Drummer Dave Schoepke will be releasing his first solo drum album titled “Drums On Low” on July 15, 2019. Schoepke is an accomplished North American drummer, who has had the pleasure of working with the legendary Jethro Tull guitarist Martin Barre. Dave toured with Martin's band in 2017 and in 2018 for the “Cruise To The Edge” Tour.Read More
On Sunday, April 22, 2018, Rick Smith presented another memorable vintage and custom drum show at The Sphinx Shriners Center in Newington, Connecticut. Featured clinicians this year were long-time Journey drummer, Steve Smith, and Paul Francis - Director of Research & Design /Quality at the Avedis Zildjian Company. Both Paul and Steve entertained large audiences, giving them some truly inspirational performances. Also in attendance were several well-known drummers including – Gary Asher - Joe Corsello – Arti Dixson - Daniel Glass – Andrew Klein - Dave Mattacks – Adam Nussbaum and Bobby T Torello.Read More
Republished from DRUM! Weekly. Thanks, Phil.
During the past three years Reverb.com has become the key outlet for serious musicians to sell their gear. It now bills itself as “The world’ largest marketplace for buying and selling music gear.” But now it has a competitor that has set its sights on being a marketplace for drums.
Drumsellers.com is the brainchild of George Lawrence, a professional drummer whose career highlights include recording sessions on major label rock, pop, country and jazz albums in Nashville and Los Angeles, and recording and touring with the band Poco from 2004 to 2015. Along the way he also found time to teach many high profile drummers, and own his own drum shop (George’s). And, some of you will know George as the publisher of Not So Modern Drummer Magazine, which he purchased in 2009 and converted to digital in 2012. Recently, we’ve noticed the growth at Drumsellers and wanted to learn more about the plans for the site. We interviewed Lawrence last month.Read More
Connecticut Drum Show, April 14, 2019Read More
One element that characterized Blaine’s drum sound was the lower tuning he used, which became the standard drum sound on rock recordings. “I came along at a time when drummers tuned their drums real high in pitch—real tight,” Blaine said in an April 1981 Modern Drummer cover story. “A lot of that was for technique so they could get a lot of ‘bounce to the ounce,’ so to speak. I tuned drums down to a normal, mid-range. I worked for many singers who liked the sound of my drums. When I started in the studios, some engineers would say, ‘You better tighten those drums up,” but the producers would say, ‘Don’t tell him what to do. We’re going for a different sound here.’”
Blaine also expanded his kit beyond the standard four- or five-piece drumsets that everyone was using at the time. “My set had 12 drums, which no one had ever heard of,” Blaine told Modern Drummer. “It really was a major change, which makes me very proud. I wanted a full, bigger spectrum of sound to be able to do more with drums.” He worked with Howard Oliver to build a larger set, which was soon marketed by Ludwig as the Octaplus. One of many songs on which that kit was featured was “Cherokee People” by Paul Revere & the Raiders.Read More
Legendary drummer Hal Blaine, who recently turned 90, will be celebrated in his hometown of Holyoke, Massachusetts at Holyoke Community College’s Leslie Phillips Theater on Feb. 27 at 7 p.m.Read More
The recently established wholesaler/distributor, Cardinal Percussion, has acquired the Wuhan Cymbals and Gongs brand. Percussion’s Jim Bickley stated, “the entire Wuhan line will receive some exciting changes that will appeal to the needs and demands of today’s drummers.” In addition to their own brands, Attack Drum Heads, Cardinal Packaged Goods, Wuhan Cymbals & Gongs, Cardinal Percussion will also be carrying a multitude of other popular domestic brand names known to dealers and percussionists worldwide.Read More
Todd Sucherman will play on Late Night w Seth Myers in DecemberRead More
I was referred to your site by Emory Grodek to list a drummer's swap meet 12/1/18 in the Buffalo NY area. It is from 12-5pm at The Music Room at 367 Main St East Aurora NY 14052. FREE Admission, vendor space available. For more information please feel free to email firstname.lastname@example.org. Thank you for sharing...
I had once heard African drumming master Baba Olatunji say that the relationship to his djembe was a "trinity". The soul of the tree it was carved from, the spirit of the animal whose skin made the head, and Baba's heart in performing with it were a sacred triangle of sorts.Read More
ATTACK DRUMHEADS is now under new ownership. A team of industry veterans led by Jim Bickley, former vice president of Universal Percussion; Robbie McFarland, general manager of Hubbard Music retail stores; and Mark Tirabassi, president of Mavi Inc. has launched a new wholesale company, Cardinal Percussion. In addition to relaunching, rebranding, and retooling Attack Drumheads, Cardinal Percussion will wholesale and distribute many of the drumming industry's most popular brands of accessories. Headquartered in Youngstown, Ohio, Cardinal will also feature a complete line of Cardinal Percussion-branded small goods.Read More
NEW ORLEANS (October 11, 2018) — The New Orleans Jazz Museum will debut a new exhibition, Drumsville!: Evolution of the New Orleans Beat. Launching on November 8, 2018, the exhibit will celebrate both the New Orleans Tricentennial and International Drum Month, along with the development of the drum kit in New Orleans and the ongoing evolution of rich local drumming traditions.Read More
Rick Smith presented another successful vintage and custom drum show at The Sphinx Shriners Center in Newington, Connecticut. This years’ featured clinician’s were Gregg Bissonette and Richie Morales.Read More
Bobby T Torello and Bill Ludwig III at Dynamic Percussion Drum ShopRead More
THE RECORDING ACADEMY LIFETIME ACHIEVEMENT AWARDS Will air on PBS - October 5, 2018Read More
Rick Smith presented another successful vintage and custom drum show at The Sphinx Shriners Center in Newington, Connecticut. This years’ featured clinician’s were Gregg Bissonette and Richie Morales. Once again, both the clinics and dealer booths were jammed with drumming enthusiasts of all ages. It was standing room only in the auditorium for Gregg and Richie. Both of their presentations were educational, inspirational, and entertainingRead More
Look for our interview with Ken Harck in the next issue of Not So Modern Drummer. Go to www.chicagodrum.com to see their beautiful snares and sets, as well as Slingerland original and replacement parts.Read More
I am very pleased to announce that The St. Louis Drum Ambassadors will be hosting our very first Annual Drum Show and Swap meet this Fall! St. Louis is the perfect place for such an event due to our abundant local drumming community and the ever growing interest in drum collecting across the Midwest.
We already have several commitments from sellers, custom builders, and companies from across the country who will be there to spend the day with us. More details to come on other activities such as drum clinic info and kids drum battle. Please reserve the date and come join us this Fall in St. Louis to spend the day doing what we all love so much: talking, buying, selling, and playing drums!!!
Proceeds will be donated to Play It Forward STL!
Play it Forward is a St. Louis based program which began in 2006. Their mission - ensure each child in St. Louis is provided with the opportunity to discover his or her musical talents. This is done by encouraging people to donate usable musical instrument that they no longer use. These instruments are cleaned and repaired to a playable condition. The instruments are then distributed to underprivileged children and lower income school music programs that don't have them in their budget. You can visit their web site at www.playitforwardstl.org.
Spots are filling up quickly so please email me at email@example.com to reserve a booth or with any questions about the show.
Saturday 10/20/18 from 11a.m. to 5p.m.
Vendors can load in the night before or the morning of event.
Booth space sizes and prices are as follows:
8' x 8' $15
12' x 12' $25
FREE ADMISSION TO THE PUBLIC!
Tables will be provided for each booth.
Larger spaces can be arranged if needed.
Great food will be available for you to enjoy while searching for that next awesome drum deal.
D. J. Fontana, whose simple but forceful drumming behind Elvis Presley helped to shape the early sound of rock ’n’ roll, died on Wednesday at a hospital in Nashville. He was 87.
His death was confirmed by his son David, who said Mr. Fontana had been in poor health since breaking his hip in a fall last year.
Mr. Fontana was the first drummer in Presley’s band and played with him for 14 years, from Presley’s earliest days in the national spotlight through the 1968 television special, called simply “Elvis,” that was widely hailed as Presley’s return to form. He backed Presley on more than 450 recordings, including hits like “Hound Dog,” “All Shook Up,” “Blue Suede Shoes” and “It’s Now or Never,” and was seen playing with him in the movies “Loving You,” “Jailhouse Rock” and “G.I. Blues.”
He was later an in-demand studio musician in Nashville.
Mr. Fontana’s entree into rock history came by way of his job as a member of the band on “Louisiana Hayride,” a popular country-music radio show broadcast from Shreveport, La.
Presley, then at the beginning of his career, appeared on the show in October 1954 with his backing band, which at the time consisted of just two musicians: Scotty Moore on guitar and Bill Black on double bass. Mr. Fontana played with the band on that broadcast, and the next year he became a permanent member.
Presley’s blend of country, blues and other elements was already distinctive. The addition of Mr. Fontana’s powerful drumming raised it to a new level.
“Elvis and Scotty and Bill were making good music,” the drummer and singer Levon Helm said in an interview with The Associated Press in 2004, “but it wasn’t rock ’n’ roll until D. J. put the backbeat into it.”
In its early days, the band played mostly the country music circuit, where guitars, mandolins and fiddles dominated and drummers were generally shunned. On early television appearances — including Presley’s first, on the television version of “Louisiana Hayride” in 1955 — Mr. Fontana was hidden behind a curtain, his drums heard but not seen.
By the time Presley made his first appearance on “The Ed Sullivan Show,”in September 1956, a performance seen by 60 million viewers, the drums were in plain sight — and Presley was well on his way to becoming a worldwide phenomenon.
While Presley’s star rose, his band remained on a fixed salary, causing increasing dissension. In a joint interview with The Memphis Press-Scimitar in late 1956, his three sidemen said they were being paid $200 a week when on tour (the article called that “good money for sidemen”) and $100 a week the rest of the time. They added that Presley’s manager, Col. Tom Parker, had permitted them to supplement their income by recording without Presley.
But according to “Last Train to Memphis,” Peter Guralnick’s Presley biography, Mr. Black and Mr. Moore were not happy about their compensation. In September 1957 they approached Mr. Fontana with a letter demanding what would have been their first raise in two years. He refused to sign it, saying he had been treated fairly according to the terms under which he was hired.
During the recording of songs for the movie “King Creole” in 1958, Mr. Black and Mr. Moore were replaced by Nashville session players.
Mr. Presley was drafted into the Army in 1958 and did little touring after his discharge in 1960. But Mr. Fontana continued to work with him in the recording studio.
Dominic Joseph Fontana was born in Shreveport on March 15, 1931, to Lena (Lewis) and Sam Fontana. His father owned a grocery store. D. J. Fontana’s early influences were big-band drummers like Buddy Rich and Gene Krupa, and he played in local strip clubs and served in the Army in Korea before joining the “Hayride” band.
“I heard Scotty and Bill and Elvis one night and knew that I couldn’t mess up that sound,” he said in recalling his introduction to Presley’s music. “I think the simple approach comes from my hearing so much big-band music. I mixed it with rockabilly.”