July 2017 Issue – Volume 41 • Number 7
On 01st Jul 2017
Articles in July 2017
Yuval Lion
Enjoying a long run at New York’s Public Theater, the rock opera Joan of Arc: Into the Fire features a striking young actress/vocalist adorned in chain mail, sixteen male dancer/singers, and a rock band that pumps out David Byrne’s original…
1,000 Ways to Practice a Single Page - Part 5: Challenging Rudimental Approaches
https://vimeo.com/219135230 The longer I play the drums, the more I appreciate and value the time I can spend on only a snare or pad. Let’s dive into a few concepts to improve our overall technique. Here’s the rhythm we’ll be…
The Drum Thing
“The most exciting thing,” photographer Deirdre O’Callaghan says, “is to be around passionate people with a drive to master an instrument. It’s truly magical.” That drive and passion come across crystal-clear in the images and words of the ninety-six drummers…
UFIP - Class and Vibra Series Cymbals
Centrifuge-cast for the purest B20-bronze tone possible.
Remo - Classic Fit and P3 Felt Tone Drumheads
No more struggling to fit skins on oversized vintage snare and tom shells or wrestling with testy felt strips to achieve a classic fluffy/punchy kick tone.
Yamaha - DTX760K Electronic Drumset
Expanded sounds, more customization, and a responsive, natural feel.
Favorite 1960s Drum Tracks?
As we were taking a look back at some of the most iconic drummers and performances of 1967 for this month’s cover feature, we wanted to find out which tracks our readers and social media followers felt marked the greatest…
Playing Melodically - Part 2: Freddie Hubbard’s Solo on “Make It Good”
https://vimeo.com/214234350 Last month we took a jazz melody, Charlie Parker’s “Billie’s Bounce,” and implied its melodic rhythm on the snare. This month we’ll phrase trumpet great Freddie Hubbard’s solo on “Make It Good” from the 1967 Duke Pearson album The…
RTOM - Black Hole Practice System
Snap-on mesh heads that convert an acoustic kit to a low-volume rehearsal set in seconds.
1967 Rock Drumming
The seeds were sown in 1966. While jazz had dom-inated the attention of progressive music fans the previous decade, rock ’n’ roll was now the place where the real avant-garde activity was going down. The Beatles’ Revolver, the Beach Boys’…
Awolnation’s Isaac Carpenter
“When we were rehearsing for the latest album,” says modern pop group Awolnation’s drummer, Isaac Carpenter, “Masters of Maple owner Sahir Hanif brought his bell brass snare, and it seemed like our band sounded twenty-five-percent better. You can hit it…
A New Perspective - Displacing Three-Over-Four Polyrhythms
https://vimeo.com/219138001 A three-over-four polyrhythm is comprised of sets of three equally spaced notes and four equally spaced notes that occupy the same timeframe. Typically both sides of the polyrhythm start together on the same note and utilize the same subdivision.…
Building Confidence - The Right Kind, the Right Way
I recently performed a gig with the great comedian Bob Newhart where I was sight-reading big band charts with him and his opening act. I’ve done shows with Bob many times over the years. They don’t have a ton of…
1938-41 Slingerland Hollywood Boulevard Outfit
Most of today’s drumkits include at least one rack tom, a floor tom, a hi-hat, and a ride cymbal. But back in 1938, renowned American drum manufacturer Slingerland’s most popular setup, the Hollywood Boulevard Outfit, came only with a bass…
Vanilla Fudge’s Carmine Appice
If any drummer in the history of classic rock can say he’s seen it all, it’s him. From defining the role of star journeyman player in the ’70s, penning a classic method book, and pioneering the rock-drumming clinic to setting the bar for rock-star excess that’s still referenced today, the drummer known to many simply as “Carmine” has made a career out of standing out from the crowd. It all started fifty years ago, when he powered an explosive young group that grabbed TV audiences by the throat and promptly skyrocketed up the charts….
Sounds and Setups
1967 was a year when wild was in. And of the rock bands commanding the world’s attention that year, it didn’t get much wilder than the Who, Cream, and the Jimi Hendrix Experience. The same could be said for the drummers who made them go—and the kits on which they did it.
