![]() There are several central qualities shared by African music and jazz, most prominently the importance of improvisation. The influence of African music and rhythms on the general mix that created jazz was profound, though this influence did not appear until later. ![]() The earliest occasion when this occurred was the Moorish invasion of Europe, where the cultures of France, Spain, and Africa to some extent, encountered each other and most likely exchanged some cultural information. The rhythms and use of percussion in jazz, as well as the art form itself, were products of extensive cultural mixing in various locations. The borders between these periods are unclear, partly because no one style completely replaced others, and partly because there were numerous cross influences between styles.Įarly history Preliminary cultural mixing But older styles persisted in later periods. One tendency that emerged over time was the gradual "freeing" of the beat. As each period in the evolution of jazz- swing and bebop, for example-tended to have its own rhythmic style, jazz drumming continued to evolve along with the music through the 20th century. Jazz required a method of playing percussion different from traditional European styles, one that was easily adaptable to the different rhythms of the new genre, fostering the creation of jazz drumming's hybrid technique. Stylistically, this aspect of performance was shaped by its starting place, New Orleans, as well as numerous other regions of the world, including other parts of the United States, the Caribbean, and Africa. The techniques and instrumentation of this type of performance have evolved over several periods, influenced by jazz at large and the individual drummers within it. Jazz drumming is the art of playing percussion (predominantly the drum kit, which includes a variety of drums and cymbals) in jazz styles ranging from 1910s-style Dixieland jazz to 1970s-era jazz fusion and 1980s-era Latin jazz. Here’s the PDF with all the transcriptions.Max Roach (1924–2007), one of the pioneers of modern jazz drumming during the 1940s bebop era The title track “The Trip” is a 3/4 tune with impressive Elvin Jones drumming. In 1976 Art Pepper recorded the album The Trip after a long period of inactivity. “The Sidewinder” from the album of the same name released in 1964 by Lee Morgan is a nice example of playing in the gap (not swing and not straight eights). The latin groove is related to the Mambo Bell pattern, with cross-stick on 2 and tom on 4 (played on the first and second eight-note). The tune is an AABA form with a latin feel on the A section and a swing feel on the bridge. On the title track, Vernel Fournier plays a New Orleans-oriented groove with an open-handed technique, left-hand plays on the hi-hat, and right-hand plays (with a mallet) on the snare and on the floor tom.Īnother Max Roach work is “George’s Dilemma” from the album Study in Brown (1955) by Clifford Brown & Max Roach Quintet. “Poinciana” is an album by pianist Ahmad Jamal recorded in 1963. The drummer is the legendary Kenny Clarke. “A Night in Tunisia” from the album Our Man in Paris (1963) by saxophonist Dexter Gordon is a perfect example of a Latin-oriented groove. On the intro of the title track, Jimmy Cobb plays a 3/4 latin groove, the right-hand plays on the floor tom shell, and the left-hand moves around the tom and the cross-stick, with the hi-hat on 2 and 3. “Full House” by Wes Montogomery is a live album recorded on June 25, 1962. The first groove is the famous calypso played by Max Roach on “St Thomas” from the studio album Saxophone Colossus (1956) by Sonny Rollins.
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