Drumset Concepts: Volume 1 - pages 33-34 group 3
Audio 5: page 33-34/group 3
Track: Someday My Prince Will Come/Miles Davis/Someday My Prince Will Come/1961
Track info: Tenor sax solo (Mobley)/3:08-4:28
Personnel: Miles Davis, trumpet; Hank Mobley, tenor saxophone; John Coltrane, tenor
saxophone; Wynton Kelly, piano; Paul Chambers, bass; Jimmy Cobb, drums
Tempo: quarter = 152-154 bpm
Notes on book use:
This segment of the book represents the most challenging of the 3/4 sections in terms of the snare drum and bass drum comping figures. The tempo of this track at q=152 also presents a bit of challenge. I have found that it is useful to repeat some of the phrases more than once to get them under your hands/feet. Also, practice slower when learning them - especially the nearly constant 8th-note patterns toward the end of the group (3k-3p).
When playing through the whole track, I try to vary things up when the bass is walking versus when he is not. There are several shifts in the bass line throughout the track. Often in more modern tunes, when I hear a pedal pitch in the bass, I will increase the activity in the drums, but here Cobb plays relatively tame behind those pedal spots - which occur at the beginning, and again at 5:41 for 8 bars, and at the end of the tune, 7:39-9:02.
Notes on performance:
Form: ABAC (32 bars)
Cobb plays brushes from the beginning to 3:08, which includes the head and Miles Davis' trumpet solo. During Hank Mobley's tenor solo, (3:08-4:28) the bass walks for the first 16 bars, and then alternates phrases between dotted half notes and walking for the reminder of the solo - two full choruses. Notice how Cobb changes the comping when Chambers is playing a walking bass line versus a more broken and down-beat oriented approach.
Cobb continues with sticks through the two-chorus piano solo (4:28-5:23) except for the last 8 bars, when Miles comes in with the melody line (5:23). Here he returns to brushes until Coltrane's solo (5:51-7:09).
During Coltrane's solo Chambers alternates feels from the downbeat 'one' feel, to a walking bass line, and Cobb adjusts his playing accordingly. To round out the tune, Cobb returns to brushes again after Coltrane's solo for the final 8 bars of the head (shortened head - C only) and vamp out to the end with the bass returning to the pedal point. This arrangement presents a nice challenge to match the adjustments in the rhythm section that occur at several points during the piece - mainly initiated by Paul Chambers' bass lines.
Track: Someday My Prince Will Come/Miles Davis/Someday My Prince Will Come/1961
Track info: Tenor sax solo (Mobley)/3:08-4:28
Personnel: Miles Davis, trumpet; Hank Mobley, tenor saxophone; John Coltrane, tenor
saxophone; Wynton Kelly, piano; Paul Chambers, bass; Jimmy Cobb, drums
Tempo: quarter = 152-154 bpm
Notes on book use:
This segment of the book represents the most challenging of the 3/4 sections in terms of the snare drum and bass drum comping figures. The tempo of this track at q=152 also presents a bit of challenge. I have found that it is useful to repeat some of the phrases more than once to get them under your hands/feet. Also, practice slower when learning them - especially the nearly constant 8th-note patterns toward the end of the group (3k-3p).
When playing through the whole track, I try to vary things up when the bass is walking versus when he is not. There are several shifts in the bass line throughout the track. Often in more modern tunes, when I hear a pedal pitch in the bass, I will increase the activity in the drums, but here Cobb plays relatively tame behind those pedal spots - which occur at the beginning, and again at 5:41 for 8 bars, and at the end of the tune, 7:39-9:02.
Notes on performance:
Form: ABAC (32 bars)
Cobb plays brushes from the beginning to 3:08, which includes the head and Miles Davis' trumpet solo. During Hank Mobley's tenor solo, (3:08-4:28) the bass walks for the first 16 bars, and then alternates phrases between dotted half notes and walking for the reminder of the solo - two full choruses. Notice how Cobb changes the comping when Chambers is playing a walking bass line versus a more broken and down-beat oriented approach.
Cobb continues with sticks through the two-chorus piano solo (4:28-5:23) except for the last 8 bars, when Miles comes in with the melody line (5:23). Here he returns to brushes until Coltrane's solo (5:51-7:09).
During Coltrane's solo Chambers alternates feels from the downbeat 'one' feel, to a walking bass line, and Cobb adjusts his playing accordingly. To round out the tune, Cobb returns to brushes again after Coltrane's solo for the final 8 bars of the head (shortened head - C only) and vamp out to the end with the bass returning to the pedal point. This arrangement presents a nice challenge to match the adjustments in the rhythm section that occur at several points during the piece - mainly initiated by Paul Chambers' bass lines.