SKF NOTE: I remember hours of learning how to play big band figures. But a week ago, drummer/bandleader/teacher Sherrie Maricle posted this valuable video short for drummers on how to think about setting up big band figures.
I don’t ever remember anyone talking about setting up big band figures/hits. Sherrie here is giving us a missing piece of the puzzle. A very important piece of the puzzle: How do you kick a big band?
Maricle says, “This is an introduction to some basic kicking concepts. In addition to creating a great groove/feel, it’s one of the most creative, exciting, musical, and fun aspects of drumming.”
SKF NOTE: Paul T. Riddle, co-founder/drummer and Grammy Award winner of the original Marshall Tucker Band (MTB), formed The Toy Factory Project in memory and celebration of MTB co-founder Toy Caldwell and his songs.
Paul is a longtime friend. Forty-five years ago he was my first feature interview as Modern Drummer magazine’s Managing Editor. We maintained our friendship from then on.
During our phone calls over the years I listened to Riddle talk about his dream of recording an album of Toy Caldwell’s songs. I knew when Paul was choosing musicians for his project, including Derek Trucks and Vince Gill.
Then, awhile ago, Paul told me his dream album was complete.
Time passed and passed again. No album release.
Finally, a couple of weeks ago, Paul sent me an advance copy of The Toy Caldwell Project album.
He explained the music he was sending me “hasn’t been mastered. Basically live in studio. Many first takes. Never played anything more than 2 or 3 times.”
Paul added to his text, “I always get so nervous sending you stuff!!! Love you Fish. Hope you approve.”
If Paul gets nervous sending me stuff (music), you can imagine how nervous I get agreeing to listen to Paul’s’ stuff and agreeing to provide my honest feedback.
Honesty is a hallmark of the Riddle/Fish relationship. It started when we first met. I saw the MTB in concert somewhere (maybe Hartford, CT) and the band played great. They were firing on all cylinders. And that’s what I told Paul.
Later I saw the MTB at an outdoor concert in Holmdel, NJ. The stage was crawling with cameramen recording the show for television.
After the concert, Paul asked me what I thought. I told him the band was good, but not as good as the last time I saw them in concert. It seemed to me, I said, the constant presence of the camera crews short-circuited the band members’ interactions.
Paul was surprised, I think, by my candor. But he agreed with what I said about the camera crew.
I never glad-handed musicians, no matter how famous they were. Did I offer my unsolicited opinions of their music? No. But if a famous musician asked for my opinion, I always gave them my honest opinion.
But back to Paul T. Riddle’s new album. After listening to just seven of the album’s ten tracks on my MacBook Pro laptop speakers, I texted Riddle this message:
“What a great album. The word that keeps coming to mind is HONEST. Every song has great players playing from the heart honestly. Love it. Guitarists will go crazy. I only met Toy a couple of times, but if your tribute isn’t making Toy smile – I’ll eat my hat! Get this album out, please.”
It is important to note, The Toy Factory Project is NOT a MTB tribute band in the normal sense of tribute bands. Not by a long shot.
Most of The Toy Factory Project players are new to me. But, holy smoke! They are a new generation of Southern musicians, great players and singers, who grew up on Caldwell’s songs who, with Riddle’s blessing, interpret these songs in their own unique way.
This is a band of giants honoring Caldwell’s music.
In addition to Riddle, The Toy Factory Project is:
Grammy nominated lead vocalist/guitarist Marcus King (The Marcus King Band)
Grammy winning bassist Oteil Burbridge (Dead & Company, The Allman Brothers Band, Oteil & Friends)
Lead vocals/guitarist Charlie Starr (Blackberry Smoke)
Page 1 of my 1978 Modern Drummer interview with Mel Lewis.
SKF NOTE: Remembering my phone conversation with Mel Lewis when he was explaining to me his cancer diagnosis.
Mel said the cancer was a result of his playing while holding his right stick wrong all those years. The butt of his drumstick, Mel told me, consistently press against the palm of his right hand. Over time that movement prompted a cancer in his hand lymph nodes or vessels.
Holding his right stick that way, said Mel, was “wrong.” But, continued Mel, it was the way he played.
SKF NOTE: This is a photo of the envelope I used to send Mel Lewis his first Modern Drummer interview transcript. The glued postage stamp is long gone.
It reminds me of when I started freelancing writing about drummers, before submitting my interviews for publication, I would send my finished manuscripts to interviewees for approval.
Early on, Levon Helm, Jaimoe Johnson, and Butch Trucks told me about interviewers inventing quotes and stories in their published pieces. As a freshman freelancer, hearing about such unethical practices was appalling. I couldn’t imagine making up quotes.
Sometimes drummers would make small changes to the manuscripts I sent them. But they really appreciated the gesture. And my policy ensured no surprises when the interview was published.
SKF NOTE: The four pages below describe my duties as Modern Drummer‘s Managing Editor. My dim recollection is that I wrote this circa 1983. Had I written this job description in 1980, when I was first hired as MD Managing Editor, it would be different. Several aspects of the job came about over time as MD grew to a monthly magazine from nine issues a year.
Why did I type out this detailed job description? I can only guess. As I said, I have only the slightest memory of this document. But in 1983, the MD employees primarily responsible for putting each issue of MD were the Features Editor, Art Director, Sales Director, Publisher, and the Managing Editor.
MD‘s support staff, and our freelance writers and photographers were also essential to producing the magazines. But the core production team was MD‘s Publisher, Features Editor, Art Director, Sales Director, and the Managing Editor.
Other than Publisher Ron Spagnardi, I had been on MD‘s staff longer than the Features Editor and the two Directors. When I learned the Publisher was paying me less than the others I was hurt, a bit angry, and puzzled.
I wanted to ask Ron why he was paying me less.
Before doing so I wanted to build my case, to have my full job description at the ready.
Also, I wanted to know what percentage of MD feature interviews and stories I’d written as Managing Editor. I was surprised to discover, between 1980 and 1983, I’d written 48-percent of MD‘s features.
Spagnardi told me he was paying the others more than me because they had college degrees and I didn’t.
My response was, “So what? In addition to my Managing Editor duties I’ve written almost half MD‘s features. I’m doing the work.”
In the end I was given a $2,000 raise. My pay went to $14,000 per year from $12,000, and I began thinking about working elsewhere.
I should clarify some points so what I wrote in 1983 will make more sense.
First, I was writing about publishing a magazine pre-computers and before the digital age and the internet. Modern Drummer was built with typewriters, land lines, audio-cassettes, literal cut-and-paste magazine layouts, and non-digital photography.
The Managing Editor duties described here are in chronological order. That is, MD‘s editors outlined issues at Progress Meetings, followed by several acts until each magazine was published.
Features Editor Rick Mattingly and I did quite a bit of “off the clock” work. After hours phone calls, homework, and interviews. We both loved what we were doing. I viewed the after hours work as an opportunity, and also as part of the gig, although the after hours work was not part of the gig.
MD might have been quite different if we insisted on limiting our work the magazine’s official 40-hour per week schedule.
Finally, the knowledge Rick and I brought to MD about drummers and drumming was not insignificant. I’m sure that’s why I mentioned it in this job description.
Scott K Fish 
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