Drumset Concepts: Volume 1 - page 13
Audio 1: page 13
Track: Freddie Freeloader/Miles Davis/Kind of Blue/1959
Track info: Piano solo into the trumpet solo/0:45-2:45
Personnel: Miles Davis, trumpet; Cannonball Adderley, alto saxophone; John Coltrane, tenor saxophone; Wynton Kelly, piano; Paul Chambers, bass; Jimmy Cobb, drums
Tempo: quarter = 128-130 bpm
Notes on book use:
This is a blues tune that features a wide range of soloists to play behind. Using page 13 works well, keeping in mind that each blues chorus will use three of the written patterns repeated once each (which is what I play on the audio file). Of course, there are many other possibilities for repeats of the material. This section of the book focuses on simple snare drum lines while playing feathered bass drum on all four beats of the measure, coupled with the quarter notes in the ride cymbal. I would encourage students to experiment with other defined ostinatos or random ride cymbal patterns that maintain the strong downbeat pulse.
Notes on performance:
Form: 12-bar blues
After the typical two choruses of the head, Wynton Kelly's piano solo starts (0:45). He creates a well-constructed set of four choruses. Notice Jimmy Cobb's use of the cross stick on beat '2' in the third chorus. He then switches to the cross stick on beat '4' for the last chorus, and ends the piano solo with a short snare drum riff setting up Miles Davis' first chorus (2:14-4:29). Here the drumset comping gets more involved as the solo builds.
Miles Davis' trumpet solo is followed immediately by John Coltrane's tenor sax solo (4:29-6:21). As per the previous solos, Cobb starts relatively sparse in his comping. By the time Coltrane reaches his third chorus, Cobb is contributing more to the comping texture. It is fairly consistent throughout this track that the texture of the comping gets busier at the ends of each of the choruses, and even more so at the ends of each solo.
Cannonball Adderley's alto sax solo (6:21-8:12) is the final solo on this track. After Adderley's five choruses, there are two choruses of a walking bass solo from Paul Chambers and two iterations of the head to the end. Jimmy Cobb can be heard switching to a more subdued cymbal here. This is an excellent track to play along with because of its lengthy solo choruses and the variety of approaches the soloists take. The whole group has a great sense of time, and the feel in the rhythm section is relaxed and solid.
Track: Freddie Freeloader/Miles Davis/Kind of Blue/1959
Track info: Piano solo into the trumpet solo/0:45-2:45
Personnel: Miles Davis, trumpet; Cannonball Adderley, alto saxophone; John Coltrane, tenor saxophone; Wynton Kelly, piano; Paul Chambers, bass; Jimmy Cobb, drums
Tempo: quarter = 128-130 bpm
Notes on book use:
This is a blues tune that features a wide range of soloists to play behind. Using page 13 works well, keeping in mind that each blues chorus will use three of the written patterns repeated once each (which is what I play on the audio file). Of course, there are many other possibilities for repeats of the material. This section of the book focuses on simple snare drum lines while playing feathered bass drum on all four beats of the measure, coupled with the quarter notes in the ride cymbal. I would encourage students to experiment with other defined ostinatos or random ride cymbal patterns that maintain the strong downbeat pulse.
Notes on performance:
Form: 12-bar blues
After the typical two choruses of the head, Wynton Kelly's piano solo starts (0:45). He creates a well-constructed set of four choruses. Notice Jimmy Cobb's use of the cross stick on beat '2' in the third chorus. He then switches to the cross stick on beat '4' for the last chorus, and ends the piano solo with a short snare drum riff setting up Miles Davis' first chorus (2:14-4:29). Here the drumset comping gets more involved as the solo builds.
Miles Davis' trumpet solo is followed immediately by John Coltrane's tenor sax solo (4:29-6:21). As per the previous solos, Cobb starts relatively sparse in his comping. By the time Coltrane reaches his third chorus, Cobb is contributing more to the comping texture. It is fairly consistent throughout this track that the texture of the comping gets busier at the ends of each of the choruses, and even more so at the ends of each solo.
Cannonball Adderley's alto sax solo (6:21-8:12) is the final solo on this track. After Adderley's five choruses, there are two choruses of a walking bass solo from Paul Chambers and two iterations of the head to the end. Jimmy Cobb can be heard switching to a more subdued cymbal here. This is an excellent track to play along with because of its lengthy solo choruses and the variety of approaches the soloists take. The whole group has a great sense of time, and the feel in the rhythm section is relaxed and solid.