FEATURES

JIMKELTNER

Jim Keltner has built his reputa-tion on coming up with that"perfect" yet unique drum part.Over the years greats like JoeCocker, Bob Dylan, JohnLennon, Elvis Costello, and theWilburys have employed his wittyyet highly grooving drumming.Now Keltner's in a new bandwith buddies Hiatt, Lowe, andCooder, where he getsa chance to really letthe ideas flow.• by Robyn Flans 20

SPEED METALMIXED BAG

No, it's not just the blur of noiseyou might think it is. Just ask thedrummers who have to deal withthrash's blinding speed, volatilebeats, and—yes—elusive sub-tleties. This month we probe thenature of the beast with JohnTempesta of Exodus, Vinnie Paulof Pantera, RJ. Herrera ofSuicidal Tendencies,and Shannon Larkin ofWrathchild America.• by Teri Saccone

26

DIRECTORYFOR THECOLLEGE-BOUNDDRUMMER

In this special feature, MD listshundreds of colleges across thecountry where you can get top-notch drumming instructionwhile earning a full college edu-cation. And in a special sidebar,noted percussion educator BobBreithaupt takes a closer look atyour options and what you needto prepare for drum-ming on the collegelevel.by Harold Howland 30

MD's YAMAHADRUM RIGGIVEAWAY

Win a Yamaha DrumRig worth $12,400! 64

VOLUME 15, NUMBER 12

COVER PHOTO BY JACK WHITE

COLUMNS

50 ROCK 'N' JAZZCLINICAccentuating theLess Obvious PartsOf The Measure: Part 1BY ROD MORGENSTEIN

54 ROCK CHARTSLiberty DeVitto:"I Go To Extremes"TRANSCRIBED BYBILL REEVE

70 THE JOBBINGDRUMMERGetting BackOn The SceneBY CARL J. ZACK

116 MASTERCLASSPortraits In Rhythm:Etude #25BY ANTHONY J. CIRONE

118 CONCEPTSPolitics And MusicBY ROY BURNS

120 STRICTLYTECHNIQUEDeveloping TheParadiddle WithProgressive Accents:Part 3BY JOE MORELLO

38 PRODUCTCLOSE-UPGMS DrumkitBY RICK MATTINGLY

40 Gon Bops GongasBY CHUCK SILVERMAN

41 Pearl SopranoSnare DrumsBY RICK MATTINGLY

42 Patterson Cable SnaresBY RICK MATTINGLY

136 NEW ANDNOTABLE

4 EDITOR'SOVERVIEW

6 READERS'PLATFORM

12 ASK A PRO

16 IT'SQUESTIONABLE

60 CRITIQUE

122 1991INDEX UPDATE

138 DRUM MARKET

News

8 UPDATECharlie Watts, theGodfathers' GeorgeMazur, the EscapeClub's Milan Zekavica,George Hurley offIREHOSE, and VitoBono of Kingofthehill,plus News

132 INDUSTRYHAPPENINGS

Profiles

44 UP & COMINGClint de GanonBY TERI SACCONE

78 A DIFFERENTVIEWPat MethenyBY RICK MATTINGLY

Education

Equipment

Departments

E D I T O R ' S O V E R V I EW

It's been over twelve years since MD ran a directo-ry for drummers interested in college music pro-grams. Originally researched by MD's HaroldHowland, our '79 Directory was the result ofnumerous requests from readers who were prepar-ing to start college. Since then we've had furtherrequests to not only update the listing, but to tar-get it more specifically toward drummers wantingto attend a degree-granting institution while main-taining their focus on drumset.

Following our decision to revise the Directory, we once again con-tacted Harold Howland, who began nearly six months of research tobring us our updated "Directory For The College-BoundDrummer," presented in this issue. Considerably more extensivethan the original listing, the updated version now includes close to600 colleges, universities, and conservatories across the UnitedStates that offer opportunities for the drumset player. Along with theschool addresses and phone numbers, it also includes the names ofmusic department heads and faculty, and their teaching specializa-tions.

Bear in mind that the Directory is merely a starting point. If you'retruly interested in taking the college route, it's now up to you to con-tact the school, review the catalogs and music faculty qualifications,and set up appointments to visit schools that may interest you. Andthere's no better time to start that process than right now.

Many young people who are considering a college-level music pro-gram also have a number of questions beyond the selection of aschool. We've attempted to answer some of those questions with BobBreithaupt's article "Advanced Percussion Studies: Training AfterHigh School." A percussion instructor at Ohio's Capital University,Breithaupt offers some concrete ideas to help college-bound drum-mers review their options, prepare for advanced study, and evaluatethe types of programs available at the college level.

One final note. I think it's important for drummers to rememberthat a college directory listing opportunities for drumset playerswould not have been possible a mere thirty years ago. It's no secretthat the majority of college music departments had always accentu-ated European classical music training, and anything even faintlyresembling progressive American music—not to mention the appli-cation of drumset—was taboo. And though there's certainly nothingwrong with the traditional training offered by most institutions, it'sencouraging to note the acceptance of American musical art formsamong the nation's leading music departments today. Fortunately,it's the college-bound drummers of the '90s who will benefit themost from the changes that have gradually taken place.

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MODERN DRUMMER ADVISORY BOARD: Henry Adler, KennyAronoff, Louie Bellson, Bill Bruford, Roy Burns, Jim Chapin, AlanDawson, Dennis DeLucia, Les DeMerle, Len DiMuzio, CharlieDonnelly, Peter Erskine, Vic Firth, Danny Gottlieb, Sonny Igoe, JimKeltner, Larrie Londin, Peter Magadini, George Marsh, Joe Morello, RodMorgenstein, Andy Newmark, Neil Peart, Charlie Perry, Dave Samuels,John Santos, Ed Shaughnessy, Steve Smith, Ed Thigpen, Dave Weckl.

CONTRIBUTING WRITERS: Robyn Flans, Simon Goodwin, KenMicallef, Jeff Potter, Teri Saccone, Robert Santelli.

MODERN DRUMMER magazine (ISSN 0194-4533) is publishedmonthly by MODERN DRUMMER Publications, Inc., 870 PomptonAvenue, Cedar Grove, NJ 07009. Second-Class Postage paid at CedarGrove, NJ 07009 and at additional mailing offices. Copyright 1991 byMODERN DRUMMER Publications, Inc. All rights reserved.Reproduction without the permission of the publisher is prohibited.

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MODERN DRUMMER welcomes manuscripts and photographic mate-rial, however, cannot assume responsibility for them. Such items mustbe accompanied by a self-addressed, stamped envelope.

MUSIC DEALERS: Modern Drummer is available for resale at bulkrates. Direct correspondence to Modern Drummer, Dealer Service, P.O.Box 389, Mt. Morris, IL 61054. Tel.: (800) 334-DRUM or (815) 734-6013.

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More Drums On Campus

R E A D E R S ' P L A T F O R M

Kenny AronoffStyle, technique, equipment changes,attitude changes...what an educationKenny Aronoff shared in his cover story.[September '91 MD] I've admired Kennyas a live drummer—I've seen him in con-cert with Mellencamp and at several clin-ics—but I wasn't aware of all the studioaction he's had in the last few years untilI read the story. I really appreciatedlearning about the changes Kenny didand didn't make for his various sessions.His career-oriented anguish overwhether or not to take the Airplane tourwas also an eye-opener. Kenny's honestycame through in the story just the way itdoes in his playing. Credit to RickMattingly for conveying that honesty soclearly.

Bill WheelerAurora CA

New York JazzDrummers Round TableThe caption on the opening photo of your"New York Jazz Drummers RoundTable" [September '91 MD] says:"These gentlemen can play." I imaginethat's so; their credits seem extensive.But there's no question about the factthat they can talk. Ken Micallef warnedus that the guys "were opinionated." I'llsay! It was hard to assimilate the real,valuable information contained in thearticle; I had to deal with too much atti-tude first.

Even while stating that anybody whocame to New York "prepared" would findwork, these guys were saying that nobodyreally did that, that people weren't study-ing their jazz history (which was essen-tial in order to be a decent player), andthat jazz education today is done byunqualified teachers with no practical ex-

perience. Whew! And there was anunquestionable amount of racial bias,too. The general consensus seemed to bethat all important contributions to jazzdrumming have been made by blackmen, and that it is only the black experi-ence that really gives credibility to jazzmusic itself.

I don't for a moment discount the con-tributions made to jazz by black musi-cians, but I'm damned tired of hearingthat only black musicians can play realjazz! If that's the case, why was AdamNussbaum included in the group? What'sJoe Morello done over the years, or LouieBellson, or Ed Shaughnessy, or DaveCalarco, or Peter Erskine, or SteveSmith? It's one thing (and not a very niceone) to continually slag Dave Weckl, who,admittedly, is more at home in an electricjazz medium than "traditional" or"bebop" playing. It's another to dismissall white drummers in total.

I didn't disagree with a word that any ofthe drummers said about playing, per se.But I do disagree with—and resent—theelitist, reverse-snobbery attitude thatthey conveyed. Yes, rock artists get moremedia coverage and more money. It'sbecause they appeal to a larger audience,and are more marketable—plain and sim-ple. That's a fact of musical life, and it'snot news anymore; anybody going intojazz today does so with full knowledge ofthe situation. If you choose to play jazz"for the long haul," as Nussbaum said,then accept the fact that you're not goingto become an MTV star and get on withit—without being bitter about it.

I guess my ultimate point is:Gentlemen, you may be great players. Inthat case.play for us, don't preach to us.

Scott FresnellMilwaukee WI

Since He Asked...In your September Readers' Platform,Mike Musselman suggested that I askmyself if I had what it takes to be in acover band. Well now, let's see: 1) Theability to stifle true creativity in favor of asalary; 2) the ability to call it quits on myown songs, and to join the ranks of "com-fortable" music shovelers; 3) the abilityto please the IRS; and 4) the ability tospend my musical life meticulously mim-icking other artists' creations (with anoccasional wacky splash of my own—teehee!).

Why no—I guess I don't.Michael BuddCincinnati OH

MD AndDrums & DrummingWell! It's one thing to "buy off" the com-petition; it's something else to "buy up"the competition! Five years ago there wasone drumming magazine: ModernDrummer. Then there came Rhythm, andthen Drums & Drumming. And thenD&D bought up Rhythm. Now D&D hasfolded and itself been bought up, andwe're back to one drumming magazineagain. So what have we learned? That weonly needed one in the first place, andthat one is—and always will be—ModernDrummer. Congratulations!

Ernie Di TomasoBrooklyn NY

Kenny Aronoff

New York JazzDrummers Round Table

Since He Asked...

MD AndDrums & Drumming

U P D A T E

Charlie WattsWhen an English entrepreneur askedCharlie Watts for permission to repub-lish a book called Ode To A HighflyingBird, which Watts had written at the ageof 20 in tribute to bebop pioneer Charlie"Bird" Parker, Watts said okay andpromptly forgot about it. But a fewmonths later, Watts was presented withthe final proofs of the book, and it wassuggested that he make a jazz record toaccompany the book's re-release. Wattssaid okay again, and the result is a boxedset (released in the States on ContinuumRecords) called From One Charlie,which combines the book, a 28-minuterecording, and a poster of Charlie Parker.

The disc contains seven cuts: two of Parker's tunes and fiveoriginals by English saxophonist Peter King, who Watts commis-sioned to write music based on the book. Watts' drumming onthe disc is exactly what you would expect from him: simple,tasteful, uncluttered. He modeled his quintet after a band thatCharlie Parker once had with Kenny Clarke on drums, so Clarkeis an obvious influence. But there is another strong influence aswell. "Buddy Rich, believe it or not," Watts says. "The thing is,he is mostly known for huge, showy drum things, like his 'WestSide Story' drum solo, which he was unbelievably good at.

"But I actually preferred him playing time," Charlie explains."To me, he played in a rhythm section as well as anybody. Thereis a big band thing he did called The Monster, where he playedwith guys from Basie's band. It's nearly all rhythm, and it's quite

incredible. As a drummer, you can'tbe better thought of than BuddyRich. But I think he was even betterthan people thought he was."

Watts also gets a chance to showoff his first love on the disc, brushplaying. An uptempo tune called"Blackbird—White Chicks" fea-tures an aggressive use of brushesthat recalls Dave Tough. The finalcut, "Going, Going, Going, Gone,"is a slow ballad that displays a softerside of his brushwork. "It's verydifficult to play a slow tempo withsticks," Charlie says. "With brushesyou've got a softness that gives you

that split-second easing into the beat. Whereas with a stick, it'sso immediate that it has to be perfect.

"People don't play brushes any more, do they," Charlie says. "Itseems to be a completely lost art, I'm sorry to say, with the pass-ing of Jo Jones. But certain things do work better with brushes."

On "Terra de Pajaro" Watts delivers a spirited mambo beat.But when complimented on it, he characteristically downplays it."I've always done that," he says. "I play that on 'Sympathy ForThe Devil.'" As one might expect from Watts, there are no drumsolos. "Peter King said that I should do a solo," Watts says, seem-ingly amazed that anyone would suggest something so preposter-ous. "I told him I hate drum solos—particularly mine."

• Rick Mattingly

George MazurThe Godfathers are an English rock bandthat have it all: guitars, melody, and purepercussive power that cohabit withinspired vocals and clever lyrics. Earlierthis year the band released their third andperhaps finest album, Unreal World (pre-ceded by Birth, School, Work, Death, andMore Songs About Love And Hate). Theyalso have an uncelebrated drumming heroin George Mazur.

Mazur, a sturdy, high-octane player, isfrom the less-is-more school of rockdrumming, and does not aspire to playrings around the drumkit. Yet his style isperfect for the Godfathers. "The really

technical players can be too much, really,"he says. "It's like what's known in Englandas 'fretboard wanking': when guitarists getover the top with their playing. You canapply that theory to the drums. Obviously,you don't have to play flash to prove you'regood."

The Godfathers have been gaining aconsistently healthy following in the U.S.,while back home, they're still regarded asan underground band, despite their con-stant touring. "We do play live quite a bit,"comments Mazur. "It's one of the old tra-ditions of trying to make something byactually getting out there and playing tothe public. Besides, I prefer playing live torecording. You can't really get your rocks

off going hell-for-leather in the studio,whereas live, you create your own atmo-sphere."

George reports that he's quite pleasedwith the results of the new album."Unreal World has a lot of variations on it,whereas the first two albums tended to bedirected in one or two veins. This albumhas psychedelia, pop, rock, and variousother things thrown in. It took us 15 hoursa day for eight months to make this album,and I think when you spend that muchtime drawing out the recording process,you usually grow to hate the material. But Istill like this one a lot."

George Mazur

Rick Mattingly

Teri Saccone

Blast Off To Heaven is the Escape Club'sfirst album in two years. "I feel this recordis a little more focused than the last one,Wild Wild West, and the sound on thealbum is kind of harder," says the group'sdrummer, Milan Zekavica. "For us, it wasreally a natural progression. We didn'twant to make Wild Wild West Part 2. Wewanted to move on from there.

"It was a lot different working withsomeone like [producer] Peter Wolf,"Milan continues. "He's a fantastic musi-cian in his own right and a great songwrit-er and arranger himself. Making therecord with him was...how can I explainit?" He laughs at the recollection. "He wasvery enthusiastic about everything andanything. We used a lot of different tech-niques that in the past we had been exper-imenting with. On the last album I actuallyplayed on five tracks, and we used a drummachine on five tracks. On this album, the majority was doneon a Synclavier, which was a new and different experience forus.

"With the machine, you can have totalcontrol with no compromises, as opposedto playing the kit live. It depends whatyou're looking for. Nowadays the machineshave become so sophisticated, if we had themind to, we could have programmed theSynclavier so that you would have a hardtime telling whether it was a drummer ornot. Because we wanted to keep a rhythmvibe going through it, when I did a fill, forinstance, I kept the hi-hat going, whichobviously you wouldn't do if you were play-ing live. If you listen to the record, it's kindof obvious.

"If I wanted it to sound like a real drum-mer, I would have played it myself," Milanexplains. "The nice thing about using themachine is the only thing that stops you isyour own imagination. My job in the bandis to play for the Escape Club. I have no egoabout what I play or how I play—as long as

the songs sound good and the band and the producer are happywith them."

When we started out with punk rock, wedidn't quite fit in either," says fIREHOSEdrummer George Hurley. "We were kindof the strange dudes."

Hurley and bassist Mike Watt were twothirds of the Minutemen, a seminal punkband that was more experimental andoptimistic than your average punk outfit.After guiding light D. Boon died, theyevolved into fIREHOSE, who have unde-servedly inherited the Minutemen's punklabel. Alas, fIREHOSE still don't fit nice-ly into any box.

Just take a listen to Hurley's drum-ming for proof. The punk spirit is stillthere, but a standard beat is a rare ingre-dient, and broken rhythms, ride patternson cowbells, and tasty splash cymbalsabound. What's going on here, anyway?

"When we're on tour," George offers,"we listen to a lot of different music, likeAfrican, Zydeco.... We just try to broadenour minds." And that works its way intothe tunes? "Yeah. If you're playing thesehard numbers and then break into some-

thing that's more 'Latin-y,' it kind ofputs a good space between the songs."

George has also made some addi-tions to his drumset to aid in his play-ful patterns and sounds. "I've boughtsome cowbells, and also some UFIPClang cymbals, which really work wellwhen you're bringing songs down intoquiet parts. Sometimes they canbecome big parts in a song. And themore complicated patterns are fun toplay. Once you get them all workedout, they're really gratifying."

Hurley's beats were most recentlycaptured on Flyin' The Flannel,fIREHOSE's fourth album, and theirfirst with a major label. "I was on SSTRecords for twelve years," Georgesays, "and they've done a lot for us.But after a while you need a new inspi-ration. We recorded the whole albumbefore we gave it to Sony, and theyliked it and accepted it. So yeah, I'mpretty excited about it."

Milan Zekavica

George Hurley

Adam J. Budofsky

Robyn Flans

Vito BonoA new band out of St. Louis, Missouri, Kingofthehill, has beencalled everything from funk-fusion to danceable heavy metal, andthey faithfully earn such a broad description on their debutalbum, Kingofthehill.

Drummer Vito Bono clearly avoids being pinned down tospecifics when he describes the band as "simply playingKingofthehill music, plus it's got a groove to it. A lot of people say,'We play groove music too,' just because they break down withbass and drums. If that's all people get out of this music, thenthat's great. But I think that you can listen to a song where thebass and drums don't break down, and it still can be a groove.

"We never started doing this because we heard other bands playthis way," Vito insists. "It's just the way we always played. Thissound is pretty happening now, but even if it's not happening fiveyears from now, we'll still be doing it because that's how each of

News...Bud Harner on the new

Uncle Festive release, ThePaper And The Dog, with BradDutz on percussion.

Rob Ladd is recently homefrom a tour with SusannaHoffs, and is about to startwork on her new album.

Jim Blair has been record-ing with Nia Peeples, KeithChagall, and Janice Jamison, aswell as doing live dates withHoward Hewitt and SpencerDavis.

Alvino Bennett can be seenin the film A Class Act, withKid 'N' Play. He's been doing

some live work with Pretty InPink as well as working withChaka Khan.

Herb Shucher has beenworking with Epic artist LesTaylor.

Hugh Wright has beenworking on Boy Howdy's debutalbum for Curb Records.

Stixx on recently releasedalbum by Shotgun Messiah.

Frank Araneo has been onthe road with The Lost.

Carl Latham has been gig-ging with the Fantasy Band,which includes Dave Valentin,Larry Coryell, Roy Ayers, Noel

us plays. It's a '70s vibe."Vito is also into big-sounding drums and a basic '70s setup,

with a minimum of electronic gadgets and goodies. "The onlything we sample are the horns," he confides. "We're not playingto a DAT. or anything, so the whole live feel is still there. That'ssomething we're trying to bring back: 'Let's just play it ourselvesno matter what.' So if the vocals are sorry-sounding one night,those are still our vocals, coming through proud and true."

Kingofthehill are wowing crowds and critics from coast to coaston their current tour, and Vito says that the positive feedback hasbeen an incredible boost. "It's great to hear people coming up tous after a live show and say that the record doesn't even comeclose to our live show. They tell us that our record is intense, butafter seeing us live it's hard for them to go back to the record."

• Teri Saccone

Pointer, and Victor Bailey.Joe Franco on new releases

by Vinnie Moore, BluesSaraceno, a band from Spaincalled Mecano, Henry LeeSummer, Eric Carmen, andKathy Trocolli. Joe is also in anew band project with DeeSnider called Widowmaker.

The Les DeMerle Band,featuring vocalist BonnieEisele, has been performing asthe house band at the RitzCarlton Hotel in Emelia Island,Florida. Les has also beenplaying a few clinics in theJacksonville area.

Andrew Korn currentlyworking with Noel Pointer.

Adam Nussbaum recentlytoured Europe with ElianeElias and recorded with PhilWoods, and is currently on tourof the Far East with TootsThielemans.

Denise Fraser has beenworking with Sandra Bernhard,including a 30-city tour thispast September.

After touring all summerwith the Triplets, HowardJoines is back on his regulargig in the pit for the Broadwayproduction of Miss Saigon.

ASK A PRO

Gregg BissonetteI really admire your ability toswitch from style to style so

smoothly, while always playing everythingso musically—as well as technically per-fect. To me, you're the perfect role modelfor those of us who wish to be well-round-ed players.

I've been practicing and playing doublebass for almost a year and a half, and whileI'm happy with my progress, I'd like tofocus on other aspects of my playing. Howdo you maintain your excellent double-bass technique while focusing on tech-niques and styles that involve little or nodouble-bass within them? Is there eventu-ally a point where you don't have to con-stantly use your left foot in order to main-tain its technique?

Finally, when playing very fast quads(32nd notes), sometimes the two notes on my feet tend tosound "squashed together." Yours always sound so crisp andclean. I've tried practicing these slow, but it doesn't seem tohelp when playing them fast. Do you have any exercises for thisproblem?

Mike FratersChico CA

First of all, thanks for the very kind words. I try to thinkof double-bass playing sort of like "extra credit" or

"icing on the cake." The most importantthing is trying to play with good time andfeel on just one kick, snare, hi-hat, andride cymbal.

Try practicing all the double-bass exer-cises you can find while you're at home.But when you go to the gig, avoid throwingin double-bass exercises just to keep yourchops up. That's a quick way to bumeveryone out. Once in a while—at the endof a tune or in a solo or occasional fill—youcan use double bass, but try not to overdoit. Tape-record yourself whenever youpractice or perform. Listen back carefullyto what you just played and be your ownbest critic.

You might be able to even out those"squashed together" notes by playing apattern like:

Start slow and play with a metronome or pre-recorded music.Try to leave the right amount of space between those bass drumnotes (not too close together). The pattern should sound likeeven and constant 16ths or 32nds. Keep jammin' on it till itsounds most triumphant!

Neil PeartFirst of all, I'd like to thank youfor the awesome drumming andmusic you and the band have cre-

ated over the years. Keep it up.Now for the question: I have been

observing many drummers live, on MTV,and in Modern Drummer, holding theirsticks at the very back of the stick. I wastaught that the proper way to hold thestick was about a third down the shaft sothat there is about 11/2" to 2" behind your

hand. This seems more comfortable tome. Where do you hold your sticks, andplease explain the hazards and advan-tages of a proper grip.

Douglas IsomHouston TX

Thanks, Douglas. Like you, Ilearned to hold my sticks about a

third up the shaft, and I use that grip forbutt-end or right-way-round, matched

grip or traditional. Because I tend to pivotthe stick at the thumb and forefinger—and use my fingers quite a lot—thatplacement gives me good balance and agood hold. But, I suppose, this is anotherone of those things that comes down topure taste. If some drummers are com-fortable clinging to the bitter end of thestick, then let 'em, I say! (Maybe they'vegot short arms!)

How can I become a drum tech? I'vetalked to a couple of techs, but the gist oftheir answers was that it was luck. I don'tbelieve that. I've learned many things inmy six years of drumming, and I havehelped fellow drummers with what I'velearned. I feel I am technically adept andopen to ideas. Part of my talents comesfrom my degree in drafting and design;part comes from trial and error. Any helpwill be appreciated, as I am extremelyinterested in this type of career.

Jim LehmannKirksville MO

We put your question to JeffOcheltree, a top drum tech who

was profiled in MD's April '91 feature ondrum techs. Here's his reply: "Thereisn't one simple answer to your question,except that luck has nothing to do with it.There are a lot of variables, and a lot ofabilities required—along with commit-ment and a passion to work long hourson the road and/or in the studio. Being aplayer yourself gives you an edge as atech, but it can also present a conflict.You can only do one or the other in orderto do either job well. If you're a tech,then (like a drummer) you are workingwith the instrument and its maintenance.But you also have to concentrate andanticipate problems with the gear and/orthe player during a show or session. Youhave to think as a player and observeattentively as a tech.

"A tech must have knowledge andexperience working with a variety of per-cussion instruments—along with themechanical knowledge necessary tomaintain or modify drums with the prop-er tools. It's very important that a tech be

able to tune any drum—with several tun-ing techniques—and have an under-standing of different drum sizes andhead combinations as they apply to drumsound. Pay special attention to tuning byear—either by trial and error or bywatching a timpanist in a rehearsal hallor other forum.

"One should have experience in micro-phone selection and placement tech-niques, for various live and session situa-tions. Learn to achieve a good drumsound quickly, while developing yourpersonal techniques. It's also important tobe able to work closely with a sound engi-neer or fellow techs. For example, youneed to be able to relay your drummer'smonitor- and house-mix requests to theengineers in the proper terminology.

"It's advantageous to have experiencewith different styles of music, becausethey often call for different types of gearand different technical requirements. It'salso good to have some familiarity withelectronics, since so much triggering andsampling is going on today.

"Most important is the ability to com-municate with and get along with others.You'll be working with many differentpersonalities and living with them on theroad, in a sometimes stressful situation.You must have a positive attitude, admitwhen something is over your head, andbe able to ask for help from a fellow tech.There is a camaraderie and friendshipwith both fellow crew members and play-ers that makes the work all the morerewarding.

"When it comes to starting out, geog-raphy can play a big part—in terms ofopportunities for getting your namearound and establishing yourself. There

is no union or any assurance of findingwork in this business—just word-of-mouth about your last gig. Read publica-tions such as Modern Drummer, andcheck out local rehearsal halls anddrumshops. Call management compa-nies, and talk to as many players as youcan, in order to build a rapport. Don'tgive up! I've been fortunate enough towork with many greats, but there are leantimes, too. Keep yourself connected tothe percussion community; it is thebest!"

I recently bought a set of Sabian B8 Procymbals. They're really great, but so rea-sonably priced that in most cases standsfor them are more expensive than thecymbals! Do you know of any stands ofgood quality that are affordable? I usesingle-braced stands, and have never hadone fall on me, so my hardware doesn'thave to be heavy-duty.

Brien ThornellFresno CA

Most major manufacturers offerlight-duty stands; they just don't

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I T ' S Q U E S T I O N A B L E

How Does OneBecome A Drum Tech?

Who MakesAffordable Stands?

By Robyn FlansPhotos By Jack White

Jim Keltner would rather talk about anyone but JimKeltner. Throughout our numerous conversations,he has lamented the usage of the words "I," "me,"and "my." It simply embarrasses him to talk abouthimself. When I call periodically for information formy Update column, he never wants to give me acomplete run-down of who he's been working with.He says he finds it too pompous. I always figuredthat anyone who has taken part in as much musichistory as Keltner would be proud of what they'vedone, period.

Jim's career began in the small LA jazz clubs.Later on, in 1965, fancying himself a pop star (hesays, tongue in cheek), he took a gig as one of GaryLewis' Playboys, playing on one of Lewis' huge hits,"Just My Style." He pinpoints his real beginnings,though, as Delaney & Bonnie and Friends in 1969,because his work on their Accept No Substituteattracted a lot of attention and began the recordingball rolling. "They encouraged me to play as crazyas I could," Keltner recalls of that album. "I justtried to play loose, and it worked—although when Ilisten to it now, it sounds clumsy to me."

Still, that album began the long, impressive list ofthose with whom Keltner has worked, including JoeCocker and Mad Dogs & Englishmen, Bob Dylan,John Lennon, George Harrison, Ringo Starr, theTraveling Wilburys, Ry Cooder, John Hiatt, andElvis Costello—not to mention the jingles, TV, andmovie dates he does, and Little Village, his newband with Ry Cooder, Nick Lowe, and John Hiatt.

"I remember the next morning was very early," Jim laughs."They had already done this track, but there were no drums onit. It was a great track to play to—real funky. Chaka was singingin my ear, 'Dance with me, baby, baby, dance with me.' I had alot of fun, and the next thing I knew, I heard it on the radio abunch of times. I loved the fact that I had played on a song likethat, because most people in those days knew me pretty muchas the player of ballads or quirky songs, the guy who plays on'Short People' or songs that nobody else knows quite what todo with. So I got to play on a genuine funky hit. Then when thealbum came out, I didn't get any credit for it.

"Then there's a John Lennon song called 'You Don't KnowWhat You've Got (Until You Lose It),' which is on the WallsAnd Bridges album. I told the engineer that I was going to trysomething different with the snare drum on this song. I want-ed to open the snare drum all the way. In those days, youcouldn't do that. You had to have all that tape all over the snaredrum, but I wanted it to be wide open on this song. I wanted itto be real grungy; I wanted the snares to be a little tighter andthe head a bit looser so I could get away with playing ruffs anddrags and stuff. I also opened up the rack tom by taking thetape off of it. Everything was a big rattle, and I was worried thatthey were going to say, 'Jimmy, this just isn't happening, babe.You've got to put some tape on it. What are you doing to us?'But they didn't. They worked with me."

Keltner says that not only did the engineers go for it, but sodid Lennon. "In the old days, he would encourage Ringo to doradical stuff—radical for those days. When I hear that song, it

At times, I've thought that Keltner's reluctance to talk aboutsome of his session dates was because he was ashamed ofsome of the work he does. But that seems unlikely, because I'vealways known Jim to be so vibrant, excited, and enthused abouthis job. Unlike many session players, he takes all calls, he says,probably due to the work ethic instilled in him by his parents.

Certainly there are those dates Jim is less proud of, but heassures, "I don't think there has ever been any recording I haveever done that I am ashamed of. I just feel that if there is anoccasional period when I've done a lot of projects in a shorttime, I'd like to edit my resume back a bit—just put in thethings that may mean the most to me. I'm not trying to hideanything I've ever done, but given the opportunity to edit, I mayhave kept out something like 'Heartlight' [Neil Diamond] infavor of a Ry Cooder date. But I wouldn't edit it out because Iwas embarrassed to have played on it. I still like hearing it onthe radio. I'm at the stage of my life where I hear records I'veplayed on on all the stations from classic to contemporary. It'scool, I like it."

But Jim doesn't want to talk about specifics. If he mentionsone song, he'll be deleting another, and he doesn't want tomake those choices. The most I could get out of him were twoanecdotes about specific recordings he made.

"One that I would pick out is Rufus' 'Dance With Me,'" Jimconcedes. "People seem to really like that one. I was working atthe Record Plant one night, doing a thing called the Fan ClubHour, and [Rufus drummer] Andre Fischer was in the hallwaywith a cast on his hand. He asked if I could play for him thenext day, and I said I would love to.

when the first take can't be beat. That happens a lot, actual-ly—especially with our new band, Little Village.

"But I still think really deeply about everything while I'mplaying," says Jim. "It wasn't always like that—like in the olddays, when I used to try to pickle my brain. You can get sostoned that you can't think about anything. In those days thatwas the point. But for every one time I played beautifully whileI was in that state, there would be hundreds of times when Iwould just barely be able to make it. It was then that I'd beabsolutely ashamed of being called a musician, absolutelyashamed of being alive and taking anybody's time. I thank GodI don't do it anymore, and as a result now I can actually enjoylistening to my playing sometimes.

"Getting back to spontaneity, there is a song on our newalbum called 'Do You Want My Job?' One day the song finallycame together where we were happy with our arrangement, sowe decided to cut it the next day. I walked in and sat down atthe drums, and Ry was playing a totally different groove fromwhat we decided on the day before, and with much less intensi-ty. So I set up a bunch of percussion things all around thedrums and figured I might just play bass drum, very little snareand toms, and mostly percussion and some cymbals. The onlyproblem was, I only had one chance to scope it out, because thefirst take had a great vocal by John, and the guitars were beauti-ful, and Nick's bass was just right. So I have to live with thissong sounding kind of incomplete to me from the drum pointof view. But still, it has an irresistible feel to it. In this case, it ishard to say if I would have liked it better if I had been able to

brings me right back to the session. And I liked the way Iplayed on it at the time. It's a funny, loose kind of thing."

In MD's first interview with Keltner, he posed the idea thatmusicians tend to play similar to the way their personalitiesare. Does Jim think this applies to himself, too? "I'm basically avery hyper person," Jim explains, "but I've spent so much timeover the years trying to contain myself that I believe I've cre-ated somewhat of an illusion of being an easy-going, laid-backkind of guy. I think that those kinds of contradictions in ourpersonalities sort of shape the way we approach our instru-ments."

One potentially contradictory situation for drummers is theidea of playing with spontaneity in the studio, but still playingthe right part—a situation Keltner is well aware of. "In the stu-dios particularly, I hear so much talk about 'spontaneity' and'soul' and 'feel'.... I believe those are private things; they'reinside you. They are very intangible, and you certainly can'tcreate them by talking about them. I prefer to know where I'mgoing or what I'm going to do with something before I'm goingto do it.

"But I work with people a lot who want spontaneity and 'themoment,'" Jim continues. "Some people actually don't wantme to know the song before I start playing. They believe thatafter you've played it a few times, it's not going to be any good,because you're getting to know it too well. And there are timeswhen that is true. You can start to know a song, and whatevermagical little feel that was occurring when you first heard itdisappears. When that happens, there's nothing you can do butput it to bed or try it another time later. I love those times

By Robyn FlansRF: How do you know what to take to a session?JK: Over the years you learn what tools are needed. I'll try to findout as much as I can about the gig ahead of time. If it's going tobe a TV or motion picture thing, then I know that they'll just wanta good, punchy set of drums. So I'll make sure the bass drum hasa hole in the front head, or the head off, and it's got a blanketstuffed in there. I'll make sure the rack tom has a coated Ambas-sador on the top and it's tuned a little on the lower side and realpunchy. The floor tom would probably be the same combination.I pick the snare according to the music.

I have a lot of bass drums because I love them so much. I don'tlike to play the same one all the time. They're all DWs, except forone little 1958 12x22 Radio King, and an old 28" 1933 Ludwig &Ludwig.

If I get a call from, say, a producer who is doing a new band,and they want to experiment, I'll have everything there, but I'll tryto find something different as well. I'll have Ross Garfield [theDrum Doctor] put up my double-headed bass drum—either the20", 22", or 24"—and I may have one of my old bass drums sit-ting around ready to go if they want something a little more radi-cal. So it will usually be between a real good studio-sounding kitor something more oddball. Also, recently I've taken to putting upvise grips all around my rack so I can mount anything at a givenmoment. I like to play a lot of stuff live and use fewer overdubs.RF: You mentioned playing Dolly Parton's hat box in the article inMusician magazine. Any other fun things like that?JK: On a recent Bruce Cockburn album, I put two talking drumsbetween my legs, tossed bells in the air with my left hand, andplayed a bass drum with my right foot. I was also playing a wash-board vest that my good friend Billy Block gave me with my righthand. Of course it depends on the engineer, the producer, andthe artist, but it's a lot of fun to do this sort of thing instead ofoverdubbing.

It's fun when you can listen to a song and think, "I'll substitutethis sound for the snare drum and this sound for the hi-hat andthis and that for toms." One thing I did on the Little Villagealbum that was great fun was playing a combination of woodblocks, a triangle, finger cymbals, and castanets, all in one con-figuration built on a tiny stand. It used to belong to the originalIce Follies drummer, and Hal Blaine inherited it. He ended up giv-ing me that and a few other little goodies. It's real special, andI've had it all these years.

Of course, I've talked a million times about the garbage cancymbal I played on Steely Dan's "Josie," so I don't want to go toomuch into that. It's a riveted garbage can lid that was made forme by Bob Yeager.RF: You use DW drums.JK: They're now making a 5-ply drumkit that is a delight to play.It's got plenty of body, and it really doesn't seem to matterwhether you put a thin or thick head on it; you still have a lot oftuning capability. I'm generally using thinner heads nowadays. Iuse one rack tom, and it's generally an 8x12 or a 10x12, and ontop I'll put a coated Diplomat. I'm not particular about what's onthe bottom. Sometimes it's cool to have a Diplomat, sometimesan Ambassador. Then I have a 14x16 or 16x16 floor tom, andgenerally I put a coated Ambassador on top.

The fact that you can pick out your own DW shells is fantastic.

play the song more than once. It certainly was spontaneous."Ry Cooder recently said in Musician magazine that if Jim's

"fun meter" goes down, things pretty much come to a halt.One might wonder how it's possible to do studio work that way.But Jim explains that the fun meter doesn't apply to his worka-day sessions. His fun—or lack thereof—is only measured dur-ing projects where he might have a great deal of input, such aswhen he works with Cooder.

"There are certain things that I have very definite feelingsabout, such as western swing music. Hank Williams is what Iheard most when I was coming up as a kid in Tulsa, Oklahoma,and he was so deeply soulful—his voice and the music hewrote—that it just permeated my soul. After that, everything Iheard that was similar always paled. I've had a real hard timelistening to country music to this day because of the standardsset for me early on.

"Country music and reggae are two musics that I adore," Jiminsists. "I treasure listening to the real deal. Fortunately, someof the new country artists are trying to tap into the soul of themusic. I used to hate tohear session guys say,'Okay, we're playing acountry song, so play realsimple and dumb.' Playinga country song and beingconvincing with it—whether in a recordingstudio or in a bar some-where—takes as muchmusicality and soul asrock 'n' roll or any otherkind of music, maybe evenmore. I don't feel that I doit very well, or reggaeeither; I have tremendousrespect for the musicianswho do.

"As far as the fun meterthat Ry mentioned, thereare some kinds of groovesthat drive me crazy. One iswhat they call half time. We don't do it much anymore. Ringoused to do it with the Beatles all the time. It was fantastic thenbecause hardly anybody did it. Levon Helm did it with theBand, and it was great, and then everybody else in the worldhad to start doing it. All of us studio musicians had to do it, butit was always hard, somehow, for me to believe it. It goes backto what I was trying to say earlier—when you hear the real dealbeing done by the real folks, it's one thing; but when you try tomanufacture something, it's real hard to do that. And if I don'tbelieve something in my gut, then it's difficult for me. Butnobody will ever know there is a fun meter in existence if I'mon a recording session, doing a job, making a living."

One of the issues that arose in MD's studio round tableinterview, which Jim was part of, was whether or not a drum-mer should do whatever he is asked to do, no matter what.Harvey Mason had emphatically said he does, but there was

"I'm at a stagewhere I hearrecords I've

played on on allthe radio stations

from classic tocontemporary.

It's cool, I like it."

some argument from Mike Baird."I'm totally with Harvey on that," Jim stresses. "I think most

everybody in the room that day would be that way. It'sMichael's personality to argue. He will fight anybody aboutanything, and you can leave that in the article," Jim laughs."There again, about personalities—Mike Baird plays exactlythe way his personality is: aggressive with a 'take it or leave it'kind of attitude. I will say that there have been some situationswhen I wished I could have been like Michael."

In particular cases, such as on Pink Floyd's A MomentaryLapse Of Reason, Jim says he would have enjoyed having moreinput into his parts. But Bob Ezrin is a producer who has verydefinite ideas about what he wants. "Studio work is a pro-ducer's medium," Jim explains. "And if I like the work a partic-ular producer has done in the past with other people, or maybesomething I've done with them, there's generally a real bigtrust. That's good, because then I'll happily do everything thatthey suggest, no questions.

Jim On Other Drummers

"Of course there are times when I'll do what somebody asks,and they'll like it, but I won't. Later on, when the record comesout, I may be really disappointed about that and think, 'Whydidn't they let me play a whole bunch right here, or lay outthere, or play a different fill here?' But every song is like a littlemovie, and it's the big picture that matters. The musiciansplaying on the song are like characters whose parts are inter-woven to hopefully make the picture come alive. That's all partof making a living as a studio musician. You have some drum-mers who will hear what you did and say, 'Man, if I had beenplaying on that, I would have played this....' They don't realize

By Robyn FlansJim and I had gotten into such a good conversation about how hispersonality was reflected in his playing that he decided he wantedto make that comparison with some of his favorite drummers. Dueto limited space, here's a partial list (in no particular order):

Jack DeJohnette—"I think of Jack as a leader—a strong person-ality. He's a gentle but forceful man, and that shows in his playing.That's exactly how his playing is—forceful, but gentle, and verycreative. He's a perfect example of how being a composer shapesyour drumming. Also, I love his piano playing."

Jeff Porcaro—"I always think that Jeff plays the same way hetalks. He has a deep, resonant voice, and he carries himself in avery assertive manner, which is exactly the way his playing is. Hisplaying always sounds very confident and commanding, just theway he speaks. And yet, when you talk to him, he's so self-effac-ing—sort of a contradiction! I must say, I think Jeff has the deepestpocket and the best time of anybody playing today."

Terry Bozzio—"What comes to mind right away with him issomething that, as a matter of fact, Jeff told me. He said Terryreminds him of an Indian brave. He's this real stoic, quiet, mild-mannered guy, but when he gets behind the drums he'll absolutelystartle you with his energy, fluidity, and the beautiful way he turnsthings inside out. I love watching him do this little wind-up beforehe unleashes.

Steve Gadd—"Steve is such a wonderfully controlled drummer,and yet for quite some time he had no control whatsoever over hisprivate life. He's a deeply soulful man, and that carries over intothe way he plays. I don't believe I've ever heard Steve play on any-thing that didn't absolutely knock me over."

Vinnie Colaiuta—"When I think of Vinnie I think of the first timeI saw him play at a club in Encino. I remember sitting at the barwith a pretty clear view of him at the drums. The sound coming offthe stand was amazing. I was totally thrown off my seat. Both Terryand Vinnie have amazing chops, but possess a great feel for play-ing simple music as well. Vinnie played on one of my favoriterecords of all time, "Night Shift" by the Commodores. That's someof the best groove drumming I've heard by anybody—and that'sfrom Vinnie, the wild man. His personality is exactly the way heplays. Now that he's out of his crazy period, he's inquisitive andthere's a sort of an innocence to his playing. When you hear himplay, you get the feeling sometimes that he's never heard what hejust played before."

Harvey Mason—"When I think of Harvey, I think of a very stu-dious guy who worked very hard and put it all together. I've alwaysadmired him for being so well-rounded and, of course, for beingable to play such a beautiful feel on the hits he's played on, oreven on the many TV themes he's done. There's extraordinarydepth of feeling in Harvey. I think his personality matches his play-ing in that he's always been a very self-assured and slightlyassertive personality. A humble feel and sound from not such ahumble guy." [laughs]

Sol Gubin—"His personality is very assertive. I imagine that'sworked against him in some cases, but it's worked fantastically forhim in his playing. He's always reminded me of Sonny Payne—thatkind of intensity and humor. He's very, very confident in the samestudied way that Harvey and Vinnie are. He's a great composer aswell, and that shows in his playing. That gives you a confidence inyour playing that frees you up. I love the way he kicks the band on

hat does it take to drive a speed metal band from the drum chair? MD recently sat downwith John Tempesta of Exodus, Vinnie Paul of Pantera, R J. Herrera of Suicidal Tendencies,and Shannon Larkin of Wrathchild America to get the inside dope.

Designed to challenge the bloated, commercial conven-tions of today's music scene, speed or thrash metal isdespised by the uninitiated, spurned by the music"establishment." Detractors find its overwhelmingpower, speed, and seemingly subversive image distaste-ful to their refined ears. Well, yes, speed and volumemay count for a lot in thrash/speed, but in the genre's

Jo

hn

Tem

pesta

John Tempesta isprobably the lastperson who thoughthe'd end up in athrash metal band.He considers play-ing with San Fran-cisco's Exodus asurprising, fortunatetwist of fate, ratherthan a deliberatecareer move. Tem-pesta (his surnameappropriately trans-lates into "the eye ofthe storm") is adyed-in-the-wool New Yorkerwho had always pursued afuture in drumming. Yet itwas in the midst of his job asCharlie (Anthrax) Benante'sdrum tech that the opportuni-ty arose to join Exodus.

"I always thought Exoduswas good," John begins, "but Inever pictured myself as amember. It just came aboutbecause I was lucky. Workingwith Charlie, being on tour, I

best bands, so do intelligent lyrics and musical integrity.The four drummers in this piece all regard musical

integrity as their top priority, and that attitude hasgained them reputations in not just the thrash world,but in the drumming world as well. Let's take a closerlook at some of speed metal's top timekeepers.

that first tour, I hadn'tplayed my own drums for awhile, because I was ontour with Charlie. When Iwent home for four or fivedays to learn 13 songs, Ididn't have a drumkit, so Ihad to "air-drum" throughheadphones in my apart-ment, and then go up to therehearsal studio from there.I didn't know how it wasgoing to turn out, but thefirst rehearsal ended upgoing great.

"My first gig with theband was back home in New York atL'Amour. There I was, playing my firstgig with Exodus—the first show I playedlive in about two years—in front of a lotof my friends. We didn't go on until 1:30in the morning, and I was so nervous.But I pulled it off. I guess I needed aboost like that. From there, my confi-dence started building. I didn't knowhow drummers were going to react to myplaying. I guess people liked it, although,as I said, I'm more of a 'pocket player.'"

John admits that he had a lot of prac-

was looking for a gig and dying to play.When the original Exodus drummer gotsick and they asked me to sub for him onthe tour, I thought, 'Oh man, I hope Ican really do this.' So I gave it my bestshot."

It all sounds like a fairytale headline:Drum Tech Plucked From Obscurity,Joins Major-label Thrash Band. Keep inmind that this particular drummer hadnever played this type of music before.Of course, John confesses, that waswhen the real work began. "When I did

By Teri Saccone

"We like to call itpower-groove. It'sreally heavy, and it'sg r o o v e - o r i e n t e dmusic, but it's got thesame attitude asthrash and hardcore.I'd just like to getthat straight." So saidVinnie Paul, drum-mer with Pantera,when I mistakenlyuttered the word"thrash" when dis-cussing his band.

It is certainly apoint well taken. Pantera havemade the quantum leap frombar band to the big time onthe strength of touring andtheir current release, Cow-boys From Hell. The album isdripping with those "power-grooves" that Texan Vinniespeaks of, no doubt the rea-son behind this fierce four-some's abundant (and stillrising) popularity.

Vinnie, who is self-assured,easygoing, and strictly down-to-earth, explains that hisparentage is a musical one."My father is a musician, and

he plays just about every instrumentexcept the drums. He's also a recordingengineer, which I am, too. When I firststarted out in school band, they sent mehome with a tuba, and my father said,'This ain't gonna make you any good toanybody.' He sent me back to get thedrums, because as far as commercialmusic, which is what he does, he saidthat playing in a rhythm section is whatcan earn you a living making music.

"So I started out on snare drum—thatwas my forte," Vinnie recalls. "I learnedall the rudiments and all that good stuff,and I played drums all through highschool. I picked up a drumset on my ownafter about two years of playing thesnare. After high school, that was theend of my training period. I basicallyreally got into the rock thing. I got kickedout of jazz band for playing too loud toomany times," he laughs. "Back then,Rush's 2112 was really big, and me andthe bass player would be playing that in

the corner while they'd be trying to playsome jazz thing. Being the kind of per-son I am—well, that just didn't fit myattitude. I wanted to do something a lotheavier."

Vinnie explains how he and his broth-er, Diamond Darrel, who's the guitarplayer in Pantera, grew up fostering theircurrent playing relationship: "He and Iare like the old Eddie and Alex Van Halenstory: We both started playing drums,

except I got better than hedid. So my dad boughthim a guitar. Then westarted jamming. The bassplayer I had been in highschool with, Rex, is thebass player in Pantera.We've been playing togeth-er since we were 14, so it'salways been an extremelycomfortable musical situa-tion. There's a lot of killerspontaneity in this band,which only happensbecause we've beentogether so long."

Pantera was elevated from indie-metalband to major-label status a little over ayear ago. "The independent recordswere good, but were also kind of faceless.We'd go for a Def Leppard thing on onesong, on the next one we would try to doa Metallica thing, and the singer we hadat the time wanted to do a David LeeRoth pop thing. It just wasn't working.We got rid of him and brought in a newsinger (Philip Anselmo). He brought in

Paul's SetupDrumset: Remo in custom

brick wall finishA. 8 x 14 Sonor

wood snareB. 14 x 14 tomC. 15 x 15 tomD. 18 x 18 floor tom

E. 24 x 24 bass drum

Cymbals: Sabian andZildjian

1. 14" Sabian AA hi-hats

2. 20" Sabian AA Chinese3. 16" Sabian AA crash

4. 18" Sabian AA crash5. 12" Sabian AA splash

6. 18" Sabian AA crash7. 22" Zildjian

Mega Bell ride

8. 14" Sabian AA hi-hats9. 20" Sabian AA Chinese10. 18" Sabian AA crash

aa. Simmons pad

Hardware: Al l Tama,including Titan series

stands, and Camco chain-

drive bass drum pedalswith Danmar wood beaters

Heads: Remo Falams-K on

snare, Pinstripes on tops of

toms with Ambassadors onbottoms (no muffling on

snare and toms), Pinstripeson bass drum batters with

Ambassadors on fronts

Sticks: Vic Firth American

Classic Rock model (unfin-ished) with wood tip

Electronics: Simmons SDSWOO and an MTX9

Expander

Vin

nie

Pa

ul

Controlled insanity. That'sprobably the most accurateway to describe first impres-sions of the nihilistic, L.A.-based Suicidal Tendencieswhen they take to the stage."You gotta see us live to knowwhat we're really all about,"insists drummer R J. Herrera,who, despite looking some-what intimidating, is reallythe opposite of the band'sstreet-tough image. He'srelaxed, open, and friendly.Same with the band: SuicidalTendencies are not simply anexercise in unrelentingdementia. There is a lot moreshading to them, many timechanges, and assorted influ-ences beyond the obvious.

Herrera was born in SantaMonica, California and wasraised there and in nearbyVenice. R.J. was barely threewhen he started getting intomusic and drumming, mostlydue to the influence of hisolder sister and brothers, whowere heavily into the Beatles."There were four of us kids inthe family, so we all got to be

someone in the Beatles, and naturally Iwas Ringo. As far back as I can remember,I was always into drums and rhythms. Iwas ready to play drums at school by sec-ond grade, but you weren't allowed to playdrums until you got to fourth. So I waitedand kept at it until I was finally oldenough to do the school band thing. Inhigh school, I joined the jazz and march-ing bands, and kept learning all I could,taking private lessons, too. At that point, Iwas getting into everything. My teacherwould do the rudiments, and we'd studyrock, Latin, jazz, and polyrhythmic stuff.He was really into African drumming, so Igot a taste of that, too."

Herrera was rewarded with a full musicscholarship to Cal State, although hedidn't attend. "I never followed throughwith that because I floundered during thelast months of school and never reallycaught up to go to the university. So I justkept playing—knowing that that was whatI really was supposed to do—in little localdives, doing R&B and jazz gigs."

An unusual break came for Herrerawhen he got a gig with Latin percussion-ist/bandleader Willie Bobo. "I had to learnabout 25 songs in one afternoon so that Icould play my first gig the next night," R.J.recalls. "It was kind of frighteningbecause the older Latin and jazz playersin the band had their tempos togetherwhere they'd be pushing it, and I was justused to a solid, click tempo. It was kind offrustrating to try and learn all the tunesand all the punches, and then Willie wouldlet sections go and then whistle to bringyou back to a certain section. It was reallyhectic, but I ended up doing the gig fortwo months."

It was after working with Bobo that R.J.was approached by Suicidal Tendencies,about a year after their first album hadbeen released. "We all grew up inVenice—just a bunch of guys hangingaround the beach. The skateboard thingwas happening, and we just grew out ofthat. The guys in the band were havingproblems with their original drummer,and the offer was for a two-week stintback East. So I listened to the firstalbum and then went in and played forthem. They were sort of speechless,because the tempo was a lot better thanit had been in the past. Plus I knew allthe songs, and I added a whole new feelto the band. So I did the two weeks, andat first, it was hard to keep up with thepace. But I adjusted, because it's adrummer's job to have a steady rhythm,and that was my main concern: first mak-ing sure the tempos were right, and then

working on the fills and the fast stuff later."After that," R.J. continues, "I did the

Join The Army album, which I'm not tooenthused about because it wasn't a goodrecording experience for me. It was one ofthe first longer projects I did in the stu-dio, and the producer had me rent drumsI didn't like and play really loud with mysticks turned backwards. Although it wasa learning experience, it just didn't turnout the way I hoped it would.

"I still learn every time we go into thestudio," R.J. says. "You really get tounderstand what you can get away withlive that you can't do in the studio, fromthe sounds to making things come across.I've had to learn to simplify and get myideas together. I've learned to simplify liveas well to make the little things stick out. Idon't fill as much, but when I do fills theymean something."

RJ. introduced double bass drums intohis setup three years after joining SuicidalTendencies. "Up until that point, I waskind of limited in what I could do, so Iswitched over. You use different musclesin your legs when you play double bassversus single bass. It just takes some get-ting used to, you have to strengthen thosemuscles. You just learn to become familiarand comfortable with it. It's still taking metime to get where I want to be," he laughs.

"I've also been trying to be a lot morehealthy about the overall picture of tour-ing and playing. I just try to have a goodmental attitude before I go out to play.Sometimes it's hard to get up for it whenthe crowd's half there, or if you're in themiddle of nowhere. But that's part of play-ing."

Does RJ. ever find himself losing steamduring the band's demanding shows?"Not anymore," he responds. "Sometimesyou develop certain flaws in that area. Iknow Dave Lombardo [Slayer] never usedto breathe properly, and his tech wouldhave to sit back there and tell him tobreathe during the fast parts, and thenhe'd almost hyperventilate. My problem isthat I used to slouch, so my tech used totell me to sit up. I was getting lower backproblems from that, so I had to concen-trate on keeping my posture up. I thinkabout my breathing too. You learn thingsafter you've been touring for a few years.You learn what you can and can't do, andhow to play effectively."

R. J

. H

errera

.

"We may be considered athrash band," says WrathchildAmerica drummer ShannonLarkin, "but I think we onlyhave some characteristics ofthrash, whereas Pantera, Exo-dus, and Suicidal are all a lotheavier, speedier, and morestraightforward thrash thanwe are. I try not to play typicalthrash drumming. But allthree of the other guys don'tplay typical thrash drumming,either. I think we all try to beunique. Wrathchild gives methe chance to be more diversethan just thrash. We playeverything from fusion toreggae. I don't have to deal somuch with speed. Not that Idon't like speed—I just enjoytaste side by side with it."

It's been eight years sinceWrathchild America beganplaying around the D.C./Bal-timore area, and during thattime they have certainlyearned their stripes out onthe club circuit. "Ever sincewe've been together we'vetoured, even without a recordto promote. Anytime, any-where, for anything—we've

always been a band who has played live."Describing his live playing, Shannon

(who more than makes up for his slightframe by packing tremendous powerwith every hit) says: "It's sort of likeTommy Lee on speed. I play ambidex-trous a lot, switching from my right toleft hand in between snare hits. It's apretty cool-looking effect." And how didShannon develop his quirky playingstyle? "A lot of times it comes down toinfluence. Like when I heard the firstSlayer album, I thought, 'Damn, this guyis fast,' and naturally, I wanted to befaster. Dave Lombardo is one of myfavorite guys on the scene. But basicallyour stuff isn't consistently fast; it justisn't as brutally intense. We usually breakinto sudden outbursts of speed. But Irely more on power than speed. I canplay as fast as anybody, but I'm more intoshowmanship live. I'm not into seeing adrummer who just sits there. I reallyhave to get into it. And when you're play-

ing a hundred miles an hour, it's kind ofhard to do those tricks."

One area that Shannon workedtowards improving when he started outwas similar to the other drummers wetalked to—double bass playing. In hisparticular case, it was in respect tospeed. "I had started playing double bassback in '82, although I always loved sin-gle bass drumming, too," Shannonexplains. "One of my favorite single-bassplayers was Clive Burr from Iron Maid-en. Another impressive single-bassdrummer was Leonard Haze from Y&T.But something that changed that washearing double bass drums on early

Motorhead records. I heard that andthought, 'Man, I've got to get anotherbass drum.' When I started using thesecond bass drum, it came very naturallyto me. The work came in when I wantedto pick up speed. But all that amounts tois starting slow and getting solid, andthen working yourself up to those blis-tering speeds."

Shannon can speak at length about thedouble-bass influence Terry Bozzio hadon him, and to hear him describe it, itsounds more like a religious experiencethan an influence. "He's the man. If itweren't for him I probably would neverhave played double bass. Now that's myfavorite part of the kit." Another influ-ence is Neil Peart: "What can I say thathasn't already been said?" commentsShannon. "He's the ultimate, the 'pro-fessor.'" But Shannon adds that beinginspired by someone is far different thancopying someone's playing style. "I drawfrom my influences without rippingthem off. I think that's the key. If peoplelisten to you and then say, 'Well, he playslike so and so,' then you've gone over-board."As far as what's been labeled as

"thrash" recently, Shannon has somepretty blunt words for much of themusic. "There are definitely bands to getexcited about," he says, "but there's a lotof crap coming out, too. Thrash sort ofbecame a trend, and there were a million

Drumset: TamaA. 6 1/2 x 14 chrome snareB. 6" OctobansC. 14 x 14 rack tomD. 15 x 15 rack tomE.18 x 18 floor tomF. 18 x 24 bass drum

Cymbals: Sabian1. 14" Rock hi-hats2. 20" Chinese3. 17" medium-thin crash4. 18" medium crash

5. 18" Rock crash6.14" Rock hi-hats

(mounted on an X-Hat)7. 22" Chinese8. 16" thin crash9. 24" prototype ride

Hardware: All Tama,except for a DW5500 hi-hat stand and two Pearl880P bass drum pedalswith felt beaters

Heads: All Aquarian,including the TommyAldridge model on snare,Classic Clears on all toms,and the Hi-Performancemodel (with power dot) onbass drums

Sticks: Vic Firth AmericanClassic Rock model (unfin-ished) with wood tip

Larkin's Setup

Sh

an

no

n L

ark

in

This directory, a sequel to my March 1979 "Directory For TheCollege-Bound Percussionist," is for the drummer who wantsa college education while continuing to train on the drumset.

Listed are colleges, universities, and conservatories in theUnited States that offer study and performance opportunitiesspecifically for the drumset player. States are listed alphabeti-cally; institutions are listed alphabetically within each state.

A school must maintain a jazz ensemble (5) or stage band(6) to appear in this directory. This decision is based on thepremise that actual drumset performing experience is essen-tial to meaningful learning. A 5 or 6 follows a percussionteacher's name only if he or she directs that ensemble. Someschools have small jazz, fusion, and rock groups in addition totheir large jazz ensembles and stage bands.

What a school looks like on paper can be very different fromits physical and artistic reality. A strong curriculum may thrivein old, inadequate quarters, and a weak one may boast superbfacilities. The presence of a jazz ensemble, furthermore, doesnot necessarily indicate a high level of drumset teaching. Theopportunities and contacts available during your college yearsmay well set the course for your whole career. Do someresearch, and spend those precious years wisely.

Among the statistics revealed by this directory, two are par-ticularly encouraging. First, the fact that American college per-cussion teachers specialize in at least 64 diverse musical sub-jects in addition to percussion illustrates the versatility of

today's player. Second, of the 799 teachers listed here (includ-ing those listed more than once), at least 60, or nearly 8%, arewomen. (That's progress, if not equality.)

Considerably less inspiring is the large number of Americaninstitutions that teach percussion but don't have jazz ensem-bles or stage bands, and therefore don't appear below. Theseinclude some of the most revered classical music schools inthe world. Their reluctance to take jazz and other non-Euro-pean music seriously affirms that even the best of Americaneducation has a long way to go.

This imbalance has undoubtedly encouraged the recentappearance of jazz and rock trade schools. Whereas thesesmall, specialized environments can provide much-neededskills for the competitive drumset market, they don't do muchfor cultural literacy.

Just as I discovered a few errors and omissions in my mainsource of information,* you may find a few here. Please writeme in care of MD if you do, or if you know of any unlistedAmerican college, university, or conservatory that teaches per-cussion and also maintains a jazz ensemble, stage band, orother drumset-related group as an institutional, credit-earningcourse.

*Most of this data was compiled and adapted from Directory of Music Faculties in Colleges

and Universities, U.S. and Canada, 1990-92 (Missoula, MT: CMS Publications, 1990).

KEY TO ENTRIESFor each school in this listing, you will find its addressand its music department's phone number. Percussionfaculty members are listed alphabetically, along with thefollowing information for each teacher.

Rank, if given("PT" means "part-time")Highest degree, if given

A Associate'sB Bachelor'sM Master'sD DoctoralDipl DiplomaTeaching specialization(s)1 Percussion (all)2 Timpani3 Mallets4 Percussion Ensemble5 Jazz Ensemble6 Stage Band7 Music Education (all)8 Orchestration

9 Composition10 Conducting11 Music Appreciation12 Computer Applications13 Band .14 Woodwinds (all)15 Music Education

(high school)16 Theory and Analysis17 Music Rudiments18 Improvisation Ensemble19 History and Literature20 Brass (all)21 Orchestra22 Electronic Studio23 Ethnomusicology

(Asia and Pacific)

24 Jazz Studies (all)25 Music Industry (all)26 Ethnomusicology (all)27 Brass Ensemble28 French Horn29 Jazz History30 Keyboard (all)31 South America32 Chamber Groups33 New Music Ensemble34 Western Hemisphere (all)35 Choral Groups36 Madrigal Group37 Music Ed. (elementary)38 Trumpet39 USA Music History (all)40 Bell Choir41 Flute42 Piano43 Ethnomusicology (Africa)44 Music Business45 Music Theater46 Ethnomusicology

(Afro-American)

47 Double Bass48 Low Brass49 USA pre-192050 USA post-192051 Sound Technology52 Bassoon53 Music Librarian54 Music Instrument Repair55 Strings (all)56 Woodwind Ensemble57 Music Acoustics58 Guitar59 Commercial Music60 Record Industry61 Voice62 Group Piano63 String Ensemble64 Central America and

Mexico65 Musicology (all)66 USA folk and pop67 Music Aesthetics68 Keyboard Accompanying

"Percussion (all)" (1) cannot be assumed to include private instruction on drumset. For that information, contact the particular school.

ALABAMAAlabama State USchool of MusicPOB 271Montgomery, AL 36101 -0271205-293-4341Asst Prof Free, Van Tony (M) 1, 4, 10,11,12

Auburn UDept of MusicAuburn, AL 36849205-826-4165Asst Prof Roscigno, John (M) 1, 13Prof Vinson, Johnnie (D) 1,8, 13

Snead State Jr ColDept of MusicPOB DBoaz, AL 35957205-593-5120Inst Johnson, Herman (M) 1, 5, 14, 20

Troy State UDept of MusicTroy, AL 36082-0001205-566-8112X3281Inst Frederick, Samuel (M) 1,4, 11,15

Tuskegee UDept of MusicTuskegee, AL 36088205-727-8398Inst Duncan, Warren (B) 1,5, 11, 16Inst Gibbs, Leroy (B) 1,5, 11,13

U of AlabamaMusic DeptHuntsville, AL 35899205-895-6436PT Hinger, Fred (B) 1

U of MontevalloDept of MusicMontevallo, AL 35115-6670205-665-6659Inst PT Miller, Tim (B) 1,4

U of North AlabamaDept of MusicFlorence, AL 35632-0001205-760-4361Asst Prof Risher, Thomas (M) 1,5, 11,13,17

U of AlabamaSchool of MusicBox 870366Tuscaloosa, AL 35487-0366205-348-7110Assoc Prof Mathis, Larry (M) 1, 4

ALASKAU of AlaskaDept of Music321 1 Providence DrAnchorage, AK 99508907-786-1595Inst Corder, Carolyn (M) 1, 4, 7

Dept of MusicFairbanks, AK 99775-1220907-474-7555Inst Adams, John (B) 1,8,9

ARIZONAGrand Canyon UCol of Performing Art3300 W Camelback RdPhoenix, AZ 85017602-249-3300Inst Adj Fuhrman, Kevin (B) 1, 3Inst Adj Moio, Dom 1

Northern Arizona USchool of Performing ArtsBox 6040Flagstaff, AZ 86011602-523-3731Asst Prof Sharp, Kirk (M) 1,10,16, 19,21

Phoenix ColMusic Dept1202 W Thomas RdPhoenix, AZ 85013602-285-7272Huff, Cleave (B) 1Pulk, Bruce (B) 1

Pima Com ColMusic Dept2202 W Anklam RdTucson, AZ 85709602-884-6975PT Ceron, Homero(M)l,4

U of ArizonaSchool of MusicTucson, AZ 85721602-621-1655Prof Cook, Gary (M) 1,4

ARKANSASArkansas State UDept of MusicState University, AR 72467501-972-2094Inst Dees, Sherri(M) 1,4, 11,13

Henderson State UDept of MusicArkadelphia,AR71923501-246-5511 X3214Asst Prof Dimond,Ray(M)l,5,13,18

Dept of MusicConway, AR 72032501-450-1245Inst PT Brown, Carolyn (M) 1Inst PT Law, Charles (B) 1

U of ArkansasDept of Music201 Music BldgFayettevllle, AR 72701501-575-4701Assoc Prof Ragsdale, Chalon (M) 1,4,13Inst PT Roberts, Bruce (M) 1,4

U of Arkansasat Little RockDept of MusicLittle Rock, AR 72204501-569-3294PT Law, Charles (M) 1,4

at MonticelloDept of Fine ArtsMusic ProgMonticello, AR 71655501-460-1060Asst Prof Koskoski, David (M) 1, 6, 16,19,20

U of Central ArkansasDept of MusicConway, AR 72032501-450-3163

By Harold Howland

Asst Prof Baker, Gilbert (M) 1,4

CALIFORNIAAmerican River Jr ColDept of Music4700 College Oak DrSacramento, CA 95841916-484-8433Chun, Eric 1,4,18,22

Cabrillo ColDept of Music6500 Soquel DrAptos, CA 95003408-479-6288Inst PT Strunk, Michael (B) 1,4

California Instituteof the ArtsSchool of Music24700 McBean PkyValencia, CA 91355805-253-7818Inst Bergamo, John (M) 1,4,23Inst Mann, Edward 3, 4Inst Toro, Efrain(M)l,4,24

California Lutheran UDept of MusicThousand Oaks, CA 91360805-493-3305Lect PT Daehlin, Vera 1,4

By Robert Breithaupt

The decision regarding where to study percussion instruments after grad-uating from high school is a difficult one to make. You're going to have todecide what type of curriculum you want, whether you should attend atraditional university or a specialized school, what degree plan you shouldenroll in, who you should study with, and—most important—whether youqualify for entrance into the chosen program.

The purpose of this article is to help prospective students understandthe various options available to them. All things are not the same to allpeople, and the same is true for the aspiring drummer/percussionist. Sothe program that a brochure, a friend, or even an instructor suggests maynot meet your needs. We'll try to make your choices a little bit easier bydiscussing how to prepare for advanced study, the differences betweenvarious types of programs, and common questions regarding post-highschool study.

Preparing For Advanced StudyIn any musical setting, experience and diversification are keys to suc-

cess. The player who has performed with any group—whether it's a rockband or an all-state orchestra—will have a tremendous advantage. Theperson with the best advantage will be the one who has done both. Inorder to be ready for advanced study, you should take every possibleopportunity to develop your skill—through private lessons, school ensem-bles, and individual, student-organized groups. If you don't have thisexperience, you're going to feel a void in the long run.

Learning is sacrifice and opportunity. Perhaps the best teacher is 50miles away. Or maybe an important performance is going on during yourfriend's wild pool party. It's "gut-check" time. If you're serious, you'regoing to have to develop excellent "time-management" skills—maybe at ayounger age than your friends. But remember, as a young musician, you'realready seriously pursuing a vocation. Your friend who wants to major inbusiness when he gets to college may not get deeply into his course ofstudy until his second or third year. For better or worse, your trainingstarts now.

Almost without exception, players who are successful are highly moti-vated people who have dedicated themselves to their work. Not all greatfootball players come from Notre Dame, Penn State, and Oklahoma. Aprofessional team's roster is a fascinating study in motivation and deter-mination, since great players can surface from virtually any program withthe right combination of instruction and individual work. The same istrue for any music program and any individual performer.

Program TypesToday's drummer has several choices when it comes to the type of

post-high school instruction he or she wants to pursue. These choicescan be grouped into several different types of programs.

Specialized (non-degree)This type of institution enrolls students for one year or less. It's

designed for music instruction only, as opposed to a standard college oruniversity, which must offer a variety of "core" curriculum courses out-side of music to be classified as a degree-granting institution. Due to thisfact, the standard college entrance procedures (ACT scores, etc.) are gen-erally not required.

These programs vary from offering a narrow focus on a specific aspectof music or drumming (drumset, hand drumming) to a broad-basedstudy of percussion, musicianship, harmony, ear training, etc. It is up tothe student to understand exactly what is involved in any program, butespecially one that does not provide "traditional" college courses.

Group instruction is the norm for most specialized schools, and it can

California StatePolytechnic UDept of MusicSan Luis Obispo, CA 93407805-756-2406Lect PT Soderholm, Pauline (M) 1

Dept of Music3801 W Temple AvPomona, CA 91768714-869-3548Prof Gibb, Stanley (D) 1,12, 16, 22, 25Lect Mitchell, Joseph (M) 1

California State UDept of Fine Arts9001 Stockdale HwyBakersfield, CA 93311805-664-3093Inst PT Wolfersberger, Robert 1

California State UDept of MusicChico, CA 95929916-898-5152Lect PT Lunetta, Stan (M) 1,4

Fresno, CA 93740209-278-2654Prof Schick, Steven (Dipl) 1,4,24, 26

Fuller-ton, CA 92634714-773-3511Prof Miller, Todd (M) 1,4, 27, 28

Hayward, CA 94542415-881-3135Lect PT Starch, Arthur (M) 1,4

Long Beach, CA 90840213-985-4781Assoc Prof Carney, Michael (D) 1, 6, 18,24,25Prof Curtis, Larry (M) 1,13, 15Lect PT Goodall, Gregory 1

5151 State University DrLos Angeles, CA 90032213-343-4060Lect PT Carroll, Raynor l,4Lect PT Miller, David (B) 1

18111 Nordhoff StNorthridge, CA 91330818-885-3181Prof Leach, Joel (M) 1,4, 5, 24, 25PT Pershing, Karen Ervin (M) 1, 25Prof Raney, Thomas (M) 1Prof Richards, Emil 1

6000 J StSacramento, CA 95819916-278-6514Prof Holloway, Ronald (M) 1,10,13

5500 State College PkySan Bernardino, CA 92407714-880-5859Lect PT Dochstader, Dennis 1

California StateU-StanislausDept of MusicTurlock, CA 95380209-667-3421Lect PT Gilroy, Gary (M) 1,4

Cerritos ColMusic Dept11110 E AIondra BlvdNorwalk, CA 90650213-860-2451PT Dimond, Theresa (D) 1

Chabot ColDept of Music25555 Hesperian BlvdHayward, CA 94545415-786-6829Inst Graves, Joseph (M) 1,11,17Inst PT Munzenrider, James (M) 1,4

City Col of San FranciscoMusic Dept50 Phelan AvSan Francisco, CA 941 12415-239-3641PT Fleming, Todd (M) 1,4, 13

The ClaremontGraduate SchoolDept of Music150 E 10 StClaremont, CA 91711714-621-8081PT Rees, Hal (Dipl) 1

Col of AlamedaDept of Music555 Atlantic AvAlameda, CA 94501415-522-7221 X233Inst Bell, William 1,5,13, 19

Fresno City ColDept of Music1 101 E UniversityFresno, CA 93741209-442-4600 X8466Inst Deeter, Gary (M) 1,4, 10,13,21

Humboldt State UDept of MusicArcata, CA 95521707-826-3531Asst Prof Novotney, Eugene (M)1,4,13,29

Los Angeles Harbor ColDept of Music1 1 1 1 Figueroa PIWilmington, CA 90744213-518-1000X235Inst PT Wrote, Jeanette (M) 1,4

Loyola Marymount UDept of MusicLos Angeles, CA 90045213-338-3010PT Carlson, Kay (B) 1

Monterey Peninsula ColDept of MusicMonterey, CA 93940408-646-4200Bartoli, Marry 1

Occidental ColDept of Music1600 Campus RdLos Angeles, CA 90041213-259-2785PT Englander, Michael 1

Advanced Percussion Studies:Training After High School

Pasadena City ColDept of Music1570 E Colorado BlvdPasadena, CA 91106818-578-7208PT Carpenter, Charles (B) 1,4

Pomona ColDept of MusicClaremont, CA 91711714-621-8155PT Rees, Hal (Dipl) 1

Riverside Com ColDept of Music4800 Magnolia AvRiverside, CA 92506714-684-3240X318Asst Prof Locke, Garyl, 13

Sacramento City ColDept of Music3835 Freeport BlvdSacramento, CA 95822916-449-7551Inst Nunes, Melvin(M)l, 14,17,20,30PT Silva, Don 1

San Diego State UDept of MusicSan Diego, CA 92182619-594-6031PT Carter, Alien (M) 1,5Prof Mitchell, Danlee(M) 1,4,11,16,17

San Jose City ColDept of Music2100 Moorpark AvSan Jose, CA 95128408-288-3717PT Inst Lemmon, Galen (M) 1, 15PT Inst Wyant, Frank (B) 1

San Jose State UDept of Music1 Washington SqSan Jose, CA 95192408-924-4673Lect PT Cirone, Anthony (M) 1,4Lect PT Sabanovich, Daniel (M) 1,4, 5,18,31

Santa Clara UDept of MusicSanta Clara, CA 95053408-554-4428Lect Adj Ranee, Tom (B) 2, 3

Santa Monica ColDept of Music1900 Pico BlvdSanta Monica, CA 90405213-452-9323X9808PT Early, David (B) 1

Sonoma State UDept of Music1801 E Cotati AvRohnert Park, CA 94928707-664-2324Lect PT Marsh, George 1,4

Stanford UDept of MusicStanford, CA 94305415-723-3811Inst Bell, William (M) 1,5, 13, 19

Lect PT Cirone, Anthony (M) 1,4

U of CaliforniaDept of MusicIrvine, CA 92717714-856-6615Lect Dimond, Theresa (D) 1

Los Angeles, CA 90024213-825-4761Lect PT Peters, Mitchell (M) 1,4, 32

Riverside, CA 92521714-787-3138LectPT Van Winkle, Stuart (B) 1

Santa Barbara, CA 93106805-961-3261Lect PT Goodall, Gregory (M) 1

Santa Cruz, CA 95064408-459-2292Lect Marsh, George 1Lect Winant, William (M) 1,33

U of RedlandsSchool of MusicPOB 3080Redlands, CA 92373714-793-2121 X3260Lect PT Anderson, Bruce (M) 1, 4Lect PT Dominguez, Robert (B) 1

U of Southern CaliforniaSchool of MusicLos Angeles, CA 90089-0851213-740-6935Lect Anderson, Dale (M) 1Lect LaRue, Joan (M) 1Lect Peters, Mitchell (M) 1,4,32Lect Wanamaker, Jay (B) 1Assoc Prof Adj Watson, Ken (M) 2, 3, 4, 6

U of the PacificSchool of MusicStockton, CA 95211209-946-2415Asst Prof Brown, Allan (M) 1, 5, 16,24

COLORADOColorado Christian UDept of Music180 S GarrisonLakewood, CO 80226303-238-5386Adj Knipe, Alien 1

Colorado State UDept of MusicFt Collins, CO 80523303-491-5529Art-in-Res PT Duff, Cloyd (M) 2Asst Prof Kastendieck, Rich (M) 1,4,13,17Prof Werner, Otto (M) 1,5,29

Fort Lewis ColDept of MusicDurango, CO 81301303-247-7377Asst Prof Strain, James (M) 1, 4, 16, 19

Metropolitan State ColDept of MusicCampus Box 58POB 173362Denver, CO 80204-3362303-556-3180

be very effective. (It is also the most profitable instructional setting forthe school.) Be prepared to obtain as much knowledge as possible in thegroup setting, and use it to prepare for a private lesson.

While generally expensive, specialized non-degree programs can offer aunique opportunity for the student who understands the concept of thistype of instruction. Admittance requirements for these schools are theleast stringent of the three categories.

Some questions that should be asked when considering specializednon-degree programs are listed below. These questions also should beasked when considering any type of program.

• How large are the classes?• Who will my instructors be on a regular basis?• Will I have private lessons?• What type of practice facilities exist?• Will I receive a transcript specifying, among otherthings, which courses could transfer?• What type of financial aid is offered?

Degree-Granting Comprehensive (undergraduate, graduate)The greatest diversity exists in these institutions, and some of the

finest programs exist in this classification. Sadly, there are some schoolsamong this group that are unable to prepare students for the demands ofperforming, teaching, or the music industry.

The "typical" percussion program exists in this format: a graduatedcourse of study on a variety of instruments, with the opportunity to per-form in an assorted group of university ensembles, while studying musicacademics (theory, history, etc.) and core academics (English composi-tion, humanities, fine arts, etc.). While predictable on the surface, some ofthe most creative and progressive curriculum plans are found in thisgroup, thereby creating the huge difference between those who are hotand those who are not.

Programs in performance, jazz studies, music industry/music business,and even music education are providing drummer/percussionists withmany opportunities. And within the percussion studio, the addition ofdrumset, hand drumming, electronic percussion, and ethnic percussionoptions are expanding the opportunities for many outstanding playerseven further.

Contemporary marching percussion ensembles, jazz percussionensembles, and steel drum bands exist primarily in this type of program.The modern literature for wind ensemble, jazz ensemble, and chambergroups relies heavily upon the percussion player, and these schools featurethe widest variety of this type of ensemble.

In the final analysis, the most important fact to many students (andmost parents) is that these institutions are degree-granting: If you gradu-ate, you have a college degree. The degree may be in performance, musiceducation, or something else, but you will have a bachelor's degree fromcollege. It is very important to note that admission to a college or univer-sity as a generic student does not signal an "automatic" admission to themusic school or department, since an audition is generally required.

Here are some questions that might be helpful in viewing this type ofschool:

• How many percussion majors are in the program?If it's a large number, will I get to play?If it's a very small number, will I have time to study?

• Who do I study with?• What are the practice facilities like? How much

equipment is available?• What are some of the program's graduates doing?• How valuable is the academic/musical credential of

the school...the department...the instructor?• Does the school provide guest artists?• Do the performing groups tour?• Are there professional playing and/or teaching

opportunities in the area?• Are there performance scholarships available? What are the criteria?

Degree-Granting Specialized (undergraduate, graduate)Some of the most noted percussion programs in the world are housed

in settings where the student will study as an undergraduate for fouryears, receiving either a diploma for concentrated music study, or a degreefor music study combined with the courses necessary for a college degree.These programs have traditionally been associated with orchestral per-forming, but in recent years students who are pursuing contemporary jazzcareers have found success in other schools that have adopted this type offormat.

Success in these programs comes to those who are very serious andready to compete; the outstanding students in these programs are focusedand intent on performing as a career.

Most of these programs require an extensive audition for admission.Many have a quota of new students, making admission very difficult andnext to impossible for anyone who has not studied percussion instru-ments seriously. (According to Professor John Beck, Eastman School ofMusic accepts only four undergraduate percussion majors per year, gen-erally from a pool of over fifty applicants.) Those programs that select alarge number of applicants generally "weed out" the weaker players,either by the academic demands or by the realization that the best playerswill always receive the best playing opportunities.

Common QuestionsThere are several questions that drummers who want to pursue post-highschool instruction commonly ask, such as...

What should I do to prepare for school?This is the most common question. The answer depends upon what typeof setting you wish to find yourself in and what you want from this experi-ence. Below are a variety of ideas:1) Write or call the school. For the cost of a stamp or a phone call, youcould save much time and money by finding out valuable informationwithout leaving your house. The program may not be right, the locationmay not be good, or you may not have the proper preparation to inquire atthis time. On the other hand, you might find that the program sounds likethe exact thing you are looking for.2) Visit the school. This will probably be the most valuable time spent.The "vibe" of the school and its students is an important factor. Try tovisit while school is in session, visit classes, and by all means talk with avariety of students, not just administrators. A cross-section of studentopinion from bright students is better than a thousand brochures. Bewareof any college representative who openly discounts other programs asworthless.3) Spend time with a mentor or teacher who has experienced the institu-tion you are interested in. Hearsay is often worth what you pay forit—nothing. Many people who've spent time at particular schools will takethe time to help with your questions, or at least will give you a contact

4) Get your playing together, and let it do the talking for you. Instructorsappreciate young players with good communication skills, but the gift ofgab doesn't go very far unless you are ready to back it up with an excellentdisplay of musicianship. Remember, the first impression is the mostimportant. In many programs the admission audition is the key to accep-tance and/or thousands of dollars of scholarship aid, while in others anaudition may place you in an ensemble that may become a ticket fortremendous playing and traveling experiences.

Why do I need a degree if I just want to play?You don't. However, few of us have the uncanny skills of Elvin Jones or thelongevity of Tommy Aldridge. Perhaps the organized setting of a school,with its ensembles and classes, will help the learning process go faster.

No school can replace the value of playing on a regular basis in a pro-fessional setting. Some musicians form groups right after high school,while for many players this experience comes after college, where theymeet other musicians who are seriously pursuing a performing career.After a few months or years, though, you might wish to settle into some-

PT Foster, Mark (M) 1,4

Trinidad State Jr ColDept of MusicTrinidad, CO 81082719-846-5652InstPT Zanotelli,Duanel,5,14, 18,24

U of ColoradoCol of MusicCampus Box 301Boulder, CO 80309-0301303-492-6352Assoc Prof Galm, John (M) 1,4, 19, 34Asst Prof Walter, Douglas (D) 1

U of ColoradoCol of Music1200 Larimer StDenver, CO 80204303-556-2727PT Pfannestiel, Timothy (B) 1, 4

U of DenverLamont Sch of Music7111 Montview, Houston FACDenver, CO 80220303-871-6400Inst Small, Edward (M) 1,4

U of Northern ColoradoSchool of MusicGreeley, CO 80639303-351-2678Asst Prof Barrier, Gray (M) 1,4

U of Southern ColoradoDept of MusicPueblo, CO 81001719-549-2393PT Tatom, Ed (B) 1,5, 6,22

CONNECTICUTCentral ConnecticutState UDept of MusicNew Britain, CT 06050203-827-7251Adj Coghlan, C 1

Connecticut ColDept of Music270 Mohegan AvNew London, CT 06320203-439-2720Inst Adj Stewart, William (M) 1

U of BridgeportDept of MusicBridgeport, CT 06602203-576-4404PT Lipner, Arthur 1PT Odze, Warren 1

U of ConnecticutDept of Music, U-12Storrs, CT 06269-1012203-486-3728Lect Small, Rosemary (D) 1,4

U of HartfordHartt School of Music200 Bloomfield AvW Hartford, CT 06117203-243-4467Chmn Assoc Prof Jackson, Douglas (M)1,4,7,32,33

Prof Lepak, Alexander (B) 1,5, 16Assoc Prof Small, Rosemary (D) 1, 4

Western ConnecticutState UDept of Music181 White StDanbury, CT 06810203-797-4320/4398Adj Post, Roger (M) 1Adj Ryan,Mark(M)l,4,35, 36Prof Smith, David (M) 1,4,13,22,24

DELAWAREU of DelawareDept of MusicNewark, DE 19716302-451-2577PT Price, Harvey (B) 1,4, 32

DISTRICT OFCOLUMBIA

The American UDept of Performing ArtsMusic ProgramWashington, DC 20016202-885-3420PT Merz, Albert 1

The GeorgeWashington UDept of MusicWashington, DC 20052202-994-6245PT Connell, Joseph (B) 1PT Edgar, Paul (M) 1,4, 5

Howard UDept of MusicWashington, DC 20059202-636-7082 X83Assoc Prof Pollard, Alfonso (M) 1, 4

FLORIDABarry UDept of Music11300NE2AvMiami, FL 33161305-758-3392 X223Lect Stein, Howard (M) 1

Bethune-Cookman ColDept of MusicDaytona Beach, FL 32015904-255-1401 X279Inst Orey, Pedro(M)l,4, 13

Broward Com ColDept of Music3501 SW Davie RdFt Lauderdale, FL 33314305-475-6840PT Wexler, Seth (M) 1

Broward Com ColDept of MusicNorth CampusCoconut Creek, FL 33066305-973-2321Prof Chmn Alford, Emery (D) 1,4, 11,16

Daytona Beach Com ColDept of MusicPOB 1 1 1 1Daytona Beach, FL 32015904-255-8131 X3341

PT Moskowitz, A (M) 1Adj Moskowitz, Charles 1,4

Edison Com ColFine & Perf Arts Dept8099 College Pky SWPOB06210Ft Myers, FL 33906813-489-9198X298PT Leone, Gary (M) 1

Florida A&M UDept of MusicTollahassee, FL 32307904-599-3334Assoc Prof James, Shaylor (D) 1, 4, 15

Florida Atlantic UDept of MusicBoca Raton, FL 33431407-367-3820PT Markgraf, David (M) 1,4

Florida International UDept of MusicUniversity ParkMiami, FL 33199305-554-2896PT Faullman, Roger (M) 1

Florida Southern ColDept of Music111 Lake Hollingsworth DrLakeland, FL 33801813-680-4217PT Glaister,Tom(B)l,4

Florida State USchool of MusicTallahassee, FL 32306904-644-3424Prof Werdesheim, Gary (M) 1,4

Hillsborough Com ColMusic DeptPOB75313Tampa, FL 33675813-253-7685PT Grissom, Kurtl,4

Indian River Com ColDept of Music3209 Virginia AvFt Pierce, FL 34981407-468-4700PT Markgraf, David (M) 1,4

Jacksonville UDept of MusicJacksonville, FL 32211904-744-3950Lect PT Solomon, James (M) 1, 37LectPT Steve, Tony (M) 1,4

Manatee Com ColDept of MusicBradenton, FL 34206813-755-1511X4351Adj Suta, Thomas (M) 1, 4Adj Wade, Theodore (B) 1

Miami-DadeCom Col-NorthDept of Performing Arts11380NW27AvMiami, FL 33167305-347-1450

PT Kreitner, William (M) 1,4, 5, 18

Miami-DadeCom Col-SouthDept of Music11011 SW104StMiami, FL 33176305-347-2282Asst Prof Harms, Harold (M) 1,25PT Webster, Peter (B) 1,4

Palm Beach Com ColDiv of Visual/Perf Arts4200 Congress AvLake Worth, FL 33461407-439-8144Asst Prof Pryweller, Seymour (M) 1,5,11,24,38

Pensacola Jr ColDept of Music1000 College BlvdPensacola, FL 32504904-484-1800Adj Conley, Keith (B) 1,5

Santa Fe Com ColMusic DeptPOB 15303000 NW 83 StGainesville, FL 32602904-395-5310Hord, Richard (M) 1,4,11,13, 17

Seminole Com ColFine & Performing ArtslOO Weldon BlvdSanford, FL 32773407-323-1450Inst PT Derrico, Joseph (M) 1,5,11InstPT Hudgins,Jack(M)l

Stetson USchool of MusicDe Land, FL 32720904-822-8950Adj Hudgins, Will (M) 1,4

U of Central FloridaDept of MusicPOB 25000Orlando, FL 32816-0990407-823-2869Adj Radock, Elizabeth (B) 1

U of FloridaDept of MusicGainesville, FL 32611904-392-0223Prof Emeritus Hale, James (M) 1Asst in Music Spede, Mark (M) 2, 3,4,13

U of MiamiSchool of MusicPOB 248165Coral Gables, FL 33124305-284-2161Lect Rucker, Steve (M) 1Prof Wickstrom, Fred (M) 1,4

U of North FloridaDept of Music4567 St Johns BluffJacksonville, FL 32216904-646-2960Assoc Prof Mabrey, Charlotte (M) 1, 4,33,39

thing that is a little different than playing. To do that you might find you'dbenefit greatly from college-level training. While certainly not impossible,keep in mind that it is more difficult to begin college as a 30-year-old thanas an 18-year-old.

Do I need to play mallet (or keyboard) percussion?In the non-degree specialized schools, this is generally not a requirement.In most other settings, the need for mallet experience ranges fromstrongly suggested to absolutely required. If for no other reason, the studyof theory, harmony, and improvisation makes learning a mallet or keyboardinstrument imperative. Many programs have established remedial levelsfor students with weak mallet backgrounds. But any time spent in prepa-ration before is time well spent. Otherwise, you might find yourself play-ing nursery rhymes and folk songs in a college practice room just to learnthe keyboard.

Should I study piano and theory before I go to college?Any experience with a keyboard instrument or theory instruction is a posi-tive one. However, no crash course in piano will create any miracles. Mostdrummers-turned-mallet players will do just as well to learn the basics ofscales, arpeggios, and chord structure on a xylophone or marimba, sincethey are accustomed to holding mallets or sticks. The physical demandsof manipulating your fingers on a piano will often get in the way of theo-retical learning at the early stages. Furthermore, the number of drum-mer/percussionists who proficiency-out of basic levels of college pianoclass is very small.

Will I study drumset in college?This varies from school to school. Many more programs are incorporatinga drumset component into basic percussion study, just as a student isexpected to study timpani or multiple percussion. Others offer drumsetas an "add-on," or an elective course of study. Some schools will vary theiroffering of the instrument, depending upon who at the graduate or "localpro" level is available for teaching.

What groups should I play in to get ready for college?Play all the percussion instruments in every possible situation. Passing bythe opportunity to play in the orchestra, concert band, or jazz ensemble,in a musical, or in any other setting is basic foolishness. Take advantage ofthese opportunities, especially if these are select or "all-star" groups,where the majority of the students involved are as serious as you.

Try to form your own groups with other serious players. Look for musi-cians who are older and/or better than you are to challenge yourself.Forming a group so you can be the "best" or the leader develops your egofirst and your musicianship last.

How well should I be able to read?Most musicians, no matter what their ability and experience, wish theycould read better. Reading is like keyboard playing—it is becoming moreimportant all the time. So find some good reading texts, and a teacher (ifnecessary), and start practicing. The musician who says that reading isnot important is generally trying to rationalize his or her own inability.Don't believe them—especially if you want to attend a music school.

Robert Breithaupt is an associate professor of music at Capital Universityin Columbus, Ohio, where he serves as the head of percussion studies andas department chair of Jazz Studies and Music Industry.

P R O D U C T C L O S E - U P

GMS Drumkitby Rick Mattingly

The shells are constructed from 8-plymaple that is cross-laminated with stag-gered seams. (The bass drum hoops are10-ply.) Bearing edges are cut at a 45°angle and hand-sanded. Each drum hasa single air vent (except the snare drum,which has two) and a square, metal logobadge, which is attached with four smallnuts and bolts. Each shell was stampedon the inside with a serial number anddate of manufacture. The kit we receivedwas finished in Gold Flame, a naturalfinish that allowed the grain of the woodto show through and that was polished toa high gloss.

The tuning lugs feature a uniquedesign. The tension rods are screwedinto a barrel-shaped nut, which is hori-zontally mounted in a brass housing thatis attached to the shell by a single screw.The nut can swivel, but it is held in placeby rubber O-rings so that it won't fall

Fitting in with GMS's "take it out ofthe box and play it" approach, the 16 x 22bass drum came equipped with an EvansGenera EQ-2 batter head and an Evansblack Resonant front head. Normally,when reviewing bass drums, we have tostart by removing a head or two andadding felt strips, padding, or a fronthead with a hole cut in it. We always tryto keep muffling to a minimum, becausehow can you accurately review a bassdrum that is stuffed with pillows andblankets? So it was very refreshing toencounter a drum fitted with heads thatdid not require any alteration (save a fewturns of a drumkey).

Note that the front head was a Reso-nant rather than the EQ front head thatEvans recommends using with the EQ-2batter. This gave the drum a bit morering, but it was not an undesirableamount, and would be just right for ahigh-volume situation—which one canassume a 16x22 drum would be used in.The drum had plenty of punch as well asa clear low-end pitch.

Other than ten pairs of tuning lugs,the only hardware mounted on the bassdrum was the spurs. The design is sim-ple and effective. Loosening a largewing-screw allows you to pull the spursup against the drum for packing or toextend them out for playing. There arememory notches in the mount and in thespur arm to facilitate this operation.When extended, the spurs angle forwardjust a bit. Length is adjusted via anotherwing nut, which allows a telescopingshaft to be extended or retracted. Thebottom of each spur is sharp and point-ed, but there is a threaded rubber foot(with locking washer) that can beextended past the point.

GMS drums are priced individually,rather than by kit configuration, so I willgive prices of each drum as I go along.Bass drums are available in sizes from14x18 to 16x24, with a price range of$1,000 to $1,200. The 16x22 that wereviewed lists for $1,150. The bassdrums are fitted with spurs only, as GMSrecommends using RIMS mounts ontoms. However, they will pre-drill a drumto fit any standard mount at no extracharge.

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Excellent construction,innovative design ele-ments, and top-qualitysound combine tomake this new drumbrand an immediatecontender.

General Characteristics

The folks at GMS (Grand MasterSeries) drum company think you shouldbe able to take a new drum right out ofthe box and play it. You shouldn't need tohave the bearing edges redone, RIMSmounts installed on the toms, a bettersnare bed cut, the lugs packed so theydon't rattle, and so on. And so, GMSdrums are built with all of thosedetails—and several others—alreadyaccounted for. We recently received a six-piece GMS kit for review so we couldcheck out these claims for ourselves.

Bass Drum

out during head changes. There are nosprings used in the lugs at all. The hous-ings at the top and bottom of the drumare connected by solid brass rods, butthese rods are not in contact with theshell—only with the housing.

Tom-TomsThe kit we received had four tom-

toms: 8x10 and 10x12 toms with six lugseach, and 12x14 and 14x16 drums with

eight lugs each. All of the toms were fit-ted with the RIMS mounting system,and all were equipped with Evans Gen-era batter heads and Genera Resonantbottom heads.

The toms were my favorite part of thekit. They produced very focused pitches,from high and "poppy" on the 10" drumto deep and bathtub-like on the 16".They had enough ring for plenty of pro-jection, but not so much that the funda-mental pitch was obscured. Generally,I'm not one for playing a lot of fills, but Icouldn't keep off of these toms becausethey sounded so good. Drums like thesecould change my whole way of playing.

I was also pleasantly surprised by theGenera tom heads. When I first reviewedthose heads several months ago, I likedthem, but didn't feel they were necessar-ily the best general-purpose heads I'dever heard. However, they soundedexcellent on these drums, and I can'timagine any other type of head soundingany better. This is obviously a case ofmatching the right head with the rightdrum.

Rack toms are available in sizes rang-ing from 7x8 to 16x16; floor toms areavailable in 14x14, 16x16, and 16x18.Prices for toms range from $410 to $850.The toms we reviewed are priced as fol-lows: 8x10, $450; 10x12, $500; 12x14,$610; 14x16, $710. The price includesPureCussion RIMS mounts.

GMS is concentrating their efforts ondrums, so they do not manufacture hi-hatand bass drum pedals or snare and cym-bal stands. As the toms are all fitted withthe RIMS system, there is no need fortom-mounting hardware, either. The kitwe received came with a Pearl-like floorstand for mounting the two large toms(list price $200).

For mounting thesmall toms, GMS didprovide their ownrack. It is 39 1/2" longby 2" wide by 1" thick,and it's designed tomount on two cymbalstands. Although therack itself is quiteheavy, I had no trou-ble mounting it ontwo medium-weightcymbal stands. Aslong as the legs havea reasonably widespread, you shouldhave no problem. I

Photo by Rick Mattingly

The GMS kit was big and powerful-sounding, and all of the drums hadfocused pitches. The shells were solidlyconstructed and beautifully finished,making the kit both pleasant to play and

to look at. Everything aboutthis kit was top-quality.

These drums are not cheapby any means. The combinedcost of the kit as describedabove is $4,745 (and does notinclude hi-hat pedal, bassdrum pedal, snare stand, orcymbal stands). But if youbought a top-quality kit fromone of the major manufactur-ers and then had some of themodifications done that arestandard on GMS drums, yourfinal cost could be compara-ble.

Snare DrumGiven current tastes in high-pitched

piccolo snare drums, it's been a whilesince I've encountered anything like the7x14 snare that came with this kit. I'm soused to the high-pitched crack of a thin-ner drum that it took me a while toadjust to this drum's lower, meatiersound. Once I did, I liked it a lot, and itwould have been an excellent choice fora primary drum a few years ago. Now,however, I would caution anyone consid-ering such a drum that it might not bewhat you're used to hearing these days.

But that is not to say that there is any-thing wrong with this drum when con-sidered on its own merits. It fit right inwith the big sound of the bass drum and

Hardware

toms, and had good projection and aclear tone. Rimshots had a lot of body,and center-hits were round and full.Snare response was excellent at alldynamic ranges.

The snare strainer is a simple dropmechanism; when the snares are off, thelever extends horizontally from thedrum. To adjust the snares, there is theusual round knob. The knob on our testmodel had quite a bit of resistance (toprevent slipping, I imagine), and took abit of strength to turn. I found thatadjusting the snares in the "on" positiondidn't work very well. I had to releasethem so that they could re-seat them-selves across the head. It was also easierto turn the adjustment knob if the leverwas down and out of the way.

Wood snare drums are available insizes ranging from 5 1/2x12 to 8x14, andare priced from $525 to $700. The 7x14that we reviewed lists at $675. GMS alsomakes two brass-shell snare drums: a3 1/2xl4 that lists for $850, and a 6 1/2xl4that lists for $900.

Conclusions

did have to mount the rack on the centersection of the stand, as the top sectionwas too thin to work with the clamps onthe rack.

The rack has 14 notches cut into it overwhich clamps can be mounted using twodrumkey-operated lugs each. Once youhave adjusted a clamp for whatever youwish to put in it, you only need to tightenand release one of the lugs for setup andteardown. The outside notches are formounting the rack itself to cymbal stands,leaving 12 positions for mounting toms,cymbal arms, and accessories. I simplyused it for the two small toms, and withall of those different positions, I had notrouble getting the toms exactly where Iwanted them. (Two Pearl-type tom armswere supplied to connect the toms to therack.) There were six clamps suppliedwith the rack: two for mounting the rackitself and four for accessories. Presum-ably you could obtain extra clamps, andthe notches are spaced so that all 12 posi-tions could be used simultaneously.(Sonny Greer would have loved it.)

The rack is made of aluminum finishedin carbide black powder coat, and it listsfor $450. GMS will custom-make longerracks.

Gon BopsGongas

by Chuck Silverman

Gon Bops founder Mariano Bobadillawas inspired to develop the Gongas atthe request of a respected percussionistwho wanted portable drums that sound-ed good. He realized that the sound of aconga relied on the air space within thedrum. Through experimentation, hefound the critical spot where the remain-ing air space had little effect on thedrum sound. He cut and closed thedrum at this point, and replaced theremainder of the shell with the Resitoneresonator—a wooden cylinder thatextends approximately 11" down fromthe drum's base. The Resitone can beretracted back into the drum, making fora very portable instrument—not to men-tion giving the drummer a silent practiceconga (which is great if you're on theroad and want to woodshed without cre-ating a lot of sound). The resonator islocked in place by a neoprene seal

securely attached to the base of thedrum; it will not move during playing.The only place that sound can escapefrom the drum is through the resonator.

The diameters of the Gongas are thesame as those of regular congas. (This isimportant, because the diameter of adrum gives you the tone—high, medi-um-pitched, or low.) But with the res-onator pushed inside the shell, the depthof the Gongas is one-third that of regularcongas, making them easy to pack andtransport. Depending upon the wood,the weight of the drums varies from 11pounds for the quinto to 14 - 16 poundsfor the tumba. This is half the weight ofregular congas. The heads used aredomestic cowhide, not imported waterbuffalo. All heads are interchangeablewith those used in Gon Bops' regularconga line.

All of the hardware is cold-rolled steel,with the screws, brackets, and crownsmanufactured in the Gon Bops facility.Everything offered, except for the low-est-price model, has a polished chromefinish. All hardware is also interchange-able, assuring that there will be no con-fusion with regards to ordering parts forthe drums.

Light red Appalachian oak or Phillip-ine mahogany is used in making theGongas. The wood inside the drum andresonator is never painted, allowing thebare wood to have its effect on the airpassing over it. (Mahogany produces a

The first thing about the Gongas thatgrabs your attention is the actual size ofthe drums. Once you get beyond that ini-tial impression, the excellent construc-tion of the drum can be truly appreciat-ed. Attention to the most minute detail isevident from the first cursory inspection.The finish of the drums I played wasnatural oak. The wood was beautifullyfinished, with no outward flaws. Thebrilliant chrome-plated hardware morethan complemented the wood's lustre.

I first played the drums without doingany tuning, and was immediately struckby the deep, resonant tone—a bit unlikecongas, actually. The bass tone in boththe conga- and tumba-sized Gongas wasmarvelous—rich and sonorous. The slaptone, that nemesis of beginning players,was right there from the start—a realplus. The combination of the high-quali-ty skins and top-notch constructioncombined for easy playing. Gon Bops'teardrop hoops also made playing verycomfortable.

After taking the drums home, I playedthem in a setting with just myself and adrumset player. The Gongas projectedmore than enough to make their pres-ence felt and heard. They served thesame function as more traditional con-gas, but with some added features. Theirbass tone gave them a different "pres-ence." The sound of the drum seemedto bounce off the bottom closed portionand hit me in the upper body. That feel-ing, along with the Resitone resonator'seffect of allowing the majority of soundout the bottom of the drum, combinedfor a very full and pleasing tone. Thismight be a plus for the recording percus-sionist, in that mic's could easily beplaced both above and below the Gongasand then mixed to achieve the bestsound.

Construction

Gon Bops of California, known for itsline of congas, bongos, and timbales, hasintroduced a new line of hand percus-sion instruments called Gongas. Createdin response to the need of many percus-sionists and drummers for lightweight,portable congas, Gongas have beendesigned to maintain an authentic congasound in a drum that is both portableand compact. The intention is not toreplace the traditional conga drum, butto help the drummer who must set upand tear down his/her equipment fre-quently.

When is a conga not aconga? When it's aGonga, and here's whyyou should know thedifference...

The Test

mellow sound; oak produces a slightlymore brilliant sound.) The neoprenecollar attached to the bottom of thedrum is screwed in with phillips-headscrews. If the collar should ever tear orneed to be replaced, the job would berelatively easy.

There are seven different sizes ofGongas available in nine different fin-ishes. The head sizes available are 9 3/4",10 3/4", 11", 11 1/2", 12 1/4", 13 1/4", and 14 1/4".There are five different fiberglass andfour different wood finishes. Due to thiswide array of available combinations,there is a wide range of prices. The leastexpensive quinto (small Gonga) is $339;the most expensive drum of the same sizeis $620. The 10 3/4" Gongas range in pricefrom $359 to $639. The 11 1/2" drumsrange from $387 to $668. The drums I

reviewed were top-of-the-line instru-ments: a 9 3/4" quinto and a 10 3/4" conga.The manufacturer's suggested list pricefor these drums is $649 and $687, respec-tively.

A Gonga stand has been developedfrom the original concept of the GonBops double conga stand, in use since1976. The stand is fully adjustable toaccomodate a player who is standing orsitting, and is available in models that canhold two or three drums. The stand is all-steel, chrome-plated, and constructed inthe Gon Bops factory, with no aluminum

parts and no castings that could break.A trap case that holds two Gongas and a

stand is available. Constructed ofpolyethylene with 3" casters, it lists at$480. Padded bags are also available, andcost between $75 and $80, depending onsize. A padded cover for the Gonga standlists at $42.

As you can tell by the prices of theGongas, stand, and cases, Gon Bops isn'texactly the cheapest brand on the market.But if quality is what you're after, thenthis line of drums should most definitelybe examined.

Pearl SopranoSnare DrumsThe trend towards smaller snare drumscontinues with Pearl's latest offerings: the3x13 Soprano, available in both brass andmaple models, and the 7x12 SopranoEFX model, available in maple only.

The two 3x13 drums are identical,except, of course, for the shells. Each hasone air vent and eight lugs, and each isequipped with Pearl's SO-16 strainer,which is simple in design and operatessmoothly and quietly. The lever is longenough that you can manipulate it easily,but it does not stick up over the rim whenit is in either the full-on or -off position.On the maple drum, all of the metal hard-ware is separated from the shell by cush-ioning material.

Soundwise, the two models have moresimilarities than differences. As onewould expect with any 13" diameter drum,they favor higher pitches, and as youwould expect from any drum 3" in depth,the higher overtones are favored, givingthem a high-pitched crack that might bemore accurately compared to a firecrackerthan to a gunshot. Both drums stood upwell to a wide range of dynamics. Loudrimshots were solid and cutting, andbrush response was excellent.

The 6-ply maple-shell drum had a

brighter sound than is common withwooden drums. In fact, while I generallylike wood-shell snare drums, I've tendedto favor metal drums in the 3x13 size, aswood shells seemed better suited forenhancing lower pitches. But the PearlSoprano maple model had a bright soundmore characteristic of metal. As bright asthe maple drum was, I expected the brassmodel to be even brighter, but it wasn't. Itactually had just a bit more body andwarmth than the maple drum.

The 7x12 Soprano EFX model is con-structed from eight plies of maple andalso features eight lugs and one air vent.The strainer is similar to the one foundon the 3x13 drums. Again, all hardware isseparated from the shell by cushioningmaterial.

The 12" diameter of this drum favorseven higher pitches than the 13" models,but the deeper shell enhances a widerrange of overtones, which translates tomore depth. The drum's timbre actuallyreminded me of a high-pitched militarydrum—due, no doubt, to the relationshipbetween depth and diameter. I dare saythis drum would cut through just about

anything, although the higherpitches it favors might seem toohigh to some players.

The 3x13 drums could possi-bly serve as someone's primarysnare drum in a low-volume situ-ation, or one in which the drumswere miked. But they wouldprobably be more effective asauxiliary snare drums for tunesthat require a high-pitched

crack. They could sound a bit thin on bal-lads or tunes where you would want adeep, full sound. Likewise, the SopranoEFX drum is also probably best-suited asa secondary drum, as the ultra-high pitchit favors might not be practical for a widerange of music.

I reviewed these drums (as I tend toreview most products) without knowingtheir list prices. That's something Ialways check on at the last possiblemoment, since prices have been known tochange between the time an item isshipped to us for review and the time ittakes us to check it out and write about it.Anyway, based on the quality of thesedrums compared to other drums I'vereviewed recently, I assumed that the 3x13models would list somewhere around$300. I was genuinely astounded when Iwas told that the list price for the 3x13maple drum (M-513P) is $200 and thatthe brass version (B-513P) is $210. The7x12 Soprano EFX (M-512SE) lists at$365, which isn't quite the bargain thatthe other two drums are, but is still a veryreasonable price for the quality of theproduct.

by Rick Mattingly

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Models

Over the years, some of the finest drumand percussion products have been cre-ated by members of symphony orches-tras. Such players as Saul Goodman,Fred Hinger, Morris Lang, Al Payson, andFrank Epstein have produced qualitysnare drums, mallets, and accessories.(And then there's Vic Firth, who startedout turning a few timpani sticks andended up with a small empire.) Recently,San Antonio Symphony percussionistWilliam Patterson joined the list by goinginto the cable snares business. He offersthree models: stainless steel, coated("Blue" snares), and a Super Corp modelthat combines 12 coated cables witheight stainless steel ones. We receivedsamples of the first two for review, whichI tested on a 5x14 Ludwig Super 400metal-shell snare drum and a 6 1/2xl4Noble & Cooley HP series wood-shelldrum.

The stainless steel model comes clos-est to regular "spiral" snares, but thereare some significant differences. For onething, even though there are 18 of them(mounted in two groups of nine, with avery small space in between), their com-bined width is less than 3/4", compared tothe two-inch width of standard snareunits. While it might seem that they arenot in contact with as much snare-headarea as a result, one has to consider thefact that the entire length of a cable snarelies flat against the head, whereas withspiral snares, only about one-third of themetal actually touches the drumhead.

Also, most traditional snares are notmounted in such a way that the snarescompletely span the drumhead. Patter-son's cable snare units, however, extendpast the drumhead about an inch on eachside, so that the snares themselvesstretch from bearing edge to bearing

edge. With all of that contact between thesnares and the head, cable snares per-form very well in terms of sensitivity andresponse. They do, however, tend to be"drier" sounding than spiral snares.They do not have the kind of after-buzzthat spiral snares can produce, and theyare not quite as sensitive to sympatheticvibration caused by hitting other drums.

When I tried the snares out on theaformentioned drums, I noticed that thesnare "snap" emphasized the middle andlower harmonics rather than the higherones, giving the drums a somewhat more"gutsy" sound. For drumset playing, Ifavored them on the five-inch metaldrum. They stood up well to heavy back-beats, and the dryness of their sound fitwell with current trends in drum sounds.

I also tried the stainless steel snares ona 4x14 wood-shell piccolo snare. Again, itproduced a sound with a darker timbre,and while it sounded fine, I couldn'tquite get that high-pitched crack I'mused to with that smaller drum. I alsotried loosening the snares a little for thatslightly rattley jazz type of snare soundthat some drummers like, but that doesnot seem to be the optimum setting forthese snares. They sound best whentightened firmly against the bottom head.

The "Blue" snares, so-called becauseof the color of the coating, are the closestthing in sound to gut snares. A big advan-

tage, however, is that they are notaffected by humidity, the way gutis. (The manufacturing process ismore humane, as well.) There areonly 12 snares on this model, butagain, they lie flat against the headfor maximum contact and extendpast the edge of the head.

I doubt if many drumset playerswould want to use the "Blue"snares, but for a military or march-ing snare sound they would be theperfect choice. They are slightlyless sensitive than the stainlesssteel model, and are the very defin-tion of the word "dry." While it ispossible to perform passable buzzrolls with these snares, they aremeant for rudimental double-

stroke rolls. I favored the "Blue" snareson the 6 1/2" Noble & Cooley wood-shelldrum, but they even made my 5" metalsnare drum sound militaristic.

One word of warning if you are think-ing about trying a set of cable snares:They take some time to mount properly.The large clamps that hold the snarestogether often don't fit through the slotsin your bottom rim unless you loosen therim so that the bottom head is not block-ing the opening in any way. Also, if yourdrum does not have a snare bed and youare attempting to use the stainless steelmodel, you might have to bend the snareswith needle-nose pliers at the pointwhere they bend around the edge of thehead. (Detailed instructions are includedwith each set.)

Symphonic and rudimental drummerswill certainly find both of these models tobe applicable to their needs. Drumsetplayers—especially heavy hitters—mightwant to investigate the stainless steelmodel, which is available in four differentlengths to accomodate different strain-ers. List price is $60. The "Blue" snarescome in two different lengths, and list for$40. The Super Corp combination model(not reviewed here) lists for $85. Formore information, you can contactWilliam Patterson at 4003 Willow Green,San Antonio, TX 78217.

PattersonCable Snares

by Rick Mattingly

UP & C O M I N G

Clint de GanonGroovin' On The Tube And With Bob James

I sit with drummer Clint de Ganon at an outdoor cafe smack inthe center of his hometown. We have just driven through "theold neighborhood" by the house where he grew up, with all theattendant memories. We talk about Clint's career...music...what it was like being raised here. (That latter is of mutualinterest, as I grew up in the small town right next to his.)

Words come easily to Clint. He has a natural ease with peo-ple, and a sense of complete openness. He also has the ability toimmerse himself-—mind, body, and soul—into any musical con-text that he graces. His playing is striking in its looseness and itsbreathability, yet utterly precise—technically flawless withoutsounding "technical." It is intuitive and riveting, much like theman himself.

Because he relies on his instincts as a player and is quite nat-ural at connecting with people, de Ganon has become a risingfigure on the New York scene. He's done numerous jingles andalbums, and a soundtrack. He's got the live side sewn up, too:He's recently been playing with keyboard innovator Bob Jamesboth here and abroad. When Clint plays with his colleagues,smiles, unspoken messages, and laughs are exchanged. The BobJames Band positively glows, seeming to feed off each other'senergy. They wail away, making beautiful music together.TS: How long have you been working with Bob James?CD: My first dates were on a tour of Japan in March, so ithasn't been very long. I had worked with Bob several yearsago—in the studio on a film date, and also live at a concert. Buthe had been working with Yogi Horton, with whom he had aclose relationship and who was one of my favorite drummers inNew York. A lot of excellent drummers have worked with Bob:Steve Gadd, Harvey Mason, Yogi, Buddy Williams, Tris Imbo-den. The last guy who did it was Herman Matthews, who's nowwith Kenny Loggins. I think it was just a matter of a real desireon my part to play with Bob, and letting that be known. Theopportunity took a long time to come to fruition.TS: You are very exuberant when you play with Bob. Is thatyour normal personality, or is it the music that makes you playwith such enthusiasm?CD: I think it's a combination of the two. What's important forme is to play with a certain commitment and intensity. I lovethe band, and I love the way Bob plays. The music leaves a lotto explore, and he gives me license to do it. The more I do it,the more I have fun with it. It really is an open door for me.TS: Yet the music is pretty structured as far as parts of songsare concerned.

CD: There is a given structure, but that structure is also col-lectively defined. In other words, it's the product of five or sixpeople—however many are playing, all contributing and creat-ing the structure. But it isn't clearly defined to the point of,"This solo is going to be 16 bars." Sometimes we'll just stretchforever, other times we won't. It's all a matter of using yourears and giving your input.

When you listen to Bob's records, you might think, "Thissounds very clearly defined"; it doesn't sound like there wouldbe a lot of leeway. But when I got on the gig, Bob said, "I wantyou to play beats I never heard. I want you to take this whereveryou want. I want you to feel so in command that you can showus where to go."TS: Is that responsibility at all intimidating?CD: I start small and get bigger; that's my general rule. I won'tgo in like gangbusters and try to do it all. I started off with Bobjust playing the parts—trying to be precise and clean, withgood time. Then, as I felt more comfortable with the music, Iwas able to explore the boundaries and push them more, with-out feeling like I was imposing or doing things that were notnecessarily good for the music.

You have to make every gig your own—which, hopefully,comes quick enough. Once it's your own and you're giving yourown contribution to it, it's not intimidating at all. I must addthat Bob is consistently the best player on the gig—and thereare a lot of good players on this gig. He sets a standard thateach of us aspires to, and we follow him.TS: Therefore becoming motivated is never a problem?CD: Oh, no. You see, I grew up listening to people like BobJames, who really carved out a niche of what we would call "hotjazz." It wasn't really fusion...it's hard to describe. It was a

by Teri Saccone

point when the C.T.I. label was revolutionary and people likeBob, Grover Washington, and Freddie Hubbard were makingrecords and Steve Gadd was coming to the forefront—justexploding on the scene. This was a whole new brand ofrhythm-section playing and a whole new brand of writing. Itwas a storm from New York, not LA All the jazz guys were upin arms about it, and the rock and pop guys didn't know whatto do with it. It was a fusion of rock and R&B as much as it wasjazz, but it wasn't "fusion" as we knew it. It had a deep influ-ence on me, and it was really cool to get this gig and be able tostep in and say, "I understand these roots. Now I'm able to takeit where I want to take it."TS: That was rather eclectic music for a young guy to be lis-tening to. How did you get turned on to it?CD: In my home town of Hastings, New York, we had anexceptional stage band run by a musicteacher, Peter De Luke, who originallyplayed with Benny Goodman and WoodyHerman. Peter was a major influence onme. When I got serious about studying, Iwas fortunate to meet Mel Lewis, who usedto live nearby in Tarrytown. Mel wouldcome and coach me from time to time, buthe refused to teach me, because he had noconcrete teaching style. He referred me toSonny Igoe—a great teacher with whom Istudied for five years. Sonny gave me thefoundation to work from. He was a greatjazz/big band drummer, so through mystudying with him I encountered a lot ofjazz. I originally got turned on to it by lis-tening to early Chick Corea and MilesDavis records. That's in addition to all thepop and rock stuff that was really inherentin me.

So there's not one concrete style that I'mmore acclimated to than another. I reallyfeel at home playing a bunch of differentthings. As it turns out, most of the record-ing I've done has been either jazz of sorts,eclectic rock, or R&B.TS: Hastings may be only 16 miles fromNew York City, but it might as well be a million miles. How didyou attempt to tackle life in the "Big Apple"?CD: I first went there to study classical percussion withRoland Kohloff, a timpanist with the New York Philharmonic.At one point, I was interested in becoming a classical musician.I also studied with a percussionist and snare drum player withthe Philharmonic named Buster Bailey. I didn't want to leaveNew York, so I went to college there, majoring in music perfor-mance and percussion. I double-minored in philosophy andreligion, [laughs] I'm a truly sick man.

Ultimately, I took a place in the city. I was poor when I gotthere, but I was in New York, and I managed to do some gigsone way or another. But it did get slow, and I got anxious. Mybrother was a struggling actor at the time, so sometimes he'dcome over and I'd read scenes with him. I started to get into it,and people would say, 'You should try to get into commercials."I knew the kind of money that could be made there, so I tooksome classes, and I did do some commercials. Then I startedto work as an extra on All My Children—which was when Irealized I didn't really know how to act. So for two solid years Istudied, went for auditions, and sent cards to agents.

Meanwhile, all this was going on concurrently with a careerthat was hopefully going to develop in music. After a while I gotoverwhelmed: Here were these two difficult free-lance careers,and I was in over my head.

TS: So now you only concentrate on thedrums?CD: That and singing. I've been doingthat for a few years, and I love it. It makesmore sense to me than acting. I alwaysloved to sing, but I didn't think I was agood singer. I had to overcome technicalobstacles. I've studied singing severaltimes in the past, but now I've had thesupport of musicians who've heard meand said, "Wow, you can sing." I nowconsider myself a decent singer whocould become pretty good at it.TS: What do you get out of singing thatdrumming doesn't fulfill?CD: It's new for me. I started studyingdrums at eight, so that's been with meforever. When I listen to myself on tapeplaying, I pick myself apart to no end;there's only a handful of things that I canbear listening to. But I think I'm fair tomyself because I've had many years to gothat much further with it. With singing,you have the lead voice as opposed to thesupporting voice, and you communicatein a whole different way. It's also veryexciting to see how I'm progressing.

TS: You worked with Gospel singer Cissy Houston, which Ifound a bit surprising.CD: I think she's quasi-retired now, but when I got the gig,Bernard Purdie had been her drummer. That was mildly intim-idating. I mean, he made a contribution to drumming that wasinnovative and special with people like Aretha Franklin. But likeany gig, I had to make it my own.TS: Gospel is a far cry from the more technical drumming thatyou're getting known for.CD: It was a good gig for me to grow with. What I was schooled

"I don't considermyself a jazzdrummer. Forme, what's

important is thebottom—thekind of playingthat hits you in

the gut."

in was irrelevant. I always loved R&B, and Cissy sort of fusedthat with Gospel. She had been a back-up singer for Arethaand Elvis, so she had that background. She also had a certainsensitivity to drums. I loved playing that stuff. That's why Idon't consider myself a jazz drummer. For me, what's impor-tant is the bottom—the kind of playing that hits you in the gut.If you can add finesse, that's wonderful.TS: That bottom is probably what attracts most non-drum-mers to the drums: That's what moves you.CD: But young drummers sometimes don't really get it. Thethings that thrill them the most are the flash and polyrhythmsand all the technique. What makes someone like Steve Gadd soamazing is his ability to give you all that bottom, yet now andthen do something innovative that is so special. Commitmentto the groove and having the basic, solid foundation is whatmade Gadd great.TS: Steve Gadd is known primarily as a studio drummer,which brings us to the subject of your studio career. How didthat get started?

CD: After I'd been in New York for a few years, Will Lee rec-ommended me to a top jingle house. He's been very good tome. When I first went in on a session, he said to all these bigstudio cats, "This is Clint. Don't screw with him." I was thisyoung buck just coming into the studio with all thesepros—who sometimes can be nice at first, and sometimes not.Will just decided to clear the air. He was very instrumental andsupportive in getting me into the jingle business when I wasnobody.TS: Your resume also lists a lot of session work: Thom Rotella,Dionne Warwick, Peter Moffitt, and several rock, folk, and popsessions for Atlantic, RCA, and Arista artists. How much doyou still do in comparison to live playing?CD: I do more sessions than most drummers, but the studioscene has certainly shrunk tremendously. Guys who are doingsessions now are doing them in places they wouldn't do before,and for money they wouldn't have done it for a few years ago.Everybody, everywhere has been affected by drum machines,shrinking budgets, and the advent of the computer.TS: Do you prefer live playing to studio work?CD: I love playing in the studio. There's an art to makingsomething feel really good on tape—making it sit well andsound good. There's a whole different charge that I get in thestudio—equal to the live charge, just different—that I took alot of time and energy to develop.TS: You were on MTV's musical quiz show, Turn It Up, for itsduration. What was that like?CD: We did a month of rehearsals, then a month of taping: 64shows in less than 30 days. We wound up doing four shows aday. It ran for only six months, so a lot of people probably didn'tsee it.

Our band was live, so we had to learn 300 30-second songsegments, which we would arrange one instrument at a time.We had to transcribe, arrange, rehearse, program the songs,and then perform them. It was a sick amount of work, but in away it was like going to college. We did any tune, in any style,with little tempo preparation and put together very quickly. Itwas a very valuable experience. I was playing ddrums on theshow, and I've continued to use them since then; they allowme to punch up different kits immediately. I'm not really intotriggering, so it's the ddrums or my acoustic kit.TS: You told me earlier that when you started playing drums, itwas "the most exciting thing in the world" for you—"the ulti-mate excitement." Do you still get that feeling?CD: Sometimes. I play best when I connect to the innocenceand the total joy of playing—which happens when I really feelcentered. When I can get to that, it's the best. I feel now thatI'm getting into a phase where I really love playing the drumsagain. I think we all go through phases where we feel like we'rein a rut, and we're pushing for it. But sometimes that realexcitement is just naturally there.

R O C K ' N ' J A Z Z C L I N I C

Accentuating The Less ObviousParts Of The Measure: Part 1

by Rod Morgenstein

It is very common in drumming to play aone-measure fill that ends on beat 1 ofthe following measure. But when playingin a progressive/jazz/rock/fusion context,there is often freedom to accentuate theless obvious parts of the measure, thuscreating a lot of excitement in the music.

This article focuses on playing drum fills that end somewhereother than on the downbeat of 1.

Study exercises 1 - 4 and try to firmly establish where eachof the four notes fall in beat 4. Count "1 2 3 4" or "1 & 2 & 3 &4 &" or "le&a 2e&a 3e&a 4e&a," and make the note sound inyour head.

Exercises 5 - 8 are 16th-note drum fills that begin on thedownbeat of 1 and end on either the beat of 4, the "&" of 4,the "e" of 4, or the "a" of 4. Each is followed by a one-measurerest. Play each of the fills (or any 16th-note fill of your own)and be sure to end the fill at the specified part of beat 4.

Exercises 9 - 1 2 consist of a one-measure beat followed by a one-measure fill. Again, I suggest also creating your own fills.(Due to the fill in exercise 12 ending on the last 16th of the measure, it can be awkward trying to start the beat on 1 of the nextmeasure.)

This leads us to exercises 13 - 16. At the start, they are identical to exercises 9 - 12. However, after each drum fill, the beat doesnot begin on the downbeat of 1. Rather, the downbeat is left open and the beat picks up either a 16th, 8th, or dotted 8th later.This delaying of the drumbeat can create tension and excitement in the music.

Next time we'll pick up from here, extending the drum fills over the bar line and continuing to end in places other than thedownbeat of 1.

R O C K C H A R T S

Liberty DeVitto:I Go To Extremes"Transcribed by Bill Reeve

This month Rock Charts focuses on Billy Joel's timekeeper, Liberty DeVitto, and his excellent workon Billy's Storm Front album (Columbia). Commenting on this particular track, Liberty says,"Originally I asked Billy to write a song around a syncopated, Little Feat groove I had come up with.When we listened back to a take of the tune, the groove was a little bit too hard for people to grasp. Iended up changing my drum part to more of a straight rock groove, keeping the syncopated feel onthe bass drum."

Chorus

2nd Verse

Chorus

Bridge

Piano Solo (on the record)

Chorus

Chorus

Vamp & End

This transcription is from the book Liberty DeVitto: Off The Record, published by Manhattan Music.Reprinted with permission.

C R I T I Q U E

RECORDINGS

ILLUMINATIONSAxiom CollectionAxiom 422-848 958-2TRACKS BY SlMON SHAHEEN,

MATERIAL, GNAWA Music OFMARRAKESH, JONAS HELLBORG,MANDINGO, SONNY SHARROCK, FULANIAND MANDINKA Music OF THE GAMBIA,GINGER BAKER, SHANKAR, AND RONALDSHANNON JACKSON

highly rhythmic traditional/modern pieces by Moroccan,Gambian, Indian, and WestAfrican musicians are cuts byartists like Shankar, Material,and Jonas Hellborg featuringdrumming luminaries TonyWilliams, Ronald ShannonJackson, Sly Dunbar, ElvinJones, and Ginger Baker.

Some line-up. I mean, howmany times do you get to hearSly groove along with RobbieShakespeare and P-Funkalumni on a remake of GeorgeClinton's "Cosmic Slop";Elvin taking it out with SonnySharrock; Tony burning upwith bassist Hellborg and astring quartet; Jackson layingdown the nastiness against athree-guitar, two-bass wall ofsound; and Ginger rollingalong a techno-African plane—all on one disc. In addition,the more "traditional" cuts arelaced with fascinating rhyth-mic and sonic ideas. Whatholds the whole thing togetheris Laswell's taste, talent, andvision. An excellent collection

of magnificent scope, imagi-nation, and history.

ED SHAUGHNESSYJazz In The Pocket

CMG CMD-8028TOM PETERSON: sxTOM RANIER: PNOBRUCE PAULSON: TRBJOHN LEITHAM: BSED SHAUGHNESSY: DRSt. Mark; Rear View; A Long Way

Home; Salt Peanuts; Seaward; Split-

Brain; Just Friends; New Suit; I'm

Home Honey; Ta Ki Ta.

You can generally recognizedrummers with big bandexperience, even when they'replaying in a small combo.They tend to pay more atten-tion to the arrangement,accenting melodic figures andproviding different colors tomatch different sections andsoloists.

That's certainly true of EdShaughnessy on this disc, hisfirst as a leader. While bestknown for his work with theTonight Show big band,Shaughnessy began his careerin small bop groups, so he isright at home in this quintetsetting. And while "SaltPeanuts" shows whereShaughnessy came from, thebulk of the album featuresnew tunes written by mem-bers of Ed's band, giving himthe opportunity to prove that,

stylistically, he has kept upwith modern trends. Butthat's not to say that Shaugh-nessy has become a funkdrummer. His playing is firm-ly rooted in mainstream bop,with other influences surfac-ing only as spices to enhancethe dominant flavor.

On the album's final track,Shaughnessy delivers a vocal-and-tabla solo dedicated toAlia Rakha, with whom Edonce studied. He follows theIndian tradition of first vocal-izing what he is going to play,and perhaps it's this ability toconceptualize his drummingthat gives Ed's playing such asense of structure.

Don't let the cover fool you.Last Crack is anything but adark metal band. The firsthalf of Burning Time is rhyth-mically experimental and thesecond half infectiously driv-

Unlike many purveyors ofso-called "world music," pro-ducer/bassist Bill Laswellknows that there is a certainpower, mystery—hell, rock 'n'roll—in a lot of ethnic music.Throughout the ten releasesso far on his Island Recordssubsidiary, Axiom, Laswell hasrecorded music that alwayspossesses a timeless quality,but that never lacks the ballsto stand next to today'ssounds.

What we have here is a col-lection of immaculatelyrecorded tracks from theAxiom releases that wouldalmost seem aimed particular-ly at the drumming/rhythmfan. Sitting side-by-side with

Adam J. Budofsky

Rick Mattingly

LAST CRACKBurning Time

Roadracer RRD 9330BUDDO:VCLPAUL SCHLUTER: GTRDON BAKKEN: GTRTODD WINGER: BSPHIL BUERSTATTE: DR, PERCWicked Sandbox; Mini Toboggan;Energy Mind; My Burning Time;

Precious Human Stress; Love, Craig;Kiss A The Cold; Love Or Surrender;

Mack Bolasses; Blue Fly, Fish Sky;Papa Mugaya; Dirt Messiah; Oooh

ing. All of it, thanks to thetight and tasteful drummingof Phil Buerstatte, is surpris-ingly creative, progressive, andalmost jazzy.

The more unusual the tune,the more inventive anddynamic Buerstatte's playingis. His quick but light hi-hatwork punctuates the openingtrack, which features apolyrhythmic bridge and sub-tle time changes near the end.

On "Mini Toboggan,"Buerstatte's soft groove doesits best to belie the 4/4 signa-ture. "Energy Mind" may feellike 5/4 at times and 6/8 atothers—intentionally so—butit falls into straight time thewhole way. Just when all thisrhythm twisting starts tobecome a bit too much,Buerstatte settles into cutting,driving beats for most ofBurning Time's second half.

Why Last Crack chose toproject a dark, quasi-religiousimage is a mystery. Withoutthis image, more people wouldundoubtedly open up to theband's strong playing and var-ied musical style.

Drummer Bill Stewart isassertive and tastefully in con-trol throughout this genial,bluesy, and eclectic program.Whether effortlessly driving aLatin or Afro-Cuban feel ,caressing a silken ride cymbal,or laying down a backbeat thatwould make Al Jackson proud,Stewart makes this alreadytight band one smoothmachine. Assured soloing andclever ornamentation chal-lenge without interrupting hisfirm, relaxed groove. Heplaces his dark, dry cymbalcrashes with imagination andsuperb dynamic shading.

Stylistically this albumreverberates from the '50s,'60s, and early '70s. Enhancedby Wesley's rich arrange-ments, satisfying resolutions,and funky humor, NewFriends reminds us that goodmusic is timeless.

For all the drummers whotalk about developing theirown style, few actually do.Granted, no two drummerssound exactly alike, but theresure are a lot of them whosound similar.

Not so Marvin "Smitty"Smith, who has combined awide range of influences into atruly unique mixture. It comesclosest to funk, but funk likeyou've never heard it before(unless, of course, you'refamiliar with previous SteveColeman albums).

First of all, time signaturestend to be anything but 4/4,and Smith's patterns arestretched out over so manybeats and bars that at first youmight think his playing totallyrandom. (I did.) But the moreyou listen, the more you startto recognize recurring beatpatterns, and with greatpatience and concentration(and a little math) you caneventually figure out a lot of it.

But one thing that strikesyou on the very first listeningis that this music groovesheavily. Whether you can ana-lyze it or not, you can still getinto it. And that's a sign oftrue art.

RAY ANDERSONWishbone

Gramavision R2 79454DION PARSON: DRDON ALIAS: PERCRAY ANDERSON: TBN, VCLFUMIO ITABASHI: PNOMARK HELIAS: BSMARK FELDMAN: VLNThe Gahtooze; Ah Soca; DukeEllington's Sound Of Love; ComesLove; Cape Horn; Cheek To Cheek;

The Wishbone Suite: Wish For TheEarth/Wish For The Folks/Wish For

The Spirits

Listening to Ray Andersonsummons every euphemismfrom "eccentric" to "anacquired taste" to the politestof them all, "interesting."Early New Orleans jazz, therich blues tradition ofAnderson's native Chicago,melodramatic modernism,and ironic humor inform his,well, highly personal style.Anderson exploits the trom-bone's compass through fouroctaves, from flatulent growlsto clarion squeals. To theseextremes add an old-fash-ioned, rapid vibrato and a hostof often painful effects, andyou understand why classicalcomposers have always usedtrombones to represent Hell.

St. Thomas-bred drummerDion Parson and veteran per-cussionist Don Alias manageto provide tasteful supportthroughout these strange pro-ceedings. Parson's style and

Matt Peiken

FRED WESLEYNew FriendsAntilles 422-848 280-2BILL STEWART: DRFRED WESLEY: TRB, VCLSTANTON DAVIS: TRP, FLGHNMACEO PARKER: AL sx, PERCTIM GREEN: TN sx, SP sx, PERCGERI ALLEN: PNO, KYBDANTHONY Cox: BSRockin' In Rhythm; Honey Love;

Bright Mississippi; Love We Had

Stays On My Mind; For The Elders;

Plenty, Plenty Soul; Blue Monk;

Peace Fugue; Eyes So Beautiful;

Birks Works; D-Cup And Up

Harold Howland

STEVE COLEMANBlack Science

RCA/Novus 3119-2-NSTEVE COLEMAN: sxJAMES WEIDMAN: PNODAVID GILMORE: GTRREGGIE WASHINGTON: BSMARVIN "SMITTY" SMITH: DR, PERCThe X Format (Standard Deviation);

Twister; Turbulence; Beyond All We

Know; A Vial Of Calm; Black

Phonemics; Ghost Town; Magneto;Cross-Fade

Rick Mattingly

This video is primarilybased on a "live" videotapingof a real Nashville studio ses-sion, featuring Larrie alongwith David Hungate on bass,Clayton Ivey on keyboards,Brent Rowan on guitar, andstudio engineer Gary Platt.Additional footage featuresLarrie alone for certain dem-onstrations. A bonus audiocassette featuring two or threesongs from the session withthe band and drums on sepa-rate channels is to be availablewith the video, but was notavailable at the time I re-viewed it.

Following some voice-oversgiving background informa-tion on Larrie's career, thevideo is divided into segmentsbased on various topics:"Technique," "Tuning," "Mik-ing," "Muffling," etc. In eachone Larrie and his colleaguesgive pertinent tips regarding

that particular topic—which isvaluable for the insight we getfrom different instrumental-ists and the engineer. Partic-ularly nice are a discussion ofthe click track (and how to useit), and Larrie's description ofhis personal earphone sys-tem—and why it's importantto hear what you're playingand protect your hearing atthe same time. Larrie laterdiscusses his reasons forusing both traditional andmatched grip, and gives somevaluable advice (and an excel-lent demonstration) on how tobuild a drum solo.A short segment in which

Larrie shows a variety of hismany snare drums could havebeen more interesting if hehad described each a bit morethoroughly and played eachone. But his point was simplythat as a studio drummer hefound it necessary to own anduse many different drums,and that point was more thanadequately illustrated. A brief"Clinic" segment seemed abit staged, but the questionsasked were valid and Larrie'sanswers and demonstra-tions—especially on the sub-ject of electronics—wereinteresting and informative.

Throughout the video, theinformation given by Larrieand his colleagues is present-ed in a straightforward andunpretentious manner. It'svery much a documentary sortof approach—but not dry oracademic. Overall, the video isa lot like Larrie himself: notabout chops, but about feeland attitude, and how to makethe music happen. There sim-ply isn't a better instructor onthose subjects than LarrieLondin, and spending a daywith him—even on video—was most enjoyable.

This snare drum solo is a"sequel" to the contemporaryrudimental solos The PhancyPhantom and Phantom Of ThePhield, published in 1988.Once again, Marty Hurley,percussion designer for thePhantom Regiment Drum &Bugle Corps from Rockford,Illinois, combines an auditionpiece for the corps with atechnically challenging displayof snare drum virtuosity.

Phantom Phrenzy combineseleven meter changes withnine tempo changes, along

with directions for bothmatched and traditional grips.Several "phlashy" stick tossesand twirls are interspersedbetween the rudiments, rolls(open and buzz), and rhy-thms. Fans of the Regiment's1981 production of Spartacuswill surely recognize the finalfour measures of the solo.

This professionally printedsolo is another welcome addi-tion to the snare drum reper-toire. All the stickings andother visual instructions areclearly marked. Thank you,Mr. Hurley, for continuing toproduce interesting rudimen-tal solos along with one of thefinest snare drum lines in thecountry.

VIDEOLARRIE LONDINA Day With: Larrie Londin

DW Video2697 Lavery Ct. #16

Newbury Park, CA 91320(Distributed by Drum Workshop, Inc.)

Time: 58 minutes

Price: $39.95 (VHS, including audiocassette)

Harold Howland

sound owe much to RoyHaynes and Max Roach:Skittering open rolls, high-pitched toms, and bright cym-bals dance un-contentiously inthe background, always on topof the beat. His "Earth"death-march portends Ander-son's agonized whale cries.Parson feasts on a variety ofstyles, including flat-outswing, calypso, Cajun, samba,and one foot-tangling tango.And admit it, haven't youalways wanted to hear "CheekTo Cheek" in 7/4?

SHEET MUSICPHANTOM PHRENZYby Marty Hurley

Published by the author

P.O. Box 8058New Orleans, LA 70182Price: $6.00 each

Rick Van Horn

Andrea Byrd

JIM KELTNER

that on that particular day I was playingexactly what the producer wanted me toplay, and it's not my job to sit and arguewith him."

That's why Jim is so excited about LittleVillage, which is an actual band project.(The name was inspired by a Sonny BoyWilliamson song.) The group, consistingof the unit that recorded Hiatt's '87 albumBring The Family in four days, was putback together by Warner Bros, presidentLenny Waronker. Unlike the TravelingWilburys, where Jim is there to fulfill theother members' drum ideas, Little Villageis a completely free outlet for this creativedrummer.

"It's a good example of the way I play,because of the freedom I have. With theWilburys, I'm generally asked to play pret-ty straight-ahead, and I love it becausethose guys really know how to make thatwork. With their combined experiencethey are very definite about what they wantto hear. But with the three guys in LittleVillage, I could stand on my head and playwith one toe and it wouldn't matter tothem, as long as it felt good. In fact, they

would encourage me,"A few days ago," Jim continues, "we

were mixing a song called 'Don't Bug MeWhen I'm Working,' and I was thinkingmaybe I should have played the song witha pair of normal drumsticks, instead ofthese unwieldy monsters I've created asstumbling blocks for myself. I've mountedbig Mexican maracas on drumsticks withduct tape. I like what it does to the groovewhen I play and shake at the same time.But it messes with your balance so badlythat it's real easy to blow a fill or miss abackbeat once in a while—which is, ofcourse, unacceptable on most recordingsessions.

"On the song I just mentioned and a fewothers like 'Action,' 'Solar Sex Panel,''Take Another Look,' and 'Do You WantMy Job,' I used the maraca-sticks in eachhand. On a couple of other songs, I usedjust one in either my right or left hand. Oneach of those songs, you can hear theinconsistency in the sound of the back-beats. It is really clumsy, and you have tobe careful that it doesn't cause you to messup the time on top of all the other prob-lems it creates. But what I really love about

it is that it's my decision to take thatchance or not. I've used them on a coupleof other records—on the song 'New BlueMoon,' from the Wilburys' Volume III, andon 'Hound Dog,' from Eric Clapton'sJourneyman album. It's a way to put a lit-tle spin on the same old thing."

As one would imagine, Keltner finds itrefreshing to be in such a creative situa-tion. According to Jim, the writing is afour-way partnership, and three of thesongs' basic ideas came from him. "I'mhaving such a great time being in a band,putting all my energy into a group withthree other guys who are so in tune witheach other," Jim says enthusiastically."Even though we're four very differentpeople in our personal lives, we seem toagree on most everything musically. Thereare blemishes all over this album, but allin all, I have to say it's the most fun I'vehad in years."

In an industry as fickle as music, playerswho have managed to stay afloat since thelate '60s are not that common. What doesKeltner attribute his longevity to? "Ibelieve I've always had the right tools forstudio work, and those tools include notonly the drums, but also the mental tool,which is a willingness to work with people.I love to go to work. It's a great feelingwhen the phone rings and I take a job andgo there fresh in the morning and I'mreally feeling good.

"A good part of my survivability has alsobeen my actual physical survival," Keltnercontinues. "I lived long enough. I've alwayshad an enthusiasm to work and play. Youmight say, 'Well, a lot of people have sur-vived and have the enthusiasm as well.' ButI can tell you that I pray more now than Iever have, and I've prayed for a long time.My faith in God is not a sometimes thing.I'm at the point where I could tell youabout miracles in my life every day. He hashis light shining on every one of us, andit's up to us to keep our face in that light. Ihope this doesn't sound self-righteous orsmug; I don't want to get too weighty orturn anyone off. But it is the thing thatmakes me run; God is everything in mylife. I can hear my wife saying, 'Great, butyou know it starts at home.' And of courseshe's right. It's not easy all the time, butI'm sure God appreciates the effort."

When it's mentioned that many peoplehave survived and have faith, but stillhaven't reached his level, Jim says, "Well,

having been in one place for more than 25years has helped me make a whole lot ofcontacts, too. I came to California with myparents and my sister when I was 13.1 hada lot of time to become a part of a lot ofdifferent scenes here.

"If you want to break in on any scene,you've got to hang with it. If you can'thang, then it's not going to happen foryou, unless it's by accident, I suppose.You've got to have staying power. I've beenaround forever. I wish I could help every-one who wants to make it in the musicbusiness, but if you say to me specificallythat you want to be a studio drummer,then I would tell you to let the studio cometo you. Get busy playing all the time, everykind of gig—and most of all, try to find aband to join. Or better yet, form your ownband with people you make good noisewith. I've said it a million times and I'll sayit again, if you truly love music, and love toplay your instrument, then there should beno stopping you. The desire to play andsubsequent growth will be enough of areward to keep you going."

For Jim, the years of dedication to hisdream required some sacrifices, but he isquick to point out, "The sacrifices thatwere in my life were not made by me.They were made by my wife, and I'll saythat as loudly as I can. I'll never be able toexpress my gratitude to her enough. Mymom and dad supported me 100% in mymusic, pushed me even. And I went fromthem to a wife who put up with unbeliev-able stuff.

"I would do casuals on the weekends,"Jim explains, "any kind of gig I could getmy hands on. I worked in clubs some-times, but not often, because I didn't reallylike having a steady gig. It bored me toplay one kind of music too long, or it inter-fered with my playing jazz for free insomebody's garage. Do you hear how self-ish that sounds in this day and age, whenit takes two incomes to make it? We strug-gled. We used to sell pop bottles and anold rug or two. We'd look around and seewhat we could sell for enough for two daysworth of food. It was just a fact of life.There was no complaining about it. Welaughed about it: 'What are we going tosell today?'

"My wife was a dental assistant andmade enough of a living that it allowed mejust to play. I made money playing, but not

very much. And there were a lot of times Iwas playing for no money. But that's whereI learned a lot about jazz music, which hasbeen extremely valuable to my studio workover the years. I used to play Hawaiianluaus, this unbelievably fast Tahitiandrumming. I'd come home with my wristsand shoulders sore."

Jim's somewhat painful initiation inTahitian drumming subsequently paid offin terms of technique, though. "I thought,'Wait a minute, there's got to be a betterway to do this.' That started me thinking,'Maybe I'd better try to get my hands inshape.' So I went to study with ForrestClark, who was a student of Murray Spi-vak. As a result of taking about six lessonswith Forrest, I took what he showed me,which was incredible—though difficultand frustrating—and turned it into sort ofmy own little finger technique. Conse-quently, I have good enough technique toget by on.

"Forrest was very instrumental in takingme over the final edge in my reading aswell," Jim continues, "which I was veryinsecure about for a long time. That'sanother thing that made a difference forme and a lot of drummers I knew whowere coming up: I was able to read andinterpret at the same time. It was onething to be able to read all the parts in along score for a symphony orchestra, but itwas another to be able to sit down andread and interpret chord charts and littlefigures here and there."

All the technique aside, Keltner isn'tknown for remarkable chops. He hasearned his reputation for playing for thesong and for being creative when the situ-ation allows. While many of the othermusicians disperse to the coffee pot or thetelephone after the take, Jim is one guy inthe studio who still runs into the controlroom to hear a playback, wondering howhe can improve it next time. In fact, hisconscientiousness and positive attitudehave been the target for criticism at times.

"It's funny, I've heard people say, 'ThatKeltner, he just wants to be liked. Hedoesn't ever say anything bad about any-body....' What a terrible thing—you'reright, I shouldn't do that," he laughs insarcasm, then shrugs and hands over apiece of paper.

"This is something I usually drop offwherever I am because I get a kick out of

leaving it around," he continues. "I foundthis in a studio somewhere years and yearsago, and I made copies of it. It's so typicalof what we're talking about. It's called'Consider':

'Is anybody happier because youpassed his way?

Does anyone remember that you spoketo him today?

This day is almost over and its toilingtime is through

Is there anyone to utter now a friendlyword for you?

Can you say tonight in passing withthe day that slips so fast,

that you helped a single person of themany that you passed?

Is a single heart rejoicing over whatyou did or said?

Does one whose hopes were fadingnow with courage look ahead?

Did you waste the day or lose it?Was it well or poorly spent?Did you leave a trail of kindness or a

scar of discontent?'

"That pretty much sums it up for me."

You make an appointment with [DW VicePresident] John Good, and he takes you upinto the attic, where they keep all the shells,and you tap around on them with your fin-ger. When they first told me to come outand pick out my shells, I thought they werejoking, but it was great. You tap on theshells and find that some are lively all theway around, but will have one dead spot. Soyou pick out the lively shells. Then you gofor pitch. I thought it was a bit silly, but thenhe showed me that you could actually getproper pitch on your shells. I asked what Ishould look for in pitch and he said to tryfourths, so we did. They'll also do whatevercolor scheme you want. My color is Super-man's hair blue, and it's really nice.RF: What about snare drums?JK: I go between a 5x14 Noble & Cooleyand one of my DWs. But lately, I've beenmostly playing what I call "the Garfieldsnare," created by Ross Garfield. I hap-pened to call him one day about something,and when he told me he had made a drum,I asked him to let me hear it. He brought itto the studio, I put it up on the stand, and itnever went back to him. I took two of them,the original 5x14 and a 4x14 as well. It's nota piccolo, it's a little bigger. I've had a lot ofpeople ask me about this drum. It's got realgreat body.RF: What about your cymbals? You've toldme you have a really special relationship atPaiste.JK: They make so many models, which isone of the appealing things to me. I have somany different textures to choose from. Attimes I have wondered what it would be likeif they had one particular cymbal made froma certain alloy in a thinner weight, or maybeone size larger than they make in a particu-lar model. So I'll call and ask if they canmake it for me. Generally I'll talk with RichMangicaro and Erik Paiste, and we'll put ourheads together. It's fun to watch them getexcited, too, and the next thing I know, in afew weeks, they call me and I can pick it upor they'll bring it to me. They have not yetmade a prototype for me that didn't work.It's a relationship I treasure.RF: What about sticks?JK: It seems that through the years I've usedevery kind of stick that has come along. Inthe end, I would always come back to Cala-to sticks. Finally, the Calato people started acampaign with their Signature Series. Theyasked me to do that, and at that time, thestick of my choice was based upon the old2A, which they don't make anymore. Iswitch around. Sometimes I like the Rockmodel, sometimes I like the 56.

RF: Why would you want to change yoursticks?JK: I'm not sure why I can't stick with onedrumstick. Sometimes it will change fromsong to song. I think it might be psychologi-cal. If I pick up another pair of sticks, it mayforce me to play a certain way. One may bea little fatter or a little longer, or it mighthave a different finish on it. The finish onthe Calato sticks is what I like; I'm not ableto hold onto any other sticks properly forsome reason. My favorite drumsticks rightnow are the Noble & Cooley Medium andHeavy models made by Calato. I still occa-sionally use the Aquarian X-10, the carbonfiber stick with the red handles.They aren'tgood for hitting in the middle of the drum;they're only good for rimshots. But interest-ingly, they will save your drumheads. If I'mplaying live and I still want to use my thinDiplomat heads, the carbon fiber sticks flexso much that they just leave a little blackmark on the head, with no dent. Whenyou're in the studio, it doesn't much matterbecause you can change the head.RF: What about electronics?JK: If I'm going to play any electronics,they're going to be sampled sounds of myown. The one exception is my ddrums. I gotinto sampling in 1985, and it's my passionaside from drumming. I like to samplesounds and then manipulate them.

To sample a sound and turn it into a total-ly different thing, you need MIDI control;you need to play it on something. The verybest thing I have found, bar none, is theKAT. It's the coolest thing and it really doeswork. It's very reliable and it feels goodunder the stick. You can stack two or threesounds together, you can cross-fade—allsorts of cool things. You get great dynamicsfrom it as well. I think you have to be carefulwith the electronics, though, in that youshould make sure it serves the music andnot the other way around.RF: You always seem to be one whoadvances with the technology. How do youkeep abreast of the new gear?JK: The passion for something like thatcomes from your curiosity and your need tofurther your music—definitely not from try-ing to keep up with the technology. That hasnothing to do with it.RF: Where do you see it all heading?JK: I'm happy to see that people are turningmore to acoustic drums now, but it just rein-forces what I've been saying for a longtime—electronics alone is like nobodyhome. Put everything together! Why restrictyourself in any way when making music? Ibelieve there is a valid use for any musicalinstrument—electric or acoustic.

KELTNER ON EQUIPMENT

"What The World Needs Now" by Tony Ben-nett. I like to play it real loud in my car onthe freeway."

Irv Cottier—"When I think of Irv Cottier, Ithink immediately of his deep, wonderfulspeaking voice. I used to love being mes-merized by just sitting next to him and listen-ing to him talk. Where Sol is real aggressivewith the drums, kicking a big band, Irv wasmore back, behind it. He played with anelastic feel. He'd play real light with greatfinesse—and then when he would explode,it would give you chills. Like many of theguys of that era, he was a master of dynam-ics and groove. What a groove! And soundas well. The guys from that generation havethat in common; their drums just sing, com-pared to the dull thud of today's drums."

Anton Fig—"I must say, it took me awhile to get into his playing, mostly becausehe took over for Steve Jordan on the Letter-man Show. I'm such a huge fan of Stevethat I almost didn't give Anton a chance. Hegradually made himself appreciated,though, and nowadays I enjoy listening tohim play. He's one of the physicallystrongest drummers—which normally I'mnot a big fan of—but Anton is one of thefew guys who pulls it off real well."

Steve Jordan—"He's a comical guy witha great sense of humor, and I think that'sone of the driving forces behind his playing.Steve is one of the funkiest drummers you'llever hear. He's definitely a New York drum-mer to me, yet he is so spread out in histaste. I heard him play on some songs in thestudios and thought, 'Man, where does thatgroove come from?' It's not New Orleans,yet it is. It's not a New York street thing, yetit has a bit of that. He comes up with thosekinds of grooves all the time. Then he playsso assertively. He's just plain funky andbad."

Charley Drayton—"As for his personality,he is wonderfully innocent and inquisitiveand a great lover of music. He's kind of asoft-spoken guy. There's some good contra-diction in his personality and playing as well.Charley is a hard hitter who plays so downin the groove that you can't help but beinfected by it. The fact that he is also a bassplayer, guitar player, and songwriter makeshim somebody who plays for the song. I loveto watch Charley play."

Ringo—"As for his personality, I would sayhis playing really epitomizes him. He's won-derfully witty, and yet he's very downhome—kind of soulful Liverpool—that's hispersonality. His deep Liverpool accent andhis funny Liverpool mannerisms are totallymanifested in his playing. If the Beetlerecords aren't enough to convince you that

Ringo is one of the greatest rock drummersever, you should listen to the live BBC tapes.Live, with probably no more than four mic'sfor the whole group, Ringo played simplythe best rock 'n' roll drums with the mosthonest feel you have ever heard."

Peter Erskine—"What comes to mindright away is a big mustache and a littlefunny smile, [laughs] A real amiable guywho plays with impeccable taste. I think ofPeter as intellectual in his playing, but alongwith that comes great feeling and a love formusic that shows."

Steve Ferrone—"The epitome of a guywith confidence without any outward sign ofcockiness—just pure confidence. His playingis a perfect match-up. There doesn't seemto be any contradiction there at all. His play-ing is real solid and real strong, and italways fits."

Charlie Watts—"Charlie, of course, is theBasil Rathbone of rock—a true Englishcountry gentleman. He's soft-spoken andone of the most knowledgeable drummers Iknow on the subject of jazz. And he's defi-nitely one of the biggest fans of jazz, whichis a wonderful contradiction to me sincehe's one of the most imitated rock drum-mers in the world. In his own playing, heepitomizes that wonderfully loose, real rockfeel—desperate sounding, but relaxed at thesame time. He doesn't stay up on the top ofthe beat, but you would swear he is some-times because of the amount of energy thathe's creating. Charlie's very easy to take forgranted because of the band he's in. He'sdefinitely played on some of the greatestrock 'n' roll songs of all time, but if you geta chance to see him in person, then youreally get to see what it's all about. I'vealways loved the way Charlie plays time."

Jeff Watts—"Jeff's a very articulate andwarm personality. I met him a few monthsago at Oceanway Studios; I was working inStudio 2 and he was in Studio 1. The loungefor Studio 2 is situated next to the controlroom of Studio 1, so sometimes you canhear playbacks from 1 very clearly. He wasin with Branford Marsalis. I'm not exactlysure what the project was, but it was a realthrill to hear some actual smoking jazz com-ing out of that room. It's just great to hear ayoung guy playing great jazz. Jeff Wattsseems to be tipping his hat to the past whilekeeping his eye to the future."

Kenny Aronoff—"One of the best all-around studio drummers in the world. He'sgot an outgoing personality, a great sense ofhumor, and an excellent attitude. He's alsoa very hard hitter who manages to still playcool stuff with great feel. Kenny knows howto play for the song."

Tony Williams—"Personality-wise, I've

always thought he would be kind of hard toget to know. But he seems to be this veryforthright, outspoken kind of guy, and that'sthe way he approaches the drums. Every-thing about the man exemplifies taste andsoul combined with a deep groove and cre-ativity. Not only is he the greatest drummerin the world—I just saw him with his band atCatalina's playing two sets a night of hisown compositions, and there is no questionthat he is the greatest—but he has becomean incredible jazz and classical composer aswell. Tony Williams truly embodies all thebest of everything that I've said about every-body else."

KELTNER ON DRUMMERS

T H E D R U M M E R

Getting BackOn The Scene

by Carl J. Zack

When you were in high school, you wereconsidered hot. You played all the time inbig bands, combos, trios, shows, jazzgroups, rock bands. You never passed upa chance to play. You practiced until theneighbors called to complain. You lookedforward to attending the National StageBand Camp every summer, and rubbingelbows with members of Stan Kenton'sband. Then you went to college, andmusic became secondary in your plansfor the rest of your life. You graduatedand started your career. You even soldyour kit. But the passion was still burn-ing. You continued to read down beat andModern Drummer. You went to jazz festi-vals. You listened.

Finally, years later, you bought a usedkit and started practicing again in yourbasement. You played with the best:Basie, Miles, Buddy—on records ofcourse—and you fantasized about gettingback on the scene. But you were appre-hensive about playing out. You lackedself-confidence, feeling that all the youngplayers you'd heard had passed you intechnique and musicality. Who'd want toplay with someone who wasn't hip to thelatest rhythms and sounds? You werecontent playing with records and usingyour drumming as therapy from a hecticworkday.

Then it happened. You got a call to playa jam session with other musicians whoalso hadn't played out in years. Panic setin. You wanted to do it, but you felt inse-cure. You thought they'd expect SteveGadd and you didn't want to disappointthem. Then you figured—what the heck,why not give it a shot!

Sound familiar? I've talked to othermusicians my age who've been playing bythemselves for many years, and who

shared similar feelings. We all wanted toplay, but we were sure that no one wouldwant to jam with us since we'd been outof circulation for so long. Well, now thatwe've found each other, we're playingtwice a week and getting back in thegroove—and we're having a ball!

Of course, I spent a considerableamount of time woodshedding before Igot up the courage to playwith a band again, andthe process I wentthrough to prepare forthat big moment mightbe useful to other drum-mers in a similar situa-tion. At the very least, thefollowing tips will helpyou regain your chops.

"Yourchops willcome back,but it takespatience

andpractice."

1) Establish a practiceroutine: Before dinner,after dinner—whenever.There's just no way toavoid it. You have to putin some serious time ifyou're sincere about get-ting back into shape. Ittake discipline to do this.No one can run a mar-athon without training forit. Playing drums requires the sameintensity of effort.2) Practice on the pad: No one enjoysthis, but it's one of the best ways to start.Think of it as paying your dues for nothaving played for a while. If you reallyfind it a drag, put pads on your kit. I did,and they enable me to practice for hourswithout driving my wife crazy.3) Count: Remember that you'll beexpected to keep solid time when you goout and play. I can still hear my motheryelling from the kitchen when I practicedas a youth: "le&a 2e&a," she hollered asthe 16th notes rolled erratically off mysticks. It wasn't exactly inspirational, butI've never forgotten her advice.4) Use a metronome: Don't be reluc-tant to use a metronome, especially ifyour time is a problem. In fact, a

metronome can be useful as a device toforce you to play evenly at different tem-pos. Start slowly and work your way up tothe faster tempos.5) Dig out the old books: Rememberthat everything you do has a rudimentalfoundation. I use the Charlie WilcoxinRudimental Solos book to help me withrudiments and reading. After a while, I

put the book away and devisemy own figures as I sing myfavorite jazz tunes. CharlieParker's "Confirmation" andBenny Golson's "BluesMarch" are good examples ofjazz tunes you can sing andplay rudimental improvisa-tions to. I also use TedReed's Progressive Steps ToSyncopation, Jim Chapin'sAdvanced Techniques ForThe Modern Drummer, andlead sheets, all of which haveproven helpful as I workedback into shape. Check outyour local music store andsee if there are any newbooks that might interestyou. While the basics remainthe same, many great newbooks have been publishedthat could give you freshideas and maintain your

interest.6) Take some lessons: Though you mayfeel awkward about doing this at anadvanced age, assistance from a teachercould be the best route to take to hastenyour return to the bandstand.7) Concentrate: Avoid thinking aboutanything other than what you're practic-ing. That problem at work will still bethere in the morning. This is your time toconcentrate on something you do volun-tarily and that brings you pleasure. Whenyou do finally get on the bandstand, you'llbe glad you developed your concentra-tion—especially if you're the only onewho keeps good time!8) Analyze records: This is an impor-tant aspect of getting back into shape.What's happening musically? Can youwrite out the form of the tune? Are there

J O B B I N G

Pre-SessionPreparation

any tricky figures? Write out the ideas youhear. There's much to be learned just bylistening.9) Play along with records: Forstarters, play only with those that requireyou to keep time—no fills, no solos. Don'toverplay; keep it simple. Later, you canwork your way up to the more compli-cated recordings. Also, be sure to playalong with a variety of music: rock, Latin,swing, small combos, and big bands. Younever know what you'll be called upon toplay when you get to your first jam ses-sion, so be prepared.10) Watch videos: If you have a VCR,you can take advantage of some of thegreat videos out by the best drummers onthe scene. There's no crime in stealing afew Steve Gadd licks. Videos offer theopportunity to see how it's done, so checkthem out.11) Don't get discouraged: I can guar-antee that at first you won't have thespeed, stamina, or coordination you hadas a youth. That's why you must practice.Your chops will come back, but it takespatience and practice.

time stood still for me. My confidencewas restored and I could enjoy the rest ofthe session. Later we all marvelled at howgreat we sounded.

Here are a few more tips to keep inmind at the session. While they may notget you the gig with Wynton Marsalis,they'll surely increase your chances ofgetting called back to play more sessions.1) Be attentive: Listen to what's goingon around you. No one wants to play withsomeone whose mind is on somethingother than the music, or who isn't payingclose attention to what's happeningmusically.2) Think about dynamics: Don't playloudly if everyone else is playing softly,and never overplay. You can be the driver,but think about the road you're on.3) Ask questions: If you don't know thetune, ask about it. What's the form?What's the tempo? Are there any breaks?Is there anything unique about the tuneyou need to know?4) Keep solid time: Keeping good timeis the primary reason you're there.5) Remain confident: Be willing toaccept direction and constructive criti-cism. If you make a mistake, don't stopand pout. Keep playing. Everyone makesmistakes. Just correct your mistake thenext time around.6) Concentrate: Just because you playedgreat for most of the tune doesn't meanyou should let up before the coda. Toparaphrase Yogi Berra, "It ain't over tillit's over."7) Take notes: Write down figures ortime signatures that didn't come easily.Then go home and practice them so youcan feel comfortable at the next session. Ioften go to record stores and hunt downthe tunes we've played so I can hear theoriginal versions and get some ideas. Imay not nail a figure the first timethrough, but you can be sure I'll get it thenext time.One final thought: Keep in mind,though you may not play like Steve Gadd,he probably can't do what you do to earn aliving either!

The SessionSure, I was nervous at the first jam ses-

sion. I set up my vintage four-pieceGretsch kit that I'd carefully refinished. Icommented on how many great playershad used a similar kit, in the hopes thatthis connection would make the groupfeel as if they were playing with ArtBlakey, instead of someone who hadn'tplayed out in over two decades! I wasafraid that I wouldn't keep good time. Ikept hearing Chubby Jackson (the greatbass player) coaxing me on as he did atcamp in 1964.1 tried to recall all the tipsI'd learned from all my old teachers.

I looked around and there we were: adoctor, a lawyer, a computer programmer,two professional musicians, and me.Finally, we were ready. Someone called"All The Things You Are" and counted itoff at a medium tempo. I couldn't believeit! There I was right back in the driver'sseat, swinging through the tune, tradingfours, catching Bird's ending. It was as if

JOHN TEMPESTA

tice "air-drumming" while growing upin the Bronx. "Sometimes when I was inmy room late at night and I didn't havemy drums, I would listen to a lot ofmusic through my headsets and air-playalong to it. I learned a lot of songs thatway.'' John also had his drums set up inthe backyard. "My Dad had built thisfiberglass shanty in the backyard, and I'dplay in there. You could hear my drumsat least three or four blocks away, so Idrove everybody nuts. The place sound-ed like it was miked up."

Getting back to Exodus, John's firstmajor recording with the band was theirlast album, Impact Is Imminent. Accord-ing to John, "That album was my firstrecord, and now I feel a lot more like partof the band than I did then. During thelast album, I was trying so hard to fit intothe whole mold of the kind of musicExodus plays."

When asked to be more specific abouthis disappointment with the last album,John admits that a lot of his disillusioncomes from the way his drums sound. "Iwasn't really crazy about the fact that mydrums weren't out front enough. Thereare songs where the double bass soundstotally buried. I just know it could havesounded so much better. The nextrecord, which we're working on now, isgoing to be really great, and the songsare going to be even more varied. I'mreally looking forward to that. It's goingto be called Count Your Blessings, and wehope we can get it out before the end ofthe year."

Previous to Exodus, John hadn't playedin anything like a speed or thrash metalband. So what is lurking in his back-ground? "Hard rock and heavy metal,"he replies. "Luckily I learned a lotwatching and listening to Charlie. Ithelped me to get that sound and style."

The "sound and style" of Exodus is afar cry from your average heavy metalsound. It's generally more athletic,faster, and quite a bit harder to control."It's pretty tricky because you have towatch out for your meter—not letting itgo up and down. Drummers sometimescheat when learning to play thrash as faras playing 16th notes. Some people justplay 8th notes on the hi-hat or whatever.But keeping it honest is important."

Tempesta's SetupDrumset: Sonor Hilite Exclu-sive in block finish with cop-per hardwareA. 7 x 14 Sonorlite woodsnareB. 8 x 8 tomC. 9 x 10 tomD. 11 x 12 tomE. 12 x 14 tomR 17 x 16 floor tomG. 18 x 18 floor tomH. 14 x 22 gong bass drumI. 17 x 24 bass drum

Cymbals: Paiste1. 14" Paiste dark crisp hi-hats2. 17" 3000 crash3. 20" Paiste thin China4. 18" Paiste full crash5. 12" 3000 rude splash6. 18" Paiste power crash7. 20" Paiste thin China8. 22" Paiste power ride9. 14" 3000 Soundedge hi-hats10. 20" Paiste full crash11.18" 3000 China

Hardware: All Sonor, exceptfor Tama Flexi Flyer bassdrum pedalsHeads: Remo C.S. Black Doton snare, clear Emperors ontops of toms and bass drumbatter heads, ebony Ambas-sadors on bottoms of toms,Timpani head on gong bassdrumSticks: Vic Firth Gregg Bis-sonette model

How did John make the jump from hardrock to the speed and fury of thrash soeffortlessly? "I had loved the musicbecause it has a lot of energy and becauseit has really good drumming in it, and Iwanted to put myself to the challenge ofplaying it."

What does John consider to be hisstrong points playing thrash? "Probablythe power behind my playing, and mystamina," he responds. "It's about keepinga heavy groove throughout the whole set.And then there's the speed, of course. It'shard to keep a heavy groove when you'replaying fast—much harder than if you'replaying slowly."

Tempesta claims his creative inspirationcomes from the band's guitar parts."There are some really off-the-wall kindsof riffs that come out of this music, and totry to collaborate with those is where thecreativity begins. I mainly try to keep itreal heavy, just playing along with it. Butwhen there are fills, I try to play more withthe riffs and make my parts tight withthem.

"When we're writing," John continues,"I keep it all pretty straight. Then after thesong's done, I'll see what I want to comeup with. With this kind of music, there's a

lot of playing that can be done, if you wantto take it far. On the last album, I don't feelI opened up enough, because it was myfirst album. The old drummer, Tom, usedto do a lot compared to what I did on thelast album. My style is totally differentfrom his. I'm more of an in-the-pocketplayer, but I still want to do differentthings—not to overplay—but to stick out alittle bit more on this next album. In fact,when it comes to writing, I want to dosomething different on every album."

John maintains that the input concern-ing compositions is delivered by the entireband. "We jam together and work a songout from there," he says. "I like to get a lotof the early ideas on tape so that I can goback to the studio alone and figure outwhat I can add to it."

Tempesta's stint as a drum tech waspartially a product of his love for "themechanics of drumming," as he explains."I used to be a street messenger in NewYork, and I would purposely go by 48thStreet all the time so I could check out theequipment stores. I just love everythingabout drums and putting them all togeth-er. I'd visit my friend Marco, who works ina store down there, and he'd help me outwith things I needed. He's still always

there for me."Another factor in John's getting into

teaching was his friendship with CharlieBenante, with whom he is still close. "Ihave a lot of good friends out there whoare drummers," he begins. "I met Charliein high school, and he would come andwatch me play in the band I was in. Afterhigh school, I would go to his house, andhe'd play guitar—he's really good—and Iwould play on his drums. We would jamtogether on old Motorhead, Saxon, andMaiden songs.

"It wasn't as though I was a drum techlooking for a job," John continues. "Itcame about kind of as a goof. I was in aband called Jackal at the time, but weweren't doing much. I went down toAnthrax's rehearsal studio, where theywere getting ready to go on tour, and theyasked me, in a way that sounded like ajoke, if I wanted to go on tour with them inEurope for a couple of weeks. I said, 'Real-ly? I'll do it.' I thought it would be a greatway to see Europe. It happened to be thelast leg of Metallica's Master Of Puppetstour, so they did that for two weeks andthen some headlining shows. After that,they were going to Japan, so how could Iturn that down? It was a great experiencefor me, and we all had a blast, plus Ilearned so much from Charlie. He has thefeet of death, so watching him helped melater on when I joined Exodus."

Long before he was in Exodus, Tempes-ta was playing in hard rock bands in NewYork. He was raised on the likes of Aero-smith, KISS, and Black Sabbath, largelydue to the influence of his older brother.When the "drumbug" bit, John explainsthat he cultivated his palette to more of avariety. "The more into drums I got, themore I got into the aspects of great drum-ming and jazz. My friend and teacher atthe time, John Spina, really got me intoSteve Gadd on Steely Dan's Aja album.John could play that, and I was reallyblown away. I got to a point where I wasreally into progressive rock and jazz, and Ibasically put metal aside for a while. Imean, Terry Bozzio is my favorite drum-mer, and I would just sit at home and lis-ten to U.K. Live and the Brecker Brothers'Heavy Metal Be-Bop and just get soinspired. I also was into Simon Phillips,Tommy Aldridge, and Cozy Powell, andone of the best double bass players of alltime, Barriemore Barlow.

"A lot of drummers that I meet thesedays who play this type of music listen todifferent kinds of music, and from thoseinfluences, everyone has their own style,and it sticks out. Everyone being inter-viewed for this article is a really gooddrummer. R.J. is into jazz; we talk aboutthe same kinds of influences we have. Vin-nie is a real pumping drummer, and Shan-non is really unique. This kind of drum-ming allows you to have unlimited influ-ences. There are so many things that youcan bring to it."

VINNIE PAUL

the missing elements: He's a great front-man with a lot of attitude. From there,we homed in on our own direction, got amajor label deal, and did the last albumthe way we wanted to. Now it's startingto happen for us in a big way."

Vinnie lists John Bonham, Mickey Dee(King Diamond), and Alex Van Halen ashis biggest influences. Those heavyinfluences have resulted in Vinnie fondlybeing called "The Brick Wall." "I am areal hard player," he explains. "I'm realsolid. If I can't play something that's realsolid, something that the band can playoff of, then I'll change it to fit. With thistype of music, you're up against Marshallstacks and a screaming lead vocalist, andif you don't work closely with your soundguy, your drum sound is not gonna hap-pen. You'll see a lot of thrash drummerswho are grooving along and the snare'spopping real good. Then they'll go to afast part, and the power's gone. All of asudden they're barely hitting their snaredrum, the gate on the mic' closes down,and you can't hear them."

Being an engineer has been a benefitfor Vinnie while recording with Pantera."I know a lot about sounds," he says,"and the most important thing on arecord as far as sounds is getting theright drum sound. That's the hardestthing to capture, because there are somany different instruments on thedrumset itself: the cymbals, the snaredrum, the bass drum.... A lot of peopleoverlook EQing the drums properly. A lotof times people will put mic's on themand that's it. The producer, Terry Date,and I got the drum sounds together, andwe did a lot of special, tricky stuff thatneither of us had done before. I knewwhat sounds I was looking for, and weexperimented until we found out exactlywhat it took.

"Between me and Terry, we prettymuch produced the record," says Vinnie."We had recorded the album in demoform, and the label was real happy withit; they just wanted a really quality sound.That's why Terry came in. We tried dif-ferent miking techniques, and I usedwooden mallets on my kick drums,which a lot of people find too hard toplay. I placed quarters on the headswhere the beaters struck to get the kindof attack I wanted. A lot of people think

that you have to use some kind of trig-gering on your kick drum. My bassdrums' low end is really savage, butthey've got a killer top on them, too, andno triggering is used. I use overheadmic's on the kick drum, which most peo-ple would never dream of using. I wantmy drums to just jump out and grab you.I don't like a 'tone-y' drum, I like a drumwith a lot of bottom and a lot of attack sothat you hear every note, instead of justfeeling it as it goes by."Vinnie didn't start out as a double bass

drummer, but eventually cultivated thattechnique later on. "I learned how toplay double bass after I was playingdrums for about five years," he says. "Iknew nothing about it until I saw TommyAldridge playing with Pat Travers. Thatjust flipped me out; he was like the drumgod. Then when he joined Ozzy, I wasreally into that, so I started to get on itand learn the double bass. The hardestthing about it is to learn how to get yourlegs even. If you play single bass for along time, your left leg is kind of limp.You have to really work that leg up tomatch the stamina level of the otherone."

Vinnie explains that the overriding fac-tor to his developing strength as a thrashplayer is derived from touring incessant-ly. "My biggest help—and the band's,too—is that we played nightclubs forseven years before we got a major-labelrecord deal. We had no time to rehearse,so we'd just learn songs the night beforewe played them. We did three sets anight, six nights a week, with Sunday off.Then we'd have to drive 800 miles to thenext town. That was the biggest staminabuilder for us, and it's the thing that ismissing from a lot of performers today."

Pantera wrapped up a European tourwith Judas Priest this past spring, and onthe heels of that, completed anotherAmerican tour. The band was scheduledto hit the studio this summer for theforthcoming album. "It's gonna be calledA Vulgar Display Of Power" says Vinnie."It's gonna be a heavy mother of analbum, and even more groove-orientedthan the last one. We try to write songsthat young people can relate to, songsthat mean something to them lyrically,while still having plenty of aggression."

R.J. HERRERA

As most musicians who can recognize adevelopment of their studio techniques,Herrera prefers his most recent recording,the Grammy-nominated Lights...Cam-era... Revolution!, to those previous to it."And I'm really confident that the nextalbum will be even better," he enthuses."The band keeps growing musically—andin popularity, too—which is good, becausewe've been at it a long time. A lot of thestuff we're coming out with now has a lotof hard rock in it. The last album even hada track with an R&B feel to it. It's prettystraight-ahead, yet the guitar parts have

gotten more intricate and more melodic.We don't want to just be categorized as'thrash' or 'speed metal,' so I think we'veopened up new directions for ourselves.Judging by the Grammy nomination andthe press we've received, a lot of otherpeople seem to agree.

SHANNON LARKIN

bands who got signed who all sound thesame. But the bands that are going to bearound are the ones with somethingunique about them."

Shannon's playing and the music on 3-D (the group's second outing) has beenreceiving high praise since that album'srelease last year. Wrathchild's biting, wittysocial commentary is part of the story(Shannon writes 80% of the lyrics), butmuch has also been credited to the musi-cianship, especially Larkin's progressivethrash drumming. "We definitely use a lotof different styles," he explains. "I'm notbacked into a corner where I have to playeither lightning-fast or slow and powerful.We usually go off in a blues jam, or aswing jam—even reggae. I really love toplay reggae. I definitely have a lot of free-dom in this band, because when we writethe songs, it's not just two of us, it's allfour of us. Everyone has total input. I tryto go out into left field without making apart sound like it's cut into a song. If I canblend in a groove smoothly, then I'mhappy."

Wrathchild America should be studio-bound by early '92, once their long tour-ing commitments to 3-D have been com-pleted. According to Shannon, "Style-wise, I've found something that I think isoriginal, and I hope other people will aswell."

A D I F F E R E N T V I E W

Pat Methenyby Rick Mattingly

"In any situation I play in," says guitarist PatMetheny, "the drummer is the mostimportant member of the band. I've been

really lucky to have played with some of the great-est drummers in the world. And I've always learnedthe most from drummers."

Metheny's association with drummers falls intotwo categories: the drummers in the Pat MethenyGroup, and the drummers he has played with inother situations. "It's easiest for me to talk about theGroup," he says, "because with both Danny Gottlieb and PaulWertico, hours and hours were spent discussing the role of thedrums in the group, how it related to me as a player, and whatspecifically I wanted from those guys. The Group requires a realspecific kind of playing, and so far I've only found two people whocan do all of the things I need a drummer to do: Danny and Paul."

As Metheny sees it, the drummer has more control over themusic than any other band member. "I have a highly volatile rela-tionship with that person," Pat laughs. "That's who I have to be inconstant communication with about how the set is being paced,the way the solos are going to flow—everything about the way thegroup sounds is really in the hands of the drummer. If the drum-mer has a good night, we all have a good night."

Because of the importance of the drums, the Metheny Groupsets up very close together so that they can balance their soundfrom the drumset. "We want to function from live dynamics," Patexplains. "We rarely put drums in the monitors. Even though weare a very electric band, we're still letting the drums control thedynamics. As soon as you put the drums in the monitors, you'rebalancing against another electronic element, which is under thecontrol of somebody else. So we've always made it a policy that thedrums are going to set the dynamic range."

The drumkit itself is also important to Metheny. "With theGroup," he says, "the way the music actually sounds is oftenequally important to the notes we write. I spend a lot of time withthe drummers checking out cymbals and giving lots of directionabout what types of sounds go with my guitar and the other ele-ments of the Group. When Paul first joined the band, he wasalready a great drummer, but he needed to work on the details ofhis sound. For instance, it took us two tours to figure out exactlythe right sticks for the dynamic range we were aiming for, theright kind of set for him to use, the right cymbals, the right thisand that. To a lot of leaders, those things might seem superficial,but to me, they are essential parts of the whole sound. I can't seespending less energy thinking about that stuff than about whichguitar to use for a particular piece. In a way, it's more important,

because it's the thing all the rest of us are balancing to. The cym-bals and guitar are setting the top level of the dynamic range, so Iwant those cymbals to sound fan-tastic. I physically set up so thatmy left ear is right next to the drummer's main ride cymbal sothat I can really blend with that sound. I can also hear when acymbal is starting to go, or when the stick isn't brand new. Thoselittle details make a lot of difference to me."

Could one accuse Metheny of being a bit too nit-picky about thecondition of the drummer's equipment? "I have literally drivenboth Gottlieb and Wertico crazy," Pat laughs, "over little detailsthat they swear nobody hears but me. But the little details arewhat make the good stuff happen."

In regards to the playing itself, what does Metheny want from adrummer? "Like many musicians these days," Pat responds, "I'minterested in lots of different styles. As a guitar player, that's diffi-cult, but nothing compared to what it must be like for a drummer,who is expected to play everything from late '50s bebop to themost up-to-the-minute funk beat. Leaders expect drummers toknow everything that's gone down in pop music for the past 40years or so. That's a lot.

"In my case," he continues, "I not only expect the drummer tocover all the bases, but make it his own, too. That's somethingI've always asked from all the cats in the Group. I don't want tohear the straight studio version of a beat. I want to hear the PaulWertico version. It's the same thing I ask of my own playing. It'sour job to make it new every night, so I really want everyone tohave a point of view about the music we're playing.

"The stylistic jumps I ask of the drummer are different than alot of guys," Metheny adds, "because the other side of my careerhas been playing with great jazz drummers like Jack DeJohnetteand Billy Higgins. So before I would ever hire anybody to do any-thing, I would play a straight-ahead jazz tune with them and see ifthat vocabulary is covered. Because regardless of how far awaywe've gotten from that in the Group, the foundation for every-thing we do is bebop, and playing on changes, and that traditionfrom the '40s, '50s, and '60s. I have to have a guy who can do all of

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that. Paul, in particular, has a deep and thorough understanding ofRoy Haynes' breakthroughs, which, to me, are absolutely essentialelements of the drum vocabulary. It's hard for me to imagine play-ing seriously with somebody who didn't have that under his belt."

That brings up a comment Danny Gottlieb once made in MD.He recalled Metheny telling him that the Group's music shouldcombine elements of rock and jazz without sounding like eitherone. "Yeah, that's true," Pat says. "At the time we started, lettingthe cymbal carry the groove and yet playing rock kind of beats wassomething you only found in certain jazz, like '60s Blue Note stuffwith Tony Williams. He was an extremely important influence onvirtually all the younger musicians I've played with in terms ofthat incredible articulation on the ride cymbal.

"The sound of my Gibson 175 hollow-body guitar," Methenyelaborates, "is kind of midrange-y, which is in the same frequencyrange as toms. So if I'm playing with a drummer who's goingtotally crazy on the toms, I don't have a chance. Around the time Istarted my band in the late '70s, that was the peak of the heavytom, Mahavishnu-style fusion. I was sort of reacting against thaton an aesthetic level, but there was a practical thing, too. If Iwanted to play my main guitar atthe volume we were playing at, Ihad to clear up that upper mid-range area. The solution was tomake the time come more fromcymbals than from bass drum and aheavy backbeat.

"There were a few drummers atthat time—such as Jon Christen-sen, Barry Altschul, and, of course,Jack—who in a certain form of jazzwere putting a lot of attention todetail on the cymbals, and Danny'sthing was really an extension ofthat. Also, a big influence forme—and, I think, Danny too—wasAirto's playing on Chick Corea'sLight As A Feather, which wasincredibly interesting patterns induple-based music with the groovecoming from the ride cymbal. Our basic thrust was to getaway from the backbeat—have it sort of be implied, andhave it loose the way Elvin Jones and Tony Williams areloose—while playing even 8th-note type music."

Another requirement for a Metheny Group drummer isthat he be able to integrate his playing with sequencers."Playing with machines has been a long-standing issue with us,"Pat comments. "Around the time of the record Offramp in 1980,1got the Synclavier, which was five or six years ahead of MIDI. Asfar as I know, we were one of the first groups to actually dragSynclaviers or sequencers on the road.

"For years," he continues, "nobody had any idea we were doingit because it's really integrated with the band. It's not like we havea full percussion or drum part being played by a machine. It'salways kind of notched in with everything else. And Paul, along

with Steve Rodby, our bass player, is really good at making thosesequencers 'disappear,' as we like to say. Also, because we balanceour dynamics from the live drums, Paul can't wear headphones, sohe has to lock in with those sequences from the monitors.Although we're not rock 'n' roll loud, we generate a fair amount ofvolume on stage. So for him to keep everything in sync and stillplay with a lot of dynamics and attention to detail is an extremelyrare ability. Paul is a master at that. I'm never really aware of play-ing with a sequence anymore because I don't listen to it in mymonitors. All I listen to is Paul. So I'd say drummers also have tobe able to integrate with electronic stuff and make it feel good."

when the Metheny Group first started, Danny Gottliebwas the sole provider of the band's percussive elements.But with the Offramp album, percussionist Nana

Vasconcelos was added to the group, and since that time, therehas almost always been one or more percussion players. Has thatchanged the drummer's role? "Not that much," Methenyresponds, "because our reason for wanting Nana had to do withthe fact that we were using more and more synthesizers, and I

wanted to balance that by bring-ing in more natural sounds. AndNana's strength is more as acolorist than as a rhythm player.There were times that Nanawould lock into a groove withDanny, and suddenly we had arhythmic power that we'd neverhad before. But he was as likelyto be floating over the time andproviding colors as he was to befunctioning rhythmically withDanny.

"It's different now withMarcal, because he and Paulreally have a rhythmic teamrelationship. Part of it is thatMarcal is more of a rhythmplayer and less of a colorist thanNana, and part of it is the music

we are doing now. But at this point it's hard for me toimagine not having percussion in there."

And how do Gottlieb and Wertico compare?"Danny and Paul each have special grooves thatthey're good at," Pat answers, "but there are also a lotof similarities between the two. They are both very

sensitive and emotional players, and I always take that intoaccount. It's extremely important to me that the drummer betotally connected with the music. Everybody in the Group playsreally hard, and everybody—under fairly difficult conditions—needs to be able to draw from a deep place within themselves.That's a quality that both Danny and Paul have.

"Paul is more of a jazz drummer than Danny," Pat says. "Thereare some things I can do with him that I couldn't do with Danny.But Danny has a touch on the cymbals that is truly magic. I think

"Leaders expectdrummers to

know everythingthat's gone down

in pop musicfor the past

40 years or so.That's a lot."

it's because he used to be a cello player; he has an amazing con-trol over that last 10% of the dynamic range that a lot of drum-mers don't have. He really can make the drums sound like a musi-cal instrument."

Which recordings does Pat feel represent each drummer best?"Danny's thing was pretty consistent," Pat says, "but I'm remem-bering 'Sea Song' on Watercolors, where he had to keep thedynamics going without playing time, which he was always goodat. Also, on the Pat Metheny Group record, I always liked the wayhe played this little rock vamp on 'April Wind.' And Danny's play-ing on the live version of 'Are You Going With Me?' on the Travelsalbum is very good.

"Paul's entire performance on Still Life (Talking) is spectacular,and somewhat underrated. That was a very unusual set of music.There is practically no bass drum on that record because that'snot what the music needed. The bass didn't need to be reinforcedthat much. In fact, it needed quite a bitof room. So it opened up some possi-bilities for Paul to do some cool thingsbetween the snare and thecymbals—kind of Roy Haynes-ish, butmodern. In particular, there is a 6/8tune on there, and I remember whenthey did the basic track. I got totalchills listening to how burning thisthing was with very little bass drum. SoI would cite that entire record forPaul."

Pat's Pals

esides his playing with theGroup, Metheny has done avariety of projects with some

other distinguished drummers. "I'veplayed a lot with much older guys," Metheny begins, but thenchecks himself. "Well," he laughs, "not really much older, butestablished musicians who were heroes of mine.

"The first drummer I really played with," Metheny says, "who,to this day, is one of my favorites, is Tommy Ruskin. He's been themain drummer in Kansas City for the past 25 years or so. I wasincredibly lucky to start playing with Tommy when I was about 14;he was in his late 20's or early 30's. Tommy taught me everythingI needed to learn about playing bebop and getting a feel happen-ing. And it wasn't because he sat down and told me how to do it; itwas by example. Since leaving Kansas City, I've gotten to play withall kinds of great cats, but I go back and play with Tommy, and it'sat the same level as anyone I've played with. He's not as fancy orcomplex as someone like Jack, but he's got the same intense innergroove and pulse that all the great drummers have."

Metheny's first major gig was with Gary Burton. Bob Moseswas the drummer when Pat joined, and when Burton wasn't work-ing, Metheny and Moses would gig around the East Coast withbassist Jaco Pastorius. "Moses is probably the most underrateddrummer that I know," Pat says. "It's so rare to find a player whotruly has his own voice, which Moses does—and not just as adrummer. Moses has his own way of hearing music in general.

"Moses was the first drummer I played with who did thosekinds of 'New York' things like changing the rhythms up and kind

of messin' with you a little bit. Playing with Moses wasn't a freeride. As he saw it, the drums were right up there in the front lineto make things happen. Moses and I used to play duo for hoursand hours, and he did a lot to open me up as a musician.

"I also have to say," Pat adds, "that Moses was one of the firstguys who really cleared up for me just how important Roy Hayneswas in the evolution of drumming. Moses' playing, while totallyoriginal, is also an incredible tribute to Roy's breakthroughs. Andgoing back to the Group for a second, Danny and Paul are verymuch descendants of Roy's thing, and so is Jack DeJohnette, eachin his own way. It's similar to the way that Bill Frisell, JohnScofield, Mick Goodrick, John Abercrombie, and I are all descen-dants of Jim Hall. None of us sound exactly like Jim Hall, but he isin every note we play. And it's the same with those drummers andRoy."Metheny's next few albums were with his own band, but then he

made an album called 80/81,which featured Jack DeJohnette ondrums. They have gone on to worktogether in several different set-tings. "What can you say aboutJack that hasn't been said before?"Metheny asks. "He's an incrediblenatural and one of the genuine all-time giants. Jack has so many dif-ferent angles that he can approacheverything from, and he also hasunbelievable experience. You'dhave a hard time finding anothermusician who has played with thevariety of people he's worked with.And it's not that he just playedwith them; he has really helped

them and been part of their best work. I've seen him make peoplesound better than they really sound.

"Also," Pat says, "he's the best session musician I've ever seen,even though he's not generally considered that way. But I had aninteresting experience with Jack on the first Mike Brecker album,which was one of the few times I've been a Sideman who justwalked in, rehearsed the music once or twice, and the next thingyou know you're recording. I was amazed at how quickly Jack fig-ured out the form of the tune and how he was going to play it. Andeverything was so right, instantly. I was still trying to figure out ifthis was the first ending or the second ending," Metheny laughs,"and Jack was like, dealing. So I was completely impressed."

Metheny's next project away from the Group was a trio withbassist Charlie Haden and drummer Billy Higgins. "With Billy,"Pat says, "you can't separate the musician from the person.Anybody who has ever seen Billy play for 30 seconds can see thatthis is another of the truly great souls in music. For him, music isa manifestation of the best part of his soul and being. And everynote he plays is covered with his Billy Higgins-ness.

"With the drummers I was used to working with," Pat explains,"the general scheme of things was to start medium, build a littlebit, build a little bit more, and by the last chorus be really bashing.Billy is unique in that he doesn't ever bash. He always keepsthings crisp and under control. His way of building things is

Listed below are the drummers who have recorded withPat Metheny, and Metheny albums on which they appear.Bob Moses: Bright Size Life (ECM)Danny Gottlieb: Watercolors, Pat Metheny Group,

American Garage, Offramp, Travels (all on ECM)Jack DeJohnette: 80/81 (ECM), SongX (Geffen)

[Metheny also appears on Dejohnette's albumParallel Realities (MCA).]

Billy Higgins: Rejoicing (ECM)Paul Wertico: Falcon & The Snowman (EMI),

First Circle (ECM), Still Life (Talking)(Geffen), Letter From Home (Geffen)

Roy Haynes: Question And Answer (Geffen)B

through absolute musical construction. It's never through a cava-lier use of volume. And it made me realize that I had become sortof dependant on the drummer going nuts at a certain point inorder for me to finish my statements. It was incredibly valuablefor me to be in a situation where there was a level of disciplinethat would stop the music from going into quadruple exclama-tion-point mode. It was always very intense, but much softer thanwhat I had usually played with."

The most recent side project for Metheny is his trio with drum-mer Roy Haynes. "The first thing you have to ask about Roy,"Metheny says, "is why is this guy not more recognized by the gen-eral jazz public? So many musicians have been directly affected byhis breakthroughs. They should give this guy the PresidentialAchievement Award, because it's rare to find somebody who'sstayed current through five decades of any single music's develop-ment, which Roy has, and it's hard to find somebody who consis-tently sounds so good. I recently did two months of touring withRoy, and it was a total mind blower in terms of music. He wouldplay a long solo each night that you could transcribe and make apercussion ensemble piece out of. His conception of form is soadvanced. He's the greatest."

Earlier, Metheny spoke of drums being in the same register ashis hollow-body guitar, which is why Metheny Group drummersuse cymbals so much. What about drummers such as Haynes andDeJohnette, who are very interactive with their snare drums andtoms? "With Roy," Pat replies, "it's not a problem, because hetunes his drums so high that there is no conflict. With Jack, it's

something we've talked about a lot. Of all the drummers I'veplayed with, Jack easily plays the loudest. As much as there is anelement of Roy in Jack's playing, there is also a very strong Elvinthing in there. With Jack, you almost have to have a tenor saxapproach; you have to be able to really get in there with him. If Istart to play in the low register of the 175 guitar with Jack andthose Sonor drums, there are potential problems. So with Jack, Ioften find myself playing a solid body, because it cuts a little morein the low register."

Besides the drummers on his own albums, Metheny has workedwith other prominent players over the years. In 1990, he and PeterErskine appeared together on Gary Burton's Reunion album andtour. "I've known Peter for years," Pat says. "I first met him whenhe was with Kenton, and then, of course, Jaco used to talk abouthim a lot. In fact, Peter and I played duo at a benefit for Jaco afterhis death. Peter has just kept expanding his world. Working withhim on Gary's project was a total treat.

"Two drummers I've played with but haven't recorded with areBilly Hart and Al Foster," Pat adds. "They are both real favorites ofmine. I've always loved Jon Christensen, too. I've only played withhim a few times, but I've often used him as a model for guys, like'check this guy out.' I did a tour with Paul Motian in the early1980s that I loved. Recently, in Brazil, I've been playing withPaulinho Braga, who is one of the most important figures inBrazilian music. He was one of the first to integrate the 'sambaschool'-type rhythms into the drumkit. He is also a great jazzdrummer."

hen first approached about doing an interview for MD\ which he would discuss drummers, Metheny saidthat he would be happy to, as he frequently reads

Modern Drummer. "Knowing what's happening in the drumworld," he says, "is an important part of what I have to do as amusician to improve. Many of the best musicians I know, likeKeith Jarrett, Chick Corea, or Michael Brecker, can sit down atthe drums and make some stuff happen. There is a funny picturefloating around of Jack and me playing at a jam session in France,where I'm playing drums and he's playing bass. We used to sit inas that rhythm section whenever we got the chance. I can't playthe drums like a real drummer, but I can make the stuff swing alittle bit, and I think it's important for everybody to be able to sitdown at the drumkit and make a little bit of stuff happen.

"By the same token," Metheny continues, "I feel it's extremelyimportant for drummers to know at least a little about how har-mony works. It's really great to work with drummers like BobMoses or Peter Erskine, who have made it their business to learnabout that stuff.

"I have a lot of sympathy and respect for what the drummer in1991 has to know," Pat says. "It's hard for any musician to come toterms with all of the music that has led up to this point, but Ithink it's a little bit harder for drummers, because the drums areso important in popular forms of music, and there is so much toabsorb. When I think of kids who are just now taking up thedrums, man, they've got their work cut out for them. There's a lotto know. So my hat is off to drummers, that's for sure."

w

U of South FloridaDept of MusicTampa, FL 33620813-974-2311Prof McCormick, Robert (M) 1,4

U of TampaDept of MusicTampa, FL 33606813-253-6212Adj Coash, David (M) 1

GEORGIAAlbany State ColDept of Fine ArtsAlbany, GA 31705912-430-4849Asst Prof James, Robert (M) 1, 4,11, 13

Armstrong State ColDept of Music11935 Abercorn StSavannah, GA 31419912-927-5325Inst PT Scaglione, Dano (B) 1, 4

Augusta ColDept of Fine ArtsAugusta, GA 30910404-737-1453PT Brooks, Katherine (M) 1

Berry ColDept of MusicBox 309, Mt Berry StaRome, GA 30149404-236-2289Adj lnst Inalis, Gene (M) 1.4

Columbus ColDept of MusicColumbus, GA 31993404-568-2049Inst PT Chadwick, Thomas 1

DeKalb ColDept of Music555 N Indian Creek DrClarkston, GA 30021-2396404-299-4136PT Cebulski, Michael (M) 1,4

Emory UDept of Music535 Kilgo CirAtlanta, GA 30322404-727-6445PT Cebulski, Michael (M) 1,4Adj PT von Ravensburg, Scott (M) 1Adj PT Yancich, Mark (M) 1

Georgia Instof TechnologyDept of MusicAtlanta, GA 30332404-894-3193Asst Prof PT Johnson, Bucky (M) 1,13, 22

Georgia Southern UDept of MusicLB 8052Statesboro, GA 30460912-681-5396Assoc Prof Michaelson, Jerrold (D) 1,4, 7, 10,11

Georgia State USchool of MusicUniversity PlzAtlanta, GA 30303404-651-3676LectPT Bell, Jack (B) 1Inst PT Coleman, Robert (B) 1, 5Inst PT Kershner, Jeffrey (M) 3,4Inst PT Lawless, John (B) 1Inst PT Yancich, Mark (M) 2

Paine ColDept of Music1235 15 StAugusta, GA 30910404-722-4471 X306Asst Prof Webber, Allen (M) 1, 16, 35

Truett-McConnell ColDept of MusicCleveland, GA 30528404-865-5688Inst Simms, Larry (M) 1

U of GeorgiaSchool of MusicAthens, GA 30602404-542-3737Assoc Prof McCutchen, Thomas (D) 1

Valdosta State ColDept of MusicValdosta, GA 31698912-333-5804Head Assoc Prof Morris, David (D) 1,4,11, 16, 19

West Georgia ColDept of MusicCarrollton, GA 30118404-836-6516PT Inst Lawless, John (B) 1

COLLEGE BOUND DRUMMER

HAWAIIU of Hawaii at HiloPerforming ArtsHumanities Div-CASHilo, HI 96720808-933-3308Lect Hursey, John (M) 1

U of HawaiiDept of Music2411 Dole StHonolulu, HI 96822808-948-7756Lect Russell, Lois(Dipl) 1,4Lect Yabiku, Wayne (B) 1

IDAHOBoise State UDept of MusicBoise, ID 83725208-385-1771Prof Baldwin, John (D) 1,4,13, 16

Col of IdahoDept of MusicCaldwell, ID 83605208-459-5227PT Flaherty, Patrick (M) 1

Idaho State UDept of MusicPocatello, ID 83209208-236-3636Inst Cole, Brian (M) 1,4, 11

Ricks ColDept of MusicRexburg, ID 83440208-356-1260Adj Landauer, Richard (B) 1

U of IdahoL Hampton School of MusicMoscow, ID 83843208-885-6231Prof Bukvich, Daniel (M) 1,4, 5, 13, 35

ILLINOISAmerican Conservof Music16 N Wabash Av #1850Chicago, IL 60602-4792312-263-4161Adj Dash, Patricia (B) 1Adj Donaldson, Frank (B) 1Adj Gratteau, Phil (B) 1,18Adj Smith, Mark (M) 1,4, 17, 18Chmn Stirtz, Brad (M) 1,4, 17, 18,24

Augustana ColDept of MusicRock Island, IL 61201309-794-7233PT Doyle, Patrick (B) 1PT Loftin, Dennis (2) 3

Belleville Area ColDept of MusicBelleville, IL 62221618-235-2700Inst Bolen, Jerry (M) 1,5, 13, 16,29

Bradley UDiv of MusicPeoria, IL 61625309-677-2595InstPT Wichterman, Paul (M) 1,4

Chicago State UDept of Music95 St at King DrChicago, IL 60628312-995-2155Inst Smith, Mark (M) 1,4, 17,24

Col of Lake CountyDept of Music19351 W Washington StGrayslake, IL 60030312-223-6601 X550Inst PT Varhula, Joe (Dipl) 1

Concordia UMusic Dept7400 Augusta StRiver Forest, IL 60305-1499708-209-3060Adj Harrison, Edward 1,4

De Paul USchool of Music804 W BeldenChicago, IL 60614312-341-6843Lect Payson, Albert (B) 1Lect Spencer, Joel (B) 1,24Lect Wessberg, Robert (M) 1

Eastern Illinois UDept of MusicCharleston, IL 61920217-581-3010Assoc Prof Lane, John (M) 1,4, 13

Elmhurst ColDept of Music190 S ProspectElmhurst, IL 60126708-617-3515

Teach Assoc Dodd, Clint (M) 1Teach Assoc Thamm, Duane (Dipl) 1,4

Governors State UDept of MusicUniversity Park, IL 60466708-534-5000PT Boo, Michael (M) 1

Illinois State UDept of MusicNormal, IL 61761-6901309-438-7631Inst Collier, David (M) 1,4, 13

Illinois Wesleyan USchool of MusicFOB, 2900Bloomington, IL 61702

309-556-3061Inst PT Bankert, Robert (M) 1,4,42

Lincoln Land Com ColMusic ProgramShepherd RdSpringfield, IL 62794-2200217-786-2320PT Niehaus,Gary (M) 1

Millikin USchool of Music1184 W Main StDecatur, IL 62522217-424-6300Assoc Prof Barnett, Wallace (M) 1,41Inst Adj Justison, Brian (M) 1Inst Moyer, James (D) 1, 13

Morton ColDept of Music3801 S Central AvCicero, IL 60650708-656-8000 X231Speriik, Robert (M) 1

Northeastern Illinois UDept of Music5500 N St Louis AvChicago, IL 60625312-583-4050 X3355PT Cohen, Joel (M) 1Prof Gangware, Edgar (D) 1,4,13,15

Northern Illinois USchool of MusicMusic Bldg 140DeKalb, IL 60115815-753-1551Assoc Prof Chappell, Robert (M) 1, 23, 24,43Asst Prof Holly, Richard (M) 1,16,24Prof O'Connor, G Allan (M) 1,4, 43

Northwestern USchool of Music711 Elgin RdEvanston, IL 60208708-491-7575Prof Applebaum, Terry (D) 1, 4Lect PT Carver, Bruce (M) 1Lect PT Dash, Patsy (B) 1Lect PT McCurdy, Everett (M) 1Lect PT Payson, Al (B) 1Lect PT Peters, Gordon 1,4

Quincy ColDept of MusicQuincy, IL 62301217-222-8020Asst Prof Koehler, Edward (M) 1,16,19,44

Roosevelt U Musical Col430 S Michigan AvChicago, IL 60605312-341-3780Lect PT Clouser, Doyle (M) 1Assoc Prof Poremba, Edward (B) 1,4

Sherwood ConservSchool of Music1014 S Michigan AvChicago, IL 60605312-427-6267Skoog, Donald (B) 1,24

Southern Illinois USchool of MusicCarbondale, IL 62901618-536-7505Assoc Prof Hanes, Michael (M) 1,4,13

South Suburban ColDept of MusicS Holland, IL 60473312-596-2000Smith, Mark (M) 1

Triton ColDept of Music2000 5 AvRiver Grove, IL 60171312-456-0300Carver, Bruce (M) 1,4

U of IllinoisSchool of Music1114 W Nevada St

Urbana, IL 61801217-333-2620Asst Prof Fair-child, Frederick (M)], 4Prof Siwe, Thomas (M) 1,4

U of Illinois at ChicagoDept of Music, M/C 255Box 4348Chicago, IL 60680312-996-2977Lect Cohen, Joel (M) 1

Vandercook Col of Music3209 S Michigan AvChicago, IL 60616312-225-6288Inst Jacoby, Marc (M) 1,4, 5, 16,24

Western Illinois UDept of MusicMacomb, IL 61455309-298-1544Prof Cheadle, Richard (M) 1,4

Wheaton ColConserv of MusicWheaton, IL 60187708-260-5098Assoc Prof Kastner, Kathleen (M) 1, 4, 11, 16, 17

William Rainey, Harper ColDept of Music1200 W Algonquin RdPalatine, IL 60067708-397-3000PT McClead, Mike (M) 1PT Sweigart, Steve (M) 4

INDIANAAnderson ColDept of MusicAnderson, IN 46012317-649-9071Inst Clark, Dane (B) 1

Ball State USchool of MusicMuncie, IN 47306317-285-5400Prof Mueller, Erwin(D)l,4

Butler U, Jordan Col of Fine Arts4600 Sunset AvIndianapolis, IN 46208317-283-9231Inst PT Berns, Paul (M) 1InstPT Hill, John (M) 1,4,24

De Pauw USchool of MusicGreencastle, IN 46135317-658-4380PT Hanna, Stephen (M) 1

Indiana State UDept of MusicTerre Haute, IN 47809812-237-2771Asst Prof Peterman, Timothy (M) 1, 16

Indiana USchool of MusicBloomington, IN 47405812-855-1582Chmn Prof Carlyss, Gerald (B) 1Assoc Prof England, Wilbur(M)lProf Roberts, William (B) 1,4

Indiana U-Purdue UDiv of Music2101 Coliseum Blvd EFt Wayne, IN 46805219-481-6714PT Dembar, Braham(M) 1,4

Marian ColDept of Music3200 Cold Spring RdIndianapolis, IN 46222317-929-0305Inst Gilfoy, John (M) 1

Indiana Wesleyan UDept of Music4201 S Washington StMarion, IN 46953317-677-2152PT Ways, Ron (M) 2, 3, 4

Purdue UDept of U BandsHall of Music, Rm 136W Lafayette, IN 47907317.494.3952PT Gartner, Kurt (M) 1

Taylor UDept of MusicUpland, IN 46989317-998-2751PT Adj Berheide, Bob (M) 1

U of EvansvilleDept of Music1800 Lincoln AvEvansville, IN 47722812-479-2754Inst Adj Tafoya, John (M) 1,4

U of IndianapolisDept of Music1400 E Hanna AvIndianapolis, IN 46227317-788-3255PT Gilfoy, Jack (M) 1

Valparaiso UDept of MusicValparaiso, IN 46383219-464-5454Adj PT Brown, Jeffrey (M) 1, 5, 18, 24, 45

Vincennes UMusic Dept1002 N 1 StVincennes, IN 47591812-885-4496Asst Prof Jackson, Sharon (M) 1,4,13

IOWABuena Vista ColDept of MusicStorm Lake, IA 50588712-749-2131PT Jensen, Roland 1

Coe ColDept of MusicCedar Rapids, IA 52402319-399-8521PT Harris, John 1

Cornell ColDept of MusicMtVernon, IA 52314319-895-4228PT Lawrence, Alan (M) 1

Drake UDept of MusicDesMoines, IA 50311515-271-3975Asst Prof Meunier, Robert (M) 1, 5, 13Prof Weast, Robert (M) 1,5,13,38

Grinnell ColDept of MusicBox 805Grinnell, IA50112515-269-3064PT Harris, John (B) 1

Iowa State UDept of MusicAmes, IA50011515-294-5364InstPT Geary, Michael (M) 1,40

Morningside ColDept of MusicSioux City, IA 51106712-274-5210PT Smith, Ronald 1

North Iowa Area Com ColMusic Dept500 College DrMason City, IA 50401515-421-4241Prof Klemas, John 1,5, 13,14,20

Northwestern ColDept of MusicOrange City, IA51041712-737-4821 X52Lect Kramer, Jerry (M) I

Teikyo Westmar UDept of MusicLemars, IA51031712-546-7081 X331Lect McMurray,Cliff2,3,41

U of IowaSchool of MusicIowa City, IA 52242319-335-1603Prof Davis, Thomas (M) 1,24

Wartburg ColMusic ProgramWaverly, IA 50677319-352-8214InstAdj Jacobson,AI(M)l,5

KANSASBethany ColDept of MusicLindsborg, KS 67456913-227-3311 XI38PTAdj Kranzler, Dean (M) 1

Emporia State UDiv of MusicEmporia, KS 66801316-343-5431Asst Prof Gage, Stephen (M) 1, 4, 10,13, 32

Fort Hays State UDept of MusicHays, KS 67601-4099913-628-4226Inst PT Kranzler, Dean (M) 1

Fort Scott Com ColDept of Music2108 S Morton St

Ft Scott, KS 66701316-223-2700X331Adj Abati, Willey (B) 1

Johnson County Com ColMusic Dept12345 College at QuiviraOverland Park, KS 66210913-469-8500Adj DeMarchi, Raymond (M) 1

Kansas State UDept of Music109 McCainManhattan, KS 66506913-532-5740AsstProf Finck, Stanley (M) I, 4, 13

McPherson ColDept of MusicPO B 1402McPherson, KS 67460316-241-0731Assoc Prof Kitzel, Larry (D) 1,5,13, 19, 20

St Mary of the Plains ColDept of MusicDodge City, KS 67801316-225-4171 XI77Adj Green, Ken (B) 1

The U of KansasDept of Music & DanceMurphy HallLawrence, KS 66045913-864-3436Prof Boberg, George (M) 1,4

Washburn UDept of MusicTopeka, KS 66621913-295-6511Inst Morgan, Tom (M) 1,4

Wichita State USchool of MusicWichita, KS 67208316-689-3500Prof Combs, Joseph (D) 1,19

KENTUCKYAsbury ColDept of MusicWilmore, KY 40390606-858-3511 XI24Adj Clayburn, Richard (M) 1

Bellarmine ColDept of MusicNewburg RdLouisville, KY 40205502-452-8224LectPT Bucheit, Sabra (M) 3, 16,42Lect PT Tate, Mark (M) 1

Berea ColDept of MusicCPOB 2352Berea, KY 40404606-986-9341 X5463Assoc Prof Little, John (D) 1, 6, 7, 13, 20

Cumberland ColDept of MusicWilliamsburg, KY 40769606-549-2200 X332Prof Wortman, Harold (D) 1, 7, 30, 35

Eastern Kentucky UDept of MusicRichmond, KY 40475606-623-3266Asst Prof James, Robert (D) 1,4,11,13

Kentucky State UDept of MusicFrankfort, KY 40601502-227-6496PT Griffin, Robert (M) 1,4

Morehead State UDept of MusicMorehead, KY 40351606-783-2473AsstProf Oddis, Frank (M) I, 4

Murray State UDept of MusicMurray, KY 42071502-762-6339Asst Prof VanArsdel, Tom (D) 1, 4, 11

U of KentuckySchool of MusicLexington, KY 40506606-257-4900Assoc Prof Campbell, James (M) 1, 4

U of LouisvilleSchool of MusicLouisville, KY 40292502-588-6907PT Rago, James 1,4

Western Kentucky UDept of MusicBowling Green, KY 42101502-745-3751Asst Prof Norton, Christopher(D) 1,4, 10,16,21

LOUISIANACentenary Col of LouisianaSchool of MusicShreveport, LA 71134318-869-5235Lect league, Chan (B) 1

Grambling State UDept of MusicGrambling,LA71245318-274-2682Lect PT league, William (B) 1

Louisiana ColDept of MusicPineville, LA 71359318-487-7336Inst Adj Dunbar, Lee (M) 1

Louisiana State USchool of MusicBaton Rouge, LA 70803504-388-3261Prof Asst Dean Raush, John (D) 1,4

Louisiana Tech UDept of MusicSchool of Perf ArtsRuston, LA 71272318-257-4233Inst Link, Michael (M) 1,11

Loyola UCol of Music

6363 St CharlesNew Orleans, LA 70118504-865-3037Inst PT Atwood, James 1Inst PT Vidacovich, John (B) 1

McNeese State UDept of MusicPOB92175Lake Charles, LA 70609318-475-5028Asst Prof Mahady, Terrance (D) 1

Northeast Louisiana USchool of Music4001 DesiardMonroe, LA 71209318-342-1570Inst Anderson, Larry (M) 1,4, 5, 13

Northwest State U of LADept of MusicNatchitoches, LA 71497318-357-4522Asst Prof Towry, Pam (M) 1, 6

Southern UDiv of MusicBaton Rouge, LA 70813504-771-3440Inst Dillon, Don (M) 1 ,11

U of New OrleansDept of MusicNew Orleans, LA 70148504-286-6381Adj Beach, Lee (M) 1Adj Lee, David 1

U of Southwestern LouisianaSchool of MusicPOB41207Lafayette, LA 70504318-231-6016Inst Mann, Michael (M) 1,13

MAINEU of MaineDept of MusicUniversity HtsAugusta, ME 04330 .207-622-7131 X323Lect Delgado, Alberto 3, 5Lect Demers, Richard 1Lect Graver, Steve 1,5, 24, 42

U of MaineDept of MusicOrono, ME 04469207-581-1240Asst Prof Marrs, Stuart (D) 1

U of Southern MaineDept of MusicGorham, ME 04038207-780-5265LectPT Smith, Nancy (B) 1,4

MARYLANDAnne Arundel Com ColDept of Music101 College PkyArnold, MD 21012301-647-7100PT Pallett, Kevin (M) 1

Essex Com ColDept of MusicBaltimore, MD21237301-522-1421Assoc Prof PT Watson, William (B) 2, 3,12,18

Frederick Com ColDept of MusicFrederick, MD 21701301-694-1259Inst PT Moore, Payne (B) 1

Frostburg State UDept of MusicFrostburg, MD 21532-1099301-689-4381InstPT Horner, Ronald (M) 1,4

Hagerstown Jr ColDept of Music751 Robinwood DrHagerstown, MD 21740301-790-2800X380PT Melville, Paul 1

Peabody Conserv of MusicJohns Hopkins U1 E Mt Vernon PIBaltimore, MD 21202301-659-8100Begun, Fred (B) 2Haas, Jonathan (M) 1Locke, John (B) 1

Prince Georges Com ColDept of Music301 Largo RdLargo, MD 20772301-322-0955PT Maley, Marshall (M) 1,4

St Mary's Col of MarylandDept of MusicSt Marys City, MD 20686301-862-0225PT Klotz, Sheila 1

Salisbury State UDept of MusicSalisbury, MD 21801301-543-6385Inst PT Smith, Charles (D) 1

Towson State UDept of MusicTowson, MD21204301-830-2143Inst PT Ashcraft, Steven (B) 1Inst PT Carr, Gary (B) 1Inst PT Menefee, Grant (M) 1Assoc Prof Rauschenberg, Dale (M) 1,4

U Maryland-Baltimore CityDept of Music5401 WilkensAvBaltimore, MD 21228301-455-2942Inst PT Anoff, Kenneth (B) 2, 3Prof Smith, Stuart (D)1,24,33

U of MarylandDept of MusicCollege Park, MD 20742301-405-5549Assoc Prof Barnett, Ronald (M) 1, 32

MASSACHUSETTSBerklee Col of Music1140 Boylston StBoston, MA 02215617-266-1400Chmn Perc Dept Anderson, Dean (M) 1Inst Froman, Ian (M) 1Asst Prof Graham, Gil (A) 1Inst Hall, Alan (B) 1Asst Prof Kaspik, Ed (B) 1Inst Mendoza, Victor (B) 1Asst Prof Ramsay, John 1Saindon, Edgar 1Inst Scott, Arvin (Dipl) 1Asst Prof Tamagni, Robert (M) 1Asst Prof Uribe, Eduardo (B) 1Asst Prof Warner, LuAnne (M) 1Asst Prof Wilkes, Steven (B) 1

The Boston Conserv8 The FenwayBoston, MA 02215617-536-6340Gordy, Matthew (M) 1,7Press, Arthur (Dipl) 1

Boston USchool of Music855 Commonwealth AvBoston, MA 02215617-353-3341Teach Assoc Gauger, Thomas (B) 1Teach Assoc Smith, Charles 1

Dean Jr ColDept of Music \Franklin, MA 02038508-528-9100X392PT Tokarczyk, Walter (M) 1,4

Holyoke Com ColDept of MusicHolyoke, MA 01040413-538-7000X482Kluger, Martin 1, 4

New England Conserv290 Huntington AvBoston, MA 02115617-262-1120Beale, Everett 1Buda, Frederick (B) 1,24Epstein, Frank (M) 1,32Firth, Everett (B) 1

Northeastern UDept of Music351 Ryder HallBoston, MA 02115617-437-2440Inst PT Cornelius, Steven (D) 1, 26

Southeastern Mass UDept of MusicCol of Visual & Perf ArtsN Dartmouth, MA 02747508-999-8568LectPT Lilly, Craig 1,4

U of LowellCol of MusicLowell, MA 01854508-934-3850Adj Buda, Fred (B) 1,5, 24Adj Fischer, Jeffrey (B) 1,4Adj Graver, Neil (B) 1,4

U of MassachusettsDept of Music & DanceAmherst, MA 01003413-545-4313ProfVstng Roach, Max 1,5, 46Prof Tanner, Peter (D) 1

Westfield State ColDept of Music

Westfield, MA 01086413-568-3311 X356PT Lepore, Richard (M) 1

MICHIGANAdrian ColDept of MusicAdrian, Ml 49221517-265-5161Lect PT Edwards, Bill 1

Aquinas ColDept of Music1607 Robinson Rd SEGrand Rapids, Ml 49506616-459-8281 X3408Lect Kettle, Rupert 1,4

Central Michigan UDept of MusicMt Pleasant, Ml 48859517-774-3281Prof Hohner, Robert (M) 1,4

Charles S Mott Com ColDept of Music1401 E Court StFlint, Ml 48503313-762-0200PT Oberman, Delaina (B) 4

Eastern Michigan UDept of MusicYpsilanti, Ml 48197313-487-0244Assoc Prof Prince, J Whitney (M) 1, 13

Hope ColDept of MusicHolland, Ml 49423616-394-7650PT Langejans, Thomas (M) 1,4

Kalamazoo ColDept of MusicKalamazoo, Ml 49007616-383-8511PT Guthrie,Mark(B)l,5

Northwestern Michigan ColDept of MusicTraverse City, Ml 49684616-922-1338PT Warne, David (M) 1,4

Oakland UDept of MusicRochester, Ml 48063313-370-2030Inst PT Maslanka, Daniel 1

Olivet ColSchool of MusicOlivet, Ml 49076616-749-7697Adj McMurtrey, Michael (M) 1,4

Siena Heights ColDept of Music1247 E Siena Mts DrAdrian, Ml 49221517-263-0731 X224Adj Purdie, Aaron 1

U of MichiganSchool of MusicAnn Arbor, Ml 48109313-764-0583Assoc Prof Udow, Michael (D) 1,4

Wayne State UDept of MusicDetroit, Ml 48202313-577-1795PT Clays, Keith 1PT Everts, Kendon 1,24PT Rabbio, Salvatore(B) 1, 32PT Ryan, James 1,24AsstProf Zelenak, Michael (M) 1,17

Western Michigan USchool of MusicKalamazoo, Ml 49008616-387-4672Asst Prof Moonert, Judy (M) 1, 4, 26

MINNESOTAAugsburg ColDept of Music73121AvSMinneapolis, MN 55454816-942-8400X252InstPT Heglund, Andy (B) 1

Bemidji State UDept of Music #53I5OO Birchmont Dr NEBemidji, MN 56601218-755-2915Asst Prof Chmn Runnels, Brian (M) 1,4,10, 21

Carleton ColDept of Music1 N College StNorthfield, MN 55057507-663-4347InstPT Johnson, Jay (M) 1

Col of Saint BenedictDept of MusicSt Joseph, MN 56374612-363-5684InstPT Holland, Michael (M) 1,4

Concordia ColDept of MusicMoorhead, MN 56562218-299-4414InstPT Eyler, David (D) 1, 4, 7

Gustavus Adolphus ColDept of MusicSt Peter, MN 56082507-931-7364Inst PT Morse, Mark (B) 1Assoc Prof Chmn Orpen, Rick (D) 1,4,6,7,16

Moorhead State UDept of MusicMoorhead, MN 56560216-236-2101InstPT Eyler, David (D)1,4,5

North Central Bible ColDept of Music910 Elliot Av SMinneapolis, MN 55404612-343-4700AsstProf Mills, Kevin 1,5, 12,13

Northwestern ColMusic Dept3003 Snelling Av NSt Paul, MN 55113612-631-5218Adj Babcock, Paul (B) 1,4

U of MinnesotaDept of MusicDuluth, MN 55812218-726-8208Inst Schmalenberger, David (M) 1, 5

U of MinnesotaSchool of Music21064StS, 200 FergusonMinneapolis, MN 55455612-624-5093Adj Dahlgren, Marvin (B) 1Adj Fine, Elliott (Dipl) 1Assoc Prof Schultz, Stephen (D) 1,15

U of MinnesotaDept of MusicMorris, MN 56267612-589-2211 X6234Asst Prof Svendsen, Dennis (D) 1, 11, 13

Box 1273Raymond, MS 39154601-857-3271PT Berthold, Sherwood (M) 1

Itawamba Com ColDept of MusicFulton, MS 38843601-862-3101Inst Burrell, Larry (M) 1,4, 13

Jackson State UDept of MusicJackson, MS 39217601-968-2141Inst Duplessis, Edward (M) 1,4,11,17

Mississippi Gulf Coast ColDept of MusicPerkinston, MS 39573

Hamline UDept of Music1536 Hewitt AvMail #67St Paul, MN 55104612-641-2438Inst PT Remsen, Eric (M) 1

MacAlester ColDept of MusicSt Paul, MN 55105 .612-696-6382Inst PT Holmquist, Joseph 1

Mankato State UDept of MusicBox 5Mankato, MN 56001507-389-2118Inst PT Orpen, Rick (D) 1

St Cloud State UDept of MusicPAC 238720 4 Av SSt Cloud, MN 56301612-255-3223Inst Vermillion, Terry (M) 1,5, 11,13,24

Saint Olaf ColDept of MusicNorthfield, MN 55057507-663-3180InstPT Adney, Robert 1,4

Southwest State UDept of MusicMarshall, MN 56258507-537-7234PT Marks, Craig (B) 1PT McKinney, James (M) 1

Winona State UDept of MusicWinona, MN 55987507-457-5250PT Schneller, Thomas (M) 1

MISSISSIPPIAlcorn State UDept of Fine ArtsLorman, MS 39096601-877-6261Inst Rashied, Ameen (M) 1, 4

Delta State UDept of MusicCleveland, MS 38733601-846-4615Prof Chmn Wheeler, Doug (D)1,4,17,19

Hinds Com ColDept of Music

601-928-6352PT Gill, Michael (D)1,4,13,48

Mississippi State UDept of MusicDrawer FMississippi State, MS 39762601-325-3070Prof Crowder, Peyton (D) 1,10, 38,49,50

Mississippi Valley State UDiv of MusicDept of Fine ArtsIttaBena, MS 38941601-254-9041 X6261Asst Prof Burkhead, Ricky (M) 1,4, 11

U of MississippiDept of MusicUniversity, MS 38677601-232-7268Asst Prof Bump, Michael (M) 1, 4,17

U of Southern MississippiSchool of MusicBox 5081 Southern StaHattiesburg, MS 39406-5081601-266-5363Prof Hong, Sherman (D) 1,4

MISSOURICentral Methodist ColSwinney Mus ConservFayette, MO 65248816-248-3391Inst Smith, Clarence (B) 1

Central Missouri State UDept of MusicWarrensburg, MO 64093816-429-4530Asst Prof Sekelsky, Michael (D) 1, 4, 13

Jefferson ColDept of MusicHillsboro, MO 63050314-789-3951PT Shelley, Kim (M) 1,4, 13,27

Lindenwood ColDept of MusicSt Charles, MO 63301314-949-2000InstAdj Walsh, Kevin (M) 1

Mineral Area ColDept of MusicFlat River, MO 63601314-431-4593Chmn O'Brien, Michael (M) 1, 6, 13, 16

Northeast Missouri State UDept of MusicKirksville, MO 63501

816-785-4417PT Hooley, Michael (M) 1Dir of Bands Peterson, Dan (M) 1,4, 13

Northwest MissouriState UDept of MusicMaryville, MO 64468816-562-1315Asst Prof Sergel, Alfred (M) 1,10,13

Southeast Missouri State UDept of Music1 Univ PlzCape Girardeau, MO 63701314-651-2141Assoc Prof Dunavan, Dan (D) 1, 4, 11, 13

Southwest Baptist UDept of MusicBolivar, MO 65613417-326-1630PT Wall, Russell (B) 1

SouthwestMissouri State UDept of MusicSpringfield, MO 65804417-836-5648Inst Cameron, James (M) 1,4, 13PT Swanson, Kenneth (M) 2, 15, 47

Three Rivers Com ColMusic DeptThree Rivers BlvdPoplar Bluff, MO 63901314-686-4101 X225InstPT White, William (M) 1,5, 11,13, 19

U of MissouriConserv of Music

4949 CherryKansas City, MO 64110816-235-2731Assoc Prof Wiley, Charmaine M 1, 4

Washington UDept of MusicCampus Box 1032St Louis, MO 63130314-889-5566Inst O'Donnell, Richard (Dipl) 1, 22

Webster UDept of Music470 E LockwoodSt Louis, MO 63119314-968-6900X7032Adj Coleman, Robert 1, 5Adj Gianino, Kevin (B) 1

William Jewell ColDept of MusicLiberty, MO 64068816-781-3806X415Inst PT de Marchi, Ray (M) 1

MONTANAEastern Montana ColDept of MusicBillings, MT 59101406-657-2350Asst Prof Wells, Mary (B) 1

Montana State UDept of MusicBozeman, MT 59717406-994-3561Assoc Prof Moore, Daniel (M) 1,4, 51

Rocky Mountain ColDept of Music

Billings, MT 59102406-657-1000/1112Adj Allen, Robert (M) 1,4

U of MontanaDept of MusicMissoula, MT 59812406-243-6880Asst Prof Ledbetter, Robert (M) 1, 4, 13

NEBRASKAHastings ColDept of MusicHastings, NE 68901402-463-2402 X448Assoc Prof Johnson, Duane (M) 1,15,28Assoc Prof Johnson, James (D) 1,16,19,21,55

Kearney State ColDept of MusicKearney, NE 68849308-234-8618Prof Crocker, Ronald (D) 1,8

Northeast Com ColDept of MusicPO B 469801 E Benjamin AvNorfolk, NE 68702402-371-2020PT Viergutz, Robert (B) 1, 18, 20

Peru State ColDept of MusicPeru, NE 68421402-872-2237Chmn Prof Edris, David (D) 1, 10, 11,20,27

U of NebraskaSchool of MusicLincoln, NE 68588402-472-2503Prof Rometo, Albert (M) 1, 4

Wayne State ColDept of MusicWayne, NE 68787402-375-7359Adj Weber, Bradley (B) 1

NEVADAU of NevadaDept of Music4505 Maryland PkyLasVegas, NV89154702-739-3332Assoc Prof Gagliardi, Frank (M) 1, 5,24Lect Gronemeier, Dean (M) 1, 4, 11, 16

NEW HAMPSHIREFranklin Pierce ColMusic DeptRindge, NH 03461603-899-5111Lect Sterling, Edward (B) 1,4

Keene State ColDept of MusicKeene, NH 03431603-358-2177AdjPT Hanley, William (M) 1,4

Plymouth State ColDept of Music & TheatrePlymouth, NH 03264603-535-2334Lect Gibson, William (B) 1,4

NEW JERSEYGlassboro State ColDept of MusicGlassboro, NJ 08028609-863-6041Assoc Prof Witten, Dean (M) 1, 4

Jersey City State ColDept of Music/Dance/Thtre2039 Kennedy Memorial BlvdJersey City, NJ 07305201-547-3151Asst Prof Cerrato, Nicholas (M) 1,4,13,45

Montclair State ColDept of MusicUpper Montclair, NJ 07043201-893-5228Vstng Jacobs, Lawrence 1, 4

Rutgers the State UDept of MusicPOB 270New Brunswick, NJ 08903201-932-8999Lect PT Copeland, Keith (B) 1

Trenton State ColDept of MusicHillwood Lakes CN4700Trenton, NJ 08650-4700609-771-2551Asst Prof de Nicola, Anthony (M) 1, 4, 5

William Paterson ColDept of Music300 Pompton Rd

Wayne, NJ 07470201-595-2314Prof DesRoches, Raymond (M) 1,4, 11,17

NEW MEXICOEastern New Mexico USchool of MusicPortales, NM88130505-562-2376Prof Bowen, Duane (D) 1, 7, 14, 56, 57Inst Shaw, Alison(M) 1,4, 17

New Mexico Highlands UDept of MusicLasVegas, NM 87701505-425-7511 X359Prof Wise, Loren (D)1,8,9,16, 19

San Juan ColDept of Music4601 College BlvdFarmington, NM 87401505-326-3311Asst Prof Levan, Richard (M) 1, 4, 5,24,26

U of New MexicoDept of MusicAlbuquerque, NM87131505-277-2127Assoc Prof Shultis, Chris (M) 1,4

NEW YORKAdelphi UDept of MusicGarden City, NY 11530516-877-4290Adj Pirone, Jim (B) 1,4

Col of Saint RoseDept of MusicBox 61Albany, NY 12203518-454-5178Adj Foster, Mark (B) 1,22

Eastman School of Music26 Gibbs StRochester, NY 14604716-274-1000Prof Beck, John (M) 1

Hamilton ColDept of MusicClinton, NY 13323315-859-4350Lect Luttinger, Laurance (M) 1

Hartwick ColDept of MusicOneonta, NY 13820607-431-4800Inst PT Mone, Joseph (M) 1

Hofstra UDept of MusicHempstead, NY11550516-560-5490Asst Prof Adj Pirone, James (B) 1, 4

Ithaca ColSchool of MusicIthaca, NY 14850607-274-3171Bracken, Gary (M) 1, 7Lect Rounds, Theodore (M) 1Assoc Prof Stout, Gordon (M) 1

Manhattan Schoolof Music120 Claremont AveNew York, NY 10027212-749-2802Di Cioccio, Justin 1, 24Teach Assoc Heldrich, Claire (M) 1Chmn Lamb, Chris 1Patton, Duncan (B) 1Preiss, James (M) 1

Manhattanville ColDept of MusicPurchase, NY 10577914-694-2200X260Musician Bonadio, Joseph 1, 5

Mercy ColDept of Music555 BroadwayDobbs Ferry, NY 10522914-693-4500Adj Hirshfield, Jeff 1Adj Mangini, Nicholas 1

Nassau Com ColDept of MusicStewart AvGarden City, NY 1 1530516-222-7447Adj Gould, Ronald (B) 1,4

Nazareth ColDept of Music4245 East AvRochester, NY 14610716-586-2525X614LectPT Shiner, Kristen (M) 1,4, 5

NYU School of EducationDept of Music & Music Ed35 W 4 St, Rm 777New York, NY 10003212-598-3493Inst Alexander, Brad (B) 1LectPT Anderson, Bruce (D) 1,4Inst Dennard, Kenwood (B) 1Inst Maricle, Sharon (B) 1Asst Prof Nussbaum, Adam 1Asst Prof Rix, Luther (B) 1Inst Roma, Gene 1Inst Zigmund, Eliot (B) 1

Onodanga Com ColDept of MusicSyracuse, NY 13215315-469-2256Asst Prof Barker, John (M) 1,4, 11, 19,43

Queens Col-CUNYAaron Copland School of MusicFlushing, NY 11367718-520-7340LectAdj Alexander, Brad (B) 1Assoc Prof Adj DesRoches, Raymond (M) 4

Queensborough Com ColDept of MusicBayside, NY 11364718-631-6393LectPT Persip, Charles 1,5

Roberts Wesleyan ColDept of Music2301 Westside DrRochester, NY 14624716-594-9471 X503Lect PT McNeill, John (M) 1

Saint Lawrence UDept of MusicCanton, NY 13617315-379-5192Adj Coots, Daniel (B) 1,5

SchenectadyCounty Com ColDept of Music78 Washington AvSchenectady, NY 12305518-346-6211 X230Adj Lowery, Kathryn (M) 1, 41

Skidmore ColDept of MusicSaratoga Spgs, NY 12866518-584-5000X2604Lect Blood, Frederick (B)1

State U ColDept of MusicGeneseo, NY 14454716-245-5824PT Stodd,Tim(M)l,4

SUNY-Col at New PaltzDept of MusicCollege Hall G100New Paltz, NY 12561914-257-2700Prof McCann, William (D) 1,5, 10, 13,20

State U ColCrane School of MusicPotsdam, NY 13676315-267-2413Prof Petercsak, James (M) 1,4, 19

State U ColDept of MusicPurchase, NY 10577914-253-5031Assoc Prof PT DesRoches, Raymond(M) 1,4, 32

State U of New YorkDept of MusicAlbany, NY 12222518-442-4187LectPT Albagli, Richard (M) 1,4

State U of New YorkDept of MusicPOB 6000Binghamton, NY 13902-6000607-777-2591/2592LectPT Bolson, David (M) 1,4

State U of New YorkDept of MusicBuffalo, NY 14260716-636-2765Lect Hull, Daniel (M) 1Lect Miranda, Anthony (M) 1, 4Teach Assoc Smith, Charles 1Prof Williams, Jan (M) 1,4, 33

Staten Island Col-CUNYDept of Music130 Stuyvesant PIStaten Island, NY 10301718-390-7992Lect Adj Trentacosta, John (B) 1

Suffolk County Com ColDept of MusicAmmerman Campus_______

533 College RdSelden, NY 11784516-451-4346Adj Dougherty, Patrick (M) 1, 4, 20,40

Syracuse USchool of MusicSyracuse, NY 13244315-423-2191PT Bull, Michael (B) 1,4PT Muzquiz, Ernest (M) 1,4

Ulster County Com ColDept of MusicStone Ridge, NY 12484914-687-5060Inst PT Abrams, Bruce (M) 1

Vassar ColDept of MusicPoughkeepsie, NY 12601914-437-7319Lect Barbour, Charles (M) 1

Wagner ColDept of Perf/Visual ArtsHoward Av & Campus RdStaten Island, NY 10301718-390-3313Lect PT Moorman, Wilson (M) 1, 4

NORTH CAROLINAAppalachian State USchool of MusicBoone, NC 28608704-262-3020Prof Meister, Scott (D) 1,9,33

Prof Emeritus Spencer, William (D) 1, 7, 10, 52

Brevard ColDept of MusicBrevard, NC 28712704-883-8292X211Inst Daniel, Diane (M) 1,4,53

Davidson ColDept of MusicPOB 358Davidson, NC 28036704-892-2357PT Stowe, Bill 1

Duke UDept of Music6695 College StaDurham, NC 27708919-684-2534Staff Assoc PT Hanks, John (B) 1

East Carolina USchool of MusicGreenville, NC 27858919-757-6851AsstProf Ford, Mark (M) 1,4ChmnProf Jones, Harold (M) 1,4, 13

Elizabeth City State UDept of MusicElizabeth City, NC 27909919-335-3359Assoc Prof PT Robinson, Floyd (D) 1

Elon ColDept of MusicElon College, NC 27244919-584-2440Inst PT Metzger, Jon (M) 1

Livingstone ColDept of MusicSalisbury, NC 28144704-638-5500PT Reid, L Gerard 1

North Carolina Sch of the ArtsSchool of MusicPOB12189Winston-Salem, NC 27117919-784-7170Johnson, Massie (M) 1, 4

Pembroke State UDept of MusicPembroke, NC 28372919-521-4214X230PT Haley, Tim (M) 1

Pfeiffer ColDept of MusicMisenheimer, NC 28109704-463-7343Adj Apperson, Charles (M) 1

Saint Augustines ColDept of MusicRaleigh, NC 27611919-828-4451 X313Inst PT Amick, Wayne (M) 1,28

U of North CarolinaDept of Music1 University HtsAsheville, NC 28804704-251-6432Inst Adj Hedgepeth, Byron (M) 1Asst Prof Ovens, Douglas (D) 1, 9, 16

Dept of MusicHill Hall CB 3320Chapel Hill, NC 27599919-962-3720Assoc Prof Glassock, Lynn (M) I, 4, 10, 17Asst Band Dir PT Savage, Matthew (M) I, 13

Dept of MusicCharlotte, NC 28223704-547-2472PT Ulaky, James 1,4

School of MusicGreensboro, NC 27412919-334-5789Assoc Prof McClaren, Cort (D) 1, 4, 15Assoc Prof Williams, Kent(D) 1, 11, 16, 24

Dept of Fine ArtsPOB 3725Wilmington, NC 28403919-395-3390PT Bircher, Jack (M) 1

Wake Forest UDept of MusicBox 7345Winston-Salem, NC 27109919-759-5364Adj Johnson, Massie (M) 1, 4

Western Carolina UDept of MusicCullowhee, NC 28723704-227-7242Asst Prof Gaetano, Mario (D) 1, 4,5, 11

NORTH DAKOTAMinot State UDiv of MusicMinot, ND 58701701-857-3185Prof Croonquist, James (D) 1, 4, 7, 20, 54

North Dakota State UDept/Music-Div/Fine ArtsBox 5691 State Univ StaFargo, ND58105701-237-7932InstPT Eyler, David (D) 1, 4,5

U of MaryDept of MusicBismarck, ND 58501701-255-7500X364Assoc Prof Prebys, Scott (M) 1,5, 16,24

U of North DakotaDept of MusicGrand Forks, ND 58202701-777-2644Inst Blake, Michael (M) 1,4,5, 18

Valley City State ColDept of MusicValley City, ND 58072701-845-7272Assoc Prof Johnson, R Q (M) 1,10,11, 13, 20

OHIOAshland UDept of MusicAshland, OH 44805419-289-5100Adj Wolbert, David (M) 1

Baldwin-Wallace ColConserv of MusicBerea, OH 44017216-826-2362Assoc Prof Kiteley, George (M) 1, 5

Bowling Green State UCol of Musical ArtsBowling Green, OH 43403419-372-2181Asst Prof Jackson, Jay (D)1,13,15, 37Prof Jones, Wendell (M) 1,4, 29

Capital UConserv of Music2199EMainStColumbus, OH 43209614-236-6474Assoc Prof Breithaupt, Robert (M) 1, 4, 5, 11Lect PT Paton, Eric (B) 1

Central State UDept of MusicWilberforce, OH 45384513-376-6403Inst Moses, Lennard (M) 1, 4

Cleveland State UDept of Music1983E24Cleveland, OH 44115216-687-2033Lect Burnham, Jay 1Lect McKee, Robert 1

Col of WoosterDept of MusicWooster, OH 44691

216-263-2000X2419PT Curtin, William (M) 1

Cuyahoga Com ColDept of Music-West Campus11000 Pleasant Valley RdCleveland, OH 44130216-987-5508PT Schaft, Glenn (D) 1,4

Denison UDept of MusicGranville, OH 43023614-587-6220Adj Brunetto, Rick (M) 1,4, 5, 12, 18

Heidelberg ColDept of Music31OE Market StTiffin, OH 44883419-448-2073Inst PT Bleyle, William (M) 1

Kenyon ColDept of MusicGambier, OH 43022614-427-5197Adj Brunetto, Rick (M) 1,4, 5, 18

Malone ColDept of MusicCanton, OH 44709216-489-0800X370Inst PT Roberdeau, Carol (M) 1

Miami UDept of MusicOxford, OH 45056513-529-3014Prof Albin, William (D) 1,4, 19

Mount Union ColDept of MusicAlliance, OH 44601216-823-3206PT Fries, Thomas (M) 1,4, 5, 29

Muskingum ColDept of Music

New Concord, OH 43762614-826-8182Adj Gilbert, David (B) 1,4

Oberlin ColConserv of MusicOberlin, OH 44074216-775-8200Prof Rosen, Michael (M) 1,4

Ohio Northern UDept of MusicAda, OH 45810419-772-2151Lect Sherrick, Richard (B) 1,4

Ohio State USchool of Music1866 College RdColumbus, OH 43210614-292-6571Lect Curlis, James (B) 1,24Assoc Prof Moore, James (D) 1,4

Ohio USchool of MusicAthens, OH 45701614-593-4244Prof Remonko, Guy (M) 1,4

Ohio Wesleyan UDept of MusicDelaware, OH 43015614-368-3700Prof Wood, Darrell (D)1,4,7, 8

Otterbein ColDept of MusicWesterville, OH 43081614-898-1508AdjPT Jenny, Jack (D) 1,4, 9, 16

U of AkronSchool of MusicAkron, OH 44325216-972-7590AsstProf Kendall, Michael (D)1,15,37Lect PT McKee, Robert 1Prof Snider, Larry (M) 1,7

U of CincinnatiCol-Conserv of MusicCincinnati, OH 45221513-556-3737Assoc Prof Culley, James (M) 1, 4Assoc Prof Otte, Alien (M) 1, 4Inst Toth, Benjamin 1, 4

U of DaytonDept of MusicDayton, OH 45469513-229-3936PT Varella, Jane (M) 1PT Weiner, Ray 1

The U of FindlayDept of MusicFindlay, OH 45840419-422-8313PT Malloy, Michael 1

Wittenberg UDept of MusicPOB 720Springfield, OH 45501513-327-7340Inst Adj Bowerman, Clifford (M) 1, 13

Wright State UDept of MusicCol Glenn HwyDayton, OH 45435513-873-2346PT Varella, Jane (M) 1

Xavier UDept of MusicCincinnati, OH 45207513-745-3801PT Gardner, John (M) 1,4

OKLAHOMACameron UFine Arts-Dept of Music2800 W Gore BlvdLawton, OK 73505405-581-2440Assoc Prof Lambert, James (D) 1,4, 8,16

Central State UDept of Music100 N University DrEdmond, OK 73034405-341-2980X5004Lect Walker, K Dean (M) 1,4

East Central UDept of MusicAda, OK 74820405-332-8000X591Asst Prof Silkebakken, Dennis (D) 1,4,10,13,37

OklahomaChristian U of S & ADept of MusicBox 11000Oklahoma City, OK 73136405-425-5530PT Birchall, Regina (B) 1

Oral Roberts UDept of Music7777 S LewisTulsa, OK74171918-495-7501Adj Smith, Roy (B) 1,4

Panhandle State UDept of Fine Arts/Music ProgGoodwell, OK 73939405-349-2611 X260Adj Ball, Rick (B) 1

Phillips UDept of MusicEnid, OK 73702405-237-4433 X200Adj Lehenbauer, Ranae(B) 1, 16

SoutheasternOkla State UDept of MusicDurant, OK 74701405-924-0121 X244Inst Howell, Sheila (M) 1,4, 10,13Asst Prof Peters, Kenneth (M) 1, 10, 14,15,58

SouthwesternOklahoma State UDept of MusicWeatherford, OK 73096405-774-3708Inst Bessinger, David (M) 1,4, 11

U of OklahomaSchool of MusicNorman, OK 73019405-325-2081Inst Vstng Drege, Lonce 1, 4Prof Gipson, Richard (D) 1,4,7

U of TulsaSchool of MusicTulsa, OK 74104918-631-2262InstAdj Gregory, Scott (B) 1Adj Smith, Roy (B) 1

OREGONLewis and Clark ColDept of MusicPortland, OR 97219503-293-2724PT Goodenberger, Mark (M) 1

Linfield ColDept of MusicMcMinnville, OR 97128503-472-4121 X275Adj Lawrence, Steven (M) 1

Marylhurst ColDept of MusicMarylhurst, OR 97036503-636-8141 X362Inst Plies, Dennis (D) 3

Oregon State UDept of MusicBenton Hall 101Corvallis, OR 97331-2502503-737-4061PT Tuthill, George 1,4

Pacific UDept of MusicForest Grove, OR 971 16503-359-2216Adj Owen, Ted (M) 1

Treasure Valley Com ColDept of Music650 College BlvdOntario, OR 97914503-889-6493PT Walker, Nathan (B) 3, 51,59, 60

U of OregonSchool of MusicEugene, OR 97403503-346-3761Prof Dowd, Charles (M) 1,4, 7, 24

U of PortlandDept of Perf & Fine Arts5000 N Willamette BlvdPortland, OR 97203503-283-7228Adj Cooper, Gregory (M) 1, 12, 51, 60

Warner Pacific ColDept of Music2219SE68AvPortland, OR 97215503-775-3466 X711Prof Plies, Dennis (D)3,5,61, 62

Western Oregon State ColDept of Music345 N Monmouth AvMonmouth, OR 97361503-838-8275Inst PT Ostergaard, Terry (M) 1

PENNSYLVANIAAllegheny ColDept of MusicMeadville, PA 16335814-332-3356PT Merchant, Mark (M) 1,29Inst Williams, Floyd 1,5, 9, 24, 42

Bloomsburg UDept of MusicBloomsburg, PA 17815717-389-4284AsstProf Oxley, Terry (D)1,11,13, 14,56

Bucks County Com ColDept of MusicSwamp RdNewtown, PA 18940215-968-8088InstPT Deeley, Raymond 1,4

Carnegie Mellon UDept of MusicCol of Fine ArtsPittsburgh, PA 15213412-268-2372Lect Dilanni, Jack 1

Chestnut Hill ColDept of MusicChestnut HillPhiladelphia, PA 19118215-248-7174Lect Jones, Bill (B) 1,44

Combs Col of Music7500 Germantown AvPhiladelphia, PA 19119215-248-1330LectPT McPhillips, Joseph (B) 1,63

Drexel UDept of Perf ArtsPhiladelphia, PA 19104215-895-2452PT Zollman, Robert (B) 1

Edinboro U of PennDept of MusicEdinboro, PA 16444814-732-2555Assoc Prof Barbaro, Cosmo (M) 1, 4,11,13,26InstPT Marchant, Mark (M) 1, 13

Elizabethtown ColFine & Perf Arts DeptElizabethtown, PA 17022717-367-1151 XI12Adj Luckenbill, Gary (M) 1

Gettysburg ColDept of MusicGettysburg, PA 17325717-337-6131Prof Zellner, Robert (M) 1, 10, 14, 20,35

Grove City ColDept of MusicGrove City, PA 16127412-458-2084LectPT Hoge, Hendley (D) 1, 4

Indiana Uof PennsylvaniaDept of MusicIndiana, PA 15705412-357-2390Prof Olmstead, Gary (D) 1,4

Juniata ColDept of MusicHuntingdon, PA 16652814-643-4310X470PT Brazelle, Richard (B) 1

Kutztown UDept of MusicCol of Visual & Perf ArtsKutztown, PA 19530215-683-4550ChmnAsstProf Rapp,Willis (M) 1,4,13

Lebanon Valley ColDept of MusicAnnville, PA 17003717-867-6275InstPT Nowak, Robert (M) 1

Mansfield UDept of MusicMansfield, PA 16933

717-662-4710Prof Talbot, Richard (M) 1,4,25

Marywood ColDept of MusicScranton, PA 18509717-348-6268Lect Brader, Kenneth (B) 4, 5, 13,29Lect Mathiesen, Steven (M) 1,4, 8

Millersville UDept of MusicMillersville, PA 17551717-872-3357AsstProf Heslink, Dan (D)1,11,13, 26

Moravian ColDept of MusicBethlehem, PA 18018

215-861-1650PT Thoma, James (M) 1,4, 10,32

Mt Aloysius Jr ColDept of MusicCresson, PA 16630814-886-4131 X65Inst PT Ford, William 1

Pennsylvania State USchool of MusicMusic BldgUniversity Park, PA 16802814-865-0431Assoc Prof Armstrong, Daniel (M) 1

The U of the Arts-Philadelphia Col of ArtsSchool of Music

250 S Broad StPhiladelphia, PA 19102215-875-2206Bookspan, Michael (B) 4Inst D'Amico, Nicholas (Dipl) 1Inst Nero, Joseph 1Inst Orlando, Anthony (B) 2, 3

Slippery Rock UDept of MusicSlippery Rock, PA 16057412-738-2063Inst Ackermann, Lonni (M) 1,4, 11,42, 62

Susquehanna UDept of MusicSelinsgrove, PA 17870717-372-4281LectPT Kreger, Steven (M) 1,4

Temple UE Boyer Col of MusicPhiladelphia, PA 19122215-787-8301Prof Adj Abel, Alan 1Prof Frank, Arthur (D) 4, 15Prof Steele, Glenn (M) 1,4

U of PittsburghDept of MusicPittsburgh, PA 15260412-624-4126Inst PT Horner, Ron (M) 1Inst PT Humphries, Norman 1

West Chester USchool of MusicWest Chester, PA 19383215-436-2628Inst Goebel, Joseph (B) 1,4

Wilkes UDept of Music, Theatre, & DanceWilkes-Barre, PA 18766717-824-4651InstPT Nowak, Robert (M) 1,32Assoc Prof Santos, Rosendo (M) 1, 8, 9, 16

York Col of PennsylvaniaDiv of MusicCountry Club RdYork, PA 17403717-846-7788Lect Hershey, David (M) 1

PUERTO RICOInterAmerican UDept of MusicSan German, PR 00753809-892-1095X279Assoc Prof Lanham, Alien (D) 1, 7, 10, 12, 13

RHODE ISLANDSalve Regina ColDept of MusicNewport, Rl 02840401-847-6650X2945PT McGhee, Thomas 1

SOUTH CAROLINAFurman UDept of MusicGreenville, SC 29613803-294-2086Asst Prof Beckford, John (D) 1, 11, 13, 19

Lander ColDept of MusicGreenwood, SC 29649

803-229-8349PT Burton, Del (M) 1

Limestone ColDept of MusicGaffney, SC 29340803-489-7151 X402Inst Bugbee, Fred (M) 1,4, 11

U of South CarolinaDept of MusicCoast Campus POB 1954Conway, SC 29526803-347-3161 X2513PT Mathias, Tim (M) 1

U of South CarolinaSchool of MusicColumbia, SC 29208803-777-4280AssocProf Hall, James (M) 1,4, 5

Winthrop ColDept of MusicRock Hill, SC 29733803-323-2255AsstProf Williams, Barry (M) 1,11

SOUTH DAKOTAAugustana ColDept of MusicSioux Falls, SD 57197605-336-5451Inst Levan, Eric (B) 1

South Dakota State UDept of MusicLincoln Music HallBrookings, SD 57007605-688-5187Assoc Prof McKinney, Jim (M) 1,4, 13, 24

U of South DakotaDept of MusicVermillion, SD 57069605-677-5274Prof Swenson, Courtland (M) 1,4, 8

TENNESSEEAustin Peay State UDept of MusicClarksville, TN 37044615-648-7818Asst Prof Steinquest, David (M) 1, 4, 16

Belmont ColSchool of MusicNashville, TN 37212615-385-6408Inst PT Armstrong, Dale (B) 1, 59Inst Bacco, Samuel (B) 1

East Tennessee State UDept of MusicPOB 22330AJohnson City, TN 37614615-929-4270Inst Larkin, Barry (D) 1,4,5, 13Inst Sanderbeck, Rande (M) 1, 4, 5, 13

Knoxville ColDept of Music901 College StKnoxville, TN 37921615-524-6589PT Adamcik, Robert (M) 1,11Inst Ayers, Jesse (M) 1,8, 16,44,53PT Johnson, Daren (B) 4

Shelby State Com ColDept of MusicPOB 40568Memphis, TN 38104901-528-6841InstPT Head, Stan (M) 1,4

Tennessee State UDept of Music3500 Centennial BlvdNashville, TN 37203615-320-3544Prof Davis, Thomas (M) 1,24

U of TennesseeDept of Music615McCallieAvChattanooga, TN 37403615-755-4601Assoc Prof Coulter, Monte (M) 1, 4, 11,17, 22

U of TennesseeDept of MusicKnoxville, TN 37996615-974-3241Prof Combs, Mike (M) 1,4

U of TennesseeDept of MusicMartin, TN 38238901-587-7402Asst Prof Mathesen, Nancy (M) 1,4,11, 16, 17

TEXASAbilene Christian UDept of MusicAbilene, TX 79699915-674-2199Asst Prof Teel, Alien (M) 1, 4, 5,13,18

Austin ColDept of MusicSherman, TX 75091903-813-2251Inst PT Wynn, Dan (M) 1

Baylor USchool of MusicWaco, TX 76798817-755-1161Dir Prof Vanlandingham, Larry (D) 1,4,16

Biinn ColDept of MusicBrenham, TX 77833409-830-4261Westmorland, Jack (M) 1

Cedar Valley Col/Dallas CCDept of Music3030 N Dallas AvLancaster, TX 75134214-372-8127PT Okstel, Henry (B) 1PT Smith, Ed (A) 3

Cisco Jr ColDept of MusicRt3Cisco, TX 76437817-442-2567Inst Swinney, Bill (M) 1,6, 13, 14,20

Corpus Christi State UDept of Music6300 Ocean DrCorpus Christi, TX 78412512-994-2314Adj Weinberg, Norman (M) 2, 3

Dallas County Com ColDept of Music4849 W Illinois AvDallas, TX 75211214-333-8632PT Rumbley,Jack(M)l

Del Mar ColDept of Music & DramaCorpus Christi, TX 78404512-886-1211Assoc Prof Weinberg, Norman (M) 2, 3

Howard Payne USchool of MusicBrownwood, TX 76801915-643-7847PT Kyker, Ricky (M) 1

Incarnate Word ColDept of MusicSan Antonio, TX 78209512-828-1261 X216Lect Rife, Marilyn (B) 2, 3

Kilgore ColDept of MusicKilgore, TX 75662214-984-8531 XI22Inst Hale, Jerry (M) 1,14, 20,42

Lamar UDept of MusicPOB 10044Beaumont, TX 77710409-880-8144Adj Inst Baker, Diane (M) 1

Lee ColDept of MusicPOB 818Baytown, TX 77522

713-427-5611 X351Adj Nail, William (M) 2, 3

McLennan Com ColDept of Music1400 College DrWaco, TX 76708817-750-3575Rush, Roger (M) 1,4, 13, 32,48

McMurry UDept of MusicPOB 698Abilene, TX 79697915-691-6299Asst Prof Rennier, James 1,11

Midwestern State UDept of MusicWichita Falls, TX 76308817-692-6611Asst Prof Black, Allan (M) 1,4,5,11,13

Navarro ColDept of Music3200 W 7 AvCorsicana,TX75110214-874-6501Inst Stevenson, Charles (M) 1, 5, 13,17,35

Pan American UDept of MusicEdinburg, TX 78539512-381-3471Assoc Prof Canty, Dean (D) 1, 10, 11,13,20

Prairie View A&M UDept of MusicPOB 2779Prairie View, TX 77446409-857-3919Inst Jones, Larry (M) 1,4, 11,17

Rice USchool of MusicHouston, TX 77251713-527-4854Assoc Prof Brown, Richard (M) 1, 4

Saint Mary's UDept of Music1 Camino Santa MariaSan Antonio, TX 78228512-436-3421PT Ferreira, Joe 1PT Rife, Marilyn (B) 1

San Jacinto Col NorthDept of Music5800 UvaldeHouston, TX 77049713-458-4050X280Inst Gleason, Jeffrey (M) 1,5,22,24, 62

Southern Methodist UDiv of MusicSchool of the ArtsDallas, TX 75275214-692-2587Adj Cherry, Kalman (M) 2Adj Howard, Douglas 1, 32Adj Mashburn, Deborah (M) 4

Southwest Texas State UDept of MusicSan Marcos, TX 78666512-245-2651Asst Prof Gonzalez, Genaro (M) 1, 4Lect PT Lopez, John (M) 1, 13

Stephen F Austin State UDept of MusicPOB 13043 SFA StaNacogdoches, TX 75962409-568-4602Asst Prof Kaptain, Lawrence (D) 1, 4,32,64

Tarleton State UDept of MusicStephenville, TX 76402817-968-9245White, Marc (M) 1

Temple Jr ColDept of MusicTemple, TX 76504817-773-9961 X298PT Bugg, Doran (M) 1

Texas A&l UDept of MusicKingsville, TX 78363512-595-2804Inst Fluman, John (M) 1,4, 13, 16

Texas Christian UDept of MusicPOB 32887Ft Worth, TX 76129817-921-7602Inst Thomas, Preston (M) 1

Texas Tech USchool of MusicBox 4239 MusicLubbock, TX 79409806-742-2270Inst Koyle, Gregg (M) 1Assoc Prof Shinn, Alan (M) 1,4

Trinity UDept of Music715 Stadium DrSan Antonio, TX 78212512-736-8212PT Rife, Marilyn (B) 1

U of HoustonSchool of MusicHouston, TX 77204713.749-1116Asst Prof Sparks, Marvin (M) 1, 5

U of North TexasCol of MusicDenton, TX 76203817-565-2791Prof Fink, Ron (M) 1Asst Prof Friedson, Steven (M) 1, 11, 26Prof Schietroma, Robert (D) 1, 4

U of Saint ThomasDept of Music3812MontroseHouston, TX 77006713-522-7911 X240PT Smith, Louie (M) 1,4

U of Texas/ArlingtonDept of MusicArlington, TX 76019817-273-3471Assoc Prof Varner, Michael (M) 1, 4

U of TexasDept of Music25 & E Campus DrAustin, TX 78712

512-471-7764Assoc Chmn Prof Frock, George (M) 1,4

U of Texas/El PasoDept of Music500 W University AvEl Paso, TX 79968915-747-5606Asst Prof White, James (M) 1, 4, 10,13

U of TexasDiv of MusicSan Antonio, TX 78285512-691-4355Lect Biskin, Harvey (M) 1

West Texas State UDept of MusicCanyon, TX 79016806-656-2840Asst Prof Martin, Susan (M) 1, 4

Western Texas ColDept of MusicSnyder, TX 79549915-573-8511Inst Hardegree, Brent (M) 1,5,13,14,20

UTAHBrigham Young UDept of MusicC550 Harris Fine Arts CtrProvo, UT 84602801-378-3083Inst Brough, Ronald (M) 1,13,15,54Prof Powley, E Harrison (D) 1,19,26, 65

U of UtahDept of MusicSalt Lake City, UT 84112801-581-6765Adj PT Brown, George 1Assoc Prof Wolf, Douglas (M) 1,13

VERMONTJohnson State ColDept of MusicJohnson, VT 05656802-635-2356 X255Lect PT Albert, Jeff (B) 1,4

VIRGINIABridgewater ColDept of MusicBridgewater, VA 22812703-838-2501PT Kellogg, Robert (M) 1,14, 20

Col of William and MaryDept of MusicWilliamsburg, VA 23185804-221-1000PT Lindberg, John 1

George Mason UDept of Music4400 U DrFairfax, VA 22030703-764-6200Assoc Prof Adj Harbison, Kenneth (M) 1

James Madison UDept of MusicHarrisonburg, VA 22807703-568-6197PT Falcone, Anthony (M) 1, 40Assoc Prof Rice, C William (M) 1,4

Longwood ColDept of MusicFarmville, VA 23901804-395-2504InstPT Harper, Lowell (B) 1,4

Mary Washington ColDept of Music1301 College AveFredericksburg, VA 22401703-899-4356Assoc Prof Long, David (D) 1, 5, 9, 16

Norfolk State UDept of Music2401 Corprew AvNorfolk, VA 23504804-683-8544InstPT Lindberg, John 1

Northern Virginia ComColAnnandale CampusDept of Music8333 Little River TpkAnnandale, VA 22003703-323-3346Maley, Marshall (M) 1Merz, Al 1

Northern Virginia ComColLoudoun CampusDept of Music1000 Harry Flood Byrd HwySterling, VA 22170703-450-2530Carroll, George 1

Old Dominion UDept of MusicNorfolk, VA 23529

804-683-4061Asst Prof Adj Brewington, John (M) 1

Radford UDept of MusicRadford, VA 24142703-831-5177Asst Prof Wojtera, Alilen (M) 1, 4, 5, 24

Shenandoah Col andConserv of MusicWinchester, VA 22601703-667-8714Lect Askew, Claude (B) 1Lect Gauthreaux, Guy (D) 1

U of RichmondDept of MusicRichmond, VA 23173804-289-8277Inst PT Giannascoli, Greg (B) 1

U of VirginiaMclntire Dept of Music112 Old Cabell HallCharlottesville, VA 22903804-924-3052Lect PT Alexander, Conrad (B) 1, 4Lect PT Jospe, Robert 1Lect PT Penner, Bruce (M) 1, 16, 19,22

Virginia Commonwealth UDept of Music922 Park AvRichmond, VA 23284804-367-1166Assoc Prof Bick, Donald (M) 1, 4Inst PT Dove, Barry (M) 1InstPT Taylor, Scott (M) 1,24

Virginia Poly Inst & State UDept of Music

Blacksburg, VA 24061703-961-5685Assoc Prof Floyd, John (D) 1,4

Virginia State ColDept of MusicPetersburg, VA 23803804-520-5311Prof Bridge, Thomas (D) 1, 4, 7Inst Chambliss, David (M) 1, 13

WASHINGTONCentral Washington UDept of MusicEllensburg, WA 98926509-963-1216Prof Moawad,John(M)l,4,5,6,24Asst Prof Spencer, Andrew (D) 1,4, 13,15

Cornish Col of the ArtsDept of Music710ERoyStSeattle, WA 98102206-323-1400X217Inst Gibson, Gary (M) 1,5,17, 24Inst Kocmieroski, Matthew 1,4,16, 17,44

Eastern Washington UDept of MusicCheney, WA 99004509-359-2241Prof Zyskowski, Martin (M) 1, 4, 10, 16,33

Gonzaga UDept of MusicSpokane, WA 99258509-328-4220 X3333Prof Adj Raymond, Paul 1

Grays Harbor ColDept of MusicAberdeen, WA 98520206-532-9020 X228Neisinger, Robert (M) 1,36,61

Pacific Lutheran UDept of MusicTacoma, WA 98447206-535-7601Chmn Prof Robbins, David (M) 1, 8, 10,19,33

Pierce ColDept of Music9401 Farwest DrSWTacoma, WA 98498206-964-6535PT Ogelsby, Jim 1

Seattle Pacific USch of Fine& Perf ArtsSeattle, WA 98119206-281-2205PT Adams, Dan (M) 1,5

Spokane Falls Com ColDept of MusicW 3410 Ft George Wright DrSpokane, WA 99204509-459-3720Inst PT Westrick, Rick 1

U of Puget SoundDept of Music15OO N WarnerTacoma, WA 98416206-756-3700Adj Johnson, Ron (B) 1

U of WashingtonSchool of MusicSeattle, WA 98195206-543-1200Lect Collier, Thomas (M) 1,5,66Lect PT Crusoe, Michael (B) 1

Washington State USchool of Music & TheatrePullman, WA 99164509-335-8524Asst Prof Jarvis, David (M) 1, 4,5, 9, 29

Western Washington UDept of MusicPA 273Bellingham, WA 98225206-676-3130Prof Shaw, Albert (D)1,7,11,13Assoc Prof Wallace, David (D) 1,10,13,15

Whitworth ColDept of MusicSpokane, WA 99251509-466-3280Adj Raymond, Paul (M) 1

WEST VIRGINIAAlderson-Broaddus ColDept of MusicBox 1308Philippi,WV26416304-457-1700X280PT Wolfe, Jack (B) 1

Concord ColDept of MusicAthens, WV 24712304-384-5275

Inst Overmier, Douglas (M) 1,4, 7, 10,13

Davis and Elkins ColDept of MusicElkins, WV 26241304-636-1900X201PT Lect Dunkerley, Robert (M) 1

Fairmont State ColDept of MusicFairmont, WV 26554304-367-4219PT Buck, Richard (M) 1,4, 13

Glenville State ColDept of MusicGlenville, WV 26351304-462-7361Asst Prof McKinney, John (M) 1,4,13,16

Marshall UDept of MusicHuntington, WV 25755304-696-3117Assoc Prof Miller, Ben (D) 1,4, 11, 13

Shepherd ColDept of MusicShepherdstown, WV 25443304-876-2511 X290PT Lloyd, Kevin (M) 1,4, 11,22

West Liberty State ColDept of MusicW Liberty, WV 26074304-336-8006Asst Prof Williams, Mark (M) 1,4, 5, 12

West Virginia

Inst of TechDept of MusicMontgomery, WV 25136304-442-3192PT Norman, Mary Beth 1,68

West Virginia State ColDept of MusicInstitute, WV 25112304-766-3196PT Shriver, Thomas (M) 1,4

West Virginia UCAC-Div of MusicPOB 6111Morgantown, WV 26506304-293-4091Prof Faini, Philip (M) 1,4, 43Asst Prof Satterfield, David (M) 1, 4,13,24Lect PT Wrublesky, Albert (M) 1

WISCONSINBeloit ColDept of MusicBeloit, WI 53511608-363-2372Inst PT Brand, Jack 1

Carroll ColDept of MusiclOO N East AvWaukesha,WI53186414-524-7182Lect PT Sewrey, James (M) 1, 4

Lawrence UConserv of MusicPOB 599Appleton, WI 54911

414-832-6611Ratsch, Michael (M) 1Assoc Prof Richeson, Dane (M) 1, 4

MilwaukeeArea Tech ColDept of Music1015N6StMilwaukee, WI 53203414-278-6778Chmn Inst Miller, Harold (M) 1, 5, 8, 9,22Inst Smirl, Terry 1, 5

Ripon ColDept of MusicRipon, WI 54971414-748-8120Inst PT Ross, Michael (B) 1

Silver Lake ColDept of Music2406 S Alverno RdManitowoc, WI 54220414-684-6691 XI91Asst Prof McClary, Michael (M) 1, 5, 13,14,20

U of WisconsinDept of MusicEau Claire, WI 54701715-836-4954Assoc Prof Keezer, Ronald (M) 1,4,5,29

U of WisconsinDept of MusicGreen Boy, WI 54301414-465-2348Lect Grosso, Cheryl (M) 1, 4,5, 42, 67

U of WisconsinDept of MusicLa Crosse, WI 54601608-785-8409PT Henke, Timothy (M) 2, 4

U of WisconsinSchool of Music455 N Park StMadison, WI 53706608-263-1900Assoc Prof Latimer, James (M) 1, 4

U of WisconsinDept of MusicPOB413Milwaukee, WI 53201414-229-4393Prof Burda, Pavel(M)l,4,10, 17

U of Wisconsin-ParksideDept of MusicBox 2000Kenosha, WI 53141414-553-2457Adj Seidl, Scott 1,4

U of WisconsinDept of MusicPlatteville, WI 53818608-342-1143Adj Suscuill, Monone (B) 1, 4

U of WisconsinDept of MusicRiver Falls, WI 54022715-425-3183Assoc Prof Roy, J Michael (M) 1, 4,16

U of WisconsinDept of MusicStevens Pt, WI 54481715-346-3107AsstProf Rosen, Robert (M) 1,4Asst Prof Zenz, Steven (M) 1, 5,51

U of WisconsinDept of Music1800 Grand AvSuperior, WI 54880715-394-8115Inst Hogedorn, Dave (M) 1, 5, 24, 26

WisconsinConserv of Music1584 N Prospect AvMilwaukee, WI 53202414-276-5760PT Lesbines,Tele(B)l,4Wenzel, Scott 1

WYOMINGCasper ColDept of Music125 College DrCasper, WY 82601307-268-2606Inst Gunderson, Terry (M) 1,4, 12, 29, 51

Northwest Com ColDept of Music231 W6StPowell, WY 82435307-754-6301PT Bedford, Ronnie 1,4

U of WyomingDept of MusicBox 3037 Univ StaLaramie, WY 82071307-766-5242Asst Prof Cook, Kathleen (D) 1

M A S T E R C L A S S

Portraits In Rhythm:Etude # 25

by Anthony J. Cirone

The following etude involves a classicalform. The Song and Trio form is similarto the Sonatina, except for the middle(Trio) section. The first section consistsof a primary and secondary theme. TheTrio follows and separates the return, orrecapitulation, of the first two themes.The last two measures form a smallcoda, or closing music.

Measures 1 -8 form the first theme in6/8 time, followed by the second theme(measures 9 - 14). The Trio begins onthe fourth line at the 3/4. Take note of

the tempo change that helps set this sec-tion apart. The recapitulation begins online 7 with the indication Tempo I; thismeans tempo primo (return to the origi-nal tempo). The first two themes arerepeated without any variation.

1. Add accents to the first two notes ofthe piece, because they provide moreenergy and excitement to the work.Sometimes the whole character of a per-formance is set by the opening few bars.

2. Play the decrescendo and crescendoon the first line in the center area of thedrumhead. There can be a slight move-ment towards the edge as the roll getssofter, and then back to the center as itgets louder, but only slightly.

3. There should be a noticeable changeof tempo at the Trio. It is preferable thatthe tempo change be faster than indi-cated, rather than so slight that it goesunnoticed. Also, phrase in one to keep thefeeling of the waltz.

4. Just as the change of tempo at theTrio is important, so is the return to theoriginal tempo in line 7. Again, addaccents to the first two notes and exag-gerate the slower tempo change.

Observations1. The opening theme begins with the

tempo marking Moderato and the dot-ted-quarter note at mm=60. The Triohas an indication of piu Allegro (faster).(The Italian word piu means more.)

Interpretations

2. Just a reminder: The abbreviatednote indications in lines 2 and 8 refer torolls and not 32nd notes.

3. To keep the character of the form, allflams, drags, and four-stroke ruffs shouldbe played on the closed side and verylight.

4. There are no dynamic mark changesin the last two measures of the piece.However, because they follow the laststatement of the second theme, set themapart by exaggerating the accents, espe-cially the final wedge accent.

Music © Belwin Mills/Columbia, Hialeah FL. Used with permission.

C O N C E P T S

PoliticsAnd Music

I recently received a letter from a youngdrummer asking me to write somethingabout the "politics" of our business. Heseemed to feel that "it's not what youknow, but who you play up to" that getsyou good jobs. He also made the com-ment that the best players don't alwaysget the best jobs. This is a tricky subject,so I've given it a lot of thought.

In my way of thinking, it's "what youknow and who you know" that ultimatelycounts. Some musicians are better at"networking" than others. A "network" isa group of friends in the music businessthat you regularly stay in touch with.These friends often help each other.

For example, a music store owner andfriend of mine called me last week to seeif I could recommend a drum teacher toreplace one who was leaving. I called twofriends who I thought might be interest-ed. One couldn't do it because of otherteaching commitments; the other wentfor the interview and got the job.Everyone was happy.

We live in a "word-of-mouth" business,as illustrated by this scenario: A bassplayer auditions for a new group and getsthe job. Other members of the group askhim if he knows a drummer who'd fit inwith the style of the group. The bassplayer says, "I think I know a drummerwho'd be perfect. We've played togetherquite a lot." He calls the drummer up,the drummer auditions, and he gets thejob.

Now, you might say this is a case of"who you know"—and you'd be right.However, it's also a case of "what youknow" that got the drummer the job. Hestill had to audition and play well.

Your network of friends will often getyou a chance. However, you must deliver.You must perform well. Your friends willbe hesitant to recommend you next timeif you don't play well. After all, when theymake a recommendation, their reputationis also at stake, at least to some degree. If

you let a friend down in this business, youmay have lost a friend.

Suppose you see a group performingwith a drummer who plays only adequate-ly. You feel that you are a much betterplayer—but that drummer has the job.You could say to yourself, "It's not fair; Ican play much better." But it may not allcome down to playing.

A big part of any drummer's success orfailure is his or her ability to get alongwith other musi-cians. For example,the drummer in thegroup in question(who, in your opin-ion, is only ade-quate) might be agood, solid timeplayer who getsalong well witheveryone in theband. He isn't flashyor especially fast,and he doesn't playkiller drum fills. Buteveryone in the bandis happy with whathe does, and they alllike him. In this situ-ation, the bandleaderdoes not want toexperiment with newdrummers, even ifthey can play morestuff. He has aknown quantity inthe band and he hasno reason to changethe situation, be-cause everyone ishappy. The chem-istry is right.

Again, some wouldcall this "politics." Icall it "being able toget along with oth-ers," and "being part of a team." After all,no one wants a great drummer in theband if that drummer is on an ego tripand is regarded as a big pain in the neck.Drummers with this type of personalityoften have trouble finding work—no mat-ter how well they play.

There is one area of the music busi-ness that I personally detest. This is thearea of rumors and stories. Some drum-mers are always criticizing other drum-mers behind their back. They may (and

"Henry said,'Kid, yourcritics will

always under-rate you, andyour friendswill alwaysoverrate you.The truth issomewherein between.'"

often do) start false stories. For example,"I heard that so-and-so lost the jobbecause he couldn't keep time. The bandcomplained until they got someone else."In reality, the drummer in question mayhave voluntarily left the group for anynumber of personal reasons. He may havereceived a better offer from another band.He may have had a health problem.Whatever the reason, there is no excusefor starting vicious stories in an effort to

hurt someone else's career.This is the ugly side of poli-tics!

The problem is that youhave no way to defend your-self. This is especially true ifyou are well-known to somedegree. How do you knowwhat terrible stories arebeing told behind your back?The truth is, you don't. Andthis can be painful when youfind out. Fortunately, it'sbeen my experience thatuntrue stories don't havestaying power, and the truthwill eventually win out. If youperform well and always tryto do your best, people willfind out despite the untruestories.One of my teachers, Henry

Adler, gave me some goodadvice many years ago.Henry said, "Kid, your crit-ics will always underrate you,and your friends will alwaysoverrate you. The truth issomewhere in between. Justremember, in order to criti-cize you, at least they have tospell your name right."

When you feel you've beenthe victim of politics orvicious stories, it's a goodidea to talk things over with

someone who has a lot of experience.They can help you learn to deal with it.Most likely they've "been there"!

You will not get every job. And, no mat-ter how well you play, you will have criticsas well as fans. You can't please everyone,so try to be as honest as possible withyourself about your abilities. Try in everyway to be your best, give yourself creditfor that, and have fun. Respect others,respect yourself, get on with your career,and let politics be damned!

by Roy Burns

S T R I C T L Y T E C H N I Q U E

Developing The ParadiddleWith Progressive Accents: Part 3

by Joe MorelloTranscribed by Keith Necessary

This three-part series of articles will help you develop control of placing accents anywhere in any combination in single, double,and triple paradiddles. This month we'll conclude by moving the accents over a double Paradiddle.

Be sure to use a metronome with all these exercises, and start slowly (at about quarter note = 60). Once you can comfortablyplay the exercises, try mixing them up to suit your needs. Remember to pay close attention to the stickings. Also, when practic-ing them at the drumset, play four on the bass drum and 2 and 4 on the hi-hat. Remember, the idea of these exercises is to beable to accent anywhere in the bar you want, over any pattern.

If you have any questions on this material, you can contact Joe through Modern Drummer.

In our continuing effort to maximize thevalue of Modern Drummer as a referencetool, the editors of MD are pleased to offerthis 1991 Index Update. The listings pre-sented here are a guide to virtually all of thebiographical, educational, or special-inter-est information presented in ModernDrummer in the past year. Information pre-sented in Modern Drummer issues dated1986 or earlier is indexed in MD's Ten-YearIndex (which was presented in theDecember 1986 issue). Year-end indexeshave been presented in each Decemberissue since 1987, and will continue as a reg-ular feature in the future.

The format for the index varies some-what, according to the information beingpresented. For example, the names on theArtist Reference List and IndustryPersonality Reference List are presentedalphabetically, followed by coded informa-tion showing where any biographical oreducational information pertaining to eachperson named might be found. In otherwords, you should be able to look up yourfavorite drummer and immediately seewhere anything MD published about thatdrummer in 1991 may be located. You'llalso be informed as to whether that drum-

mer has written any columns for MD, and ifso, in which column departments youshould look them up.

Unless otherwise noted in their head-ings, the column departments are indexedalphabetically by the author's last name. Inthis way, you can check out "everythingwritten by" your favorite columnist in 1991.Notable exceptions are Drum Soloist andRock Charts, which are indexed by theartists' names—as are the recording, video,and book reviews in Critique.

Product reviews—regardless of the col-umn in which they appeared—are listedalphabetically by manufacturer or productname in the Product Review/InformationColumns section. In this way, you can quick-ly find out what our reviewers thought ofany particular piece of equipment simply bylooking up the item by name. Informationcontained in product press releases thatappeared in the New And Notable depart-ment is also presented in this section.These releases often contain addressesand/or phone numbers that can help youobtain further information on products youfind interesting.

It is our hope that the manner in whichwe have organized our Index Update willmake it easy to use, so that you can have

The parenthetical abbreviations indicatewhere information on (or authored by) agiven artist may be found. (In the case ofthe Product Review Columns, the abbrevia-tions indicate where information on a givenproduct may be found.) With the exceptionof (F), all abbreviations refer to column ordepartment titles.(A) = Ask A Pro(ER) = Electronic Review(F) = Major Feature Interview(FP) = From The Past(IH) = Industry Happenings(IM) = In Memoriam(NN) = New And Notable(P) = Portraits(PCU) = Product Close-Up(RJ) = Rock 'N' Jazz Clinic(RP) = Rock Perspectives(U) = Update(UC) = Up & Coming

HAYNES, Roy (F) May (cover)HERNANDEZ, John "Vatos" (F) Sep.HERRERA, RJ. (F) ("Speed Metal Mixed Bag") Dec.HOLMES, Ben (U) Nov.

MANCINELLI, Christopher (U) Nov.MANN, Ed (A) Oct.MARSHALL, Bill (U) Nov.MARY, Ken (U) MarchMAZUR, George (U) Dec.McBRAIN, Nicko (A) JulyMELVIN, Brian (U) Aug.MENZA, Nick (U) JuneMOFFETT, Jonathan (F) March (cover)

INTRODUCTION

1991 INDEX UPDATE

KEY TO SYMBOLSUSED THROUGHOUT

THE INDEX

quick and easy access to the wealth of infor-mation presented in MD's pages over thepast year.

AFFUSO, Rob (F) Jan.akLAFF, Pheeroan (U) Aug.ALEXANDER, Tim (U) Sep.ALLEN, Carl (F) Apr.ALMOND, Cliff (UC) Apr.ARNOLD, Horacee (U) JuneARONOFF, Kenny (F) Sep. (cover), (A) Oct. [author: RP]AUSTIN, Johnny (U) June

BADRENA, Manolo (A) Sep.BAKER, Michael (U) Sep.BEAL, David (F) Jan.BELLSON, Louie (F) Jan. (cover), (A) July, (A) Nov.BENANTE, Charlie (U) JuneBERGMAN, Tal (U) MarchBISSONETTE, Gregg (F) Apr. (cover), (A) Dec.BLACK, Dave (P) Nov.BLAIR, Michael (U) Aug.BLAKEY, Art (IM) Feb.BLAND, Michael (UC) JulyBONO, Vito (U) Dec.BRUBECK, Dan (P) MarchBRUFORD, Bill (A) Oct.

CARR, Eric (A) JuneCARTELLONE, Michael (UC) JuneCHAMBERLAIN, Matt (F) MayCOBHAM, Billy (A) Aug.COLLINS, Phil (A) Sep.

COURY, Fred (F) Feb.CRISS, Peter (A) July

DD'ANGELO, Greg (F) May [author: RP]DeGANON, Clint (UC) Dec.DENSMORE, John (U) Jan.DERGE, David (U) Apr.DEROSIER, Michael (U) Feb.DeVITTO, Liberty (A) May, (A) Nov.DITMAS, Bruce (U) Aug.DRUMMOND, Billy (F) ("New York Jazz DrummersRound Table") Sep.

EE., Shiela (F) July (cover)ERSKINE, Peter (U) March

FONTANA, D.J. (U) JulyFREESE, Josh (U) MayFRESH CHEESE AND CHEESE (U) March

•GGANNAWAY, Ron (U) MayGARIBALDI, David (F) Feb. (cover) [author: RJ]GASKILL, Jerry (UC) Feb.GAVIN, Jack (A) MarchGAY, Dick (U) MayGORMAN, Steve (U) Feb.GOTTLIEB, Danny (U) MayGRUBER, Freddie (U) Sep.

H

L

M

LARKIN, Shannon (F) ("Speed Metal Mixed Bag") Dec.LEIM, Paul (A) Jan.LEWIS, Victor (F) ("New York Jazz Drummers

Round Table") Sep.LOMBARDO, Dave (F) July

KAHN, Tiny (F) Apr.KATCHE, Manu (F) Aug. (cover)KELTNER, Jim (F) Dec. (cover)KEMPER, David (U) JulyKENNEDY, William (F) Nov. (cover)KINNEY, Sean (U) MayKIRKPATRICK, Ted (U) Jan.KNUDTSON, Gordy (P) MayKOHLMAN, Louis F., (IH) March

HURLEY, George (U) Dec.HUSBAND, Gary (F) June (covers), (A) Jan.———J———JACKSON, Ronald Shannon, (U) July, (A) MayJAIMOE (Johanson) (F) MarchJOHNSON, Kenney Dale (U) Aug.JONES, Kenney (U) Aug.

•F

E., Shiela (F) July (cover)ERSKINE, Peter (U) March

PALMER, Carl (U) Jan., (A) Nov.PARKER, Chris (A) Sep.PAUL, Vinnie (F) ("Speed Metal Mixed Bag") Dec.PEART, Neil (A) Dec.PERKINS, Stephen (UC) JunePETERS, Dan (U) Sep.PETERSON, Ralph (F) Feb., (F) ("New York Jazz

Drummers Round Table") Sep.PETRUCCI, Roxy (F) MarchPHILLIPS, Simon (A) Apr.PHIPPS,Jim(U)Aug.POWELL, Shannon (U) Nov.PROUT, Nancy Given (U) Feb.

WACKERMAN, Chad (A) JuneWACHOLZ, Steve "Doc" (A) Feb.WARD, Billy (U) Nov.WASHINGTON, Kenny (F) June, (F) ("New York Jazz

Drummers Round Table") Sep.WATTS, Charlie (U) Dec.WATTS, Jeff, (F) ("New York Jazz Drummers

Round Table") Sep.WECKL, Dave (A) Feb.WEINBERG, Max (A) Apr.WHITE, Alan (U) Aug.WHITE, Steve (U) JulyWHITTEN, Chris (U) Sep.WILSON, B.J. (Barry) (IH) MarchWRIGHT, Simon (U) Apr.

This list contains names of individuals known primarilyas technicians, teachers, or manufacturers.

CUNLIFFE, Tommy (IH) JuneDOUGHTY, Tony (P) Jan."Drum Techs" (F) Apr. (Jeff Chonis, Paul Jamieson,

Brad Marsh, Jeff Ocheltree)GATZEN, Bob (F) JuneSPAGNARDI, Leo (IH) Jan.VOELKER, Greg (PCU) Feb.

Equipment Features"Product Reference Chart"—Oct. (Buyer's Guide)

Historical Features"MD's Festival Weekend '90"—Feb."MD 1991 Index Update"—Dec."MD's 15th Anniversary Scrapbook"—Jan."On The State Of The Industry"—Oct.

Instructional Features"Buying Drums"—Oct."Equipment Theft: Before And After"—Sep."Tuning Up With The Pros: Part 1"—July"Tuning Up With The Pros: Part 2"—Aug.

Manufacturer/"Inside..." Features"Inside Corder"—March"Inside Tama"—Nov."Manufacturers Directory"—Oct.

Schools/Education Features"Drums In The Military — The Armed Forces School

Of Music"—May

MISCELLANEOUSFEATURES

REFERENCE LISTN

SSAMUELS, Dave (U) Nov.SANDOVAL, Gonzo (U) Aug.SANTOS, Jackie (U) Jan.SAPUTO, Tony (IH) July

RAGER, Chad (U) JuneRAREBELL, Herman (U) MarchRATH, David (U) Apr.RICH, Buddy (FP) Apr., (FP) MayROADY, Tom (U) JulyROCK, Bobby (F) Nov.ROCKENFIELD, Scott (U) Feb.

NASH, Lewis (F) ("New York Jazz DrummersRound Table") Sep.

NEWMARK, Andy (A) March"New York Jazz Drummers Round Table" (Drummond,

Lewis, Nash, Nussbaum, Peterson, Smith,Washington, Watts) (F) Sep.

NUSSBAUM, Adam (F) ("New York Jazz DrummersRound Table") Sep.o

ORNELAS, Willie (U) Apr.

MORRIS, Chuck (F) Aug.MUHAMMAD, Idris (P) Aug.

XYZZEKAVICA, Milan (U) Dec.

•W

VINX, (U) Sep.

TANA, Akira (F) Nov.TEMPESTA, John (F) ("Speed Metal Mixed Bag") Dec.THOMPSON, Paul (U) MarchTORPEY, Pat (A) Aug.TORRES, Tico (U) Nov.TRAMS, Scott (U) Apr.

T

SCHELLEN, Jay (U) Apr.SCHULMAN, Mark (U) Sep.SMITH, Marvin "Smitty", (F) ("New York Jazz

Drummers Round Table") Sep.SORUM, Matt (F) June"Speed Metal Mixed Bag" (Hererra, Larkin, Paul,

Tempesta) (F) Dec.STEWART, Bill (UC) Sep.STURMER, Andy (U) May

"Guide For The College-Bound Drummer"—Dec.

Readers Poll Results1991 Readers Poll—July

Sound Supplements"Afro-Cuban Sound Supplement"—Aug.

COLUMNS

A Different ViewMattingly, Rick, "Chick Corea"—March,

"Pat Metheny"—Dec.Seligman, Adam W, "John Scofield"—Feb.

Around The WorldFairclough, Peter, "Basle Drumming"—Jan.

BasicsCohen, Peter I., "Getting Serious About

Timekeeping"—Sep.

Club SceneVan Horn, Rick, "A New Club Scene"—May,

"Where Have All The Clubbers Gone?"—June,"Don't Pay To Play"—Sep.

ConceptsBurns, Roy, "Playing Time"—Jan.,

"There Are No Shortcuts"—Feb.,"Fear And The Recording Studio"—March,"Attitudes"—Apr.,"Endorsements"—May,"Why Is The Music Business So Tough?"—June,"Being Serious"—July,"Following A Heavyweight"—Aug.,"Mistakes"—Sep.,"Confidence Vs. Arrogance"—Nov.,"Politics And Music"—Dec.

Critique(Reviews alphabetized by artist or author, not by reviewer)

Acuna, Alex, Alex Acuna & The Unknowns(recording)—Feb.

akLaff, Pheeroan, Sonogram (recording)—Nov.Alpert, Brian, and Dave Palamar, 4's: The Complete

Guide To Learning Syncopation (book)—Nov.Anderson, Ray, Wishbone (recording)—Dec.Baker, Ginger, Middle Passage (recording)—Jan.Balafon Marimba Ensemble, Balafon Marimba

Ensemble (recording)—Apr.Barnard, Jim, Jim's Rock Collection (book)—MarchBergamo, John, The Art &Joy Of Hand Drumming

(video)—Jan.Bocle Brothers, Going Places (recording)—JuneBonham, Jason, Jason Bonham (video)—Apr.Brady, David, Bag Of Tricks (book)—MarchBrecker, Michael, Now You See It...(Now You Don't)

(recording) —MarchBurns, Roy, and Joey Fariss, New Orleans

Drumming—Second Line And Funk Rhythms(book)—Sep.

Camilo, Michel, On The Other Hand (recording)—Feb.Castronovo, Deen, High Performance Drumming

(video)—Aug.Chester, Gary, and Chris Adams, The New Breed II

(book)—Jan.Coleman, Steve, Black Science (recording)—Dec.Cox, Ken, Advanced Stick Aerobics Applied To The

Drumset (book w/optional cassette)—Aug.Da Fonesca, Duduka, and Bob Weiner, Brazilian

Rhythms For Drumset—Nov.DeJohnette, Jack, Parallel Realities (recording)—Jan.Dream Boat, Manhattan Projects (recording)—Jan.Ferber, Morty, All The Way To Sendai

(recording)—MarchForbidden, Twisted Into Form (recording)—Jan.Formanek, Michael, Wide Open Spaces

(recording) —Apr.

Gadd, Steve, and Bobby Cleall, Steve Gadd Up Close(book and cassette)—June

Garbarek, Jan (Group), I Took Up The Runes(recording)—Apr.

Glennie, Evelyn, Good Vibrations - My Autobiography(book)—Apr.

Glennie, Evelyn, Rhythm Song (recording)—Apr.Goines, Lincoln, and Robby Ameen, Funkifying The

Clave: Afro-Cuban Grooves For Bass And Drums(book and cassette)—Feb.

Goodrick, Mick, Biorhythms (recording)—Sep.Gratton, Rick, Rick's Licks, Volumes I, 2, and 3 (book

w/optional cassette)—Aug.Holcomb, Robin, Robin Holcomb (recording)—JuneHoughton, Steve, and Tom Warrington, Essential Styles For

The Drummer And Bassist (book and CD)—MarchHurley, Marty, Phantom Phrenzy (book)—Dec.Jane's Addiction, Ritual de lo Habitual

(recording)—MarchJones, Casey, The Chi-Town Boogie Man

(recording)—MarchKamikaze Ground Crew, The Scenic Route

(recording)—JuneKarlson, Stefan, Room 292 (recording)—Nov.Kasuma Sari, Gamelan Batel Wayang Ramayana

(recording)—Aug.King's X, Faith Hope Love (recording)—JuneKorall, Burt, Drummin' Men: The Heartbeat Of Jazz,

The Swing Years (book)—Feb.Last Crack, Burning Time (recording)—Dec.Latham, Rick, Contemporary Drumset Techniques (book

w/optional cassettes)—Aug.Led Zeppelin, The Led Zeppelin Collection

(recording)—JuneLondin, Larrie, A Day With: Larrie Londin

(video)—Dec.Magadini, Pete, Bones Blues (recording)—MarchMalabe, Frank, and Bob Weiner, Afro-Cuban Rhythms

For Drumset (book and cassette)—Feb.Mann, Ed, Perfect World (recording)—March

COLUMNS

"Guide For The College-Bound Drummer"—Dec.

Readers Poll Results1991 Readers Poll—July

Sound Supplements"Afro-Cuban Sound Supplement"—Aug.

Marcelli, Andrea, Silent Will (recording)—Nov.Martucci, Tony, Earth Tones (recording)—Sep.Meeting, The, The Meeting (recording)—Apr.Miller, Mulgrew, From Day To Day (recording)—Feb.Mind Funk, Mind Funk (recording)—Sep.Moore, Ralph, Furthermore (recording)—Feb.Morales, Richie, Hitting The Groove (video)—Feb.Morton, James, You Can Teach Yourself Drums

(book)—Sep.Motian, Paul, On Broadway (recording)—Jan.,

Bill Evans (recording)—Sep.O'Gorman, Peter, Drum Sessions, Book I (book)—Jan.Perry, Doane, Creative Listening (video)—Nov.Peterson, Ralph, Presents The Fo'tet (recording)—JuneP-Funk All Stars, Live At The Beverly Theater

(recording)—Nov.Piazza, Rod, & The Mighty Flyers, Blues In The Dark

(recording)—Aug.Porcaro, Joe, On Drums (video)—Sep.Psychotic Waltz, A Social Grace (recording)—Aug.Richards, Emil, Studio Techniques (book)—Nov.Rothman, Joel, Hardest Drum Book Ever Written

(book)—Apr.Rothman, Joel, Rock & Rolls Featuring The Inside Story

(book)—Apr.Samulnori, Record Of Changes (recording)—Aug.Santorsola, Richard, Combinations (book)—MarchScatterbrain, Here Comes Trouble (recording)—Feb.Shaughnessy, Ed, Jazz In The Pocket (recording)—Dec.Shehan, Steve, Arrows (recording)—JuneSmashing Pumpkins, gish (recording)—Nov.Stockwell, J.E., How To Build A Really Neat Drum

Platform For About $100 (book)—Feb.Stroffolino, Donald P., Rudimental Extensions

(book)—MarchSubmedia, Submedia (recording)—Sep.TanaReid, Yours And Mine (recording)—Aug.Uotila, Jukkis, Jukkis Uotila Band Live

(recording)—Jan.Various Artists (A. Acuna, L. Bellson, V Firth, S. Gadd, H.

Mason, and D. Samuels), Time Groove (video)—June

Various Artists (including M. Ditcham, P Gould, G.Husband, M. Mondesir, G. Wallis, and S. White ondrums and percussion),A Certain Kind OfFreedom (recording)—Aug.

Various Artists (including A. Jackson, H. Grimes, and B.Cunningham on drums), The Complete Stax/VoltSingles 1959-1968 (recording)—Nov.

Various Artists, Illuminations (Axiom Collection)(recording)—Dec.

Watson, Bobby, & Horizon, Post-Motown Bop(recording)—Aug.

Wesley, Fred New Friends (recording)Wilkins, Jack, Alien Army (recording)—Sep.

Drum Soloist(Alphabetized by artist, not transcriber)

Haynes, Roy, "If I Should Lose You"—MayKennedy, William, "Downtown"—Nov.Rosenblatt, Joel, "On Fire"—Jan.

Electronic InsightsWatson, Richard, "Taking The Plunge Into

Electronics"—July

EncoreSantelli, Robert, "Dino Danelli: Groovin'"—Feb.,

"Bill Bruford: Close To The Edge"—May,"Sam Lay: The Paul Butterfield Blues Band"—July,"Billy Cobham: Birds Of Fire"—Dec.

From The PastFalzerano, Chuck, "Billy Gladstone: Pioneering The

Tools Of The Trade"—Nov.Rich, Cathy, "Remembering Buddy: Part 1"—Apr.,

"Remembering Buddy: Part 2"—May

Head TalkScheuerell, Casey, "Paradiddle Warm-Up"—Feb.,

"Acceleration Warm-Up"—May,"Inverted Paradiddle Warm-Up"—July

Health And ScienceAlpert, Brian, "The Problem Of Addiction"—Feb.Montgomery, Garry, "Preventing Back Problems"—June

In The StudioHadjopoulos, Sue, "Creating A Percussion

Arrangement"—Nov.

Jazz Drummers' WorkshopButler, Brian, "Dave Weckl: Style And Analysis"—Nov.Campbell, Tommy, "Endurance Exercises"—JuneClark, Mike, "Developing A Sound"—Aug.Eldridge, Sharon, "Easy Steps To Independence:

Part 1"—Feb.,"Easy Steps To Independence: Part 2"—March,"Easy Steps To Independence: Part 3"—Apr.

Froese, Steve, "Truth On Tape"—Aug.Nicholls, Geoff, "On Posture"—Aug.Miller, William F., "The Same 'Ol Beat"—Aug.

Latin SymposiumSilverman, Chuck, "Practical Applications Of The

Mozambique Rhythm"—Sep.,"Practical Applications Of The MozambiqueRhythm: Part 2"—Nov.

Master ClassCirone, Anthony J., "Portraits In Rhythm: Etude

#24"—March,"Portraits In Rhythm: Etude #25"—Dec.

In MemoriamMD Editors, "Gone But Not Forgotten"

(photo tribute)—Jan.Mattingly, Rick, "Art Blakey"—Feb.

Photo Gallery(Alphabetized by artist; photographer's name follows)

Appice, Carmine (Alex Solca)—MayCobham, Billy (Joost Leijen)—Feb.

Cyrille, Andrew (Joost Leijen)—JuneFish (Michael Jachles)—Sep.Lee, Tommy (Ebet Roberts)—MarchPalmer, Carl (Ebet Roberts)—Aug.Richards, Emil (Jaeger Kotos)—JulyRiley, Ben (Joost Leijen)—Apr.Rock, Bobby (Mark Weiss)—Dec.

Rock Charts(Alphabetized by artist, not by transcriber)

Aronoff, Kenny, "Authority Song"—Apr.DeVitto, Liberty, "I Go To Extremes"—Dec.

Rock 'N'Jazz ClinicGaribaldi, David, "Developing The 'Two Sound Level'

Concept"—Feb.,"Groove Study #50: Applying Two Hi-Hats"—May,"Permutation Study #20"—Aug.,"In The Pocket"—Nov.

Morgenstein, Rod, "Filling In The Holes On The HiHat: Part 1"—Jan.,"Filling In The Holes On The Hi-Hat: Part 2"—March,"Filling In The Holes On The Hi-Hat: Part 3"—June,"Filling In The Holes On The Hi-Hat: Part 4"—Sep.,'Accentuating The Less Obvious Parts Of TheMeasure: Part 1"—Dec.

Xepoleas, John, "Funky Stickings"—July

Rock PerspectivesAronoff, Kenny, "Hitting Hard: Part 2"—Jan.,

"Kenny's Shuffles"—Aug.,D'Angelo, Greg, "Double Bass Fills: Try This!"—Apr.

Shop TalkIngberman, Ned, "What Makes A Drum

Collectible?"—Apr.

Show Drummers' SeminarBriggs, Michael L., "Road Warriors"—Jan.Oldakowski, Tom, "Subbing A Show: Part 1"—June,

"Subbing A Show: Part 2"—July,"Subbing A Show: Part 3"—Aug.

South Of The BorderVan Schaik, Tom, "Variations On The Songo"—Apr.

Strictly TechniqueMorello, Joe, "Rhythmic Rudimental Progressions:

Part 8: Six-Stroke Rolls"—Jan.,"More Variations On Stick Control: Part 1"—Feb.,"More Variations On Stick Control: Part 2"—March,"More Variations On Stick Control: Part 3"—May,"Developing The Left Hand"—June,"The Full Stroke"—July,"Developing The Paradiddle With Progressive

Accents"—Aug.,"Developing The Paradiddle With Progressive

Accents: Part 2"—Nov.,"Developing The Paradiddle With Progressive

Accents: Part 3"—Dec.

Taking Care Of BusinessDimmel, Doug, "Making It"—Nov.

Teachers' ForumThompson, Woody, "Concepts For Teachers"—May

The Jobbing DrummerGolay, Michael K, "Fast Set-Ups And Break-Downs"—JulyZack, Carl, "Getting Back On The Scene"—Dec.

TrackingRichards, Emil, "Practice: How Long Must You

Continue ?"—Aug.

DCI ReportsVogel, Lauren, "1990 DCI Championship Results"—Jan.

NAMM Show ReportsMD Editors, "Highlights of NAMM '91" (NN)—

May (photo-essay)

PASIC ReportsMD Editors, "PASIC '90 Highlights" (IH)—Apr.(photo-essay)

Information Columns(Listed alphabetically by manufacturer or product name)

Acupad Electronic Trigger Pads (ER)—Aug.ADM (Australian Drum Manufacturers) Drums

(NN)—Dec.Aquarian Kick Pad (NN)—Sep.Audio-Technica Pro 25 and Pro 8 Microphones

(NN)—Apr.,ATM25,ATM35,ATM4051, and AATM73amicrophones (ER)—Aug.

Axis and Axis-E Pedals (PCU)—Feb.Biscayne Student Drumkits (NN)—Jan.Bison Custom Symphonic Snare Drum (PCU)—Sep.Calato Mfg. Updated Logo (NN)—Nov.Cannon Percussion 20-Strand Wire Snares (NN)—JulyCappella Drumsticks (PCU)—Apr.,

Tico Torres Signature Stick (NN)—July,Patriot and Elite 9000 Marching Sticks(NN)—Sep.

Colorlife Drum Hardware Coloring Service (NN)—Apr.Clip-On Accessories (PCU)—Aug.ddrum Padstation and Sound Poes (NN)—Apr.,

Performer (NN)—JuneDeen Costronovo — High Performance Drumming

(video) (NN)—JuneDrum Workshop 5000A and 50024 Accelerator Single and

Double Bass Drum Pedals, and FinishPly DrumCovering (NN)—Apr.,DW 909 Cymbal Stacker (NN)—June,10 + 6 Maple Snares (NN)—Nov.

Drumslinger Quick Stick and Bass Drum Pack(NN)—June

E-mu Systems Procussion (ER)—Nov.Ensoniq EPS And Sound Library (ER)—Jan.,

EPS-16 Digital Workstation (NN)—July,

Information Columns

PASIC ReportsMD Editors, "PASIC '90 Highlights" (IH)—Apr.(photo-essay)

EPS-16 Library Additions (NN)—Nov.Essential Styles For The Drummer And Bassist

(book/CD package) (NN)—Jan.Evans EQ-3 Bass Drum Head System (NN)—JuneEZ Practice Pad (NN)—Nov.Geddit? Drum-wear (PCU)—MarchGibraltar Extended Height Throne, Road Series Rack

Clamps, and Cymbal Tilter 360 (NN)—Aug.,Conga Stands (NN)—Dec.

GMS Grand Master Series Drumkit (PCU)—Dec.Gon-Bops Gongas (NN)—June, (PCU)—Dec.Grover Pro Percussion WB-1 Woodblock, T2/SB

Tambourine, and Alloy 303Triangle Beaters (NN)—July

Impact Double Pedal Bags and Deluxe Cymbal Bags(NN)—Sep.,Cymbal Pockets, Mallet Selection Guide,and expanded bag lines (NN)—Nov.

Kaman Road Series Rack Systems (NN)—Dec.KawaiAD-5Percussion Synthesizer (ER)—MayKAT Pro Kit drumKAT, Pro Kit KITI, Club Date,

Cluster, and Studio electronic pad kits, kicKATbass drum trigger, and midiK.1. T.I. Proand drumKAT'em (NN)—June,kicKAT (ER)—Sep.

Kick-Stop (PCU)—MayLA Caseworks Stick Bags (NN)—JulyLP Trap Table (NN)—Apr.,

Ridge Rider Cowbell (PCU)—JuneLudwig Black Beauty and Hand-Hammered Bronze

Piccolo Snares, RockerII Outfits with PowerToms, and Challenger Vector Marching Snare(NN)—Jan.,LR-2426 Rocker Kit (PCU)—Feb.,Black Beauty Piccolo Snare Drum (PCU)—March,Power Piccolo (NN)—June, (PCU)—Aug.,Educational Pack (NN)—Sep.,L-398 Stick And Mallet Bag (NN)—Nov.

Mapex Orion Custom Drumkit (PCU)—Jan.,Mars Series Upgrades (NN)—July

Meinl New Raker Cymbals (NN)—Nov.

Mic-Eze Miking Clamps (PCU)—MayMike Balter Marching Mallets (NN)—Jan.Night Tracer Drumsticks (PCU)—MayNo-Slip Drumstik High-Friction Product (NN)—Dec.Noble & Cooley HP Snare Drums (NN)—Apr.,

(PCU)—JulyOberheim Drummer Interactive Drum Pattern

Sequencer (NN)—Nov.Octagon Drum Gloves (NN)—Sep.Overby OVB- WOO Flutter Bar (NN)—Sep.Patterson Custom Cable Snares (PCU)—Dec.fear\H-880 Hi-Hat Stand (PCU)—Jan.,

Prestige Studio Drumkit (PCU), Soprano SnareDrum and Export SX Drumkits (NN)—Apr.,CZX Studio and Prestige Session Elite Drumkits,Om Percussion, and Pearl News (NN)—Sep.,Soprano and Soprano EFX Snare Drums(PCU)—Dec.

"Play It Straight" T-Shirts (NN)—Jan.Premier Upgraded APK Drumkits (NN)—Jan.,

Premier / Voelker Rack (PCU)—Feb.,Tendura Marching Drumheads (NN)—Nov.

Pro-Mark Bobby Rock Model Drumsticks (PCU)—Apr.,"Magnificent Seven" (Autograph Series)Drumsticks (PCU)—Aug.,7/7 Model Drumstick and Rattler (NN)—Dec.

PureCussion Bicycle-Seat Throne and DSS 4006 RackSystem (NN)—Apr.,12" Shell-less Snare Drum, Rimbali, TraditionalThrone Seat, and Double Drop Clutch (NN)—Sep.

Pure Tone Bottom Line Resonance Eliminator(NN)—March

Quick Bag (PCU)—Apr.Quick Draw Stick Holster (PCU)—MayRegal Tip (w/Noble & Cooley) Drumsticks (NN)—Apr.,

(PCU) May,Whiskers and Splitstix (PCU) May

Remo Legero Drumkit (PCU)—Jan.,Ebony Super Falams and Ebony Clear Dot FalamsDrumheads and Falam Slam Bass DrumImpact Pads (NN)—Jan.,

5 1/2 x 13 Deep Piccolo and 3 1/2 x 13 TraditionalPiccolo Snare Drums (NN)—July,

Powerstroke 3 Drumheads and Legato MarchingDrum series (NN)—Aug.

Rimshot New Stick Models (NN)—MarchRoc-N-Soc Lunar Series Throne (PCU)—Nov.Roland SPD-8 Total Percussion Pad (ER)—March,

Up And Running With The Boss DR-55O(Guidebook) (NN)—March

Royce Conga Drums (PCU)—Aug.Russian Dragon RD-2 (NN)—Jan.,

Russian Dragon (ER)—March,Russian Dragon RD-T (NN)—July

Sabian B8 Pro Cymbals (PCU)—Feb.,HH Thin Chinese, B8 Pro Rock, AA Classic Band,and B8 Pro Marching Band Cymbals (NN)—Apr.,HH EQ Hats and HH Power Bell Ride (NN)—July,HH Power Bell Ride, HH EQ Hats, B8 Pro RockModels, B8 Pro China Splash, and HH ThinChinese (PCU)—Sep.

Sapphire Percussions Slim Line Designer Studio DrumPads (NN)—July, (PCU)—Sep.

Simmons Drum Huggers and SDS2000 (ER)—July,Trixer ll (NN)—Sep.

Slingerland Lite Drumkits (NN)—March,Marching Percussion Instruments (NN)—Aug.,Marching Percussion Carriers (NN)—Sep.

Slobeat Drummer Commemorative T-Shirts, and BrightSticks and Holz distribution (NN)—July

Soh Daiko Recording (on Lyrichord Discs) (NN)—JulySonor Force 3000 Drumkit and Z 9392 Double Bass

Drum Pedal (NN)—Apr.,Force 3000 Drumkit (PCU)—June,Signature Series "Special Edition" drums, Force3000 drums, AX-HAT, and Super Lock TensionLocking Device (NN)—Nov.

Super Shine Cymbal Cleaner (PCU)—Apr.Superstand Collapsible Music Stand (NN)—Aug.Toca Cowbells and Mini-Conga Sets (NN)—Dec.ToneRyte Bass Drum Dampener (PCU)—JulyUDU Drums (Handmade, Claytone, and Hadgini)

(PCU)—Feb.Vater Timpani Mallets (PCU)—Jan.Vic Firth Signature Mallets (PCU)—Sep.Westone Hearing Protection Devices (PCU)—JuneWood-Whack Drumsticks (NN)—Dec.XL Specialty Percussion improved Black Max

Pedal (NN)—JulyYamaha Corps Custom and MS 7014 Power Tech

Marching Snare Drums, Strike Force Drumsticks,MBM-500 Jumbo Marching Bass Drum Mallet,Artist-Master Keyboard Mallets, and MSP-14Transparent Sound Projector (NN)—Apr., RY30Rhythm Synthesizer (NN)—June, Custom Grand,Cadenza, and Recitalist Marimbas, Gold Tour andSilver Studio Vibraphones, Field Master MarchingMallets, RY30 Rhythm Synthesizer and DTS70Drum Trigger System (NN)—Aug., MapleCustom Kit (PCU)—Nov.

Zap Drums (NN)—MarchZildjian 6A, Z4A, and Super 5B Drumsticks

(PCU)—March,Pre-Aged K Cymbals (PCU)—June

I N D U S T R Y H A P P E N I N G S

Drummers PresentMemorabilia To

At a luncheon held at the Hard Rock Cafein Los Angeles, Randy Castillo, MyronGrombacher, Carmine Appice, TerryBozzio, and Vinnie Appice (left to right)presented the eatery with various itemsfrom their drumkits, including drum-heads, cymbals, and a snare drum. Theitems, which the artists signed at the pre-sentation, will most likely be displayed atthe Hard Rock Cafe and Hotel that arecurrently under construction in Las Vegas.

HSS has announced the winners fromtheir 1990-'91 Slingerland Sweepstakes.Winners David Ayala of San Antonio,Texas (Impact Percussion, San Antonio),Chuck Stanberry of Enka, North Carolina(Jack Clark's Drum Shop, Asheville, NC),Eric Mullan of Rock Falls, Illinois (AustinMusic Center, Dekalb, IL), John Palmoreof Reno, Nevada (Maytan Music Center,Reno), and Megan Starks of Freedom,California (Jansen Music, Watsonville,CA) each took home a Slingerland Spiritdrumset.

rowed down to ten finalists, who per-formed that evening. Pearl, Zildjian,Regal Tip, and Evans co-sponsored theevent, and 2,000 spectators came to watchand listen. First prize was won by ChuckFerruggia of Brooklyn, New York; secondwas taken by Joe Kirsch of Hauppague,New York; and third was taken by RobL'ano of Valley Stream, New York.Promoter Dennis Ricci of LIDC plans tocontinue the event next year.

SlingerlandDrumset Winners

Drum Rumble IILong Island Drum Center hosted thesecond annual Drum Rumble at "SpitRocks" on Long Island this past June 22.Entries were received from 375 drum-mers, who submitted drum solos threeminutes in length. Entrants were nar-

Drum HeadquartersNamed Among TopUS Music RetailersDrum Headquarters, of St. Louis,Missouri, has been named to the first"Retail All-Star Team" in the July 1991issue of Music, Inc., a national trade mag-azine of the musical instrument industry.This recognition, bestowed upon only 21music retailers in the country (and onlyone drum specialty shop), is the result of

Recently added to Paiste's endorser listare Leroy Clouden with the B-52s andDonald Fagen, Jerry Kroon, NiclasSigevall of the Electric Boys, Mark Bellof the Ramones, David Huff of Giant,Chris Trujillo with Richard Marx andToto, Ted Kirkpatrick of Tourniquet,Robert Kazenel of Bootsauce, MichaelBruno with Yanni, Vito Bono ofKingofthehill, Ellis Hall with Tower ofPower, and sessionist Michael Spiro.

K.C. Kasin of Aragon playing Roycedrums.

Tito Puente is celebrating his twenti-eth year with LP.

Cliff Almond, Adam Woods of the

Fixx, Matt Frenette, Chuck Morris,Ricky Fataar with Bonnie Raitt, DeenCastronovo, Philthy Animal Taylor ofMotorhead, Teri Cote with AnitaSarawak, and Scott Klein with EngelbertHumperdinck are all using Vic Firthsticks. (Klein is also endorsing Zildjiancymbals and Gibraltar racks.)

Vibist Charlie Shoemake and percus-sion composer and arranger MichaelBoo are using Mike Balter Mallets.

The Blue Knights Drum & BugleCorps of Denver, Colorado usingPremier drums, timpani, and malletinstruments for their upcoming season.

Drum Technicians Paul Davies(Jonathan Moffet) , Michael Jache(Michael Cartellone), and AlanPancratz (Mick Brown) are all usingTrick cleaners and polishes.

New endorsers of Danmar Productsinclude William Calhoun, TonyBraunagel, Deen Castronovo, RussMcKinnon of Tower of Power, MarkGeary of Dangerous Toys, Nick Menzaof Megadeth, Kevin Quigly of

The Avedis Zildjian Company wasrecently inducted into the MassachusettsHonor Roll of Innovation and Discovery.Zildjian was honored for its developmentof modern musical cymbals and for itscontribution to the growth of the globalmusical instrument market.

Endorser News

a survey of musical instrument manufac-turers and distributors conducted by themagazine staff. "All-Star" status wasachieved based upon a combination ofsales volume, product knowledge, cus-tomer service, and overall industry-widereputation.

Zildjian InductedInto MassachusettsHonor Roll

Testament, Eric Singer, Jeff Martin ofBadlands, Mark Cavarzan of BrightonRock, and Charlie Benante.

Falicon Designs drum racks are beingused by Greg D'Angelo and by SteveWacholz of Savatage.

Mike Baird has joined Sabian's clinicprogram.

Yves Gerard of the Larry MitchellBand playing Tama drums.

N E W A N D N O T A B L E

Kaman Music Corporation has announcedits new line of Toca professional cowbells.Traditional Series bells are chrome-plated,and come in five sizes with a heavy-dutymount. A bongo bell without a mount forhand playing is also available.

Contemporary Series bells come in fivesizes and are specifically designed for theneeds of the drumset player. They aredesigned to be mounted and are madewith Toca's "tone dampening" process,which is a white gloss powder-coated lac-quer.

Toca's Fiberglass Miniature Conga setscome in 8" and 9" diameters and are madefrom carefully molded fiberglass, rein-forced for maximum strength and soundprojection. Toca Miniature Congas areproportional, in all measurements, to fullsize congas. According to Toca, this giveseach drum a full tonal range that is notpossible with standard mini congas. The

congas also come with natural skin heads,heavy-duty chrome-plated counter hoops,and a heavy-duty double-braced adjustablestand, and they're available in three glosscolors: white, red, and black.

Kaman has also introduced Gibraltar'snew Professional Single Conga Stands,which are available in three sizes anddesigned to fit all makes of congas rangingin size from 10" to 13". Each stand is fullyadjustable and comes stock with threeheavy-duty locking casters. Stands can beclamped to each other using a Gibraltarclamp, making a double, triple, or quadsetup.

Finally, Kaman has introduced the newGibraltar Road Series line of rack systems.Road Series systems come in five configu-rations, from a basic over-the-bass-drumrack to a double bass system utilizing twocurved Upfront bars and straight sideextensions. All of the new Road Seriesracks employ Gibraltar's new T-leg designand Road Series clamps, which includehinged memory locks, stackable right-angle clamps, and adjustable angleclamps. Kaman Music Corporation,P.O. Box 507, Bloomfield, CT 06002, tel:(203) 243-7941, fax: (203) 243-7102.

New From Kaman

Pro-Mark 717 StickAnd RattlerPro-Mark has recently introduced its 717hickory drumstick, which, the companystates, is like a long 5A with a small, cap-sule-shaped tip like that on their 737sticks. The diameter is 9/16" (14mm), the

length is 16 1/8" (409mm), and the stick isavailable in wood tip only.

Pro-Mark has also reintroduced itsRattler, which, when attached to any cym-bal, produces a sizzle-like sound whilepreserving the clarity and distinctive pingsound of the stick on the cymbal. Unlikeinstalling rivets, which are permanent, theRattler can be quickly removed when thesizzle sound is not desired. The Rattler ismade to fit a 22" cymbal, but can easily beshortened to fit smaller cymbals. Pro-Mark Corporation, 10707 CraigheadDrive, Houston, TX 77025-5899, tel:(713) 666-2525, fax: (713) 669-8000. Australian Drum Manufacturers (ADM)

have introduced their line of Block-Shellsnare drums and kits. The drums aremade from solid blocks of Australian hard-woods, glued together similar to the waycongas are made. The drums also featuresolid brass lugs attached to the drum viatwo small contact points.

A full range of snare drum sizes isoffered, including 10", 12", and 14" modelsin a variety of depths. Tom-toms and bass

No-Slip Drumstik, from Dexus Research,Inc., is a rub-on product said to helpdrummers keep a grip on sticks underdemanding situations. According to themakers, unlike conventional stick wraptapes, No-Slip will not affect the balanceof sticks. One package contains enoughNo-Slip for hundreds of applications.H&D Enterprises, 326 First Street,Suite 11, Annapolis, MD 21403, (301)268-9462.

Wood WhackMulti-Tone SticksWood Whack sticks are made of seven 1/4"dowels fitted into a plastic handle. Asecure plastic piece can be moved up ordown the sticks to create a variety of dif-ferent sounds, from those of a heavy brush

ADM Block-ShellDrums

to a hard-hitting stick to a mallet. Thesticks are currently available at retailstores in the northeastern United States.Wood Whack, P.O. Box 443, EastMeadow, NY 11554, (718) 256-2268.

No-Slip Drumstik

drums are also available in many sizes, andcustom orders are welcome. The drumscan be finished in a variety of lacquer fin-ishes from satin (oil) to "Pearlescent" andmetallic. Shells are available without hard-ware and can be ordered directly from themaker or from any ADM dealer. ADMUSA, c/o Michael Briggs (713) 495-5699. ADM, 7 Macquarie Ave.,Padbury, 6025—West Australia, tel &fax: 61 9 401 2849.

N EXT M O N T H

MARK BRZEZICKI

PLUS:DRUMMERS

OF MEMPHISINSIDE FIRTHNEW RUSH

TRANSCRIPTIONCOLUMNS BY• CHUCK SILVERMAN• MICHAEL BLAIR

ROB RODRIGUEZ & RAFAEL PADILLAMIAMI SOUND MACHINE'S

ADVERTISERS INDEX

ADVERTISERHadgini DrumHorrigan Drum SchoolImpact IndustriesInnovative SpecialtiesIstanbul/GretschJemm CompanyJohn Shearer's Total Drum SchoolKansas City DrumworksKAT, Inc.LP Drumnstuff CompanyL.T . Lug LockLatin PercussionLudwig IndustriesMapex PercussionMaxellMD Holiday SubscriptionsMD LibraryMD Sound Supplement CollectionMD & Yamaha Drum Rig GiveawayMechanical Music CorporationMeinlMusician's InstitutePaistePearl CorporationPercussive Arts Society (PASIC "91)Play It StraightPowertip DrumsticksPrecision Drum Co.Premier PercussionPro*MarkProscenium Entertainment

ADVERTISERABK RocksAc-ceteraAKG AcousticsAquarian AccessoriesAtlanta Pro PercussionAtlantic RecordsCalato/Regal TipCappella DrumsticksCaroline RecordsCMPCorder Drum Co.DC I Music VideoddrumDopple, Inc.Drum DoctorsDrum WorkshopDrummers CollectiveDrums on SaleDrumstixEmpire GroupEvans ProductsFalicon DesignFork's Drum ClosetGibraltar/Kaman Music Corp.Glenn Weber Drum StudioGMS DrumsGon BopsGorilla SnotGrant's Drum CityHQ Percussion Products

ADVERTISERPureCussion, Inc.RemoReunion BluesRhythm Tech, Inc.RimSHOT DrumsticksRoc-N-SocRoyce PercussionS & S IndustriesSabianSam Ash Music StoresShureSkins & Tins Drum ShopSlap Happy ProductionsSlobeat Musical Product!SonorSuncoast Music DistributingSuper Gloss/Sam BarnardTamaThe Drum!The Woodwind & The BrasswindThoroughbred MusicTough Traveler/DrumslingerUDU DrumsUnique PercussionVater PercussionVeri-SonicVic Firth, Inc.Waddell's Cymbal WarehouseYamahaZildjian

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