Billy Higgins on Dexter Gordon
Download Billy Higgins' drum transcription on Dexter Gordon's "Benji's Bounce." http://www.jazzleadsheets.com/cart.ph...
A rare recording of Billy Higgins, talking with Rudy Van Gelder and Don Sickler about the great tenor saxophonist Dexter Gordon. This conversation was recorded in 1998, at Rudy Van Gelder's studio in Englewood Cliffs, New Jersey, where Higgins recorded countless great records.
Charli Persip Drum Transcription "The Eternal Triangle"
The second Charli Persip drum transcription, from the famous Dizzy Gillespie, Sonny Rollins, Sonny Stitt recording of "The Eternal Triangle." You can download the drum transcription here:
Drum Transcription: A six-page in-depth drum transcription of drummer Charli Persip playing on the famous recording of The Eternal Triangle.
-- Intro (in ¾)
-- Time playing behind the melody in (melody above staff)
-- Trumpet and drums trading 4’s (2 choruses)
-- Time playing behind melody out (melody above staff)
-- Coda (in ¾)
Description: The Eternal Triangle is perhaps the most famous “tenor battle” of all time. Sonny Rollins and Sonny Stitt certainly take it to the next level on this recording, but not without the help of the great Charli Persip. This transcription features some of Charli’s most fierce and energetic playing. His fours with longtime musical partner Dizzy Gillespie are not overshadowed by the tenor battle, as Charli Persip is a strong soloist in his own right.
Historical Notes: By 1957, Charli Persip (then known as "Charlie") was a much in-demand drummer for recordings and performances, both in small groups and in big bands. His first recording in 1957 was on February 18, a Lee Morgan/Wynton Kelly Septet date for Specialty records. Nine days later Charli and his Jazz Statesmen became part of Howard Rumsey and his Lighthouse All-Stars, recording for Liberty Records. On March 23, he did the first of seven sessions with Dizzy Gillespie's big band before the "Sonny Side Up" session. Sandwiched in between these session he still found time to do sessions for Lee Morgan, Ernie Wilkins, Don Bagley, Eddie Chamblee, six Dinah Washington sessions, and Benny Golson's "New York Scene" (see Something In B-flat). Obviously Charli was a very busy young man in 1957.
Now, give yourself a real treat--listen to and watch Charli tell you about his experience at The Eternal Triangle session.
-- Intro (in ¾)
-- Time playing behind the melody in (melody above staff)
-- Trumpet and drums trading 4’s (2 choruses)
-- Time playing behind melody out (melody above staff)
-- Coda (in ¾)
Description: The Eternal Triangle is perhaps the most famous “tenor battle” of all time. Sonny Rollins and Sonny Stitt certainly take it to the next level on this recording, but not without the help of the great Charli Persip. This transcription features some of Charli’s most fierce and energetic playing. His fours with longtime musical partner Dizzy Gillespie are not overshadowed by the tenor battle, as Charli Persip is a strong soloist in his own right.
Historical Notes: By 1957, Charli Persip (then known as "Charlie") was a much in-demand drummer for recordings and performances, both in small groups and in big bands. His first recording in 1957 was on February 18, a Lee Morgan/Wynton Kelly Septet date for Specialty records. Nine days later Charli and his Jazz Statesmen became part of Howard Rumsey and his Lighthouse All-Stars, recording for Liberty Records. On March 23, he did the first of seven sessions with Dizzy Gillespie's big band before the "Sonny Side Up" session. Sandwiched in between these session he still found time to do sessions for Lee Morgan, Ernie Wilkins, Don Bagley, Eddie Chamblee, six Dinah Washington sessions, and Benny Golson's "New York Scene" (see Something In B-flat). Obviously Charli was a very busy young man in 1957.
Now, give yourself a real treat--listen to and watch Charli tell you about his experience at The Eternal Triangle session.
Philly Joe Jones Drum Transcription "Old World, New Imports"
Another Philly Joe Jones transcription is available at jazzleadsheets.com. You can download it here:
Drum Transcription: This is a six-page in-depth drum transcription of Philly Joe Jones including what he plays to accompany the in and out melodies, as well as his playing on the "shout chorus," which features him.
-- Eight-measure drum solo intro
-- horn melodies are shown above the drum staff
-- AABA in melody
-- Philly Joe's playing behind eight bars of Hank Mobley's first solo chorus
-- shout chorus (time of track notated: 4:38) A sections: four measure of rhythmic horn melody alternates with four measures of Philly Joe. B section: Drums solo.
-- one chorus drum solo
-- AABA out melody
Description: A quirky and playful song, Old World, New Importsfeatures some of Philly Joe's best playing. His time is simply incredible, always smooth and swinging. Take particular note of how he plays through the melody, especially the moments where he goes off the ride cymbals and plays the melody around the kit. Also, note how much he references the melody and the "vibe" of the song in his drum solo.
After three Hank Mobley solo choruses and two Donald Byrd solo choruses, it's pianist Herbie Hancock's turn. This is a 32-measure AABA composition with the same format for solo choruses. The concert chord progression is "rhythm changes" in B-flat for the A sections and "rhythm changes" in E-flat for the B section.
In real life, during the excitement of a soloing moment, things can always take a different turn. All of a sudden the form might change. Then it's "recovery time" for the musicians. When soloing on "rhythm changes" a soloist can explore different directions and be adventurous. Herbie Hancock's solo contains one of those unplanned, adventurous moments. He found himself leaning toward E-flat a little early in the second A of his second chorus, and suddenly the eight measures of A2 took on a different shape: A2 was actually only four measures long, with the B section (E-flat) the next four measures. Then Herbie recovered for the last A section to finish the chorus. The result is that his second chorus was only 24 measures in length instead of 32. He then played two more full choruses, setting up the shout chorus.
Crazy things can happen when you're soloing. If things get strange for a moment, you've got to just "go for it" and make it work, as Herbie did. Everyone knew when it was time for the "shout chorus."
See and hear drummer Evan Hughes as he plays part of his own transcription along with the CD on our YouTube channel.
Billy Higgins Drum Transcription: "Benji's Bounce"
Our first Billy Higgins drum transcription is now available at jazzleadsheets.com. You can download the drum transcription here:
Drum Transcription: A seven-page in-depth drum transcription of Billy Higgins on Dexter Gordon's Benji's Bounce.
-- eight-bar drum set up
-- melody is shown above the drum staff
-- everything Higgins plays behind the in melody
-- drum solo trading 8s, 4s, and 2s with Dexter Gordon
-- everything Higgins plays behind the out melody
Description: This transcription includes a lot of Billy Higgins solo material. Though mostly known for his signature "groove" on many classic Blue Note albums, Higgins' soloing is not to be overlooked. It is tasty, always grooving, and very much unique to his style.
The musical relationship between Billy and Dexter is evident throughout the track, but their interaction in the trading section is very special.
Dexter was living in Europe at the time, and this recording features two European musicians, Tete Montolio (Spain), and Neils-Henning Orsted Pedersen (Denmark), alongside Higgins.
To hear Billy talking with engineer Rudy Van Gelder and Don Sickler about Dexter Gordon, click here.
Papa Jo Jones Drum Transcription: "Philadelphia Bound"
Our first drum transcription from brush master Papa Jo Jones, from the classic record (and bible for brushes playing) The Papa Jo Jones Trio, with Ray Bryant and Tommy Bryant. You can find it here:
--Drum Transcription: A four-page in-depth drum transcription of “Papa” Jo Jones playing brushes on Ray Bryant’s "Philadelphia Bound."
-- solo drum introduction
-- in melody (horn melodies are shown above the drum staff)
-- Jo Jones’ time as he plays behind Ray Bryant’s piano solo (first two choruses)
-- piano and drums trading fours (six choruses) -- out melody
--Description: Any great jazz drummer will tell you that “Papa” Jo Jones helped write the book on playing brushes. Countless well-known jazz drummers cite this particular recording as their bible of brush playing. You can hear the articulation of his brushes very clearly, and his feeling is so strong. The tempo is extremely fast, but Jones plays it with relaxed ease and the group follows his lead.
This transcription also showcases Jones' solo talents and demonstrates why his style of playing would be so influential on the drummers who followed.
As you work through this transcription, try to emulate Jones’ sound on the drum: the dynamics and “touch” of his accents.
Charli Persip Drum Transcription - "Three For the Festival"
Our 4th transcription on jazzleadsheets.com and the first of Charli Persip's, from his recording session with Rasaan Roland Kirk, on the song "Three for the Festival." You can find it here:
Charli Persip - Three for the Festival
Drum Transcription: A four-page drum transcription of Charli Persip's playing alongside Rahsaan Roland Kirk on Kirk's composition Three For The Festival.
-- horn melodies are shown above the drum staff
-- AAB melody, drums fill throughout melody hits
-- Charli's playing through the first chorus of Rahsaan's flute solo
-- stop-time hits
-- out melody and ending
Description: Charli Persip said that he clearly remembers the day of this recording session. He was with Elvin Jones right before the session, who told him to "always play with open ears, always play like yourself and don't worry about anything else." Charli himself cites this session as some of his favorite playing. Note how well he sets up the hits in the melody, and how he responds to Rahsaan's unorthodox and intricate playing.
You can see Charli and hear some of his stories on jazzleadsheets YouTube channel.
Philly Joe Jones Drum Transcription "Out of Joe's Bag"
Our third Philly Joe Jones drum transcription is up on jazzleadsheets.com. You can find it here:
--Decription: As the title suggests, Mobley wrote this song specifically for Philly Joe. Starting first with an eight-bar drum intro, then Philly Joe's interaction with the melody, which consists of a call and response of two-bar phrases with horns, then drums. Only a drummer like Philly Joe can fill every two bars and make it feel so good. Also included is a full solo chorus over the form, which is incredibly dynamic and technically astonishing.
--Drum Transcription: A nine-page in-depth drum transcription of Philly Joe Jones, including his drum intro, what he plays for the in and out melodies, as well his drum solo.-- horn melodies are shown above the drum staff.
-- Eight-measure drum solo intro
-- AABA in melody (16 measure call and response A sections and 8 measure bridge)
-- Eight measure drum solo to set up first soloist (Hank Mobley)
-- Philly Joe's playing behind eight bars of Hank Mobley's first solo chorus
-- Philly Joe's drum solo (track timing for the start of his solo is notated on the music: 3:22)
-- AABA out melody including ending
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