1970 MUSIC MINUS ONE 32 HEAD BETTER THAN 1 RECORD ALBUM DRUMMER DRUMMING AL IPRI

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Al Ipri 
32 Heads Are Better Than One:

Music Minus One Drummer
"A Suite for 4 Drummers"
"Complete Drum Charts, all 4 parts, Included.
"An extraordinary opportunity for the drummer to join in performing a 4-part drum solo"
"Conceived and Performed by the Author"
 Label: Music Minus One ?– MMO 4062
Format: Vinyl, LP 
Country: US
Released: 1970 
Genre: Jazz
Style: Percussion
 
Tracklist
A1    Drum Suite - Complete Version (4 Parts)    
A2    Drum Suite Minus 1st Part    
A3    Drum Suite Minus 2nd Part    
B1    Drum Suite Minus 3rd Part    
B2    Drum Suite Minus 4th Part    
B3    Drum Suite Minus 3rd And 4th Parts    

Credits
Drums – Al Ipri
Barcode and Other Identifiers
Matrix / Runout (A-Side Label): MMO 4062-A
Matrix / Runout (B-Side Label): MMO 4062-B
(Etching): MMO 4062A 11-19-70 HAG 11-25-70 XMMO
(Etching): MMO 4062B 11-19-70 HAG 11-25-70 XMMO

Music Minus One, founded in 1950 by Irv Kratka, is a company that produces, for educational purposes, sheet music that comes with records/CDs where the work is recorded without the soloist part (eg. a piano concerto without piano; to play along to), there is sometimes also a second version, where the tempo is 20% reduced.
Sublabels: Classic Editions, Sing-Along Hits In The Style Of, Studio Call Series

PLAYED AND TESTED
ALBUM IS MINT
COVER IS MINT w ORIGINAL CELLOPHANE
INCLUDES 16 PAGE BOOKLET OF SHEET MUSIC
YOUR SATISFACTION is GUARANTEED




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FYI

A percussion instrument is a musical instrument that is sounded by being struck or scraped by a beater (including attached or enclosed beaters or rattles); struck, scraped or rubbed by hand; or struck against another similar instrument. The percussion family is believed to include the oldest musical instruments, following the human voice.

The percussion section of an orchestra most commonly contains instruments such as timpani, snare drum, bass drum, cymbals, triangle and tambourine. However, the section can also contain non-percussive instruments, such as whistles and sirens, or a blown conch shell. On the other hand, keyboard instruments, such as the celesta, are not normally part of the percussion section, but keyboard percussion instruments such as the glockenspiel and xylophone (which do not have piano keyboards) are included.

Percussion instruments are most commonly divided into two classes: Pitched percussion instruments, which produce notes with an identifiable pitch, and unpitched percussion instruments, which produce notes or sounds without an identifiable pitch.

The traditional drum kit consists of a mix of drums (classified as classically as membranophones, Hornbostel-Sachs high-level classification 2) and idiophones (Hornbostel-Sachs high-level classification 1, most significantly cymbals but also including the woodblock and cowbell for example). More recently kits have also included electronic instruments (Hornbostel-Sachs classification 53), with both hybrid and entirely electronic kits now in common use.

1865 marked a significant turning point for drummers and their instrument, with the beginning of the experimentation of combining multiple drums into a set. In military and orchestral music settings, drums and cymbals were traditionally played separately by one or many percussionists. The bass drum, snare drum, cymbals, and other percussion instruments were all played using hand-held drum sticks. The progressive thinking of drummers in theaters and stage shows around this time also helped contribute to the creation of the drum set because they were focusing on the concept of having one drummer being able to do the job of multiple percussionists. Double-drumming began to allow the bass and snare to be played by one person with sticks, and the cymbals to be played by tapping one's foot on a 'low-boy'. With this approach, the bass drum was usually played on beats one and three and the music was designed to assist large groups of soldiers march. This simple and straightforward drumming approach eventually led to the birth of ragtime music due to the simplistic marching beats becoming more syncopated, resulting in a greater 'swing' and dance feel. The drum set was referred to as a "trap set," and from the late 1800s to around the 1930s the drummers were referred to as "trap drummers."

As early as 1840, experimentation with foot pedals began. Circa 1870, it was standard for drummers to use what was called an "overhang pedal." Most drummers in the 1870s actually preferred to do double drumming without any pedal at all as a way to play multiple drums, rather than use an overhang pedal. Many patented their pedal systems such as Dee Dee Chandler of New Orleans 1904–05. Liberating the hands for the first time, this evolution saw the bass drum played with the foot of a standing percussionist (thus the term "kick drum") and became the central piece around which every other percussion instruments would later revolve. Ludwig-Musser, William F. Ludwig, Sr., and his brother, Theobald Ludwig, founded the Ludwig & Ludwig Co. in 1909 and patented the first workable bass drum pedal system, paving the way for what was to become the modern drum kit. It was the golden age of drum building for many famous drum companies, with Ludwig introducing... "The ornately engraved Black Beauty Brass Snare drum; Slingerland premiered its Radio King solid-maple shell; Leedy invented the floating drum head & self-aligning lug;& Gretsch originated the three-way tension system of the Gladstone snare drum". (Latter quote from pages 5–6 of Jon Cohan's "Star Sets- Drum Kits of the Great Drummers", with a foreword by Bill Bruford). Brushes were introduced 1912. The need for brushes arose due to the ongoing problem of drummers playing overshadowing the other instruments on stage. Drummers in this time period began using metal fly swatters to be able to reduce the volume on stage next to the other acoustic instruments, while at the same being able to play the rudimental snare figures and grooves they would normally play with drumsticks. As brushes gained popularity, the drum companies of that day started manufacturing these metal fly swatters into what would eventually become named and known as, brushes.

By World War I, drum kits were characterized as a very large bold marching military bass drums and many percussion items suspended on and around them, and they became a central part of jazz music, specifically (but not limited to) Dixieland. The modern drum kit was born by the first ancestors in the Vaudeville era and specifically the 1920s of New Orleans's. In 1917, a band from New Orleans called "The Original Dixieland Jazz Band " recorded jazz tunes that became hits all over the country. These were the first official jazz recordings. The style that these musicians were playing, was a style from New Orleans that started the music genre that is called- Jazz. Drummers such as Baby Dodds, "Zutty" Singleton and Ray Baduc had taken the idea of marching, combining the bass drum and snare drum and also what were called "traps" that were from the immigrant groups which included miniature cymbals, tom toms, cowbells and woodblocks. They started incorporating these elements with the rudimental style of playing and combined it with Ragtime, which had been popular for a couple of decades. By doing so, rudimental drumming started to evolve into a jazz drumming style.

Pecuniary and theater space considerations demanded that fewer percussionists cover more percussion parts. Metal consoles were only later developed to hold Chinese tom-toms, with swing-out stands for snare drums and cymbals. On top of the console was a "contraption" tray (shortened to "trap"), used to hold items like whistles, klaxons, and cowbells, so these drums/kits were dubbed "trap kits". Hi-hat stands became available around 1926.

As early as 1918 Baby Dodds ( Warren "Baby" Dodds, circa 1898–1959), playing on riverboats with Louis Armstrong on the Mississippi, was modifying the military marching set-up that existed in the early century and began various sound experiments, playing the drum rims instead of woodblocks, hitting cymbals with sticks (1919), which was not normalized, and creating a side cymbal above the bass drum, what we know today as the Ride Cymbal. William Ludwig's "Sock" or early (low )High- Hat was developed after observing Dodd's drumming when he met Dodds on a St. Louis riverboat & observed him tapping his left foot all the time. Dodds had Ludwig raise the newly produced low hats that Ludwig brought him, 9 inches higher,as it was easier to play: and thus the beginning of the High (Hi) Hat! The evidence for all the above on Dodds is found in his own contemporary journals/biography "The Baby Dodds Story" -Louisiana State University Press, 1992, and by contemporary witness- drummer Gearge Wettling, who confirms Dodds was the first drummer to also keep the now-famous broken-triplet beat that became the standard pulse/roll of what we call ride cymbal playing. Baby Dodds also made popular the use of Chinese cymbals- [pages 8–9, Jon Cohan's- "Star Sets"- Wording,see page nine; paragraphs 1–4 and see above paragraphs for ISBN & pub/date] Further: see the Percussive Arts Society, 'Hall of Fame' Article, by Rick Mattingly- pasorg].

The 1920s are known as the jazz age or the roaring 20's. In 1919, congress passed a law called prohibition. This law prohibited people from manufacturing and transporting drinking alcohol. Drinking at that time while illegal, became popular in the underground. The type of music that was played at these underground establishments that were selling alcohol was jazz music because jazz music was also underground and illegal. It was not seen as upstanding to listen to or perform jazz music, because it was an African American style and at that time the United States was segregated. Because jazz music was seen as great music to be able to dance to, it started to evolve into the jazz style that would become known as big band, Chicago style jazz. Drummers of the 1920s pioneered what is referred to in modern times as- Freelance Drummers. Freelance drummers are hired to play shows, concerts, theaters, clubs and back dancers and artists of various genres. Just as modern drummers have many different roles, so did the drummers of the 1920s. One of the most important roles for drummers in the 1920s is what is referred to in modern times as a foley artist. A foley artist is a sound effects person. In the time period of the 1920s, radio had been invented, but TVs and computers were yet to be created. Technology had advanced to the point where films were able to be created from a visual aspect, but not advanced enough to support audio, or a soundtrack to the film. These films were known as silent films. When a film was released in theaters, a piano player or in some instances in bigger cities, an orchestra was hired to back up the silent film and the drummer was responsible for providing all the sound effects needed for the silent picture. I.e. of sound effects: Gun shots, planes flying overhead, a train coming into a train station, a baby crying, galloping horses etc. Sheet music from the 1920s provides evidence that the drummer's drum sets were starting to evolve in size and sound to support the various acts mentioned above. However, the first "talkies" or films with audio, were released circa 1927 and by 1930 most films were released with a soundtrack and the silent film era was over. The downside of the technological breakthrough was that tens of thousands of drummers who served as sound effect specialists, were put out of work overnight. Similar panic was felt again by drummers in the 1980s, when drum machines were first released.

Big Band Drumming
1929 was a significant year for drumming, but also for the world, due to the stock market crash that resulted in a global depression. One of the things that helped people cope with the trying years of the depression, was jazz music. By the early to mid 30's, jazz music was being embraced throughout the country and big band music became America's most popular form of music. The other contributing factor to the big band's success during the 1930s was the popularity of radio. As the music of the world was evolving, so was the drum set. Tom-tom drums were added to the drum kit, as well as small crash cymbals and Chinese cymbals.

The main instrument that was introduced and added to the drum set circa 1930, was the hi-hat cymbals. The hi-hats were the primary way for the drummers of the big band era to keep time. Before 1930, while playing the New Orleans and Chicago styles, drummers would choke the cymbals on the "ands" of eighth note figures as an alternative to playing a buzz roll, the rim of the drums, or on the woodblocks to keep time. This muting method of keeping time by choking the crash and china cymbals proved to be awkward, so the drummers of that time came up with the idea of having a foot operated cymbal, which resulted in the creation of what's called the snowshoe cymbal. The invention of this foot cymbal enabled drummers to be able to play the eighth note figures as mentioned above (Boom, Chick, Boom, Chick, Boom, Chick) between the right and left foot, improving the ergonomics with regards to keeping time and overall drum set facility. Toward the end of the 20's, variations of the hi-hats were also introduced and used by drummers. One of the most popular hand held hi-hat cymbal variation used was called the hand sock cymbals. The reason for the name "Hi-hat" was because earlier versions of the hi-hat were referred to as a "low boy." The evolution that became the "Hi-hats" allowed drummers to play the two cymbals with drum sticks while simultaneously controlling them with their foot.

By the 1930s, Ben Duncan and others popularized streamlined trap kits leading to a basic four piece drum set standard: bass, snare, tom-tom, and floor tom. In time, legs were fitted to larger floor toms, and "consolettes" were devised to hold smaller tom-toms (ride toms) on the bass drum. Throughout the 1930s Chick Webb, & Gene Krupa, at the Savoy Ballroom in Harlem, increased the visual and musical driving force of the drummer and their equipment by simply being so popular and in demand- and they ensured that their drum kits became not only functionally developed but dazzling and well designed. (ref: J. Cohan page 13- entire page). Jazz drummers were highly influential in developing both the concept of the modern drum kit and extending the playing techniques in this era.

Gene Krupa was the first drummer to head his own orchestra and thrust the drums into the world spotlight with his drum solos. Others would soon follow his lead.

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