Download the Transcription: Drums
Listen to the Solo
Watch a video of the solo being performed by Derek! — http://www.youtube.com/watch?feature=player_embedded&v=OAEaf_qHunU
The transcription features Herlin Riley’s playing on “Evidence” from Wynton Marsalis Septet’s 1999 multi-disc release Live at the Village Vanguard. Monk’s writing, exemplified in “Evidence” is rhythmically unique, often jagged and deceptive, a quality which gives drummers many possibilities. Herlin’s choices are tasteful, organic and exploit the rhythmic opportunities Monk provides. Herlin plays with triplet vs. sixteenth and straight vs. swing ideas, and moves in and out of downbeat and offbeat oriented phrasing. All of which reflect the similar off-kilter effect the tune’s melody has. Also, notice the two busiest portions of the solo, (m.49-56 and m.73-76). The first example phrases triplets, with the latter phrasing sixteenths, demonstrating smart soloistic flow and development. With its phrasing, and creative rhythmic ideas, this transcription stands out as a fun and excellent example of musical drumming.
Download the PDF: Drums
Brad Mehldau Trio – Brad Mehldau, piano; Larry Grenadier, bass; Jorge
The Art of the Trio, Vol. 2: Live at the Village Vanguard
This transcription of the Brad Mehldau Trio’s reworking of the Monk
classic, “Monk’s Dream”, features the highly idiosyncratic,
interactive and linear time-keeping/soloing concept of Spanish
drummer, Jorge Rossy. Pay close attention to such devices as rhythmic
density/sparsity, unorthodox phrasing, eighth-note quantization (swung
vs. straight), repetition, dynamic contour, use of polyrhythms, and
orchestration. The transcription begins after Mehldau’s solo where
Mehldau and Rossy begin trading 8s for three choruses before the head
out. The extended improvisation after the head out is not included.
Lewis Nash - Photo by Professor Bop
Download the transcription: Drums
Sea Changes is an original composition from pianist Tommy Flanagan and serves as the title track from Flanagan’s 1997 trio date featuring bassist Peter Washington and drummer Lewis Nash. The tune itself is a simple 12-bar form that evolves from a bouncy island groove on the in head to a straight-ahead swing feel for a majority of the soloing. Prior to the out-head, Nash trades two choruses with Flanagan, both of which are transcribed here.
Byus, written by Walter Smith III and performed by: Ambrose Akinmusire, trumpet; Walter Smith III, tenor saxophone; Jason Moran, piano; Joe Sanders, bass; Eric Harland, drums. From the album III, released 2010 on the Criss Cross label.
Download the PDF: Solo, Drumset Notation Guide
I initially transcribed this because I was playing it in a jazz group at Lawrence University (Appleton, WI). The solo really shows off Harland’s technical virtuosity and fluidity around the kit and is a prime example of why he is one of the most in-demand drummers right now. This introduction is in 7 throughout and I chose to notate the 7 as alternating bars of 4/4 and 3/4 for ease of breaking down the beats when reading. This intro sets up the tune beautifully, introducing the 7/4 feel that returns throughout the disjointed and angular melodies and hits. Many of the individual licks are simple in conception but difficult to pull off at such breakneck speeds, one right after the other. Continue reading