Sonny Igoe – A Matter of Principle

Posted on September 5, 2023 by Scott K Fish

SKF NOTE: Drummer and music educator Sonny Igoe was a longtime Modern Drummer Advisory Board Member.

Igoe and the other Board Members really did advise MD, particularly Founder/Publisher Ron Spagnardi. MD relied on the Members’ experience to guide some policy decisions, to write columns, make recommendations, and to provide answers to reader questions.

It may have been all of them, but certainly some MD Advisory Board Members were kind enough to endorse MD through in-house advertising.

This letter from Sonny Igoe both advises Spagnardi and endorses the magazine.

“I have been an M.D. subscriber since it’s (sic) inception and have fully enjoyed it.

“However, I think that the magazine should be provided at no cost to members of the advisory board, in exchange for whatever prestige the use of our names lend to the publication. It’s not a question of being too cheap to buy it, which most of us do or would do anyway, because we like it.

“It’s a matter of principle. Many of the board members I’ve spoken to feel the same, whether or not they have ever mentioned it or not. No matter what, I’ll still subscribe!”

Both Igoe and Spagnardi had understandable positions. Board Members serving without compensation adds a measure of credibility to their work. As with almost any small business, MD was likely running on a single-digit profit margin. Every dollar counted.

But what would it have really cost to provide Board Members free magazine subscriptions? It would have been a nice gesture.

Maybe after reading Igoe’s advice, Spagnardi did offer Board Members free or discounted subscriptions. I don’t know.

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Tough Made Everybody Play

Posted on September 3, 2023 by Scott K Fish

SKF NOTE: I sent this story, these pages, to Modern Drummer. It was published in MD‘s January/February 1979 issue as a “From The Past” column profile. (Looking at these pages now I am appalled at the number of typos. I’m having a hard time believing I submitted this story as is. Maybe so.)

Dave Tough was an early drum hero of mine. In my younger years as a pro drummer, I fancied being on a career path similar to Tough’s. Tough played drums and aspired to be a writer. Me too.

Most of the Dave Tough material I found in jazz books and magazines portrayed him as a supportive, limited technique player, great timekeeper, loved by his fellow musicians. And I owned an old RCA Victor Benny Goodman small groups album. Gene Krupa drums on most of the tracks.

But Tough’s drumming with The Benny Goodman Quartet (Goodman, Lionel Hampton, and Teddy Wilson) on “Opus 1/2” was, and still is, brilliant. Here’s what I wrote about Tough’s playing here in an earlier blog post:

“Listen carefully to Dave Tough backing the Goodman Quartet as a group and behind the individual soloists. Swinging? Yikes! And on what parts of the drumset — if Tough is even using a full drumset — is he playing??? A hi-hat, for sure. Then what? His hi-hat stand? Snare drum rim? I’ve never figured it out. Which, I think, is part of the fun listening to it.

“Whatever Dave Tough is playing — I love it. It’s beyond straight timekeeping, but he’s super supportive and musical.

“This remains on my short list of must hear drum records. Bon appetit!”

Since writing my 1979 profile of Tough I’ve learned much more about him from speaking with people who knew him. (Drummer Fred Gruber, for example. And from reliable people sharing their conversations with people who knew Tough. Drummer Ed Soph’s accounts of his conversations with bandleader Woody Herman.)

Also, I’ve learned more from the wealth of music and information available through digital and social media. The members of The Dave Tough Appreciation Group on Facebook is a case in point. Check it out.

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Fish’s ‘Terrific’ History of Rock Drumming

Posted on September 2, 2023 by Scott K Fish

SKF NOTE: Another memory found while digging through boxes of my drum memorabilia.

I have a recollection of Modern Drummer Founder/Publisher Ron Spagnardi sharing percussionist John T. Bock‘s letter with me. Bock founded Fast Hands Drum Studio in NY in 1957. Later he wrote the book, “Fast Hands for Drummers,” which Bock’s grandson, Cameron, is trying to get back in print.

It was always heartwarming when anyone wrote to the magazine with kind words about something I had written. When such praise came from a noted drummer or industry person, it made me feel even more gratitude.

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Krupa’s Impressive Snare Drumming

Posted on August 31, 2023 by Scott K Fish

SKF NOTE: Different Drummer was a 1970s monthly magazine that primarily featured album reviews. Its president was disc jockey Harry Abraham. I’m not sure how long DD was in business, but I enjoyed reading it and saved a few issues.

This Gene Krupa review offers an interesting insight into the great drummer and two exemplary fellow musicians: Anita O’Day and Roy Eldridge. These three made some strong music. Some of it is included in this album.

“Krupa’s drums pace the ensemble with a firm, driving swing,” is among the reviewer’s observations that hold true for Krupa in general. It seems Krupa’s influence on drummers never diminishes.

One aspect of this music is that it was recorded before drummers used ride cymbals as their primary timekeeping instruments. I am still impressed with Krupa’s reliance on his snare drum and hi-hat to steer his big band. Great stuff. And this album is still available.

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Alternate Gigs Away From Bars

Posted on August 25, 2023 by Scott K Fish

SKF NOTE: While playing/singing in Honest Tom Pomposello‘s trio, we band members grew tired of playing bars. The drunks, the smoke, the noise. My friend, drummer Chris Conrade, said, “The music business is a bunch of drunks saying, ‘Entertain me.'” There’s a lot of truth in that.

As an alternative, the HTP trio put together a program, “The Blues: The Roots of American Music,” designed and printed this brochure, and reached out to public libraries and schools for gigs.

I don’t have our itinerary, but I do remember some rewarding gigs for audience who were there to listen, learn, and to interact with the musicians.

During that time I became aware of either a local or state government program offering to help musicians with programs such as ours find gigs in places like schools and libraries. At first it seemed like we had a chance of participating in the program. But once the woman I was speaking with about the program found out our trio had already played some dates, she told me wouldn’t qualify for the program. It was, she said, only for musicians who weren’t performing anywhere.

Go figure!

At any rate, our program was a success without government help. Just as it was a successful alternative to bar gigs.

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