Drumset Concepts: Volume 1 - page 94 lmno
Audio 8: page 94 (lines lmno)
Track: Bye Bye Blackbird/Miles Davis/'Round About Midnight/1957
Track info: Trumpet solo/1:15-2:22
Personnel: Miles Davis, trumpet; John Coltrane, tenor saxophone; Red Garland, piano; Paul
Chambers, bass; Philly Joe Jones, drums
Tempo: quarter = 118-120 bpm
Notes on book use:
I played these four 4-bar patterns twice each to match the first chorus of Miles Davis' trumpet solo (32 bars). In keeping with the theme of section II of the book - to try several different ride cymbal patterns over the horizontal BD/SD lines - I used ride cymbal pattern #11 from the ride cymbal ostinatos on p. 81.
There is a distinct difference between the activity of the written patterns from the book, and the comping activity of Philly Joe Jones, the drummer on this recording. This is, in some ways, useful since there is not a lot of drum sounds to get in the way of practicing these busy patterns. I find it is best to focus on the bass line and soloist while working on these lines. As has been discussed previously, pausing to listen to the recording and trying to emulate the music at hand is highly encouraged. In this case, there will be quite a difference in the two approaches.
Notes on performance:
Form: ABCA' (32 bars)
During the head, Philly Joe Jones uses brushes to accompany the '2' feel in the bass. He switches to sticks for the Miles Davis trumpet solo. The trumpet solo covers two choruses (1:15-3:25). It is interesting to note the intersection of the snare drum with the piano comping. Red Garland uses a lot of upbeat rhythms, ('ands' of beats '1,2, 3 or 4') and Philly Joe responds to this in a very musical way, choosing to grab some of them, and let others be. 1:42-1:50 is one such section - and it makes sense for it to get more active here since the bridge is coming up at 1:51.
Another takeaway from listening to Philly Joe's comping is the minimal use of the "ride" note - the upbeat that occurs in the standard ride pattern just before beats '1' and '3'. He seems to leave those to the snare drum and focusses the ride cymbal pattern on the downbeats - locking in with the bass player.
After Miles' two chorus, John Coltrane takes two choruses (3:25-5:31). Philly Joe switches to a different cymbal for these choruses, and there is a noticeable difference in the comping activity coming from both the piano and drums. The second chorus is almost completely in a double-time feel from Coltrane, and Philly Joe comments on this on several occasions, most notably in the B section (4:43-5:00). We also hear his use of the quarter-note triplet displaced as was mentioned in the Audio 7 example using Blue Train as a playalong.
Red Garland takes a chorus and a half (5:31-7:08) and Philly Joe again switches cymbals to accompany this solo. It is noticeable that Garland plays single lines in the right hand with off-beat comping 'and of 2' and 'and of 4' for the first chorus. The drums are quite subdued throughout this solo, but he does switch cymbals again for the second chorus, while Garland plays a more chordal approach under the melody line. Also of significance is the added snare drum lightly along with the ride pattern on the downbeats. Here, Philly Joe plays more of the "ride" notes in the ride cymbal pattern. Garland's solo is interrupted by the return of the melody for the second half of the tune to the end. At this point Philly Joe returns to brushes. I have used this track often to work on a variety of comping patterns.
Notes on performance:
Form: ABCA' (32 bars)
During the head, Philly Joe Jones uses brushes to accompany the '2' feel in the bass. He switches to sticks for the Miles Davis trumpet solo. The trumpet solo covers two choruses (1:15-3:25). It is interesting to note the intersection of the snare drum with the piano comping. Red Garland uses a lot of upbeat rhythms, ('ands' of beats '1,2, 3 or 4') and Philly Joe responds to this in a very musical way, choosing to grab some of them, and let others be. 1:42-1:50 is one such section - and it makes sense for it to get more active here since the bridge is coming up at 1:51.
Another takeaway from listening to Philly Joe's comping is the minimal use of the "ride" note - the upbeat that occurs in the standard ride pattern just before beats '1' and '3'. He seems to leave those to the snare drum and focusses the ride cymbal pattern on the downbeats - locking in with the bass player.
After Miles' two chorus, John Coltrane takes two choruses (3:25-5:31). Philly Joe switches to a different cymbal for these choruses, and there is a noticeable difference in the comping activity coming from both the piano and drums. The second chorus is almost completely in a double-time feel from Coltrane, and Philly Joe comments on this on several occasions, most notably in the B section (4:43-5:00). We also hear his use of the quarter-note triplet displaced as was mentioned in the Audio 7 example using Blue Train as a playalong.
Red Garland takes a chorus and a half (5:31-7:08) and Philly Joe again switches cymbals to accompany this solo. It is noticeable that Garland plays single lines in the right hand with off-beat comping 'and of 2' and 'and of 4' for the first chorus. The drums are quite subdued throughout this solo, but he does switch cymbals again for the second chorus, while Garland plays a more chordal approach under the melody line. Also of significance is the added snare drum lightly along with the ride pattern on the downbeats. Here, Philly Joe plays more of the "ride" notes in the ride cymbal pattern. Garland's solo is interrupted by the return of the melody for the second half of the tune to the end. At this point Philly Joe returns to brushes. I have used this track often to work on a variety of comping patterns.