I'd still mic everything close, and use a separate main stereo pair. That way you can control the amount of "live" feel after the fact, and it helps gel everything together.
I might be tempted to do some creative stereo spreading of the drums, but generally I'd try to keep bass cab and toms on different sides, not necessarily hard L/R but maybe about 50%, and vox in the middle.
That was also my idea to start from. I was thinking Blumlein in the middle of the room. Im just wondering how to point mics. Probably each instrument (bass cab, drums set) in 90 degree angle and each mic pointed at 2 sources.
EV 868 on bass cab, couple (maybe two) feet away
I dont think I need close mics on drums dough. Regarding your idea of drums stero image: How would you mix stereo image of drums with blumlein panned L/R?
How you place the instruments will depend on where on the stereo base you want them to appear.
It might be good to know that in a Blumlein configuration, all sources that are farther out from the center than about +-40° will appear hard left or hard right. This comes from the level differences between both channels (you need about 18 dB of difference to make something seem hard panned, and you get that difference at about that angle - additionally, percussive sounds like drums tend to appear farther out than more constant sounds like bass). So the mics will actually point past the sources. Now if you angle your mics less than 90°, you'll be widening (!) the angle in which instruments can be placed without appearing hard panned.
All this is sort of theoretical. You'll have to listen carefully, as always, especially when that Blumlein pair is intended to give you most of the sound. Sometimes just a tiny bit of room sound (and a bit of "good leakage" as Steve Remote has called it in a few threads here) is enough to get that live feel.
As to creative panning of drums, well that depends a lot on the song and style (that's why it's called creative, right?), and it will mean relying mostly on the close mics.