Oh my! The things you can stumble across on YouTube....

hsosdrum

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OK - finally to your question... what was the rig? ...
I'm pretty sure the snare would've been my Valley Drum Shop 6.5x14 blonde wood snare (that Ron and Rick Syde use to make and sell out of their shop)...
Those are great snare drums, Dave — I have a 7x14 that I got from Ron and Rick in 1990 along with a with a 13/14/16/18/26/26 Ludwig Classic kit. By then they were offering only 5" and 7" deep snares (I tried to get them to build me a 6.5" and had to settle for a 7").

Do you still have yours? I still have mine (along with the Ludwig Classic kit). I had the snare detailed by a friend who did pinstriping.

IMG_0718_S.jpg
 

studrum

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And David, very cool to hear about your time in Passport. I dug them. I thought the European slant on the music was there, and it made me think, "Hey, this is different," and I like different. And as we know, ECM records was revving up at that time, in its chill Nordic-Germanic way - again, different from American jazz. Zawinul himself was European. We were on the hunt for creativity.

I saw Passport in Detroit around that time, I think at Ford Auditorium. Do you recall playing there?
 

studrum

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I shouldn't do this, but I can't resist. In a few minutes CBC Radio 2, Lilah Bialy's show, is going to play the entire...you guessed it...Buddy Live at Ronnie Scott's!!
 

DanRH

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Yeah, the Pearl Concert toms (fiberglass) were cool. I had a kit on my disco record the same time David. Here's a pic of me at the Record Plant in Sausilito using my Pearl concert toms in 1979. I was using my toms and snare (which I flew out with me to the Bay Area), that was requested by the producer of the record we were doing, because we were from Miami. The rest of the kit,a Camco bass drum and floor tom was not mine but Steve Price's from Pablo Cruise who were using the studio during the day and we were in there at night. Sorry deflect from your thread David. That was very cool about Passport!

Jan3019793record plany.jpg
 

BennyK

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You remind me of Warren Zevon . Always in the pocket , very smooth and those fiberglass shells ... whew !! perfect . Singer has a South Africaan lilt .
 

dcrigger

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You remind me of Warren Zevon . Always in the pocket , very smooth and those fiberglass shells ... whew !! perfect . Singer has a South Africaan lilt .
Thanks Benny!

Kevin Mulligan - the singer/guitar player was an American expat living in Brussels. Fluent in French, English (of course) and pretty much German as well.

But alas - no fiberglass shells on this recording - at least, not to my best recollection (which actually isn't really that good these days). :)
 

green glass drum

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I saw Passport at the "Starwood" in Hollywood in 1974. Very prog and very good. Shopped at Valley Drum Shop all the time. Had a 7X14...twice. Thanks DC.
 

Rich K.

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I used to collect Passport records. Bought all the Doldinger festival imports I could find.
 

dcrigger

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Those are great snare drums, Dave — I have a 7x14 that I got from Ron and Rick in 1990 along with a with a 13/14/16/18/26/26 Ludwig Classic kit. By then they were offering only 5" and 7" deep snares (I tried to get them to build me a 6.5" and had to settle for a 7").

Do you still have yours? I still have mine (along with the Ludwig Classic kit). I had the snare detailed by a friend who did pinstriping.

View attachment 472349
Oh yeah, I still have it. Though about 10 years ago, I was working on learning more about drum refinishing and it was looking pretty ratty. So it became my guinea pig for my stain and poly experiment.

All in all, a great drum - though for many years, I mainly used it as my go-to really low-tuned "goosh" drum.

ValleyDrum Snare.jpeg
ValleyDrum Snare 2.jpeg
 

dcrigger

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And David, very cool to hear about your time in Passport. I dug them. I thought the European slant on the music was there, and it made me think, "Hey, this is different," and I like different. And as we know, ECM records was revving up at that time, in its chill Nordic-Germanic way - again, different from American jazz. Zawinul himself was European. We were on the hunt for creativity.

I saw Passport in Detroit around that time, I think at Ford Auditorium. Do you recall playing there?
About a year or so before I became involved, Passport did an American tour and was planning on doing another in 1980.

After the recording in the fall of '79 went so well, Klaus approached me about touring with them that next year. There was to be a swing through America as well as about 5 weeks of one-nighters throughout Germany and Austria. I wasn't to keen on the whole 5 weeks in Germany thing - but the prospect of touring the states with a band like this (and this song isn't really a good indicator as to what the band was mainly about) was really appealing to me.

So I signed on, so to speak. (No actual signing, just a verbal agreement as usual). And wouldn't you know it, but at the very last minute, the American leg of the tour fell through. So off I went - returning to Munich for a few days rehearsal - then literally 5 weeks of one nighters (with there days off). Literally in two cars and the equipment truck. I was spared doing any driving - not being legal (or capable for that matter - they drive like crazy people) :) to drive in Germany.

And though it was grueling - I was so happy I did it. These were all concerts with no opening act - so basically 2 to 2.5 hours of pretty much, pedal to the metal fusion playing... every day... over and over. I had really done anything like that - not that relentless and not that sustained for so long. Needless to say I came home with the best endurance chops i'd ever had.

And work wise it turned out cool - as Klaus wanted me to come back to get started on another studio album as well as play the Montreux Jazz Festival (which was also to be a live album). In fact, they recorded two or three of the last concerts during the 5 week tour to give themselves insurance takes for that Montreux album. (Unlike the Don Ellis Montreux from three years before, where there was no budget for anything like that - leaving that album to be one shot and that's it.)

And then in the fall of '80, back again to finish the album and do a couple of more weeks of touring. At which point, there had been enough bumps in the road for that version of the band to be coming to an end. So I think there was a short break after that - a couple of guys returned, but that was the last of Passport for me. Which was fine - though it was really fun at times.

So that's the really long answer - the short one being - no, that wasn't me. I never toured the states with Passport. :)
 

Deafmoon

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I don't know the album Dave is on here as well as I know Cross Collateral, Hand Made, Looking Thru and Infinity Machine. This sounds very pop-oriented with vocals and that would be the reason why I probably shied away from it. But, hey I will listen to it now that I hear it's flavor.
 

Stone Wilcoxon

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Thanks - that album was recorded one week in the fall of '79. And was the result of what was probably the strangest "cold call" to play a session in my career.

Back in '77, I played the Montreux Jazz Festival with the Don Ellis band. Klaus Doldinger was there at the same time as part of some "Atlantic Records All Stars" segment (that Don took part in as well). Anyway Klaus caught up with me in the Artist's Bar after our set, introduced himself was very kind with compliments, etc.. I, of course, had some Passport albums, so was like "Wow, how cool was that?"

And that was the end of it.

Fast forward to '79 - and I get a call out of the blue from Passport's agent in America saying that Klaus would love to get in touch with me over the phone from Germany. As it turned out, he was prepping to do a new Passport LP and was kind of at a crossroads with his current drummer. Maybe time to make a change, blah blah blah. I wasn't really aware of that at the time - just that he wanted to know if I'd be interested in coming to Munich to do some recording with him. He had a studio at his house outside Munich and would fly me to Munich and put me up in a hotel nearby (where the rest of the band would be staying as well) and we'd see what we could get done. We agreed on a fee - and off I was to Munich.

At that time, Passport was being far less prog rock and much more - Weather Report meets LA Express meets the Brecker Bros - pretty much the center of my universe at that point. It was later I found out that the plan was to try me out for a week - and then finish the album at some later week of sessions either with me, or the current drummer, or someone else. As it turned out, things really clicked - all the way around. So we finished all of the basic tracks and I think most (or all) of the band overdubs in that first week.

So that was the Oceanliner LP - and as it turned out, I returned three times the next year - to tour and make a live album and another studio album.

OK - finally to your question... what was the rig? The toms and bass drum were the house drums at Klaus' studio. I'm pretty sure it was a Pearl set (as Passport had a deal with Pearl Germany) - 14x20 bass drum. And I'm pretty sure, I was able to put together from what he had, a set-up like my Blaemire Don Ellis setup - 4 concert toms... 8, 10, 12, 14 At least that's my recollection.

I'm pretty sure the snare would've been my Valley Drum Shop 6.5x14 blonde wood snare (that Ron and Rick Syde use to make and sell out of their shop). And the cymbals would've been mine as well. Most of which are still set up behind me right now - 20" '68 A ride, 20" swish, 14" New Beats and likely a 15" Zildjian crash (that a long time ago probably came to some horrible end). ;-)

All in all - a very cool experience.
I don't see those Valley Drum Shop snares discussed very often. I have a 7x14 blond maple that I bought sometime around 1986 or so. Great drums.
 

dcrigger

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I don't know the album Dave is on here as well as I know Cross Collateral, Hand Made, Looking Thru and Infinity Machine. This sounds very pop-oriented with vocals and that would be the reason why I probably shied away from it. But, hey I will listen to it now that I hear it's flavor.
I always thought trying to pull a pop vocal single out of a decently known instrumental band was a whole bunch of wishful thinking - certainly not the main reason I was there.

This is the only vocal track on that album (Oceanliner) and the next one (Blue Tatoo) as well - at least as I recall.
 


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