Jazz Soloing?

I play in the jazz band and sometimes they want me to solo during headcharts. I don't know how so I just give it to someone else. When I watch the other people do it, it seems like they're just hitting random toms and it sounds good, but when I do it, it sounds awful. Is there a certain structure to jazz soloing? What can I do to help?

While mucking about and later listening to some '50s Jazz Tracks (with drum improvisation to suit the style) I find playing by feel the best, know the theme of the song and (assuming that the other musicians are still playing their parts) accent with the bass drum and other parts of the kit with pronounciation (when you know the other musicians will accent) while maintaining the same ride/hats pattern, then when it feels right (sometimes it just does, especially when the chord changes are about to happen) a sixteenth-note-triplet quarter-/half-bar fill over the snare then toms then going back and forth to ride pattern and fill (ride pattern still on right) seems to work aswell. Experiment and practice in your free time, that thing and adjust it to the songs overall sound.

...also take notice to the solo philosophies of the other musicians, if you listen to Miles Davis, John Coltrane or Duke Ellington sax/trumpet solos they tend to let loose a flurry of notes (slightly audible wall of sound but with an effect on the solo) and the notes you really hear are the accents and the long held notes, but some musicians leave some room and just emphasise on parts of the previous played melody...

...but hey, Jazz was developed as being a free-form style (its not just a style, it's a musical interpretation) open to improvisation and change, that means that Jazz solos don't have very fixed structures but a Jazz drum solo should sound like a Jazz drum solo (hard to explain but listen to some jazz drum solos on youtube, even if it is by Budd Rich, Gene Krupa or by some amateur youtube drummer)).

Explaining solos is hard, not just that drummers have secrets but that explaining it to some-one else tends to be quite obscure/vague if they don't already know your way of thinking. (damn it again, a vague sentence).

Woogie, Stan posted this bop number:

http://www.drummerworld.com/forums/showthread.php?t=54825

I like the way he sets up his solos late in the piece; there's already a lot going on between the fours and the musical conversations remain lively pretty well all the way through.

I'd be interested in Stan's thoughts on this topic.

Think in terms of melody - literally try singing melodies as you play. This is where listenign to as much jazz as possible is so important. When listening, pay attention to how other soloists, on all instruments, tell a logical story through the rhythm of the melodies they play.
Thinking in this way gets rid of the pressure of thinking about regurgitating chops for however many bars; you should only be thinking about a melodic expression. Keep it simple, as well: if it's melodic it will still sound pleasing.

that's true about the melody. my drum teacher is always talking about that. he says in a jazz drum solo you should be aware of the melody of the tune as you play your solo. if you listen carefully, all the other instruments are doing that too in their solos. everyone is playing something more or less complimenting or inspired by the main melody and rhythm of the tune, and you can do that too in your solo.

I third that... riff off the melody and keep it simple, but slam those half note accents when called for.

Jones, I noticed your avatar... just got tickets for ZAPPA PLAYS ZAPPA...

I started by learning and imitating other peoples solo. I know this doesn't follow the melody but it will show you how other people do it and when you get good at it you can add it to your repertoire. Then you can keep what you like and add in what you like.

First thing you have to be focused on if trading or soloing within a tune based jazz concept is playing within or over a form structure around the melody or head as they are called.

Next step is lots of trial and error practice and application alone and in a ensemble setting and LISTENING to lots of how the greats did it picking up on some ideas on what needs to be worked on musically speaking.

A good drum teacher putting you in the right direction and what's important to focus on in this area would be a great asset too.

Steamer said:

Next step is lots of trial and error practice and application alone and in a ensemble setting and LISTENING to lots of how the greats did it picking up on some ideas on what needs to be worked on musically speaking.
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Click to expand...

I've mastered the trial and error part. Especially the errors.