He also hooked me up with my very 1st steady gig at Le Cafe Conce In Chateau Champlain Hotel accompanying the shows that came in... I was 15 when I did that for 16 months... he was a good man
When you described your experience first watching Elvin at the club I had to laugh out loud. I saw him in the early 70s in Chicago at the Jazz showcase and sat to his immediate left--could reach out ant touch his hi hat. He groaned and moaned and growled while he played. His way of "singing along". This was his signature persona on stage. He was a mystery to many drummers because of his playing behind the beat and emphasizing the swing skipbeat and the legato riffs. Your analysis is spot on!
I learned this out of John Riley's book Jazz Drummer's Workshop and it freed me up so much. And developed muscles and inner clock brain connections to learn how to volley the time around with all four limbs especially in faster tempos. I came from Bonham and Peart - just like you, and it wasn't easy. Now I'm trying to incorporate that concept into 16th note feels plus triple hit overlapping figures with the hands in an effort to be able to foot chick the HH in groves like Keith Carlock does. Also in 3 beat motifs to keep the groove sounding random. I remember Adam Nussbaum at a jazz festival years ago improvising like that. Before I even knew that was Elvin's thing. Anyway, I was blown away by it, and knew I had to be able to groove with all four limbs one day.
One of my favorite displays of Elvin is on McCoy Tyners album, “The Real McCoy”. It burns throughout, but I’ll point out Contemplation and Blues On the Corner.
Firstly, any genuinely informed effort to impart info about the artistry of the great Elvin Jones is appreciable to those of us already converted to his particular 'church of swing'. This presentation is no exception to that, so thanks Aubrey. However, without wanting to be negatively critical of your genuine effort, I feel compelled to point out that, in demonstrating playing the hi-hat on every third triplet quaver [starting at 9:20], your placement strongly tends toward the even duplet / straight-eighth pocket, not the third triplet, and that the ride cymbal pattern is being somewhat modified into a straight duple, or 3+2 quintuple zone. This is even evident when you alternated the hats between every 2nd triplet - in which all parts stayed audibly on the triplet grid, and every 3rd triplet, which tends to morph into a duple/3+2 quintuple swing, negating the stability of all parts with regard to the triplet grid. Knowing that this video is about learning and practicing, I point this out, not to be picky about your playing, Aubrey, but to academically illuminate the finer technical issues that can arise in practicing these types of exercises over the triplet grid. If attempting to emulate Elvin's approach to thinking and feeling in triplets, we must have as the goal, precision on the triplet grid, especially on the 3rd triplets of upbeats - which, as you point out, is a key point of dynamic stress in Elvin's feel. If it's Tony Williams, or Billy Higgins we're emulating, then I guess something closer to straight 8ths is welcome, even imperative. But if it's about our man Jones, then we're on a very 'triplety-trip' with very 'uppity-upbeats'. [ DISCLAIMER : Aubrey, you can teach me plenty - but I like us all to learn as we proceed, too, and observation and analysis are our friends in that effort. Hope you understand where my comment is coming from. All the best bro. -JW- ]
Ted Reed...that was my first drum book back in 1971. On the inside cover were around 10 pictures of different drummers--guys like Rich, Krupa, Blakey, Philly Jo, Poppa Jo, and of course, Elvin. I was very fortunate to have a teacher that turned me onto these greats at such a young age. Recently I bought the book again...the pictures were gone, but the book holds up some 50 years later. Great job, BTW.
Aubrey, your videos are amazing. I love your perspectives and analyses of drumming. Your enthusiasm and knowledge is awesome, and inspiring from which to learn! Keep up the great videos! This is from a (poor man’s) jazz guitar guy.
Thank you very informative great instructions I got the chance on several occasions hang out with Elvin NJ NY and LA my pieces buddy my childhood friend etc Chico Rouse Charlie Rouses son also a good drummer talked about Elvin a lot along with many jazz legends on the skins if I could only go back in time the free lessons I didn’t take seriously because of sports and into other forms of music at the times however in college I was more serious about jazz and made up whenever I saw anybody drummers mainly about jazz I greatly appreciate your videos thank you truly
Very nice. I didn’t plan to watch the whole thing, but got sucked in. Very well done. Great explanation. I like the exercises to get me to the “Elvin Zone.” The written transcriptions really help me. Thanks so much.
Awesome vid. Elvin was a big influence for me like many others . You really nailed the Elvin thing. One of the greatest compliments I ever got was sitting in on a jazz night & an out of town pianist sat in. He said you sound like Elvin & my jaw dropped. I wasn't trying to sound like Elivin but listening to him forever I guess some of that stuff amalgomated itself within me. Thanks again.
Happens with everybody, depending on who you've been listening to and emulating. That's how we learn. The trick is to move beyond that and find what you want to say.
I had picked up on the accents on the "a" in the swing pattern but couldn't really "play" that way without focusing on it and sounding contrived. Will try your exercise and see what happens. Very good information, thank you.
Check out Elvin Jones on Larry Coryell’s album “Lady Coryell”, with Jimmy Garrison on Garrison’s “Treats Style”: Transcendental. The stick slapping the ride cymbal…
You must listen to Elvins, drumming on Gil Evans, Album: The Individualism of Gil Evans, ( recorded 1964 )track : The time of the Barracudas. I live in U.K. Peace to all.
Killer stuff man! I've been practicing roy haynes and philly joe with my personal tutor, and its been eye opening for my jazz playing! Got turned on to you via the 'Two Bass Hit' vid, appreciate your lessons, giving me new things to practice!
I ended up here after listening to Elvin Jones' playing on Sonny Sharrock's Ask the Ages. Any chance of a video of some his drumming on that album? Great channel btw, I subbed after watching this and the Ralph Humphrey video :)
Thanks for checking me out James! I'm checking out that album now and it's amazing! I'm not familiar with this one. I'm going to check it out for a while before I did into Elvin on it. Thanks for pointing me in its direction!
Emphasizing the skip beat goes at least back to Shadow Wilson, then Frankie Dunlop often played with that feel, both playing with Monk who liked that feel. Paul Motian sat in with Monk many years ago because his drummer didn't show up, and Monk tried to explain this feel to Motian, but I don't think he got it. Paul was a conventional straight ahead player, and couldn't adjust to this feel quickly enough. He played out the week, and that was it. Although he didn't originate it, Elvin took this feel and really made it his own, I mean really!
Yes!! Thank you. My drum teacher long ago said Elvin Jones would often abandon chicking his high hat on 2 and 4 and would play the high hat on off triplets. Thank you for reminding me.
I had th3 opportunity to study with elvin for 3 weeks, in 1984. He showed me a pattern, exercise , this is important in his triplet feel. He played it as (ll-rr-ll-rr-ll-rr) as a triplet. He said he started doing that in the army.
Whoa! That must have been incredible Michael! You must have delved into some interesting conversations as well. Thanks for this! Did he play the ride cymbal pattern with that replacing the right hand with the foot?
@@AubreyDrumLessons the sound has more of a rolling momentum, as you can hear, plus it’s very loose. So, instead of the triplet most drummers play in jazz, (llr-or rrl) it’s more 2 eighth notes linked as permutating accented triplet. If that makes sense. Imagine a double stroke roll, but playing as tripLet. A inside elvin tip, he always had a spring exercise, sports, muscle grip in his possession. It really build hand muscle strength, sports , or Walmart, a few bucks,
Yes he grunted loud. I used to hear him at Keystone corner in San Francisco, and you could hear them over the band, and it sounded like a flock of geese or something. It was definitely part of the music if you ask me. I think grunting is underrated. You sound great! loved the opening Elvin bit, but I’m sure you’re too young to remember the 70s when you did a session somewhere, they would always complain about the grunts. Or at least they complained about my grunts. Ha, well I really think it’s part of The organic process of music. I remember all the guys that acted like you should rise above grunting, and somehow reason it away, and they’re playing actually lacked a certain truth element to it, that I didn’t like as much. I guess I’m not just talking about drummers. To make a long story longer, what I’m trying to say is, be proud of your grunts! By the way, I love you’re playing. I wish you could’ve met Colonel Vernon Proctor, my college band teacher, who had just retired from being the band director at Travis Air Force Base, who actually had Elvin in the band when he was young. Mr. Proctor had so many great stories about Elvin Jones, and Jimmy Garrison, in the Air Force band.
Thanks for the kind words Rich! Yes, I do grunt as well! LOL! It is true that it's not as easy to hear as I started doing sessions in the mid 80's. Folks actually often found it interesting when they soloed the drums while mixing. I absolutely loved seeing Elvin live. He was a force to the end. Thanks for watching brother!
Thanks for the kind words and I'm glad you found me! I have a video on Max's playing on Cherokee in this playlist. ua-cam.com/video/-UinxcCx0Jc/v-deo.html
in 1967 I was 10 & Studying with Ronny Page He brought me to see Elvin. They were good Buddies . Ronny was Living on Bedford street in Cote The Neiges area... He Died very Young 52 ( I Think)
Thanks for the Kind words! I bought my book in 1982. Unfortunately there were no pictures! I still have that very book. The cover is off and there are coffee and tea stains on it, but it still holds up! LOL! It’s been well used and very loved! :) Thanks for watching.
Hello Aubrey! Great lesson. For someone new to jazz it's great to have Elvin's style broken down into more simple concepts. I know you're playing Dream cymbals, just curious as to what the ride was in this video?
Hi Andy, The "skip beat" is a term I learned from Canadian drum guru Jim Blackley. It refers to the note played on the "let" or last note of the triplet. In swing, it's usually played quietly. However, Elvin often accentuates that beat in particular in his playing. Thanks for watching!
Thanks for the kind words. I use Dream Cymbals. I've been and endorsee for about 10 years. I love 'em. Visit the website when you have some time. :) https//dreamcymbals.com/
No one talks about when to open and close the ride cymbal hand. It's important to know that. I've seen drummers squeeze on 2 and 4, and that makes the time stiff.
ELVIN WAS SO FAR OUT HE WAS ON HIS WAY BACK? REMEMBER ELVIN WAS NOT ACCEPTED FROM JAZZ PLAYERS? AT THAT TIME, SO HE HAD TO CHANGE HIS WAYS SOMEWHAT? SO ALL WOULD KNOW WERE HE WAS.. HIS THING WAS THE RIDE CYMBAL? NEVER THE SAME PATTERN..AND BECAUSE OF THAT, HE GAVE US A NEW FREEDOM OF EXPRESSION THE POINT WAS, MY OLD FRIEND ELVIN OR AS I CALLED HIM ELVIS???????? HA HA...WAS A NEW KID ON THE BLOCK AND A NEW WAY OF PLAYING....YOU NEVER KNEW WHAT WAS COMING UP NEXT? OR HOW HE WAS THINKING??? ...I LOVE THE GUY..........PHIL AMBROS
I love the way you put it!! "So far out he was on his way back. He had an uncanny way of being able to orchestrate the instrument around the triplet grid. John Riley once told me that one of Elvin's big influences was Gene Krupa. He took Gene's concept to another level entirely! :)
Elvin's wonderful triplet style swings the most when it's slow, as in your demonstration and on (for example) Trane's "Alabama" and "Spiritual" (at the Vanguard in 1961). It is real heavy. He is my favorite drummer, though I hasten to say that I like lots of the greats. I don't like Elvin's Blue Note albums, including the one you sampled,because there is no piano and they sound bare and dry to me. The squealing tenor saxophones don't appeal to me, either, though they are fine musicians. I am a reed player, by the way, not a drummer.
To this drummer: This video has some value possibly in the excercises. But I have not tried them yet. Dig deeper in Poly Rhythm before you film and advertise Poly Rhythm next time. It is there.
Clean flowing
He also hooked me up with my very 1st steady gig at Le Cafe Conce In Chateau Champlain Hotel accompanying the shows that came in... I was 15 when I did that for 16 months... he was a good man
When you described your experience first watching Elvin at the club I had to laugh out loud. I saw him in the early 70s in Chicago at the Jazz showcase and sat to his immediate left--could reach out ant touch his hi hat. He groaned and moaned and growled while he played. His way of "singing along". This was his signature persona on stage. He was a mystery to many drummers because of his playing behind the beat and emphasizing the swing skipbeat and the legato riffs. Your analysis is spot on!
Thank you for the great lesson
My drum teacher Jay Lawrence told me to play some sight reading with an Elvin swing feel, so this is perfect!!! Thanks
some more elvin would be awesome! like his playing on resolution by trane
6:35!! Man, music to my ears, beautiful jazz drumming. I could listen to that all day long.
Thanks for watching Timothy!
I learned this out of John Riley's book Jazz Drummer's Workshop and it freed me up so much. And developed muscles and inner clock brain connections to learn how to volley the time around with all four limbs especially in faster tempos. I came from Bonham and Peart - just like you, and it wasn't easy. Now I'm trying to incorporate that concept into 16th note feels plus triple hit overlapping figures with the hands in an effort to be able to foot chick the HH in groves like Keith Carlock does. Also in 3 beat motifs to keep the groove sounding random.
I remember Adam Nussbaum at a jazz festival years ago improvising like that. Before I even knew that was Elvin's thing. Anyway, I was blown away by it, and knew I had to be able to groove with all four limbs one day.
That’s great man! We all just need to keep digging.
Thank you so much for this 🙏🏻
Pure joy watching this!
Are you kidding , Elvin Jones & Tony Williams are Kings 👑🤴🏿
You are doing the Lord's work. Subscribed.
LOL! Thanks for the kind words brother and thanks for watching.
Thanks Aubrey.
Great lesson, subscribed and thank you. I got to see Elvin maybe half a dozen times before he died. Still my favorite.
He was spectacular live! Thanks for watching!
Amazing video!! Thank you so much! Love elvin's triplet feel.
One of my favorite displays of Elvin is on McCoy Tyners album, “The Real McCoy”.
It burns throughout, but I’ll point out Contemplation and Blues On the Corner.
Firstly, any genuinely informed effort to impart info about the artistry of the great Elvin Jones is appreciable to those of us already converted to his particular 'church of swing'. This presentation is no exception to that, so thanks Aubrey. However, without wanting to be negatively critical of your genuine effort, I feel compelled to point out that, in demonstrating playing the hi-hat on every third triplet quaver [starting at 9:20], your placement strongly tends toward the even duplet / straight-eighth pocket, not the third triplet, and that the ride cymbal pattern is being somewhat modified into a straight duple, or 3+2 quintuple zone. This is even evident when you alternated the hats between every 2nd triplet - in which all parts stayed audibly on the triplet grid, and every 3rd triplet, which tends to morph into a duple/3+2 quintuple swing, negating the stability of all parts with regard to the triplet grid.
Knowing that this video is about learning and practicing, I point this out, not to be picky about your playing, Aubrey, but to academically illuminate the finer technical issues that can arise in practicing these types of exercises over the triplet grid. If attempting to emulate Elvin's approach to thinking and feeling in triplets, we must have as the goal, precision on the triplet grid, especially on the 3rd triplets of upbeats - which, as you point out, is a key point of dynamic stress in Elvin's feel. If it's Tony Williams, or Billy Higgins we're emulating, then I guess something closer to straight 8ths is welcome, even imperative. But if it's about our man Jones, then we're on a very 'triplety-trip' with very 'uppity-upbeats'.
[ DISCLAIMER : Aubrey, you can teach me plenty - but I like us all to learn as we proceed, too, and observation and analysis are our friends in that effort. Hope you understand where my comment is coming from. All the best bro. -JW- ]
Ted Reed...that was my first drum book back in 1971. On the inside cover were around 10 pictures of different drummers--guys like Rich, Krupa, Blakey, Philly Jo, Poppa Jo, and of course, Elvin. I was very fortunate to have a teacher that turned me onto these greats at such a young age. Recently I bought the book again...the pictures were gone, but the book holds up some 50 years later. Great job, BTW.
Awesome !!! Elvin & Philly Joe are the drummers I have most in my ITunes Library !!
Awesome.
Nice instruction.
Aubrey, your videos are amazing. I love your perspectives and analyses of drumming. Your enthusiasm and knowledge is awesome, and inspiring from which to learn! Keep up the great videos!
This is from a (poor man’s) jazz guitar guy.
Thanks for the kind words and for watching!
Intelligent explanation of the Elvin ride cymbal accent...I never figured that out my self, Burt now I hear it immediately.
Your Elvin is really great!
I always loved Elvin's playing. Spent a lot of time listening and trying out stuff he was playing.
Thank you very informative great instructions I got the chance on several occasions hang out with Elvin NJ NY and LA my pieces buddy my childhood friend etc Chico Rouse Charlie Rouses son also a good drummer talked about Elvin a lot along with many jazz legends on the skins if I could only go back in time the free lessons I didn’t take seriously because of sports and into other forms of music at the times however in college I was more serious about jazz and made up whenever I saw anybody drummers mainly about jazz I greatly appreciate your videos thank you truly
Fantastic lesson, thanks! 👍🏻
Very nice. I didn’t plan to watch the whole thing, but got sucked in. Very well done. Great explanation. I like the exercises to get me to the “Elvin Zone.” The written transcriptions really help me. Thanks so much.
I'm glad I was able to help you out. Thanks for watching!
Thanks for the nice video.
This was awesome. Thank you for breaking it down so nicely!
Great teaching!
Wow. Awesome. Subscribed!
U are the best man!!
Great lesson! Enjoyed your way of explaining the concept of Elvin's way of comping. Thanks for a great lesson.
Donnie
Awesome vid. Elvin was a big influence for me like many others . You really nailed the Elvin thing. One of the greatest compliments I ever got was sitting in on a jazz night & an out of town pianist sat in. He said you sound like Elvin & my jaw dropped. I wasn't trying to sound like Elivin but listening to him forever I guess some of that stuff amalgomated itself within me. Thanks again.
Happens with everybody, depending on who you've been listening to and emulating. That's how we learn. The trick is to move beyond that and find what you want to say.
Thank you so much! Greetings from Venezuela 🙌🏼🙏🏼
Great video! Elvin is the champ
...really love your videos....thanks for the drum notation...it shows it all....You can’t put in the largato, accelerando....if you choose.
Excelent thanks for sharing !! 👏🏻👏🏻👏🏻
I had picked up on the accents on the "a" in the swing pattern but couldn't really "play" that way without focusing on it and sounding contrived. Will try your exercise and see what happens. Very good information, thank you.
Don’t feel bad, I can’t play ANYTHING in the idiom without sounding contrived. It’s amazing, that elusive little thing that makes the difference.
Amazing lesson and playing! Thank you for making this
Check out Elvin Jones on Larry Coryell’s album “Lady Coryell”, with Jimmy Garrison on Garrison’s “Treats Style”: Transcendental. The stick slapping the ride cymbal…
You must listen to Elvins, drumming on Gil Evans, Album: The Individualism of Gil Evans, ( recorded 1964 )track : The time of the Barracudas.
I live in U.K.
Peace to all.
I’m not familiar with this one. I’ll check it out! Thanks!
Thanks for the recommendation. It's a beauty
Also, check out Joe Chambers killing that tune on Wayne Shorters’ ETC album.
@@noostrings Your more than welcome.
Killer stuff man! I've been practicing roy haynes and philly joe with my personal tutor, and its been eye opening for my jazz playing! Got turned on to you via the 'Two Bass Hit' vid, appreciate your lessons, giving me new things to practice!
Thanks! I'm glad my stuff is helping.
You sound great!
Amazing lesson!
I ended up here after listening to Elvin Jones' playing on Sonny Sharrock's Ask the Ages. Any chance of a video of some his drumming on that album? Great channel btw, I subbed after watching this and the Ralph Humphrey video :)
Thanks for checking me out James! I'm checking out that album now and it's amazing! I'm not familiar with this one. I'm going to check it out for a while before I did into Elvin on it. Thanks for pointing me in its direction!
Emphasizing the skip beat goes at least back to Shadow Wilson, then Frankie Dunlop often played with that feel, both playing with Monk who liked that feel. Paul Motian sat in with Monk many years ago because his drummer didn't show up, and Monk tried to explain this feel to Motian, but I don't think he got it. Paul was a conventional straight ahead player, and couldn't adjust to this feel quickly enough. He played out the week, and that was it.
Although he didn't originate it, Elvin took this feel and really made it his own, I mean really!
Vey cool! I wasn’t aware of this! Thanks for sending some more great historical knowledge my way and to my Chanel. Also, Thanks for watching! 👍🏾🎵😃
Yes!! Thank you. My drum teacher long ago said Elvin Jones would often abandon chicking his high hat on 2 and 4 and would play the high hat on off triplets. Thank you for reminding me.
Yes, Elvin took more of a four-limb approach to playing. Each limb often took on the comping role.Thanks for watching!
I had th3 opportunity to study with elvin for 3 weeks, in 1984. He showed me a pattern, exercise , this is important in his triplet feel. He played it as (ll-rr-ll-rr-ll-rr) as a triplet. He said he started doing that in the army.
Whoa! That must have been incredible Michael! You must have delved into some interesting conversations as well. Thanks for this! Did he play the ride cymbal pattern with that replacing the right hand with the foot?
@@AubreyDrumLessons the sound has more of a rolling momentum, as you can hear, plus it’s very loose. So, instead of the triplet most drummers play in jazz, (llr-or rrl) it’s more 2 eighth notes linked as permutating accented triplet. If that makes sense. Imagine a double stroke roll, but playing as tripLet. A inside elvin tip, he always had a spring exercise, sports, muscle grip in his possession. It really build hand muscle strength, sports , or Walmart, a few bucks,
@@mwdrum Thanks again brother. This is gold!!
Excellent - thank you!
Yes he grunted loud. I used to hear him at Keystone corner in San Francisco, and you could hear them over the band, and it sounded like a flock of geese or something. It was definitely part of the music if you ask me. I think grunting is underrated. You sound great! loved the opening Elvin bit, but I’m sure you’re too young to remember the 70s when you did a session somewhere, they would always complain about the grunts. Or at least they complained about my grunts. Ha, well I really think it’s part of The organic process of music. I remember all the guys that acted like you should rise above grunting, and somehow reason it away, and they’re playing actually lacked a certain truth element to it, that I didn’t like as much. I guess I’m not just talking about drummers. To make a long story longer, what I’m trying to say is, be proud of your grunts! By the way, I love you’re playing. I wish you could’ve met Colonel Vernon Proctor, my college band teacher, who had just retired from being the band director at Travis Air Force Base, who actually had Elvin in the band when he was young. Mr. Proctor had so many great stories about Elvin Jones, and Jimmy Garrison, in the Air Force band.
Thanks for the kind words Rich! Yes, I do grunt as well! LOL! It is true that it's not as easy to hear as I started doing sessions in the mid 80's. Folks actually often found it interesting when they soloed the drums while mixing.
I absolutely loved seeing Elvin live. He was a force to the end. Thanks for watching brother!
awesome
Just recently found your videos. Great job Aubrey! I was wondering if you have any on Max Roach?
Thanks for the kind words and I'm glad you found me! I have a video on Max's playing on Cherokee in this playlist. ua-cam.com/video/-UinxcCx0Jc/v-deo.html
in 1967 I was 10 & Studying with Ronny Page He brought me to see Elvin. They were good Buddies . Ronny was Living on Bedford street in Cote The Neiges area... He Died very Young 52 ( I Think)
Thanks for the Kind words! I bought my book in 1982. Unfortunately there were no pictures! I still have that very book. The cover is off and there are coffee and tea stains on it, but it still holds up! LOL! It’s been well used and very loved! :) Thanks for watching.
That ride sounds great! Which Dream cymbal is that?
Thanks for watching! That's a 20" bliss prototype
Hello Aubrey! Great lesson. For someone new to jazz it's great to have Elvin's style broken down into more simple concepts. I know you're playing Dream cymbals, just curious as to what the ride was in this video?
Thanks for the informative lesson but I'm a little puzzled by what you referring to as skip beats.....
Hi Andy, The "skip beat" is a term I learned from Canadian drum guru Jim Blackley. It refers to the note played on the "let" or last note of the triplet. In swing, it's usually played quietly. However, Elvin often accentuates that beat in particular in his playing. Thanks for watching!
Treats Style w/Larry Coryell woukd be great to analyze.
Hey what ride cymbal are you using? Great video!
Thanks for the kind words. I use Dream Cymbals. I've been and endorsee for about 10 years. I love 'em. Visit the website when you have some time. :) https//dreamcymbals.com/
Two secrets: Elvin & Elvin!
...gotta change my RH movement to accent that last triplet note!
Elvin Jones Is On The Mountain and Mr. Jones....
Show me an example whee Elvin does a stick shot or a press roll to resolve a bar line?
Great video. Is your main ride cymbal a bliss ride or a crash ride? And what size is that? Thanks
Can I ask what ride cymbal that is? It's amazing :)
Hi! It’s actually a 20” Dream prototype cymbal. It was the precursor to the Bliss series. It even has the old logo on it. Thanks for watching!
No one talks about when to open and close the ride cymbal hand. It's important to know that. I've seen drummers squeeze on 2 and 4, and that makes the time stiff.
What Sonor kit are you playing here?
Do you change grip for the ride pattern?
I'm a bit disappointed you left the grunts out...
😏
Ha Ha! I need to practice that a little more. Thanks for checking me out!
One of the most important parts of his playing.
How dare you make a mauckery of Poly Rhythm.
@@danday4634 How dare you spell mockery wrong.
@@farshimelt "Poly Rhythm" the title of his rhythmic concept as offered by Elvin in "a different drummer" :. means many rhythms.
Where is an example of Elvin playing - _- - a+ ++ dd 3+ e+ with the the lh on 1st mounted tom and RH on the snare shaped with a mf /f \ p shape.
Elvin, Philly Joe & Max, best drummers ever !!!
+Tony!!!
Ever is a long, long time & it's not over yet.
What is 'skip beat'?
Hi Kiki, The skip beat is the 3rd triplet note of the triplet, that is usually played softly, on beats 2 and 4 of the jazz ride pattern.
@@AubreyDrumLessons Thank You.
👏👏👏👏🙏
where`s the PDF?
Hi Mark, Thanks for watching! You can find the PDFs in a link in the description.
ARE SOME OF THOSE EXERCISES SIMILAR TO THE TED REED'S SYNCOPATION BOOK ALSO JIM CHAPIN'S BOOK?
Yes, along wit the ride concept I mentioned and displayed.
ELVIN WAS SO FAR OUT HE WAS ON HIS WAY BACK? REMEMBER ELVIN WAS NOT ACCEPTED FROM JAZZ PLAYERS? AT THAT TIME, SO HE HAD TO CHANGE HIS WAYS SOMEWHAT? SO ALL WOULD KNOW WERE HE WAS.. HIS THING WAS THE RIDE CYMBAL? NEVER THE SAME PATTERN..AND BECAUSE OF THAT, HE GAVE US A NEW FREEDOM OF EXPRESSION THE POINT WAS, MY OLD FRIEND ELVIN OR AS I CALLED HIM ELVIS???????? HA HA...WAS A NEW KID ON THE BLOCK AND A NEW WAY OF PLAYING....YOU NEVER KNEW WHAT WAS COMING UP NEXT? OR HOW HE WAS THINKING??? ...I LOVE THE GUY..........PHIL AMBROS
I love the way you put it!! "So far out he was on his way back. He had an uncanny way of being able to orchestrate the instrument around the triplet grid. John Riley once told me that one of Elvin's big influences was Gene Krupa. He took Gene's concept to another level entirely! :)
Elvin's wonderful triplet style swings the most when it's slow, as in your demonstration and on (for example) Trane's "Alabama" and "Spiritual" (at the Vanguard in 1961). It is real heavy. He is my favorite drummer, though I hasten to say that I like lots of the greats. I don't like Elvin's Blue Note albums, including the one you sampled,because there is no piano and they sound bare and dry to me. The squealing tenor saxophones don't appeal to me, either, though they are fine musicians.
I am a reed player, by the way, not a drummer.
To this drummer: This video has some value possibly in the excercises. But I have not tried them yet. Dig deeper in Poly Rhythm before you film and advertise Poly Rhythm next time. It is there.