I could talk forever about recording drums but here are a few key tips to try after you have found the right drummer with the right kit in the right room.

Overheads (Calrec or AKG 414's)
In order to record an accurate live drum sound it makes sense to capture the natural and detailed sound of the whole kit that replicates the environment we hear it in. Stereo recording the drums can either be done to taste, or dictated by style of music. Try to think outside the box a little, as just throwing up cardioid condenser microphones over the cymbals may not produce the best result. My two favourite techniques include the OLYMPIC TECHNIQUE (named because it was pioneered at Olympic studios London) which uses two omni or cardioid directional microphones (small diaphragm for better off axis response) which are set up as a spaced pair (1.3 ratio distance away to distance apart) and once you're happy with the overall balance of the kit turn the capsules of the microphones towards the snare. This achieves a pleasing snare sound in your stereo image which gives that extra something when mixed in with the snares spot mics. Alternatively add a third omni-directional mic in the middle of the spaced pair to achieve a similar effect. This a known as DECCATREE. Remember to check the phase between the three at all times.

Kick (Beyer Dynamic M88 or AKG D112 and a Neumann M149)
Firstly take off the front shell and tape up the rattling fixings. Kick drums can be hard to beef up by mic placement alone so add a touch of compression while tracking or dual micing the drum. An M88 close to the beater is always good for attack and a M149 just outside the drumshell (around 2-3 feet) can ad nice puffy bottom end. If the kick drum is small and you have two try sticking them together and see how much more resonant a mic such as the M149 becomes when placed in the second shell.

Snare (Shure SM57)
Always mic up top and bottom (phase reverse the bottom) as you might as well give yourself the option when mixing. Try and use a solid state preamp for the top SM57 as tube preamp's tend to round off percussive sounds.

Toms (Sennheiser MD421's or ElectroVoice RE20)
Setup the MD421's with the rolloff on full and pull them back individually to achieve the right amount of bottom end to suit the drum.

Other
Any cymbals or toms your drummer isn't using might as well go. This will cut down on rattles and unwanted resonating frequencies created by the drum shells. Also placing microphones becomes a lot easier when there are less stands. If your micing the hi-hats make sure you don't face the microphone into the opening, as the hats close they push air into the microphone. Not good.