A WORKBOOK for Applied Drumset Students A

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The Evolution of Jazz Drumming A WORKBOOK For Applied Drumset Students

Edited by Joe Bergamini Executive Producers: Rob Wallis and Paul Siegel Book Design and Layout by Rick Gratton Music Engraving by Danny Gottlieb and Rick Gratton Transcriptions & Interpretations by Danny Gottlieb and Philip Gillette Cover photo: Zutty Singleton Cover Design by Mike Hoff Editorial Assistance: Willie Rose Photography: Featuring the photos of Mitchell Seidel, Richard Laird, and Rick Mattingly

Additional photographs provided courtesy of Zildjian Cymbals, Modern Drummer Publica- tions Inc., the Lamond family, Kimo Williams, Paolo Jammarrone, and the author.

Additional photo research and procurement: Dr. Bruce Klauber

Catalog: HDBK28/HL06620155 ISBN: 1617742732

All DVD clips included in this package are taken from previous Hudson releases: Classic Drum Solos Volume 1, Classic Drum Solos Volume 2, Classic Jazz Drummers, and Gene Krupa: Swing, Swing, Swing.

© 2010 Hudson Music LLC International Copyright Secured. All Rights Reserved. No part of this publication may be reproduced in any form or by any means without the prior written permission of the publisher. www.hudsonmusic.com 1 ABOUT THE DVD

The DVD included with this book includes clips of the following drummers, which are discussed on the indicated pages later in the book:

Page Page 1. Baby Dodds 23 12. Art Blakey 112 2. Gene Krupa 40 13. Stan Levey 119 These video clips have been culled from the Hudson 3. Papa Joe Jones 48 14. Philly Joe Jones 124 Music DVDs Classic Drum Solos, Classic Drum Solos 2, Classic Jazz Drummers, and Gene Krupa: Swing, 4. Buddy Rich 53 15. Mel Lewis 131 Swing, Swing. For many more vintage clips of the mas- 5. Big Sid Catlett 61 16. Gus Johnson 140 ter jazz drummers contained in this book (and other jazz 6. Don Lamond 70 17. Sonny Payne 145 masters as well), please check out these videos. 7. Louis Bellson 75 18. Rufus “Speedy” Jones 152 Visit www.hudsonmusic.com for more information. 8. Panama Francis 80 19. Sam Woodyard 156 9. Kenny Clarke 85 20. Joe Morello 164 10. Kenny Clarke 85 21. Elvin Jones 184 DVD Credits: 11. Shelly Manne 96 22. Harold Jones 204 Clips selected and analyzed by Danny Gottlieb Edited by Phil Fallo © Hudson Music 2010

ABOUT THE MP3 DISC The MP3 disc included with this book is a data/MP3 disc. It will play in a CD player that can read MP3 discs, or it can be loaded into your computer and opened/played with any MP3 or music software such as iTunes. Please note that every transcription in the book contains the related track number on this disc, written in the upper left- hand corner above the transcription. These practice tracks are designed for repeated listening and study, are taken directly from the video performances. Many are provided at a variety of speeds for in- tense analysis. The number listed on each track and practice exercise title on the MP3 disc indicates the percentage of speed relative to the actual performance (100%) An indication of 50% would mean that the track is at half the speed of the original performance. 88% would mean 88% of the actual performance. As some tracks are more intricate than others, the percentages are varied by exercise in order to provide a variety for study and analysis. I recommend that you load the CD into your computer and import it into your music library via iTunes. The track titles have been clearly named and labeled in iTunes. The actual filenames of the MP3 files are lettered with letters in front of the title to force your CD player to play the tracks in order, should you choose to insert the disc into a CD player. ! INSPIRATION ! SUGGESTED RESOURCES ! GUIDE FOR APPLIED DRUMSET STUDENTS ! THE DRUMMERS ! GOALS ! VIDEO, AUDIO, and BIO ! THREE PRACTICE LEVELS ! EXERCISES and ETUDES INTRODUCTION Welcome to the Evolution of Jazz Drumming: A Workbook. This text is designed as a guidebook to help you define, analyze, and study the most important innovators in jazz drumming. It features a jazz drummer timeline, audio and video recordings, practice exercises and transcriptions based on these recordings, drum charts, and solo performance etudes in the style of each drummer.

The need for this complete study guide became apparent through my teach- ing experiences at the University of North Florida. As I enter my sixth year, now as an Associate Professor of jazz studies and drumset instructor, I have observed that even though most students have an idea about jazz drumming, many are missing some basic historical elements and an awareness of the contributions of the most important jazz drummers. This book will help to fill in the gaps, and provide the study tools needed for this analysis in one volume. It is meant to be a comprehensive overview and a starting place for a greater understanding of these influential jazz drumming masters.

INSPIRATION A main source of inspiration for this book comes from the Mel Lewis/Loren Schoenberg “History of Jazz Drumming” radio recordings. In 1989, legendary jazz drummer Mel Lewis presented eight three-hour radio programs where he and Loren Schoenberg listened to and discussed in detail the major figures of jazz drumming. The idea of presenting a drum history stems from these recordings, and I have used these priceless interviews as my main source of jazz history instruction. I hope that these discussions will be available to the public in the near future.

GUIDE FOR APPLIED DRUMSET STUDENTS: ONE DRUMMER PER WEEK This book is designed as a guide and workbook for the introductory-level study of jazz drumset history for the college-level applied drumset student. It can also be used by a high school or middle school student wishing to pre- pare for entry to a university as a jazz drumset major. It is designed to be studied based on a typical 15-16 week college semester. The book features 31 drummers, and the suggested study pace is one drummer per week: 31 weeks of work for a one-year college-level practice method. A teacher (or motivated student) can just assign one drummer per week for a one-year comprehensive study. Of course, you can (and should) take more than a week per drummer, depending on time constraints. The main thing is that for those who don’t know these drummers, this is a place to start!

As your knowledge and inspiration grows, please use this book as a spring- board; it’s just the beginning.

12 INTRODUCTION ! 13

GOALS The goal of this book is to provide you with an introduction to these 31 historically important jazz drummers. Upon completion of study, a student should know: 1. The names of all the drummers. 2. The eras, styles, groups, and significant recordings associated with each drummer. 3. An overview of each drummer’s style. 4. Some of the characteristics found in the playing of each drummer that are interesting, and that can be added to the student’s repertoire of ideas.

THREE PRACTICE LEVELS The amount accomplished depends on the student’s work ethic, goals, in- ventiveness, and time constraints. Please use the many resources available to their fullest extent! With that in mind, I have created a variety of suggested levels of study for each drummer:

Level 1 (Basic): Learn the name of the drummer, practice the exercises with the audio, practice the excerpts, watch the video.

Level 2 (Intermediate): Learn the name of the drummer, practice the exercises with the audio, practice the excerpts, watch the video, research more about the drummer: make a list of recordings, listen to the recordings and watch other videos of the drummer’s performance.

Level 3 (Advanced): Learn the name of the drummer, compile an outline based on the drummer’s life, practice the exercises with the audio, practice the excerpts, watch the video, research more about the drummer: make a list of recordings, listen to the recordings, watch other videos of the drummer’s performance, transcribe (write down) an additional solo or time transcription, and practice the transcription. Listen to a full recorded performance with a group, and write down every significant musical event that occurs from the drummer’s standpoint (starts on brushes, switches to sticks, plays hi-hat on two and four, plays “and” of four at end of phrase, etc.), like a term paper or essay. Other suggestions are to listen to performances at a different point in the drummer’s life, or different performances of the same song. Keep a log of significant points to note, and discuss all with your teacher.

SUGGESTED RESOURCES Books: Two books that are must items are Burt Korall’s Drummin’ Men, Vol. 1 (The Heartbeat of Jazz, The Swing Era), and Vol. 2 (The Bebop Years). Drummers featured in these volumes include Chick Webb, Gene Krupa, Buddy Rich, Dave Tough, and many more.

Videos: Hudson Music offers a complete resource of video material for further study. You can also research websites such as YouTube and Drummerworld. 14 ! INTRODUCTION THE DRUMMERS The drummers picked for this study are musicians that I and the editors consider the main innovators associated with the history of jazz. There are, of course, so many drummers from each era who have made valuable contributions and innovations that have not been featured in this basic overview. A recommended study list with some of these additional drummers is provided.

VIDEO, AUDIO, and BIO The video clips on the disc included this book were all previously released by Hudson Music, and they have been excerpted from four compilation DVD packages: Classic Drum Solos Vol. 1 and 2, Classic Jazz Drummers, and Gene Krupa: Swing, Swing, Swing. There are many more video clips contained in these volumes which are suggested as further reference for drumset study. They are repackaged here for the purpose of analytical and chronological study.

The audio practice tracks in the book are taken directly from these video clips. They are presented as full excerpts, and as individual practice exercises at various speeds for analysis. The biographical information has been compiled from easily accessed internet sources (Drummerword, Red Hot Jazz), and Burt Korall’s Drummin’ Men. Please consult these sources for more detailed information.

Throughout the text, “time feel” refers to the combination of cymbal, bass drum, snare, and hi-hat rhythms which make up the drummer’s part of the overall performance of the rhythm section. The variations of the time feel played by a jazz drummer when playing in a musical ensemble is called “comping” (taken from the word “accompanying”). Classic examples of comping in the “jazz language” can be found in the included video examples and time transcriptions. As you work through the book, notice that drummers from different eras “comped” in a variety of ways. One of the innovative and defining characteristics of be-bop drumming was the concept of comping with syncopated rhythms, using both the bass drum (called “drop- ping bombs”), snare drum, and (later) the hi-hat.

EXERCISES AND ETUDES The etudes and study exercises and examples are inspired by the great drummers on these videos and recordings. They are not to be considered exact transcriptions, but are in the style of each master. If practiced and analyzed, they will provide you with many essentials needed for basic understanding of each drummer.

Good luck and I hope you enjoy The Evolution of Jazz Drumming: A Workbook.

Danny Gottlieb, 2010

Note: In jazz drummimg, the left-foot hi-hat is usually played on beats 2&4. Throughout the book, where the hi-hat foot is not noted, play it on 2&4.

Note: Unless otherwise written, all eighth notes in the book are to be played swung. INTRODUCTION • 15

EVOLUTION OF JAZZ DRUMMING: 31 DRUMMERS

Era: Early Jazz

1) Baby Dodds, December 4, 1898-February 14, 1959 2) Zutty Singleton, May 14, 1898-July 14, 1975 3) Sonny Greer, December 13, 1898-March 23, 1982

Era: Swing

4) Chick Webb, February 10, 1905-June 16, 1939 5) Gene Krupa, January 15, 1909-October 16, 1973 6) Papa Jo Jones, October 7, 1911-September 3, 1985 7) Buddy Rich, September 30, 1917-April 2, 1987 8) Big Sid Catlett, January 17, 1910-March 25, 1951 9) Dave Tough, April 26, 1907-December 9, 1948 10) Don Lamond, August 18, 1920-December 23, 2003 11) Louis Bellson, July 6, 1924-February 14, 2009 12) Panama Francis, December 21, 1918-November 13, 2001

Era: Bebop and Hardbop

13) Kenny Clarke, January 9, 1914-January 26, 1985 14) Shelly Manne, June 11, 1920-September 26, 1984 15) Max Roach, January 10, 1924-August 16, 2007 16) Roy Haynes, March 13, 1925- 17) Art Blakey, October 11, 1919-October 16, 1990 18) Stan Levey, April 5, 1927-April 19, 2005 19) Philly Joe Jones, July 15, 1923-August 30, 1985 20) Mel Lewis, May 10, 1929-February 2, 1990 21) Gus Johnson, November 15, 1913-February 6, 2000 22) Sonny Payne, May 4, 1926-January 29, 1979 23) Rufus “Speedy” Jones, May 27, 1936-April 25, 1990 24) Sam Woodyard, January 7, 1925-September 20, 1988 25) Jake Hanna, April 4, 1931-February 12, 2010 26) Joe Morello, July 17, 1928- 27) Jimmy Cobb, January 20, 1929- 28) Tony Williams, December 12, 1945-February 23, 1997 29) Elvin Jones, September 9, 1927-May 18, 2004 30) Jack DeJohnette, August 9, 1942- 31) Harold Jones, February 27, 1940-

DRUMMER STUDY WORKSHEET This worksheet is designed to help organize your weekly study, and to keep a record of your accom- plishments. For each of the 31 drummers you can note: the date on which you worked on each drummer; the exercises on which you worked (or simply check the box when you have completed all exercises); the transcription measures practiced (or again check the box when you have completed practicing the transcription); the video (I would check the box to indicate that you watched the video); other recordings studied (refer to level 2 on page 17); other transcriptions written and played (refer to level 3 on page 13). I also suggest keeping all of your transcriptions, exercises, and practice notes in one folder. Page pro- tectors are also helpful in preserving and organizing your work. Remember, the recommended course of study is one drummer per week. INTRODUCTION ! 47 PAPA JO JONES

Photo by Mitchell Seidel 48 ! INTRODUCTIONINTRODUCTION !!ETUDEETUDE 66 !! PracticePractice ExercisesExercises !! TranscriptionsTranscriptions InIn TheThe StyleStyle OfOf “Louise” “Louise” andand “Love“Love MeMe oror LeaveLeave Me”Me” SolosSolos PAPAPAPA JOJO JONES October 7, 1911 -September 3, 1985 66 Jo Jones is best known for his playing with the Count Basie Band, and is credited as hav- ing influenced all jazz drummers by shifting the timekeeping role of the drums from the bass drum to the hi-hat. A member of the Al- abama Jazz Hall of Fame, Jo played with Walter Page’s Blue Devils in Oklahoma City in the late 1920s, and, after working with Lloyd Hunter’s band in Nebraska, moved to Kansas City in 1933. Joining Basie’s band in 1934, Jo went to New York with Basie in 1936. Along with Count, guitarist Freddie Green, and bassist Walter Page, they formed one of the greatest jazz rhythm sections of all time, known as the All-American Rhythm Section. Jo Jones played with the Basie band until 1948 (except for 1944-1946, when he was in the military service). He also performed in many Basie reunions, and on some of the Jazz at the Philharmonic tours. In the 1950s he recorded with Illinois Jacquet, Bil- lie Holiday, Teddy Wilson, Lester Young, Art Tatum and Duke Ellington. Jo also recorded many albums as a leader, and appears in a number of jazz videos.

When I first moved to New York, I had the pleasure of meeting Jo several times, mainly at Frank Ippolito’s Drum Shop in Manhattan. He seemed to be in there every time I stopped by, referring to us students as “young talent”. Shortly before his passing, drummer/author/educator Rick Mattingly and I helped Jack De Johnette and his wife Lydia Photo courtesyPhoto Zildjian of lug a Sonor drum set up a bunch of stairs to give it to Jo a present. Rick and I gave him a checkerboard, as Joe Morello always mentioned that Jo liked to play checkers.

VIDEO, DRUM CHART, and ETUDE 6

The video clip is taken from Hudson Music’s Classic Jazz Drummers. The etude, in the style of the beginning 16 bars of his solo, is a chance to study Jo’s legendary hi-hat playing. He also plays a classic “over-the-bar-line” rhythm, a style further developed by Roy Haynes (who cites Papa Jo as a big influence). The practice exercises are variations on this pattern. The second and third etudes are based on two incredible Jo Jones solos, interpreted in the style of Jo Jones by Phillip Gillette. The first is “Louise,” and the second, “Love Me or Leave Me.” 48 (PAPA) JO JONES ! 49 50 ! (PAPA) JO JONES (PAPA) JO JONES ! 51 94 ! INTRODUCTION

SHELLYSHELLY MANNEMANNE

West Coast drummer Shelly Manne makes a rare appearance at the Village Vanguard in New York City. 96 ! DAVIDINTRODUCTIONINTRODUCTIONSHELLY “PANAMA” MANNE FRANCIS ! ETUDE 14 ! Practice Exercises ! “Shelly Manne Blues” SHELLYSHELLY 1414 MANNE June 11, 1920 - September 26, 1984 Known as the quintessential West Coast drummer, Shelly Manne was a great player who was associated with the development of modern jazz. He was known for his versatility in a wide range of styles: jazz, swing, be-bop, Dixieland, avant-garde and, fusion, and was also a top studio musician who performed on hundreds of tele- vision and movie soundtracks and commercials.

Shelly Manne’s father was a percussionist, and the young Shelly grew up admiring Jo Jones and Davey Tough. Manne developed his style playing in New York clubs in the late ’30s and ’40s. His first professional job was with the Bobby Byrne Orchestra in 1940. He married a Radio City Rockette named Florence in 1943, and their marriage lasted 41 years, until his death.

Manne was a be-bop pioneer. Performing with Charlie Parker and Dizzy Gillespie, he became well known in the late 1940s and 50s for

his performances with the big bands of Woody Herman and Stan courtesyPhoto Zildjian of Kenton. In the early 1950s, Shelly moved to Los Angeles, where he and his wife raised horses. He played a major role in the develop- Shelly Manne at the Zildjian factory. ment of West Coast jazz, perfoming and recording with Shorty Rogers, Art Pepper, Russ Freeman, Chet Baker, and many more. During his career he recorded with an incredible list of major jazz figures, including two albums with Sonny Rollins, two with pianist Bill Evans, and others with Benny Goodman, Ornette Coleman, and Coleman Hawkins. In addition, he owned a jazz club—Shelly’s Manne Hole—and many live recordings from the club are still available. Studying Shelly Manne will provide an unending journey of incredible musicality and invention. I discovered a Contem- porary records release of Shelly and pianist Russ Freeman playing duets.

I also recently discovered an incredible book about Shelly’s life, which I highly recommend, called Sounds of the Different Drummer. I think it is one of the most inspiring biographies I have ever read. It details his start in the music world, and how he became one of the greatest drummers who ever played the instrument. It also documents his recording career. Shelly listened to Jo Jones, Dave Tough, Buddy Rich, Sid Catlett, and Gene Krupa—but would end up making more recordings than all those drummers combined!

Shelly Manne: Sounds of the Different Drummer was written by Jack Brand and Bill Korst, and published by Percussion Express, Rockford IL 61110. It can be purchased through the Percussive Arts Society Mu- seum in Indianapolis, IN (www.PAS.org).

The first etude is written in the style of Shelly’s solo from the video clip; it’s called “Shelly Manne Blues.” The second is written in the style of Shelly’s solo from a live recording with pianists Bill Mays and Alan Broadbent and VIDEO and ETUDES bassist Chuck Domanico called Live at Carmelo’s. The inspiring track is “Lennie’s Pennies” (written by Lennie Tris- tano), and I call this solo etude “Shelly’s Pennies.” Note: Exercise 14B is a solo transcription, and 14C is the 96 out-chorus played after the solo. SHELLY MANNE ! 97 98 ! SHELLY MANNE SHELLY MANNE ! 99 Photo courtesyPhoto of Modern Drummer

Promotional photo from Leedy Drums featuring Shelley Manne. 100 ! SHELLY MANNE 176 ! INTRODUCTION INTRODUCTION ! 176

TONYTONY WILLIAMSWILLIAMS

Photo by Rick Mattingly TONYINTRODUCTIONKENNYMEL WILLIAMS LEWIS CLARKE ! 177 ! ETUDE 28 ! “The Eye of the Hurricane”” ! “Promethean” TONYTONY December 12, 1945 - February 23, 1997 WILLIAMS2288 Tony Williams forever changed the way drummers would approach jazz when he came to fame playing with Miles Davis, when Tony was just 18 years old. He recorded many classic jazz recordings with Miles, including Live in Antibbes, Four and More, ESP, Nefertitti, Filles de Killemanjaro, Miles in the Sky, Miles Smiles, and In a Silent Way.

Born in Chicago, Tony grew up in Boston, and cites Philly Joe Jones, Art Blakey, and Max Roach as his major influences. His teachers included Alan Dawson. He began playing professionally at age 13 with Sam Rivers, and was hired by Jackie McLean when he was 16.

His association with Miles from 1963 through 1968 is legendary, and in 1969 Tony formed his own band, Lifetime, with John Mclaughlin and Larry Young. It was one of the earliest and most influential bands in jazz fusion.

Tony also played with Jack Bruce and Allan Holdsworth, and in the mid-1970s, he was part of a Miles Davis’ reunion band called V.S.O.P. A prolific solo artist, Tony continued to perform, record, and com- Photo courtesy of Zildjian pose until his passing in 1997.

Tony Williams was a major influence for all of us who started playing in the late ’60s. I remember listening to Four and More with Pat Metheny at the University of Miami, and just being awed. The recordings with Miles are fresh-sounding today, and are historically some of the most important in jazz history. I met Tony casually through the years, and he was always cordial. At the 1987 Perugia, Jazz Festival in Italy, Tony was there with his group, and I gave myself a treat by sitting in the press section, just in front of Tony’s bass drum. It was an unbelievable expe- rience. Tony’s legacy is an essential part of jazz drumming history. Photo by Mitchell Seidel by Photo

Tony Williams in a rare drum clinic appearance. TIME EXERCISE and ETUDE

The time exercise is in the style of Tony’s playing on “Eye of the Hurricane.” The solos are in the style of Tony’s solo trades in the song “Promethean,” from the album Young At Heart. 177 180 ! TONY WILLIAMS TONY WILLIAMS ! 181 182 ! TONY WILLIAMS

Note: Try playing Tony’s solo ideas with the left-foot hi-hat on 2 & 4, and on all 4 beats.

Tony often played the h-hat on all beats in the bar.