This is a triplet Afro feel by Art Blakey, one of the major people playing that feel in a hard bop setting in the late 50s/early 60s. I usually call it a 6/8 feel— some […]
Year: 2014
Philly Joe Jones three-beat triplet lick
Following up the Philly Joe Jones drum intro transcription from the other day, here are a few exercises for getting together that three-beat triplet lick we saw there. I’ve included two stickings: alternating, and a paradiddle-diddle […]
Page o’ coordination: Afro 6 with feet in 3 — 01
Well, I’ve written more of these than anyone should rationally need, but did I ever say this was going to be a rational pursuit? And there are more coming, built on this basic idea of […]
Blogger suboptimal!
By the way: for some reason, the search engine on the site has really been sucking of late, and you should not trust it at all. You may have better luck finding what you’re looking […]
Infrastructure for shooting film
No jive app needed. Hey, if you’ve been letting me rile you up with my film-photography cheerleading, and you want to try your hand at it, here is a general list of things you’ll need […]
Groove o’ the day: Elvin Jones — The Trip
Here’s Elvin Jones playing a groove that should be very familiar if you’ve been following our Page o’ Coordination series: The Trip, by alto saxophonist Art Pepper, from his album of the same title. On the […]
“Skiplet” analysis— a line of music
Continuing with the analysis portion of this skiplet-based method of jazz coordination-thingy, in which, in order to learn independence vs. a jazz time feel, we orient everything around the three close-together notes of the cymbal […]
A Philly Joe intro: Dance of the Infidels
Oh, I was going to put out a book of intros, wasn’t I? Most of the transcribing for that project is actually done, and now I just need to do the not-fun part of laying […]
Generic Latin method for Syncopation: part 1
Here’s a basic method for doing a generic, Afro-Cuban-derived Latin feel using the book Syncopation. We’ll be taking rhythmic patterns out of Reed, and using them as our bell pattern, playing them with the right […]