January 1977 - Modern Drummer - Buddy Rich

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Clifton, IN THIS ISSUE

BUDDY RICH EXCLUSIVE INTERVIEW LOUIS BELLSON: ON BIG BAND DRUMS BILLY COBHAM: EQUIPMENT CLOSE-UP CARMINE APPICE: ON ROCK DRUMMING MD TALKS WITH DUFFY JACKSON DRUM SET SHOPPERS GUIDE: PART 1

ROY HAYNES: SOLO TRANSCRIPTION DUANE THAMM

VOLUME 1 NO. 1 Published Quarterly

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The letters reprinted here are typical of the hundreds we have received over the past several months.

We thank you, one and all. Please continue to write and tell us what you want to see in MODERN DRUMMER.

Tell us what you like or don't like about the magazine. We'll go to great lengths to give you what you want and need. We can't please everyone, but we'll try.

Here's my check for four dollars. It's about time we had our own magazine. BUD H A L L B E R G RENOVO,PA.

Enclosed is my subscription for one year. Ever since I first saw Guitar Player and Contemporary Keyboard, I have been waiting for a publication such as yours. Being a progressive rock drummer in my early 20's, I am looking forward to your magazine to keep me informed on what is going on in modern percussion.

HAROLD KITZMAN WEST PITTSTON, PA.

I've been waiting a long time for this kind of publication to come into existence.

I've been involved with drums and percussion for the last 19 years as both student and player. To my knowledge, your magazine is unique among music publications for its concentration on the fine art of drumming. Bass players have their own rag; guitarists have a choice from among several pieces of pop-literature. It's about time we had something for drummers, who, contrary to popular belief, are not illiterate! I wish you much success on your venture. This is the best thing that's happened to literature concerning the art of percussion in a long time.

JACKWATERS CINCINNATI, OHIO

Please enter our subscription to your quarterly magazine. It's great someone is taking the initiative on educational percussion. Let us know if we might be able to help in any way. DROSTE'S DRUM DEN BILLINGS, MONTANA

I am glad someone has started to put out a magazine just for drummers. Thanks a lot.

MARK HILLKIRK CARLTON.PA.

I'm very interested in your magazine. Many of my friends and I have anticipated such vital reading for some time now. If it is not too much trouble, could you forward any back issues you might have. I'm very interested. EZRA ROCK HEMPSTEAD, N. Y.

Thanks Ezra. Vol. 1, No. 1

Would if we could, but Back Issue 1.

I have been wondering when someone would come out with a magazine exclusively for drummers. A magazine of this nature is long overdue. I have been playing drums for fifteen years, and have found that to get relevant information on my subject area, I had to dig and scrape through endless piles of music publications.

I am hoping that with the advent of this publication, those days will be over. I am waiting with rapt anticipation for my first issue. Good luck with your magazine. MICHAEL POWERS OAKLAND, CALIF.

Modern Drummer sounds like an excellent idea, one which I have been long awaiting. I congratulate and thank you, and wish you the best of luck. Our shop has an interest in antique drums and we'd love to see a series of articles approaching this subject. again.

Best of luck

TREVOR DAVIS, JR. CHARLIE DONNELLY'S DRUM CENTRE NEWINGTON, CONN.

We hear you Trev. We've received several requests for this kind of thing and we're working on it. Look for it in the near future.

The club was filled; filled w i t h people of a l l ages, and lots of young wideeyed drummers, there for a glimpse of the l i v i n g legend called Buddy R i c h . MD met up with Buddy and his youthful band at a club in St. Louis. E n t e r - ing informally through the front door, he watched as t h e road crew set up; he signed some autographs and shook some hands. His performance, as usual was flawless.

Colossal technique combined with total control and dynamic propelling drive.

His playing, always alive with i m a g i n a t i o n and humor, was colored w i t h fiery fills and subtle nuances, never losing his i n s t i n c t i v e s e n s i t i v i t y , good taste, and t o t a l musicality. The left hand, always active, interacting with astonishing bass drum work, always in motion, swinging and exciting, executing r h y t h m i c figures t h a t leave the listener wondering if his ears and eyes might be playing tricks on him. That's impossible; nobody can do t h a t ; nobody can do what he does, and y e t , you know he's done i t . To say t h a t Buddy Rich is a phenomenon in the world of drumming is an understatement. In terms of total technical mastery of the instrument, it's probably fair to say t h a t no one has yet come any closer.

It is doubtful that there has ever been a single musician anywhere spark a band the way he does.

who can

W h e n it comes to interviewing Buddy, one must learn to expect the unexpected. You can end up with a first rate story, or no story at all. He's a very intense human being, with beliefs as strong as his hands. He can, at limes be curt, intimidating, cutting if necessary - e s p e c i a l l y if he senses any kind of insincerity. At other times, something will h i t a soft spot and he is c a p a b l e of elabo r a t i n g in t h e most calm and l i t e r a t e manner.

He has some very d e f i n i t e opinions, perhaps controversial. He's outspoken and filled with self-confidence. There is no denying i t ; Buddy speaks the way he feels, no editing; t o t a l honesty at all times. But beneath t h a t tough exterior, one will find a man who's deeply concerned about the state of music and drumming t o d a y . He is well aware of what's going on and he's not always t h r i l l e d w i t h what he sees and hears. He has little patience with bad musicians and bad music. Aloof? U n f r i e n d l y ? Not really. The man made time between shows, to sit with members of a young and r e l a t i v e l y unknown magazine staff to discuss music, drums, and drumming.

Sorry folks, we don't call that aloof or unfriendly. R e l a x e d , in his dressing room, MD was greeted by a most cordial and recept i v e Buddy R i c h . We l a t e r found a line from a piece on Buddy by big band critic George Simon a few years back. It seemed to capture the essence of the man we found. "To some, he is cocky, sometimes overbearing, at times unnecessarily arrogant. They only have the outward, extroverted exhuberance to go by. Calm Buddy down, show him that he doesn't have to spark every gathering the way he sparks every bunch of playing musicians and you've got one of the warmest, most ever met."

sensitive gents you've

MD - Where are you originally from? BR - Brooklyn. MD - Is it true t h a t your parents were in vaudeville and that you were a pretty good tap dancer when you were young? BR

Yes, that's right, I used to be. MD - What about your formal background. Have you ever taken a lesson or been to a music school? No, I've never taken a lesson. As far as music school goes, I walked through Berkeley one time to visit with some people I know. MD - Do you remember the first set of drums you ever had? BR

Well, I've seen pictures of one of the first sets of drums I had. When I first started playing, they weren't making tunable tom-toms, they weren't making sets like they do now. MD - When you were travelling with your parents and they sat you in the orchestra pit, did you always take an interest in drums first?

Yeah. MD - Did you practice much? BR

Well, I never really practiced because I never had the opportunity to practice.

I've been working all my life

I've been playing drums all my life, and now, I'm too lazy to bother with it. I have other things that I have to do - practice my martial arts ... take care of my cars. I don't put too much emphasis on practice anyhow. MD - Would you mind elaborating on that a bit. BR

I think it's a fallacy that the harder you practice the better you get. You only get better by playing. You could sit around in a room, in a basement with a set of drums all day long and practice rudiments, and try to develop speed, but until you start playing with a band, you can't learn technique, you can't learn taste, you can't learn how to play with a band and for a band until you actually play. So, practice, particularly after you've attained a job, any kind of job, like playing with a four piece band, that's . . . on opportunity to develop. And practice, besides that, is boring. You know, I know teachers who tell their students to practice four hours a day, eight hours a day. If you can't accomplish what you want in an hour, you're not gonna get it in four days. MD

You were good friends with the l a t e Gene Krupa, weren't you? BR mine.

Yes, he was a very good friend of MD - Do you consider him an influence? BR

I consider every drummer that ever played before me an influence, in every way.

There were so many individual styles thirty or forty years ago. Every drummer that had a name, had a name because of his individual playing. He didn't sound like anybody else. So everybody that I ever listened to, in some form, influenced my taste. MD - Was there any one person who really influenced your style? Any certain kind of music? BR

Yeah, I think probably Goodman, and the Casaloma band were my first two influences in jazz. And, well of course. Count Basie, and I think all of the black bands of the late thirties and early forties, bands with real players. They had an influence on everybody, not just drummers.

They had an influence on the entire world of jazz. There were so many creative artists, so totally different from one another. MD

Did you like the music you were playing with the big bands of thirty years ago better than you do now? BR

I think I liked everything I ever played. I mean, I think I liked every band I ever played in because each band (continued on following page)

The choice is yours. Never before in the history of the instrument have the choices been so wide and varied, and we mean choices: Wood, fiberglass, woodcovered fiberglass, plastic, chrome, and stainless steel, plus the widest array ever of super sturdy hardware and beautiful finishes. The drummer of today is in a position to choose and custom design his equipment for every conceivable musical need. With so much to choose from, one might easily find himself in a virtual maze of shells, heads and hardware. We hope to clarify things a bit, to aid you in your decisions, in this our first

A D R U M SET S H O P P E R S G U I D E : PART O N E candid report on the equipment features of LUDWIG, SONOR and PEARL P A R T 2 next issue, MD looks at Gretsch, Slingerland, Fibes and Premier. In P A R T 3 we'll visit Rogers, Camco and Tama.

LUDWIG 1728 N. Damen Ave., Chicago, III. 60647 The Ludwig Drum Company, formed in 1909, is one of the best known names in percussion. Well known for its many innovations and unsurpassed advances in design and engineering, Ludwig always has been, and still is, a true leader in the world of drum equipment. Along with an outstanding wood line, the company also produces the "Vista-lite" series (transparent) in clear, tint, and multi-colored, and has recently added stainless steel to its list of goodies. The Vista-lites are very attractive and available in a wide range of color combinations from tints, to the colorful stripes of the rainbow. Both the Vista-lites and the stainless steels are excellent for sheer volume and projection and offer the player not only good tone, but durability as well. Melodic tom setups ranging from 6" to 14 x 16" are ideal for projection and tonal variation for the modern sounds. Ludwig's predominance in the design and production of hardware is well known. A glance at the rugged "Atlas" line says it all, with tubular legs for strength and self-leveling floor glides for maximum stability. The precision diecast "Speed-King" pedal, with compression springs has gone basically unchanged in design over the years and many a player will attest to its unde-

Drum-Set Shoppers Guide by JOHN McGARRITY and DAN

WIEDMAN niable reliability.

"Sturdi-Lok"

tom holders are the essence of efficiency, simplicity and sturdiness. Ludwig's new boom cymbal stand is superbly constructed and the perfect solution to the problem of getting those cymbals in close amidst multi-tom set-ups. Despite the predominant gap between toms in the design of both the #781 double tom mount and the #1345 floor stand, Ludwig mounts have still proven themselves to be extremely reliable under all kinds of playing conditions, and we don't know of anything that makes playing height easier to regulate than the pneumatic "Airlift Throne". In snare drums, the seamless "Super- Sensitive"

affords super efficiency in snare changing with many additional tensioning options, and, of course, the "Supra Phonic" has now become an industry standard in terms of precise and vivid definition. Don't under estimate Ludwig in the head department either. They're still very much in the running with their fine "Silver Dot" series designed to cut back on overtones. Ludwig is, and always has been carefully attuned to the needs of the drummer, from design concept, right on down to its fine network of dealers. They have kept in touch with todays drummer, and are deeply involved in the overall advancement of percussion. Perhaps this is what has kept them high on the list of the finest drum equipment manufacturers in the world today.

PEARL c/o Nortin 7373 Cicero Avenue Lincolnwood, Illinois 60646 Pearl, perhaps the newest of all the firms in our report, has enjoyed very rapid growth, acceptance, and recognition among some of the top players in the country. The line is a mixture between wood and fiberglass construction with equipment offered in three forms:

1) 9-ply wood, 2) 9-ply wood lined with fiberglass, 3) all fiberglass. The fiberglass line is excellent for volume and undistorted projection and they're super sensitive.

Fiberglass shells are virtually undisturbed by changes in temperature. A goodly range of tom sizes are available including the single headed concert tom series - available in fiberglass only which runs from 5-1/2" x 6" to 14" x 16". Heads are by Remo under the Pearl name. The transparents are one solid piece with no seams for extra strength, perfect roundness and a very neat appearance. They're loud, and as crystal clear in tone as they are in looks. Pearl hardware is something else. Two lines are available and the top of the line bass pedal and hi-hat stand, with their well designed and constructed spring assemblies, are as solid as a rock. An ultra heavy duty 65" cymbal stand is equally impressive. Spurs fold flush against the bass drum for easy storage, and tom mounts are fully adjustable incorporating a hexagonal rod design that prevents twisting and fading. Double tom-toms are supported on the bass by two individual mounts; certainly a very commendable feature for independent tom-tom support and strength. Tom mounts also enable the player to convert to multiple tom set-ups with just a simple exchange of base plates. Another nice feature is Pearl's hihat "Rock-Lok", a toe activated release and lock mechanism which holds the hi-hat pedal down keeping the cymbals in closed position without having to fool with the clutch. Nice feature for double bass players. The remainder of the line is durable and solidly constructed, and topped off with one of the most complete and easy to use parts catalogs we've seen. Outstanding hardware, coupled with construction choices that enable Pearl players to enjoy the best of two worlds all add up to one of the most exciting new lines to hit the scene in a long while. Definitely worth checking out.

When Duffy Jackson was 4, he start- ed playing on stage. When he was 6, he appeared on major network T. V. with the late Gene Krupa. By the age of 9, he had already played with hundreds of famous musicians that his father, bass player. Chubby Jackson had worked with. By the age of 20, he had appeared with Lena Home and Sammy Davis, Jr., and had credits for major T.V. shows such as "The Mike Douglas Show", "The Dinah Shore Show", and "Sammy and Company"

Great musicians have commented on Duffy's fantastic playing; Stan Kenton said, "Duffy will be our next big band leader; Duke Ellington said, "Duffy plays great!"; Count Basie said, "Duffy is as heavy as they come".

Duffy Jackson is a fantastic music- ian and a wonderful man, and even though he is only 23 years old, he has experienced 1,000 musical years al- ready.

GABE: How did you get started playing drums?

DUFFY: When I was 4, Don Lamond would come over to our house a lot. He was working with my father at the time. I would keep time to the records, so Don talked my father into buying me a set of drums. Don taught me some basic beats and I've been playing ever since.

The first 5 years that I was playing, dad would let me sit in with the bands he was working with. I must have play- ed with some of the best musicians that ever lived. What a fantastic exper- ience! Playing with my father taught me a lot. Dad is from the "King Kong" school of bass playing. We started a beautiful musical relationship that still exists today. We love each other dearly. GABE: What kind of formal training did you have?

DUFFY: I never had what you would call formal training. I learned from all the wonderful people that my father knew, like Roy Burns and Don Lamond. I even had a lesson on television with Gene Krupa when I was 6. I taught myself to read music and I learned what we call rudiments, by sound. I learned by listening to sax players, bass players - everyone. Dizzy and Bird are very rhythmic players; I learned solo playing from analyzing their solos. I really never wanted to learn to play the way every- one else learned. My reading was helped by having been blessed with a good memory I can remember an arrange- ment pretty fast. I must say that play- ing with a lot of great musicians were experiences that inspired me to be dedi- cated.

MODERN DRUMMER

My dad taught me the most import- ant lesson of playing. He taught me how to be compatible musically with other musicians. A drummer can develop all the technique in the world, but if he can't be compatible musically, he can't make it. I'd rather be able to swing a band than to have fast chops. GABE: But you do have fast chops. DUFFY: Not as fast as Louie Bellson or Buddy Rich. Speaking of Buddy, I sat in with his band the other night. He asked me to play the first tune of the second show, "The Rotten Kid". It was an honor to be asked by Buddy and it's a thrill sitting in the driver's seat of Buddy's band.

You know, Buddy is a ferocious player, but he is also one of the most sensitive brush players that I ever heard. He never gets credit for being a brush player, but he is. Buddy is one of my favorite brush players. GABE: Speaking of favorites, who are some of your favorite drummers? DUFFY: My dad is my favorite you I can say that I learned drums from a bass player. Another favorite is tap dancer, Steve Condos. Steve is the greatest tap dancer in the world. When I was 6 years old, he and I would play fours on the stage during Woody Her- man concerts. Steve taught me rhythms and accents, just by listening to him.

As for drummers, I was influenced by every great drummer that ever re- corded. I consider drummers to be a religion in themselves, that have been put on this earth to create rhythms and make people happy. I feel sorry for people that can't take out their frustra- tions by playing an instrument. That's why I'm dedicated to entertaining

JANUARY 1977 people with music. I put everything in my soul into playing. I guess I'm trying to say that I want people to know that I am a young musician who wants to be a gentleman that can swing. I want people to feel good. I'm trying to emu- late the beautiful disposition of a Louie Bellson.

GABE: Is Louie Bellson the drummer you want to emulate the most? DUFFY: Yes, not only musically, but spiritually. Louie Bellson is loved all over the world. He communicates a message of love through his music. I don't think anyone has anything bad to say about Louie. He takes the time to really talk to you and he has compas- sion for what you're going through in your life. Louie also has unlimited ener- gy. He is the only drummer I know who becomes more relaxed the faster he plays. He's thirty years older than I am, but he has much more endurance and unlimited energy.

I first met Louie when I was eight years old. We did a drum clinic to- gether, along with Jim Chapin and my father. I didn't see Louie for 10 years after that. We talked on the phone a couple of times, but it was actually 10. years later that I met him at NBC in Burbank. He got me backstage where I watched him play the "Johnny Carson Show".

Louie got me the job with Lena Home when I was 18 on just his rec- ommendation alone, without Lena Home ever hearing me, and he got me the job with Sammy Davis, Jr. He even gave me his personal drum set to play the show with, because I had a beat up set. Louie got me the job by getting George Rhodes to come and hear me at the "Baked Potato" in L. A. My audition was at a benefit that Sammy was doing and I had to play five of his toughest arrangements. To make the audition even more interest- ing. Frank Sinatra and Bob Hope were backstage digging the show. George Rhodes put a $100 bill in my hand and said, "Go out there and burn". I was in seventh heaven. George called me a couple of days later and offered me the job. I spent two years with Sammy and George. I gained an unbelievable a- mount of experience and knowledge within those two years.

GABE: Are there other drummers that have had strong influences on you? DUFFY: Alan Dawson really impressed me. He's a very musical drummer. Three years ago, I was invited up to Dick Gibson's Jazz Party in Colorado (continued on page 16)

BILLY COBHAM

P H O T O G R A P H Y BY T O N Y T O D A R O , JR.

by ALBERT EDMUMD LORD III

Billy Cobham is one of the most unique and progressive drummers in contemporary music. Ex-percussionist for the MAHA- VISHNU ORCHESTRA and frequently sharing the stage with George Duke's keyboards, Cobham has completed seven albums as the leader of his own band. Not since Gene Krupa pushed the drums to the front of the Big Band sound has a drummer earned such eminence in percussion. Unique, too, is Cobham's personally styled drum set. There can be no exact duplicate of the array of cymbals and drums that surround the man on stage. The snare drum is hand crafted by Al Duffy for Cobham. The drum set includes seven toms. The upper four are two 8 x 12's, a 9 x 13, and a 10 x 14. The three lower toms are two 16's and an 18 x 18 - all of which he seems to be able to hit at the same time. The toms are all conventionally built but Billy tunes them according to the pitch he is writing in, usually F, B flat, D flat and sometimes B natural. He also uses two 14 x 24 bass drums and two

North drums.

The Norths look like ship funnels and flare out at the bottom, their open lower end usually aimed at the audience. In addition, Cobham displays two half bass drum shells (bisected bass drums) which produce a tympani-like sound. There is no head on the back and a tympani head covers the beater side. The insides of these drums are coated with polyurethane so that the sound bounces around instead of being absorbed by the wood. The rest of Billy's heads are standard Remo.

His sticks are Promarks and he uses Avedis Zildjian cymbals. There are easily a dozen cymbals within stick reach. His array includes 14" hi-hats, a 26" swish-knocker which looks like an ordinary cymbal turned upside down with its edges slightly folded. There is also a 22" ride and several crash cymbals, a 20", a 19", a 17" and sometimes a small 7" crash at hand.

Anvil cases protect Cobham's drums which are made of fiberglass and plywood with steel reinforcement.

REPRINTED WITH PERMISSION

FROM MUSICIAN'S NEWS

Bill C a r p e n t e r conceived t h e M u l t i - M a l l e t , t h e first q u i c k change d e t a c h a b l e beater for bass drum and gong. The complete set consists of a durable, l i g h t w e i g h t a l u m i n u m h a n d l e w i t h seven d e t a c h - able beaters. R e m o / P r o - M a r k percussionist

B i l l Carpenter conceived the M u l t i - M a l l e t idea to a l l o w percussionists and conductors i n s t a n t choice of t h e best beater for sound, v o l u m e , and tone color to suit t h e musical occasion. The set retails for $48.00. For more i n f o r m a t i o n , c o n t a c t : Pro-Mark Corp.. 1 0 7 1 0 Craighead Dr.. H o u s t o n . TX 77025, ( 7 1 3 ) 666-2525.

G R E T S C H of Cincinnati offers this "Monster double tom holder, which is absolutely solid and free of wobble, according to a spokesman for the firm. The holder is easy to i n s t a l l , and is adj u s t a b l e h e i g h t .

to a n y playing angle and N E W BOSS T H R O N E NOW A V A I L - A B L E . . . Just released and catching on with drummers from all over the count r y . Model B-5000 is intended for use by e i t h e r drummers or keyboard players Ideal for storage of music, slicks, brushes, etc.

Now at your local Camco dealer. . . L i s t price. . . $125.00.

S U P E R S T A R PRODUCTS UNVEILS N E W D R U M AND C Y M B A L C L E A N E R Super Star Products has introduced to its growing product line a cymbal cleaner t h a t cleans cymbals and drum hardware easily, and offers results that drummers have not been able to obtain until now, according to a spokesman for the firm. Drum-Cymbal and Hardware Polish is acid-free and will not oxidize on cymbals or any hardware. According to all drummers tested "Drum-Polish" cleaned and brightened their cymbals better than any cleaner they have ever used, the spokesman said. Drum Cymbal and Hardware Polish, the polish that "Beats The Best" is available in six-ounce squeeze bottles with turret seal cap offering the consumer the best possible value for a quality product, the spokesman added.

THE P R O - M A R K CORP. (Houston, TE) is introducing the B I L L Y C O B H A M M O D E L 808 D R U M STICK. The B i l l y Cobham is 1 6 inches long with a 9-16 inch diameter with a very short taper, a large ball shape t i p and is designed to produce larger volume w i t h less physical e f f o r t , according to Pro- Mark. The new drum stick is available in wood t i p only.

Joe M o r e l l o and Ralph Pace

Famed drummer Joe Morello is one of the many notable percussionists who use and endorse Ralph C. Pace's "Setthe-Pace" pedal practice pads. Others include

Jim Chapin, Mel Lewis, Joel Rothman, Ted Reed, Carmine Appice, Gerri Polci, and Al Miller. Illustrated flyers on the pads and mounts "for all seasons" and lists of Pace drum instruction books are available on request.

R O G E R S DRUMS has introduced this unique snare drum stand with Memri- Loc hardware.

All three of the rigid arms are adjustable and "registered" into position, thereby e l i m i n a t i n g guesswork and assuring t h a t the drum is always centered. The MemriLoc hardware provides instant positioning of the height and angle with three-dimensional accuracy. The arms grip the drum counterhoop firmly without scratching the surface and will never slip or wear out.

LUDWIG'S B I C E N T E N N I A L D R U M S SPORT F U L L COLOR E A G L E S To commemorate the country's 200th birthday, Ludwig Industries introduces its new B i c e n t e n n i a l Series of "Rope-Rod" marching percussion. Highlighting each Rope-Rod snare drum is a 4-color eagle proudly displaying the stars and stripes. The Bicentennial Series is a colorful, patriotic way to salute our nation's history this year, and an even better way to carry the spirit to the field in years to come. Of course, behind the special Rope- Rod drums for the bicentennial is the traditional Ludwig durability and quality, and the familiar sound that already marks Ludwig's Drummers' Revolution. Rope-Rod snare and bass drums are available in Maple Cortex, or other Pearl and Vistalite finishes.

NEW A M P L I F I E D A F R I C A N LOG D R U M CAN BE T U N E D "More different types of sound than a n y t h i n g but an electric organ" is what t h e new e l e c t r o n i c OSI Drum can produce, according to Glen Peterson, president of Oscar S c h m i d t - l n t e r n a t i o n a l , makers and marketers of t h i s unique instrument. The OSI Drum, a patented i t e m , is a modern version of the so-called A f r i c a n log drum.

Unlike the log drums, the tone bars of the OSI Drum can be adjusted and thereby "pitched" to obtain the best possible sound from the bar. Each drum comes equipped w i t h a drum wrench for this purpose. According to Peterson, the range of percussive sounds obtainable from the electric 8-note OSI is "truly astounding". The soft superball mallets provided with each drum produce one type of sound.

Harder mallets, another type, and then even regular drum sticks can be used.

Bongo drum, temple blocks, and tone block sounds are all there and when these sounds are augmented by the vibrato, tremolo, and tone controls on a good bass a m p l i f i e r the number of sounds multiplies and escalates. Peterson emphasized that the OSI Drum is a rhythm i n s t r u m e n t , not a melodic instrument. It is aimed at the drummer/percussionist who wants an array of new sounds and lots of flexibility, and Peterson adds that as the word of the OSI Drum gets around "sales are going to go up and out of sight because it's that kind of a product".

A Premier Lokfast double Tom-Tom holder w i t h a specially designed heavy duty mounting assembly t h a t provides percussionists with g r e a t l y increased set s t a b i l i t y and comfort control is available from Premier dealers according to a recent announcement by Rollie B u n n . senior product manager. In making the announcement Bunn said, "every aspect of this new Premier Lokfast product has been planned to meet the need for a truly versatile holder t h a t really holds under the toughest playing conditions. Drummers also have the option of mounting this holder on a 'Rockshaft' which offers added protection for the bass drum shell and holds the double Tom-Tom set-up exactly where it is positioned and keeps it there no matter how hard a beating it's given. The entire unit assembles quickly and easily, offering the widest possible range of height and angle adjustment." For f u r t h e r information write R. R. Bunn, Senior Product Manager, Premier, Box 310, Elkhart, Indiana 46514.

B U M P E R PAD - Foam-filled leather pillow ties to small toms to keep snare and floor tom from scratching and r a t t l i n g . Also a perfect muffler for snares and toms. For more information, contact Ms. Perc., 68 Rosenkranz, San

Francisco, Calif. 9 4 1 1 0 .

A V E D I S Z I L D J I A N . . . These handsome new steel gong stands are e x t r e m e l y sturdy and solid, and are smartly designed and t a s t e f u l l y finished in rich satin black.

R O G E R S D R U M S This "Boom Assembly" adds new f l e x i b i l i t y to cymbal set-ups.

W i t h its w e i g h t e d counterbalanced arm and MemriLoc hardware, t h e assembly converts a cymbal stand into a boom stand. It allows t h e drummer to bring t h e cymbal in closer to the drums and at a b e t - ter angle. W i t h the new Rogers assembly, the cymbal can be positioned o v e r drums or other c y m b a l s . The p a t e n t e d Rogers M e m r i L o c hardware gives the stand a m a z i n g s t a b i l i t y and provides three-dimensional p o s i t i o n i n g .

C H A R A N G A STYLE C O W B E L L B R A C K E T - For many years, there has been a different way of m o u n t i n g a cowbell on Timbales, but only a few have known about i t . I t is a Cuban s t y l e of p l a y i n g t h e cowbell and t r a d i t i o n a l l y used a sponge rubber ball for a f f i x i n g t h e handle of t h e cowbell to t h e rim of the Timbales, w i t h t h e open end of t h e bell resting on t h e head. This style of cowbell playing emits a rich, b e a u t i f u l sound as it is not only the cowbell you hear, but t h e cowbell in concert with the head. This new bracket from Latin Percussion, Inc. accomplishes t h e same result w i t h added benefits. To begin w i t h , the cowbell is f i r m l y fixed in place and does not "walk" over the head of the drum while being played. Second of a l l , t h e bell can be quickly swung out of place leaving the heads free for solo work and s t i l l keep the bell accessible w h i l e soloing.

The latest additions to the "Olympic by Premier" m i l i t a r y range are two metal-shell snare drums. The 1050 is 14 x 10" (35 x 25cm) and the 1 0 5 2 is 14 x 12" (35 x 30cm). The shells (and all other metal parts)

are finished in gleaming, bright chromium plate and the drums are complete w i t h carrying hook. E v e r p l a y - E x t r a snare and parade b a t t e r heads, and adjustable bottomsnare mechanism w i t h conventional throw-off. Top snares can be f i l l e d int e r n a l l y as a special extra, to order.

R U D I M E N T A L SYMPOSIUM (continued from page 14) 4. Try to start most rolls with right stick.

Did you notice, all of these rules state the words "try to"? As the student progresses, he will take exception to these rules, because of the tempo or character of the music. Some players might call this a right hand predominate method since the left hand is somewhat neglected. This is true in a way, but the conductor of a symphony could care less about your left hand. He's concerned with precision, balance, nuance and consistency of sound. A surgeon would not operate on a patient one day with his right hand and perform the next operation with his left, just to give his left hand exercise, as he could not do his best work with his weaker hand. And, so, we must use the stronger hand which nature provided us with, to do our finest precision work. The weaker hand acts as a labor hand, helping the stronger hand. The teacher must, of course, give special exercises for the student's weaker hand to build it up. Mr. Straight challenged the rudimental system of drumming and its nomenclature. His methodology was a highly controversial issue. Today, both systems stand as testimonials to the needs drummers have in satisfying various phases of performance.

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ROGERS

Never before has it been possible to set up drums this fast and accurately. (Affidavit of timing available on request.) The secret is Rogers new MemriLoc hardware. With its pre-set locking mechanism, your precise three-dimensional set-up is duplicated for every performance. For the first time in history, you play the exact same instrument each and every time and annoying adjustments are no longer necessary.

The "Memri" gives faster, more accurate set-ups. The "Loc" keeps it there. MemriLoc hardware: it gives you time to do what you enjoy most...drumming. See it now at your franchised Rogers dealer.

Rogers Drums, CBS Musical Instruments, 1300 East Valencia Drive, Fullerton, California

MEMRILOC