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    Bop encyclopedia

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    John Riley Beyond Bop Drumming

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    Kovacs Ferenc David
    Bop encyclopedia

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    © All Rights Reserved
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    из 68
    OND PROPERTY OF BERKLEE LIBRARY Contents ———__ Chapter 1: Time Playing Broken-time Three-voice Comping in 8th-notes “Picture 3” Comping “Picture 3” Complete Three-voice Comping in Triplets Ride Cymbal Variations ‘or Nothing At All” Comping “All or Nothing At All” Complete Macro Approach, Chapter 2: Uptempo Studies Uptempo Exercise Uptempo Ride Cymbal Variations Chapter 3: Implied Time/ Metric Modulation Implying 6 over 4 Implying 3/4 over 4/4 Implying 2 over 3 in 4/4 Implying 4 over 3 in 4/4 Implying 4/4 over 3/4 Implying 4 over3 in 3/4 Implying 9 over 6 in 3/4 Odd Groups Standard Time Vol. [Analysis “Caravan” “April In Paris” “Cherokee “A Foggy Day” “The Song is You" “Aurumn Leaves" Chapter 4: Solo Ideas Three-beat Phrases ‘Three-beat Phrases with Rests Variable Speed Phrase Triplets in Groups of 4 Eight-bar Combination Phrases Five-note Phrases Solo Analysis #1 Main Motifs Variations “Monk's Dream” Transcription Solo Analysis #2 ‘Main Motifs Variations “In The Fall” Transcription Solo Analysis #3 ‘Main Motifs Variations “Agitation” Transcription Cross-sticking Combinations Appendix Play-along Tunes “The El Trane” “Speed Bumps Ahead” “Blind Faith” Playing with Records mmended Listening Confidence | Discography Recommended Books and Videos Gener: bass snare buzz mounted floor 4° Three-voice Warm-ups Theee-voice Comping in 8th-notes (slow) Three-voice Comping in Sth-notes (fast) “Picture 3” Comping Warmups for Three-voice Comping in Triplets Orchestrated Three-voice Comping 10 Three-voice Comping in Triplets (slow) 11 Three-voice Comping in Triplets (fast) 2 . ‘ation 1 B ation 2 14 res with the Hi-hat 15 “All or Nothing at All” Comping 16 “The El Trane’ (slow version) Uptempo Studies 17 Uptempo Exercise with Bass 18 Bass track for play-along 19 Uptempo Ride Cymbal Variations 20 “Blind Faith” Implied Time/Metric Modulation 21 Implving 6 over 4 22 Implying 3/4 over 4/4 23 Implying 2 over 3 in 4/4 . 24 Implying 4 over 3 in 4/4 25 Implying 4/4 over 3/4 26 Implying 4 over 3 in 3/4 27 Implying 9 over 6 in 3/4 28 Five-note Phrases 29 “The El Trane” (fast version) Solo Ideas 30 Three-beat Phrases SI The Variable Speed Phrase 32 Triplets in Groups of 4 33 Eighe-bar Combination Phrases 34 “Monk's Dream” Variations the Fall” Variations 536 "Agitation" Variations 7 Cross-sticking Variations Speed Bumps Ahead" 42 “Speed Bumps Ahead” Drum solo section 43 “Blind Faith” 44 “Blind Faith” Drum solo section eee M Tim Ries tenor and soprano saxophone im McNeely Piano Jay Anderson bass John Riley drums Recorded October 17-18, 1996 Park West Recording Brooklyn, NY Engineered by Jim Clouse Mastered by Frank Pekoc at Joe Lopes Music Mastering, L.C.,, NY Produced by John Riley and Dan Thress ‘All compositions by John Riley Drums GMS, 14x20 bd, 8x12, 14x14, 5x14 sd Cymbal 22" Zildjian K custom medium with two rivets, 18" Zildjian pre-aged K, 13” Zildjian K hi-hats Sticks: Zildjian Concert Jaez model Heads: Remo Fiberskyn 3 Corresponding music examples are shaded in grey throughout the book throughout the book with this icon. phone piano bass = drums BY zi i =: B: Introduction; Elvin, Tony, Jack... Whoa!l What's this all abous? ny Previous books The drt of Bop Drumming isa primer on good musicianship et che drumset This book will expand those ideas and explore the innovations ofthe ferule eee musical envisonment and beyond. Drummers Elvin Jones, Paul Motan, Ed Blackwell, Tony Williams and Jack DeJohnerte, sich members of ground-breaking bands, changed the sound, shape and feeling of music. Their playing elevated the position ofthe deurnmer to that of the neder of tre rhythm sec- wa nand the emotional energy center ofthe band. As mes, they boldly dreered fe eran, cal flow as if they were co-solosts in the ensermble. Without the muscal contributions of sete men, we would not her or play music the way we do today. Their Playing, rooted in the already considerably sophisticated be-bop conventions, contiques ny project the future of drumming. All of today’s leading players have been greatly inflocnced by, and continue to dssw inspiration fiom, these musical innovators, This is the jane music te ae capti- fered and excited me, and I offer ths book as atbute to all of the musicians coed with in, for they represent, to me, the apex of creative music in the 20th century “Beyond Bop,” then, is designed to help open these musical fontiers and expand your why op sonsclousness, This collection of tied and true ideas wil show you the hey? nd Mby of this new, more assertive drumiming which grew out of the be-bop seyle. My hope is that Ther of Bop Drumming and this book will serve a gatedays through which furure crrseal sandermtisans will be introduced to, and challenged and inspired by the lofty Uae bet wil ead to an increased sl eve, voeabulaty and undessanding of chythm and ‘music. Open your ears and get busy! Jot. “Weyou havea drum set in the reom and the postman walks in, be'llst down and go dae, dat, dat, de, do, do, Buc, buzz, buzz, bam, boom, boom,” Anybody can do that and keep a beat, If Youre really rious about drumming, don't you think that there more tot than that? There's a technigue that really takes concentration, work, dedication, discipline and time... Pus heaps been a tudents Fv atsass ben studying, constantly. Learning bas saloayr Been exciting fo Lm always earning something ™ Tony Williams pe mee fate The fifteen-year ran of the be-bop ideal — lex harmonic eyeles with chythin secrin ‘ccompuniment — was Nined for some musicians. Those that would lead the wy. iniy the ‘open” format By 196 ost of the key players of the were indicating th TTT a isyarrts DAVIS 2. direc vn, Saxophonist John recorded his whimate tribute to the har- monic challenges of be-bop, Giewt looses structu tal recording, Kind of Blue, also record. 59, included Coltrane, pianist Bill Evans and drummer Jimmy: Cobb, It was one of the frst recordings to explore # more relaxed way of organizing musi, incorporating phrases as long as 16 measures in one tonal mode. These frases allowed the rhy tion plavers and the soloi ‘opportunity for inte Jonge all were less encumbered by “the chanues v musical freedom made the soloi more open *F ideas introduced by the rhythm section. At the same time, Ors Coleman was deveiopin wale Pt Of Plaving melodic themes followed br collecna 26 Solely on the mood, spirit, and vocabulary of the mele It 10-a specific ke OF even a'sense of bar lines. Con motion of playing in which the bass plaver and di, Pants with Bill in shaping the music. As a result or 1 nereased use of amplificatio: lnritude and a larg ensemble’s sound and direction, To help better understand t let's first take a look at the play two accomplished “ 0 transitional p Hay d ing” and still sounds f and M lucing the importanc i Ress nicknamed “snap, crackle, pop swse of his sound and phra in simall groups us; pitched drums and a very er “tailor” because of his ahilicy is best know n with the base nd d eats 2and 4 fut abowe the dynamically Aa time line. The beoke el mixes re Min moe al Patterns over *2 and 4” or some varied thithnre ne Fen follows the eymbal line or pl ferpoint. Se £0 the time flow int a smouth fash nploying broke Notice that, although the eymbal pattern is irregular, sew nat eve the time still has forward motion because the snare and bass drum parts complete the groove. In this example, Mel's playing clearly demonstrates a concept that was, later fully developed by Elvin Jones, Tony Williams and Jack DeJohnette; the drumset should be thought of as one instrument, not a collection of separate instruments, ‘The sound and groove are created by ideas played on the entire instrument, not just the ride cymbal and hi-hat. ‘This type of time playing is less insistent than the tradi- tional straight cymbal pattern and gives the music a smoother flow, thus the characterization “open.” Prestige OCCD-195-2 Now, check out a brief example of Rey Haynes’ time playing as heard on We Three: Roy stretches out even further by using the hi-hat effectively as yet another contrapuntal voice. ‘The work of Roy and Mel continues to be just as inspiring today as it was in the "50s and carly ‘60s. Their conceptual innovations, along with those of many others, helped to set the stage for the dynamic musical changes we're about to explore. ‘As the “60s began, band leaders were asking for and expecting more from their drummers; the music’s slower-moving har- Tt is onc instrument, and I monic chythm created a fresh environment and presented hasten to ray that Itake that single as the basis for my whole approach to the drums."* upportunities for collective interaction that had been incon- coivable just a few years earlier, As a result, drummers had to become both more complete and more imaginative as Musi- cians because, over and above all their traditional functions, — Elvin Jones they now found themselves with the substantial, additional w music to work. ponsibiliry of creating new soriic milieus for the nn REESE TR OTe notes, Mat incorporate thece moving voices. in addition to practicing Mel's and Roy's examples, using these warm-ups will help you develop a more open and interesting rhythmic flow. It’s important that, for now, you don't vary your ride cymbal pattern. 7S EG At times, ideas like these can be clearly heard in the playing of Tony Williams and Jack DeJohnette. Remember, this material is quite challenging and will take some time to get together. Also, while you are developing these tools and expanding your vocabulars there will be a gréat temptation to play this densely all the time just to “test your wings.” This g material is really special and must be used sparingly and with good tatte or else it will come ‘cross as too self-indulgent and no one will enjoy listening to you or pla ving with you, Everyone who employs complex ideas like these has obviously done a lot of practicing, You've % inspiration — 99% perspiration." I believe hea:d Thomas Edison saying that "geniu thar this same concept applies to music, and the only real “gift” that a person needs in order ome a player is the ability spend many productive hours in the pita tke toes aii on As with the warm-ups above, practici following three-voice comping exercises will help eliminate “friction” and give you more control of your limbs. Work slowly at frst to sure that your plaving is accurare and the moving parts are swinging, Stick with the let it aceommodate the movi I jazz ride cymbal pattern and da completely mastered this material and it’s measure plinises to help you start to be conscious of longer phrase lengths, hut feel tree to breait them into smaller fragments fur practice parposes. Practice these ideas wih CD track written in four- Combe on the tune “Picture 3” from the record Pictures recorded in 1976, This is basically an in time “fie” duet — it seems chat nothing is predeter- mined except that both players want to play together The first 8 measures serve as an intro and set the vibe, ~ ‘then John comes in and off they go. Notice how melodic Jack’s playing is. His individual ideas are nor that much different from the bop vocabu- ; but the continuous, unbroken flow of ideas and the absence of predictable resolution points are among his trade marks and make his playing sound fresh. Practice this. Again start our slowly and Keep the ride cymbal strict. Try 15 hear.a melodic logic in the phrasing ECM 1979 There are a number of transcribed excerpts in this book. ‘They are included to show you how specific exercises relate to actual playing, but remember; transcriptions are only a rep- ‘ssenration of what 2 particular player did in relation to what other plavers were doing on 4 given take, To me, one ofthe reasons thatthe “legends” are legendary is that there great Playing is continually evolving and being refined. A transcription cant define someone's soe; ies merely a moment of music preserved on paper for us to ponder at out own pace. The best source of information and inspiration is listening to a mester play live. “Concentrate on what the other rumentalstsare doing. So many drummers just listen to other drummers, but if you don't hear the other parts, you're missing what inspired the drummer to play what be’ playing?” — Adam Nussbaum ES BEES IEE SOSTENEL, COE ating interesting, challenging and swinging music. Refer to the original recording to hear Jack's sound and feel. 32TH 3F 3A 3 x Three-voice Orchestrations ——____ Listen to how much variety y create when you orchestrate some of the warm-up ex ‘onto the toms: by moving the snare drum Tine: Phaving 19 ® SENS By accenting the skip note you create a “hump” in the time flow, a la Elvin Jones, that takes some of the drive out of your cymbal beat. The hump creates both a more horizontal time feel. jing and the “space” necessary to allow the three parts moving under the cymbal line to breathe, Another way to accommodate all the a:*icn going on under the eymbal line is to allow the fide pattern to loosen up and follow the contour of the moving parts, Tony Williams found that by shifting the consistent time flow clement, at medium to fast tempos from the ride eymbal to the “There was an innvation that hi-hat, he could play more freely with the ride eymbal. Tony | eppencd hen Tony Williams came Played quarter-notes, with his foot, on the hi-hat, which allowed | on vhrscene woth Mien. Hbemcact him to explore and develop interesting multi-voice ideas playing guarter-nctes with the bigh- between the ride cymbal, snare and bass drum. The example Pat pedal, swing that asthe focal point below shows some of che possibilities. Phrasing like this can be of the rhythm, developed further by practicing playing quarter-notes with the hi-hat pedal while incorporating the exercises in cither G.L. —Max Roach Stone’ Stick Control book or Ted Reed's Syncoparion. Play the ride cymbal and bass drum in unison while the snare plays the in-berween notes. Or play both hands together while the bass drum fills in the rest of the Sth-notes, JO). x Fe 8 ee x x Phainve Elvin Jones is the king of eipl&t phrasing, Ch how hhe ereates his own unique time fee! on Nothing At All" from the 1962 John Coltrane recording Ballads fier a 30-measure intro, the form is AABAS 16. The A sections have a Latin feel and the Wing: The quartet plays this tune in an abbre. Mee aaa if often done on ballads and “Pop” » gon After one time through the head, AABA, {nes ge directly to the bridge, then the last A ards tg. ‘treatment he'll the track]. Practice using the normal ride pattern first. a a a a i 1 a «© “Alor Nothing At alr” Comping —_ ~ man. gman a a : Ee ee Y aa z Re eciacin STARE, cp 7 ae = SSeS ae 2a me * FS aS % Macro Approach —________ In all of the examples and exercises up to this point, we have been looking at these con- cepts from 2 “micro” point of view, In other words, the material has been broken denn into ‘iny bits; the left hand does this and the bass drum does that, ete, so the phrases are built up by connecting the tiny pieces. But this micro approach doesn't work when playing with People; you can't be thinking about what your limbs are doing. You must be hearing and relating to the big picture — how does this music sound? bow does thie mosis feel? Its time to consider a more “macro” phrasing approach, While playing page 21, use the thythms writ- ten above the staf a “target points,” ike a pianis’s comping, to add shape to your phras- ing. As you repeat each phrase don't worry about how you are getting from point to point; the hi-hat does this and the ride cymbal does that, er your limbs fellow ther ow, natur~ al flow. Focus on making the time feel ood and the rhythmic structure apparent. The goal isto be able to play cach phrase many different wars, stressing a differen point in the iuchitecture cach tine through. You will notice thas, for the most part, thece tree points ® placed to keep your ideas moving forward; the four-bar phrases dovlt resolves ¢ sym- metrical fishion, You have to be able to feel the ehychms-going across the bor nee aed “mulaneousy to have a sure grip on your time so that you don't get confused and loc ene pla trength” to make music with these phrases and not feel the ‘ones,” ic. beat one of the second. third and fourth measures, or beat one of exch ‘our-bar idea. You can generate similar ting” points of your choice from any: You must develop the “s need to mark the int 85 of vour own by “tar Jack DeJohnette once explained his very sophisticated broken-time approach to me by using an analogy from a laundromat. He called his concept “washing machine time” and told me to visualize it like this; in a laundromat the washers and dryers have windows through which you can see the moving clothes. This motion is caused by the clothes being moved by the regular oration of the machine's inner chamber, but the clothes never fall co the bottom of the chamber at the same point in the rotation. One time the clothes will be cartied 1/4 of a revolution, then they will fll to the bottom. Another time they may tav~ 1 5/8 of the way around before they drop. Another time they could travel completely around without gravity pulling the clothes to the bottom. Jack told me that the fixed rate of the rotation of the machine, in real time (seconds), was analogous to the fixed duration | of a musical phrase; i.e., one measure or four measures or eight measures, etc., and that he ‘an feel “musical time” in terms of seconds — not justin terms of counting a certain num- . ber of beats per phrase. His ideas can fall anywhere in a phrase, just as the laundry can fll at any point in the machine's rotation, without disrupting the musical flow. As I close this chapter, I hope you can see that one of the key evolutionary changes tom the be-bop style is that the time playing fiction and the comping function have gre:ty much merged. The more of less “fae” time line, with comping accents, of bop has not been replaced by some “new beat” but by a ehythmically and dynamically undulating multi voiced “pulse line.” Post-bop drummers provided the pulse that the music thrived on and therefore became the emotional energy center of the ensemble, employing a wide variery of sonic and rhythmic ideas to create ditferent textures and densities, chus dramatically affecting the mood of che music and the “color” of their ensemble’s sound. The era's prominent composers, John Coltrane, Wayne Shorter, Herbie Hancock, Orneste Coleman, Joe Henderson, McCoy Tyner and qthers, all wrote tunes that demanded that players deal with new musical landscapes. Quite a number of their compositions are, to me, cinematic in nature and reminiscent of the music of the impressionistic classical composers Ravel and Debussy. In that regard, their compositions are one step further removed from the dance rm ie that first made jazz popular, These jazz compositions paint pictures, they are mood pieces and, as such, require the use of a broad musical palerte. The searing swing of Philly Joe Jones would he inappropriate tor one of Wayne Shorzer’s = haunting melodies. The wheeling nasure of Ornette Coleman’ music couki be in Mas Roach’ apper rained ofits spice by the *o Strong be-bop routs, along wich expanded musical sensibilities, a sublime arrunemen: to the music ar hand and the willingness eo “risk it all” in search of new musical milieus. are attributes shared by the best pos Time Playing 21 become unstable and, of course, the music suffers. The following exercises are designed to resolve these issues. 1 was introduced to this help- fel material, in the 1970s while a student at the University of North Texas, by a fine play- er and teacher, the late Patil Guerrero, Paul told me that he worked on this kind of stuff with his teacher in the early 1960s, the late, great Shelly Manne. I continue to find play ing through this kind of material beneficial Practice each line until you are executing it clearly, then work towards playing each page onstop from beginning to 2nd. Once you're no longer having difficulty with each page, use these exercises to increase your endurance ~ play all the pages nonstop. Keep the ride eym= bal and hi-hat going as you turn the pages. Remember, as I explained in The Art af Bop Drumming, at speeds of « = 140 or less, your ride pattern should be phrased in triplets Between 140 and 150, depending on the tune's vibe, you will “Batten” out your pattern Above 150, your ride pater will sound best, and be most complementary to your band~ mates’ playing, when itis flatter — less triplety. Also keep in mind that your comping ideas ‘must line up with your cymbal phrasing. Your goal shouid be to build your endurance so that you can play all pages, nonstop, at. = 150+, Practice with the 32-measure loop, CD track 18 On the technical side of things, relaxation and efficiency are essential. I play with my thumb up and use very lite side to side arm motion. I have the best results while playing (on one small area of the cymbal using a more or less straight up-and-down motion. My hhand opens on beats 2 and 4 and closes on beats 1 and 3. “throw” the stick on beats 2 and 4 i.e. my wrist drops and my fingers open. [lec the stick rebound highly off the cym= bal, on beats 2 and 4, without lifting my hand. To execute the skip note and beats 1 and 3, my fingers close to pull the stick back in. All my fingers are on the stick but my fulcrum is pretty loose. I use as much of the stick’s narural rebound as possible, my cymbals are set up fairly low — so that my arms can “hang” from my shoulders — I'm not holding therm ‘up oF out away from my Body — and I maintain a relaxed, focused mindset Uptempo Srdies JL ‘vin dones J lar Uprempu Studies 25 Upsompa State * You can also go through the previous material playing the hi-hat on all 4 beats a la Tony Williams. There is no trick or magic involved in competently playing uptempos or, for that matter, any type of music. Repetitive, consistent work brings positive results. I remember playing a tune called “Caldonia” with Woody Herman's band. “Caldonia” was our uptempo flag waver closing number. The tune was a 12-bar blues and the format, after Woody sang the head, was: 4 sax solos, 2 trombone solos, 4 trumpet solos, piano solo, bass solo and final- ya deum solo during which the band would leave the stage. Some of the guys in the trum= pet section had stop watches and would time the length of each chorus during the sax solos, all the while encouraging the rhythm section to make the tempo faster than the pre~ vious night's. We seemed to settle into 6-second choruses at. = 400!! Needless to say, play- ing thar fase through 12 solos will cause fatigue and make you look for ways to est while you continue to burn i our. Bass loop ~ 8 choruses of 52-bar A-A-B-A “rhythm” changes to play along with (+ = 150). Upeen URE Ly uti As 1 mentioned in Chapter 1, in the '60s jazz rhythm sections became more adventurous and aggressive. Two of the leading shythm sections of the day, and ofall ime, were John Coltrane’, with McCoy Tyner (piano), Jimmy Garrison (bass) nd Elvin Jones (drums), and Miles Davis, with Hesbie Hancock (piano), Ron Carter (bass) and Tony Williams (Grums). These «wo thythm sections were grea at supporting, accompanying end stimes lating their soloists by creating a different feeling or,mood for each soloist on each tune, At times they would “shift gears" within 2 solo to take the music to a new level of inten Sioupings over the original tie feel. The most frequently used devices involved going directly into double-time or nto a double-time feel — the chord changes continue & eke original rate while the rhythm section plays twice as fast. The ehythm section could also change the music's intensity by shifting to half-time or into a half-time feel — the hen. ‘mony continues at the original rare while the rhythm section plays half as fas Occasionally these great rhythm sections would really caprure the imaginations of the other musicians and their audience by creating the impression ofa sudden shift into scoms pletely new tempo, not double- or half-time, but totally unrelated to the original tempo. In seality these wild shifts in tempo are not unrelated at all, but are based on a number of logical superimpositions, Here are some exercises that wil show you how to understand, recognize and develop these different time shifting devices, Mastering this material will help vou improve your ime and expand your vocabulary trie Modulation sal =f a fj Oi 4 = - - * Next, intersperse double-strokes, hand to hand a la Max Roach, with the regular pattern. (On paper this exercise looks somewhat strange, but when used sparingly it sounds fine and provides some rest: Pee nn Bete * oF * x * Re Third, break up your cymbal pattern the way Mel Lewis did at uptempos: POO GO Popoo, ac aS ¥ = zy > * Fourth, here is a device, based on the paradiddle-did vatiety ae allFempos: [elles aie) ldle sticking, chat Elvin Jones uses for pis 6D = € x

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