So for my first decade the 1950’s I chose to swing along with “Steamin’ With the Miles Davis Quintet”. The album was recorded in 1956 and includes Miles Davis on Trumpet, John Coltrane on Tenor Sax, Red Garland on Piano, Paul Chambers on Bass, and Philly Joe Jones on drums.
I chose this album, as I do with all my selections, through a little research and what the universe tells me to play. Miles was at the forefront of every major development in jazz. This album includes his brilliance along with the emerging talents of John Coltrane on saxophone. Coltrane will eventually leave Miles to form his own voice and this album places the two jazz icons together trading solos like they are at war. You have to swing differently for each man. That is your challenge.
For us drummers this means we must swing like we have never swung before, and we must do it with different elements of our kit to help change the color and texture of the individual solo sections. Without sacrificing the bounce.
The album contains six tracks that cover both the basic and advanced classes of jazz drumming. Lets take a look at three tracks and Philly Joe will show you what swing is all about.
“Surrey With the Fringe on Top”
This track starts the swinging with the open hi-hat technique. Joe swings the hi-hat along while accenting the traditional 2&4. Every once and while he quickly moves to the snare to accent the band hits. In the solo sections listen to Philly changing up the fundamental 2&4 with the hi-hat foot as he throws in some triplets, perhaps a precursor to a future great drummer –Tony Williams. During the piano solo Jones brings the volume down and changes the texture into a four on the snare light jazz shuffle. It moves along. On the outro he changes it up switching from his open hi-hat swing to that of the ride to match a closing Miles solo. To end the song a gentle roll that would challenge Buddy Rich any day.
“Something I Dreamed Last Night”
If you think you know how to play brushes. Think again. This song is a master class in brush technique. There is no hi-hat, no bass drum, just the swish of the brushes on the snare. Listen to the long strokes Philly uses like a painter to carry the song. He lets the song breath. You can hear the tempo fluctuate slightly to move the song with each individual solo. On the piano solo the brushwork changes from a four feel to a two feel and seamlessly back. Download this song and earn a degree in brushes.
“Salt Peanuts”
Good luck if you can’t swing well yet. This song will eat you alive. It moves at a blazing pace with the drummer swinging with the 1,2,3,4& ride pattern. Personally I use light ghost notes on the snare to help propel the swing. If you make it to the solo be prepared for a workout. It is long and intense. A little over halfway through Philly brings his hands back to the snare drum for an accented snare roll that covers all the dynamic markings out there. At this point he finally stops the 2&4 on the hat and opens it back up to the kit before the band comes in for one last head section.
There are many great jazz albums out there and chances are I will play along and review many more, but for this project “Steamin’” represents a fundamental point in music in which the drummer takes a step forward. He is now part of the band and responsible for the groove or dance of the number. In the 60’s Rock n’ Roll to follow you will still hear those jazz intricacies just with one variation…
See ya’ next time!
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