Food for Thought: Rules of Improv

She really is a boss

Food For Thought

This series of posts is all about trying to approach music in a new way.  In my last post in Food for Thought, I discussed some alternate possibilities to always playing head-solo-head.  In today's post I am going try to get some inspiration from a source entirely outside of the world of music.

The Rules of Improvisation

My wife (an improv enthusiast and the source of the link to the left) and I sometimes have conversations about the similarities between improv comedy and improvised music.  So today's ideas come from these conversations as well as a somewhat unexpected source, Tina Fey's new book "Bossypants".  The entire book is hilarious, but the thing that really caught my attention were her "rules of improvisation".  I will share these rules with you and try to highlight how these same rules apply to jazz drumming.  

1.  Always Agree

The underlying idea to this rule is that in order for improv to work, you have to "respect what your partner has created".  This builds up a foundation of trust so that a group can work together and create something.  

Our man Higgins

I think the wisdom of this rule is immediately clear to any jazz musician.  If you don't listen to and respect what your band-mates are doing, the atmosphere on the bandstand will become poisonous.  I think "respecting what your partner has created" is especially the case for drummers.  We are primarily accompanists; our job is to make a soloist sound as good as we possibly can.  A great drummer can lift the music of an entire band if they respect what the band is doing and work with it.  Conversely, a drummer with a dismissive or contrary attitude who refuses to acknowledge what is going on around them can sabotage even the best of bands.

When I think of drummers who could "always agree" and uplift a band with their beautiful attitude, Billy Higgins springs to mind.  This man was a living example of "always agreeing", and this ability of his allowed him to play a stunning range of music, from straight-ahead to avant-garde and everything in between.

The Fundamentals of Jazz Drumming Part Two

Here is the second installment of my series on the fundamentals of jazz drumming.  This time the topic is comping, and I will take you through my approach to learning how to comp.  Here is the recording used in the exercise:

For more on my approach to comping in the cracks, check out this earlier post.

Philly Joe #11: Trading 4's and 8's with the Melody

How to practice trading 4's

I have had a number of conversations recently about how to practice trading 4's, so I wanted to share an exercise from my forthcoming book "Melodic Syncopation" that I give to my students who are struggling with this issue.  I have found that this exercise is so effective because even though it is difficult at first, it gets as close as possible to simulating actual performance.  Here it is:
Philly Joe #11

The Philly Joe Beat

The Miles Davis Quintet

Miles Davis' first great band with Philly Joe on drums has become the standard for hard bop drumming.  Given the central role that this band plays in the history of jazz, it is important for every drummer to spend time listening and learning from the great Philly Joe.  If you haven't checked this group already, the epochal prestige recordings and the album "Milestones" are the best place to start. 

The Philly Joe Beat

In today's post we are going to be exploring one particular element of Philly Joe's playing that he popularized during his tenure with Miles, the Philly Joe beat.  This beat is a thick sounding cross-stick played on beat four that replaces the usual snare drum chatter, typically used during a piano solo.  In the example below from "Billy Boy" on the album "Milestones", Philly Joe starts playing the beat around 2:00.