@@voronOsphere Yeah? Good to know! These videos don't get the HUGE reach of other styles, but we know it's important stuff for drummers to know about. Glad to hear you enjoy it!
@Terry Irie Fellow Terry here who agrees 100%. Two favorite examples that come to mind for me are his playing on "Oriental Folk Song" from 'Night Dreamer', especially those two cool drum breaks towards the end right before they restate the theme. Another favorite is his playing on "Mahjong" from 'JuJu'. The way he begins the song alone creating the illusion that the song is going in another direction from the one it actually goes. He also creates the illusion in the first few seconds that he's just randomly hitting drums and cymbals with no beat structure in mind, almost like a child playing the kit just to see how its components sound, before eventually settling into the evocative groove of the tune. Wonderful stuff!
There are so many phenomenal recordings of the great Elvin Jones. As a Steve Lacy aficionado, I must mention Lacy's 1959 album "Reflections" with Elvin Jones, Mal Waldron, and Buell Neidlinger. This was the first album comprised entirely of Monk compositions which was released by an artist other than Monk himself, and features some fantastic pre-Coltrane Quartet early Elvin. In particular, on the track Bye-Ya, Elvin plays a beautiful groove which is similar to Groove #1 in this video.
GREAT JOB MAN!!!!! Really dig this, Elvin's my fave!!!! Got the waltz, still working on the Love Supreme groove.....One of my fave Elvin tracks is "Pretty Brown" off of 61's "Elvin!" It's a trio track with his brother Hank on piano & Art Davis on bass....Short little number, but completely mind blowing. Elvin's brushwork, Dang!!!! Beautiful solo & trading with Hank...Check it out! What a brushman!!!!!!!!!!!!!!!!!!!!!!!!!1
Good stuff. Re the Love Supreme rythms, I need to add the hi hat w the cymbal pattern at FIRST, not as the last step as u say. Also I assume the 8th notes w the cross stick are played as "swung", like Triplets. In that case u should count "ah" instead of "and" because Rock drummers will play strict "and" which will not swing.
Great Video! I’m 72 years old and that brings me back to when I was a kid. Elvin Jones became my hero when I was a kid. Back at that time, a lot of Jazz Drummers especially in New York were so aware of Cuban music and knew how to play in Clave. Groove #2 is basically a 2-3 clave pattern and Elvin is doing Cascara pattern variations. What is so hip is that he played these patterns with great subtlety on the original recording. The man was such a genius with a wide dynamic range and an orchestral approach to the kit. Brandon, The way you break down the patterns on this video is pure mastery. You are a wonderful teacher and player. Thank you
“Contemplation” by McCoy Tyner is a monster of a performance by Elvin. Also, his work alongside Sonny Rollins in the “Live At The Village Vanguard” is phenomenal.
Yes! Sonny's trio Live At the Village Vanguard is phenomenal indeed. Amazing early Elvin... recorded in late 1957, quite a few years before the Coltrane "Classic Quartet".
Elvin Jones, for sure. _A Love Supreme_ kills... I think I've seen drum transcription somewhere on the internet for _Resolution._ And also McCoy Tyner's _Contemplation._
It wasn't until I studied out of John Riley's books 10 - 15 years ago, and breaking through with serious 4 way independence that I got Elvin's one total instrument concept. And his volleying of time around the kit. It really opened up a new world.
Dear Brandon : Thanks for some of the best presented online music lessons I have seen, period! You are clear, concise, focussed on the essential points, well versed with your subject material, accurate in your demonstrations, and well organised in your lesson structure and format. This lesson is a big help for Elvin fans. However, I have but one bone to pick - one of theoretical terminology versus actual metric conception : At 11:10 you address the kick drum part in the 'Afro-waltz', stating it is played as two "dotted quarter-notes" per bar, which is, by default, a true { 2 : 3 } structure to the pulse. However, in contrast, your notation quite correctly shows us what Elvin actually defaults to, which is in fact a { [ (5 + 4) : 9 ] : 3 } structure over the TRIPLET (quaver/'eighth') grid, with the first bass-drum note being 5 triplets long, and the second, coming in on the third triplet of beat 2 (as in, the 'a' of '2-and-a'), being only 4 triplets long. This was a key difference with Elvin's approach to the 'two-over-three' waltz feel in comparison to many other jazz drummers who tended to play it 'straight', as a { [ (3+3) : 6 ] : 3 }, over the DUPLET grid. Elvin's is a SWING conception - at the TRIPLET subdivision, resulting in a characteristic 'longer-shorter' motif. I know that YOU know this, but do the students? Might they be confused when you call what is 5 triplet quavers followed by 4 triplet quavers, " [ a pair of ] dotted quarter-notes" ? I know that the standard 'colloquial' approach to swing rhythm conception is to write, see, and even 'think' in regular eighth-note quaver patterns, and then convert those into 'swung' 'eighths', which are NOT '8ths' per se, but are generally conceptualised as being played along the triplet grid ( ie. '12ths' in 4/4 ; '9ths' in 3/4 ; '15ths' in 5/4 etc), and are further 'felt' as even triplets, or maybe as dotted quaver/8th and 16th notes, or even perhaps as quintuplets in divisions of { [(3+2) : 5 ] : 1 } or { [(4+1) : 5 ] : 1 }. However, issues arise with this approach. Firstly, what do we do with a dotted crotchet? It might be 'swung', perhaps at the triplet subdivision, but, could/should it be played 'straight', at even 8ths in a given musical circumstance? Either way might be the more or less preferable option. The straight dotted crotchets might provide a desirable polyrhythmic feel AGAINST a triplet-based swing feel (at a { 2 : 3 } ratio), which is totally in keeping with jazz. However, the triplet-grid moderated version, at { (5+4) : 3 } will swing more tightly and will provide a slightly 'offset' groove with a layer of syncopation added to the (previously) straight '2 : 3' pattern. Yet again, what if a player's physical interpretation of 'swung-eighths' (a theoretical misnomer, in fact) tends toward a metric division of straight 16th semiquavers, or of quintuplet semiquavers ('15ths' in 3/4)? Would this not then skew the pattern even further, forming say, a { (9+6) : 3 } pattern, if based on a { (4+1) : 5 } swing ratio? We soon find ourselves in an analytical 'metric mine-field' with the inevitable ambiguities arising from imprecise notation. HOWEVER, you have had the foresight to provide PRECISE notation for the patterns you are teaching in this video, the notations adequately distinguishing between the 8th-note duplet/16th-note quadruplet "Love Supreme" feel, and the "Afro-Blue" type feel based on triplet-quavers ('9th'-notes in 3/4 time). Therefore, your conceptual and terminological duty is to that very notation, which you have provided as the key to 'putting the right sounds in the right places'. Additionally, with regard to your students, you have a duty to them to be absolutely consistent with your explanatory language, and consistently clear in distinguishing between different systems of conception (such as the 'system' of estimating swing from straight notation versus the system of accurate numerical division of beats with differentiated notations). In this one instance, you contradicted the terms you are working on, namely triplet-quaver grid notation, by referring to the bass drum part as "dotted quarter-notes", when this neither reflects what is written, nor what is played and heard (which DOES reflect what IS written). I only jump on this like I have done here because this is a long-standing 'beef' on my part, where I feel that too much vaguery and presumption is associated with the ' swing estimation & conversion of straight notation ' approach. This one little example of problems typically arising from it, in your otherwise excellent presentation, is a good one to spotlight to show why the notational vaguery & presumption common in jazz culture has no place in real metric conception, and therefore no place in teaching metric conception. Thus, my long and intricate comment is provided here for all as, albeit a side-discussion to the video, a nevertheless very important matter for consideration in general conceptual and communicative terms. Hopefully, it might also 'straighten out' any confusion arising from the small but significant contradiction I have spotlit here. Thanks again Brandon - I will definately check out more of your videos! Now off I go to practice that "Love Supreme" groove !
That 3/4 pattern mystified me for years, because of the upbeat tempo. Fabulous to have it slowed down. Thank you drumeo and all the fine drummers. More jazz drumming please!!
Please please do more of these! I just started playing a week ago, and am actually learning and playing these tunes! I’ve been listening to JC with Elvin for the better part of 23 years now…now I can actually play along to one of my favorite compositions. Thank you! More please!
One track that I always thought Elvin played magnificently on Crescent by Trane. His rolls along the toms make the drums sing so much on that recording.
This is my favorite Drumeo lesson. If Drumeo did a lot more jazz lessons I would re-join. My only complaint is I wish the drummer would play the examples about 16 measures instead of 4 so I have time for it to soak in more. I hate having to rewind it over & over. PLEASE, MORE JAZZ !
Working on lots of new jazz lessons/courses for Drumeo members (tony/art/Elvin/max/etc). We have practice tools on the site that allow you to loop these grooves infinitely :).
i like how elvin delays everything just inserting bars in his grooves that always blew my mind cause he summons them as groovily as the rest of his playing. he describes drumming as a form of drawing or painting. to him its colours. thank you much for this
Terrific lesson! Thanks. Those drums sound beautiful. Had the honor of meeting Mr. Jones only once, when he was playing with Dizzy in NYC. He didn't know me from Adam, but he talked to me like an old friend. Sweetest cat on Earth.
Finely ....you are explaining to perfection.You are a born TEACHER. Of all the videos i watch your is one of the few i learned and retained. Keep it coming and TX. J.p
Love this video. Elvin's artistry is unique. He's a disobedient lawbreaker on the drumset. Love it. Check out Elvin Jones's album "The main force." It's potent with free association and polyrhythm. Cheers y'all 💛✨
Kit sounds great! I would add that Elvin - in his 3/4 - would often play the hats w/the left foot on the & of 1 (and 3) - to give another dotted-quarter 2-against-3 layer, as well as a cool little syncopation before that cross stick on 2.
Great Elvin lessons here! Favourite Elvin groove - wow... The way he plays on the Larry Young album "Unity" - song: Monk's Dream (a duet with Young) - just amazing! But also the first song Zoltan with the typical Elvin style, similar to what's shown here - really hot stuff!
I had the good fortune of seeing Elvin perform at the Vancouver East Cultural Centre (The Cultch) twice, a long time ago with The Elvin Jones Jazz Machine and it was amazing. I remember his drums weren't even mic'd and it sounded so good. And everyone, order that book behind Brandon's right shoulder - the blue one called Kick It: A Social History Of The Drumkit, if you want an in depth study on the evolution of the instrument. Its a great read. Great work guys!
Very cool! I would have loved to see him perform live. And good eye noticing those books in the back. I just finished reading “Kick It” a few months ago. Learned a ton.
Brandon, this is one of my all time favorite Drumeo lessons! I was lucky enough to see Elvin play once, and it was a life-changing experience. The way you break down his playing is great. So are your shoes.
By far, his slow 12 bar blues on the Jimmy Garrison tune, “Treats Style”, heard on Larry Coryell’s 1969 album, “Lady Coryell” - it’s on You Tube as well… great slow triplets all over the drums and hi hat.
I Agree with the others here, more jazz, im new to drumming, ive loved Drums all my life but never tried to learn, im practicing through GarageBand mostly and i cant read notes so its a lot of learning by ear and eyes for me but im getting better surprisingly, ive never gotten better at any instrument so its cool!
I enjoyed your video. It really captures Elvin Jones. I would like to know what brand and what sizes are your symbols they sound very good in this video very similar to Elvin's. Take care & be well. Thanks
You did a good job my brother, well explained. Thumb up! The rest is ours, to anyone lucky enough to watch this video. I love it, No 1. Tutorial on youtube.
Brandon, I want to thank you very much for this great video : you allowed me to discover the extraordinary playing of Elvin. He is such a legend for me that I never imagined being able to play some of his rhythms. You made it possible ! Hello from France !
Elvin's waltz groove on Ole from Ole Coltrane is great. The ride pattern is 1 2 ah 3ah (1) ah 2 3, and he plays the same kind of cross stick and tom stuff demonstrated on this video, but the ride pattern closely follows the bassline and locks in beautifully. He did everything beautifully.
Check out any of the trio albums with Jimmy Garrison and Joe Farrell.I often hear Elvin hitting the 'e' of three on the bass drum when playing these type of grooves.Love the Drumeo channel.
It is cool that Elvin literally, heard the music in colours. Speaking of, I like the colour of your kit. Great video. I think the main practice would be focusing on the cymbal patterns.
