on jazz drumming

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This idea follows on from idea 43. Here we look at how to apply some of these four-beat triplet groups to create interesting comping patterns.

The base pattern is one that you can find in John Riley’s Headroom Triplets as well as in a musical context with Jimmy Cobb on So What.

Playing three over four is a very common musical device, especially so with groups of triplets in 4/4. You can hear Jimmy Cobb playing something like this on So What, but it also crops up on many other records in fills and solos from many other jazz drummers.

Most jazz drummers don’t play a double bass drum, but that doesn’t mean we should neglect the feet and the ability to use them in a similar way to the hands, far from it.

This is a simple idea for working on some coordination and control between the feet which can be added to your warm-up routine.

Elvin Jones was a big inspiration to me when I got more seriously into jazz drumming. He still is, not least for what he contributed to Coltrane's classical quartet.

Here is a complete transcription of Elvin Jones's comping on the track "Blues to Elvin" from the John Coltrane Album "Coltrane Plays the Blues."

Here we are looking at developing some ideas with a triplet partial pattern. It uses four beats - two doubles on the snare and two doubles on the bass drum. We look at some different ways to vary and use it.

Bill Evans' influence on jazz is huge, not least in what he achieved with Miles Davis on Kind of Blue (1959). Outside of that, he redefined what a piano trio could be, turning it into a chamber group rather than simply a vehicle to showcase his talents. This is a great example of that with a trio concert from his European tour in 1965.