January 1978 - Modern Drummer - Tony Williams

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• JANUARY 1978 $1.75Published Charterly MODERN DRUMMER
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• Page 3To a professional, purity and excellence of sound are absolute necessities. There is no middle ground. That's why, for almost 100 years, the finest percussionists through- out the world have insisted on Gretsch Drums. The plateau of excellence achieved by Gretsch Drums is no accident. Outstanding tonal capability is made possible by the superior workmanship of Gretsch craftsmen, using only the finest materials available. Six ply laminated wood shells, die-cast fully flanged hoops, self-aligning tension- ing are only a few of the reasons the best drummers choose Gretsch.
• Page 4Just what is a Tony Williams? Many of his admirers have described his style as "free", "he doesn't really play rudimental things", "he's loose", "there's something out of the ordinary about what he does", "it's different." If those descriptions don't tell you what a Tony Williams is, permit me to drop a few names on you: Alan Dawson, Herbie Hancock, Jackie McLean, John
• Page 5One corner of the repair department where all types of major and minor repair work is aptly handled. Latin-American percussion section.
• Page 6LARRIE LONDIN: Nashville USA a virtual beehive of recording activity. Literally tons of recorded music pour from its boundaries each and every year. The mainstay of this fast paced, multi-million dollar musical mecca is the recording session musician, and drummer Larrie Londin is one of the busiest of the unsung musical heroes in the industry; rated as one of the most in demand session drummers of the elite Nashville studio scene. Larrie may well be one of the most recorded drummers in all music, heard by every person who's ever listened to any form of popular music. A heavy-set, yet gentle and personable man, Larrie at age 34, has made more than a comfortable living sitting confidently behind his multiple tom, double bass drum set-up, backing a mind boggling array of musical personalities; Boots Randolph, Chet Atkins. Jerry Reed, Glen Campbell, Perry Como, Elvis Presley, Mac Davis, Trini Lopez, Johnny Mathis, Roy Clark, Eddy Arnold, Isaac Hayes, Howard Roberts, Olivia Newton-John, Mel Tilles and Bobby Goldsboro to name a few. He's performed on the Dinah Shore, Glen Campbell, Merv Griffin, Johnny Carson, Tony Orlando and Captain Tennille TV shows, and his articulate rhythmic pulsations have been heard by anyone who's ever turned on a radio or TV via the catchy commercial jingles of Double Mint Gum, Coke, Pepsi, Dr. Pepper, Pizza Hut, Ford, Mercury, Colgate and Kentucky Fried Chicken. Catching Larrie in a moment of musical inactivity is no easy task, yet Joe Buerger - MD's correspondent in St. Louis - managed to slow him down long enough to get our story immediately following an informative three hour drum clinic for Pearl Drums at the Fred Pierce Studio Drum Shop in St. Louis. Larrie Londin is one of the most proficient professionals on the music scene today; a drummer who has truly learned the importance of versatility and restraint, earning himself the title of undisputed Nashville session king.
• Page 7Nashville Session King by JOE BUERGER but just to do road jobs. I played the "Festival of Music" show for about 2 years. When I left the show, I went to work for Jerry Reed making tape copies for about $100 per week. Then he decided to put a group together. We had a record out called "Amos Moses", followed by "When You're Hot, You're Hot". We started working the "Glen Campbell Show" every week. We went on the road with Glen playing between his shows with a trio. It was such a strong trio, that Glen had a rough time following us. So, he'd come out and join the group for awhile, then we'd take an intermission, and Glen would finish the show with his band. Then Jerry started getting his own concerts, using other bands for his warm-up act, and he got his own T.V. show. Then, he decided to retire from the music business and do movies, so there I was - out of a job - sitting in Nashville without a gig! I started playing at the Carousel Club, and stayed there for a year and a half, doing one or two-day sessions a week. This club gave me the security I needed. Staying in town, I made $200 per week not counting the sessions. I'd go out on the road with Chet Atkins once in awhile, but the club would still pay me my $200. Once I started doing a lot of recording sessions, I had to quit the club. It was too much, physically, getting to bed at 3 or 4 a.m., then getting up at 8 a.m. I couldn't take it. Now, I do the same thing, (LAUGHTER), except I'm doing sessions. I am at the point now where I don't have to take night sessions. I'm able to do clinics and work with kids. I love to work with kids. Being able to give. I don't know if I have anything to give or not, all I know is that I wish I could have seen things like this (clinics) to give me a sounding board. Someone I could throw a question at, and maybe the guy would have known the answer. How many drummers have you seen in your local town that you ask, ".How did you do that?", and he won't tell you because he's afraid you'll steal his lick and make a million dollars. (LAUGHTER) A good clinician is there to answer your questions. I try to get people to ask questions. I don't like to follow a typed out clinic plan. Many times, my clinics get very loose because sometimes it's difficult to get people to ask questions. MD: WHAT DOES YOUR PRACTICE ROUTINE CONSIST OF? LL: I've always practiced rudiments. When I first started, I bought a Frank Arsenault recording of the 26 Drum Rudiments. Today, I practice many of the same things. I practice an open long roll for 20 minutes with the metronome setting on 200. Another pattern I use that warms up the hands quickly is LLR-LLR/RRL-RRL. My wife, Debbie, helps me a great deal also. Whenever I get into a slump, she'll push the practice pad and sticks in front of me and says, "You're not THAT good!" (LAUGHTER) I practice all the rudiments every day because much of my playing is physical, due to the size concerts I do. Kenny Malone of Nashville is helping me a great deal with my reading. I wasn't able to read music for a long, long time. I now spend as much time on my reading as I do on my technique. Tommy Thomas who used to play drums on the "Breakfast Club Show", showed me many travelling patterns. Tommy calls them "travelling patterns" because they are rhythmic patterns moving from drum to drum. With all of these exercises, my practice time will run from 4 to 8 hours. With my schedule, the way it is now, I'm not able to practice as much as before, but I carry a practice pad with me and practice between sessions, or sometimes when they're running down songs, I'm sitting back there running off my doubles. My practice time is spent more on rhythmic patterns than on chop exercises. If you play relaxed and even, it will sound better than if you're tense and straining. My solos are based on rhythmic-feel things. I don't just sit there and dazzle you with single-stroke rolls and 18-inch biceps. (LAUGHTER) Louie can take something and play it very soft, but even, and it sounds, twice as fast as someone straining to play it. Every one of Louie's notes are even and in their right place. It's just perfect. MD: YOU USE DIFFERENT EQUIPMENT FOR RECORD- ING AND LIVE WORK. CAN YOU ELABORATE ON THIS FOR US? LL:
• Page 8removers work very quickly and usually leave the metal scarred or pitted. Sometimes a light touch with emery cloth will remove heavy rust spots without leaving offensive blemishes. The refinishing of a wooden drum begins with the removal of all of the old paint and lacquer followed by careful sanding, paying special attention to dents and bruises. After final sanding with extra fine sandpaper, apply the new finish using a spray can of appropriate color. Finish the surface with a high gloss plastic or acrylic material, either spray can or brush. The same high gloss can be applied inside the drum shell as an extra measure of protection and for better sound. Peeling of old pearl or "full dress finishes" as they were called can be done using a thin putty spatula. For a replacement pearl or sparkle finish, follow the instructions provided by the supplier of such plastic materials when it comes to cutting, gluing and trimming the pearl. If it is decided to retain the original pearl finish which will have yellowed with age, use automobile type polishing compounds to provide a silky smooth base for a coat of regular wax. Metal drums are often protected with a lacquer which was applied to prevent tarnishing such as that occurring with brass. Lacquer removers work well followed by buffing with a soft cloth and one of several name-brand metal polishes. Again, hard elbow grease will remove the ravages of time and a small hammer can be gently used to remove dents that have occurred. Care is required in polishing chrome or nickel plated fittings and hoops. Steel wool is too abrasive and will permanently scratch the finish. It is better to use a soft cloth and a metal polish or automotive chrome cleaner. A soft buffing wheel and fine buffing compound will give a new-like mirror finish to old plated parts. The final step in restoring an old drum is to photograph it for insurance protection in case of theft. A photograph will also aid in selling the drum at a later date. Protecting a restored old drum can be reinforced by placing the owner's name in an obscure place such as inside the shell. What is the motivation for searching, finding and restoring an old drum? Pride of ownership? An unusual challenge? An interest in history? A desire to display? Whatever the reason, finding and restoring relic drums can be a lot of fun and an immense satisfaction.
• Page 9Harvey Mason. World renowned studio drummer has appeared on over 30 gold and platinum records. He has three of his own albums on the Arista label, including his most recent release, "Funk in a Mason Jar". ROGERS
• Page 10it becomes, the more you must concentrate. This is the challenge. The variations in studio music also require a special insight into proper tuning. That's one reason I think Rogers drums are so outstanding. Whatever studio tuning situation I come across, I've found that Rogers equipment can give it to you accurately...every time...without taking forever to adjust. I tune the set so that each drum sounds most resonant and has a distinct voice. In tuning, I want the tone to have a characteristic sound, not a specific pitch. There's another thing about Rogers. The MemriLoc hardware on Rogers drums gives me an exact duplication of my set-up every time. I know my set-up backwards and forwards. In order to relax, everything must be exactly where I want it...so I can forget about constantly re-adjusting positions of my drums...and I can really get into the music...in a way that makes my interpretation add a special kind of dimension within the total fabric of the music.
• Page 11grimace everytime the leader calls a tune you don't like. 14) Get a large cowbell and use it as loudly and frequently as possible - especially during ballads. 15) Constantly fool around with the tempo and when the leader looks around, POINT TO THE BASS PLAY- ER! 16) Pick out a soft ballad. Wait for the right moment, and drop in a few piercing rim shots. K E E P
• AVEDISAN CO ZILD