Drumset Concepts: Volume 1 - page 14
Audio 2: page 14
Track: So What/Miles Davis/Kind of Blue/1959
Track info - page 14: Trumpet solo/1:32-3:25
Track info - page 19: Tenor Saxophone solo/3:25-5:18
Personnel: Miles Davis, trumpet; Cannonball Adderley, alto saxophone; John Coltrane,
tenor saxophone; Wynton Kelly, piano; Paul Chambers, bass; Jimmy Cobb, drums
Tempo: quarter = 134-138 bp
Notes on book use:
This track features several soloists playing over relatively simple 32-bar choruses. Page 14 and 19 both fit this form well since they feature two or four-bar phrases, which, when repeated, are equal to two choruses of the tune. A variety of cymbal patterns can be used with this track, noting the walking bass line infers a strong quarter-note pulse from the ride cymbal. The repeating patterns on pages 14 and 19 feature more activity in the snare drum lines than page 13, but page 13 could also be used for this track - as could the other pages in this section (pages 12-20). Pay close attention to the overall kit balance and use Jimmy Cobb's drumming as a model.
Notes on performance:
Form: AABA (32 bars)
The head on this tune is unique in that the bass is playing the melody as the "question" while the rest of the ensemble provides the "answer" at the ends of each of the melody iterations. After the rubato introduction (0-:33) the rhythm section time starts. Notice the drum part that Jimmy Cobb is playing during the head. He plays the ride cymbal on all four beats in a typical swing pattern, while playing the "answers" with the horns and piano on the snare drum.
Miles Davis' two trumpet choruses begin the solo section of the piece (1:32-3:25). Miles' approach to improvisation leaves a lot of space for the rhythm section to interact with him. Cobb leaves a lot of these spaces open early on, and then chooses to fill them sparsely in the second chorus.
John Coltrane takes the next two choruses (3:25-5:18) with a send-off from Cobb in the last few bars of Davis' solo. There is a significant difference between Coltrane's approach and Davis' - Coltrane choosing to play longer and more active phrases - and Cobb reacts to this change. Coltrane's third eight-bar phrase (bridge) in his first chorus elicits more active comping from Cobb, as does the last couple of phrases of his second chorus.
Cannonball Adderley's two choruses (5:18-7:10) follow a similar pattern. The one chorus piano solo with horns background (7:10-8:02) is treated with a simple cross stick on beat '4' of each bar. Paul Chambers plays 8 bars of time on the bass (8:02) before returning to the melody for the second A, bridge and last A as per the head. The track repeats the A section and fades out from there.
Track: So What/Miles Davis/Kind of Blue/1959
Track info - page 14: Trumpet solo/1:32-3:25
Track info - page 19: Tenor Saxophone solo/3:25-5:18
Personnel: Miles Davis, trumpet; Cannonball Adderley, alto saxophone; John Coltrane,
tenor saxophone; Wynton Kelly, piano; Paul Chambers, bass; Jimmy Cobb, drums
Tempo: quarter = 134-138 bp
Notes on book use:
This track features several soloists playing over relatively simple 32-bar choruses. Page 14 and 19 both fit this form well since they feature two or four-bar phrases, which, when repeated, are equal to two choruses of the tune. A variety of cymbal patterns can be used with this track, noting the walking bass line infers a strong quarter-note pulse from the ride cymbal. The repeating patterns on pages 14 and 19 feature more activity in the snare drum lines than page 13, but page 13 could also be used for this track - as could the other pages in this section (pages 12-20). Pay close attention to the overall kit balance and use Jimmy Cobb's drumming as a model.
Notes on performance:
Form: AABA (32 bars)
The head on this tune is unique in that the bass is playing the melody as the "question" while the rest of the ensemble provides the "answer" at the ends of each of the melody iterations. After the rubato introduction (0-:33) the rhythm section time starts. Notice the drum part that Jimmy Cobb is playing during the head. He plays the ride cymbal on all four beats in a typical swing pattern, while playing the "answers" with the horns and piano on the snare drum.
Miles Davis' two trumpet choruses begin the solo section of the piece (1:32-3:25). Miles' approach to improvisation leaves a lot of space for the rhythm section to interact with him. Cobb leaves a lot of these spaces open early on, and then chooses to fill them sparsely in the second chorus.
John Coltrane takes the next two choruses (3:25-5:18) with a send-off from Cobb in the last few bars of Davis' solo. There is a significant difference between Coltrane's approach and Davis' - Coltrane choosing to play longer and more active phrases - and Cobb reacts to this change. Coltrane's third eight-bar phrase (bridge) in his first chorus elicits more active comping from Cobb, as does the last couple of phrases of his second chorus.
Cannonball Adderley's two choruses (5:18-7:10) follow a similar pattern. The one chorus piano solo with horns background (7:10-8:02) is treated with a simple cross stick on beat '4' of each bar. Paul Chambers plays 8 bars of time on the bass (8:02) before returning to the melody for the second A, bridge and last A as per the head. The track repeats the A section and fades out from there.