Judge Says Teen Drummer’s Playing Isn’t a Nuisance

drums_garageSKF NOTE: This is an interesting court case describing a situation most drummers deal with at some point in their lives. I sympathize with both sides. Another news report said this young man’s drums are in a garage 15-feet from Joanne Traetto’s home. But it’s a drag for drummers to never have a chance to practice on real drums. And this young man sounds as if he’s trying to strike a balance between his need to work/practice and his neighbor’s need to work.

Judge Says Teen Drummer’s Playing Isn’t a Nuisance
Michael Booth, New Jersey Law Journal
November 5, 2014

A teenage drummer’s occasional afternoon practice sessions in his family’s garage do not rise to the level of a nuisance and he won’t be ordered to stop or move his drum set somewhere else, a New Jersey judge has ruled.

Morris County Superior Court Judge Stephan Hansbury on Oct. 30 refused to grant injunctive relief to a Boonton, N.J., woman, Joanne Traetto, who complained that drumming by her next-door neighbor, Daniel Palazzo, makes it difficult for her to sleep and work.

Traetto’s attorney, Joseph Murray of Schiller & Pittenger in Scotch Plains, N.J., said he does not anticipate an appeal.

Traetto is a computer analyst for a pharmaceutical company who is on call 24 hours a day, working out of her home, according to court documents. She filed her lawsuit against the Palazzos in December 2012, when Daniel was 15. He is now 17.

The lawsuit alleged that the drumming went on at all hours of the day and night and that it interrupted her ability to do her job and get some sleep.

The Palazzos, in their answer and motion to dismiss, said their son plays only from 4 p.m. to 7 p.m., and that the town’s health administrator had determined that the sound from the drumming does not violate the town’s noise ordinance.

In a response, Traetto…included a certification from another neighbor who said the drumming is “unreasonably loud” and is “so incessant and loud that the drums appear to be beaten by a maniac.”

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Terri Lyne Carrington’s Pittsburgh Jazz Seminar

[SKF NOTE: I first met Terri Lyne Carrington in 1983. She was 17-years old. We sat in my Modern Drummer office and I interviewed her for the magazine. At the time she had just released her first album and had been playing drums for 10 years with Clark Terry, Rahsaan Roland Kirk, Illinois Jacquet, Kenny Barron, and Buster Williams. 

“Terri Lyne is not kidding around,” I wrote in my introduction to her interview. “She knows where she’s going and she’s self-assured about getting there. I’m sure she will.”]

Preview: Drums run in the family for Terri Lyne Carrington
October 30, 2014 12:00 AM

Terri Lyne Carrington is…taking time out of her busy schedule of performing, producing and teaching to participate in this year’s University of Pittsburgh Jazz Seminar, which takes place this week and culminates with the annual Saturday concert.

Among the notables she’s worked with over the years is Herbie Hancock, from 1998 to 2007. She’s also won two Grammy awards as a leader — best jazz vocal album for the 2011 “The Mosaic Project,” which featured numerous female artists, and best jazz instrumental album for last year’s “Money Jungle: Provocative in Blue.”

Indeed, there will be a distinct feminine flavor to this year’s seminar, with a rhythm section composed of Ms. Carrington, bassist Esperanza Spalding, and pianist and Pitt’s director of jazz studies Geri Allen performing, along with alto saxophonist Tia Fuller. The first three regularly work together as the ACS Trio.

Ms. Carrington has returned to Berklee, teaching privately and leading ensembles.

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Drummer: Minimal Drum Machine for iPhone

Drummer is a beautiful, minimal drum machine for iPhone
By Ellis Hamburger on November 3, 2014 10:00 am

The free app launches today.

[Y]ou don’t need to understand bars to understand Drummer. Tap play, tap some circles, and listen. Then tap some more circles, or swipe downward on a column to generate an easy downbeat. You can swipe between different drum instruments, create a few more drum tracks, and alter beats-per-minute. Before you know it, you’re jamming.

…a new generation of music applications that anybody can use — a new generation of apps that make producing music as fun as shooting an Instagram photo.

“You shouldn’t have to start with theory. You should start with the sound, and you should start with how it feels,” says D’Silva.

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Modern Drummer Cover Story: Who Decides?

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If I can’t have the cover story, I’m not doing an interview at all.”

I witnessed three drummers flat out refuse Modern Drummer feature interviews because they weren’t cover stories. The drummer with the cover story had his photo on the magazine cover.

Two decliners were jazz drummers. The third was a pop/country drummer who played with a long deceased big name in pop music.

I understand why the drummers said no, but I thought they were shortsighted. An MD feature interview – with photos – was great publicity, easily parlayed into greater publicity.

During my time as MD‘s managing editor (1980-83), each issue generally had three or four feature stories: three feature drummer interviews, and maybe a feature on a drum company, a cymbal manufacturer, or the history of jazz drumming.

The editorial staff – Features Editor Rick Mattingly, me, and Ron Spagnardi – discussed which drummers would have the cover story each month. Ron Spagnardi had the final word, but I don’t remember us having any line-in-the-sand disagreements.

The key deciding factor, but not the sole factor, was: which drummer would sell the most magazines off newsstands? Modern Drummer depended on newsstand AND subscriber sales. Subscribers paid in advance. Newsstand MD buyers had to be persuaded every month that the current issue was worth whatever it cost at the time.

The calculation was based on experience that started, I think, with MD‘s October/November 1979 special Gene Krupa issue. MD founder/publisher Ron Spagnardi told me at one staff meeting, the Krupa tribute was the lowest selling MD ever. That surprised Ron. He expected, because of who Krupa was, what Krupa meant to all drummers – that drummers would scoop up that issue.

They didn’t.

One month MD‘s editorial staff wrestled over two feature interviews as the cover story. One was an outstanding, personal piece on Papa Jo Jones by Chip Stern – who was very close, and spent a great deal of time, with Papa Jo Jones.

The second interview was with Slim Jim Phantom, drummer with a hot, rising band called Stray Cats.

Who was more deserving of the cover? Papa Jo Jones. No question. Who would sell more issues on newsstands? Papa Jo or Slim Jim? If a Papa Jo issue suffered the same fate as the Krupa issue – not many drummers would read it anyway. Whereas, if a Slim Jim cover sold lots of issues – the Papa Jo interview would be in the hands of more drummers!

In the end – for the first time, I think – Ron split the difference, giving Papa Jo 90-percent of the cover with a Slim Jim photo insert on the lower right corner. If memory serves, that cover ended the single drummer photo on MD covers policy. Soon that real estate was used to promote more than one drummer.

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Drummer Berkowitz Builds New Gene Krupa Orchestra

New Gene Krupa Orchestra in Hackettstown
By Bill Nutt, Correspondent 2:33 p.m. EDT July 11, 2014

“Gene was the first superstar drummer,” says Michael Berkowitz.

Under Berkowitz’s leadership and drumming, the New Gene Krupa Orchestra plays jazz compositions that are faithful to the original arrangements.

“When I was in 8th grade, I met Gene,” he says. “I was totally enamored of his playing.”

Berkowitz would go on to a career in music, where he accompanied such artists as Marvin Hamlisch, Liza Minnelli, Quincy Jones and Nelson Riddle. About 10 years ago, however, he got the idea to create an orchestra dedicated to Krupa’s music.

He then approached Krupa’s estate to work out licensing and other issues. Once he received permission from the family, Berkowitz had the challenge of finding the original arrangements.

“The problem was that a lot of his music was lost in a fire,” Berkowitz says. “So many memories were destroyed.”

He then took on the role of detective, tracking down original scores and charts.

“Every time Gene played a song, it was new. That’s what jazz is about. To simply reproduce it is anti-music.”

“What we try to do is evoke his sound,” Berkowitz says.

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