Artist: Stanton Moore
Track: Maple Plank
Live performance with the Stanton Moore Trio
Here’s another transcription of the great Stanton Moore, this time from a live performance of Maple Plank with his trio. He’s using the melody from the 32 bar AABA structure as a reference point for his phrasing so memorise the melody and structure first, then sing along to the solo. Stanton pulls out a lot of ‘tricks’ here including a very tricky one-handed-roll, a finger slide pitch bend and a drum head elbow press. Also, be aware of the stab on beat 4 of the 8th bar of the B section.
Check out the video and transcription below:
The transcription starts from 0:08
Artist: Stanton Moore
Track: Big ‘Uns Get The Ball Rolling
Today’s study turns the focus onto a personal drumming hero of mine, Stanton Moore. I’ve put many long hours in with his 2 instructional books; Groove Alchemy
and Take It To The Streets
as well as transcribing grooves and solos from his solo albums.
This track, curiously titled ‘Big ‘Uns Get the Ball Rolling’, is a great example of using a groove as the basis for your solo. There are some flashy moments but the emphasis never strays far from good old fashioned groove based playing. He spends a large portion of the solo on the three main voices for any groove drummer: Kick, Snare and Hi-Hats. As always, start slowly and be aware of the push on the ‘and’ of 1 on every-other bar. For further listening try anything by the Meters and their irrepressible groove king Zigaboo Modeliste. Below is the transcription as well as my attempt from a few years ago.
Artist: Scott Colley
Album: This Place
For my first ever solo study
on this blog I wrote about the importance of addressing your weaknesses. If you consider playing in 5/4 an area in need of development, try working through the solo below. By learning the material inside-out you may find you start to gain a grasp on a time signature that can often seem baffling.
The solo starts at 0:28
- The tune has an 18 bar ABAC structure (A = 4bars B = 6bars C = 4bars). Listen to recordings by Sonny Rollins and Miles Davis and memorise the tune.
- As always Stewart is taking inspiration from the melody of the tune. Sing the head as you listen through and notice how and when he’s using the melody for inspiration.
- Listen to how he plays groups of 2 that go over the bar line (from bar 8)
- Notice how Stewart often avoids accenting beat 1 to create rhythmic ambiguity (a difficult skill to master in unfamiliar time signatures).
Artist: Pat Metheny
Album: Question & Answer
Here’s another example of some excellent playing by the jazz legend Roy Haynes. Although i’ve studied more ‘technical’ drummers, there seems to be an honesty and simplicity to Roy’s approach that can prove irresistible. These mini ‘solos’ are examples of Roy trading 12 bar choruses with Pat Metheny. Notice how the end of Metheny’s solo provides inspiration for the start of Roy’s.
Work through each chorus individually. The choruses start from 5:10