Page 97 Up Close and Personal

I am a staunch disciple of renowned drum teacher Jim Blackley. His death in 2018 at the tender age of 86 silenced his voice, but it needn’t cut us off from his legacy and extraordinary teaching. If there is such a thing as a “Blackley System” then its foundation must be what we find in Section F, which starts on page 97 in Chapter 6 of “The Essence of Jazz Drumming. There are quite a few concepts encapsulated in the chapter, and each addresses a specific issue when applying the drums to jazz and indeed to all music styles. 

3-beat figures played in a 4-beat environment
Cross Rhythms (e.g. 3/4 over 4/4) in jazz is nothing new. Even the lines Jim presents aren’t new. But from humble beginnings, as they say …

Start in “Native Mode”
Play the 3-beat figures on page 98 in 3/4 time to get a feel for them. Once you’re comfortable with the figures in 3/4, you can begin to work them into 4/4 phrases.

2 + 2 Phrases
We can deploy the figures musically by playing two bars of time followed by two bars of the figure. In the case of 3-beat figures, we would play two bars of 4/4 followed by two sets of three plus the first two notes of the figure:  3 + 3 + 2 = 8 beats = 2 bars. A single cymbal stroke on 4 of the second bar helps to set up the figure (Note: this is a classic “call  & response” formula).

Counting in 3 & 4
How do you count 3-beat figures when four beats are the norm? It’s important that you can keep the 4/4 straight, so count in four. It’s also important to keep the “3/4” going. Practice counting both ways and you’ll soon be able to switch as needed.

 

Syncopation
Once the basic 3-beat figures are mastered, we take the concept further by syncopating the figures. In 4/4 time, the syncopated 3-beat figures produce a sonic melange of beats and pulses.

Punctuating Shots using Mnemonics
In jazz, the term “bebop” is derived from a rhythmic figure that is distinctive to that style, i.e. “be-BOP.” Mnemonics like this can help us hear and feel the long and short sounds of the rhythms, resulting in a more musical interpretation.

Playing in 4-bar and 8-bar phrases

Most music is constructed from 4-measure phrases, usually in a 2+2 form often with a call & response motif. An 8-bar phrase is simply two 4-bar phrases. Four and 8 bar phrases are the backbone of (almost) all music, so make a habit of practicing in 4 and 8 bar phrases as much as possible.

Turn-around & Set Up
This section focuses on wrapping up musical phrases with a ‘turn-around.’ A common practice in an 8-bar phrase is to play 6 bars of time followed by a 2-bar figure to close off one phrase and introduce the next one. 

Outlining: Shuffle & Triplet Extensions
The technique in this and the remaining sections is called Outlining. You do this by playing a musical statement with one hand -- in this case, the cymbal line -- and then filling in the ‘missing’ notes with the other hand.

Broken Time

A trend that emerged in jazz in the ’60s was to break up the ride pattern. Instead of a steady ‘ding dinga-ding’, drummers began using more space and syncopated figures to produce a looser feel.

Outlining Continued: Inner & Outer Lines
Each pattern has a rhythmic structure, but within that structure there is a second rhythm. In the Rhythmic Extensions (page 103) the cymbal line plays the outer or musical line while the ‘inner line’ is played on the snare with the other hand. This concept can be applied around the set, and any voice can carry either the outer or inner line.

Extended Cross Rhythms
Once you’ve mastered the 2-bar form of the cross rhythm, move on to 4, 8 and 12 bar phrases. The ultimate goal is to be able to play the 3-beat figures for however long you wish to. Note that the patterns resolve every three bars.

Soloing
Soloing with this material is just a matter of taking the outline sticking patterns and moving them around the set. It’s a bit formulaic, but it’s a good way to get the figures working for you. Remember that you have both the outer and the inner lines to play with. To get started, try playing the figures on toms, keeping the inner line on the snare. Experiment with ‘4s’ by playing 4 bars of time and then 4 bars of a figure.

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The Essence of Jazz Drumming - “Practical steps to improvised musical performance through time, rhythm and the musical line. A must for every member of the rhythm section”

ISBN: 9780968840603

Available from Drumland: Drumland Canada
 

For Further Study
If you like this manner of playing, you can take it further by working on the 5-beat figures found in Chapter 11.

Also, I have compiled a list of annotations in a Study Guide to Jim’s game-changing book. Send me an email if you’d like a PDF copy: richard@drumyoda.com .

For more on Jim Blackley:
https://en.wikipedia.org/wiki/Jim_Blackley 

https://www.thecanadianencyclopedia.ca/en/article/jim-blackley-emc

https://www.pipesdrums.com/article/james-jimmy-blackley-1927-2017/

 For more on mnemonics:
https://drumyoda.blogspot.com/2015/07/thoughts-on-comping-part-iv.html

Gearing Up for a Drum Solo

The first question I would ask when faced with a solo is, “Do I have to?” Well, that's just me. A more appropriate first question would be “How long?”

Solos fall into three distinct denominations: a specified length of time, a specified number of bars or choruses, and no limit. The context and type of solo you’re going to play will determine how you approach it.

Specified Time
Drum competitions, ‘drum-offs’, auditions, and media spots usually call for a solo of a specific length of time, usually 3 to 5 minutes. It's up to the soloist to manage that time, and temporal accuracy is an important factor. The easiest way to do this type of solo is to decide on a tempo and time signature, and then determine how many beats, bars and choruses will be required. Say you’re allowed 3 minutes for your solo composition (and it is a composition). You decide to solo in 5/4 at 132 bpm. To figure how many choruses you will need, just calculate: Time allowed x Tempo / Beats per bar / Phrase length = Number of choruses.

So:	3 min. x 132 bpm / 5 beats per bar / 12-bar chorus = 6 choruses + 8 bars
	3 min. x 132 bpm / 5 beats per bar / 32-bar chorus = 2 and a half choruses

Specified Bars/Choruses
In some musical contexts, drummers fit their solos into the tune's phrase structure. In a 12-bar blues, for example, you might play two choruses of 12 bars each. In a 32-bar tune, you might play 8, 16 or the full 32 bars. A popular technique is ‘trading 4s’, where the band plays 4 bars and the drummer solos for 4 bars, usually keeping up the exchange for a full chorus. This technique is also applied to ‘8s’, ‘2s’ and even ‘1s’. An interesting twist on this is trading 4- or 8-bar solos in a 12-bar form.

No Set Time Limit
This is the classic crowd-pleasing drum solo, where the artist has complete freedom (within reason). A well crafted solo will build to an energetic climax, at which point the drummer will signal to the band that the solo is coming to an end. The examples that come to mind immediately are Buddy Rich, who seemed to solo until he was exhausted, and Tommy Lee, who likes to ‘work the crowd’ as part of his solo feature.

According to Peter Erskine, a solo is just a series of fills. So Fill + Fill + Fill  = Solo. If you work with 2-bar fills, you’re well on your way to creating a presentable solo.

Structured vs. Unstructured
A drum solo will have some sort of structure, and the nature of that structure will determine how the player gets the job done. A fully structured solo will adhere to a predetermined form. A jazzer who plays several choruses or the rocker who does a somewhat scripted 5-minute solo are both playing structured solos. The time or length is spelled out, and usually the player won't depart from the tune’s tempo, and may even stick to the song form.

An unstructured solo can be quite free form. While a general time limit may be preset, the soloist is free to acknowledge or ignore the music that led up to the solo. That means the drummer can switch phrasing, tempos and time signatures at will.

So, which type of solo is right for you?
The solo style you choose will depend on context. Your solo should relate to the music you’re playing. The strictly timed solo probably won't apply in your typical bar or concert setting, so a structured or more relaxed style would be more suitable. Many drummers find it difficult to play a set number of choruses, and would prefer a more open approach (Tip: If you're planning to play jazz, better get used to playing 4’s and 8’s). So play the tune's structure or just wing it -- either one will work.

It's perfectly acceptable to memorize a framework or even a complete solo. Some drummers rely on a set beginning and a set ending, with the middle part left for improvisation. You can always get more creative as you gain more experience with soloing. And no matter how you decide to approach it, be sure to work out your ending cue with the band beforehand.

Photo Credit: 512058 © Paul-andré Belle-isle, Dreamstime.com 

Functional Guide to the Drum Set

In the beginning, hominids hit random things in order to make a pleasing noise, possibly something they could dance to. Human cleverness soon invented drums and, eventually, cymbals. Both became so important to early societies that the various roles of the instruments were often formalized and systematized. This meant that individual instruments had specific tasks and the players had certain duties. In the drum set, we have many of these classic percussion components, and we frequently pay tribute to their traditional purpose and inspiration.

Bass Drum
The bass drum is the original time keeper. Troops marched and dancers danced to the tempo set by the bass drum, plus it provides a robust bottom end to the sound. Today the bass drum serves the same basic role thanks to the invention of the bass drum pedal. In addition to 'four on the floor', the bass drum’s function has evolved to augmenting the bass line and reinforcing figures. In jazz, it’s often treated as an additional tom.

Snare Drum
The snare drum sets both the rhythm and the mood. As the foremost and most exciting voice, its job is to ensure everything stays on track. A solid back beat keeps contemporary music jumping; a mellow brush pattern sets the stage for a more pensive mood; rapid fire snare strokes can add excitement and impel the music forward.

Ride Cymbal
In the first half of the 20th century, the ride cymbal took over the role formerly held by short rolls on the snare. That change freed the snare drum to take on other duties, and the ride cymbal is now used to define and carry the rhythm.

Crash Cymbals
The first cymbals served two purposes: to help celebrate events and to intimidate the enemy. That remains little changed today. We use our crash cymbals to punctuate and to celebrate making music. And we use them to get people's attention.

Hi-hat
The hi-hat was invented to replicate the sound of 'clash' or symphonic hand cymbals, but the device turned out to be capable of so much more. Stomping on the pedal gives us a ‘chick’ sound. Or we can stomp and let ‘em ring. Play them closed and you have a snare-like sound. Open just a bit and you have a sizzle cymbal. The hi-hat can also give us slosh, bark, pea-soup, and a few others. With so many tonal variants, you can use the ‘hats’ to add a lot of texture.

More is More
Given that the hi-hat can function like a snare, a crash cymbal or a ride cymbal, it’s reasonable to assume we can get similar versatility from the other instruments. Indeed you can play a ride pattern on the snare, bass drum, tom, whatever. You can play a back beat on a tom or on a cymbal stack. Yes, we've preserved the traditional functions, but nowadays we prefer to do more with our instruments.

 

Photo: 222292220 © The London School of Economics and Political Science Library | Dreamstime.com

Blast from the Past

There’s a drum stick maker not far from where I live that’s been raising eyebrows for a number of years now. The Headhunters “Stick with the Groove” has been a staple for drummers for decades. But Dave Rundle, the brains and energy behind Headhunters Sticks & Creations, has a knack for pushing the envelope quite a bit further.

Three recent additions to the Headhunters already-loaded roster of tools caught my attention and I just had to see which, if any, would earn a place in my stick bag. To be honest, in the past I’ve looked at some of Dave’s creations and thought, “I’ll never have a need for that” only to discover that they gave me exactly what I’d been looking for.

My Favourite Brushes of All Time
The new Vintage Jazz brushes take the original Jazz Brush and swaps out the 16-mil wires for 13-mil wires. This results in more individual wires with roughly the same weight and balance as the Jazz Brushes. The thinner wires give the brush a somewhat gentler sound, with delicate texture, but still with authority. I found the balance and feel to be excellent, and these things don’t rattle like many of the brushes I’ve used over the years. (After my “field test”, I went back and bought two more pairs.)

Unique Interpretation
Bullets are the original Headhunters Jazz Brush with a unique addition. At the business end of the grip, just shy of the brush wires, you’ll find a wedge-shaped nylon band. I jumped at this one as I tend to be a bit hard on brushes. The nylon “bullet” lets me do accents and rim shots without killing the aluminum handles. The bullet also gives you more options when playing on cymbals.  A definite winner for brush enthusiasts looking to expand their sound palette.

 

Tribute to One of the Greats

Billy Gladstone manned the Radio City Music Hall drum chair during the 1930s and 1940s. A very creative fellow, he invented many improvements and innovations for drums, his highly prized snare drums being just one example. In 1949, Gladstone was issued a patent for a unique idea: a double-ended drum brush. The design has finally been brought to life in the form of Headhunters’ Billy Gladstone tribute drum brush.

 

The total length had to be increased to 13.25 inches to accommodate two brushes and also allow for retraction. When packed, a few inches of brush extend from both ends. When extended, the ‘other’ wires mostly disappear into the handle. One end has the 16-mil wires as found in the Jazz Brush and the other end, marked with a white band, has the 13-mil wires of the Vintage Jazz Brush.

I bought these mostly out of curiosity, assuming I wouldn’t have an actual use for them (see above). But after working with them for a bit, I’m really enjoying them. The grip area is slightly longer than most brushes, and this suits me (in the past, Dave has made longer handled brushes for me). The balance and weight are just right, despite the extra material needed. And because the bushes are of the ‘Push-me-pull-you’ design, the playing end stays put better than most. It’s also interesting to use a different end in each hand, though I haven’t tried switching the brushes while playing.

Conclusion
All three of these Creations tools are now in my stick bag.