...for the jazz cats ...

I saw that group when they played Atlanta. I was so looking forward to it that there wasn't any way it could have fulfilled my expectations, and it didn't. In fact it was rather stilted, like there was some trouble on stage, egos at play, something like that. Whatever, it just didn't gel, and when you think about it how could it have?

totally understand how that could have been J
lots of egos up there I guess
and from what I have heard Tony was not the easiest person to deal with
 
I feel like I will never "finish" the book 'Beyond Bop Drumming'.
There are days where I play through pages and pages and the next day I find myself relearning those pages or exercises again.

I'm learning so much from the book, and its really broaden my playing.
I have loads of fun playing Jack DeJohnettes transcriptions. For the 10 seconds I play the 4 bars of his comping, makes me feel happy to be playing something he played, note for note. I don't know, it kind of dismistifies what is a baffling at times to hear. That man is a genius.

Sorry for the random post! :)

I feel you my man

that book is so packed with knowledge it feels like it never ends ....Ill work on a chapter.....then after a few months I go back to that chapter and re work it again and learn more than I did the first time

I agree.....I feel so amazing inside when I play the Jack and the Elvin transcriptions on that book.
it fills me with joy and excitement every single time

I feel like I will forever be working out of all 3 of Mr. Rileys books.....but especially Beyond Bop and Jazz Drummers Workshop

they have opened my eyes to so many things and I am forever thankful that they exist
 
What I love about the way Roy plays Stolen Moments is his pickup note with the brushes. We've talked about playing in the cracks between straight and swung 8th notes, but Roy goes to the other side and plays it like a dotted 8th note. It's very compressed and gives it a feel that contrasts beautifully with the very swung phrases the rest of the band are playing.
 
What I love about the way Roy plays Stolen Moments is his pickup note with the brushes. We've talked about playing in the cracks between straight and swung 8th notes, but Roy goes to the other side and plays it like a dotted 8th note. It's very compressed and gives it a feel that contrasts beautifully with the very swung phrases the rest of the band are playing.

I love that

it gives that tension and release ...... similar to the little 16th note flutters you hear guys like Elvin Jones, Jack DeJohnette , Roy Haynes and the like play while comping
 
I actually don't understand why he played the pickup a bit straight. I think I would have preferred it swung more conventionally, though for all I know he might have tried full swing at first and found it didn't work as well. I loved his dynamics and eloquence, though.
 
I actually don't understand why he played the pickup a bit straight. I think I would have preferred it swung more conventionally, though for all I know he might have tried full swing at first and found it didn't work as well. I loved his dynamics and eloquence, though.
I think it adds a lot. This was an eclectic bunch of musicians. Dolphy was pretty progressive, but when he's not soloing, I think a straighter swing might have been almost corny. Roy's feel kind of bridged Eric's "out" with the others' "in the tradition."

I agree with Gvd's assessment: Tension and release. So, so, so important to the feel of the music. It takes a master with an appreciation for nuance like Roy to really play with that and know when it fits the bill.
 
I feel you my man

that book is so packed with knowledge it feels like it never ends ....Ill work on a chapter.....then after a few months I go back to that chapter and re work it again and learn more than I did the first time

I agree.....I feel so amazing inside when I play the Jack and the Elvin transcriptions on that book.
it fills me with joy and excitement every single time

I feel like I will forever be working out of all 3 of Mr. Rileys books.....but especially Beyond Bop and Jazz Drummers Workshop

they have opened my eyes to so many things and I am forever thankful that they exist


I was actually thinking of getting 'Drummers Workshop'.
Can you tell me if it goes more in depth about 3/4 and 5/4 jazz drumming?

I wanted to get a book that covered those topics, and I don't know if I should get that one or Steve Fidyks 'Jazz drum set independence'.
 
I was actually thinking of getting 'Drummers Workshop'.
Can you tell me if it goes more in depth about 3/4 and 5/4 jazz drumming?

I wanted to get a book that covered those topics, and I don't know if I should get that one or Steve Fidyks 'Jazz drum set independence'.


yes there are 4 whole chapters on odd time jazz playing

lots of comp idea and solo ideas

focusing mainly on 5/4

the book is amazing ...I highly recommend it

if you like his other books you will love this one

here is an awesome video of our very own Drummerworld board member dmacc playing a transcribed Elvin solo from this very book

http://www.youtube.com/watch?v=M26mnXhetwE&feature=youtu.be
 
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