What's A Rudiment For? Part 2 - Displacing Paradiddles

The Paradiddle is one of the most adaptable rudiments around, and yet in many exercise books it only appears either on beats 1 or 3 of the bar. What this lesson will show is that it has far more potential  when moved around the bar, one groove and one fill can become many. Once you have familiarised yourself with the following exercises any Paradiddle combination can be inserted, making the possibilities almost endless!

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What's A Rudiment For? Part 1 - The Five Stroke Roll

The five stroke roll in it's basic form is a very militaristic sounding rudiment. This may be one of the reasons why many drummers get put off by rudiments, they can sound old fashioned, and seem to have no place in modern music. However, in this infrequent series I hope to show that there's plenty of life in the old dogs yet!

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Philly Joe Jones & The Four Bar Break

Philly Joe Jones had many wonderful four bar patterns, which he used to great effect on Miles Davis' Blues For Five. The track was recorded in 1955 and appeared on the album Cookin'.

It features numerous Philly Joe signature fills and tricks, so I used it as part of my 1st year Jazz degree solo study.

Below is a video of the solo along with a link to the PDF transcription. 

Download the PDF here

The Original Modern Drummer?

Max Roach

Kenny Clarke (Klook) is almost universally regarded by jazz scholars to be the originator of the 'Bebop' style of drumming. But how much of this is fact rather than jazz mythology? The received knowledge surrounding who invented Bebop drumming is that Clarke was the first drummer playing in this style, and that Max Roach developed and refined Kenny's ideas into what we now understand to be 'modern jazz drumming'. However, there are very few facts to back up this theory, and much more evidence pointing to Clarke merely being a brilliant self-promotionalist, using ideas he had mostly picked up from Count Basie's drummer 'Papa' Jo Jones. In reality Jones, Roach and other lesser known players were the true innovators. To support this claim let us first look at the developments made in drum kit playing during this period.

Bebop drumming innovations

• Shifting time keeping from hi-hats and bass drum to the ride cymbal
• Adding accents on the '2' and '4' quarter note beats of the ride pattern
• Very high tempo grooves
• Accented bass drum hits (bombs)
• Syncopation of the bass and snare drum against the ride cymbal pattern (limb independence) to support and enhance melodic soloists

Confusion surrounding the development of drum kit playing in the late 1930s/early 1940s can be attributed to several reasons. Firstly, due to poor recording technology it was often impossible to accurately tell what a drummer was playing on a recording. Many recordings which sound as though the drummer is only playing the bass drum on accented hits and pushes are actually a misrepresentation of what was really going on. Most drummers were still playing 'four-on-the-floor' bass drum, feathering some beats and accenting others, but microphones weren't good enough to pick up this feathering, instead sounding like they were only playing the accents.

A good example of this is Clarke's playing on 'Stomping at the Savoy' from the 1941 recording Thelonious Monk – After Hours at Minton's , one of the few pre-1949 recordings that exist of Clarke playing anything other than big band Swing. Clarke's playing has elements of what would become bebop drumming, particularly his left hand comping patterns, however Clarke spends almost the entire track on the hi-hats (in the Jo Jones style) rather than the ride cymbal, and though the recording is of poor quality you can make out that while there is some bass drum syncopation many of his bass drum 'bombs' are simply accented beats rather than individual syncopated ones, he is still playing a regular four-on-the-floor with his bass drum through large parts of the performance, very much in the style of big band Swing. This can be heard best during Charlie Christian's guitar solos at 02:24 and 05:56 respectively. So whilst this track demonstrates some limited degree of limb independence with a few syncopated bass and snare drum phrases, it does not feature the other key ingredients of Bebop drumming, sounding somewhat antiquated when compared for instance with Max Roach only four years later.

Another reason for the confusion regarding Clarke's influence on Bop drumming stems from his own statements on the subject. For example, in Arthur Taylor's book 'Notes and Tones' (p190) in which Taylor conducts interviews with a number of jazz musicians including Clarke, Taylor asks: “Would you tell me something about Minton's and that period, in regard to the development of our own music?” Clarke responds:

“Rhythmically, music has progressed quite a bit, because the drummer was liberated during the Minton era. Before, drummers were just required to keep a four beat, dig coal in the snare drum and hit the cymbal at introductions and endings. Dizzy Gillespie and Thelonious Monk encouraged me to continue in the style I was playing. This liberated drummers, and from then on they have progressed tremendously.”

Kenny Clarke

He was clearly painting himself here as an innovator, as he often would. However, in a 1984 interview with Ed Thigpen in Modern Drummer magazine (again presenting himself as a pioneer), Clarke contradicted himself. While discussing one of the innovations credited to him, shifting time from the bass drum and hi-hats to the ride cymbal, he said:

“Of course, Jo (Jones) was a hi-hat man. But, I couldn't make that hi-hat thing. I wanted my arms free. I just moved over from the hi-hat to the ride and played the same thing that I'd been playing on the hi-hat. The hi-hat then became another instrument! I could play with my left hand. It opened up the whole set, you know. Before that, cats didn't use the cymbal except for accents, endings and stuff like that.” (Modern Drummer, Vol. 8, No. 2, Feb 1984, p17). But later in the same interview when asked who his early influences were, he revealed that this innovation actually came from elsewhere:

“There was one cat who taught me everything about cymbal playing. His name was Jimmy Peck. He was mean, baby - a smart player. He just sat me down and said, 'Look, if you're going to play it up there, make it sound pretty. It's all in here, in the wrist, and you kind of throw it out.' When you throw it out, it changes the sound. There are so many things you can do when you get the idea.”

Regarding another innovation Clarke credited to himself, dropping 'bombs' with the bass drum, in an extensive eight hour radio interview in 1989 on the history of jazz drumming, Loren Schoenberg of WKCR radio in New York and celebrated drummer Mel Lewis were dismissive of claims that Clarke had invented this technique. Discussing the performance of Clarke on the recording 'Indiana' also from Minton's in 1941, Mel Lewis had this to say:

Jo Jones

“What, that Klook was the first one (dropping bombs)? No I don't believe that. A lot of these people that write, they weren't there. These great drummers who played every night somewhere, you don't know what was going on. Who knows what Jo Jones did in the course of a week on the road? He might've hit on some things that he never did again and they never heard in New York. These guys (writers) are judging everything by what they hear on records mostly, and on records everybody played it safe most of the time because they had to.”

Herein lies another problem. 'After Hours at Minton's' is often regarded as the first Bebop recording, but this notion is perhaps blurred by the fact that it is a series of jams recorded by university student Jerry Newman on a portable disc-cutting machine. The musician's performances were unhindered by record companies or band leaders and perhaps most crucially, Newman was able to cut 12” records at 33rpm. This produced 15 minutes of music on either side, allowing the musicians to stretch out their songs, no longer confined to 3 minute pieces. It should also be noted that these recordings weren't commercially available until the mid-1970's, over thirty years after they were made. As Mel Lewis points out, had Jo Jones been recorded in this context he may well have sounded very similar. Indeed, Jazz writer Robin D.G Kelly noted that “Kenny Clarke's recollections of what happened at Minton's were inconsistent” (Thelonious Monk – The Life And Times Of An American Original, p69) adding that “although Minton's did become a kind of laboratory for new music, what was played in 1941 can hardly be called Bebop.” (p70)

Sid Catlett

Finally, let's look at the statement that Max Roach was influenced by Clarke and that Roach developed and refined Clarke's ideas, as Clarke himself remarked in the1984 interview with Ed Thigpen: “They used to come to Minton's. I'd look out there and it would be all drummers. Art Blakey used to hang out there a lot and he got the style down real good. And Max too.” (p19). However, in a 1979 interview Roach contradicted this statement: “Kenny was in the Army when I came on the scene. I knew nothing about him until after recording with Coleman Hawkins. That style of playing was already established around New York. The first person I heard on radio who played broken rhythms using the bass drum and hi-hat was Jo Jones. Actually, Chick Webb, Jo Jones, O'Neil Spencer and Sidney Catlett had the greatest influence on me.” (Modern Drummer, Vol. 3, No. 1, Jan-Feb 1979, p21).

In conclusion, given the lack of physical evidence that exists, it is impossible to say that Kenny Clarke, as writer Thomas Owens claims, is the undisputed founding father of bebop drumming (Bebop: The Music And It's Players p181). From what evidence there is it seems more probable that the innovations in drumming that led to the Bebop style came from many different sources including Jo Jones, Sid Catlett, and perhaps Clarke. What is undisputed is that the first recording of a fully realised Bebop drum kit performance took place at WOR Studios, Broadway, NYC on November 26th, 1945 by The Charlie Parker Rebeboppers, and it featured 21 year old drummer Max Roach. The original modern drummer. 

Extract from 'The History Of Modern Drumming'

Interview with Mel Lewis by Loren Schoenberg of WKCR radio in New York, 1989

The rest of the interview can be found here:

http://www.pas.org/experience/oralhistory/mellewis.aspx

LS: “Now, what's the difference between what he (Clarke) was doing behind the trumpet solo, what he was doing with the snare drum and like the patented Jo Jones stuff? Is it the same concept?”

ML: “Yeah, you know. He made a little more out of it, that's all. But basically if you look at it from chronologically or historically, Jo Jones and (Sid) Catlett, well Jo Jones more, they were doing things that would be considered evolutionary or revolutionary or whatever. But I don't think they knew they were doing it.”

LS: “Right, it was just something that happened sometimes as opposed to someone like Kenny saying this is the main part of what I'm doing, is that what you mean?”

ML: “Kenny was trying to create something whereas Jo, I think whatever happened, happened. Jo had been through that era already for himself and was always 'adding on' in other words. And now everybody else would dig that of course, and it would enter your repertoire of tricks and things because you heard Jo Jones do it. And some of those things must have fallen on Kenny.”

LS: “That's one other question I want to ask you. They make a big deal in jazz history books about Kenny Clarke was the first one to drop 'bombs' on the bass drum. Now of course, that's not true because there are records of (Gene) Kruppa doing it with Benny (Goodman)'s band, and of course Jo Jones being very independent on some of the Basie records, doing these off-beat things. Is that statement true, and if not, what?”

ML: “What, that Klook was the first one? No I don't believe that. A lot of these people that write, they weren't there. These great drummers who played every night somewhere, you don't know what was going on. Who knows what Jo Jones did in the course of a week on the road? He might've hit on some things that he never did again and they never heard in New York. These guys (writers) are judging everything by what they hear on records mostly, and on records everybody played it safe most of the time because they had to.” 

Bibliography

Goia, T., 1997. The History Of Jazz. Oxford. Oxford University Press

Kelley, R.D.G., 2010. Thelonious Monk The life and times of an American original. London. JR Books.

Owens, T., 1995. Bebop The music and its players. New York. Oxford University Press.

Taylor, A.,1977. Notes and Tones. New York. Da Capo Press

Yanow, S., 2000. Bebop. San Francisco, CA. Miller Freeman Books.

Howland, H., 1979. Max Roach Back On The Bandstand. Modern drummer Magazine, 3 (1), p16, 17-21.

Thigpen, E., 1984. Kenny Clarke Jazz Pioneer. Modern Drummer Magazine, 8 (2), p17-21.

Schoenberg, L., Lewis, M., 1989. The History of Jazz Drumming. [online audio] Percussive Arts Society. Available at: <http://www.pas.org/experience/oralhistory/mellewis.aspx>

Discography

Monk, Thelonious. After Hours at Minton's. Definitive. 359204. Published 2006 by Definitive.

Parker, Charlie. The Complete Savoy Masters. Definitive Classics. 11140. Published 2000 by Definitive Classics

So What - Tony Williams and the future of Jazz drumming 1959/1964

Tony Williams

In March 1959, when Jimmy Cobb recorded his drum parts for the session that would yield the opening track from Miles' opus recording Kind Of Blue, his playing sounded fresh and modern, with a sparseness and flow that perfectly underpinned the piano of Bill Evans. Yet only twelve months later, saxophonist John Coltrane would push the rhythm section of Cobb, Paul Chambers on double bass and Wynton Kelly (the other Kind Of Blue pianist) to, and perhaps past their limits with the very same tune. Coltrane was pointing towards the future role for rhythm sections in modal jazz and beyond.

Columbia Studios, New York, 2nd March 1959

Davis (tp), Coltrane (ts), Adderley (as), Evans (p), Chambers (b), Cobb (dr)

Jimmy Cobb's ascent to the drum kit in the Miles Davis Sextet came out of necessity as much as choice for Miles. His long-time drummer and close friend 'Philly' Jo Jones was in the midst of heroin addiction. Unpredictable and unreliable, Miles had no alternative but to find a replacement for Jones. After a brief tenure by Art Taylor, Cobb joined in early 1958. Davis’ version of events was laid out in his autobiography:

Art knew I loved the way Philly played. But Art's a real sensitive guy, and I was trying to figure out how to tell him to play certain (things) that would kick the music up a notch or two, without hurting his feelings. I was hinting around, talking about sock cymbals (hi-hat cymbals) trying to let him know what I wanted, and I could see that it was getting on his nerves. Anyway, this went on for a couple of days, and then by the third or fourth night I was losing my patience. The set started, and after I finished my solo I stood right next to Art's sock cymbal, with my trumpet tucked under my arm, listening, like I always did, giving him some suggestions. He wasn't paying me any attention... But I don't care about that... because I want him to play right and not too loud on the sock cymbal like he's been doing. So I say something else to him about the sock and he gives me this "F*** you. Miles, get off my back" look! So I say to him under my breath, "Aw... don't you know how Philly makes that goddamn break!" Art got so mad, he stopped playing right in the middle of the number, got up from the drums, walked off the stage, went into the back, and later, after the set was over, went back and packed up his drums and left. But the next night I had Jimmy Cobb take his place. (Davis, Troupe, 1990, p. 216).

Jimmy Cobb

Miles' unfavourable comparisons between Jones and whoever his drummer was at the time would become a recurring issue until he hired Tony Williams in 1963. Cobb too would feel the wrath of Davis if his playing did not come up to this standard. Cobb had already played on two of Cannonball Adderley's albums and at Adderley's recommendation had sat in on the recording sessions for the album Milestones as standby drummer in case Jones didn't turn up. Once a full time member of the sextet, he quickly established himself as the first call drummer for his band-mates’ solo ventures (including Coltrane's Niama from the classic 1960 Giant Steps album). He was the polar opposite of Jones, dependable and unflamboyant, something that would work for and against Cobb in his five years with Miles.

Contrary to popular myth, the band were already familiar with So What when they came to record it, the tune had been performed live several times prior to the March 2nd session (probably at the Philadelphia Showboat where the sextet played from the 23rd to the 28th of February). In the new modal style which Miles had been introduced to by Gil Evans and George Russell, and had been experimenting with in a small band setting since the recording of the album Milestones, the piece was performed at a relaxed 138 bpm, perfectly suited to Cobb's accurate timekeeping, impeccable feel and minimalist style of comping which further enhanced the sense of space that modal composition offered. In fig:1 we see a demonstration of Cobb's economic style, with the lead in fill to Davis' trumpet solo.

Fig: 1 at 1:19

This pattern is deceptively hard to execute smoothly and is a great example of Cobb's 'less is more' approach, phrasing very much in the blues tradition. Cobb plays the opening head with a brush in his right hand and a stick in his left, swapping them over seamlessly (stick to right hand, brush to left) after the first beat of the third bar in fig:1.

In fig:2 we have an example of Cobb's comping style, in the first B section of Coltrane's first solo chorus. This is Cobb's busiest passage of play in the piece, and the only section where he really interacts with the soloist, instead preferring the occasional syncopated snare or bass drum. He plays an elegant, unbroken swing pattern almost without interruption through the entire track with a consistent two and four on the hi-hat from his left foot, keeping time.

Fig: 2

Cobb's laid back, no-frills playing was ideal for Miles. His music was going through an introspective period, popular with the American intelligentsia of the late 50's. However, the relaxed tempo of So What may, like Cobb's arrival in the band, have come out of necessity as much as by design. In interview, Cannonball Adderley noted that “Miles... thought Jimmy Cobb wasn't as exciting (as Philly Joe) on fast tempo stuff so we did less of those” (Carr, 2006, p.95). This shortcoming in Cobb's playing would be laid bare in front of disgruntled European audiences only twelve months later. It is then perhaps realistic to suggest that more than any other member of the sextet, Kind Of Blue was Jimmy Cobb's zeitgeist moment. He was very much the right man at the right time.

Tivoli Konsertsal, Copenhagen, Denmark, 24th March 1960

Davis (tp), Coltrane (ts), Kelly (p), Chambers (b), Cobb (dr)

Fortunately for scholars and fans alike, much of the now legendary 1960 tour of Europe with the Kind Of Blue line-up was broadcast on FM radio at the time, and as a result recordings of almost every performance from that tour still exist. These recordings provide a unique window into what was happening to the music and the players at the time, and how it influenced their future musical directions. As Ian Carr observed in his biography on Miles “The restrained elegance of Kind Of Blue could be achieved only in the cloister-like atmosphere of the recording studio working with unfamiliar material. In live performances, Miles' groups were too irrepressibly dynamic to function in so restrained a way”. The European tour of 1960 was to be anything but 'cloister-like'. (Carr, 2006, p.107)

Cracks had started to appear in the Kind Of Blue line-up in September 1959 when Cannonball Adderley left the group to pursue a solo career. In early 1960 John Coltrane informed Davis that he too intended to leave. Miles convinced Coltrane to stay on until after the Spring tour of Europe. Coltrane, now free of his addiction to drugs, was in great physical shape, strong and practicing constantly. Coupled with his frustration at playing the same tunes night after night (in fact So What was performed twice every night during the tour) this made for incredible feats of technical virtuosity, power and rage in his solos. However, the audiences who booed Coltrane on several instances (mostly famously on the first night of the tour in Paris) were it seems, no less startled and confused by Coltrane's playing than Miles' own rhythm section. Despite Davis' dissatisfaction with Jimmy Cobb's up-tempo playing, the piece had by now increased dramatically in tempo to around 260 bpm. Twelve months on from the Kind Of Blue sessions, the rhythm section no longer sounded cool and controlled but somewhat out of their depth behind the resurgent Coltrane.

Jimmy Cobb

When the group arrived in Europe in March 1960, it had already performed 28 dates that year, and many of those dates involved two sets. This punishing itinerary became even greater as the band played 21 shows (roughly half of which were two-set shows) crisscrossing the continent, between the 21st of March and the 10th of April. Coltrane's frustrations were borne out onstage during the quintet's final performances together. He felt too constrained by the rigid hard bop they were playing. Inspired by the recordings of Ornette Coleman, Coltrane wanted to explore the freer aspects of jazz. Immediately upon returning to the USA in April 1960 he put together his classic quartet with Mcoy Tyner on piano, Jimmy Garrison on bass and most crucially, Elvin Jones on drums. Jones was a far more flexible, intuitive and muscular player than anyone who proceeded him in jazz. By the time of the European tour with Davis, Coltrane had already identified Jones as the ideal drummer for his new quartet. Jones, along with Roy Haynes and later, Tony Williams, was exploring the concepts of four way independence of limbs in a way previous drummers had not. In particular, he was instrumental in freeing up the left foot from merely keeping time on two and four, integrating it as a vehicle for comping equal to the other limbs. While this had already been developed to a certain extent by drummers like Max Roach and Art Blakey, by and large they were only using this intermittently between a standard two and four pattern. Jones gave parity to all the elements of the kit. His pioneering polyrhythmic drumming would be perfect foil to Coltrane's increasingly fast and rhythmically complex phrasing.

For all of Jimmy Cobb's strengths he was no pioneer. His playing was rooted in the traditional, acting as an accompanist rather than engaging in a dialogue with the soloist, very much in the mold of Kenny Clarke. Although his comping behind Coltrane's solo during the performance of So What at the Tivoli in Copenhagen on the 24^th of March is more responsive to the soloist than that on Kind Of Blue, he still relied heavily on 'bombs' (accented individual hits on the snare drum and bass drum, usually syncopated), a style that had been around for fifteen years. Dynamically, his playing varied little and, as can be seen in fig:3, he stuck rigidly to the standard swing ride cymbal pattern and the ubiquitous two and four on the hi-hats throughout Coltrane's solo, regardless of what Coltrane played, and most of Cobb's busier moments are in marking out the form of the piece rather than responding to the soloist.

Fig:3 at 6:36

In Jimmy Cobb's defence, pianist Wynton Kelly had an even more torrid time, dropping out altogether at various moments during Coltrane's solo. What undoubtedly exasperated the situation further for Coltrane was the fact that since Cannonball Adderley had left the group, Coltrane now had to play longer solos, spanning 13 choruses on this version of So What in stark contrast to the two choruses he took on the original recording (although the Tivoli version is almost twice as fast). His band-mates were only too aware of his dissatisfaction. Coltrane would use sly references in his solos to make his point. During this performance of So What, the reference he chooses is the first four notes of The Song Of The Volga Boatmen at 9:38, a well know piece at the time used particularly as background music to depict endless toil. However, it is these tensions that help to enhance the sensation of listening to a band holding back a soloist, highlighting the need for a future, more intuitive rhythm section in jazz. After Coltrane exited the band, it took Miles three years to find a suitable replacement for him, and when he stumbled upon that replacement in 1963 it came not in the form of a saxophonist but as a seventeen year old drummer. That drummer was Tony Williams.

Philharmonic Hall, Lincoln Center, New York, 12th February 1964

Davis (tp), Coleman (ts), Hancock (p), Carter (b), Williams (dr)

Frank Butler

Despite recognising his band's deficiencies, Davis was too devastated by the loss of Coltrane to consider finding a new rhythm section. However, having gone through a succession of saxophonists including Sonny Stitt and Hank Mobley in a vain attempt to replace Coltrane, by 1963 Miles also found himself needing to replace his entire band. Poor health exasperated by cocaine use, and a general lack of motivation and inspiration had caused Miles to do very few shows in 1962 and this forced his rhythm section of Kelly, Chambers and Cobb to seek work elsewhere. So when Miles decided to return to touring at the start of 1963 his first-call players were not available. After briefly hiring Hollywood session drummer Frank Butler, Davis spotted Tony Williams playing at a Jackie McLean show and was instantly impressed with the 17 year old. Following a three day audition, he also hired young guns Herbie Hancock on piano, and Ron Carter on bass to complete the new lineup with Williams and tenor saxophonist George Coleman, who had already been with Miles for a couple of months. Miles' new rhythm section transformed his music, and in turn, jazz. As Ian Carr observed:

Hancock, Carter and Williams seemed to have an inexhaustible variety of ways of creating and releasing tension, expanding and contracting space. The rhythm section was also a continual dialogue with whoever was soloing. In fact, there was no longer the idea of a soloist and rhythm section. When a horn was playing, it was a quartet which was functioning on equal terms. (Carr, 2006, p.135).

Miles had seen John Coltrane as a sparring partner who could push his music forwards. Now re-energised by Williams' virtuosity, creativity and youthful exuberance, Davis had finally found the new sparring partner he had been craving. In fact, Williams was so important to Miles that when told by the drummer that George Coleman was “not hip enough”, Davis dutifully relieved Coleman of his position in the band.

Tony Williams

Williams' creation and release of tension which Ian Carr refers to, involved rhythmic devices such as the superimposition of one time over another, giving the illusion of displacing the pulse. The release comes in returning to the original pulse. This is known as polymetric phrasing, of which Williams was the master. In fact in many ways he took all of the standard rules about jazz drumming and threw them away. Gone was the strict ride cymbal pattern and the two and four on the left foot. Williams' ability to be as spontaneous as the soloists elevated drumming to the equal of other art forms. Like Coltrane before him, Williams took ideas that already existed but developed them in ways previously unimagined. The live recording of So What from the album Four & More is littered with examples of the new drumming vocabulary that Williams introduced. fig: 4 is taken from the first A section of the second chorus of George Coleman's solo and perfectly demonstrates Williams' spontaneity, using whichever part of the kit he desired (there is no left foot at all in the eight bar passage). No two bars are the same, and this is true of the whole piece.

Fig: 4

The sound of Tony Williams drums on Four & More was light years away from Jimmy Cobb's original recording of So What. It was the removal of traditional shackles that had held back not only drummers, but all jazz musicians. In a 'life imitates art' sense, he was releasing the tension that John Coltrane had created in Europe four years previously.

Matt Parker

Bibliography

Carr, I. (1982) Miles Davis A Biography. New York. William Morrow and Company.

Davis, M. & Troupe, Q. (1990) Miles The Autobiography. New York. Simon & Schuster.

Fisher, M. (2010) Tony Williams So What. London. Jazzwise Publications

Porter, L. (1999) John Coltrane His Life and Music. Michigan. The University Of Michigan Press.

Riley, John. (1997) Beyond Bop Drumming. New York. Manhatten Music

Williams, R. (2009) The Blue Moment. London. Faber & Faber

Lackowski, R. (n.d.) 'Drummerworld: Jimmy Cobb – So what' in Drummerworld.com. Available at http://www.drummerworld.com/Drumclinic/jimmycobbsowhat.html. [Accessed 08/01/14]

'Miles Davis Sessions: 1945-1991' (n.d.) in plosin.com. Available at

http://www.plosin.com/milesahead/Sessions.aspx. [Accessed 08/01/14]

Discography

John Coltrane (1998), Giant Steps, John Coltrane (saxophone), Tommy Flanagan (piano), Paul Chamber (bass), Art Taylor (drums), Jimmy Cobb (drums), 4–5th May 1959, 2nd December 1959, Atlantic 8122-72399-2

Miles Davis (2001), Milestones, Miles Davis (trumpet), John Coltrane (tenor saxophone), Julian 'Cannonball' Adderley (alto saxophone), Wynton Kelly (piano), Paul Chambers (bass), 'Philly' Joe Jones (drums), Columbia 30th Street Studio New York, 4th February 1958, Columbia CK 85203

Miles Davis (1997), Kind Of Blue, Miles Davis (trumpet), John Coltrane (tenor saxophone), Julian 'Cannonball' Adderley (alto saxophone), Wynton Kelly (piano), Paul Chambers (bass), Jimmy Cobb (drums), Columbia 30th Street Studio New York 2nd March 1959, Columbia CK 64935

Miles Davis Quintet with John Coltrane (2012), In Copenhagen 1960, Miles Davis (trumpet), John Coltrane (saxophone), Wynton Kelly (piano), Paul Chambers (bass), Jimmy Cobb (drums), Tivoli Konsertsal, Copenhagen, Denmark, 24th March 1960, In Crowd Records 2252001

Miles Davis (2005), 'Four' & More Recorded Live In Concert, Miles Davis (trumpet), George Coleman (saxophone), Herbie Hancock (piano), Ron Carter (bass), Tony Williams (drums), Philharmonic Hall, Lincoln Center, New York, 12th February 1964, Columbia 5195052001

Big drum gear sale

I've got my hands on a load of brand new and ex-display (not ex-demo!) gear for sale including PDP drums and hardware, Sabian cymbals, Ahead cases and Evans heads. The full list is below, all prices are in British Pounds and shipping costs are not included. Collection can be organised, I'm based in CV1 in the UK. 
I'm pretty sure these are the lowest prices on these particular items in the UK at the moment. 
Happy hunting! 


PDP Maple Concept 5Pc kit (10x8, 12x9,16x14, 22x18, 14x5.5) shell pack (hardware not included) in Pearlescent Black Lacquer Ex-D:
£630 

PDP Mainstage 5Pc kit (10x8, 12x9,16x14, 22x16, 14x5) with hardware (cymbals not included) in black Ex-D: 
£370

PDP PDSRCOMBO1 drum rack Ex-D:
£260 

PDP PDSP450 single bass pedal Ex-D: 
£35

PDP PDDT800-04 Round throne. Very light tear to cover (5mm), Ex-D: 
£35

Sabian SABSBR5003 SBR Performance cymbal set (20" ride, 16" crash, 14" hi-hats) BN:
£145

Ahead Armour Cases

Ahead Armour 10"x8" standard tom case BNWT:
£30
Ahead Armour 12"x9" standard tom case BNWT:
£32
Ahead Armour 16"x14" standard tom case BNWT:
£42
Ahead Armour 14"x5.5" standard snare case BNWT:
£25
Ahead Armour 22"x18" standard bass case BNWT:
£72

Ahead Ogio Sled  48" Hardware Bag w/ Wheels BNWT:
£170

To order, please email me at mattparkerdrums@gmail.com