The Art of Modern Jazz Drumming

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TEARTOF DRU

JAZZ

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JACK DEJ NETTE CHARLI&�P RRY i.'"

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D.C. PUBLICATION


l i na to determine where you are i n the music. However, when t h e piano a n d bass are playing modally there are not a ny c h a ng e s t o listen for. Usually, at such times. o n e member of the group may gradually i ntroduce segments of the theme, to w h ic h the other musicians respond. and he is eventually joined (possibly on El predetermi ned riff) by other members of the g roup

i n returning to the theme.

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32 TH E SONG fORM AND THE JAZZ DRU M M ER From the beginning, or nearly from the beginning, the talented self-taught drummer le able to keep time, stay in metar, a nd adhere to the chorus (song) form. How h e does so without formal training is a question that even science with all its accumulated knowledge a n d theories cannot a nswer with certainty. Evidently. these abilities are inherent to him. He c a n assimilate w h at he sees and hears and compl.lterile relevant data in his brai n - mainly. perhaps. at a subconscious level - a n d reproduce it at will. Of course. this is an oversimplification of IJII hst is probablv a biochemical, neuropsychological process of some complexity. Nevertheless. naturallv gifted or otherwise. the student who studies drumming must be able to stay in tempo. stay in meter. and adhere to the song form. These imperatives, therefore, cannot be disregarded by either the student or the teacher. Here. we will outline the drummer's relation to the chorus form. let's begin by defining briefly what we mean by the song (chorus) form. By form we mean the structural design (mold, framework) in musical composition, the art of combining musical . ideas into III u nified whole. The chorus form and drumming go together. What the drummer plavs relates to the structure of the musical composition. Therefore. the rhythmic-tonal p hrases, sequences and climaxes played by the drummer are interrelated with the musical contributions of the other . players within the framework o f the p h rases, periods, and choruses o f the song form. An excellent example of the progressive drummer's adherence to the chorus form is given by Ton y Williams on the tune "Straight Ahead" (Kenny Durham album Una Mss, Blue Note BST 841 21,) The climatic ascending rhythms of the group at the end of eig h t bars, sixteen bers. end thirty-two bars a re easily discernible. But for the elementary drum student, or for that matter even an intermediate student, progressive jell may too difficult to comprehend for use I S a starting point. For such students it would be best to select simpler examples. such 8S Philly Joe Jones on the piece "Squeeze Me," Miles Davis album. Cookir ' with Miles Dtivis, Prestige 7094, or similar music. -

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It is best for the teacher to demonstrate with a relatively simple jazz recording such 8S some of the older Three Sounds trio jazz albums (8lue Note), or one of the Mu�ic M inus One record albums. such as the All St,r Rhythm Section, Sing o� Play A(ong, M M O Volume 2. This rhythm section has Don Abnev o n piano, Jimmv Raney o n guitar, Kenny C lerke o n drums, and Oscar Pettiford on bass. The rhythm section plays exceptionally good. steady, mellow time and is ideal for the student to play along with. Another album for this purpose, although 8 bit more complex, is Blue Drums, MMO 4005. with M a l Waldron on piano a n d Wendel Marshal on bass (no drummer on this one). The album deals with the chorus form a nd also contains the most basic drum charts (sometimes referred to 88 "skeleton charts")' When the student drummer understands the chorus form. a l l material dea l i ng w i t h j sn f o r m drum m in g must b e practiced w ith j a z z records. Why? Because there is 8 world o f difference between practicing such material with and without the music for which it was intended. The principles and techniques of modern jazz drumming must be a pplied to the music of which they a re an essential part. Repeated listening and playing with such records offers the novice drummer the opportunity to familiarize himself thoroughlv with the work of good professional jazz musicians. In the process, with skillful g u idance end coaching, the student will develop tha invaluable habit of lis tening to the musical ideas and tecl'\niques of the other instrumentalists-that is. tuning in to their timing, ideas, and phraeing. A n d hopefully the feeling and the interpretive qualities of the recorded musIcians will be absorbed by the student drummer and tucked away in his mind 8S referenc� points for eventual use in his own playing. Because this i s not a beginner's book. it is assu med that the students who will use this book are already well-versed in the chorus form. Moreover. we believe that the majority of drumming instructors who will use this book in their teac h i ng are experienced In chorus form usage. B u t for those drummers who are not. we offer the following :

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This is an a n alysis of the 32 measure chorus, in this csse, the A- A·B�A form. (Each letter consists of eight , measures.)

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The first letter A states the theme (melody). The second letter A upsets the theme. The letter 8 consists of a contrasting theme which is inserted for the purpose of variety. The B section is known as the bridge. middle, channel. or release. The final letter A is the original A repeated in its exact form. o r in Cl modified form in order to complete the song .

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A theme (melody)

A theme (melody)

B contrasting theme

A theme (melody)

Note: The melody is not stated on the MMO Volume 2 a lbum. Rather, the pianist plays {compsl the chords of the song. On the Blus Drums album the melody is stated on the first and last choruses.

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Examples of A-A-B-A longs : "i Mav Be Wrong:' "Poor B utterfl ;' "ledy Be Good:' "The Twister:' "Too Marvelous for Words:' " Red Cross," "Chasin' the Bird:' "Anthropology," "Lover Man:' "Scrapple from the Apple," "Hot House." "Perdio:' "Constellation," "Msrmaduke," " S teeplechase:' " 5 2nd St. Theme;' " S traight Ahead:' Examples of 1 2 bar blue s : "BI1II8" Bounce:' "Now's the Time:' " Symphony Sid:' Examples of A ( 1 6 bars) B ( 1 6 bars) tunes: "How High the Moon;' "Donna lee;' "I Remember April." "Out of Nowhere," "Ornithology," "Grovin' Hig!\il' The song "Indiana" is an A-B-A-C form : Orig i na l melody. contrasting melody. original melody, still another contrasting melody.

THE

RHVTHM

S ECTIO N

The overall rhythm line i s composed o f one o r more differentrhythms occurring Simultaneously (polyrhythmicfll. Iyl - t ha t is. the rhythms o f the piano (and/or keyboards), g uitar. a nd drums (possibly other percussio n tool. In improvisation the varied rhythms occur spontaneously. They comprise pu nctuations. figures. and nl'lt'J:I!l:�I!'l W here the piano (keyboards), bass, and g uitar are concerned, the rhythm line i s harmonic end rhythmic. In the case o f the drums (percussion), the contributions fife tonal and rhyth m ic. The rhythm section. t herefore, "feeds" t h e solo ist 1:\ series of melodic, h armonic, a nd rhythmic sequences in the form of SI "rhythm line:' Basically. the soloist builds on this line. which is based on 8 so ng form (except i n free-form music, which h a s no predetermined forml. for instance, a 32-bar tune, a 1 2 -bar blues. The members of the rhythm section listen to, rel a te to, and interact with one another both individually and collectively. They play o f f one another's ideas as well as their own. T hey also, i ndividually and collectively, listen to, relate to, and interact with the soloist. At the same time, the soloist listens to, relates to. and interacts with the members of the rhythm section individ ually a nd collectively. (See section on drums-band intertlction and

GHYTHM

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DRUMS: lit rhythmic petter.

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BASS : Bass Line

GUITA R : ------

PIANO:

Harmonic- . !hythmic --- harmonic & squences

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Within the f ra m ework of contemporary iazz, there is a divergence of s ty l e s with di fferent rhythm se ctio n s fulfilling their roles in very d ifferent ways. First, let's look briefly at a typical format fo r what may be considered .

mainstream - updated swing or bop-orlented- jazz.

The bass fiddle plays what is k nown as a "walk ing" bass l i ne - a basic quarter-note pattern ( 1 ,2.3.41 with some v ar iati o n s R hythmic i n fl ec t io n s may be added by the bassist That is, the bass line is o rn a me nted by punctuations and some f i gure s s uc h 8S t ri p l e t eig h t h s o r "sk i p " figures. Moreover, the bassist links harmony and rhythm .

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together. Sometimes the bass plaver will play the f irst c h o r u s (the theme) in " two," (on the 1 a nd the 3) then go into "four" (on 1 ,2 .3,4) o n 1he "blowin" c horuses tthe im provisat i o n ) ,

The drummer will play t h e cy mb a l ride rhythm a n d its variations across the four of the bass fiddle l ine. w ith occasional sn a re and ba s s drum punctuations a n d figures. He does not necessarilv play the bass drum in four. If he does, it may be done so f tl y with the punctuations p l a yed more strongly. Or h e may omit the four of the bass d rum end use it instead for punctuations a nd figures in the manner o f t h e left h a nd on t h e s n a re drum. (Buddy Rich is a good example of t h e drummer who plays the bass drum in four, mixed with some ba ss drum punctuations and occasional figures. In B u ddy s c ase, both t h e ba s s drum and the top cymbal state the fou r along with the bassist.! The hi-hat is played on two and four of the ba r e i ther heavily or lig h tly depending on the d r u m me r s '

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Even though the bass f i ddle a nd t h e drums both state t h e four-to- ths-bar pu lse. t h e bassist usually stays close to the four pulse, w hereas the drummer may become more rhythmically c o m plex, playing i n termittently off and around the four-fo u r of the bass line.

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34 If a gUitarist is used. he may play "time" in the form of chords four to the bar. or he may comp in the manner of the

piano. IFreddie Green of the Count Basie band i s an example of the rhythm guitarist supreme.) When both piano and guitar comp there is 8 da nger of one getting in the way of the other. A conflict of this sort r.an wreak havoc in a rhythm section.

listen to the bands of C ount Besie (mainstream), Buddy Rich this charts For examples of big-band rhythm are more complex then Basie's), Mel Lewis (a "hip" mixture of stylesl, Woody Herms n ijazz end fusion oriented), and Maynard Ferguson (of the fusion 'II a riety). for small groups, study the Miles Davis rhythm section of Red Garland on piano. Paul Chambers o n and Phlily Joe Jones o n drums. I t was the most popular of its day and was known ss the rhythm section. You c a n hear them on Cookin ' with the Miles Davis Quintet, Prestige recorda, 7094; Relsxin ' with the Miles Del/is Quintet, Prestige records, 1 1 Miles, P restige records, 7 0 1 4. This section wes relued, flowing, a nd swi nging a nd in its day wes c onsidered progressive. Today it would be c o nsidered the best of "hip," more or less- straightrshead playing of the highest qualitvl

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Most certai nly, study the Miles Davis rhythm section of Herbie Hancock on piano. RC' .... C arter on bass, a nd Tonv Williams on drums: Miles Davis Four & More, C olumbia CS 925 3 ; Miles Smiles, C olumbia CS 940 1 . In fact.. listen ' to all records on which this section plays. There was much more musical interplay (coinciding, echoing. a nswering, ate.) between members of the section itself, 88 well a s between the rhythm section and the horns, in the latter rhythm section lWilliams, C arter, Hencock) than i n the former (Jones. Garland. Chambers). This is not to say that one sectio n was better than the other. Each. In fact, was fir�t-class in its particular style. In the more avant-garde rhythm sections. such as heard on J oe FarreU's album Moon Germs (Stanley Clerks. bass; H erbie Hancock. keyboard ; Jack De Johnette, drums); the interactio n is more complex than the previously named rhythm sactions. This is especially true of guitarist Joh n Aber-Cfombie's rhythm section on the albums Timeless E M C 1 0 74 (De JohneUe. drums; Jan Hammer, Keyboards), end Getewa y, ECM 1 06 1 (Dave H olland, bass: De Johnette. drums). Editor'. note : listen to all records on which Jack De Johnette plays. .

TH E C lAVE R HYTH M : U N IVERSAL RHYTH M The clave rhythm has been called a universal rhythm because it often serves as an underlying pattern i n more than one form of music. for instance, jall, rock, fusion, 8S well as Latin, with which it is commonly associated. clava :

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O n some tunes it is reversed !remember the old standard. "Peanut Vendor" ?):

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In rock. the

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rhythm takes place In the space of one measure:

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occurs i n the second barl between the clava rhythm and the bossa-

There is Cl difference of only a half-beat nove rhythm:

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���n to the bassist plav off the clava rhythm on the Oan album. Aja, ABC tunes "Black C ow," and "I've Got the News," Even when t he entire rhythm isn't and felt

I nc. AB- 1 006' on the out, it is nevertheless imphed

For Eucample. on "Black Cow" - the second half of the bar - t he two c onsecutive notes are felt limplied) rather than stated:

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An additional example is found on the Herbie Hancock album, Thrust, tune "Actual Proof." Columbia P C 3 2 965. And listen to the rhythmic patterns. which are of t he chart larrangement) as well as Buddy's fills, on the tunes "Ye Gotte Try," end the "Tales of Rhoda from t he album Buddy Rich Pla ys and and Plays, ReA

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ThiS type of rhythmic pulse is c haracteristic o f the music o f the Grateful Dead, a n d prompted a writer i n a Modern Recording & Music article to say that "The Dead drummers rarely rely on a trad itional 4/4 rock and roll baC'kbeat . . ." The 3 + 3 + 2 and allied pattern. are rooted In the c lave rhythm. Here, we have the same rhythm written In different time sig natures . Notice the clave r hythm on the bass drum: I

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Practice playing around the clava rh yth m in roc k as follows:

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PHRASING : TH I N K L I K E A HORN P h ras i n g is the manner i n whic h a phrase i s rendered o r interpreted.

P h rasing with a jazz interpretation is one of the essential ingredients of m u sical jazz drumming. Don 't ig nore itl And don 't think end phrase drumistically or fudimentally. R u dimental p h ras i n g is rig h t for rudimentsl drumming, but not for

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Yes, jazz drummers, whether they are aware o f it or not, do use some rudiments- flams, drags. ruffs. stroke rolls, etc., but they are phrased and applied differently in jezz than they ere in rudimental drumming. Doubles, for

instance. are sometimes a p plied a s shown in example A :

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Stroke roUs may be applied t h i s way, ex.

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Flams c a n be very e ffecti ve i n tom. and snare drum; e x . C :

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a s can drags too a nd so on. Try this rhythm divided among top cymbal, small

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About Rudi m e nts

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Rudiments are merely names for various rhythmiC patterns. C harles L Wh ite, in his very interesting and informative book, Drums Through the Ages, tells ·us that rudimentsl drumming dates beck to 1 75 8, whe n King C harles I of England put it to the English drummers that they play ,"marching beats exactlv a l i ke:' The various beats used at that time for marching were eventually standardized and developed into the twentyasix rudiments of drum m ing (Drums Through the Ages, by C h a rle s L. White, 1 960, The Sterling Press, Los Angeles, California ' )

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J a z z phrasing o n the drum set can be developed by emulating the fig u res a n d phrases of a horn. piano, or g uitar. For example, when practlcing with 8 record, selec t : some of the phrases played by the soloist and echo them immediately on the drum set. Then emulate the figures and phrases simultaneously (coinciding) with the soloist. Do the same with ensemble phrases a nd the camping of the pia nist.

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You w i ll find that the rhythmic ideas of the horns a n d other soloists are similar to, o r even the same a,s those drummers. This is not a coincidence. Rather, it shows that the particu l a rly musical

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Pianist Herbie Hanc:ock's playi ng is an excellent source of ideas. The way he c a mp s behind the soloist. extending phrases across bar l ines , etc., is ideal for drummers to work with.

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played by some of the best

drummers are considerablv more "in tune" with the mu si c a l ideas a n d interpretations of the horns than is commonly believed by drummers a nd drum instructors alike .

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When playing a phrase, d o n ' t a lways play all the notes exactlv the same. unless that is the desired inte rpre tation . Think of the notes as individuals, each with different, distinct characteristics� One short a nd fat, another taU 8nd_� thin, still another of medium build, and so on. (Such imagery is one of the ways noted musician end teacher Jo hn la Porta deals w i th interpretation.!

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37 EXPERIM EN T WITH M USCULA R TEN S I O N I n the course o f practicing, e xperiment with muscular tension. Loosen you r muscles allowing them to " let go," to become e8 limp 88 possible while retaining only that degree of tension needed to grip end manipulatEIII the drumstick., bass drum. and hi-het pedals. Then, while playing. gradually increase the muscular tension to its maximum. Notice at which degree of tension your drumming feels and sounds best. listen to the difference In tone a n d be aware of the difference in the "feel" and musical expression at (JlJCh J(JWJ/ of muscular tension. Thoroughly familiarize yourself with varying degrees of m uscular tension a nd the ensuing bodily sensations. Eventually, if not immediately. depending on how well you are in touch with your body, you will notice that too much muscular tension reeults in excessive tightness and possibly rigidity, a nd that ovsrlv tight muscles can result in muscle fatigue, which considerably lessens endurance .and control. Invariably, timing also suffers. I

Find' the degree o f muscular intensity that serves your needs beJt. And remember t h at. in the course of �erforming,

muscular intenSity. as well as mental a nd emotional intensity, varies, so metimes c o nsiderably.

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When listening to and observing another drummer, focus your attention on the cymbal. snare, bass drum, and hi·

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hat rhythms aa played at each level of intensity and volume.

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BODY M OTION In e sense, playing the drum set i s like dancing, A dancer moves around the stage with his legs serving a s the means of locomotion, while the remainder of his body moves i n harmony with his The whole body i s involved in the dance. A drummer plays the drum set with his hands and feet. and this involves the arms a nd legs also. But there is no reason for the remainder of his body to remain immobile. Arms and shoulders do not have to remain in fixed positions. Expression can be channeled through body motion, a shoulder, arm, or torso - sort of body English. This is not to S8Y that the drummer must us.e maximum body motion, if he can attain the desired results with a minimum of motion. The point is thet he should do what enables him to be the most e xpressive musically. He should not, therefore, be afraid to experIment with body motion. But neither should he waste valuable energy on motion s that do not contribute to his musical performance merely for the sake of s h owmanship,

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38

BOOK 11 : INTROOUCT10N

Because they lend themselves 80 well to jazz played in moderate to moderate-fast tempos. eig hth-note triplets ijazz-eig hths too, of course*) serve as a �ase upon which the jazz drummer builds his rhythmic structure and from which he draws rhythmic punctuations, fig ures. phrases. fills. sofas, and time-generating a nd time- keeping patterns. This section, therefore. c onsists of rhythmic and tonal patterns and variations that are used by such outstanding drummer-musicians as Elvin Jo nes, Roy Haynes, Tony Williams, among others. (Publishers note: Jack De Johnatte included.) Whem, when, and how these triplet patterns are played, of course, makes the difference between a mediocre and an excellent rendition_ Here is where having a working knowledge of the principles a nd techniques of drums/band interaction and improvisation. as well as the nuances of interpretation. come into p lay. The subtile d ifference. in timing (spacing of notesl. intensity (tension and relaxation) tone (hi, low, short, a nd long soundsl -these are the elements that separate the distinctive from the ordinary.

But firs t the drummer must have at his f i ngertips a repertoire o f such rhythmic and tonal material upon whic h to d raw, plus the t4[lchnical skill necessary to apply it to the drums.

'Je z z-eighths: Regular eighth-notes played

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or neerlv es, broken-eighth triplets :

When listening to the recorded examples, you will ,notice that a particular rhythm. or a similar one, may be applied to different d rums each time it is played. Therefore, the same rhythm may sound different each time it is played. I n this book, each rhythm is applied t o t h e drum s e t in a t least fifteen different ways.

Some Recorded Examples

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Jack De Johnette 's Directions, U ntitled ECM 1 074, tune "Flying S pirits:' The Ultimate Elvin Jones, Blue Note BST 84305, tunes "Sometimes Joie," "What is this 1 " Selflessness featuring My Fevorite Things (John Coltrane), Impulse records AS- 9 1 6 1 , tune "My Favorite Thing s" (Ray Haynes on drums). Buddy Rich. Keep the Customers Happy, Liberty records lST 1 1 006, tune " Keep the Customers Happy" (accompaniment to the trombone salol. ChefTy (Stanley Turrentinel , CTI 60 1 7, tunes "The Revs," "Introspective" (Billy Cobham on drumsl . Dave Brubeck trio, All the Things We Are, Atlantic records SD 1 684 (Alan Dawson plays drums on one side of the record, Roy Haynes on the reverse side). Dave Brubeck Trio & Gerry Mull/gen, Live at the Berlin Philharmonic, Columbia 32 1 43 (Alan Dawson on drums plays an excellent. exciting solo on "Indian Song." I nstead of a pair of drumsticks, he uses o ne maraca and one dru m stick.!

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39 Ways Of Practice

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Repeat each one-bar pattern several times or more. However, endless repetitions are not necessary. Instead, play in .. slow or very slow tempo while photographing end recording mentally what you see and hear, correlating what you 8ee with what you hear. If you encounter particular difficulty try this: Play the rhythm once only, stop. Play it again. once only, stop. Repeat t h i s procedure B few or more times until you feel the rhythm Is fjxed securely iv,your mind and body.

Thil a pproach often works far better than numerous repetitions. Educator Ernest Bayles put It this way: " It is not how many times a thing Is done that counts. It is the grasp the learner has of it that makes the d ifference:' ,The mind must focus entirely on what the lear,ner is learning, as he learns I If his mind wanders away from that in which his hands and faet Bre engaged. leaminR is impaired considerably I

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Often it 's bettef to spend a couple of minutes on one pattern severe I or more times throughout the dey, than it is to spend a lot of time on it a t one sitting. Moreover. if after a week or 80 of practicing 8 particu lar rhythm. you still experience diffieulty. get away from it for IS few days or more.

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Follow each one-bar pattern with e bar of cymbal rhythm:

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Note: The last note of the cymbal rhythm is, omitted to allow you extra time in returning to the triplet rhythm pattern. Also, if you like. you may omit the first note of the bass drum rhythm in the cvmbal rhythm bar. 8S shown here:

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Or yOLl may omit the bass drum when plaving the cvmbal rhythm:

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I C ombine different one-bar

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'''''' to form two- baf patterns :

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Practice repeating the two-bar pattern several o r more times. Then follow the two-bar pattern with two barll of cvmbal rhythm:

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Combine individual patterns to form four-bar pqtterns: 3

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Repeat this four-bar sequence seversl or more time•.

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Repeat the four-bar pattern several times; stop. Go o n to the next four-bar pattern. Follow the four-bar pattern with four bars of cymbal rhythm :

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UsinQtthe procedure given

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form six-bar. eight-bar, twelve-bar, Sixteen-bar, and thirty-two bar solos.

Another way of practicing is to plav each page from top to bottom. going consecutively from one bar into the next bar.

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For iIIlsier relding, the notas designated for the hands (either one or two hands) are placed on one line (SO linel . When you h ave reached the point where you ca n play the rhythms with ease. then. for the gre atest musicalJlffect. divide them among the s nare drum and o r merely the toms.

For example. the following rhythm, ex. A, for SO (floor to mt ex. B. Use sticking of your choice :

BD. can be divided among the snare, small tom, and large tom

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If your set includes two small toms, try e x , C :

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for two small toms and two large toms, use 8X. 0 :

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. P E R FO R M AN C E PATT E R N S Play each exercise three ways:

5

1.

Play SD with RH.

3.

Play SD with alternating hands

2.

(" I, d

Pla y SD with LH.

erc.).

� ] J J ] J Jp j ] J I I j ] J j ] � j J ] j J ] I 3

3

(I

:J

G

:1

:1

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