In This Book

2 ! INTRODUCTION

ABOUT THE DISCS (DVD, MP3) ______________________________________________________6

ABOUT THE AUTHOR ______________________________________________________________11
INTRODUCTION ________________________________________________________________12
Inspiration, Guide For Applied Drumset Students: One Drummer Per Week 12 Goals, Three Practice Levels,
Suggested Resources 13 The Drummers; Video, Audio, and Bio; Exercises and Etudes 14 Evolution Of
Jazz Drumming: 31 Drummers, Drummer Worksheet 15 Drummer Study Worksheet Part 1 16 Drummer
Study Worksheet Part 2 17 Jazz: The Great American Art Form 18 The Beginnings Of Jazz Drumming
18 Jazz Drums: Basic Timeline 19

ERA: EARLY JAZZ................................................................................................................. .......22

WARREN “BABY” DODDS __________________________________________________________23
Etude 1a. “Baby’s Tom Tom” 24 1b. Baby Dodds Practice Exercises 25 Audio Interpretation
and Etude 1c. 26 Etude 1c. The Solo Style of Baby Dodds 27
ZUTTY SINGLETON________________________________________________________________31
Etude 2a. Zutty Singelton Jungle Solo #1, Etude 2b. Zutty Singelton Jungle Solo #2 32
SONNY GREER __________________________________________________________________34
Etude 3 Sonny Greer 12-Bar Blues Solo 35

ERA: SWING...................................................................................................................... .......36

CHICK WEBB __________________________________________________________________37
Etude 4. Chick Webb’s “Liza” 38
GENE KRUPA ____________________________________________________________________40
5a. Gene Krupa Practice Exercises 42 5b. Gene Krupa’s Fills On “Don’t Be That Way” 43 5c. Gene
Krupa: Boogie Chart and Solo Excerpt 44 Etude 5d. Gene Krupa 45
PAPA JO JONES __________________________________________________________________48
Etude 6a. Jo Jones Hi-Hat Solo, 6b. Jo Jones-Inspired Practice Exercises 49 6c. Jo Jones’ “Louise” 50
6d. Jo Jones’ “Love Me or Leave Me” 51
BUDDY RICH____________________________________________________________________53
Danny’s Notes 54 7a. Buddy Rich Practice Exercises 56 Etude 7b. Buddy Rich Solo 59
BIG SID CATLETT ________________________________________________________________61
8a. Big Sid with Louie 62 8b. Sid Catlett Practice Exercises 63
DAVE TOUGH____________________________________________________________________65
Ed Metz Jr. and Dave Tough’s Recorded History, Solo Etude 66 Etude 9. Dave Tough: “Oh, Baby” 67
DON LAMOND __________________________________________________________________70
10a. Short Solos with Don Lamond, Louie Bellson and Lionel Hampton 71 Etude 10b. Don, Louie and
Hamp 72
LOUIS BELLSON__________________________________________________________________75
Etude 11a. Louis Bellson Solo 76 11b. Louis Bellson Practice Exercises 77
DAVID “PANAMA” FRANCIS ________________________________________________________80
12. Chart: Panama Boogies with Cab 82

ERA: BE-BOP and HARD BOP.......................................................................................................84

KENNY CLARKE __________________________________________________________________85
13a. Kenny Clarke Practice Exercises, Etude 13b. Time Study: Kenny Clarke Comping 86 13c. Kenny
Clarke Time and Solo Practice Exercises 90 Etude 13d. Kenny Clarke: Trading 12-Bar Blues Drum Solo 91
Chart 13e. Kenny Clarke 1966 93
 3
SHELLY MANNE __________________________________________________________________96
14a. Shelly Manne Exercises 97 Etude 14b. “ Shelly Manne Blues” 98 14c. “Shelly Manne Blues”-
Out Chorus 99 Etude 14d. Shelly Manne: “Shelly’s Pennies” 100
MAX ROACH ____________________________________________________________________102
15a. Max Roach; “I Remember April” 103 Etude 15b. Max Roach: “Joy Spring” 104
ROY HAYNES ____________________________________________________________________106
16a. Roy Haynes: “In Walked Bud” 107 16b. Roy Haynes: “Steps-What Was” 108
ART BLAKEY ____________________________________________________________________112
17a. Art Blakey Practice Exercises 113 Etude 17b. Art Blakey Hard Bop 114 17c. Art Blakey Hard Bop
Drum Chart 115 17d. Art Blakey/Freddie Hubbard: “Ugetsu” 116
STAN LEVEY ____________________________________________________________________119
18. Chart: Stan Levey: Be-Bop in the Style of “All The Things” 120
PHILLY JOE JONES ________________________________________________________________124
19a. Philly Joe Jones Practice Exercises 125 Etude 19b. Philly Joe Jones 126 19c. Philly Joe Jones:
In the Style of “Dear Old Stockholm” 127 19d. Philly Joe Jones “Three Way Split” 128 19e. Philly Joe
Jones: “Lazy Bird” 129
MEL LEWIS ____________________________________________________________________131
Danny’s Notes 132 20a. Mel Lewis Practice Exercises 135 20b. Mel Lewis Chart and Solos 137
GUS JOHNSON __________________________________________________________________140
21. Gus with Basie 141
SONNY PAYNE __________________________________________________________________145
22a. Sonny Payne Practice Exercises 146 22b. Chart: Sonny Payne, Fast, with Basie 147
RUFUS “SPEEDY” JONES____________________________________________________________152
23a. Rufus Jones Practice Exercises 153 Etude 23b. Rufus “Speedy” Jones 154
SAM WOODYARD ________________________________________________________________156
Etude 24. Sam Woodyard 157
JAKE HANNA ____________________________________________________________________159
25a. Jake Hanna, Part 1 160 25b. Jake Hanna, Part 2 161
JOE MORELLO __________________________________________________________________164
26a. Joe Morello Practice Exercises 165 Etude 26b. Joe Morello Solo in 5/4 166
JIMMY COBB __________________________________________________________________170
27a. Time In the Style of “So What” (Miles Davis) 171 27b. Easy Blues Comping: In the Style of “Fried
Pies”(Wes Montgomery) 172 27c. In the Style of “Four” (Joe Henderson) 174
TONY WILLIAMS ________________________________________________________________177
28a. Time Etude: Tony Williams: “The Eye of the Hurricane” 180 28b. 8 4-Bar Solos: Tony Williams:
“Promethean” 182
ELVIN JONES ____________________________________________________________________184
Notes from Gene Perla, Note from Danny 186 29a. Elvin Jones Practice Exercises 189 29b. Elvin Jones
Time Etude: “Passion Dance” 191 29c. Elvin Jones Chart: “Swissterday” 192 29d. Elvin 32-Bar Etude 193
29e. Elvin Jones: “Marie Antoinette” 196
JACK DeJOHNETTE ______________________________________________________________199
30a. Etude Jack DeJohnette: “Bouncing with Bud” 200 30b. Etude Jack DeJohnette: “Billie’s Bounce” 201
30c. Short Solos: Jack DeJohnette’s: “It Could Happen to You” 202
HAROLD JONES __________________________________________________________________204
31a. Harold Jones Practice Exercises 205 31b. Harold Jones with Count Basie 206
FOR FURTHER STUDY ____________________________________________________________208
CONCLUSION __________________________________________________________________210
PERFORMANCE PITFALLS and PRACTICE TIPS __________________________________________211
Danny’s Worksheet 215
SOURCE LIST __________________________________________________________________220
DANNY
GOTTLIEB
Danny Gotttlieb is one of the
most popular drummers in
jazz and contemporary music.
While best known as the
drummer in the original Pat
Metheny Group, Danny has
performed and recorded with
some of the world’s greatest
musicians over the past 35
years, including Sting, Chick
Corea, Herbie Hancock, Gil
Evans, Bobby McFerrin, Gary
Burton, John McLaughlin,
Manhattan Transfer, Larry
Coryell, Stan Getz, Randy
Brecker, Lew Soloff, The
Blues Brothers, Booker T and
the MGs, Jeff Berlin, and
many more. He is featured on
over 300 CDs to date, includ-
ing four Grammy Award-win-
ning recordings. Recent projects have included an active schedule as a guest with the
NDR Radio Big Band of Hamburg, Germany, where he has been featured with Bob

B I O G R A P H Y
Brookmeyer, Steve Gray, George Gruntz, Maria Schneider, Steve Swallow, and
Carla Bley. He is also a member, along with his wife, percussionist Beth Gottlieb,
of Gary Sinise’s Lt. Dan Band (ltdanband.com), performing many USO shows
and benefits for the troops around the world. Performances have included
Afghanistan, Ft. Hood, Guantanamo Bay, Cantigny Park, Rahmstein, Korea, Oki-
nawa, and many more.

Danny also tours with Beth as the Gottlieb Duo, performing concerts and clinics
around the world. In addition, he co-leads the contemporary group Elements, with
former Metheny bassist Mark Egan.

Danny is a tenured Associate Professor of Jazz Studies at the University of North

Florida in Jacksonville, Florida. Holding a Bachelor of Music degree from the Uni-
versity of Miami, Danny has studied for over 30 years with jazz legend Joe
Morello. He has also studied with Gary Chester, Mel Lewis, Ed Soph, Jack De-
Johnette, and Bob Moses.

He is an endorser and clinician for Zildjian, Remo, LP, Drum Craft Drums, Basix
Drums, DW Pedals and Hardware, Hot Sticks, Regal Tip Brushes, Eames Drum
Shells, Alternate Mode Electronic Drum Products, Shure Microphones, Offworld
Percussion Pads and Products, and Sibelius Music Software.

11
 ! 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 de-
signed as a guidebook to help you define, analyze, and study the most im-
portant 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, leg-
endary 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 avail-
able 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 as-
sociated 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 in 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 con-
tained 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 exer-
cises 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 in-
cluded 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 ! 39

GENE KRUPA

39
5
40 ! INTRODUCTION
! INTRODUCTION
! ETUDE 5
! Practice
! Practice Exercises
Exercises

GENE GENE
! Boogie
! Boogie Chart
Chart and
and Solo
Solo Excerpt
Excerpt

KRUPA January 15, 1909 - October 16, 1973

Gene Krupa will always be known as the drummer responsible for making the drums a solo instrument.
Born in Chicago, he started playing drums at
age 11, as they were the cheapest item in the
music store where he and his brother worked.
After entering high school in 1923, Gene be-
came friends with some musicians who be-
came known as the “Austin High Gang,”
many of whom would later appear on Gene’s
first recording. He joined the musician’s
union in 1925, and performed with local mu-
sicians in commercial bands and at after-
hours jam sessions. During this time, Gene
was highly influenced by Zutty Singleton and
Baby Dodds.

Gene’s first recording session was in 1927,

and it is considered the first time a drummer
ever used a bass drum on a record (most en-
gineers had been afraid to record it). He
moved to New York in 1929, and performed
in the pit band of the musical Strike Up the
Band with Benny Goodman and Glen Miller.
Gene played and recorded with Bix Beider-
becke, Red Nichols, and Russ Colombo, and
eventually joined Benny Goodman’s band in
1934. The band endured rough times until
their ground-breaking concert at the Palomar
Ballroom in Los Angeles in 1935. Gene en-
joyed great success with Goodman’s band,
and was known for his classic drum solos on
“Sing Sing Sing,” heralded as the first ex-
tended drum solos in jazz.

Gene formed his own big band in 1938, which was very successful until it disbanded in 1950. Although
Gene’s first band was labeled as commercial, it did introduce some great modern be-bop arrangements
in the mid ’40s (with the help of Gerry Mulligan). There are some incredible jazz recordings from Gene’s
time with Jazz at The Philharmonic Tours. Interested in supporting education, Gene founded The Krupa—
Cole Drum School with Cozy Cole in 1954, and in 1959 the film The Gene Krupa Story, featuring Sal
Mineo, was released. In the ’60s he battled health issues, retired in 1967, and came out of retirement in
1970. His last commercial recording was in 1972, called Jazz at the New School, with Eddie Condon and
Wild Bill Davidson. Gene’s last concert performance was a reunion concert with Benny Goodman on
August 18, 1973.

40
42 ! GENE KRUPA