Beginning Improvisation Part 3

Two new elements

In the last post in this series we discussed using in eighth notes and dynamics.  In today's exercise we are going to be dealing with two new elements, sixteenth notes and orchestrating rhythms around the drums. 

Uptempo Jazz 3: Ulysses Owens

This particular post is more for inspiration than a specific exercise.  That being said, there are some big lessons to absorb from Ulysess's fantastic uptempo playing.  

1.  Clear brush sound

First, his big and clear brush sound at this absurd tempo.  This brush playing is reminiscent of Kenny Washington, another drummer who I plan to feature in the uptempo jazz series and someone who everyone should definitely check out if you haven't already!  

Getting Into A College Jazz Program: Part 1

Demystifying the college application/audition process

For any student going through the college admission process there is always going to be a great deal of uncertainty and anxiety.   But one of the most daunting of college admissions processes has got to be the jazz audition.  Because I have gone through this process myself, and because I have helped many private students through this process, I want to start demystifying the application/audition process for those of you out there who are going through it now. 

The Moeller Stroke: Jeff Hamilton style

The original inspiration for this technique comes from a fantastic Ray Brown trio album called "Black Orpheus" featuring Jeff Hamilton and Gene Harris.  On the the opening track "The Days of Wine and Roses", Jeff plays some phenomenal rolls around the drum set.  There is a similar sort of roll at around 1:50 in the video above.  The following exercises will help you work your way towards this technique using a variation of the Moeller stroke. 

Space: The final frontier

Letting the music breathe

Music is all about timing.  It's not just about the notes you play, it's about when you play them.  The key to timing is leaving space in your playing, because space lets the music breathe.

In an earlier post I talked about how successful drumming was similar to successful speaking.  In that case I was talking about dynamics, but the same can be said of leaving space.  Leaving space between words or phrases when you are speaking emphasizes what you are saying.  Similarly, leaving space in music emphasizes what you are playing. 

Lewis Nash: This is also what I am talking about

This video, just like the last post about Ari Hoenig, is an example of a master drummer with a really clear melodic concept.  This time it is Lewis Nash accompanying his own singing.  Although the ability to be able to do a vocal performance of this caliber is impressive, the main point is that Lewis is really able to really hear these lines and can respond to them appropriately. 

Ari Hoenig: This is what I am talking about

 

Soloing over form

This is an excellent explanation of some of the techniques of melodic drum soloing architecture from the earlier Max Roach post.  It also means a lot to hear this from Ari who is a real master of this type of playing.   

For more lessons from drummers like Eric Harland and Ralph Peterson check out jazzheaven.