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BETTER NOT READ THIS â unless youâd like John Allen to do you a favour!
Heâs prepared to look after your instrument, insurancewise. If you are wise, you'll let him.
That instrument's too valuable to risk. Do you have it fully covered ? Could you replace it easily if it were stolen or met with a mishap ? Are you covered for travel abroad ?
You know some of the answers. John Allen knows the rest. Being a musician himself, he can see things (rom your point of view.
# Insurance on individual instruments
# Bulk cover at special rates for touring bands
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Advice free from JOHN ALLEN
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FOR those of you who have requested yet another drum score from the Krupa LP issued on Verve (VLP 9005), here is the score for âEspaÃ±a Cani." This drum score should help to improve your technique on the snare drum.
A very happy New Year to you all. I shall look forward to being with you again in 1965.
Please note that the second bar of the third line of this drum score should read: quaver, semi-quaver triplet; quaver, semi-quaver triplet: quaver, semi-quaver triplet, then four semi-quavers. So will you take your pens and add the missing line to make up the final four semiquavers of this bar? Thanks.
QUITE a few readers have written asking me why it is that despite getting
by Max Abrams
up to a fast speed with the execution of mammy-daddy they are unable to execute an even snare-drum roll. In case this is a problem that you have come up against, the answer is this:
The speed of the mammy-daddy has nothing whatever to do with producing an even roll. It is the control of the bounce technique that produces the snare drum roll. Bounced strokes played in rapid succession produce the desired effect and you do not have to attain a very fast speed to produce an even long roll. In fact, the faster your wrists move when executing a long roll, the more uneven the roll will sound.
It may surprise many of you to know that I do not advocate practising the long roll starting with two even strokes from either hand. I teach my pupils to exe-cut the snare-drum roll by making a downstroke and allowing the stick to bounce once to each downstroke. So the method becomes not mammy-daddy, mammy-daddy, but stroke-bounce, stroke-bounce.
The nerves of the fingers control the bounce. The wrist-action controls the downstroke. The nearest I can give you to the phonetic sound of this stroke-bounce, stroke-bounce action is: diddle-diddle, diddle-diddle.
I hope this explanation will help to solve your long-roll problem once and for all.
L-JOW to eliminate that annoying buzz from snares when playing with a group is a problem that seems to be worrying quite a few of you. The answer to this buzzing snares problem is this:
Unless the snares are properly aligned and evenly tensioned by the manufacturer in the first place, you are going to have this buzz trouble all the time.
When purchasing a snare drum, always test it for undue buzz by humming a low note against the snare head while holding the drum at arms length. If the snares are not properly aligned and tensioned, they will buzz freely as soon as you start humming. This is a drum to avoid.
Apologies for a copying error last month. Example 4 should have read as follows;
To prevent your drums being affected by changes of temperature, keep the heads covered always. A well-fitting cardboard cover keeps the drum heads free from moisture. If at all possible, a dust sheet over the whole kit will prove worthwhile. Don't keep messing about with the tension of your drums. Once they are tuned to your satisfaction, leave them alone.
by ROGER EAMES
THE London jazz scene at first glance 1 reveals just about as much of its total substance as an iceberg. Surfacing fast into view, however, is the New Jazz Orchestra, a fresh and adventurous big band whose personnel includes several college jazzmen.
Notable among these are conductor/ arranger Neil Ardley (Bristol), tenor-saxist Dave Geliy and pianist Lionel Grigson (both from Cambridge), trumpet players Ian Carr (Durham) and Mike Phlllipson (Nottingham), and, from the London music colleges, altoist Barbara Thompson and trombonist Paul Rutherford. Another ex-Cambridge man, John Hart, is the usual dep. for regular bassist Tony Reeves. The band, which includes french horn, tuba and flute in its lineup, has been enthusiastically received at the Marquee Club and at various South London venues, including the Green Man at Blackheath.
Another semi-collegiate group with a big sound currently well-received in the South London area is the Sedgley-Cain Six, whose unusual front line of" three trombones is led by Robin Sedgley, onetime leader of the Nottingham big band. Bassist Dave Cain and drummer A! Hig-son are both from Imperial College, London. Trombonists Alan Barker and Ken Bass with pianist Peter Rlzeema from Keele University, complete this powerful sextet.
The activities of Durham University alone are enough to dispel those âbarren North" myths of jazz-saturated Southerners when one considers the achievements of jazz-organiser Tony Rushby. Tony leads a well-rehearsed alto/trumpet quintet which last year, augmented to a sextet by the addition of Dave Baker on flute, made an LP record featuring compositions of Monk, Golson, Silver, Rushby himself and northern trumpeter Barry Whitworth.
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