Victor Lewis - 2 Seventh Avenue Stories
Victor Lewis drum transcription and leadsheet: http://www.jazzleadsheets.com/cart.ph...
Drummer and composer Victor Lewis talks about bringing in his song "Seventh Avenue" to the Woody Shaw band for the first time. Download the groove patterns to see Victor's playing on both the Woody Shaw recording and a recording 20 years more recent with Ingrid Jenson.
Victor Lewis groove patterns and leadsheets:http://www.jazzleadsheets.com/cart.ph...
Victor Lewis talks about naming his song "Seventh Avenue" which became popularized by his many years of work with great trumpeter Woody Shaw. Groove patterns include two recordings of "Seventh Avenue," one 20 years apart from the other. Grooves transcribed directly from the recordings.
Victor Lewis Groove Patterns on "Seventh Avenue"
Drum Transcription: Two transcriptions of variations on Victor Lewis' "grooves" from two different recordings of his composition "Seventh Avenue"
-- Intro pattern
-- "groove" setup
-- four to six groove variations taken from throughout the song
Description: In talking to Victor Lewis about how best to use these transcriptions, we decided that instead of transcribing his playing throughout the entire head, it would be more important to focus on developing the basic groove, then learning to use it in a musical setting.
These transcriptions are designed as worksheets. Learn each groove pattern one at a time and be able to repeat them. They were taken directly from the recordings because they were some of Victor's most commonly used grooves in those recordings. When you're able to play them correctly, try playing along with the recordings to hear how Victor uses them in the music. It's also interesting to look at the two recordings side by side and notice the similarities and differences. These two recordings were almost 20 years apart.
Check out Victor Lewis as he talks about composing Seventh Avenue and playing it with Woody Shaw the first time on our YouTube Channel.
Philly Joe Jones Drum Transcription: "Got to Take Another Chance"
Another great Philly Joe Jones transcription, this time from his own composition "Got to Take Another Chance." You can download the transcription here:
Drum Transcription: A six-page in-depth drum transcription of everything Philly Joe Jones plays on his own composition, Got to Take Another Chance.
-- eight-bar drum set-up
-- everything Philly Joe plays through the in head, with the melody shown above
-- first 8 bars of setup into Walter Davis Jr.'s piano solo
-- one chorus (32 bar) unaccompanied drum solo
-- everything Philly Joe plays on the out head, with melody shown above<
Description: The recording, "Philly Joe's Beat," displays some of Philly Joe's finest work as a bandleader. This is the first transcription of Philly Joe Jones on jazzleadsheets.com where he is featured on his own composition. Many of the legendary drummers recorded often as sidemen, but when it was time to lead their own band in a recording date, they needed to somehow elevate or distinguish their playing. Not by overplaying or playing louder, but by playing like the man in charge. Pay close attention to how Philly Joe sets up the quintet throughout this song. His drum solo features some of his most characteristic stickings and phrases.
In a serendipitous coincidence, "Philly Joe's Beat" was recorded on Victor Lewis' (another master drummer) tenth birthday.
Billy Higgins on Dexter Gordon
Download Billy Higgins' drum transcription on Dexter Gordon's "Benji's Bounce." http://www.jazzleadsheets.com/cart.ph...
A rare recording of Billy Higgins, talking with Rudy Van Gelder and Don Sickler about the great tenor saxophonist Dexter Gordon. This conversation was recorded in 1998, at Rudy Van Gelder's studio in Englewood Cliffs, New Jersey, where Higgins recorded countless great records.
Charli Persip Drum Transcription "The Eternal Triangle"
The second Charli Persip drum transcription, from the famous Dizzy Gillespie, Sonny Rollins, Sonny Stitt recording of "The Eternal Triangle." You can download the drum transcription here:
Drum Transcription: A six-page in-depth drum transcription of drummer Charli Persip playing on the famous recording of The Eternal Triangle.
-- Intro (in ¾)
-- Time playing behind the melody in (melody above staff)
-- Trumpet and drums trading 4’s (2 choruses)
-- Time playing behind melody out (melody above staff)
-- Coda (in ¾)
Description: The Eternal Triangle is perhaps the most famous “tenor battle” of all time. Sonny Rollins and Sonny Stitt certainly take it to the next level on this recording, but not without the help of the great Charli Persip. This transcription features some of Charli’s most fierce and energetic playing. His fours with longtime musical partner Dizzy Gillespie are not overshadowed by the tenor battle, as Charli Persip is a strong soloist in his own right.
Historical Notes: By 1957, Charli Persip (then known as "Charlie") was a much in-demand drummer for recordings and performances, both in small groups and in big bands. His first recording in 1957 was on February 18, a Lee Morgan/Wynton Kelly Septet date for Specialty records. Nine days later Charli and his Jazz Statesmen became part of Howard Rumsey and his Lighthouse All-Stars, recording for Liberty Records. On March 23, he did the first of seven sessions with Dizzy Gillespie's big band before the "Sonny Side Up" session. Sandwiched in between these session he still found time to do sessions for Lee Morgan, Ernie Wilkins, Don Bagley, Eddie Chamblee, six Dinah Washington sessions, and Benny Golson's "New York Scene" (see Something In B-flat). Obviously Charli was a very busy young man in 1957.
Now, give yourself a real treat--listen to and watch Charli tell you about his experience at The Eternal Triangle session.
-- Intro (in ¾)
-- Time playing behind the melody in (melody above staff)
-- Trumpet and drums trading 4’s (2 choruses)
-- Time playing behind melody out (melody above staff)
-- Coda (in ¾)
Description: The Eternal Triangle is perhaps the most famous “tenor battle” of all time. Sonny Rollins and Sonny Stitt certainly take it to the next level on this recording, but not without the help of the great Charli Persip. This transcription features some of Charli’s most fierce and energetic playing. His fours with longtime musical partner Dizzy Gillespie are not overshadowed by the tenor battle, as Charli Persip is a strong soloist in his own right.
Historical Notes: By 1957, Charli Persip (then known as "Charlie") was a much in-demand drummer for recordings and performances, both in small groups and in big bands. His first recording in 1957 was on February 18, a Lee Morgan/Wynton Kelly Septet date for Specialty records. Nine days later Charli and his Jazz Statesmen became part of Howard Rumsey and his Lighthouse All-Stars, recording for Liberty Records. On March 23, he did the first of seven sessions with Dizzy Gillespie's big band before the "Sonny Side Up" session. Sandwiched in between these session he still found time to do sessions for Lee Morgan, Ernie Wilkins, Don Bagley, Eddie Chamblee, six Dinah Washington sessions, and Benny Golson's "New York Scene" (see Something In B-flat). Obviously Charli was a very busy young man in 1957.
Now, give yourself a real treat--listen to and watch Charli tell you about his experience at The Eternal Triangle session.
Philly Joe Jones Drum Transcription "Old World, New Imports"
Another Philly Joe Jones transcription is available at jazzleadsheets.com. You can download it here:
Drum Transcription: This is a six-page in-depth drum transcription of Philly Joe Jones including what he plays to accompany the in and out melodies, as well as his playing on the "shout chorus," which features him.
-- Eight-measure drum solo intro
-- horn melodies are shown above the drum staff
-- AABA in melody
-- Philly Joe's playing behind eight bars of Hank Mobley's first solo chorus
-- shout chorus (time of track notated: 4:38) A sections: four measure of rhythmic horn melody alternates with four measures of Philly Joe. B section: Drums solo.
-- one chorus drum solo
-- AABA out melody
Description: A quirky and playful song, Old World, New Importsfeatures some of Philly Joe's best playing. His time is simply incredible, always smooth and swinging. Take particular note of how he plays through the melody, especially the moments where he goes off the ride cymbals and plays the melody around the kit. Also, note how much he references the melody and the "vibe" of the song in his drum solo.
After three Hank Mobley solo choruses and two Donald Byrd solo choruses, it's pianist Herbie Hancock's turn. This is a 32-measure AABA composition with the same format for solo choruses. The concert chord progression is "rhythm changes" in B-flat for the A sections and "rhythm changes" in E-flat for the B section.
In real life, during the excitement of a soloing moment, things can always take a different turn. All of a sudden the form might change. Then it's "recovery time" for the musicians. When soloing on "rhythm changes" a soloist can explore different directions and be adventurous. Herbie Hancock's solo contains one of those unplanned, adventurous moments. He found himself leaning toward E-flat a little early in the second A of his second chorus, and suddenly the eight measures of A2 took on a different shape: A2 was actually only four measures long, with the B section (E-flat) the next four measures. Then Herbie recovered for the last A section to finish the chorus. The result is that his second chorus was only 24 measures in length instead of 32. He then played two more full choruses, setting up the shout chorus.
Crazy things can happen when you're soloing. If things get strange for a moment, you've got to just "go for it" and make it work, as Herbie did. Everyone knew when it was time for the "shout chorus."
See and hear drummer Evan Hughes as he plays part of his own transcription along with the CD on our YouTube channel.
Billy Higgins Drum Transcription: "Benji's Bounce"
Our first Billy Higgins drum transcription is now available at jazzleadsheets.com. You can download the drum transcription here:
Drum Transcription: A seven-page in-depth drum transcription of Billy Higgins on Dexter Gordon's Benji's Bounce.
-- eight-bar drum set up
-- melody is shown above the drum staff
-- everything Higgins plays behind the in melody
-- drum solo trading 8s, 4s, and 2s with Dexter Gordon
-- everything Higgins plays behind the out melody
Description: This transcription includes a lot of Billy Higgins solo material. Though mostly known for his signature "groove" on many classic Blue Note albums, Higgins' soloing is not to be overlooked. It is tasty, always grooving, and very much unique to his style.
The musical relationship between Billy and Dexter is evident throughout the track, but their interaction in the trading section is very special.
Dexter was living in Europe at the time, and this recording features two European musicians, Tete Montolio (Spain), and Neils-Henning Orsted Pedersen (Denmark), alongside Higgins.
To hear Billy talking with engineer Rudy Van Gelder and Don Sickler about Dexter Gordon, click here.
Papa Jo Jones Drum Transcription: "Philadelphia Bound"
Our first drum transcription from brush master Papa Jo Jones, from the classic record (and bible for brushes playing) The Papa Jo Jones Trio, with Ray Bryant and Tommy Bryant. You can find it here:
--Drum Transcription: A four-page in-depth drum transcription of “Papa” Jo Jones playing brushes on Ray Bryant’s "Philadelphia Bound."
-- solo drum introduction
-- in melody (horn melodies are shown above the drum staff)
-- Jo Jones’ time as he plays behind Ray Bryant’s piano solo (first two choruses)
-- piano and drums trading fours (six choruses) -- out melody
--Description: Any great jazz drummer will tell you that “Papa” Jo Jones helped write the book on playing brushes. Countless well-known jazz drummers cite this particular recording as their bible of brush playing. You can hear the articulation of his brushes very clearly, and his feeling is so strong. The tempo is extremely fast, but Jones plays it with relaxed ease and the group follows his lead.
This transcription also showcases Jones' solo talents and demonstrates why his style of playing would be so influential on the drummers who followed.
As you work through this transcription, try to emulate Jones’ sound on the drum: the dynamics and “touch” of his accents.
Charli Persip Drum Transcription - "Three For the Festival"
Our 4th transcription on jazzleadsheets.com and the first of Charli Persip's, from his recording session with Rasaan Roland Kirk, on the song "Three for the Festival." You can find it here:
Charli Persip - Three for the Festival
Drum Transcription: A four-page drum transcription of Charli Persip's playing alongside Rahsaan Roland Kirk on Kirk's composition Three For The Festival.
-- horn melodies are shown above the drum staff
-- AAB melody, drums fill throughout melody hits
-- Charli's playing through the first chorus of Rahsaan's flute solo
-- stop-time hits
-- out melody and ending
Description: Charli Persip said that he clearly remembers the day of this recording session. He was with Elvin Jones right before the session, who told him to "always play with open ears, always play like yourself and don't worry about anything else." Charli himself cites this session as some of his favorite playing. Note how well he sets up the hits in the melody, and how he responds to Rahsaan's unorthodox and intricate playing.
You can see Charli and hear some of his stories on jazzleadsheets YouTube channel.
Philly Joe Jones Drum Transcription "Out of Joe's Bag"
Our third Philly Joe Jones drum transcription is up on jazzleadsheets.com. You can find it here:
--Decription: As the title suggests, Mobley wrote this song specifically for Philly Joe. Starting first with an eight-bar drum intro, then Philly Joe's interaction with the melody, which consists of a call and response of two-bar phrases with horns, then drums. Only a drummer like Philly Joe can fill every two bars and make it feel so good. Also included is a full solo chorus over the form, which is incredibly dynamic and technically astonishing.
--Drum Transcription: A nine-page in-depth drum transcription of Philly Joe Jones, including his drum intro, what he plays for the in and out melodies, as well his drum solo.-- horn melodies are shown above the drum staff.
-- Eight-measure drum solo intro
-- AABA in melody (16 measure call and response A sections and 8 measure bridge)
-- Eight measure drum solo to set up first soloist (Hank Mobley)
-- Philly Joe's playing behind eight bars of Hank Mobley's first solo chorus
-- Philly Joe's drum solo (track timing for the start of his solo is notated on the music: 3:22)
-- AABA out melody including ending
Philly Joe Jones Drum Transcription! "Workout"
Philly Joe Jones Drum Transcription - Workout
"Workout" is perhaps one of the most challenging, but also one of the most amazing Philly Joe solo's ever recorded. He takes 3 solo choruses, and the entire melody is practically a solo as well...meaning that there is A LOT of information in this transcription. Here what you get:
A seven-page drum transcription with everything Philly Joe plays as follows:
-- Eight measure drum intro (solo)
-- AABA Melody in (with drums trading 2's with the horn melody)
-- 8 bar interlude into solo set up
-- Drum solo (3 choruses)
-- AABA melody out (same as beginning)
-- Interlude ending (same as beginning)
Description: Similar to other drum features that Mobley composed, Workout is all about Philly Joe Jones. It features Philly Joe playing around the call-and-response melody, as well as an extended three-chorus drum solo. This solo features some of Philly Joe's most distinguishable and swinging phrases perfectly placed to move the music forward.
Brush Master
KENNY CLARKE!
A nice video from Paris 1959. Kenny Clarke was in my opinion perhaps the best brush player (up there with Papa Jo Jones of course). If you doubt it, then download "Dîner Au Motel" from Miles Davis' Album "Ascenseur Pour L'échafaud." His feeling with the brushes is incredible, and the sound and ease at which he does it.
This video has great trio playing from Bud too, check out the ending!
Rudiment of the Week: Flam Paradiddle
Enjoy!
Greg Hutchinson on the blues
All drummers should practice soloing over a walking bass line. Is is a great exercise because it forces you to keep the time and groove constant throughout your solo, and it also gives you a clear context to hear a drum solo in relation to the harmonic implications of the song.
Here is a great video from one of our modern masters of jazz drumming, Greg Hutchinson. Of course Greg's technique is flawless, but also listen to how strong and musical his phrases are over this Blues form... "Theme and Development."
Philly Joe Jones Drum Transcription!
Remember you can download the transcription here:
http://www.jazzleadsheets.com/cart.php?m=product_detail&p=218
Billy Hart "Tips"
A great clip today from master organist Jimmy Smith with Quentin Warren and the great Billy Hart. This is great old footage of Billy Hart that I particularly like because of how light and "tippin'" his cymbal beat is.
I have always found that playing with an organist and no bass player is especially challenging because there is no attack to the bass notes, so it's easy to feel like the bottom is lost. What that means is that the great drummers who have made an organ trio swing have an incredibly strong quarter note in their cymbal beat.
Billy Hart is appearing this week at Dizzy's in NYC with his quartet featuring Mark Turner, Ben Street, and Ethan Iverson. It is one of my favorite groups playing right now make sure to check it out!
Rudiment of the Week: Alternated Cheese Pataflafla
This week, the rudiment of the week practice is the "Alternated Cheese Pataflafla." The double flam followed by the double stroke makes this rudiment particularly tricky, but a good way to increase flexibility and quickness.
Keep practicing1
Ride Cymbal Variations, Part 2:
In the 2nd part of these exercises (find the original post here), I'd like to introduce another, slightly different ride cymbal pattern. Again, a lot of these comping patterns come from John Riley's "The Art of Bop Drumming," but you can create your own just as well.
A great way to practice these exercises is to count out loud while playing them. This will help you to internalize the pattern, as well as feel the groove better. Two ways to count are "1 2 3 4" and "1 2 3, 1 2 3, 1 2"
Ray Bryant Swings
I had heard Ray on two of my all-time favorite drum records, "Papa Joe Jones Trio" and "Max Roach +4," but this record is much different, very mellow and tasty, with some nice brush playing by Charles "Specs" Wright.
Ray Bryant is a terrific composer, and you can find some very nice compositions of his here:
http://www.jazzleadsheets.com/cart.php?m=product_list&c=71
Louis Hayes...plays really fast!
Louis Hayes is one of the all time great drummers, hands down. He moved to New York from Detriot at the age of 19 to play with Horace Silver, went on to be a long time member of the Cannonball Adderly band (turning down Miles Davis to stay with Cannonball), and also played with John Coltrane, Freddie Hubbard, Wes Mongomery, and so many other greats. Tony Williams and Billy Hart cited him as some of their biggest influences, and Kenny Washington said that Louis Hayes taught him how to play uptempo.
SO! Make sure to check him out, he's still around playing better than ever. Here's a nice drum solo from a TV appearence of the Cannonball Adderly Sextet.
Rudiment of the Week: Book Reports
"Book Reports" are great because they are especially tricky. When practicing this rudiment, make sure to play the accents clearly, and hear the division of the beat. The flam followed by the double stroke is particularly tricky at first, but start slow and build up. Remember to shoot for control not speed.
Thelonious Monk Beer Story at RVG's
I spent the afternoon today at Rudy Van Gelder's studio in Englewood Cliffs, New Jersey. It's amazing to be in the room where so many incredible musicians recorded so many incredible albums. John Coltrane's Ballads, and A Love Supreme, Joe Henderson's Page One, Kenny Durham's Una Mas, and so many more.
Then I took a look at the 7-foot Steinway in the big room, which was the piano that Thelonious Monk, Bud Powell, Duke Ellington, Herbie Hancock, and essentially every other important pianists played on. It is still in pristine condition, but it holds so much history and so many amazing musical moments.
Being in that room made me think of the story that Charli Persip told about being at a recording session of Miles Davis' with Milt Jackson, Thelonious Monk, Percy Heath, and Kenny "Klook" Clark, where Monk spills a beer in the middle of a tune.
Philly Joe Jones Drum Transcription!
The very first drum transcription from The Jazz Drum Corner and www.jazzleadsheets.com in now available! The transcription can be found here:
Philly Joe Jones Drum Transcription - No Room for Squares
We are very excited to finally have these available, after many months of refining. This particular track has some of my very favorite trading from Philly Joe. There is A TON of material just in this one transcription. This seven-page drum transcription with everything Philly Joe plays includes:
-- horn melodies are shown above the drum staff
-- Sixteen-measure intro (great hi-hat work)
-- AABA in melody
-- Philly Joe's playing behind eight bars of Hank Mobley's first solo chorus
-- The two choruses of trading with Hank Mobley and Lee Morgan: Philly Joe's fours, plus what he plays behind the horn soloists. Timing for Hank's first entrance in the exchanges is noted on the music: 5:28.
-- AABA out melody
-- Coda (hi-hat work like the intro)
Drummers this is an incredible resource! Anyone looking to improve their study of the jazz drum language make sure to check out this transcription. Just make sure to click "PJJ Drum Transcription" on the right hand side of the screen.
Check back next Friday for a Philly Joe Jones transcription from Hank Mobley's "The Workout."
Happy Thanksgiving!
Hope everyone has a fabulous Thanksgiving!
Here a little Duke to listen to while the turkey cooks.
Check back soon for Philly Joe Jones' drum transcription on No Room for Squares, which will be out tomorrow!
Cheers!
Paul Motian has left us...
Paul Motian: 1931-2011
There has never been another drummer like Paul Motian. There has never a drummer so unique, creative, beautiful, swinging, abstract, soulful and everything else.
To me Paul represented perhaps the most beautiful lesson in music; keep searching. He continued to re-identify himself throughout his musical career.
His influence on the international jazz scene, but especially the New York jazz scene was profound. He provided that bridge between generations that lacks so much in the jazz today. Through bands such as his trio with Bill Frisell and Joe Lovano, the Electric Bebop Band, and every other assortment that he recorded with and brought the Village Vanguard so consistently, he exposed some incredible musicians to the world, and some incredible music.
For the next week, there will be many posts revisiting some of Paul's most important work.
Rest in peace Paul, you will be missed deeply.
Rudiment of the Week: Flamill Drags
The rudiment of the week this week is the Flamill Drag. This one is a particular tongue twister, at least for me, partly I think because it stays with one hand for the 16th notes after the flam. This one can also be embellished with more added flams to change up the tone, and also make it more challenging.
Remember to start slow and build up to a comfortable speed.
And done for get about the last two weeks of rudiments. Fine there here:
Enjoy!
Art Taylor Plays the Blues
Rare footage today from Johnny Griffin and Art Taylor. The whole 30 min. clip is phenomenal, but check out from 26:30 on to see Griffin's tune Blues for Harvey, and compare it Kenny Washington's playing on the same tune in this post found here. What hand speed!
Smack those tubs Elvin!
Some fine sax trio work from Elvin Jones, Reggie Workman, and Joe Farrel. I am a particular fan of alot of Elvin's post-Coltrane groups. A couple records that I think are great and absolutly worth checking out are:
- Elvin Jones - Live at the Village Vanguard (with Goerge Coleman, Marvin "Hannibal Peterson, and Wilbur Little
- Elvin Jones - Live at the Lighthouse (with Steve Grossman, Dave Liebman, and Gene Perla)
- Elvin Jones - Puttin' It Together (with Joe Farrel and Jimmy Garrison)
What a force behind the kit! Absolutely incredible footage. His time feel is so unique and abstract, but unbelievable how much he moves the music forward. Can't get enough of it!
Also check out how the drum set gets away from him during the drum solo, it's happened to all of us, right?!
Art Farmer & Pete La Roca
One of my all-time favorite drummers that is too often overlooked, Pete La Roca. This a clip from the Jazz Icons series, which features some great footage of this band in Europe, featuring Jim Hall on guitar, and Steve Swallow on bass.
I have always loved Pete La Roca's swing feel. It is forceful, but also has a lightness and groove to it. In his soloing check out the timbre he gets from digging the stick into the drum and muting it (around the 2:00 mark). The entire concert is on youtube so check out the rest of tunes!
You can buy the jazz icons DVD's here:
You can find some of Art Farmer's compositions here:
Rudiment of the Week: Du-Fives
Welcome to week 2 of "Rudiment of the Week." This week begins with the Du-Fives. I like this particular rudiment because it can be applied like a five-stroke roll, which is very common in the jazz language, but the flam in front makes it particularly tricky and a chop buster as well.
Start slow and build up, making sure to keep the flam clear.
Have fun!
Ride Cymbal Variations: Part 1
In these "Ride Cymbal Variation" posts I will supply some examples of an altered ride cymbal pattern to try different comping exercises out of. A great place to look for comping rhythms is John Riley's "The Art of Bop Drumming," but you can create your own just as well.
Shown below is an example of a 3-3-2 ride cymbal pattern:
Enjoy!
Lewis Nash Brush Master
A great video today from one of the modern day masters...Lewis Nash. Check out his development in this solo; how he sticks with an idea and develops it over time. He is playing "Without a Song" and listen closely to how he plays the form.
Also check out how high he gets those brushes! Practicing rudiments with brushes is a great exercise for the wrists, and will certainly help out you control with sticks.
Papa Jo!
Some hard swinging stuff today from one the all-time greats, Papa Jo Jones, shown here in this video with the Basie band. Incredible soloists from Ben Webster, Coleman Hawkins, Gerry Mulligan, Roy Eldridge among many others. Talk about a strong beat! You can't help but tap the foot on this one.
Check back soon for some Papa Jo Jones transcriptions!
Cliff & Max
This song is a particular favorite of mine, specifically because it has demanding rhythmic interplay between the rhythm section and the horn melody. Everyone has to have their time feel totally together and know where all the different rhythm hits are in order to keep this clever arrangement from falling apart. Everyone should learn the melody, so the lead sheet has the melody but also shows where the rhythm hits fall.
This quintet had been together for 6 months before Clifford decided to drop this little rhythmic gem on them to see what would happen. This one will keep any group honest: everyone must feel the time together or you're in big trouble.
Learning this tune would be a great exercise for any instrumentalist tryint to get their group sound together.
You can find the lead sheet here: Clifford Brown & Max Roach - Gerkin for Perkin
Kenny Washington Plays the Blues
The great Kenny Washington playing the the Johnny Griffin Quartet, the song Blues for Harvey.
What a tempo! Incredible playing by Johnny Griffin, Ronnie Matthews, Ray Drummond, and Kenny Washington himself. Kenny has always been known for playing blinding tempos with dexterity and groove. Check out the trading between Johnny and Kenny that launches into his drumsolo (around 8:00) the interaction is incredible. What an amazing drum solo, and listen closely, he keeps the form!!!
Rudiment of the Week: Triple Ratamaflams
"Rudiment of the Week" will be a weekly special on www.jazzleadsheets.com. It will be a specific rudiment to work on for each week for all drummers who follow the blog. These rudiments are selected because they are particularly useful, challenging, or common.
To start it all off...the Triple Ratamaflam:
This is a rudiment that appears all throughout solo's by Philly Joe Jones, Kenny Clarke, Billy Higgins, as well as Alan Dawson's Rudimental Ritual. Remember to move it around the drumset to work on flexibility and dexterity.
Keep shedding it and look for another one next week!
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