Linear Drum Set Improvisation part 2 of 3

Thank you for listening and watching and subscribe if you want more like this, leave a comment to what you want more of. Press Like to give it a boost.
Story
As I've got it in my head that drumming can be the first line melody, I started by recording the melody first, on the drums.
I enjoyed the discovery of this composition, of approaching the orchestration without chords, hence linear, but letting the drum set in particular lead melodically, which of course works differently.
I now think that the idea of melody has a long way to go on this trajectory, but here, it came out as a busier lead, but more like a drum solo. I suppose that a lot of my composition since 2007 has had an ethereal way of comping, or decorating the melody rhythmically. The comping instruments here end up supplying a lot of the melodic content, and the music elaborates a mystery that reminds me of an obscure 1990s King Crimson B-side 'When I Say Stop, Continue', though I was not focusing on this at all.
Process
I tuned the drums up and got the recording set up. There was no intentional pitching of the drums; it was intuitive. When I got the piano set up, I realised that the drums were tuned to the key of C. That's quite a good starting point for melodic drumming. And I'm happy that the instruments sing together! Drums can be a pitched instrument, obviously!
I recorded an improvisation that felt very warm and uplifting, as that's how the kit felt resonating together, solo. I took the dampening out of the kick, and as I always strive to do, let the drums resonate with as much fullness and harmony as possible!
I developed an unravelling theme that built up from an idea I had the day before and started writing into an exercise. I had 3 long takes and on the second started filming and keeping track of video takes.
What followed was to let the other rhythm section instruments accompany the drums as simply as possible, like drum patterns with only a few notes, so that the drumming carries the main melodic interest. What resulted here ended up relying largely on timing to maintain interest, and somewhat of the original plan. This is an approach I'm enjoying taking further with as much variety as the idea brings, that will narrow down and focus as I go along.
Oh, and I'm aware that not every single note of this melody solo is linear. There is one note that is a drum and cymbal in unison. I'm sure you will spot it. I'm really excited by linear playing and in fact it's probably my favourite way to play. But having one unison balances things out just enough?
Taking the concept further
Next I am going to write the melody and build the accompaniment for piano with modal chords, but using arpeggios, which will again give space to the drums. But the drums, played with mallets, to achieve more tonal expression and closer to legato, will give a lot more space, in the sense of less is more.