MD FAMOUS DRUMMERS QUIZ NO. 2

WIN A FREE ONE YEAR'S SUBSCRIPTION!

Name this famous drummer who played with the big bands of Bunny Berigan, Benny Goodman, ArtieShaw, Charlie Spivak and Tommy Dorsey, pictured below in the drum chair of the 1945 Woody HermanBand.

One year's free subscription to Modern Drummer magazine to the first 10 winning entries postmarkedbefore May 15, 1977. Winners will be announced in our next issue.

Send your answer with return address to:

MODERN DRUMMER MAGAZINEc/o FAMOUS DRUMMERS QUIZ

47 HARRISON STREETNUTLEY, NEW JERSEY 07110

For the answer to last issues Famous Drummers Quiz, and our ten winners, see page 20.

Editor'sOverview

Welcome to the second issue ofModern Drummer Magazine. The re-sponse to our premier issue was beyondall our expectations. Mail from readersin all of the fifty states and from everycorner of the globe has flooded ouroffice. We thank you all for your manykind words, and we'll continually lookforward to hearing from you. Only, inthis way, can we truly ascertain thelikes, dislikes, preferences and needs ofour most valuable commodity - you,the drummer reader.

This issue continues to look at theworld of drums via several special fea-tures. Drum aficionados John Mc-Garr i ty and Dan Wiedman continuetheir journey through the maze ofshells, heads and hardware w i t h a close-up of Gretsch, Sl ingerland, Fibes. andPremier in Part I I of our Drum SetShoppers Guide. Very interesting read-ing for (he equipment conscious.

On the Clinic Trail with Roy Burnstakes an in-depth look at the busyworld of one of the most respectedplayer-author-clinicians in the country.Roy's clinics are a labor of love, and wethink you'll find his views both illumin-ating and inspiring.

Ever wondered what an arranger-composer looks for in a drummer?Internationally known composer-ar-ranger Jay Corre has some do's anddon'ts for drummers from his point ofview.

One of the most talked about sub-jects amongst drummers these days isthe matched grip-traditional grip con-troversy. MD will present both sidesof this story beginning with Art Ver-non's Merits of the Matched Grip inthis issue. Vernon makes an interestingand convincing case for the matchedgrip which is bound to raise some eye-brows among traditional grip advocates.We can't wait to read the mail on thisone.

The art of rope-tensioned drum mak-ing is long gone, you say? Not to RalphEames, it isn't. The Eames Drum Com-pany of Wakefield, Mass, has specializedin this for close to thirty years. Ourreport highlights this unique NewEngland company along with ownerEames' continued activities in thefield of traditional rudimentalism.

Ed Soph is one of the finest youngplayers on the scene today. Michael

(continued on page 18)

I N T H I S I S S U E

FEATURES:

COLUMNS:

On the clinic trail:With Roy Burns

Rope Tensioned Drum-Making:Alive and Well

Ed Soph

MD Shoppers Guide looks atSlingerland, Gretsch, Premier, Fibes

Merits of the Matched Grip

Understanding Rhythm

Readers PlatformIt's QuestionableRock PerspectivesJazz Drummers WorkshopDrivers SeatOn the JobRudimental SymposiumComplete PercussionistShow and StudioTeachers ForumShop TalkDrum SoloistJust Drums

EDITOR: Ronald SpagnardiASSOCIATE EDITOR: Paul UldrichMANAGING EDITOR: Michael CramerART DIRECTOR: Robert AlgieriPRODUCTION MANAGER: Roger EllistonADVERTISING: William F. Selig

Isabel LoriCIRCULATION: Nancy Schuller

Linda StreibLeo L. Spagnardi

Henry Adler Sonny Igoe

Louie Bellson Don Lamond

Roy Burns Butch Miles

Jim Chapin Arthur Press

Joe Corsello Paul Price

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Thanks very much for Modern Drum-mer. If your first issue is any indication,it will be pertinent and, hopefully, verywell received. I certainly wish you well.Needless to say, I'll pass your magazineon to my students, both here and on myclinics. Good luck.

ED SOPHG A R R I S O N , N. Y.

Received the first issue of ModernDrummer, and I would like to tell youhow wonderful it really is. I hope youhave great success with it . It is some-thing that I am sure most drummerswill really enjoy reading.

ARCHIE FREEMANB E L L E V I L L E , N. J.

Congratulations on the release of yourfirst edition of Modern Drummer Mag-azine. I must compliment you on theeducational value of your journal, andthe variety of materials and authorsthat have contributed to your firstedition. I would like to refer to yourjournal in future correspondence that Ihave for information about percussionor particular artists. If we can be of anyhelp with future editions, please let ushear from you.

KARL DUSTMANEDUCATIONAL DIRECTORLUDWIG DRUM COMPANY

My only disappointment in your maga-zine was to see that it was quarterly. Ihope with time and sales, it can grow toa monthly publication. Best of luck.

FRED PANTATONEDRUMMERS DREAMONTARIO, CANADA

Just wanted to let you know how muchI appreciated the nice job you did onthe article about Bob Tilles (From ThePast - In Memorium, Jan. '77). Bobwould have been very pleased. I foundyour magazine to be very appealingfrom the standpoint of being both edu-cational and enjoyable. Congratulations,and best wishes for continued success.

MRS. JACKIE TILLESPARK RIDGE, ILL.

I received a copy of your issue recentlyand was very impressed with its attrac-tiveness. Good luck!

ANDREW CYRILLELITTLE F E R R Y , N. J.

Thank you very much for your recentcomplimentary copy of the ModernDrummer. I have read the entire maga-zine and you are to be complimented.It's excellent. The staff of O. C. P.shares my views and enthusiasms.Please allow me to congratulate you foryour magnificent contribution to thepercussion industry.

P A U L W . ROBSONONTARIO COLLEGE OF

PERCUSSION

Congratulations! Messrs. Spagnardi,Uldrich, Cramer, and Algieri. Your firstissue of Modern Drummer is a great suc-cess. We have been waiting a long timefor the drummer's equivalent to GuitarPlayer and Contemporary Keyboardmagazines. With Cobham, Rich, Appiceand Bellson as appetizers, I can hardlywait for the next course!.

RAY AYOTTE, PRESIDENTDRUMS ONLY

VANCOUVER, B. C.

Thank you for a great magazine. Youdid a great job. If future issues of MDmatch your first, there is no way youcan go, but up. As a subscriber, I wouldlove to see interviews with Joe Morello,Butch Miles, Sonny Igoe and CarlPalmer of ELP. Once again, thanks fora great magazine. It makes it mucheasier for drummers to read about theircraft in one publication, instead of hav-ing to buy twenty different magazineswith a paragraph each on drums. Don'tever stop!

N E I L K I R B YHARRINGTON PARK, N. J.

Thanks for the kind words, Neil. We'reworking on all those people you men-tioned. Stay with us. ED.

The first issue of your publication wasthe most straightforward drum maga-zine I have ever seen. Keep up the goodwork.

ROY BURNSROGERS DRUMS

FULLERTON, CALIF.

Congratulations. Your magazine is all Ihad hoped it would be. I would like tosee some articles on the few people inour fast paced business who have beenable to maintain their positions. GeorgeCowans was with Guy Lombardo for

nearly f i f ty years, Johnny Klein withWelk for at least twenty and ConnieKay with the MJQ for nearly the same.Anyone who can provide so muchmusic and maintain a consistancy ofperformance for so many years musthave some interesting philosophies andstories. Other drummers who neverseem to get any print and deserve moremight include Jack Sperling, Sol Gubin,Harvey Lang, Grady Tate and ChuckFlores.

DAVE MILLSHIALEAH, FLA.

Enclosed is my check for a subscriptionto Modern Drummer. Congratulationson a great magazine.

SONNY IGOENEW YORK CITY, N. Y.

Received the first issue of MD and wassimply floored by the quality and con-tent of your magazine. You've done anexcellent job in giving drummers a mag-azine of their own. I'm sure a lot ofdrummers will value your publication.I anxiously await the next issue.

T. J. CONRADWATERLOO, ONTARIO

CANADA

IT'S QUESTIONABLEby CHARLES McKAY

Q. I am looking for information on "Flat Jack" Drums. Theywere - or are - a complete drum set resembling the new Remo"Roto-Toms", and were introduced sometime in the early60's. Can you help?

D. D.TRAVERSE CITY, MICH.

A. Information on "Flat Jack" Drums can be obtained fromRalph Kester, Drumland, 2216 North Dixie Highway, LakeWorth, Florida, 33460.

Q. What should I look for when choosing suspended cym-bals for my High School percussion section?

T. L.DETROIT, MICH.

A. Avoid cymbals which are too heavy or large. Suspendedcymbals should be relatively thin for quick response. It's also agood idea to purchase several cymbals of varying sizes andweights to cover a complete range of dynamic levels.

Q. Should I use a heavier stick for practicing?S.D.

LINCOLN, NEB.

A. The consensus of opinion among top teachers and playersrecommends the same weight and type of stick for both prac-ticing and on the job playing. Experiment with various makesand models until you hit upon the one which meets yourneeds in terms of both practicing and actual performance.

Q. What is the best way to achieve the slap sound on a Congadrum?

T. M.W A Y N E . N . J.

A. The conga should be struck with a wrist action relativelyclose to the edge of the conga with the back part of the palmof the hand. As the back part of the palm strikes the conga,the remaining fingers strike the drum in a flam-like manner.

Q. I am looking for a good drum book geared for teachingyoung drum students in a group situation.

R. L.INDIANAPOLIS, IND.

A. Several exist, however the most popular among numerousschool music people seems to be DRUM CLASS METHOD, inVolume I and 2, by Alyn J. Heim, published by Belwin-Mills,Melville, N. Y.

Q. Could you kindly explain the basic difference between theoverhand timpani stick grip and the French grip?

W. K.NIAGARA FALLS, N. Y.

A. The overhand grip is basically the standard matched grip,palms down with the stroke being produced by the wrist. Inthe French grip, the thumbs are facing upwards, palms facingeach other, the stroke being produced for the most part by the

fingers. Though the French grip has advantages for the profes-sional timpanist, it generally will cause problems for thenovice. A pleasing tone is possible by either means.

Q. I am interested in learning more about an organization ofdrummers whose specialty is rudimental style playing. I havebeen told such an organization exists. Can you help?

H. J.PALO ALTO, CALIF.

A. The organization you are speaking of is the NARD.National Association of Rudimental Drummers. For more in-formation try contacting the Ludwig Drum Company, 1728N. Damen Ave., Chicago, III. 60647.

Q. I prefer gut snares for military style playing, however mydrum just doesn't seem to have that crispness I need. Can thisbe remedied?

E. L.SCOTTSDALE, ARIZ.

A. Sure can. Try giving each snare a few coats of clear lac-quer. This eliminates a lot of moisture which causes the snaresto stretch in bad weather, but more importantly, it makes theindividual snares hard and brittle resulting in that crispnessyou're looking for.

Q. I understand there is a small company in Canada who cus-tom builds and designs drum equipment particularly for rockplayers. I've been told that several reputable players have hadtheir equipment made by these people. How about a lead?

G. C.SEATTLE, WASH.

A. The company you're referring to is Milestone Percussion,Ltd., 977 Pinewell Crescent, Richmond British Columbia,Canada. Look for a complete report on this unique companyin a future issue of MD.

Q. I am continually breaking my 13" small tom-tom head. Ido a lot of heavy playing and use a 5A Nylon tip stick. Can'tseem to figure out the problem. Help!

J. V.OAK RIDGE, TENN.

A. This is something that under normal playing conditionsshould not happen regularly. Todays heads are designed andengineered to withstand tremendous force. Could be any oneof a number of reasons. I) Uneven tension distribution onbatter head. 2) Head is simply over-tensioned. 3) You may beplaying directly "into" the drum rather than pulling the stickoff the head slightly after each stroke. Playing "in" not onlybreaks heads, but kills true tonal response as well. 4) Theangle of your stroke into the drum could be too great, due toan over severe angling of the drum itself, thus causing thepoint of the stick tip to strike the drum rather than therounded portion; a sure way to break the head.

by BOB ALLAN

Roy Burns is the kind of guy. whoon first meeting, makes you feel asthough you've known him for twenty -five years. He's sincere, outgoing,personable, and totally dedicated to hischosen profession.

A mid-westerner • from Emporia,Kansas to be exact • his natural inclina-tion for drumming got him on the bandsof Woody Herman and Benny Goodmanwhile still practically a teenager. Anoble feat, to say the least.

After a lifetime of vast musicalexperience, Roy now devotes most ofhis lime in the capacity of clinician forthe Rogers Drum Company, a job whichtakes him to cities all across thecountry. He's very much in demand as aclinician and it's not hard to figure outwhy; a Roy Burns clinic is a memorableeducational experience. It's not un-common for Roy to voice his views onthe matched grip, time division, rolls,rudiments, and finger control, not tomention a wealth of ideas regardingchoosing and caring for cymbals, tuningdrums, and practicing techniques allwithin the course of one lecture-demonstration. Roy can - and often will• cover just about everything a youngdrummer might have reason to beconcerned about.

Anyone spending time in thepresence of this gentleman can't helpbut get the impression of a man who isbursting over with a true love for drums,compounded with a deep compassionfor young drummers, with whom hefeels a special kinship. The man is astudy in positive attitudes reflected in asincerity that comes across just ascrystal clear as his snare drum touch.His clinics are a virtual labor of love -asheer pleasure to watch.

We caught up with Roy at a clinicsponsored by Victor's House of Music inRidgewood, New Jersey, where after anexhausting day of two 2½ hour longlectures, Roy graciously sat with us justprior to catching a flight to anotherclinic city, to relax and answer a fewquestions.MD:You were quite young when youstarted playing professionally withBenny Goodman's band. What kind ofan experience was that for you music-ally?RB: Playing with Benny Goodman'sband, now that I think back, was likegoing to school. Isreal Crosby was thebass player on that band, and when Iplayed with him I suddenly realized the

difference between playing in four andplaying in two. Kenny Burrell and ZootSims were both on the band at that t imeand just to play with those guys was alearning experience. I didn't realize justhow much I was learning unt i l five yearsafter I left the band. Without that

"TO ME IT'S ESSENTIAL THAT YOUNG PEOPLE SEE THAT YOUCAN BE A PROFESSIONAL, UNDERSTAND YOUR INSTRUMENTS,STILL PLAY WELL, AND STILL TAKE TIME OUT TO ANSWER AQUESTION FOR A YOUNG GUY. WHEN I GET TOO IMPORTANT TOANSWER A YOUNG GUY'S QUESTION - THEN I THINK I OUGHT TOGET OUT OF THE BUSINESS."experience, I don't think all the things I things with NBC, and I did the Mervdid later would have been possible. Griffin Show for a long time. Plus, I didMD: What about your relationship with the Tonight Show on Monday nightsBenny? and Jack Parr, occasionally. I also did aR B : Benny was very nice to me. Of lot of commercial jingles for a wholecourse, he has his problems like every- bunch of people.one else, and we eventually did have MD: How did the transition fromsome disagreements, but I must say for studio musician to clinician comethe first two or three years, he was very about?nice to me. It helped me a lot - there's RB: Rogers wanted me to do someno doubt about it, especially the big clinics, but I was always tied up with aband experience. TV show or working with a group.MD: Who else have you worked with When I was free to do a clinic theyduring your career? didn't have anything set up, so theyRB: Buck Clayton, Charlie Shavers, offered me this full-time clinic position.Gene Sedrick, Joe Bushkin, Ben We eventually worked it out so I couldWebster, Marty Napoleon, and I was on keep playing and still do the clinics.Lionel Hampton's band for about a Now I've gotten more into adver-year; that was a great experience. The tising and developing the new productsfirst record date I ever did was with like Memrilok hardware, and writing aTeddy Wilson, and I also spent some lot of the educational material abouttime with Woody Herman's band. When the Paiste cymbals. All of this has reallyI joined Benny, he had just made the broadened me out. It's opened my ear"Benny Goodman Story". The band up to new sounds and new ways ofwas going through a big revival, and here doing things; working with the engineerswas this young looking kid playing and other people in our company hasdrums. It all seemed to work out great. helped me to understand sound betterMD: You were quite active in studio than I ever did before. I think it haswork in New York at one time, at a helped my playing,fairly young age. How did you break in? MD: Your technique is truly outstand-RB: I was working in New York and ing.doing a lot of teaching for Henry Adler - RB: Thank you. Some guy once askedto stay alive. One of my first big breaks me, How long did it take you to getcame on a record date Mel Lewis was your left hand that fast? I told him, tilldoing that ran late. Hymie Schertzer last Thursday. I've been working on itwas the contractor on that date, and all my life.somebody said, Hey, call that kid who MD: What's life like for a full-timeplays with Benny's band - he can read clinician?and hold a band together and he lives RB: Well, my schedule is quite varied,nearby. So I went up and did the date; I but one year I counted where I did overdid pretty well and I met a lot of 60 concerts and clinics - not countingpeople. From that, I began to get a lot travelling days. It's funny because everyof other work. place I go now-a-days, people say to me,MD: What kind of studio work did you Gee, it must be a drag - you're notdo in New York? playing anymore. One night in St.RB: A lot of record dates. Eventually, Louis, I had been to three night clubs -I got into the TV scene. I did some sat in - did maybe a total of three hours

On the clinic trail with ROY BURNS

- did the clinic and two rehearsals withtwo college stage bands and some guysays to me, Gee, it's a shame you don'tget to play anymore.

I do a whole bunch of playingat once - then I'll take a week off andwork inside Rogers - then go back outagain. It gives me a chance to relax,practice, work on new things and thengo back out and play.MD: To watch you do a clinic, it seemsas though you truly love your work.RB: I think that's pretty obvious andI think it's important that I do. To me,it's essential that young people see thatyou can be a professional, understandyour instruments, still play well, andstill take time out to answer a questionfor a young guy. When I get too im-portant to answer a young guys ques-tion - then I think I ought to get out ofthe business. I'm really grateful thatGod's been good to me, along withso many wonderful people. Withoutpeople helping you - it's pretty hard. Idon't think anybody does it all bythemselves. I remember all the manypeople who helped me over the years,and that's why I try to be nice to all theyoung guys who come to my clinics. Iremember how helpful Louie Bellson andSonny Igoe were to me. They werevery encouraging and maybe withouttheir help and encouragement, I mightnot be here today. I figure if I canencourage some other young guy,maybe he'll do well and I can say - well,I didn't do the work he did - but maybeI helped him feel more positive abouthimself. There are so many peoplemaking you feel negative from criticism,that a pat on the back from someoneyou admire can make the difference.That might get you through a lot of badtimes. That's why I think what I do isimportant.MD: What do you find the averagedrum clinic-goer of today wants toknow?RB: When I first started doing clinicsten years ago, the type of question wasalways, How can I play fast? Today, thekids are asking things like: How do youtune a drum to get that sound; how doyou know how to pick out a cymbal toget it to do this; how do you developyourself to get this kind of coordina-ation; how do you play in different timesignatures. The questions are at a muchhigher level and you can't fool them.You can never lie to a young audience -they instinctively know.MD: Exactly how active are you nowin the playing end of the business?RB: Well, I do an awful lot of work onmy own. I have thoughts of eventuallyforming my own group, but I'm notso sure if I'm ready to take on thatwhole group scene. I guess it's that I feltI had a very strong musical point of

view . . . I wanted to play one kind ofmusic more than another . . . I like toplay in big bands. At this point, I getto play with a great deal of college bigbands - more than I ever got to playwith when I was doing studio work.

What I really think I'd like to do iscontinue to develop my own style. Thisclinic job has really allowed me toconcentrate on that, rather than justdoing the studio work which I had to doto make a living. Maybe, eventually I'lldo something with a group, but I'mnot sure - I've got so many things in myhead and so many possibilities - and,fortunately, I can go in a lot of differentdirections right now. So, I'm just sort oflaying back and enjoying it and waitingto see where it's going to take me.MD: Your book, "Elementary DrumMethod", is widely used by teachers allacross the country. How did you comeabout writing it?RB: When I was on the Benny Good-man band, I approached Henry Adleralong with a drummer by the name ofLou Malin. We had this idea to write afinger control book and we went toHenry, almost certain he was going tosay no - but he said yes. We wrote thebook and it's become a standard on thesubject of finger control.

I started playing Rogers in 1960,and Henry Grossman who ownedRogers at the time wanted an elemen-tary drum book that was not assoc-iated with any particular drum comp-any - something they could handlethrough Rogers. Henry and I got ahold of all the elementary drum bookson the market and we tried to figureout what was really necessary. Wewound up with about a one-hundredpage book. The book was so expensiveto print that I ended up taking lessmoney for the book, simply becauseI didn't want to cut anything out. Itold Henry, if we cut anything out, itwill end up just like every other book.

So, we worked it out and it seems tohave become a standard also.

I think the best package I haveout for young drummers is the "Big,Bad and Beautiful" album, with DickGrove's band. It has a drum book -with all the manuscript parts in i t ; howto interpret a big band part and what todo in a recording studio situation. I

MD: You've been an established profes-sional for a long time and you've exper-ienced a lot of playing situations. Whatdrummers do you enjoy sitting downand listening to?RB: There are so many good playersaround today that everytime you puton a record - man it knocks you out.I think Steve Gadd is terrific, and Ilove Billy Cobham, Alphonse Mouzon,Lenny White. I love to listen to some ofthe old Brubeck things with Joe Morello,and some of the old Woody Hermancharts with Sonny Igoe, and of courseI love the way Buddy plays. Some ofmy all time favorites are Louie Bellson,Art Blakey, Max Roach and Philly Jo.

You know I really believe, there isno such thing as a famous drummer whodoesn't play really well. Somebodyasked me once, Who influenced you?I could only reply, everybody I everheard. And I mean that.

If drummers would just share thisthing and develop a feeling of love forthe instrument, for music, and helpeach other. If we'd stop fighting witheach other, and putting each otherdown, we'd all play better - we'd allhave more fun and the world wouldbe a much nicer place to live.

It means a lot to me when youngdrummers come out of my clinic andthey can say, gee, I learned a lot and heplays very well, but....what a nice per-son. He makes me feel like being niceand he makes me want to be a part ofthe music business. That's whatwe need more of. MD

The old art of rope tensioned drum makingis alive and well in New England

For many years, Mr. Ralph G.Eames of Wakefield, Mass, has beenkeenly interested in preserving the stir-ring rhythms that sprang from the sticksof Colonial drummers. Just as a pictureis said to be worth a thousand words, hefelt that only the creation of an authen-tic drum band - one that could be seenand heard - could do justice to thesedrum beats of yesteryear. As an instruc-tor and maker of drums, and a recog-nized authority on drum history, hewas eminently qualified to undertakesuch an effort.

They called him "Mr. Drum" on anational TV show. He once referred tohis drum-making business as "theworld's smallest drum shop". Certain itis that he deserves the t i t le - as profes-sional drummer, drum instructor, anddrum-maker. His "drum shop" might be"small" by some standards, but it is bigenough to be known throughout thecountry, big enough to receive ordersfrom the government, from all six NewEngland states, from states across thenation. It is big enough and the qualityof his work fine enough to have mu-seums, organizations, and individualsseeking his service in the restoration ofhistoric, ancient drums.

Drums and drumming have beenpart of Ralph Eames' life since, as a ladof nine, he received his first drum, agift from his grandfather. By the timehe was a Wakefield High School student,he had earned acclaim as a drummerand xylophonist, and had appeared onthe Major Bowes Amateur Hour. Thencame association with a number of

bands and orchestras. He began teach-ing and his reputation as an outstandinginstructor was quickly established. Hewas appointed drum instructor for thecrack Lt. Norman Prince Drum andBugle Corps of Maiden. He has taughtdrums for the Wakef ie ld , Marblehead,and Andover school systems and forSt. Mary's Drum and Bugle Corps inBeverly, in addition to his privatestudents.

Now the only commercial drummaker - except for some toy drum man-ufacturers - in New England, he beganhis drum making business 19 years ago.And, therein lies a story.

George B. Stone and Son, Inc. ofBoston, back in the 1890's had boughtout the six or eight drum making firmsin the area and had become the last ofthe New England drum makers. In1949, Ralph Eames purchased the Stoneequipment and began his unique busi-ness.

Although he makes modern drumsand tambourines, his specialty is therope tension handmade drum - the sametype that drummed the Pilgrims tochurch in the days of the colonists, thedrum that accompanied the Revolution-ary soldier's march, and the drum thatbeat for the Blue and the Gray in the1860's.

For Mr. Eames, it's a work of love.An anachronism in today's world ofmass production and automation, thehandcrafting of the drums revives theera when artisans took deep pride intheir work, fashioning with meticulouscare, and taking the time necessary toachieve perfection.

Seventy-five steps are followed inthe process, beginning with the selectionof the just-right birch wood, steam -bending it, and allowing it to dry thor-oughly before it is given its circularshape in a special form, and ending withthe affixing of the head and "ears" tothe drum.

The Linn Village Drum Band wasorganized on Feb. 7, 1961. However,the idea and hopes for such a band hasbeen Ralph Gardner Eames' for manyyears. Many months before the first re-hearsal, Ralph and one of his earliestboyhood friends, Charles E. Climo ofWakefield, had many discussions con-cerning every detail for such a band.

It was a modest beginning, com-prising only four or five members at theoutset. Interest soon spread, however,amongst amateur drummers in the areawho recognized the need and who en-joyed the association of drumming to-gether. As a result, the band now fields

a minimum of thirteen drummers • oneeach to represent the original thirteencolonies.

The band uses only drums (nofifes), and, instructed by Mr. Eames,uses the famous Ashworth system ofdrum beating. Charles Steward Ash-worth, an Englishman who enlisted inthe U. S. Marines in 1802, introducedthe system to this country. The LinnVillage Drum Band has performed atthe World's Fair in New York, on tele-vision, at pageants and parades, through-out the eastern United States.

The band was organized to perpetu-ate the ancient rudimental system ofsnare and bass drumming. This style ofdrumming has always been characteris-tic of New England Fife and DrumCorps, particularly in the State of Con-necticut, where there are still many"Ancient" Fife and Drum Corps playingin the strict rudimental style, usingdeep, rope-tension drums with the bassdrums being played with solid wooden,beaters. Another outstanding feature ofthe Corps is that they do not use aDrum Major but depend upon the DrumSgt. for all signals.

It took Eames 18 months of handlabor to make the 18 drums belongingto the Corps. The shell or main part ofthe drums is made of New Hampshirebirch. The hoops are of Vermont maple.The Ears, which are used to tension thedrums are made of genuine leather,hand laced with rawhide. The rope is ofItalian hemp. The snares are made ofthe intestines of sheep. All metal partsare of solid brass. The hoops are stainedcherry color and the shells are stainedSalem Maple color. The drum heads areof calfskin.

NEW ENGLANDERS have always been extremely proud of the impor-tant role their forefathers played during the Revolutionary period ofour country's history. For this reason, the people in this area haveoften gone to great lengths to help preserve the many facets of theirColonial heritage.

THE MARTIAL MUSIC which sounded through hill and valley thosemany years ago has not been neglected either.

The Corps makes use of regularbass drums, barrel bass drums and snaredrums. It is quite generally agreed thatthe regular type bass drums were usedby Turkish infantry musicians. Thereis also evidence that a kind of drum ofthis type did exist 3000 B. C. Many ofthe old drums were made by cooperswho made fish barrels, etc. Old drumswere also made by coffin makers. Thebarrel bass drum receives its name fromthe cooperage makers and were knownas half-barrel drums, full barrel drums,etc. This type of drum is also known asa square drum because they are as deepas they are wide.

Many of the drums of this typeused by the U. S. Army and Navyin the Mexican and Civil Wars weremade by William Chute Tompkins, someof which may still be seen at the NewYork Historical Society. Well knowndrum makers in more recent years haveincluded Eli Brown of Connecticut,George Burt Stone of Boston, andWakefield's Ralph G. Eames.

In addition to precision drumming,the band is recognized for its uniquetonal quality. This is derived in largepart from the proper balancing of threetypes of drums - the snare, the bass, andthe barrel. Rope tensioned and com-plete in every detail, the drums are truereproductions of originals and representthe different styles common to theperiod.

The band is costumed in the splen-did multi-colored uniforms of the per-iod, from tri-corn hats on down. A thir-teen star Betsy Ross type flag is carriedby one of the members during marchingmaneuvers.

The band has a large and variednumber of selections in its repertoire,and performs each in the same style aswas done those many years ago. It alsoholds strictly to the same cadence whichwas in general use at that time.

Membership has remained prettyconstant since the formation of theband. Most of the members are formeror present drum pupils of Mr. Eames,since the drumming system is special-ized.

Mr. Eames' restoration work hasalso won him fame. Most recently, herestored a 1751 drum for the HistoricalSociety of Westminster, Vt. Many in-dividuals bring their prized drums tohim usually with a family yarn that agreat grandfather "carried it in the CivilWar". Some do date back to the 19thcentury; many do not; but each is atreasured possession to its owner, andeach receives the meticulous attentionof a top craftsman - Mr. Eames.

The Eames' have a son, Ralph G.Eames, HI, and a grandson, Ralph G.Eames, IV. With two successors inline, it may be that the name of RalphEames, "Mr. Drum" will be perpetu-ated. MD

Reprinted with permission of down beat"When I was four or five", remem-

bers 30 year-old drummer Ed Soph,"I started taking piano, but I was alsofooling around with the drums. I waslucky to have a supportive fami ly ; myfather would put on his Dixieland rec-ords, tap the beat on my head, and I'dplay along on my wood block.

"When I was 13, I decided I wantedto take drum lessons. I studied with anexcellent teacher, Elder Mori, in Hous-ton. At the same time, I was playingafterhours sessions in Houston withpeople like Jimmy Ford, Arnett Cobb,and Don Wilkerson. I also played tym-pani in a youth orchestra, which helpedmy chops. And then, in 1963, I went toNorth Texas State."

At this point in his narrative, Sophbecomes a bit emotional, but not with-out an attendant strain of reason: "Ididn't get anything out of the music ed-ucation program at North Texas State.I guess I didn't have much discipline,because we'd be told to write a Bachchorale and I'd come in with somethingcompletely different, which the teacherwould love. Then, when the reportscame out, I had an F in the course. Myheart wasn't in the academic aspect ofthe music ... you had to take requiredcourses and you didn't have any timefor your main instrument. You had tolearn how to play C major scales on theclarinet and oboe so when you got out,you could teach some poor l i t t le kidhow to play, after you'd taken a half-semester course on the subject—ridicu-lous. I resented the fact that the wholeprogram was built on mediocrity. Ifigured the only way I could excel wasto concentrate; and since my first drumteacher at North Texas, Tommy Gwin,was so marvelous, I had enough of afoundation by sophomore year tochange my major from Music to English.

ED SOPHby MICHAEL ROZEK

Then I concentrated on playing in thebig jazz bands on campus with peoplelike Billy Harper, Lou Marini, MikeLawrence."

Soph graduated from North TexasState in 1968, and through CannonballAdderley's recommendation, immed-iately joined (along with classmate LouMarini) the Woody Herman band. Inprevious college summers, Soph hadgained experience on tour with RayMcKinley—brief ly—and Stan Kenton,whom he characterizes as "an angel".

Soph spent the next three yearsworking and recording with Hermanwhile fulfi l l ing his military obligationas a conscientious objector. Then hereturned to North Texas State as agraduate assistant, teaching drum set(with an English degree), and encoun-tering more frustrations within jazzacademia: "I had some really goodstudents. And a good student, to me,is someone you learn from too. But theschedule was really bringing me down;if you're with a student and the hour'sover, goddamn it, screw the hour.Plus, they had juries at the end of eachsemester; a student plays one exerciseand that's supposed to show whetheror not he can play drum set.

"Late in 1971, I felt a little stagna-tion setting in. I figured the best placeto go to get my ass kicked was NewYork. Well I really got it kicked—I wasso shy I wanted to go up to somebodyand introduce myself—and I was con-tent to sit at home and practice. FinallyI sifted through all the, "When you getto the city, call me", crap and calledClark Terry. There has been work eversince. I learn something from Clarkevery time I play with him; he's an en-tirely musical person and there's nobullshit about him...."

Besides working and recording withTerry's large and small groups, Soph hasbacked a number of singers since com-ing to New York, most recently VicDamone at the Rainbow Grill. And heappears on Bill Watrous' first ManhattanWildlife Refuge record. He's also audi-tioned for Bill Evans, "a gig I didn'tget. But I did a lot of playing with him,and that was just beautiful. To me, jazzis something where there's conversationgoing on between all members of agroup, and they're all speaking the samelanguage. Now that's falling by the way-side; leaders are saying to the drummers,

'Here's a piece of paper. We want youto play this pattern over and over andover'. I miss the rapport and the excite-ment". Soph's favorite drummers, ac-cordingly, are a host of sensitive percus-sionists from Baby Dodds to ElvinJones—players who, as Soph paraphras-es T. S. Eliot , "keep the thin goldenthread of tension going".

Despite his critical feelings towardmusic education, Soph is an active clin-ician. "Clinics don't mean just playing adrum solo with a high school band;they're a matter of a week or two, andnot just talking about music, but get-ting into all aspects of life and reflectingon your artistic expression or lack of it.I've done clinics where one night we'llplay New Orleans style, the next bebop,and the next free form—for all the kids,not just the drummers. It's a great les-son in roots. Kids coming out of thesemusic schools have no idea of the roots.For a young drummer right now, it'seither Buddy Rich or Billy Cobham. Ormaybe he'll try to play like Elvin. Thestudent needs security around his in-strument, but he also should know howthe music evolved...."

Soph hasn't entered the studioscene in New York. He remembers, lessthan fondly, his time at a Dallas "jinglemill". "I had to walk into a session andturn off all emotional responses to themusic. And jazz is emotional expres-sion. I guess guys get trapped withfamilies—and the money sure is great—but I came to New York to play jazz.I've had to scuffle, but that's minor,since with the one life I have to live,I'm doing what I want to do."

MD

by JOHN McGARRITY

and DAN WIEDMAN

SLINGERLAND6633 N. Milwaukee Ave.,Niles, Illinois 60648

No doubt about it, Slingerland hascome a long way since their old "RadioKing" days. Today they enjoy the dis-tinction of being one of the largest pro-ducers of drum equipment in the world.

The 3-ply shell is well known for itsrich, mellow resonance, and the 5-plyline, minus the inner reinforcing hoop,offers a unique tonal variation. Shellsare maplewood with an excellent selec-tion of sizes to choose from. Over twodozen attractive finishes are availablewith the "Aztec" series the newest andmost refreshing addition. Veneers andmaple reinforcing hoops are glued inone operation at Slingerland, thus over-coming the strain put on shells madefrom flat plywood and bent circular.Equipment is available in wood andchrome or copper covered wood, thelatter well known for its sharp percus-sive bite. Slingerland saw fit to pull outof the synthetics market a few yearsback, viewing it as a passing fad. Theyprefer to concentrate their efforts onthe wood shells they have been produc-ing since 1916.

The rock player will find Slinger-land most conducive to his needs viathe catalog stock set-up rock series,

complete with over-sized toms, 24" bassdrums and gutsy 6 1/2 x 14 snares. Snaredrums are nicely designed with somefine strainer features, and the metalshave no center bead. The entire hard-ware line is quite sturdy, highlighted bysome extra wide bases. The "super set-o-matic" tom holders are efficient andcan always be counted on for unsur-passed reliability. The "Dynamo" hi-hatstand is one of the sturdiest and well-constructed pieces of hardware on thedrum market.

Slingerland manufactures and pro-cesses all of its own parts, from wood-working and metalworking throughplating and finishing. Counter hoopsare strong, affording even tensioning,and topped off with a 5 year guarantee.

Some interesting innovations in-clude the single headed rock set-up withbass drum completely finished on theinside with rippled chrome vinyl, alongwith the triple tom-tom set-up mountedon one bass drum. Slingerland now alsocomes, standard equipped, with Remoheads, and a new and comprehensivereplacement parts section as part of thestandard catalog is a welcome addition.

The company is well known, well-managed, and equipment is well built.The wide line of Slingerland merchan-dise is used by some of the top pro's inthe world today in both the rock andjazz idioms.

Drum-Set Shoppers Guide

ONE-PIECE FOOTBOARDSINGLE & DOUBLESET-0-MATIC* HOLDERS

D Y N A M O H I H A T

R O C K E T S N A R E D R U M

BOOM CYMBAL STAND

SUPER SET-0-MATIC

PART 2

G R E T S C H630 Eden Park DriveCincinnati , Ohio 45202

The Gretsch Company, for manyyears on Broadway in Brooklyn, is stillvery much alive and well . Gretsch does-n't care to move out of the wood shellmarket and takes great pains in main-taining their excellence in that depart-ment.

Shells are 6-ply maple with each plyfinger locked resulting in a very reson-ant and hard shell, guaranteed for thelife of the drum. Finishes are stunningranging from natural maple and ebony,to walnut and cherry redwood, allbrought to an exceptionally high lustrevia a painstaking eleven step process.Gretsch also uses solid die-cast counterhoops.

Hardware is streamlined and effi-cient with a par t icu lar ly nice hi-hatpedal featuring direct pull action andan extra wide footboard. The "FloatingAction" pedal has been around a longtime and is a popular item among manyplayers. The bass drum spur design of-fers a double pointed spur rod of pol-ished aluminum with rubber tips. Allthis plus a goodly array of new concerttoms round out an impressive line mak-ing Gretsch a contender in the rock mar-ket, though their forte for many yearshas been among the jazz notables whoappreciate the warm sound of wood.

Though facilities have changed, thatGretsch pride in quality wood equip-ment has remained the same.

P R E M I E RSelmer CompanyP.O. Box 310,Elkhart, Indiana 46514

Premier was founded in 1922. Theline is manufactured in England and isdistributed exclusively in this country.Though not as well-known in this coun-try as they should be, Premier has thedistinction of being the most popularline of drum equipment in the UnitedKingdom and is the largest percussioninstrument manufacturer in Europe.The line has many outstanding features.

Shells are constructed from lamin-ated beechwood and African Mahogany.Sheets are cut to size and tapered ateach end for a smooth overlap. They'rethen bent against the grain for maxi-mum strength. Overlapped ends areglued, and strengthening hoops are af-fixed at each end of the shell. Completeassembly is wedged into special clampsinsuring roundness, and all shells andhoops are sanded before final finishing,(a choice of 24) and assembly.

The company maintains a specialdepartment of formidable drummers forthe purpose of design and development.This department keeps in touch withdrummers world-wide, keeping Premierwell-attuned to the needs of the moderndrummer. One of the outcomes of thiscommendable idea is Premier's revolu-tionary manner of dealing with themodernists quest for volume in drumequipment. Their "Resonator" outfithas double shells - a conventional outershell, plus a thin inner shell, separatedby a pocket of air. The air pocket actsas a soundbox inside the drum and thecompany claims that their shell designis capable of producing 18% greatervolume and can prove it by means ofelectronic testing.

The company manufactures threelines of hardware - the "Lokfast" lineis at the top and it's quite good. Thesnare drum stand comes equipped witha swivel arm cradle which holds andsupports the drum absolutely rigid.The hi-hat is attractive and versatilewith spurs set into legs, adjustablespring tension, and low angle steel foot-plate.

Premier's concern with strengthand stability is evident by a glance atthe "Rockshaft" tom mount; an option-al item which supports toms by runningclear through the bass drum.

Another interesting feature - we'venever seen any place else - is a pedaldesign affording the player the abilityto angle his pedal to the bass drum inaccordance with his individual taste.Very nice.

The hardware is topped off with astrictly controlled, high grade platingprocess Premier calls "Diamond Plat-ing", acclaimed by the company forits superb quality, long life, and richappearance.

Premier may not be a householdword amongst American drummers, incomparison to some of the other heavy-weights in our report - nevertheless, theline has a lot to offer in terms of bothsound and appearance, and the com-pany's eyes and ears are wide open tothe needs and requirements of the se-lective modern percussionist. Not to beoverlooked, by any means.

CONVENTIONAL RESONATOR

SFT690 SNARE DRUM UNIBALL TOM TOM HOLDERS

FIBESCF Martin OrganizationBox 329Nazareth, Pa. 18064

The Fibes line, a branch of the CFMartin Organization, was formed in1966. A pioneer in the now commonfiberglass shell design, Fibes continuesto restrict their manufacturing to non-porous fiberglass constructed drumsonly.

The shells are thick, sturdy, andvery strong, a result of years of re-search. The Fibes formula and con-struction process produces a virtuallyindestructible shell, capable of highlyconsistant tonal response and defini-tion, and all unaffected by atmos-pheric changes. Solid fiberglass rein-forcement rings are used for uniform-ity and the total manufacturing pro-cess produces a drum with a great dealof internal vibratory response. As aresult, Fibes equipment can be countedon for both brilliance and sensitivityalong with luxurious appearance.

The snare is exceptional in itsclear cut power and smoothness, not tomention some excellent snare releasedesign features. Much of the hardwareis revolutionary in concept; tom-tom

FIBES NEW DIRECT PULL HI-HAT STAND

CYM-SET STA-WAY - Snare Drum Bumper FIBES UNIBALL SNARE DRUM STAND

mounts with nylon fittings; the uniballconcept with single locking screws thatafford height and angle adjustment inone action; the "Cym-Set", allowingthe cymbal to stay in position at allvolume levels without restricting itsfreedom, and the "Sta-Way" bumper,a unique device which serves the simplepurpose of preventing the snare fromhitting against the small tom, (Bravo,amazing someone didn't think of thatone before). Also high on the list oftopgrade, attractive and durable hard-ware is the Fibes direct pull hi-hatstand, uniball concept snare drum stand,and 5'7" cymbal floor stand introduc-ing a muting concept which prevents thetelegraphing of cymbal vibrationsthrough the length of the stand.

All in all, a clean, well-built, andversatile line with numerous innova-tions available and in the making. Highpriced? Maybe so. Then again, you getwhat you pay for.

TRADITIONAL GRIP, MATCHED GRIP, THE CONTROVERSY GOESON AS ADVOCATES FROM BOTH SIDES TAKE STANDS. ART VER-NON TAKES AN INTERESTING LOOK FOR MD READERS AT . . . .

THE MERITS OFTHE MATCHED GRIP

For anyone u n f a m i l i a r with thematched, gr ip- t radi t ional grip contro-versy, let me briefly state that thematched grip is simply gripping bothdrum sticks similarly, the left hand thesame as the right. The standard lefthand position, with its uncomfortableforearm up characterist ic , is out of thepicture. Of course the t r a d i t i o n a l gripadvocate will quickly point out thatnumerous players have demonstratedoutstanding technica l abi l i ty with thetradit ional grip, which is cer ta in ly true,(e.i . Rich , Morello, Bellson), howeverthis is the exception, not the rule. Thefact still remains, with evidence to backit up, that the matched grip will pro-duce quicker hand development, plusa greater degree of long term muscularf lexibi l i ty , control and endurance.

The t radi t ional grip was primarilydevised to meet the needs of the rudi-mental snare drummer. The marchingsnare drum was natural ly angled down-wards to the right. The traditional lefthand position was easier consideringthe severe angle of the drum in relationto the player. The practice has been car-ried on to the present, and today itspracticality is certainly questionable.

In 1967, Gene Pollart in his writ-ings for the Percussive Arts Society didsome interesting research. His studyclearly showed that four muscles areutilized in the traditional left handdrum stroke; two for the downstrokeand two for the upstroke. The matchedgrip utilizes thirteen muscles in thecomplete act ion; six for the downstrokeand seven for the upstroke. His con-clusion was very simple. The matchedgrip with its obvious ut i l izat ion of moremuscles of the left hand should result ina much greater degree of speed, controland endurance. The Pollart study alsopoints out that the drummers life-longgoal of obtaining completely equal dex-terity, speed, and control between thetwo hands is actually an impossibilitywith the tradit ional grip. The left handwill never feel the same as the rightsince different muscles are being used.

From a technical standpoint, Imaintain , 1) the matched grip affordsa much greater degree of endurance overthe traditional, 2) the difference in con-trol between both hands is very smallthereby avoiding the age old problemof favoring the right hand over the leftin every form of drumming, 3) the

matched grip is more conducive toaccurate consistency of sound fromeither hand.

If we look for a moment at thegolf club or the tennis racquet grip,we will note that each grip was de-signed to produce a maximum resultfrom the accompanying stroke. Thetennis player even has a few grip styles,for handling various strokes, for max-imum results in gett ing the ball overthe net. Is there any reason why thedrummers grip should not afford himthe same maximum result from hisstroke in terms of drum stick dexterity?The standard grip does not afford himthis maximum potential.

Let's look at how the matched gripwould affect drummers in various phas-es of performance.The Beginning Student: It has beenproven that a more balanced perform-ance and appearance is more quicklyatta inable through the use of thematched grip. Much of the time spentin equalizing the hands is avoided. Per-formance at the early stages of develop-ment becomes easier and more satisfy-ing with more time available to concen-trate on other matters of musical im-portance.The Concert Performer: The use ofmatched grip would unify the position-ing for the performance medium of theconcert artist. The stick or mallet gripfor snare drum, timpani, xylophone,marimba, etc. would be similar. Alongwith matched grip being essentially eas-ier for the player in his movement fromone instrument to another, it also offersthe serious percussionist a greater degreeof musicianship. Interpretation and dy-namic balance can be more easily at-tained, along with greater ease in theexecution of quick, difficult passages

that present technical problems.The Rudimental ist : The look of a corpwith a similar grip between snare drum,timp-tom and keyboard players is surelyimproved and impressive. There is noindication whatsoever that the matchedgrip would in any way inhibit the rudi-mentalists quest for exacting, precisionlike execution. On the contrary, per-formance in this area might very likelybe improved.The Set Player: It is interesting to notethe gradual acceptance of the matchedgrip technique amongst many of theoutstanding modernists of today, (BillyCobham, Lenny White , etc.). The setplayer is looking for ease of playing,power and endurance. He can't be both-ered with what is considered traditionaland what is new and unique. He is inter-ested in what works well for him andthe matched grip affords him all of theabove, and so, he uses it. Leading witheither hand becomes more natural.Complex movement around the drumset is greatly simplified as the naturalinbalance of the hands is equalized to agreat extent.

The evidence is clearly in favor ofthe matched grip as more and moreartists and teachers than ever before areendorsing its obvious advantages. Withall of the aforementioned, one wouldthink the matched grip would be catch-ing on faster than it has. Tradition, itseems, is not so easily broken. It willtake time for change to occur.

Until the advantages of the match-ed grip are fully recognized by the vastmajority of players, teachers, and auth-orities, it will most likely continue tobe, for the most part, nothing morethan a very interesting and controversialsubject.

MD

MATCHED GRIP TRADITIONAL GRIP

ROCK PERSPECTIVES

by JIM WARCHOL

It would probably be fair to say the rock drummerof today has done more in terms of revolut ioniz ing equipmentstyles and changing tonal qual i t ies of the instrument than anyother group of musical ly related percussionist before him. Thelook is towards heavy equipment, and lots of it ; larger sizes,more cymbals. The sound is powerful , dry and f l a t ; an inter-esting combinat ion of tonal pro ject ion and low overtones. Andyet, despite all of the drastic advances and improvementswe've witnessed over the past decade or so, the ingenious rockdrummer continues to explore and devise more extreme meas-ures of his own, over and above the manufacturer's finishedproduct to a t t a i n his own personalized sound.

They have the desire to compose and create just as anyother musician. Consequently, today's drummer has not onlyexpanded the number and type of drums in a k i t , but hasalso been aided by the use of electronics.

The combinat ion of electronics and drums started whendrummers found it necessary to ampli fy their drums in orderto stay at a balanced volume with other amplified instru-ments. They could do this two ways; by using microphonesor by using specially designed pickups called contact micro-phones. Ei ther way, drummers found they could use electron-ic devices for special effects by running their microphonesthrough the device and then into the P. A. system. You couldargue for hours on end as to who the first percussionist was toplay through a phase shifter .or an echo chamber, but whoeverit was deserves a lot of credit for helping prove that drummersare not just glorified metronomes.

Electronic effect devices and drums have worked togetherwith better-than-expected success. The drummer who useselectronics must know what kind of devices work well andwhen to use them. This is most important to remember if thedrummer expects his or her performance to sound good. Theeffect device should be used in a way that will accent andhighlight the sound and tone of the drum.

Problems can and do occur occasionally if the drummeris inexperienced in the use of electronics or if the device usedis hard to control or inconsistent. Take, for example. CarlPalmer's mammoth drum kit . For those unfamil iar with Mr.Palmer's set, he has eleven drums; each with its own built-inmini-synthesizer. In the studio, Mr. Palmer has control overthe sounds he creates because he has the advantage of over-dubbing and mult i - t racking . But l ive , on stage, synthesizerswork almost on their own; each drum sounding different andeach sound clashing. Good for special effects? Maybe. Buthardly musical, and definitely not melodic.

There are, however, electronic effect devices which arespecialized in one sound, controllable, and most important ,consistent. The phase sh i f ter is probably the most popular andbest-sounding device used by drummers today. This electronicwonder has the ab i l i ty to bend the pitch of sound waves andcause a driving, bui lding, high-and-low effect that accents alengthy drum roll perfectly. Used at the right intervals in amusical composition, the phase shi f ter combines with thedrum to give the perfect crescendo effect .

Echo chambers are gaining in popularity with drummers,even though i ts use is l imited. The echo effect works well onlyon slow staccato beats because if played fast the effects run

together with the original beat. Most drummers prefer usingheavy reverberation in place of the echo because the repeti-tion of the sound is not as sharp and the effect fades awayfaster, therefore al lowing for a faster beat.

There are many other electronic devices being used bydrummers, but they are not as universally accepted for dif-ferent reasons. The Moog drum, for example, is used forspecial ef fects and the more complex rhythms. This is whyits use is l imited to the most progressive rock and jazz groups.Most important, this synthesizer-in-a-drum demands the per-cussionist be exceptional ly talented and experienced. Otherdrummers use the likes of wah-wah and volume pedals, ringmodulators, and other distortion devices to suit their tastesand their personal style of playing.

All these and many other advancements have come aboutsince the invention of the drum - and r ightful ly so. Since thedrum is the world's oldest instrument, it should be the mostadvanced. But have drums evolved to the point where nothingnew can be done? Some say yes - some say no.

One thing is certain. Never before in the history of theinstrument has the drummer had such a wide range of choicesin terms of looks and sound in modern equipment. Certainlythe ingenuity of the young player is commendable, as is themanufacturer's attempts at filling the new drummers needs.

The look and sound of today is more alive and wellthan ever.

MD

ELECTRONICS:The Wave of the Future

JAZZDRUMMERSWORKSHOPby GABE. VILLANI

Jay Corre is an internationallyknown composer, arranger, and per-former. He has performed with BuddyRich, Sammy Davis, Jr. and FrankSinatra to name a few.

Mr. Corre is currently director ofJazz studies at Barry College in Miami.He performs with his own group, THEWORLD CITIZENS, and was recentlycommissioned by The National Endow-ment for The Arts to do an originalJazz work.

GABE: Jay, some of the best drummersI know AREN'T drummers! I've seenmany a horn man pick up a pair ofsticks and bring a session to life. Theyknow what a soloist wants from a drum-mer. What can you say to drummersabout drummers?JAY: In my classes, I teach that allmusicians are drummers - even hornplayers. We're drummers that playdifferent notes.

The bass is most important, heplays time and pitch, but drums arevery important!GABE: What do you expect from adrummer?JAY: I'll answer that question with aquestion. What does a drummer ex-pect from me? I do what Bird used todo, I'll send feelers to the drummer tosee if he is listening to me. The word"Comping" means complimenting. Ifthe drummer is listening - he Comps!Lester Young and Jo Jones started thewhole thing. If the drummer isn't onyour side, you're dead. I expect him tobe on my side.G A B E : Do you expect a drummer tokeep PERFECT time?JAY: There is no such thing as per-fect time. I like a drummer to voicethe fact that we are starting a journeytogether. I like for him to feel it downthe middle, but I don't believe there issuch a thing called "PERFECT" time.The idea is to establish a groove witheach other.

The composition has a lot to dowith the time feeling. Benny Goodmanused to say, "When you're playing uptunes, don't fall in love with any notes".In other words, keep it moving. If I

WHAT DOES AN ARRANGER - COMPOSER LOOK FOR IN ADRUMMER? A discussion with JAY CORRE

can't feel the drummer, I play straightahead, and hope for the best. Bird usedto sound different with differentrhythm sections, there is no ONE way.G A B E : What drummers stand out inyour mind?JAY: A lot of guys, Charlie Persip, hestands out in my mind. Oh, also RoyHaynes, Denzil Best, Frankie Capp,these guys are musicians. Most drum-mers today are musicians. In 1963, Iactually left the West Coast because Icouldn't find a good drummer to playwith. I had to go to New York to finda drummer that could lay it down andlisten. But that's changed.

Technical drummers don't impressme, it's the feeling that really counts.G A B E : Are you saying that emotion ismost important?

what a horn player does and it alsomakes him listen. That's what I teachdrummers in my classes, I teach themto be horn players.G A B E : You wouldn't try to improvetheir technical sound?J A Y : You mean like, "more highhat"?G A B E : Yes.J A Y : No, I don't care what they soundlike technical ly . I only care about con-cept and emotion.G A B E : Do you like drum solos?JAY: I dig drum solos, not extendedones like, "turn the drummer loose."I don't believe in that. I dig drum solosthat are part of the band, fours, eights, achorus or two.G A B E : What do you look for when youhire a drummer?

"THERE IS NO SUCH THING AS PERFECT TIME. I LIKE A DRUM-MER TO VOICE THE FACT THAT WE ARE STARTING A JOURNEYTOGETHER. I LIKE FOR HIM TO FEEL IT DOWN THE MIDDLE, BUTI DON'T BELIEVE THERE IS SUCH A THING CALLED "PERFECT"TIME."

JAY: Yes, emotion with intelligence.If I can excite the drummer, he may dothe same thing to help me out. A soloistdoes need help?GABE: When you play drums, what doyou try to achieve?JAY: Well, I listen and I like to drop lit-tle goodies on every one. That's the kickof playing drums. I try to nudge in andget a good feeling with everybody. Itry to fit in. Not being a drummer, Ican't be forceful enough to say, I'm theking of the rhythm section.G A B E : Could it be that horn playersplay good drums because they don't tryto be king of the rhythm section?J A Y : Yes, that must be it, they listen.If the drummer isn't listening to a solo-ist, what's the sense of playing?GABE: If a drummer came to you for alesson, what would you teach him?JAY: First, I'd make him play fourswith me. Then, I'd force him to playmelodically. I'd do this by playingCharlie Parker solos, then I'd ask thedrummer to play the same solos on thedrums. It makes him get the feeling of

JAY: I want everything, good time,good technique, one who shows off alittle. As a leader of a small group, youneed every member to carry the ball alittle.GABE: Jay, to sum up, what advicewould you offer to a young drummer?JAY: Buddy Rich and I used to talkabout establishing a certain standard inyour own playing. Establish a standardfor yourself and even if your arm is fall-ing off, don't fall below it. You shouldrevere the fact that you can play an in-strument, and never let anyone makeyou think differently. I'm a member ofthe Bahai Faith, we believe that work isa form of worship. We also believe thatall people should live in harmony. Thisreally describes my feelings aboutmusic.

You never know how much poten-tial you have. The Bahais believe thatyou may only have a quart of poten-tial - but, if you use it fully - you'rebetter off than the man who has agallon of potential but only uses aspoonful. MD

DRIVERS SEATPlaying in a Section: RHYTHM

by CLEM DeROSA

Musician, arranger and com-poser, Clem DeRosa is one ofthe best known, best qualifiedclinicians specializing in theperformance of jazz in themusic education field today.He is currently president of theEastern Division of the Nation-al Association of Jazz Educa-tors and Treasurer of theNational Association of JazzEducators. Additionally, he isconsultant to the KennedyCenter for the Performing Arts.He is at present, a member ofthe faculty of Columbia Uni-

versity Teachers College and his student groups have per-formed on the "Tonight Show" and the "Merv Griffin Show".Clem DeRosa earned his master's degree at the ManhattanSchool of Music and subsequently served as director of musicat the Cold Spring Harbor High School in Long Island, NewYork.

The rhythm section is the heart of the Jazz Ensemble,and like its counterpart in our body, cannot be abused.

Many Jazz Ensemble directors spend hours rehearsing thebrass and reeds, but treat the rhythm section as an addendumwhich is glued on later. When they add the rhythm section,the group swings only from the top. It's a head swing with therest of the body, which should be propelled by the heart (orrhythm section), being dragged along by the dogma and per-sistence of the mind.

The director, whose brass and reed sectionals were swing-ing, is now puzzled by the heaviness of the band. Rhythmicfigures which were swinging and skating along with the snapand crack of an automatic pistol now are bogging down andfragmentating like the rusty bark of a shotgun. What's theProblem?—The rhythm section! However, they're not drag-ging or rushing—the piano player has two hands—the bassplayer is plucking the four strings—the drummer has a fineset of drums and four of the big "Z" cymbals—Well? What'sthe hang-up? The rhythm section is not doing their job.What is it they must do to swing the group? Let's do a dis-section and determine the job of these four musicians bothindividually and as a group.

In line with the rhythm section's basic funct ion—to keeptime and play musically— the drummer has the muscle to bean asset to the band or a complete detriment; and in toomany cases his performance falls in the la t ter category.

W H A T A R E THE PROBLEMS?Because of the strong influence of rock, the drummer de-

velops only the facil it ies he needs to perform in this media.Namely, straight eighth-note feel in the right hand, syncopatedfigures in the left hand and good independence or coordina-t ion between the left hand and bass drum.

The use of the high hat with the left foot playing the tradi-t ional 2 & 4 "chick" is not necessary. I don't mean to infert h a t what the rock drummer is doing is easy or demeaning, be-cause I am struggling wi th some of the complex rhythms Ihave heard or have seen in some drum books. However, wi th

only these tools for rock playing, the drummer has e l iminatedsome basics which he will be confronted with in his perform-ance with the school jazz ensemble.

SOME FUNDAMENTALS FOR JAZZ R H Y T H M P L A Y E R S1. Learn to play the bass drum softly. This piece of equip-

ment gives a solid bottom sound to the rhythm sections andwhen played correctly adds intensity and percussiveness to thestring bass. If your taste is to el iminate the bass drum, use itduring your practice sessions at home and develop control ofthe muscles in your leg. If the bass player and the group pre-fers the "no bass drum sound" then by all means el iminate i t .However, if the reverse is true, be prepared.

2. Practice getting a good "chick" sound on the hi-hats.Remember in jazz music (4/4 time) 2 & 4 really help to groovethe band.

3. The right hand playing the cymbal figure:

is of utmost importance. I cannot be strong enough in my con-cern for this essential. Practice this figure at various temposbecause it's the medium to the medium-slow tempos which arethe treacherous ones to maintain and make swing.

4. Work on synchronizing the accent:

in the right hand with a good "chick" on the hi-hat. This willbe your whip to control the time of the band.

Cymbals OpenCymbals Closed

5. Develop the cymbal figure to be used on the hi-hat. Mostdrummers who are not familiar with this sound tend to playthe figure very s t i f f ly . Try for a more flowing sound.

When you begin, you'll find that as the cymbals close andopen, you'll experience some difficulty coordinating the leftfoot and right hand. Work slowly and when you are able toincrease the tempo, don't close the cymbals completely on 2 &4 beat, just let them touch l ightly. This will give you a betterflow and will help you achieve a more intense long hi-hatsound.

6. I like to think of the left hand as the seasoning or thespicy aspect of your playing. Too much—and you've spoiledthe meat and potatoes. Work on all the coordination and inde-pendence exercises as part of your practice and overall capa-bilities. However, be extremely careful to uti l ize your tech-nique only to enhance the group musically and rhythmically.

My favorite use of the left hand in a big band, just to pulleverybody together, is to place the stick partially on the rimand partially on the head and accent the 4th beat in the mea-sure. It's true that this can get monotonous. However, here'swhere your creativity enters. Use that sound to start the bandswinging and when the arrangements change color and textureso do you.

The student who has worked on these few jazz basics andcan incorporate them with musical intelligence will find thathis rock playing will be enhanced, and he wil l be an asset tohis jazz ensemble. MDExcerpted and Used with Permission, THE SELMER COMPANY, 1977

by NICK TODD

THE "IN-DEMAND" CLUB-DATE DRUMMER

This article is directed to the jobbing dance band drummer,the player who does not rely on music for his full income, pre-fering to work two or three nights of one-nighters, or in thecapacity of house band drummer for parties, weddings, ban-quets, and a host of other social functions. More than two-thirds of all working semi-professional drummers producerevenue from this type of performance, making this one ofthe most popular and common forms of semi-professionaldrumming. Thus, this magazine's decision to include thiscolumn.

Though, literally thousands of drummers can be found onclub bandstands on any given weekend evening, it is interest-ing to note that some are more "in demand" than others.The player averaging 75 to 100 jobs per year is obviouslydoing something right. Just what does it take to be successfulin this field?

The in-demand jobber first and foremost has acquired acomplete working knowledge and facility with all the predom-inant dance rhythms. This takes in a surprisingly large area:Jazz, Shuffle, Waltz, Dixie, Polka, and the numerous LatinAmerican favorites such as the Rhumba, Cha-Cha, Mambo,Samba, Bossa Nova, Tango, Merengue, Beguine and Bolero.The modern rock sound with its numerous and varied dancepatterns is a whole study in itself. The outstanding playerknows the precise tempo of all the aforementioned, and canaccurately lead his band in at the correct tempo if need be.He is quick to make a necessary tempo adjustment shouldthe situation warrant. He makes an earnest attempt to keepabreast of the latest dance styles through study material,records and careful listening.

The successful jobber has learned the value of good timekeeping. He knows when a leader kicks off a tempo, he hasevery right to expect it to end at that same tempo. He iswell aware of his responsibility as a time keeper, and heunderstands that rushing or dragging tempo is not only asign of un-professionalism, but can also severely hamperthe good dancer. His pulse is solid and steady as a rock andhis feeling is swinging and rhythmic. He has developed a cer-tain drive which propels and lifts the band and the dancersalike. He has learned that lifeless, un-inspired drumming willsurely result in an equally un-inspired band and dance floor.He is concerned with that dance floor, which in essence ispaying his salary. He knows when to turn on the steam andwhen to lay low, and like the professional showman, he hasmastered the in-exact science of "playing the crowd".

Very importantly, the creative player has developed goodmusical taste. He is seasoned in his concept of phrasing, andhow and when to compliment his fellow musicians. He knowshis bands head arrangements and where to break, fill, andaccent. He listens attentively in a pick-up band situation,taking his cues quickly and accurately. Somehow, he canmake it sound as if the pick-up band has been rehearsingtogether for years. He knows most of the standard danceband repertoire and is highly adept at giving each tune apre-arranged quality. He knows how to control dynamic'sand has learned that with sensitive musicians, he can actuallyregulate the volume level. The sensitive small band whohas learned to respect his judgement will easily take direc-tion in the dynamic's department.

(continued on page 20)

ON THE JOB

RUDIMENTALSYMPOSIUMAN INTRODUCTION TO TODAY'S DRUM CORPS

by BOBBY CONNORS

Bobby Connors has been actively involved with Drum &Bugle Corps since the age of twelve. He has drummed for theArcher-Kpler Musketeers of Upper Darby, Pa., the St. Vin-cents Cadets of Bayonne, N. J., and was an eight year memberof the inimitable champion New York Skyliners Drum & BugleCorps.

He has instructed the percussion sections of numerousdrum corps including the well-known Bridgemen Corps ofBayonne, N. J., and has been a participant in various percus-sion corps clinics. Along with fulfilling an active private teach-ing schedule, Mr. Connors also presently serves as a memberof the National Judges Association which judges drum corpsand band competitions all over the Eastern United States andCanada.

Drum & Bugle Corps' have certainly come a long, long waysince the early days when they were basically governed by therules and regulations set down by the American Legion andthe VFW. The corps' have gradually changed, matured andprogressed into the superb precision musical units they aretoday. Today, the countries leading corps are governed underthe rulings of the DCA (Drum Corps Associates) for SeniorCorps and the DCI (Drum Corps Internat ional ) the largestorganization in the U. S. and Canada for the nations leadingJunior Corps. Both of these organizations have their own setof contest rules, designed and kept up-to-date by its mem-bers, with each organization also maintaining its own judgesassociation.

Some of the leading Senior Corps represented by the DCAtoday are the New York Skyliners, the Hawthorne Cabellerosof Hawthorne, N. J., the Reading Buccaneers of Reading, Pa.,and the Yankee Rebels of Baltimore, Md. Leaders in JuniorCorps competition include the Blue Devils of Concord, Calif-ornia, the Santa Clara Vanguard of California, the 27th Lan-cers of Lynn, Mass., and the Chicago Caveliers.

If we look back just a bit, one finds that the corps oftwenty years ago consisted mainly of twenty- f ive to thirtyhorns, a color guard of roughly twelve to sixteen members,and a drum line which was usually about nine strong. Bycomparison, we find the corps of today has made remarkableprogress both in terms of precision and musicality. The aver-age horn line has increased to anywhere from f i f ty to sixty-five or more players and color guards of twenty-f ive to thirty-five, along with the addition of precision rifle sections. Visualeffects are nothing short of spectacular and from a musicalstandpoint, the corps of today will often be heard handlinganything from pop-rock to jazz and classical arrangements.

Let's look for a moment at the basic advances in the drumlines. In the past, the average drum line consisted of three orfour snare drums, three or four single tenor drums, two singlestick bass drums and one or two cymbal players. The averagesize bass drum was 26" and the largest cymbals were usuallyaround 17". The drum lines of today are no longer just drumlines, but rather ful l percussion ensembles in which a fullarray of percussion instruments are used. The average sectiontoday consists of twenty-five to thirty-two members carryinganywhere from four to ten snare drums. The single tenor drumhas been replaced by the triple-tom units mounted on a carry-ing bracket in sizes 14", 16", and 18". Triple-tom units have

added tremendous rhythmic dimension to the drum lines.The corps of today also carries four or five machine type tim-pani in the 20" to 32" range which have also added a greatdeal of depth and color to the moving ensembles. Most corpstoday use five or six bass drums in sizes ranging from 22" to36", each player utilizing two sticks. Bass drums have prac-tically taken on the role of timpani's in the section arrange-ments, with the exception of the possibility of pitch variation.

Cymbal players have also grown to include four to sixplayers utilizing cymbals that now range in size from 17" toas large as 24". We've also seen the addition of one or twosets of orchestra bells, marching xylophone or marimba andeven gongs.

Drum section arrangements have also evolved from thesimple N A R D style street beats to the sophisticated and highlycomplex rhythmic and tonal variations of a moving percussionensemble.

In future issues of Rudimental Symposium, we'll take adeeper look into the techniques of corps percussion, thearranging of drum parts and their execution, judging andscoring, and just what the young drummer can and shoulddo to prepare for the ever exciting field of drum and buglecorps playing. MD

EDITOR'S OVERVIEW (continued from page 1)

Rozek's profile takes a look at the man, Fred Wickstrom hassome tips on show work, and our standard roster of columnsrounds out our package for Spring '77.

Our first issue, along with being greeted by a barrage ofvery encouraging letters, also brought a wealth of manuscriptsfrom writers all over the country with something to say. Wewelcome this, and look forward to receiving your material. Inan effort to keep things simple however, please be sure toenclose a self-addressed stamped envelope and allow at leastsix weeks for a publication decision. We'll be looking forwardagain to your suggestions, comments and criticisms. We knowwe can't please everyone, but we'll certainly try.

EDITOR

COMPLETEPERCUSSIONISTSUSTAINING SNARE DRUM TONES

by GARY SPELLISSEY

Rolling is the term used in reference to sustaining soundson drums. Each percussion instrument has its own techniquesof rolling—each unique, but yet each similar in many ways.From this point, all references will be made to the snare drumroll. This limitation is made because of the quantity of percus-sion instruments and their varied playing techniques.

Rolls within the military style were called rudimental oropen. Because most marching occurred out-of-doors and be-cause of the importance of marching men to hear the drumcadences, this style of playing demanded great volume andprojecting power. Volume, force and rhythmic drive had tobe developed. To fulfill these requirements, drummers prac-ticed and devised a double-stroke roll. This type of roll allow-ed for volume and outdoor rhythmic articulation. GeorgeLawrence Stone describes the military style roll:

The Two-Beat Roll is the pure roll of two beats of eitherstick; the first beat struck, the second beat rebounded (bounc-ed). A Beat and Rebound of either stick.

The rudimental roll is based upon a rhythmic background, inthis case, sixteenth note, which produces thirty-second notes.The drummer relies upon an even rhythmic pattern to gaugehis rolls:

Example "a" shows the actual roll notation. The rhythmicbreakdown of strokes within the roll is written in example"b". These examples show why the rudimental roll has a mea-sured rhythmic sound.

The rudimental roll technique requires that each hand playthe two strokes evenly to produce a smooth, even, measuredsound. The two beat articulation with each hand creates ameasured texture within the roll. Usually, within the rudi-mental style, the final stroke of the roll receives an accent forrhythmic impetus. To achieve the desired volume, this styleor technique worked well because the execution of the two-beat roll enabled the player to raise his sticks high, thus pro-ducing more force and volume. Considering the purpose,volume, and earlier instruments, the military style of playingproved very successful.

As drummers played fewer military events and more indoorconcerts, different demands were made of them. Concert play-ing required different techniques from rudimental playing.

The rudimental or open roll did not produce the sustainedclosed sound needed in orchestral playing. The open roll withits measured sound proved to be unmusical and cumbersome.A technique for producing a smooth sustained sound had tobe developed. The drummer had to produce a sound similar tothe trumpet or clarinet players' technique of blowing an evenair stream through their instruments, thus producing an evensound. To produce this sound, the closed roll proved to beeffective.

The major differences in techniques from playing the twobeat to the orchestral roll is fundamentally simple. The closed,buzz or press rolls are produced by playing with a greaterpressure upon the sticks as they come in contact with thedrum head, creating a multiple amount of strokes. With themultiple of strokes played with each hand, more strokesoccur in any given space, so the sound of the roll is moredense or compressed. This creates a freedom of strokes withinthe roll. Rolls are dependent upon tempo, roll length and rolltype. The actual number of strokes within a closed roll is un-important, because the multiple bounces within the roll can-not accurately be tallied. The closed texture of the roll be-comes the most important.

The above figure can be played many ways, dependingupon the tempo. To call this figure just a five stroke rollwould be incorrect. At a fast tempo, this could be played as afive stroke roll; however, the slower the tempo, the longer theroll must be.

The open roll adds an element of rhythm because they aremeasured. With the orchestral roll, the number of strokeswithin the roll is variable. Secondly, the slower the tempo, thegreater the number of strokes to fill the given space. The un-measured closed roll can produce a smooth continuous sound.However, the closed roll, to some extent, diminishes the po-tential of fortissimo playing.

The texture of a roll can also be altered by basing the rollupon various rhythmic backgrounds.

Assume a two beat roll is to be played in the above examples.A background of sixteenth notes, example "a", would producea roll of sixteen taps within the space of two beats. Sixteenthnote tr iplets , example "b", would yield twenty-four tapswithin the space of two beats. The background of tripletsenables the player to play more notes within the space of twobeats. Thus, the texture of the roll becomes more dense. Mul-tiple bounce rolls would proportionately increase the densityon the roll.

Basically, both the open and closed rolls have been de-scribed. Realizing their differences is one problem solved, butan even greater problem arises in deciding upon each roll'sparticular use. Knowing the playing techniques of both typesof rolls is of no value unless the application of the roll styles isalso known.

Generally, rudimental rolls are distinguished by their out-door character or military sound and usage. The closed roll isused within a delicate orchestral situation. Most players are

aware of these general playing concepts. Many pieces of musicmay begin with the phrase "in a m i l i t a r y s ty le /manner" .This immedia te ly clues the performer as to t h e p lay ing s ty leof the music. Many concert marches have been w r i t t e n w i t h at ight orchestral roll sound intended. Except ions to the ruleprove to be the most d i f f i c u l t . The player must a lways listenand be aware of everyth ing around to distinguish how the rollsare to be executed. In many cases, the roll type cannot be de-cided upon by nota t ion alone.

The acceptance and use of the percussion family is s t i l l ini ts in fancy . Only recently have the percussion instrumentsbeen rea l ly ut i l ized. Because of non-use, percussion notat ionis at a disadvantage. Roll n o t a t i o n is sometimes both vagueand ambiguous. Professional players become aware of the no-t a t i o n a l shortcomings and automat ica l ly compensate. JamesMoore offered this solution:

Rolls to be played in a two beat style would be notated asshown in example "a". Closed orchestral rolls would be no-tated by a wavy line through the note stem. With this system,the roll type would be indicated by the notation. Althoughadvantageous, this system's adoption is not warranted by itsuse. The important point is that the problems are now beingrecognized and attempts at c lar i f icat ion are being made.

Another inherent problem in rolling is the use or lack of useof the t ie . Many times a composer notates sustains within thepercussion part that leave the performer stranded. So, the per-cussionist's judgement must be used to clarify the notationalambiguity.

Often , the above three types of notation are used to representthe same sustained sound. But, all three notations have differ-ent meanings. In example "a", the roll ends just prior to thethird beat and the third beat is art iculated separately. Ex-ample "b" shows a continuous roll with the f inal stroke of theroll on the th i rd beat. Example "c" shows a roll continuingpast the third beat and ending just prior to the next down-beat. C lar i f i ca t ion of these notations are d i f f i cu l t . The bestpossible solution is to listen to what is happening in the musicaround you. Find out what the other instruments are playing.Listen to the spacing, phrasing and breathing of the otherplayers. Then, interpret the nota t ion you have in front of you.Checking wi th the conductor and/or score can sometimes behelpful . MD

OOPS!

Our feature story on the legendary Chick Webb,announced in Vol. 1, No. 1 and originally scheduledfor this issue, will appear in No. 3, July 1977.

We apologize for the error.ED.

ON THE JOB (continued from page I7)

The truly conscientious drummer will have attained sub-s tant ia l reading ab i l i ty . Though he will very l ikely never beconfronted with a chart for standard material playing, henever knows when he may have occasion to cut a show. He isconfident in his abil i ty to handle the s i tuat ion should theoccasion present itself. His reading abil ity also opens up amuch wider range of performing situations which he canreadily and confidently accept.

The jobber can also solo when needed. He can easily feel4, 8, 1 2 or 16 bar phrases and can construct his solos withinthat format if necessary. He knows better than to breaktempo while soloing in the midst of a flowing dance number.His solos, for the most part are short and simply constructedand conducive to the dancers on the floor. He knows, he isnot being paid to perform a spotlight solo, but rather to playmusic for dancing and entertainment.

Add to all this, his conscientious personal attitude andsense of responsibility towards his role as a side man. He isalways on time for every engagement, set up and ready to goat starting time. His appearance is neat, and his equipment isalways in top-notch playing condition.

The successful, in-demand jobbing drummer is in demand,because he has earned the respect of his fellow musicians.He has competently prepared himself, and he continues towork at mastering his craft. He is a totally professional, semi-professional. He is, and always will be in demand. MD

QUIZ WINNERSThe answer to our last issues FAMOUS D R U M M E R S QUIZwas JO JONES. Our ten winners were:

ANTHONY VOLPE, Richmond Hill, N. Y.

HAROLD HOWLAND, Vienna, Virginia

ROBERT MASSUCCI, Bloomfield, N. J.

KELLY FIRTH, Dover, Mass.

JOHN G R I F F Y , Indianapolis, Ind.

IRV GERSHENZ, Los Angeles, Calif.

RUSS L E W E L L E N , Pittsburgh, Pa.

C H A R L E S JAMES, Honolulu, Hawaii

WILLIAM THURSTON, Cumberland, Maine

HUGH ALL1SON, No. Hollywood, Calif.

SHOW & STUDIOBECOMING A PERCUSSIONIST: MD talks with Fred Wickstrom

by GABE VILLANI

At one point in your drummingcareer, you're apt to ask yourself, howcan I earn more money? The answermay be, become a percussionist. As apercussionist, you'll be qualified formore jobs, which means more earningpower. Concurring on the usefulness ofa drummer becoming a percussionist,Fred Wickstrom recently wrote, "theshow drummer, aspiring to do nightclub work will usually be in much great-er demand if he's able to double on(keyboard percussion, bongos, congaand timpani). Most name acts usuallyrequire a percussion player in additionto the drummer, and both bandleaderand club owner will appreciate it ifthe book can be played by the housedrummer without the added expense ofbringing in an outside man".

Fred Wickstrom is Director of Per-cussion at the University of Miami.His credits include the Chicago andMiami Symphony Orchestras; the JanGarber and Louis Bellson bands; theHowdy Doody and Jackie GleasonT. V. shows. He has played on hun-dreds of record dates and has backedhundreds of acts. Fred is both an ex-cellent teacher and a brilliant per-former.

"You should learn percussion by at-t