If a system is powerful and versatile
Most samplers will also allow you to pro- characteristic is usually fixed. For exam- enough to produce realistic drum sounds,
duce overring by assigning multiple output ple, the response may seem perfect at just think of what it can do for your special
channels for a given sound. At last, your medium to loud levels, but may appear effects!
snare rolls will blend! overly sensitive at low playing levels. How
cut through the whole band; he was some-
about himself, not about ordinary mor- thing," Buddy often reminded me. He
tals. The rest of us have to strive to be loved Chick Webb and admired Gene
good, practice, and give the instrument all Krupa, then the star of the Benny Good-
of our attention. It was never necessary for man band. And he was particularly
him. Buddy never practiced; he seldom involved with what was happening in
went near a drum during the day. There Harlem. He learned from Sid Catlett,
was little evidence around his house, other O'Neill Spencer, and particularly Jo
than a few pictures and one or two bits of Jones, who became a close friend. Jo and
memorabilia, that he was a drummer. He Count Basie immediately took a liking to
needed no reminders; he knew who he was. Buddy when he sat in with the Basie band
Because of his God-like talent, people at the Famous Door in 1938; the whiz kid
treated him in a manner reserved for those impressed the musicians and the audience
who tower above others. So many times I in the club.
saw how colleagues, friends, fellow musi- But we're getting ahead of our story.
cians, devotees of jazz, writers, music Buddy turned to jazz in 1935. He was
business executives, and fans deferred to taken to Harlem by his friends from
him because he was Buddy Rich. Brooklyn. Black bandleaders asked him to
It started when he was "Traps, the sit in. And though he was relatively inexpe-
Drum Wonder," a major star of vaude- rienced when it came to playing with
ville. Buddy grew used to this sort of bands, he made an impression each time
behavior and seemed to expect it. Only and was asked to return. It was a matter of
when you were with him, one-on-one, did great pride to him that he was liked
he become entirely natural, warm, and uptown. Harlem had everything to do with
even caring—aspects of his personality he music in the 1930s; it was where everyone
tended to hide from the world at large. went to listen, enjoy, and sit in.
To the public, Buddy Rich was that fan- Musicians who were aware of his poten-
tastic drummer: the wisecracking, smart, tial brought him around to bandleaders,
funny, sometimes wounding guy who hoping to get him a job. Joe Bushkin gave
appeared on Johnny Carson's Tonight Woody Herman a talking to at Roseland in
Show. With more than one or maybe two 1936, asserting that the lean, curly headed
in his company, he became the Buddy Rich youngster he had in tow "was the greatest
the public knew. Whenever he had an audi- drummer in the world." Woody had to tell
ence, he was on—doing shtick, being the insistent Bushkin that his band was a
funny, zinging this one and that one. cooperative venture, and that he couldn't
Buddy came from show business, where hire anyone without consulting the rest of
you learned to be noticed and to fight off the band. Bushkin said he would take Rich
those who would try to outdo you. Show- to 52nd Street, the famed "Swing Street."
business experience instilled in him the It was on 52nd Street that the young
need to be at the center of things and to drummer caught on. Drummer-teacher
remain there; it made him a fighter—for Henry Adler had heard him one night;
billing, for what he felt he deserved. It even Rich sat in where Adler was working in
made him more than a little cynical. Brooklyn. Because he was so astounded by
His background in vaudeville—his star- what he had witnessed, Adler made Rich a
dom as a child—was put behind him and cause—a personal campaign. He took
de-emphasized once he came into jazz; he Buddy to the Hickory House on 52nd
didn't like talking about it. But the years Street to sit in with the Joe Marsala group
on tour and his associations with show on a series of Sunday afternoons in 1937.
people, as a young—very young—head- Finally, on the fourth Sunday, Buddy got
liner, left an indelible mark. his chance.
The influence of show business mani- "At ten to six on the fourth Sunday,
fested itself in many ways—how he pre- Marsala motioned to me to come to the
sented himself, how he dressed, how he felt stand," Buddy told me. "We played a
he should be treated. His mother and medium-tempo thing and it went okay; I
father were Vaudevillians, and to quote a played time. Then he asked me if I could
meaningful Yiddishism: "The fruit play 'up.' Well, I lived 'up' in those days.
doesn't fall far from the tree." So we took off on a thing called 'Jim Jam
Buddy became aware in the mid-1930s Stomp.'
that show business was not for him. He "Everybody started walking out of the
sensed that it was all over for the vaudevil- joint when I sat down. Then I got going on
lian. Motion pictures had provided the this fast tune and took a solo, and they all
knockout punch in the late 1920s. After filed back. Right after we finished, Marsala
the music business began to change in the asked me if I'd ever played regularly in a
1930s, when music, bands, and ultimately band. And I said no. Then he put it right to
recordings became increasingly promi- me. 'Can you come back tonight? The
nent, Buddy changed his direction. band starts about ten.' I remember saying,
The Casa Loma Orchestra was a big 'I have to call home first.' I did; I got per-
influence. Buddy liked Tony Briglia, the mission from the family. You know, peo-
band's drummer. "He had a beautiful ple did that in those days. I came back,
press roll—a roll accented on 2 and 4 that played, and was offered the job. 'Can you
start in two weeks?' Marsala asked. I said and drive. And it certainly helped if you
yes. I was so thrilled that I didn't even ask had a feeling for what the arranger wanted
what the salary was." when he brought a new chart in. The func-
Rich's dad didn't understand his son's tion of the drummer was to play for the
enthusiasm. They talked; Pop Rich felt band. If you were good enough, you'd be
that it was a comedown for Buddy. But the noticed."
young drummer convinced his dad that it Buddy was noticed, indeed. Drummers
certainly wasn't. His future, he said, was came around to hear him with Shaw, as
as a drummer with bands. they did when he worked with Marsala at
Buddy loved to play, and the love was the Hickory House. He had his fights with
apparent in his playing. After several Shaw; they lasted as long as their musical
months with Marsala, during which relationship did, until November 1939,
Tommy Dorsey first heard about him, when Shaw fled the music business for
Buddy went on the road with the Bunny Mexico.
Berigan big band. Briefly, he headed a Buddy was very physical and loud when
band on the Piccadilly Roof in New York. he played, and he used the bass drum in a
Then in 1938, tenor saxophonist Georgie manner that had only been hinted at by
Auld, who had been a friend of his on the other drummers. "I like everything aggres-
Berigan band, called. He was with Artie sive," he said. "Lead trumpeters lay back
Shaw at the Lincoln Hotel. He asked too much. I felt I had to fill that vacuum.
Buddy to come over and sit in. The reason I started using the bass drum to
Shaw listened and was impressed. He accent figures with the brass and the
wanted "individuals" in the band who ensemble was very simple. What was being
could bring it fire and stir things up. He done just wasn't sharp enough. Other
sensed that Buddy had what he needed. drummers didn't shape charts with the
But a question remained in Shaw's mind: muscle that was necessary. By adding the
"How are you going to play the charts? bass drum to a figure, you brought impor-
You don't read," the bandleader asked the tance—new power—to it. You added
young drummer. "Just let me sit in front energy to the sound.
of the band a few nights, and it won't be a "When I joined Artie's band, incorpo-
problem," Rich responded. And that's rating the bass drum the way I did drove
what happened. Rich got a table near the him crazy. Later, he came to expect it and
band in the Blue Room of the Lincoln and missed the explosiveness when it wasn't
immersed himself in the music. When he there. Instead of accenting things with the
joined the band in January of 1939, he brass on the snare drum, I would keep time
played the arrangements as if he had writ- on the cymbal and use the bass drum for
ten them. the accents. Not only did I use the foot for
That's the way it went throughout his accents, but I began bringing it into play in
career. He would listen to a chart once or solos, by simply leaving two or three beats
twice, and then he'd play it far better than out, not playing them with either hand and
those who could read music. Later he substituting my foot."
learned to read music, to some extent. But Rich gave the bands he worked with a
he never needed the music, only his ears. new-found thrust and power. When he
Buddy always had problems with lead- moved over to Tommy Dorsey in late 1939,
ers. He knew what he wanted to do and he added that special rhythmic vitality to
wouldn't be turned away from what he the Dorsey band and particularly to the
thought should be done. A bit green when arrangements by Sy Oliver. Rich had to be
he joined Shaw, he had some time difficul- persuaded to join Dorsey; he felt the band
ties at the outset, but after a little while, he was not swinging enough—that it inclined
turned into the sparkplug that the clarinet- too heavily to Dixieland. But Dorsey
ist was looking for. informed him that Oliver was coming over
"I was quite clear about what my job from the Jimmie Lunceford band. Buddy
was by the time I went with Shaw," Buddy realized that the band would swing, and he
said during the course of an interview with intensified his negotiations with the "Gen-
me several years ago. "I knew I had to eral Motors of the Band Business." He got
embellish each arrangement, tie it the sort of contract he wanted. The drum-
together, keep the time thing going, and mer had come to realize how valuable he
inspire the players always to be better. My was to an orchestra, and the dollars were
way was to keep the energy level up and very much in line with his belief. He not
push hard. This concept was strictly from only earned a top salary, but received bill-
Harlem. I learned from black drummers, ing with the band as well. By 1940, Buddy
like Chick, Jo, Sid Catlett, and O'Neill was a major star . . . again.
Spencer. I never was a fan of white drum- With time out for the marines during
mers, with the exception of Briglia and World War II, Rich worked with the Dor-
Gene; the others were just too bland. I sey band until 1945. He developed an
loved excitement, fast tempos, and lots of immediately identifiable style. Yes, he was
color. loud. But his beat was tremendously buoy-
"In those days, the only reason you were ant and uplifting, and what he did with his
hired was to keep the band together. It was hands and feet behind ensemble figures
up to you to swing the band, add impetus, and under soloists promoted great excite-
ment and interest. picking up the sound of the Dorsey band. prised of several elements, all of which
Dorsey knew what he had in Buddy. He It seemed to me then that no one could should be used.
came to understand that Buddy's style of make the snare drum whisper and shout But despite his negative feelings, he lis-
playing was not a matter of showing off; he and the bass drum explode the way Buddy tened to one and all in the new generation
was just bringing strength and design to did. And the way he kept time! Not long of drummers, filing away what he thought
arrangements, clarifying and energizing out of the marines, he gave every evidence might be workable for him. After a short
them. Rich added something to the band in 1945 of being the only drummer who while, his playing began to show signs of
beyond the excitement he created as a could make the Dorsey band come alive in change—nothing major, but there were
rhythm player. He became an attraction a very special way. indications that his instincts told him that
whose solos were anticipated by fans; he When Buddy left TD to form a band of the new players had some valid ideas.
danced in front of the band at theaters. his own in 1945, the big band era was Despite his surface recalcitrance, he
Without reading, he added dimensions to slowly drawing to a close. He fielded a very insisted that his band play modern charts.
the work of dancers, singers, comedians, swinging band, bankrolled by Sinatra, that And he hired young, creative contempo-
and novelty acts during stage shows. made its debut at the Terrace Room in rary players and writers, like Johnny Man-
He made as many enemies as friends. Newark, New Jersey, in December of del, Zoot Sims, Al Cohn, Terry Gibbs,
Sinatra and Rich had enormous respect for 1945. He not only had the change in taste Jerry Thirlkeld, Jimmy Giuffre, Charlie
one another; their friendship lasted until with regard to bands to deal with, but he Walp, the Swope Brothers, Allen Eager,
Buddy died. The singer, who never forgets had to come to terms with what was hap- Ben Lary, and others. The band built a fol-
those close to him, was a presence during pening in music. Charlie Parker and Dizzy lowing among musicians and jazz devo-
Buddy's illness. And his concern for Bud- Gillespie were turning things around, and tees. But the public progressively turned its
dy's memory and the Rich family con- young musicians were responding. Drum- attention elsewhere.
tinues. But the two had their problems in mers became freer; they approached the The Rich Big Band, between 1945 and
the Dorsey band. As a matter of fact, sev- set differently. Max Roach, Kenny Clarke, 1950, provided a fund of memories. I
eral members of the ensemble resented the and Stan Levey were setting the pace. remember how well it played, particularly
drummer. Buddy wasn't the easiest to get Buddy didn't favor the way bop drummers on one nighters, in theaters, and on the air.
along with. But he played like no one else broke rhythm; their concept of time Buddy had made it into a jazz band, bend-
could. annoyed him; it wasn't aggressive enough ing little when pressed by economic neces-
For many who watched and listened to and didn't have sufficient weight. Keeping sity. But he still knew how to make show
him during this period—this writer the basic time on the cymbals while semi- business work for him.
included—BR seemed a magical maker of retiring the bass drum—bringing it into use In 1947, Buddy broke his left arm in
sounds and inventor of ideas. I remember essentially for accents—did not lay well three places while playing handball in
vividly walking down the stairs of the 400 with him. He spoke loudly and frequently Columbus, Ohio. When he opened at the
Restaurant, a large spot in New York that about modern drumming. He insisted that Apollo shortly thereafter, he took full
booked top bands in 1944 and 1945, and drums were a complete instrument, com- advantage of the situation. Playing with
his feet and right hand, he didn't acknowl-
edge any difference and allowed the audi-
ence at the Harlem site to take notice that
he was doing the job. When he came down
front after the first number, having been
obscured in the semi-darkness, he quietly
stood at the microphone, his arm in a sling,
while the audience collectively gasped.
Immediately, BR became the talk of the
town. Musically, he had done far more
than was necessary; his feet and right hand
took up whatever slack there might have
been.
Down beat noted in its comments on this
occasion: "[Buddy] danced around the
stage; sang the blues; drummed for dancer
Steve Condos and then danced with him—
first putting Condos' arm in a sling so
they'd be evenly matched. The show came
to a climax with Rich doing his famous
'Not So Quiet Please' number with one
hand and his feet. Legend has it that Basie
drummer Jo Jones, after seeing the per-
formance, quipped, 'If that arm heals, it
ought to be broken again.' "
Buddy also sang with the band, at Sina-
tra's behest. It added another dimension to
his and the orchestra's appeal. However,
even another unbelievable performance,
with attendant publicity, could not save
the band. In 1949, he played two bass
drums in front of the band at the Para-
mount Theater. With no preparation, and
provoked by the press that Louie Bellson
had gotten because he used two bass
drums, Buddy had the Slingerland Drum
Company send him two bass drums. He came to material and new writers, "as long
had them mounted on the theater plat- as the charts sound good and swing." He
form, and with a Basie arrangement of relied on certain arrangers and composers,
"Old Man River" as his vehicle, he gave a like Bill Holman and John LaBarbera. The
lesson on how two bass drums should be only thing he was really against—in addi-
played. He said, "I got tired of hearing tion to nostalgia—was overstylization.
about Louie Bellson and his two bass "The freedom is lost when you stick to a
drums. I didn't feel the whole thing was certain sound or way of playing, as Glenn
that difficult. So I decided that, if you're Miller did," he said.
going to play them, you should really play "I have a concert band," BR insisted.
them. That's all." He told writer Elliot Tiegel, "I'm trying to
After the final breakup of the first edi- establish an art form without all the gim-
tions of the Rich Big Band, the drummer micks, without all the bullshit, without
continued to play startlingly well and to having broads come out and dance and jig-
evolve as an artist in a variety of circum- gle. I'm selling music . . . ."
stances. He traveled and recorded with There was a parade of sidemen who
Norman Granz's Jazz At the Philhar- moved through the Rich band. Buddy
monic troupe, associating with some of the loved the good players and hated the ones
best jazzmen ever, ranging from Lester who couldn't cut it. Guys like trumpeter
Young and Roy Eldridge to Charlie Lin Biviano and saxophonists Joe
Parker, Illinois Jacquet, and Gene Krupa. Romano, Jimmy Mosher, Pat LaBarbera,
He worked as a star sideman for periods of and Steve Marcus—who stayed in the band
time with the Harry James band, and until the end—made him happy. He often
appeared with the "Big 4" in the company spoke of the guys who could "play." The
of saxophonist Charlie Ventura, bassist respect was there; there was little he
Chubby Jackson, and pianist Marty Napo- wouldn't do for those who had their stuff
leon. Briefly, Buddy returned to Tommy together.
Dorsey, who was co-leading a band with BR felt the same way about drummers.
brother Jimmy, and spent several months Those who spoke their own language on
with Les Brown's Band of Renown, with the instrument and played consistently
which he recorded still another memorable well had his admiration. Those who
version of "The Carioca." (The original, sounded like "everybody" or specifically
of course, was waxed with the Shaw band.) looked to him for inspiration, turned him
During this segment of his life, there into "Victor Venom," a descriptive that
were, in addition, several Buddy Rich Mel Torme came up with for the dark,
small groups and a few reincarnations of angry side of Buddy Rich. This drummer
the big band for specific engagements, fea- was a man of very definite tastes.
turing players that Buddy found stimulat- During the last years, Buddy fought ill-
ing. The years preceding the rebirth of the ness: his back, kidney stones, the heart
Buddy Rich Big Band in 1966 were also problems that made for a quadruple
notable for the drummer's recording activ- bypass operation. From the time he had his
ity. He made a number of memorable first heart attack in 1959 until he suc-
recordings that are still in print, including cumbed to a combination of things he
some with Charlie Parker, Harry James, couldn't combat, BR did all he could to
Lionel Hampton, and Art Tatum. He also keep playing. He took care of himself but
went into the studio with Basie, and made didn't allow his health problems to keep
albums of his own with large and small him away from the drums.
groups, and as a singer. And somehow, because he played cor-
When he decided to form a contempo- rectly and because of his enormous ability,
rary band in '66 that would reflect a variety Buddy continued to mature. He listened
of trends while emphasizing its jazz foun- and learned about styles beyond the one he
dation, Buddy got more than his share of played best: swing. For example, he
flack from the know-it-alls in the music became the best rock drummer I ever
business. They said that the time was heard. In essence, he opened himself to
wrong and the band could never possibly music of all kinds and grew up.
succeed. But that meant nothing to BR; he I saw him a month before the onset of
insisted he was right, and this time, he cer- the final illness. It was just before Christ-
tainly was. mas. He brought his young band to the
The band through its entire life—with Blue Note in New York City. We hung out
time off in the mid-1970s for Buddy to lend at his apartment in Lincoln Center for a
his name to a club in New York—mirrored few hours, in the company of a promoter
the drummer's need to remain current and from England and Buddy's friend, drum-
his lack of tolerance when it came to ' 'nos- mer-teacher Freddie Gruber. He was
talgia." He insisted that revival of yester- unusually quiet. Before his first set at the
day can be nothing more than a cardboard club, my son and I spoke briefly with him
replica, lacking the depth, power, and true on the band bus in front of the club. The
effect of the original. performance that followed was typically
So he went his way, making sure his strong. Buddy executed as no one can.
band's library covered a wide range. He More important, he supported his young
was not afraid to take chances when it band in a marvelous way. He had taken Jo
Jones' advice and, for the last several one of the keys to his style. He just seemed him that I had the drum. He was looking
years, had concentrated on playing with to love those drums. He would often talk forward to getting it and was excited about
people, rather than playing for them. Even about how it was basically the same set he using that drum with the set. There again, I
the purist jazz critics on hand came away used with Dorsey, and he didn't know why think it was going back to the Dorsey
convinced about the 69-year-old drum he ever stopped. He always considered the thing. I have some pictures where he was
wonder. drums as an instrument that should be clearly at a drum that large. It was kind of
Buddy Rich left us at his best, indicating played like any other instrument—not the ultimate bottom of a band. He didn't
that there was more to come. I'll miss him banged or hit. I was privileged to sit in the really care to mike the bass drum. It was
more than I can say. wings many times backstage when he the only drum that he muffled. He got that
played. He just seemed to be part of those warm, round tone out of it.
drums. Rather than just sitting behind As it turned out, he went in the hospital
them, he seemed to be immersed in them. just six days before he was due to come up
on the snare was all you were going to do Buddy Rich was the drums. here and pick up the drum. I have it here,
on the other drums. He said that he really His theory on drums was interesting. He and I'll always cherish it. I know I made
wasn't interested in any of the hi-tech didn't believe that you "tuned" them. He him happy the last few years in terms of the
approaches or the massive hardware. He believed that you "tensioned" the drum- drums he was using. He could have played
just wanted a simple, basic set of drums—a heads to feel. He would actually let them anything, but he seemed to have gone full
set that he'd be comfortable with. That, of get quite loose before he bothered to pull circle. He was using what he started with.
course, was hard to put into words. It them up again. I suppose a lot of people
would just have to feel good when he imagine that he went around tuning them
played with the band. each night. He really didn't pay much
By August of '83, I had put together the attention to that at all. He was much more
other four drums to a set, which, of concerned with the music. He got an amaz- Buddy Rich was, and will always be, a con-
course, were a 9x 13, two 16x 16s, and a ing sound out of a pretty basic snare stant source of inspiration and motivation
14 x 26. They were all separate drums: The drum—the eight-lug Radio King—by to me and generations of drummers to
bass drum was red, one of the floor toms keeping the bottom head quite tight and come. I feel very fortunate to have been
was black diamond pearl, and the small the snares very tight, and he got depth able to see Buddy and his bands perform
tom was painted blue. Mitch Greenberg from the drum by keeping the top head 20 times over the last 12 years. Each per-
from Chicago helped me find them. I just loose. Of course, with his amazing tech- formance was an unforgettable experi-
reworked them, beveling, trueing, and nique, he could play off the head anyway. ence. He gave us all years of great drum-
redrilling the best I could to make them It always appeared that the head was very ming, great music, and great joy. Thank
into a set. I had to re-cover them, of taut, but he actually let it get quite mushy you, Buddy. Believe me, you'll be missed.
course, to match the original marine pearl, at times. Of course, he loved to use calf- Todd Remmy
and I put calfskin heads on them. I skin when weather permitted. Also, he Cincinnati, OH
retained all of the original hardware, hated to have the drums set up on carpet-
including the hoop-mount tom-tom holder ing, so he carried a piece of plywood that
and the old straight hoops. I basically just he always set the drums up on. He said that Buddy Rich's playing ranged from the
took the chance of seeing if he'd get a kick the plywood helped the drums project ricky-tick of vaudeville to the rhythms of
out of them or not. It was really just a ges- through the band better. funk. He combined Billy Gladstone's
ture on my part from one fan to the mas- In December of "85, he said that every- snare drum control, Jo Jones' hi-hat
ter, so to speak. thing was holding up well and he was very finesse, Gene Krupa's showmanship,
I didn't actually see him use them until pleased. He said, "I'd like to go to a 28" Chick Webb's unexpectedness, and Dave
October of '83. In my excitement, I went bass drum." I never questioned why he Tough's swinging sense of time. Buddy
up to him and said, "So, do you like would want to do that. That was how kept time, played strong and fast, excited
them?" He came back with a classic, Buddy was. If he wanted to do it, he the band, and mesmerized the audience—
"They're up there, aren't they?" We both wanted to do it. He never expressed actual and he made it look easy! He was the
laughed, and then he went on to compli- musical reasons for needing it over the 26. standard by which all others were meas-
ment me on my work. Of course, I don't I think he probably felt that he could pace ured.
take credit for making the drums. They himself a little better with it—get a fuller Bob Johnson
were made somewhere between 1940 and sound with a little less effort. I had a 28" Kansas City, MO
'44 or so. I just basically reconditioned drum at the time, but I didn't have the
them. He said they were extremely com- material to cover it to match the rest of his
fortable, and he felt very relaxed playing set. That had been discontinued. It took It's difficult to imagine the music world
them. me a long time to find the stuff. without Buddy. It's especially hard, as
Buddy always played relaxed. That was We spoke this past February, and I told drummers, to accept that he is gone.
Although I didn't know Buddy personally, STAN LEVEY
I'm grateful for the wonderful gifts and Thank you for your excellent article on
memories that he has bestowed on me. Stan Levey in the May, 1987 issue. I
Buddy is gone in one sense, but in another enjoyed it so very much. When I was a
sense, his presence surrounds us. He is eve- teenager, the first big band I saw was Stan
rywhere in the music world and in the his- Kenton's, and Stan Levey was the first
tory of jazz, and he'll be present for gener- drummer. They were playing in a ballroom
ations to come. in New Hampshire. I stood at the foot of
Michael Ruggelo the stage listening to that great band and
Amesbury, MA watching Levey. It was exciting! I didn't
realize all the great players Stan was associ-
It is with great sadness that I learn of the ated with. Thank you again for a very
passing of Buddy Rich. Every drummer in informative and enlightening experience.
the world has just moved up one rung of Joe Moceri
the ladder. Buddy was easily the greatest of Lowell, MA
the present-day masters. This is surely
drumming's darkest hour since the death Just a short note to let you know how glad
of John Bonham. I saw him in concert I was to see the article on Stan Levey.
three years ago. During a break I asked for Stan's drumming was some of my favorite.
an autograph, and he told me, in that curt Burt Korall's writing was excellent; he
Rich fashion, "Later." I loved it and knows what to ask and what to leave out.
expected no less from this drum legend. Al Marland
After the show, my wife and I went on his Long Beach, CA
bus, chatted with Buddy, and got the
promised autograph. THANKS TO LUDWIG
Darryl Crawford Ludwig Industries is an excellent com-
Arlington, TX pany! A giant salute to the entire staff at
the Monroe, North Carolina plant.
A piece of drum history is gone. He was my Quicker than a five-stroke roll, they pro-
idol—the best there was. He was an inspi- vided warranty work with a broad smile,
ration to us all. He spoke that special lan- fast delivery, and a patient product quality
guage that only drummers understand coordinator, John Cummings. I love my
and, man, did he speak it fluently. So Ludwigs, and the fantastic service from
thanks, Buddy, for everything you have the Monroe plant deepened my faith in the
done for drumming. You have touched us company and the product. In a very com-
all. petitive drum market, Ludwig illustrated
Lawrence Jannotta its rightful leadership with an incredible
Bethpage, NY warranty delivery system.
Terry Ballard
Buddy Rich influenced me more than any Asheville, NC
other drummer. I had met him 25 times. As
far as I'm concerned, he was one of the THE SCIENCE AND ART OF DRUM-
nicest guys I ever met. I have a couple of MING
pairs of drumsticks and autographed pic- I'm writing in response to Don Telian's
tures that he gave me. Buddy Rich was the article, "The Science And Art Of Drum-
greatest drummer of all time, bar none. I ming," in the May issue. Don said that
will still listen to his records, love him, and humans tend to come in two forms: scien-
miss him. Tim Smith tist and artist. He also seemed to say that,
Silver Spring, MD generally, the artist is not scientific and the
scientist is not artistic, and that you're not
a drummer unless you have both qualities.
In my opinion, it isn't so cut and dried.
How can artistic players play artistically if
they don't have some kind of technique?
They surely have to know how to hold their
sticks! And I fail to believe that a scientific
player is like a robot, with no imagination.
I feel that all players—whether they are
strong artistically or scientifically—are
drummers! Perhaps they're at different
levels, and possess different strengths and
weaknesses, but they are still drummers,
and you have a lot of nerve telling them
that they are not. I agree with your conclu-
sion that being, as you call it, a "scientar-
tist" makes a successful drummer. It is a
goal to be achieved. But how can players
achieve this goal if you tell them they are
not drummers?
Joseph Murro
Old Bridge, NJ
by Rod Morgenstein
Add a second bass drum to Example 3, and you will have a double
bass drum shuffle. It's interesting to note that, as intense sounding
as this beat can be, it too utilizes the traditional swing ride pattern.
The swing pattern also works well when playing funk with a
shuffle or three feel. In this example, measures one and two main-
tain a heavy backbeat on the snare, while in measures three and
four, the snare is syncopated. I sometimes call this kind of feel
swung/funk, because the "comping" is similar to that of jazz /
swing. The difference is in the way the snare and bass combinations
are grouped, the occasional heavy snare backbeat, and an overall
shift in attitude.
The following reggae beat utilizes (yes, once again) the tradi-
tional ride pattern. The shifting of the bass drum to beat 3 of each
measure helps bring out the reggae feel.
Ya Gotta Try
drinker. After receiving any number of wives did!" Chuck laughs about that line
tickets for drunken driving, he realized to this very day. He recently told me, "Bob
that, if he didn't stop drinking, he would Yeager was the most honest person I have
lose his business or wind up in jail. To his ever known, bar none." That's quite a
credit, once he made the decision, he tribute from a close, close friend who knew
stopped drinking and was sober to the end. Bob very well.
However, he still enjoyed telling stories Jake Hanna was a regular at Pro Drum.
about his drinking and about some of the He and Bob could trade lines with anyone.
funny things that happened during that When they were together, it was "laugh
Drummers from all over the world have period. time." Bob liked to have fun, and he liked
lost a great friend. On March 10 of this Bob didn't waste time on regrets. He people who were funny as well as unpre-
year, Bob Yeager, founder and owner of would grumble and get on with it. The tentious and down-to-earth.
the Professional Drum Shop in Holly- character he showed in overcoming his "Bob was an extremely generous man,"
wood, finally succumbed to a long, drinking problem showed up in other areas Jake recalls. "If I needed a cymbal or some
exhausting illness. Bob started "Pro as well. Bob was a fighter right to the very drumheads to leave town, Bob always took
Drum" (as it became known) in 1959. It last. Even when I would call him in the hos- good care of me. He would stay late or
was the premier drum shop on the West pital, he could still make a joke. He never come to the shop on Sunday if a drummer
Coast. All of the top players and drum- gave up; he just ran out of time. needed help. And he helped a lot of drum-
mers would stop in when they were in Bob helped a great many drummers in a mers." Jake visited Bob in the hospital a
town. It was, and still is, directly across the number of ways. If drummers had their few days before the end. "Bob was making
street from the musicians union on Vine drums stolen, Bob would let them take out jokes and carrying on like the old Bob. He
Street. a drumset so they could work. Bob would was a brave man, and my oldest, dearest
I got to know Bob in the late '60s, when I say, "Pay me when you can." A few peo- friend."
moved to California, and we struck up an ple burned him over the years, and he In recent years, Bob was very disturbed
immediate friendship. Bob was a complex never forgot that. He remembered the with the conglomerates that had entered
man. He was brutally honest, and profan- players who kept their word and the ones the drum business in the '70s. Instead of
ity came easily to him—especially when he who didn't. Bob would give you his best, straight answers, Bob began to hear the
felt that someone was not being straight but if you burned him, you were on his double-talk of the nonpersonal, middle-
with him. More than one "clever" or "bad guy" list forever. This might sound management executive who was not a
overly aggressive salesman, vice-president, harsh, but he applied the same standards drummer, didn't like drummers, and more
or president of a company has been ver- to himself. If Bob said he would do some- often than not, did not respect drummers.
bally escorted from Pro Drum with his tail thing, you could bank on it. He would This is the part that hurt Bob the most. He
between his legs. To sum it up, Bob would never let you down. would often say, "They don't care about
not tolerate "B.S." in any form, from Bob Yeager was also something of a drummers. They don't respect drummers.
anyone, for any reason. father figure for West Coast drummers. All they care about is the bottom line.
Bob could occasionally upset people He helped a number of drummers negoti- They've taken the 'feeling' out of the busi-
because he spoke the truth. He would not ate contracts with drum companies and ness." Bob wasn't saying that all corpora-
be political or play games. If you asked bandleaders. He gave business advice tions were like this. However, I did agree
him a question, he would give you a freely. Many people in various areas of the with him that they were usually less per-
straight answer. Even if it was not the drum business benefited from his counsel sonal and less caring in a general sense—
answer you wanted to hear, you knew Bob and encouragement. Chuck Molinari was certainly more so than the great, privately
was being truthful. a stockholder in Pro Drum from the begin- owned companies and the original pio-
Bob also had a great sense of humor, ning. He worked as a sort of manager, con- neers in the drum business. This point is
even if the joke was on him. I can remem- fidant, and close friend. Chuck left Pro important, because it reflects Bob's respect
ber him recounting any number of stories Drum after 21 years of "fun"—as he puts and concern for all drummers.
about when he was a wild young man. He it. Today, Chuck is probably best known In 1963, Bob started Try Publishing.
would laugh about the crazy situations in as the owner of Spectrasound. Chuck had Many top drummers brought their ideas
which he had found himself. He especially been married several times during his ten- for books to Bob. He consistently paid
loved to tell stories about drummers and ure at Pro Drum. On the day Chuck left, higher royalties than the large publishing
the music business. He liked to hear a good Bob put his arm around Chuck and, with houses. When I asked him about this, he
story, as well. characteristic good humor, said, "Well, as said, "These guys deserve to be well paid
At one time, Bob had been a very heavy a team, we lasted longer than any of your
for their work and their ideas. My books
are always open. Any author can check the
sales and royalties." Such openness is rare
in any business.
One of Bob's favorite drummers was
Buddy Rich. He loved to joke with Buddy
and could kid around with him like no one
else. One day, Bob was preparing a drum-
set for Buddy to use on the Tonight Show.
The guys in the shop could not decide
where exactly to drill the holes in the bass
drum shell for the tom holder. Bob
grabbed the phone, called Buddy's hotel,
woke Buddy up, and told him to come over
and show him exactly where he wanted the
holder. Bob told his crew, "Buddy's a per-
fectionist. It will never be right if I guess at
it, so he just has to come over."
When Buddy arrived, he was visibly
upset, because he had been up late and Bob
had awakened him. Everyone in the shop
sort of moved away from Buddy when they
saw the mood he was in. Bob walked up,
smiling, and said, "What are you so
damned happy about?" Buddy burst into
uncontrolled laughter in spite of himself.
Only Bob could have turned Buddy's
mood completely around like that.
There is a great Sammy Nestico chart
recorded by Buddy and his band called
"Ya Gotta Try." As I thought of Bob and
his friendship with Buddy, I could think of
no better title for this article. Bob was a
trier and a doer.
Bob was a pioneer, and the Professional
Drum Shop helped to set the pattern for all
real drum shops. A complete repair serv-
ice, spare parts, all percussion instru-
ments, and educational materials were all
under one roof. The atmosphere was, and
still is, directed toward the professional
drummer. Bob's sons, Stan and Jerry, are
continuing the traditions established by
Bob. They still care about drummers the
way Bob did . . . and he cared a lot.
With characteristic courage, Bob told
his wife and family, "When I go, I don't
want any sadness. I want everyone to have
a ball." Consequently, at the funeral, the
Frankie Capp / Nat Pierce Big Band per-
formed with rare spirit. Jake Hanna
played with a small group that included
Ray Brown on bass. Everyone tried to have
a ball as per Bob's wishes, although the
sense of loss was great. Many famous
drummers were there, and many young
drummers as well. Bob Yeager touched a
great many people during his all-too-brief
lifetime.
As I write this, I feel a mixture of sad-
ness and admiration for my dear friend. I
keep thinking of Bob and the era that he
helped to define, and I keep hearing that
Sammy Nestico tune. At least for me per-
sonally, that will always be Bob Yeager's
theme song. Bob would have liked that. If
you were fortunate enough to have known
Bob Yeager, remember his legacy: "Ya
Gotta Try."
Thoughts On Buddy
by Rick Van Horn
On April third, early in the morning, I was me how to swing, how to play with finesse since coming to work at MD. As I matured
awakened by the radio with the news that and power at the same time, and how to as a drummer, I began to listen to Buddy
Buddy Rich had died the day before. I had solo in an exciting manner when the time with a more critical ear. I could hear that
been away from all media on the second of was appropriate. The man both my teacher sometimes his sense of time wasn't quite
April, and so was not aware of Buddy's and I recognized as the master of all these where it should have been (although he
passing. I can't say that I was stunned or things was Buddy Rich. When I started might have argued that it was the rest of
shocked; we had known of Buddy's seri- playing professionally, and needed to the band that was off). As I began to under-
ous illness for some time at MD. But I was develop a sense of personal worth, confi- stand the function of a drummer in a band
tremendously saddened. I had grown up, dence, and dedication to my craft so that I a little better, I sometimes had the feeling
literally and professionally, with Buddy knew I belonged behind a drumset on a that Buddy tended to overplay a bit. I real-
Rich. He and his drumming had been a stage in front of people, my inspiration for ized that he represented the opposite of the
very important part of my own develop- those attitudes came from one source: old "18 musicians and a drummer" cliche:
ment as a player. The news of his passing Buddy Rich. Buddy's band was often very clearly one
caused me to start my day by looking back Of course, as a very young drummer, I drummer and 18 sidemen. But even if that
and reflecting on just how Buddy had influ- mainly saw the speed, the flash, and the wasn't what I thought of as the optimum
enced me, and why exactly he meant what showmanship while soloing that Buddy situation musically, I had to admire the
he did to me. was famous for. Later, as I matured as a kind of strength—chutzpah, if you will—
I was too young to really appreciate player myself, I began to appreciate more that allowed Buddy to pull it off.
Krupa in his heyday—although I can fully what Buddy contributed to the band I think I envied that brashness in Bud-
remember being inspired by my mother's as its foundation. As I learned more about dy's personality quite a bit. I know many
old 78s of Krupa's band. And my drum- him and saw him perform live several of the stories about his behavior as a band-
ming career was already well under way times, I realized that there was something leader; I'm aware that he often bullied his
before the great rock motivation of Ringo about Buddy with which I could identify musicians. I'm not in a position to com-
Starr and succeeding '60s drummers came personally. I don't mean to equate myself ment on that, other than to say that I
along. In the interim, I, and the drummers with him in any way; I only mean that there believe that stemmed from Buddy's total
I studied with, had one great, shining star was one level on which I felt we had some- dedication to his performance. He was
to look to: Buddy Rich. I learned to play thing in common. I felt it a while ago, but it never any harder on any of his players than
on a marching snare drum, and so was con- was only recently that I identified that he was on himself, and I know several sto-
cerned with sticking technique. The man to common aspect that we shared. Buddy ries about that side of Buddy, too. I know
watch for that was Buddy Rich. When I Rich was the ultimate club drummer. that he often played in tremendous pain
graduated to a drumset in 1959, I took les- Yes, Buddy made recordings, appeared from back problems; I know that he was
sons from a big band drummer who taught on TV shows, and headlined in Las Vegas. on the bandstand less than six weeks after
But while many other artists do such things undergoing quadruple bypass surgery. (I
and also appear occasionally in smaller know that one because I was there at the
venues, with Buddy, it was the other way performance.) I've said before in this col-
around. The big-scale appearances and umn that I hold an old-fashioned perform-
album recordings were almost incidental. ance ethic; I believe in the "show must go
What he did for a living—and for his way on" philosophy. Buddy's show always
of life—was play on the road. To a point went on.
within a few months of his passing, Buddy And what a show it always was! Buddy
was touring constantly. Yes, he played always had the players, he always had the
Vegas, but he also played the Catamaran charts, and he always had the personal fire
Hotel in San Diego (where I saw him just and aggressiveness to make everything
before his 62nd birthday). Yes, he did the happen to its maximum potential. There
Tonight Show, but he also played the Car- have been, and are today, other great big
nation Gardens at Disneyland (where I saw band drummers. But nobody does, or ever
him twice). Yes, he made records, but he did, play with the sheer intensity of Buddy
also packed 'em in at the Bottom Line in Rich. That's where I now realize I feel the
New York City, where his bus was parked greatest loss with his passing. I can remem-
across the street from the club—not his ber the great shows I attended; I can listen
limo, mind you—his band bus. And to the great recordings; I can even watch
Buddy rode that bus, up and down the some videotaped performances. But
highways of this country. He played col- Buddy Rich's intensity can't be mechani-
leges, theaters, and most of all clubs. He cally reproduced. It had to be experienced
was the greatest big band drummer who firsthand; it had to be felt when Buddy
ever lived—arguably the greatest drummer delivered it. Those deliveries have now
of all time—and he played clubs. I think ceased forever, and it is for that reason—
that meant more to me than all the talent for all the "deliveries" that future genera-
and amazing technique he ever displayed. tions of drummers won't be able to receive
I don't mean to deify Buddy; I know he from Buddy—that I feel the greatest
had his faults. I've come to know more regret.
about those in recent years—especially
by Bob Saydlowski, Jr.
Simmons
MTX-9 Expander
number (1-5). When in user mode, a dot
appears after the kit number, just like on
the SDS9. A large push button is used to
change from factory to user mode, in addi-
tion to selection of kit number. Pressing
the left side of the button decreases the kit
number, while pressing the right side
increases it. Pressing at dead center
changes the mode (factory/user). I find
this to be a major help in getting to the
location you want, instead of cycling
around all kits and both modes.
Four smaller push buttons are used to
program a kit, store a kit, save a drum
channel, and select a bank or drum chan-
nel. Other programming controls are:
Pitch (increase or decrease), Sample Select
(1-11), Decay, which allows a partial or
full sample to be heard, and Shift, which
increases or decreases pitch corresponding
with the dynamic level. The MTX-9 also
has an onboard delay that can be pro-
grammed for decay rate, the time between
echoes, and the total number of echoes (up
to 15).
All in all, programming kits is pretty
simple, once you know what to do. Sim-
Simmons' new MTX-9 is a three-channel footswitch jack for remote kit selection. If mons' owners manual is very well-written,
percussion expander unit that can be used you own an SDS9, the MTX-9 sounds can so you shouldn't have any problem. The
by itself, or in conjunction with the SDS9 be mixed in with your SDS9 toms by using sounds built into the MTX-9 are all great.
or SDS1000 kits. The MTX-9 contains 11 the three external tom inputs and trigger- The preset kits are all specifically arranged
digitally sampled tom-tom and Latin per- thru jacks. as to group and pitch, and thus can't be
cussion sounds, and can be triggered via An array of knobs, buttons, and LEDs varied. But with the user function, you can
pads or MIDI. The unit is rack-mountable are on the front side of the MTX-9. Each develop your own kit combinations and
and can store 40 "kits": 20 factory presets pad has its own sensitivity control and out- tailor the sounds to your own personal lik-
(in ROM) and 20 user-programmable kits put level. There is also a master mix level ing.
(in RAM). and headphone level (plus a headphone The MTX-9 is meant to interface with
Available sounds in the MTX-9 are: jack). Separate level controls are available the SDS9 but will work with SDS1000 kits.
power tom, dry tom, electro tom (the old for three external sources (such as your It can also be used with various other Sim-
SDS5 sound), timbale, conga, tambou- SDS9 tom pads). This allows you to blend mons products, such as the SPM8:2 mixer,
rine, Cabasa, clap, cowbell, clave, and both the MTX-9 and SDS9 sounds on each MTM and TMI MIDI converters, and
sidestick. Since the unit is three-channel, pad, or replace the SDS9 sounds altogether SDE percussion expander, or it can be used
you could have one kit set up using the with the MTX-9's digital samples. A alone. The unit is available two ways: with
same sample sound (i.e., conga) pitched "Dynamic" control is there to increase three Simmons pads at $899 retail or the
differently on each of the three pads, or small dynamics, and it adds a compression MTX-9 brain alone for $699 retail. Either
you could set up a kit containing three effect at higher volumes (with an LED to way, drummers can now have hand per-
entirely different samples. There are quite signify that function). cussion sounds readily available while
a few possible combinations. The kits are stored in four banks of five playing on a kit, SDS9 owners can update
The rear of the MTX-9 has three pad kits. LEDs are used to indicate kit banks their analog tom sounds to digital sounds,
inputs and outputs, as well as a Mix out- A-B-C-D; the same LEDs are also used for and percussionists should love the flexibil-
put. It has jacks for MIDI thru, MIDI in, MIDI note numbers and MIDI channel. ity the MTX-9 affords. No doubt we'll see
and cassette load/dump (it's capable of There is a MIDI function indicator LED as the MTX-9 popping up in some hand per-
storing or retrieving on cassette), plus a well. A window display is used to show kit cussionist's arsenal quite soon.
PURECUSSION RIMS CONTEST WINNERS REMO SUPPLIES MILLER BANDS
Purecussion, Inc., maker of being held at more than 300 Remo, Inc. is the exclusive sup- Rangeler of McGuffy Lane, a
RIMS and the new tunable RIMS Test Centers throughout plier of drumsets and drum- country rock quintet from
RIMS Headset, recently held a the country to promote the heads to the Miller Brewing Columbus, Ohio, Bill Shaw
drawing to determine the first sound advantages of RIMS Company's Genuine Draft from Seattle's The Range-
winners of its "RIMS Two- Suspension Drum Mounts. Band Network, and has fur- hoods, Harry Lewis of Smash
Minute Test" contest. The Drummers are encouraged to nished drumsets to many of the Palace out of Philadelphia,
names of Jimmy Gatewood and visit their local dealer, compare 23 bands that are being spon- Gary Smith of Austin's Tail
the Angus McCree Music Cen- a drum's sound with and with- sored by Miller Brewing Com- Gators, and Chad Smith of the
ter of Greensboro, North Caro- out RIMS, and then fill out an pany. It's Remo's first year on Detroit rockers Toby Redd.
lina, were pulled from a bass entry form. Both the individual the program, which supports Each of the bands is a work-
drum full of entries by Shannon and the store are then eligible to outstanding rock and country ing, touring group, and many
Ford, drummer with the Gatlin win a free set of RIMS. During bands from all areas of the U.S. play as many as 200 dates per
Brothers Band. the course of the contest, at and Germany. year. Remo's support is being
Subsequent drawings have least 100 sets of RIMS will be Participating drummers cur- offered to all participating
made Dewey James (Fork's given away. rently include Walter Salwitz of drummers, according to Rick
Drum Closet in Nashville, Ten- Players should see their local San Francisco's Dynatones, Drumm, Remo's artist rela-
nessee), Paul Buehler (Drome Purecussion dealer for contest Charles Wolf of the Atlanta- tions director. Additional
Sound, Schenectady, New information. Dealers are in- based The Heartfixers, Mat- agreements will be announced
York), and Shawn Felton vited to contact Purecussion at thew Jennings Warren with shortly.
(Smith-Holden Music of 5957 W. 37th St., Minneapolis, Kool Ray from Peoria, Dave
Bloomington, Indiana) RIMS MN 55416, or call (612) 922-
winners, too. The contest is 9199.