Jazz Drum Transcriptions - an educational resource - newest transcription: Birdland - drums: Alex Acuña

Dear drummers,

dive into the world of jazz drumming with my latest video in my Real Book Drumming series. This time, I’m breaking down the first 68 bars of an early Miles Davis version of “On Green Dolphin Street".


"On Green Dolphin Street" is a popular song composed by Bronisław Kaper with lyrics by Ned Washington. It was composed for the 1947 film Green Dolphin Street, based on Elizabeth Goudge's 1944 novel of the same name. By the 1950s, the song had become a jazz standard, renowned for its beautiful melody and harmonic structure.

One of the most notable early instrumental versions of "On Green Dolphin Street" was recorded by the Miles Davis sextet on May 26, 1958. This recording featured a stellar lineup: Cannonball Adderley on alto saxophone, John Coltrane on tenor saxophone, Bill Evans on piano, Paul Chambers on bass, and Jimmy Cobb on drums. The track was included on the compilation album Jazz Track. Jazz Track compiles sessions by the most recent edition of the Davis Sextet, with music previously released in France as a soundtrack.

Drummer Wilbur James "Jimmy" Cobb joined Davis in 1958, recommended by Cannonball Adderley, and his playing on “On Green Dolphin Street” is a testament to his subtle drumming style. His mastery of brush technique with a light touch and rhythmic precision add a delicate texture to the music.

Check out the transcription and performance on my YouTube channel and explore many more jazz drum transcriptions.

Thank you very much!
 
Lovely brush work. I like how you vary the swing pattern and add off beat accent's with the right hand. I also have not seen the left hand play circles every beat on the side, almost double time. My circles go around in half notes around the whole circumference of the head and my right hand crosses over. I have to try this new pattern. It seems like it would add more forward momentum and make the groove feel faster?
 
Edward said:
Lovely brush work. I like how you vary the swing pattern and add off beat accent's with the right hand. I also have not seen the left hand play circles every beat on the side, almost double time. My circles go around in half notes around the whole circumference of the head and my right hand crosses over. I have to try this new pattern. It seems like it would add more forward momentum and make the groove feel faster?
Click to expand...
Thank you! I'm glad you enjoyed the brush work. But all credits go to Jimmy Cobb which I try to immitate. The technique with the left hand playing circles every beat on the side definitely adds more forward momentum and gives the groove a faster feel. Give it a try and see how it works for you! Thanks again for your kind words!
 
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Makes me even more excited knowing the technique originated from Jimmy Cobb. Thanks for digging deep to uncover and share this with us. Really enjoy the brush videos. I found the bossa brush video to be very useful. I can’t remember the song offhand.
 
Edward said:
Makes me even more excited knowing the technique originated from Jimmy Cobb. Thanks for digging deep to uncover and share this with us. Really enjoy the brush videos. I found the bossa brush video to be very useful. I can’t remember the song offhand.
Click to expand...
Thank you once again! The bossa with brushes is "Chega de Saudade", as played by Milton Banana.

 
Dear community,

already jazzed today?

I'm happy to share my latest video with you. In this video I have transcribed and played the first 68 bars of the jazz classic “Sandu” by Clifford Brown and Max Rpach.


“Sandu” is a 12-bar blues that appeared on the album ‘Study in Brown’, recorded in 1955 by Clifford Brown (trumpet) and Max Roach (drums). The piece appeared on the album 'Study in Brown', recorded in 1955 by Clifford Brown and Max Roach. The album is known for its original compositions written by Brown, Roach and their bandmates Richie Powell (piano), Harold Land (tenor saxophone) and George Morrow (bass). In addition to “Sandu”, the album also contains other jazz standards such as “Cherokee” and “Take the A Train”.

The origin of the name “Sandu” remains unclear, but the popularity of the piece is undisputed. Max Roach, one of the pioneers of modern jazz drumming, brought a new quality to jazz music with his creative and technical playing.

Max Roach was not only an outstanding drummer, but also an innovator and teacher. His work with Clifford Brown and other jazz greats revolutionized drumming. Roach used the drums as both a melodic and rhythmic instrument. His performance in “Sandu” showcases his masterful playing and deep understanding of structure and dynamics.

Let yourself be inspired!
 
Dear community,

in the mood to discover Max Roach's solo drumming?


In my newest video I present a complete transcription and performance of Max Roach's solo in “Sandu”. Max Roach, one of the pioneers of modern jazz drumming, revolutionized jazz music with his creative and technical playing.

Curious about Roach's solo in "Sandu"? Follow the transcription as I play. You can follow every note and every beat. This video gives you an insight into the genius of Max Roach.

If you're interested in Max Roach's groove in “Sandu”, check out my transcription and performance of it here:

I hope you enjoy this transcription and performance of "Sandu". Let Max Roach inspire and motivate you to practice and improve your own playing.
Thank you for watching.

By the way, if you like what I do, please don't forget to subscribe to my channel for free. I appreciate your support!
 
Dear community,

in my newest video, I present a drum transcription and performance of the first 64 bars of James Brown's funky tune, "The Chicken," showcasing the iconic drumming of Clyde Stubblefield. Studying Clyde Stubblefield's work on "The Chicken" offers a unique opportunity to explore the intersection of jazz and funk.


Originally composed by Pee Wee Ellis, "The Chicken" first appeared as the B-side to James Brown's 1969 single "The Popcorn." Over time, the tune gained widespread recognition, particularly through jazz bassist Jaco Pastorius' versions. The song was part of James Brown's 25th studio album, The Popcorn, released in August 1969 by King Records. This album marked a pivotal moment in the fusion of funk, soul, and R&B, reflecting the innovative sound that defined the era.

James Brown played a crucial role in popularizing funk music. His collaborations with drummer Clyde Stubblefield were essential in shaping the rhythmic foundation of the genre. Known for his dynamic and inventive approach, Stubblefield's contributions to drumming extend far beyond his work with Brown. His rhythms have become a cornerstone in funk drumming and have been extensively sampled in hip-hop and other genres, solidifying his status as one of the most sampled drummers in history. Clyde Stubblefield's influence on drumming is undeniable, and his work with James Brown remains a touchstone for drummers across genres. His ability to craft grooves that are both complex and accessible has made his drumming a blueprint for musicians looking to elevate their rhythmic skills.

I hope you enjoy this deep dive into "The Chicken" and find the transcription helpful in your drumming journey. Don't forget to like, comment, and subscribe to stay updated on more transcriptions and performances from my Real Book Drumming series. Let Clyde Stubblefield's drumming inspire you.

Thank you for watching
 
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Dear community,

in my newest video, I present a detailed drum transcription and performance of "Take Five", one of the most iconic jazz pieces by the Dave Brubeck Quartet and Jazz in general, first recorded on June 25, 1959.


It proved so arduous that, after 40 minutes and more than 20 failed attempts, producer Teo Macero suspended the effort because one or another of the members kept losing the beat. They successfully recorded the today popular single and the album track in two takes at the next session on July 1, 1959. My transcription and performance shows the first 68 bars of "Take Five" and showcases the legendary groove, without the drum solo (a transcription of the solo is in progress and will follow shortly on my channel), to emphasize the rhythmic foundation laid by Joe Morello's extraordinary drumming.

"Take Five" was composed by saxophonist Paul Desmond and originally recorded in 1959 for the album Time Out. The track quickly became a jazz hit and one of the best-selling jazz singles of all time. Its unique 5/4 time signature, an unusual choice for jazz at the time, gave the piece its signature feel, and the drumming of Joe Morello played a crucial role in making this complex rhythm accessible and engaging.

As any jazz drummer knows, Joe Morello's contribution to "Take Five" is monumental. Morello's ability to seamlessly integrate a 5/4 groove into a jazz setting was groundbreaking. His drumming in this track combines technical precision with an intuitive sense of groove and dynamics.

In this video, I focus solely on Morello's groove, not his drum solo in “Take Five” —just the solid swinging rhythm that defines the piece. A full transcription of the solo is in progress and will be published soon on my channel. However, if you reduce the performance to the groove, you can fully appreciate the subtle complexities and nuances in Morello's drumming.

"Take Five" has left an indelible mark on the world of jazz. It was one of the first jazz recordings to achieve mainstream commercial success, and it continues to be a popular track for both jazz listeners and musicians alike. The piece's influence extends far beyond its time signature—it's a testament to the creativity and innovation of the Dave Brubeck Quartet, especially Joe Morello's drumming.

Morello's performance on "Take Five" helped to push the boundaries of what jazz drumming could be. His approach to rhythm, time and groove has inspired generations of drummers.

Please enjoy and thank you for watching!
 
Dear drummers,

in my newest video, I present a drum transcription and performance of the first 68 bars of "Bags’Groove", focusing on the subtle and innovative drumming of Kenny Clarke. As one of the pioneers of modern jazz drumming, Clarke’s rhythmic contribution to this track serves as a key learning resource for jazz drummers. His role in “Bags' Groove” is not just that of a beat-maker, but that of a collaborator who seamlessly supports the improvisations of Milt Jackson and the other musicians.


"Bags' Groove" is one of the most iconic compositions by vibraphonist Milt Jackson, also known by his nickname "Bags." Written in 1952, this jazz standard quickly found its place in the repertoire of many jazz musicians and remains a timeless classic. First recorded on April 7, 1952, "Bags' Groove" was performed by Milt Jackson and his quintet, which included saxophonist Lou Donaldson and fellow members of the Modern Jazz Quartet. This session was part of a recording for Blue Note, produced by Alfred Lion. The simplicity of the composition, paired with its catchy melody, helped it quickly become a jazz standard. Over the years, many notable jazz artists, including J.J. Johnson, Gerry Mulligan, and Hank Mobley, recorded their own versions of the tune. Perhaps the most famous rendition was recorded by Miles Davis in 1957, which solidified its place in jazz history.

Kenny Clarke, also known as “Klook”, was one of the key figures who shaped the sound of modern jazz drumming. In the early 1940s, Clarke, along with other greats such as Max Roach and Art Blakey, revolutionized jazz drumming by incorporating more intricate rhythms and greater expressive freedom into his playing.
 
Dear drummers,

in my newest video we look at Herbie Hancock's popular composition “Watermelon Man” with a drum transcription of the first 68 bars, originally played by Billy Higgins. “Watermelon Man” is an important piece of jazz history, both because of its groove and because it was Hancock's first commercial success. Written in 1962 and included on his debut album Takin' Off, the track underscores Hancock's ability to combine commercial appeal with artistic integrity.


“Watermelon Man” was inspired by Hancock's childhood memories of a watermelon vendor in Chicago whose horse-drawn wagon rolled along the cobbled streets, creating a unique rhythm. This rhythmic pattern formed the basis for the groove of the song. The song was intended to appeal to a wider audience and mixed jazz with elements of soul, R&B and funk. This fusion of styles helped make “Watermelon Man” a jukebox favorite and a commercial success for Blue Note Records.

Billy Higgins, a drummer known for his work in bebop and hard bop, played a crucial role on “Watermelon Man”. Although Hancock initially had doubts about Higgins' ability to play the funky, straight-ahead eighth-note groove required for the tune, his playing exceeded all expectations. Higgins brought a unique rhythm that combined the syncopation of jazz with the straight rhythm required for funk. His approach provided a “funky jazz flavor” that was crucial to the song's success.

“Watermelon Man” is an essential study for any drummer interested in jazz or funk. It bridges the gap between traditional jazz drumming and more modern funk rhythms and shows how a drummer can support a melody while driving the song forward with groove and feeling. Billy Higgins' performance on this track is a masterpiece in blending styles and his playing here has influenced generations of drummers.

Thank you for wacthing! If you like my content, please don't forget to subscribe to my channel for free for more drum transcriptions and performances and stay tuned for future videos where I will continue to explore the works of legendary drummers and timeless tracks.
 
Hey fellow drummers,

my new video is out: "On Green Dolphin Street - Eric Dolphy - Transcription & Performance"
In this video, I present a detailed drum transcription and performance of the first 68 bars of Eric Dolphy's interpretation of "On Green Dolphin Street", recorded April 1, 1960. This jazz standard, originally composed by Bronisław Kaper with lyrics by Ned Washington in 1947, became widely known in the jazz world during the 1950s. Eric Dolphy's unique approach to this piece has made it a significant reference for many jazz musicians, with his fresh and unconventional style.

Recorded at the legendary Van Gelder Studio, the session that brought "On Green Dolphin Street" to life featured a quintet with trumpeter Freddie Hubbard, pianist Jaki Byard, bassist George Tucker, and the renowned drummer Roy Haynes. Haynes, known for his ability to seamlessly blend traditional jazz drumming with more modern approaches, brought a dynamic and sophisticated touch to the rhythm section. Haynes' work is a testament to the evolution of jazz drumming during this period, blending straight-ahead swing with more complex syncopation and rhythmic layering.

Eric Dolphy, known for pushing the boundaries of jazz with his avant-garde sensibilities, approached "On Green Dolphin Street" with his characteristic blend of bebop roots and exploratory style. His playing is both challenging and inspiring, offering a fresh take on this standard while staying true to the core elements that make the piece timeless. The chemistry between Dolphy and Haynes on this recording is particularly noteworthy, as they interact seamlessly, creating a musical conversation that is both complex and engaging.

This video is a part of my ongoing "Real Book Drumming" series, where I focus on transcribing and interpreting classic jazz standards from the Real Book, an essential resource for jazz musicians. My aim is to offer drummers a deeper understanding of how these pieces have been played by some of the most influential musicians in jazz history.

Roy Haynes' contribution to the world of jazz drumming cannot be overstated. His ability to innovate while maintaining a deep respect for tradition has made him one of the most influential drummers of his generation. His work with Eric Dolphy, including this performance of "On Green Dolphin Street," is a prime example of how a drummer can elevate a piece of music, adding subtle touches that enhance the overall sound while never overshadowing the soloist.

Please check out the video, drop a comment, and let me know your thoughts on this version.

Thank you!
 
Dear drummers,

in my newest video, I present a transcription and performance of the first 104 bars of the Red Garland Trio’s interpretation of the Latin jazz standard “Manteca.” Originally composed by Dizzy Gillespie, Chano Pozo, and Gil Fuller, “Manteca” was a defining moment for Afro-Cuban rhythms in jazz. Here, Art Taylor’s drumming and Ray Barretto’s conga work bring a unique depth to this 1958 recording, offering a clear example of Latin influences within a jazz trio setting.


This video provides a detailed look at the rhythmic structure of Taylor’s playing (with a hint of interpretation, due to the presence of the conga).

Composed in 1947, “Manteca” marked a significant step in jazz. By combining Cuban percussion with jazz harmonies, Gillespie and Pozo created a piece that helped define Latin jazz. Its rhythmic foundation on Latin patterns gave it a unique swing and vibrancy that made it instantly recognizable. When it was first performed by Gillespie's big band at Carnegie Hall, it was met with great acclaim and was first recorded in December 1947. By the way, the term “manteca” (Spanish for lard) is Afro-Cuban slang for heroin.

Garland's version of “Manteca” was recorded on April 11, 1958 at Van Gelder Studio in Hackensack, New Jersey. His trio at the time - consisting of Paul Chambers on bass, Art Taylor on drums and guest Ray Barretto on congas - delivers an energetic interpretation of the piece. Art Taylor's drumming complements the Latin flair, while Barretto's conga rhythms add an extra dynamic that significantly enriches the groove.

Art Taylor, known for his swinging drumming, contributes greatly to the energy of this recording. He is celebrated as a pioneering jazz drummer who has played with some of the biggest names in jazz history, including Miles Davis, John Coltrane and Thelonious Monk. Taylor's drumming on “Manteca” showcases his understanding of jazz rhythms and Latin jazz aesthetics in equal measure, blending them seamlessly. His approach allows Garland and Chambers to shine while creating a rhythmic foundation that feels both fresh and familiar to jazz listeners.

The addition of Ray Barretto on congas provides an authentic Latin flair that enhances the trio's interpretation of “Manteca. Barretto, a renowned Latin percussionist, has often been invited by jazz artists because of his ability to incorporate the congas without mastering the rhythm. His playing style on this piece, often described as “subliminally bubbling”, complements Taylor's drumming and adds depth to the rhythm without disturbing the overall sound of the trio.

“Manteca” remains a cornerstone of jazz history and is widely respected for its role in bringing Latin jazz to a wider audience. The Red Garland Trio's interpretation is comparatively stripped down compared to Gillespie's original big band version, but it is a timeless example of jazz's adaptability and its ability to integrate diverse influences. It is an essential piece for jazz drummers looking to expand their understanding of Latin American rhythms in a jazz context and provides a foundation for rhythmic diversity that can enhance one's overall jazz playing.

Thank you for your time!
 
Dear community,

in my newest video, we're looking at the first 80 bars of “Oleo”, a classic composition by Sonny Rollins, first recorded in 1954 by Miles Davis and Sonny Rollins. “Oleo” was recorded at Rudy Van Gelder's Studio, on June 29, 1954. This iconic piece has stood the test of time as a jazz standard.


Written by Sonny Rollins in 1954, Oleo showcases brisk tempos, catchy melodies, intricate improvisations and a very tasteful drumming by Kenny Clarke. Kenny Clarke, often called the father of modern jazz drumming, played a pivotal role in shaping the sound of bebop and beyond. The title “Oleo” refers to a type of margarine popular in the United States during the mid-20th century, reflecting Rollins’ knack for blending creativity with everyday references.

The original recording of Oleo took place on June 29, 1954, featuring Miles Davis on trumpet, Sonny Rollins on tenor saxophone, Horace Silver on piano, Percy Heath on bass, and Kenny Clarke on drums. This quintet brought Oleo to life with a memorable arrangement: The A-section features interplay between trumpet, saxophone, and bass. The B-section leaves room for improvisation, supported by the driving rhythm section.

If you like it, please leave a comment and a like. Thank you!
 
Dear community,

welcome to the latest episode of Real Book Drumming! In this video, I present my take on the first 64 bars on “Some Skunk Funk”, one of the standout tracks from the 1975 debut album of the Brecker Brothers, The Brecker Bros. This energetic jazz fusion piece, composed by Randy Brecker, is a masterclass in syncopation, intricate rhythms, and musicality, featuring none other than Harvey Mason on drums.


Released on the Brecker Brothers’ self-titled album under Arista Records in 1975, “Some Skunk Funk” quickly became a fusion classic. Known for its complex arrangements and funky grooves, this track showcases the incredible talents of the Brecker Brothers and their ensemble of top-tier musicians.

Harvey Mason, who was one of the most in-demand drummers in the industry at the time and was known for his groundbreaking work on Herbie Hancock's “Chameleon”, was the drummer on the session. His reputation preceded him and his skills in the studio exceeded all expectations. Harvey Mason not only had an exceptional groove, but according to eyewitnesses he was also an excellent sight-reader. Will Lee, the bassist on the session, recalls that when Harvey took his place behind the drums, he unfolded the charts and clamped them over his cymbal stand so that he could sight-read the complex arrangements. What followed, according to Will Lee, was a demonstration of Mason's skill: His reading and execution were so effortless, with an ease and confidence that left everyone present in disbelief.

“Some Skunk Funk” has remained a favorite among jazz fusion enthusiasts and musicians. At the 1976 Grammy Awards, the album The Brecker Bros. received three nominations, solidifying its status as a landmark in the jazz fusion genre. The track’s signature combination of groove, melody, and technical complexity.

Watch it now on my YouTube channel and join the conversation about jazz drumming, transcriptions and all around.

Thank you!
 
Dear community,

in my latest video I present a detailed drum transcription and performance of the first 68 bars of “Walkin'”, a classic from Miles Davis' repertoire and a central composition for the emergence of hard bop. “Walkin'” was first recorded in 1954 and released in 1957 as part of the album of the same name under the Prestige Records label. The pieces were recorded during two sessions in April 1954. In addition to Davis' iconic trumpet playing, it is the contributions of the rhythm team with Kenny Clarke on drums, Horace Silver on piano and Percy Heath on bass that make this album a milestone.


“Walkin'”, a 12-bar blues, quickly became a jazz standard and marked the beginning of the hard bop era. The piece was originally registered by Richard E. Carpenter, although names such as Jimmy Mundy, Miles Davis and Gene Ammons are also associated with the composition. Kenny Clarke in particular, one of the pioneers of modern drumming, impresses on “Walkin'” with his balance of swing, taste and technical finesse.

If you enjoyed this video, I’d love to hear your thoughts! Thank you very much!
 
Timo-Germany said:
Dear community,

in my latest video I present a detailed drum transcription and performance of the first 68 bars of “Walkin'”, a classic from Miles Davis' repertoire and a central composition for the emergence of hard bop. “Walkin'” was first recorded in 1954 and released in 1957 as part of the album of the same name under the Prestige Records label. The pieces were recorded during two sessions in April 1954. In addition to Davis' iconic trumpet playing, it is the contributions of the rhythm team with Kenny Clarke on drums, Horace Silver on piano and Percy Heath on bass that make this album a milestone.


“Walkin'”, a 12-bar blues, quickly became a jazz standard and marked the beginning of the hard bop era. The piece was originally registered by Richard E. Carpenter, although names such as Jimmy Mundy, Miles Davis and Gene Ammons are also associated with the composition. Kenny Clarke in particular, one of the pioneers of modern drumming, impresses on “Walkin'” with his balance of swing, taste and technical finesse.

If you enjoyed this video, I’d love to hear your thoughts! Thank you very much!
Click to expand...
Good song! I'm a big fan of both Miles and Kenny. Especially Kenny since he was involved in the creation of bop.
What kind of bass pedal are you using?
 
bigbonzo said:
Good song! I'm a big fan of both Miles and Kenny. Especially Kenny since he was involved in the creation of bop.
What kind of bass pedal are you using?
Click to expand...
Kenny was a genius, the mastermind of modern drumming. In my opinion, he too rarely runs under the radar. My pedal is simple Pearl P-250 Eliminator Pedal, chain driven and and a “Mr. Muff Muffkopf” is pulled over the beater to make the sound more decent.
 
Timo-Germany said:
Kenny was a genius, the mastermind of modern drumming. In my opinion, he too rarely runs under the radar. My pedal is simple Pearl P-250 Eliminator Pedal, chain driven and and a “Mr. Muff Muffkopf” is pulled over the beater to make the sound more decent.
Click to expand...
I actually meant to ask "what kind of beater do you have? ". But, you answered me anyway.
I like your "Mr. Muff Muffkopf”. I'm going to look into it.
Thanks.
 
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