First off - good luck!
I hope the room you are recording in is good sounding, and capable of getting the type of sound you are after. More mics allow a bit more control when mixing the kit, but if the player plays his traps well-balanced, you're a step ahead of the game.
Many kits have been miced with 5 or less mics, often painting a very realistic, and musical portrait of the drums. However, one cannot underestimate the importance of having great mics. They'll make more of a difference than finding good pre's to complement them. Also having a great player is KEY to getting great drum sounds.
IME, I've rarely recorded kit with more than 5 mics: stereo overheads, snare, kick and room mic. IMO, if you're looking at getting 'great' drum sounds, not merely "OK", I'd suggest renting some supplementals: you don't have to own them, just for a few days.
If you are looking for an "explosive" sounding kit, you might want more mics than less, but - a well placed room mic is a great start. When the drummer is playing, find the absolute best 'sweet-spot' for the room mic - I prefer ribbons - Coles 4038 is tops, but a great quality neutral mic can work - a nice omni etc can do well too. This later can be multed/parallel compression/nuked etc. at mixdown to create a massive sounding kit.
IME, overheads often are 90% of the sound of the kit. A great
pr of overheads paint a beautiful stereo picture.
This is the weak spot in your kit - I'd highly suggest getting a good stereo
pr of SD condensers. At least get another MXL 603S for stereo! Neumann KM84's/184's are standard, as are 451's (originals: I can't say re: the re-issues) or Josephson C42's etc. If the room is nice, omni's often work well - TC30k's - even the cheap Beringer omni's @ about $40/
pr sound good (tho noisy). Again, I dig ribbons like AEA's R-88: tons of detail, no harsh highs from cymbal smashers, and the toms have enough punch and fullness to get away without close micing them. This is the bread and butter of the kit - if you skimp on this, prepare to have a less than ideal drum sound.
Snare: use your 57 - if the drum is tuned right, and the player good, it should suffice.
Kick: it depends - D112 or 421, others like Audix, and so on. I often use a 421, but EV RE-20 is a great kick mic too.
Lots and lots of choices: it sounds like you don't want to invest in more gear, so - my advice would be to find/rent/borrow a GOOD
pr of SD condensers for overheads, and possibly a kick mic like a 421/D112/RE-20. That should help out immensely for getting a good sound.
All the best with it - hope this helps,