Table of Contents

Foreword
Acknowledgements
Introduction
About the Author
Notation Key..
A few words about the sticking..

Chapter 1: Antonio Sanchez
I Love You
Dr. Joe..

Chapter 2: Bill Stewart
Fred And Ginger.
Puttin' On The Ritz..

Chapter 3: Brian Blade
I Mean You
It Happens.

Chapter 4: Eric Harland
Back Bay Blues
Background Music.

Chapter 5: Gregory Hutchinson
McThing..
Wonderful, Wonderful

Chapter 6: Jeff Tain Watts
Cardboard..
Freedom Suite (Movement 2)

Chapter 7: Lewis Nash
Monk's Dream
Trading 8s.

Glossary of Terms
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Foreword




In this special book my great Serbian friend and
incredible drummer/educator Dusan Milenkovic
represents drum solos of some of the finest and
style-defining Drummers of the Modern Jazz
Era in the past 30 years. The clearly written-out
transcriptions and their inside explanations of
Jazz drumming greats such as Lewis Nash,
Gregory Hutchinson, Jeff Tain Watts etc
give you a very clear study in the language of
Modern Jazz drumming. The very well chosen
examples used in this book illuminate the
drumming of those Masters from a great
perspective. The main objective of this book is
to help the aspiring drummer/student to get a
wider overview in their vocabulary and how
they make use of tradition. One should strive to
make it ones own language and develop an individual and unique voice.

Those drummers play with great feel, dynamics, time, musicality ... and once
you start to study the examples from this book you will get an understanding
of how to approach Modern drumming with the respect of the Jazz tradition.

This book of drumming great Dusan Milenkovic is highly recommended to
all drummers at all levels regardless their styles!

Congratulations!
By Klemens Naiktl




Introduction








This book is a collection of 14 solos to help you on your path to becoming
a better jazz drummer.
The objective is to build a soloing vocabulary that is similar to your
spoken vocabulary. It should allow you enough depth of expression to
convey whatever emotions you might feel at any given moment. To
develop your spoken vocabulary, you practiced one word at a time until
you had mastered enough words to create phrases. Then you learned to
arrange those phrases in complete sentences, until finally you were able to
convey more complex thoughts by grouping sentences into paragraphs.
In soloing, as with speaking, expanding your vocabulary requires solid
groundwork of repetitive practicing and a constant hunger for perfection. I
won't tell you what specific licks or rudiments to concentrate on that
depends entirely on what kind of solo you want to play!

Listening to and transcribing solos from master drummers is my passion
and a great way to learn how to solo and get new ideas. Thats how I came
up with the idea to write this book. I want to see how the next generation
of drummers is going to use this material, embellish it and bring it up to
the next level (the same way that the drummers that Im writing about
used the jazz language of their mentors and brought it to the level that we
hear today).

This is the way you learn to play the language and get the all the nuances
in the music:

"imitate assimilate - innovate"
Clark Terry



WELCOME TO THE MAGNIFICENT 7






A few words about the sticking:
As a young jazz student I was often frustrated working on transcriptions
where there was no sticking written out. I would try out different
combinations for hours until I got the right sound. A lot of people say: its
all about the touch, but I also think that its a lot to do with the sticking that
you use. Ive included the sticking on each transcription to save you time
and to make your musical trip trough this book a pleasant experience and not
a frustrating nightmare!

General comments on dynamics and sticking:
My notation for accented and emphasized notes is a capital letter (R or L),
Small case notation represents notes that are not accented (regular taps, ghost
notes).

Notation Key



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Dr. Joe


Antonio plays two choruses over the twelve-bar form. In studying his works, pay
particular attention to some of his important compositional devices for example, the use
of brief melodic and/or rhythmic fragments to create a feeling of unity within an
improvised solo. In bar 7 he introduces a melodic figure that he repeats three times like a
question, in a musical way. Then in the bar 10 he gives a brief answer. He repeats it again
in bar 11 and brings it to a conclusion in bar 12, creating a climax in the first solo trading.

In the second trading he explores the possibilities of motivic development and works on
one idea during the whole 12 bars. This is quite brave and challenging, as most players
would try 10 different ideas just to fill in the space with something. Not Antonio! Once
more he shows musical maturity and true musicianship.

Antonio is one of the greats, and I highly recommend that if you're not familiar with him
or his work, you check him out. His masterful playing will inspire you.





















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Antonio Sanchez "Dr. Joe"
B B B B .....
L r L R L r l R L
L r l r L R B R l l R l R l l R l l R l l R l R l l R
l l R l l R l R l l R l l R l R l l R l R
l l R l l R l R l l R l l R l l R l R l l R
Group: Chick Corea Trio
YouTube Clip: Chick Corea Trio
w/Antonio Sanchez and John Patitucci
I
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The 1st solo begins
@ 00:39


Eric Harland was born on November 8
th
, 1976 in Houston, Texas.
SELECTED DISCOGRAPHY:
As a leader: Voyager Live By Night (2010)
As a sideman with:
Charles Lloyd Quartet: Jumping The Creek (2005)
Edward Simon: The Process (2003)
Monterey Quartet: Live At The 2007 Jazz Festival
Aaron Parks: Invisible Cinema (2008)
Jacky Terrasson: Smile (2002)
Aaron Goldberg: Worlds (2006)
SF Jazz Collective: 3rd Annual Concert Tour (2006)
Terence Blanchard: Bounce (2003)
Jimmy Greene: Mission Statement (2009)
Walter Smith III: Casually Introducing (2006)

For more info, visit www.iharland.com
www.ericharland.blogspot.com
$ $ $ $

Background Music




Eric Harland is one of the most musical soloists in jazz and these fast-paced solos in
"Background music" demonstrate a few of the reasons why.

Eric's ability to weave variations of concise rhythmic fragments throughout a solo gives
his performances a strong sense of continuity. A good example of this occurs at bar 3
where a two beat (2 quarter-notes long) fragment is stated, and then restated at the 4th
beat of bar 23 and again at bar 36.

You should pay attention to how he makes use of a standard jazz phrase: the flam with
buzz roll played around groups of three eight notes over 4/4 time (see bar 25-26). This
device also occurs in transcriptions of Lewis Nash, Brian Blade and Gregory Hutchinson,
which is why jazz soloing is so interesting. We all use the same universal language to
communicate but everyone speaks it with a different dialect.

This solo is technically very difficult, so in order to master it and copy Erics unique
touch prepare for many hours of hard work- its definitely worth it!



























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Group: Aaron Goldberg
YouTube Clip: Teatro Rossetti -
Aaron Goldberg Trio
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The 1st solo begins
@ 07:23
"
"
"
Chapter 5

Gregory Hutchinson
"
"
McThing




This track features one of the hardest swinging drummers of our time, the great Gregory
Hutchinson.
The following solo contains some fun phrasing, a great use of dynamics, and a swinging,
strong pulse.
Check out bars 3, 4, 7-10 and 15 where he uses some classic be-bop phrasing and listen to
how he develops these in a completely meaningful statement.

Each one of the bars or phrases can and should be practiced as an
exercise before you attempt to play the whole solo. By practicing
this way, you will find ways to develop these phrases even further
and make them your own.

Hutchinson is a very skilled musician. His ideas are always fresh.
He has excellent dynamic control, a grooving ride cymbal beat,
superb rudimental technique and his musicality is amazing."













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YouTube Clip: Live In Montreal 1995
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@ 02:36