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The Evolution of Jazz Drumming A WORKBOOK For Applied Drumset Students A WORKBOOK For Applied Drumset Students A WORKBOOK For Applied Drumset Students A WORKBOOK For Applied Drumset Students Edited by Joe Bergamini Executive Producers: Rob Wallis and Paul Siegel Book Design and Layout by Rick Gratton Music Engraving by Danny Gottlieb and Rick Gratton Transcriptions & Interpretations by Danny Gottlieb and Philip Gillette Cover photo: Zutty Singleton Cover Design by Mike Hoff Editorial Assistance: Willie Rose Photography: Featuring the photos of Mitchell Seidel, Richard Laird, and Rick Mattingly Additional photographs provided courtesy of Zildjian Cymbals, Modern Drummer Publica- tions Inc., the Lamond family, Kimo Williams, Paolo Jammarrone, and the author. Additional photo research and procurement: Dr. Bruce Klauber Catalog: HDBK28/HL06620155 ISBN: 1617742732 All DVD clips included in this package are taken from previous Hudson releases: Classic Drum Solos Volume 1, Classic Drum Solos Volume 2, Classic Jazz Drummers, and Gene Krupa: Swing, Swing, Swing. Edited by Joe Bergamini Executive Producers: Rob Wallis and Paul Siegel Book Design and Layout by Rick Gratton Music Engraving by Danny Gottlieb and Rick Gratton Transcriptions & Interpretations by Danny Gottlieb and Philip Gillette Cover photo: Zutty Singleton Cover Design by Mike Hoff Editorial Assistance: Willie Rose Photography: Featuring the photos of Mitchell Seidel, Richard Laird, and Rick Mattingly Additional photographs provided courtesy of Zildjian Cymbals, Modern Drummer Publica- tions Inc., the Lamond family, Kimo Williams, Paolo Jammarrone, and the author. Additional photo research and procurement: Dr. Bruce Klauber Catalog: HDBK28/HL06620155 ISBN: 1617742732 All DVD clips included in this package are taken from previous Hudson releases: Classic Drum Solos Volume 1, Classic Drum Solos Volume 2, Classic Jazz Drummers, and Gene Krupa: Swing, Swing, Swing. Edited by Joe Bergamini Executive Producers: Rob Wallis and Paul Siegel Book Design and Layout by Rick Gratton Music Engraving by Danny Gottlieb and Rick Gratton Transcriptions & Interpretations by Danny Gottlieb and Philip Gillette Cover photo: Zutty Singleton Cover Design by Mike Hoff Editorial Assistance: Willie Rose Photography: Featuring the photos of Mitchell Seidel, Richard Laird, and Rick Mattingly Additional photographs provided courtesy of Zildjian Cymbals, Modern Drummer Publica- tions Inc., the Lamond family, Kimo Williams, Paolo Jammarrone, and the author. Additional photo research and procurement: Dr. Bruce Klauber Catalog: HDBK28/HL06620155 ISBN: 1617742732 All DVD clips included in this package are taken from previous Hudson releases: Classic Drum Solos Volume 1, Classic Drum Solos Volume 2, Classic Jazz Drummers, and Gene Krupa: Swing, Swing, Swing. Edited by Joe Bergamini Executive Producers: Rob Wallis and Paul Siegel Book Design and Layout by Rick Gratton Music Engraving by Danny Gottlieb and Rick Gratton Transcriptions & Interpretations by Danny Gottlieb and Philip Gillette Cover photo: Zutty Singleton Cover Design by Mike Hoff Editorial Assistance: Willie Rose Photography: Featuring the photos of Mitchell Seidel, Richard Laird, and Rick Mattingly Additional photographs provided courtesy of Zildjian Cymbals, Modern Drummer Publica- tions Inc., the Lamond family, Kimo Williams, Paolo Jammarrone, and the author. Additional photo research and procurement: Dr. Bruce Klauber Catalog: HDBK28/HL06620155 ISBN: 1617742732 All DVD clips included in this package are taken from previous Hudson releases: Classic Drum Solos Volume 1, Classic Drum Solos Volume 2, Classic Jazz Drummers, and Gene Krupa: Swing, Swing, Swing. © 2010 Hudson Music LLC International Copyright Secured. All Rights Reserved. No part of this publication may be reproduced in any form or by any means without the prior written permission of the publisher. www.hudsonmusic.com © 2010 Hudson Music LLC International Copyright Secured. All Rights Reserved. No part of this publication may be reproduced in any form or by any means without the prior written permission of the publisher. www.hudsonmusic.com © 2010 Hudson Music LLC International Copyright Secured. All Rights Reserved. No part of this publication may be reproduced in any form or by any means without the prior written permission of the publisher. www.hudsonmusic.com © 2010 Hudson Music LLC International Copyright Secured. All Rights Reserved. No part of this publication may be reproduced in any form or by any means without the prior written permission of the publisher. www.hudsonmusic.com
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Page 1: Evolution of Jazz Drumming Sample Booklet

1

The Evolution of Jazz DrummingA WORKBOOK

For Applied Drumset StudentsA WORKBOOK

For Applied Drumset StudentsA WORKBOOK

For Applied Drumset StudentsA WORKBOOK

For Applied Drumset Students

Edited by Joe Bergamini

Executive Producers: Rob Wallis and Paul Siegel

Book Design and Layout by Rick Gratton

Music Engraving by Danny Gottlieb and Rick Gratton

Transcriptions & Interpretations by Danny Gottlieb and Philip Gillette

Cover photo: Zutty Singleton

Cover Design by Mike Hoff

Editorial Assistance: Willie Rose

Photography:Featuring the photos of Mitchell Seidel, Richard Laird, and Rick Mattingly

Additional photographs provided courtesy of Zildjian Cymbals, Modern Drummer Publica-tions Inc., the Lamond family, Kimo Williams, Paolo Jammarrone, and

the author.

Additional photo research and procurement: Dr. Bruce Klauber

Catalog: HDBK28/HL06620155ISBN: 1617742732

All DVD clips included in this package are taken from previous Hudson releases: Classic Drum Solos Volume 1, Classic Drum Solos Volume 2,

Classic Jazz Drummers, and Gene Krupa: Swing, Swing, Swing.

Edited by Joe Bergamini

Executive Producers: Rob Wallis and Paul Siegel

Book Design and Layout by Rick Gratton

Music Engraving by Danny Gottlieb and Rick Gratton

Transcriptions & Interpretations by Danny Gottlieb and Philip Gillette

Cover photo: Zutty Singleton

Cover Design by Mike Hoff

Editorial Assistance: Willie Rose

Photography:Featuring the photos of Mitchell Seidel, Richard Laird, and Rick Mattingly

Additional photographs provided courtesy of Zildjian Cymbals, Modern Drummer Publica-tions Inc., the Lamond family, Kimo Williams, Paolo Jammarrone, and

the author.

Additional photo research and procurement: Dr. Bruce Klauber

Catalog: HDBK28/HL06620155ISBN: 1617742732

All DVD clips included in this package are taken from previous Hudson releases: Classic Drum Solos Volume 1, Classic Drum Solos Volume 2,

Classic Jazz Drummers, and Gene Krupa: Swing, Swing, Swing.

Edited by Joe Bergamini

Executive Producers: Rob Wallis and Paul Siegel

Book Design and Layout by Rick Gratton

Music Engraving by Danny Gottlieb and Rick Gratton

Transcriptions & Interpretations by Danny Gottlieb and Philip Gillette

Cover photo: Zutty Singleton

Cover Design by Mike Hoff

Editorial Assistance: Willie Rose

Photography:Featuring the photos of Mitchell Seidel, Richard Laird, and Rick Mattingly

Additional photographs provided courtesy of Zildjian Cymbals, Modern Drummer Publica-tions Inc., the Lamond family, Kimo Williams, Paolo Jammarrone, and

the author.

Additional photo research and procurement: Dr. Bruce Klauber

Catalog: HDBK28/HL06620155ISBN: 1617742732

All DVD clips included in this package are taken from previous Hudson releases: Classic Drum Solos Volume 1, Classic Drum Solos Volume 2,

Classic Jazz Drummers, and Gene Krupa: Swing, Swing, Swing.

Edited by Joe Bergamini

Executive Producers: Rob Wallis and Paul Siegel

Book Design and Layout by Rick Gratton

Music Engraving by Danny Gottlieb and Rick Gratton

Transcriptions & Interpretations by Danny Gottlieb and Philip Gillette

Cover photo: Zutty Singleton

Cover Design by Mike Hoff

Editorial Assistance: Willie Rose

Photography:Featuring the photos of Mitchell Seidel, Richard Laird, and Rick Mattingly

Additional photographs provided courtesy of Zildjian Cymbals, Modern Drummer Publica-tions Inc., the Lamond family, Kimo Williams, Paolo Jammarrone, and

the author.

Additional photo research and procurement: Dr. Bruce Klauber

Catalog: HDBK28/HL06620155ISBN: 1617742732

All DVD clips included in this package are taken from previous Hudson releases: Classic Drum Solos Volume 1, Classic Drum Solos Volume 2,

Classic Jazz Drummers, and Gene Krupa: Swing, Swing, Swing.

© 2010 Hudson Music LLCInternational Copyright Secured. All Rights Reserved. No part of this publication may be reproduced

in any form or by any means without the prior written permission of the publisher.www.hudsonmusic.com

© 2010 Hudson Music LLCInternational Copyright Secured. All Rights Reserved. No part of this publication may be reproduced

in any form or by any means without the prior written permission of the publisher.www.hudsonmusic.com

© 2010 Hudson Music LLCInternational Copyright Secured. All Rights Reserved. No part of this publication may be reproduced

in any form or by any means without the prior written permission of the publisher.www.hudsonmusic.com

© 2010 Hudson Music LLCInternational Copyright Secured. All Rights Reserved. No part of this publication may be reproduced

in any form or by any means without the prior written permission of the publisher.www.hudsonmusic.com

Page 2: Evolution of Jazz Drumming Sample Booklet

ABOUT THE DVDThe DVD included with this book includes clips of the following drummers, which are discussed on the indicated pageslater in the book:

ABOUT THE MP3 DISCThe MP3 disc included with this book is a data/MP3 disc. It will play in a CD playerthat can read MP3 discs, or it can be loaded into your computer and opened/playedwith any MP3 or music software such as iTunes. Please note that every transcriptionin the book contains the related track number on this disc, written in the upper left-hand corner above the transcription.These practice tracks are designed for repeated listening and study, are taken di-rectly from the video performances. Many are provided at a variety of speeds for in-tense analysis. The number listed on each track and practice exercise title on theMP3 disc indicates the percentage of speed relative to the actual performance(100%) An indication of 50% would mean that the track is at half the speed of theoriginal performance. 88% would mean 88% of the actual performance. As sometracks are more intricate than others, the percentages are varied by exercise in orderto provide a variety for study and analysis.I recommend that you load the CD into your computer and import it into your musiclibrary via iTunes. The track titles have been clearly named and labeled in iTunes.The actual filenames of the MP3 files are lettered with letters in front of the title toforce your CD player to play the tracks in order, should you choose to insert the discinto a CD player.

These video clips have been culled from the HudsonMusic DVDs Classic Drum Solos, Classic Drum Solos2, Classic Jazz Drummers, and Gene Krupa: Swing,Swing, Swing. For many more vintage clips of the mas-ter jazz drummers contained in this book (and other jazzmasters as well), please check out these videos.Visit www.hudsonmusic.com for more information.

DVD Credits:Clips selected and analyzed by Danny GottliebEdited by Phil Fallo© Hudson Music 2010

1. Baby Dodds 232. Gene Krupa 403. Papa Joe Jones 484. Buddy Rich 535. Big Sid Catlett 616. Don Lamond 707. Louis Bellson 758. Panama Francis 809. Kenny Clarke 85

10. Kenny Clarke 8511. Shelly Manne 96

12. Art Blakey 11213. Stan Levey 11914. Philly Joe Jones 12415. Mel Lewis 13116. Gus Johnson 14017. Sonny Payne 14518. Rufus “Speedy” Jones 15219. Sam Woodyard 15620. Joe Morello 16421. Elvin Jones 18422. Harold Jones 204

Page Page

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12

Welcome to the Evolution of Jazz Drumming: A Workbook. This text is de-signed as a guidebook to help you define, analyze, and study the most im-portant innovators in jazz drumming. It features a jazz drummer timeline,audio and video recordings, practice exercises and transcriptions based onthese recordings, drum charts, and solo performance etudes in the style ofeach drummer.

The need for this complete study guide became apparent through my teach-ing experiences at the University of North Florida. As I enter my sixth year,now as an Associate Professor of jazz studies and drumset instructor, I haveobserved that even though most students have an idea about jazz drumming,many are missing some basic historical elements and an awareness of thecontributions of the most important jazz drummers. This book will help tofill in the gaps, and provide the study tools needed for this analysis in onevolume. It is meant to be a comprehensive overview and a starting place fora greater understanding of these influential jazz drumming masters.

INSPIRATIONA main source of inspiration for this book comes from the Mel Lewis/LorenSchoenberg “History of Jazz Drumming” radio recordings. In 1989, leg-endary jazz drummer Mel Lewis presented eight three-hour radio programswhere he and Loren Schoenberg listened to and discussed in detail the majorfigures of jazz drumming. The idea of presenting a drum history stems fromthese recordings, and I have used these priceless interviews as my mainsource of jazz history instruction. I hope that these discussions will be avail-able to the public in the near future.

GUIDE FOR APPLIED DRUMSET STUDENTS:ONE DRUMMER PER WEEKThis book is designed as a guide and workbook for the introductory-levelstudy of jazz drumset history for the college-level applied drumset student.It can also be used by a high school or middle school student wishing to pre-pare for entry to a university as a jazz drumset major. It is designed to bestudied based on a typical 15-16 week college semester. The book features31 drummers, and the suggested study pace is one drummer per week: 31weeks of work for a one-year college-level practice method. A teacher (ormotivated student) can just assign one drummer per week for a one-yearcomprehensive study. Of course, you can (and should) take more than aweek per drummer, depending on time constraints. The main thing is thatfor those who don’t know these drummers, this is a place to start!

As your knowledge and inspiration grows, please use this book as a spring-board; it’s just the beginning.

INTRODUCTION

! INSPIRATION! GUIDE FOR APPLIED DRUMSET STUDENTS! GOALS! THREE PRACTICE LEVELS

! SUGGESTED RESOURCES! THE DRUMMERS! VIDEO, AUDIO, and BIO! EXERCISES and ETUDES

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13!INTRODUCTION

GOALSThe goal of this book is to provide you with an introduction to these31 historically important jazz drummers. Upon completion of study,a student should know:1. The names of all the drummers.2. The eras, styles, groups, and significant recordings associated with

each drummer.3. An overview of each drummer’s style.4. Some of the characteristics found in the playing of each drummer

that are interesting, and that can be added to the student’s repertoireof ideas.

THREE PRACTICE LEVELSThe amount accomplished depends on the student’s work ethic, goals, in-ventiveness, and time constraints. Please use the many resources available totheir fullest extent! With that in mind, I have created a variety of suggestedlevels of study for each drummer:

Level 1 (Basic): Learn the name of the drummer, practice the exercises withthe audio, practice the excerpts, watch the video.

Level 2 (Intermediate): Learn the name of the drummer, practice the exercises with the audio, practice the excerpts, watch the video, researchmore about the drummer: make a list of recordings, listen to the recordingsand watch other videos of the drummer’s performance.

Level 3 (Advanced): Learn the name of the drummer, compile an outlinebased on the drummer’s life, practice the exercises with the audio, practicethe excerpts, watch the video, research more about the drummer: make a listof recordings, listen to the recordings, watch other videos of the drummer’sperformance, transcribe (write down) an additional solo or time transcription,and practice the transcription. Listen to a full recorded performance with agroup, and write down every significant musical event that occurs from thedrummer’s standpoint (starts on brushes, switches to sticks, plays hi-hat ontwo and four, plays “and” of four at end of phrase, etc.), like a term paper oressay. Other suggestions are to listen to performances at a different point inthe drummer’s life, or different performances of the same song. Keep a logof significant points to note, and discuss all with your teacher.

SUGGESTED RESOURCESBooks: Two books that are must items are Burt Korall’s Drummin’Men, Vol. 1 (The Heartbeat of Jazz, The Swing Era), and Vol. 2 (TheBebop Years). Drummers featured in these volumes include ChickWebb, Gene Krupa, Buddy Rich, Dave Tough, and many more.

Videos: Hudson Music offers a complete resource of video material for further study. You can also research websites such as YouTube and Drummerworld.

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14 ! INTRODUCTION

THE DRUMMERSThe drummers picked for this study are musicians that I and the editors consider the main innovators as-sociated with the history of jazz. There are, of course, so many drummers from each era who have madevaluable contributions and innovations that have not been featured in this basic overview. A recommendedstudy list with some of these additional drummers is provided.

VIDEO, AUDIO, and BIOThe video clips on the disc included this book were all previously releasedby Hudson Music, and they have been excerpted from four compilation DVDpackages: Classic Drum Solos Vol. 1 and 2, Classic Jazz Drummers, andGene Krupa: Swing, Swing, Swing. There are many more video clips con-tained in these volumes which are suggested as further reference for drumset study. They are repackaged here for the purpose of analytical andchronological study.

The audio practice tracks in the book are taken directly from these videoclips. They are presented as full excerpts, and as individual practice exer-cises at various speeds for analysis. The biographical information has beencompiled from easily accessed internet sources (Drummerword, Red HotJazz), and Burt Korall’s Drummin’ Men. Please consult these sources formore detailed information.

EXERCISES AND ETUDESThe etudes and study exercises and examples are inspired by the great drummers onthese videos and recordings. They are not to be considered exact transcriptions, butare in the style of each master. If practiced and analyzed, they will provide you withmany essentials needed for basic understanding of each drummer.

Good luck and I hope you enjoy The Evolution of Jazz Drumming: A Workbook.

Danny Gottlieb, 2010

Note: In jazz drummimg, the left-foot hi-hat is usually played on beats 2&4.Throughout the book, where the hi-hat foot is not noted, play it on 2&4.

Note: Unless otherwise written, all eighth notes in the book are to be played swung.

Note: In jazz drummimg, the left-foot hi-hat is usually played on beats 2&4.Throughout the book, where the hi-hat foot is not noted, play it on 2&4.

Note: Unless otherwise written, all eighth notes in the book are to be played swung.

Note: In jazz drummimg, the left-foot hi-hat is usually played on beats 2&4.Throughout the book, where the hi-hat foot is not noted, play it on 2&4.

Note: Unless otherwise written, all eighth notes in the book are to be played swung.

Note: In jazz drummimg, the left-foot hi-hat is usually played on beats 2&4.Throughout the book, where the hi-hat foot is not noted, play it on 2&4.

Note: Unless otherwise written, all eighth notes in the book are to be played swung.

Throughout the text, “time feel” refers to the combination of cymbal, bass drum, snare, and hi-hat rhythmswhich make up the drummer’s part of the overall performance of the rhythm section. The variations of thetime feel played by a jazz drummer when playing in a musical ensemble is called “comping” (taken fromthe word “accompanying”). Classic examples of comping in the “jazz language” can be found in the in-cluded video examples and time transcriptions. As you work through the book, notice that drummers fromdifferent eras “comped” in a variety of ways. One of the innovative and defining characteristics of be-bopdrumming was the concept of comping with syncopated rhythms, using both the bass drum (called “drop-ping bombs”), snare drum, and (later) the hi-hat.

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15•INTRODUCTION

EVOLUTION OF JAZZ DRUMMING:31 DRUMMERS

Era: Early Jazz

1) Baby Dodds, December 4, 1898-February 14, 19592) Zutty Singleton, May 14, 1898-July 14, 19753) Sonny Greer, December 13, 1898-March 23, 1982

Era: Swing

4) Chick Webb, February 10, 1905-June 16, 1939 5) Gene Krupa, January 15, 1909-October 16, 19736) Papa Jo Jones, October 7, 1911-September 3, 1985 7) Buddy Rich, September 30, 1917-April 2, 19878) Big Sid Catlett, January 17, 1910-March 25, 19519) Dave Tough, April 26, 1907-December 9, 1948

10) Don Lamond, August 18, 1920-December 23, 2003 11) Louis Bellson, July 6, 1924-February 14, 200912) Panama Francis, December 21, 1918-November 13, 2001

Era: Bebop and Hardbop

13) Kenny Clarke, January 9, 1914-January 26, 1985 14) Shelly Manne, June 11, 1920-September 26, 198415) Max Roach, January 10, 1924-August 16, 200716) Roy Haynes, March 13, 1925-17) Art Blakey, October 11, 1919-October 16, 1990 18) Stan Levey, April 5, 1927-April 19, 200519) Philly Joe Jones, July 15, 1923-August 30, 198520) Mel Lewis, May 10, 1929-February 2, 1990 21) Gus Johnson, November 15, 1913-February 6, 200022) Sonny Payne, May 4, 1926-January 29, 197923) Rufus “Speedy” Jones, May 27, 1936-April 25, 199024) Sam Woodyard, January 7, 1925-September 20, 1988 25) Jake Hanna, April 4, 1931-February 12, 201026) Joe Morello, July 17, 1928-27) Jimmy Cobb, January 20, 1929-28) Tony Williams, December 12, 1945-February 23, 1997 29) Elvin Jones, September 9, 1927-May 18, 200430) Jack DeJohnette, August 9, 1942-31) Harold Jones, February 27, 1940-

This worksheet is designed to help organize your weekly study, and to keep a record of your accom-plishments. For each of the 31 drummers you can note: the date on which you worked on each drum-mer; the exercises on which you worked (or simply check the box when you have completed allexercises); the transcription measures practiced (or again check the box when you have completedpracticing the transcription); the video (I would check the box to indicate that you watched the video);other recordings studied (refer to level 2 on page 17); other transcriptions written and played (referto level 3 on page 13).I also suggest keeping all of your transcriptions, exercises, and practice notes in one folder. Page pro-tectors are also helpful in preserving and organizing your work. Remember, the recommended courseof study is one drummer per week.

DRUMMER STUDY WORKSHEET

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47!INTRODUCTION

PAPA JO JONES

Photo by Mitchell Seidel

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48 ! INTRODUCTION48 ! INTRODUCTION48 ! INTRODUCTION48 ! INTRODUCTION

PAPA JOPAPA JOJONES

Jo Jones is best known for his playing withthe Count Basie Band, and is credited as hav-ing influenced all jazz drummers by shiftingthe timekeeping role of the drums from thebass drum to the hi-hat. A member of the Al-abama Jazz Hall of Fame, Jo played withWalter Page’s Blue Devils in Oklahoma Cityin the late 1920s, and, after working withLloyd Hunter’s band in Nebraska, moved toKansas City in 1933. Joining Basie’s band in1934, Jo went to New York with Basie in1936. Along with Count, guitarist FreddieGreen, and bassist Walter Page, they formedone of the greatest jazz rhythm sections ofall time, known as the All-American RhythmSection. Jo Jones played with the Basie banduntil 1948 (except for 1944-1946, when hewas in the military service). He also per-formed in many Basie reunions, and on someof the Jazz at the Philharmonic tours. In the1950s he recorded with Illinois Jacquet, Bil-lie Holiday, Teddy Wilson, Lester Young, ArtTatum and Duke Ellington. Jo also recordedmany albums as a leader, and appears in anumber of jazz videos.

When I first moved to New York, I had the pleasure of meeting Jo several times, mainlyat Frank Ippolito’s Drum Shop in Manhattan. He seemed to be in there every time Istopped by, referring to us students as “young talent”. Shortly before his passing, drum-mer/author/educator Rick Mattingly and I helped Jack De Johnette and his wife Lydialug a Sonor drum set up a bunch of stairs to give it to Jo a present. Rick and I gave him acheckerboard, as Joe Morello always mentioned that Jo liked to play checkers.

The video clip is taken from Hudson Music’s Classic Jazz Drummers. The etude, in thestyle of the beginning 16 bars of his solo, is a chance to study Jo’s legendary hi-hatplaying. He also plays a classic “over-the-bar-line” rhythm, a style further developedby Roy Haynes (who cites Papa Jo as a big influence). The practice exercises are vari-ations on this pattern.

The second and third etudes are based on two incredible Jo Jones solos, interpreted inthe style of Jo Jones by Phillip Gillette. The first is “Louise,” and the second, “Love Meor Leave Me.”

October 7, 1911 -September 3, 1985

66 !ETUDE 6! Practice Exercises! Transcriptions In The Style Of “Louise” and

“Love Me or Leave Me” Solos

!ETUDE 6! Practice Exercises! Transcriptions In The Style Of “Louise” and

“Love Me or Leave Me” Solos

VIDEO, DRUM CHART, and ETUDE 6

48

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49!(PAPA) JO JONES

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50 ! (PAPA) JO JONES

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51!(PAPA) JO JONES

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94 ! INTRODUCTION

SHELLY MANNESHELLY MANNE

West Coast drummer Shelly Manne makes a rare appearanceat the Village Vanguard in New York City.West Coast drummer Shelly Manne makes a rare appearanceat the Village Vanguard in New York City.West Coast drummer Shelly Manne makes a rare appearanceat the Village Vanguard in New York City.West Coast drummer Shelly Manne makes a rare appearanceat the Village Vanguard in New York City.West Coast drummer Shelly Manne makes a rare appearanceat the Village Vanguard in New York City.West Coast drummer Shelly Manne makes a rare appearanceat the Village Vanguard in New York City.West Coast drummer Shelly Manne makes a rare appearanceat the Village Vanguard in New York City.West Coast drummer Shelly Manne makes a rare appearanceat the Village Vanguard in New York City.

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96 ! SHELLY MANNE96 ! DAVID “PANAMA” FRANCIS96 ! INTRODUCTION96 ! INTRODUCTION96 ! INTRODUCTION

SHELLYSHELLYMANNE

Known as the quintessential West Coast drummer, Shelly Mannewas a great player who was associated with the development ofmodern jazz. He was known for his versatility in a wide range ofstyles: jazz, swing, be-bop, Dixieland, avant-garde and, fusion, andwas also a top studio musician who performed on hundreds of tele-vision and movie soundtracks and commercials.

Shelly Manne’s father was a percussionist, and the young Shellygrew up admiring Jo Jones and Davey Tough. Manne developed hisstyle playing in New York clubs in the late ’30s and ’40s. His firstprofessional job was with the Bobby Byrne Orchestra in 1940. Hemarried a Radio City Rockette named Florence in 1943, and theirmarriage lasted 41 years, until his death.

Manne was a be-bop pioneer. Performing with Charlie Parker andDizzy Gillespie, he became well known in the late 1940s and 50s forhis performances with the big bands of Woody Herman and StanKenton. In the early 1950s, Shelly moved to Los Angeles, where heand his wife raised horses. He played a major role in the develop-ment of West Coast jazz, perfoming and recording with ShortyRogers, Art Pepper, Russ Freeman, Chet Baker, and many more. During his career he recorded with an in-credible list of major jazz figures, including two albums with Sonny Rollins, two with pianist Bill Evans,and others with Benny Goodman, Ornette Coleman, and Coleman Hawkins. In addition, he owned a jazzclub—Shelly’s Manne Hole—and many live recordings from the club are still available. Studying ShellyManne will provide an unending journey of incredible musicality and invention. I discovered a Contem-porary records release of Shelly and pianist Russ Freeman playing duets.

I also recently discovered an incredible book about Shelly’s life, which I highly recommend, called Soundsof the Different Drummer. I think it is one of the most inspiring biographies I have ever read. It details hisstart in the music world, and how he became one of the greatest drummers who ever played the instrument.It also documents his recording career. Shelly listened to Jo Jones, Dave Tough, Buddy Rich, Sid Catlett,and Gene Krupa—but would end up making more recordings than all those drummers combined!

Shelly Manne: Sounds of the Different Drummer was written by Jack Brand and Bill Korst, and publishedby Percussion Express, Rockford IL 61110. It can be purchased through the Percussive Arts Society Mu-seum in Indianapolis, IN (www.PAS.org).

June 11, 1920 - September 26, 1984

1144 !ETUDE 14! Practice Exercises! “Shelly Manne Blues”

!ETUDE 14! Practice Exercises! “Shelly Manne Blues”

!ETUDE 14! Practice Exercises! “Shelly Manne Blues”

!ETUDE 14! Practice Exercises! “Shelly Manne Blues”

96

VIDEO and ETUDES

The first etude is written in the style of Shelly’s solo fromthe video clip; it’s called “Shelly Manne Blues.” The sec-ond is written in the style of Shelly’s solo from a liverecording with pianists Bill Mays and Alan Broadbent andbassist Chuck Domanico called Live at Carmelo’s. The in-spiring track is “Lennie’s Pennies” (written by Lennie Tris-tano), and I call this solo etude “Shelly’s Pennies.”Note: Exercise 14B is a solo transcription, and 14C is the

out-chorus played after the solo.

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Shelly Manne at the Zildjian factory.

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97!SHELLY MANNE

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98 ! SHELLY MANNE

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99!SHELLY MANNE

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Promotional photo from Leedy Drums featuring Shelley Manne.

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100 ! SHELLY MANNE

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176 ! INTRODUCTION 176!INTRODUCTION

TONY WILLIAMSTONY WILLIAMS

Photo by Rick Mattingly

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177!TONY WILLIAMS 177!MEL LEWIS 177!KENNY CLARKE 177!INTRODUCTION 177!INTRODUCTION 177!INTRODUCTION

TONY TONY WILLIAMS

Tony Williams forever changed the way drummers would approachjazz when he came to fame playing with Miles Davis, when Tony was just 18 years old. He recorded many classic jazz recordings with Miles, including Live in Antibbes, Four and More, ESP, Nefertitti, Filles de Killemanjaro, Miles in the Sky, Miles Smiles, and In a Silent Way.

Born in Chicago, Tony grew up in Boston, and cites Philly Joe Jones,Art Blakey, and Max Roach as his major influences. His teachers in-cluded Alan Dawson. He began playing professionally at age 13 withSam Rivers, and was hired by Jackie McLean when he was 16.

His association with Miles from 1963 through 1968 is legendary, andin 1969 Tony formed his own band, Lifetime, with John Mclaughlinand Larry Young. It was one of the earliest and most influential bandsin jazz fusion.

Tony also played with Jack Bruce and Allan Holdsworth, and in themid-1970s, he was part of a Miles Davis’ reunion band called V.S.O.P.A prolific solo artist, Tony continued to perform, record, and com-pose until his passing in 1997.

Tony Williams was a major influence for all ofus who started playing in the late ’60s. I remem-ber listening to Four and More with Pat Methenyat the University of Miami, and just being awed.The recordings with Miles are fresh-soundingtoday, and are historically some of the most im-portant in jazz history. I met Tony casuallythrough the years, and he was always cordial. Atthe 1987 Perugia, Jazz Festival in Italy, Tony wasthere with his group, and I gave myself a treatby sitting in the press section, just in front ofTony’s bass drum. It was an unbelievable expe-rience. Tony’s legacy is an essential part of jazzdrumming history.

TIME EXERCISE and ETUDEThe time exercise is in the style of Tony’s playing on “Eye of the Hurricane.” The solos are in thestyle of Tony’s solo trades in the song “Promethean,” from the album Young At Heart.

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!ETUDE 28! “The Eye of the Hurricane””! “Promethean”

!ETUDE 28! “The Eye of the Hurricane””! “Promethean”

Photo courtesy of Zildjian

Phot

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Tony Williams in a rare drum clinic appearance.

Page 20: Evolution of Jazz Drumming Sample Booklet

180 ! TONY WILLIAMS

Page 21: Evolution of Jazz Drumming Sample Booklet

181!TONY WILLIAMS

Page 22: Evolution of Jazz Drumming Sample Booklet

182 ! TONY WILLIAMS

Note: Try playing Tony’s solo ideas with the left-foot hi-hat on 2 & 4, and on all 4 beats.

Tony often played the h-hat on all beats in the bar.