421:, an expression of the hardships experienced daily by enslaved persons, in direct contrast to the work song, a celebration of work. Its musical inspiration came from where its players did, Africa. The rhythmic form of blues was a basis for many developments that would appear in jazz. Though its instrumentation was mostly limited to melodic instruments and a singer, feeling and rhythm were tremendously important. The two primary feels were a pulse on alternating beats that we see in countless other forms of American music, and the shuffle, which is essentially the pattin' juba rhythm, a feel based on a division of three rather than two.
433:" refers to the literal second line of musicians that would often congregate behind a marching band playing at a funeral march or Mardi Gras celebration. There were usually two main drummers in the second line: bass drum and snare drum players. The rhythms played were improvisatory in nature, but similarity between what was played at various occasions came essentially to a point of consistency, and early jazz drummers were able to integrate patterns from this style into their playing as well as elements from several other styles.
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445:, where an essential rhythmic quality of jazz first really began to be used: syncopation. Syncopation is synonymous with being "off-beat", and it is, among many things, a result of placing African rhythms written in odd combinations of notes (e.g., 3+3+2) into the evenly divided European metric concept. Ragtime was another style derived from black musicians playing European instruments, specifically the piano, but using African rhythms.
76:, for example—tended to have its own rhythmic style, jazz drumming continued to evolve along with the music through the 20th century. One tendency that emerged over time was the gradual "freeing" of the beat. But older styles persisted in later periods. The borders between these periods are unclear, partly because no one style completely replaced others, and partly because there were numerous cross influences between styles.
275:, a group of short patterns which are standard in drumming. The rhythmic composition of this music was also important in early jazz and beyond. Very different from the African performance aesthetic, a flowing style which does not directly correspond to Western time signatures, the music played by military bands was rigidly within time and metric conventions, though it did have compositions in both duple and
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602:, cymbals, and almost anything else the drummer could think of adding. The characteristic sound of this set-up could be described as "ricky-ticky": the noise of sticks hitting objects that have very little resonance. However, drummers, including Dodds, centralized much of their playing on the bass and snare drums. By the 1920s and '30s, the early era of jazz was ending, and swing drummers like
364:, as well as many other smaller denominations. They used drums almost indistinguishable from those made in Africa, though the rhythms were somewhat different from those of the songs of the regions the enslaved persons were from, probably the result of their having lived in America for several generations. A large number of musicians that played in Congo Square were from the Caribbean as well.
64:. The techniques and instrumentation of this type of performance have evolved over several periods, influenced by jazz at large and the individual drummers within it. Stylistically, this aspect of performance was shaped by its starting place, New Orleans, as well as numerous other regions of the world, including other parts of the United States, the Caribbean, and Africa.
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completely different requirements of the drummer, but afterward, the two became one entity. This newfound fluidity greatly extended the improvisatory capabilities that the drummer had. The feel in jazz drumming of this period was called "broken time", which gets its name from the idea of changing patterns and the quick, erratic, unconventional movements and rhythms.
31:
318:, which had a particular influence on jazz and by extension jazz drumming. Musicians were also able to play dances that originated in Africa and the Caribbean in addition to the European repertoire. One such dance was the "congo". The performers of this novel music (to the predominantly white audience) created music for their own entertainment and uses as well.
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which being the financial motivation), the number of drummers was reduced to one, and this created the need for a percussionist to play multiple instruments, hence the drum set. The first drum sets also began with military drums, though various other accessories were added later in order to create a larger range of sounds, and also for novelty appeal.
694:) to create a different texture in the music, as well as using odd combinations of notes to change feeling, would never have been possible with the stiffness of drumming in the previous generation. Compositions from this new period required this greater element of participation and creativity on the part of the drummer.
645:, the man who switched the four beat pulse that had previously been played on the bass drum to the ride cymbal, effectively making it possible for comping to move forward in the future. Once again, this time in the late 1950s and most of the '60s, drummers began to change the entire basis of their art.
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was the major technical device used, and one significant pattern was simply rolling on alternate beats. This was one of the first "ride patterns", a series of rhythms that eventually resulted in a beat that functions in jazz as the clave does in Cuban music: a "mental metronome" for the other members
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notes common in most other varieties of jazz. It is also heavily influenced by the clave, and composers of the music require a knowledge of the workings of percussion in Afro-Cuban music—the instruments must combine with each other in a logical fashion. The specific genre of Afro-Cuban jazz is
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is the primary architect of this new approach to drumming. Instead of playing a "beat", Murray sculpts his improvisation around the idea of a pulse, and plays with the "natural sounds that are in the instrument, and the pulsations that are in that sound”. Murray also notes that his creation of this
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To a small extent in the swing era, but most strongly in the bebop period, the role of the drummer evolved from an almost purely time-keeping position to that of a member of the interactive musical ensemble. Using the clearly defined ride pattern as a base, which was brought from the previous rough
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The drummers and the rhythms they played served as accompaniment for dance bands, which played ragtime and various dances, with jazz coming later. It was common in these bands to have two drummers, one playing snare drum, the other bass. Eventually, however, due to various factors (not the least of
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Beneath the constant rhythmic improvisation, Dodds played a pattern that was only somewhat more sophisticated than the basic one/three roll, but was, in fact, identical to the rhythm of today, only inverted. The rhythm was as follows: two "swung" eighth notes (the first and third notes of an eighth
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During this time, the drummer took on an even more influential role in the jazz group at large, and started to free the drums into a more expressive instrument, allowing them to attain more equality and interactivity with the other parts of the ensemble. In bebop, comping and keeping time were two
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Clave is a tool for keeping time and determining which beats in a composition should be accented. In Africa, the clave is based on division of the measure into groups of three, on which only a few beats are emphasized. The Cuban clave, derived from the
African version, is composed of two measures,
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Black drummers were able to acquire their technical ability from fife and drum corps, but the application of these techniques in the dance bands of the 19th century allowed a more fertile ground for musical experimentation. Slaves learned traditional
European dance music that they played at their
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The first true jazz drummers had a somewhat limited palette to draw on, despite their broad range of influence. Military rudiments and beats in the military style were essentially the only technique that they had at their disposal. However, it was necessary to adapt to the particular music being
690:, were also exploring new metric and rhythmic possibilities. The concept of manipulating time, making the music appear to slow down or race ahead, was something that drummers had never attempted previously, but one that was evolving quickly in this era. Layering rhythms on top of each other (a
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began to take the bases laid down by the early masters and experiment with them. It was not until a bit later, however, that the displays of technical virtuosity by these men were replaced by definite change in the underlying rhythmic structure and aesthetic of jazz, moving on to an era called
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Enslaved persons in
America had many musical traditions that became important to the music of the country, particularly jazz. After work was done, these people would hold musical performances in which they played on pseudo-instruments made of washtubs and other objects newly used for musical
542:, one of the most famous and important of the second generation of New Orleans jazz drummers, stressed the importance of drummers playing something different behind every chorus. His style was regarded as overly busy by some of the older generation of jazz musicians such as
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Jazz required a method of playing percussion different from traditional
European styles, one that was easily adaptable to the different rhythms of the new genre, fostering the creation of jazz drumming's hybrid technique. As each period in the evolution of
554:), a quarter note, and then a repeat of the first three beats (sound sample "Inverted ride pattern" at right). Aside from these patterns, a drummer from this time would have an extremely small role in the band as a whole. Drummers seldom
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or tone-like qualities, using all instruments to imitate the human voice, superimposition of one rhythmic structure onto another (e.g., a group of three against a group of two), dividing a regular section of time (called a
228:, and native Cuban cultures were all combined in Cuba and created many popular musical forms as well as the clave, which was a rather early invention. The music also affected the development of a variant of jazz, known as
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the soloist instead of just accompanying him, playing solos of his own with many melodic and subtle qualities, and incorporating melodicism into all of his playing. Another influential drummer of bebop was
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Elvin Jones, a member of John
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The culture that created the most commonly used version of this pattern was that of Cuba. The circumstances that created that music and culture were very similar to those that created jazz;
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The rhythms and use of percussion in jazz, as well as the art form itself, were products of extensive cultural mixing in various locations. The earliest occasion when this occurred was the
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one with three beats, one with two. The measures can be played in either order, with either the two or three beat phrase coming first, and are labeled "2-3" or "3-2", respectively.
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have included elements of the clave since the very early days of the music. Comping is support of other musicians, often soloists, and echoing or reinforcement of the composition.
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invasion of Europe, where the cultures of France, Spain, and Africa to some extent, encountered each other and most likely exchanged some cultural information. The influence of
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301:, a major part of today's drum set, came about. Military technique and instrumentation were undoubtedly factors in the development of early jazz and its drumming, but the
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558:, as was the case with all other instruments in earliest jazz, which was based heavily on the ensemble. When they did, the resultant performance sounded more like a
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Africans were able to play their traditional music, which started to intermingle with the sounds of the many other cultures in New Orleans at the time:
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were all used. Indeed, a method of damping a set of cymbals by crunching them together while playing bass drum simultaneously is probably how today's
632:, as well as a standardized drum set, drummers were able to experiment with comping patterns and subtleties in their playing. One such innovator was
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One of the final influences on the development of early jazz, specifically its drumming and rhythms, was Second line drumming. The term "
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in musical terms) into groups of two and three, and the use of repetitive rhythms used throughout a musical piece, often called
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than personal expression. Most other rhythmic ideas came from ragtime and its precursors, like the dotted eighth note series.
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Washburne, C. (1997). The Clave of Jazz: A Caribbean
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The equipment of the drummers in these groups was of particular significance in the development of early drum sets.
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played, so new technique and greater musicianship evolved. The
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styles ranging from 1910s-style Dixieland jazz to 1970s-era
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Brown, T, D. (1969). The Evolution of Early Jazz Drumming.
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purposes, and also played rhythms on their bodies, called "
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masters' balls, most importantly a French dance called the
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quality to the smooth, flowing rhythm we know today by
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Article on the rhythmic aspects of jazz improvisation
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is the art of playing percussion (predominantly the
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825:A History and Analysis of Jazz Drumming to 1942
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590:The most common of the accoutrements were the
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827:. University Microfilms: Ann Arbor, Michigan.
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992:Lambert, J. (1981). "Second Line" Drumming.
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655:magazine, described it as "a natural step".
1145:. Alfred Publishing: Van Nuys, California.
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507:The pattern that Warren "Baby" Dodds played
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1196:Chronology of jazz drum set transcriptions
486:The ride pattern used most commonly today
1016:. Manhattan Music, Inc: Miami, Florida.
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417:Another important influence to jazz was
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1038:"The Recorded History of Jazz Drumming"
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206:Within the jazz band, phrases known as
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792:. Oxford University Press: New York.
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454:Early technique and instrumentation
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269:traditional military drumstick grip
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578:with his drum set, which included
515:Problems playing these files? See
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193:Problems playing these files? See
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1080:The New Grove Dictionary of Jazz
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408:Problems playing this file? See
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1086:from the original on 2007-12-22
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185:A musician playing a 2-3 clave.
1966:Institutions and organizations
1165:Allen, Clifford (2003-10-23).
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758:List of American jazz drummers
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1663:Cool jazz and West Coast jazz
883:"History of Jazz: Latin Jazz"
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1120:. 1963-03-28. Archived from
1112:"Elvin Jones: The Sixth Man"
864:Black Music Research Journal
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352:Congo Square and New Orleans
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598:(large, two-headed drums),
85:Preliminary cultural mixing
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910:O'Farrill, Arturo (2007).
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959:Jazz: A Film by Ken Burns
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975:. Vulcan Productions Inc
634:Sidney "Big Sid" Catlett
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1014:The Art of Bop Drumming
973:"The Beat of the Blues"
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962:. . Florentine Films.
823:Brown, T, D. (1976).
753:List of jazz drummers
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493:Inverted ride pattern
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449:Modern jazz drumming
2621:Straight, No Chaser
2410:Straight-ahead jazz
1867:Winter & Winter
1316:French horn in jazz
1143:Beyond Bop Drumming
790:The History of Jazz
540:Warren "Baby" Dodds
261:Warren "Baby" Dodds
2565:West African music
2390:British dance band
2180:European free jazz
2153:British dance band
1646:Musicians by genre
1426:Free improvisation
1141:Riley, J. (2006).
1012:Riley, J. (1994).
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1151:978-1-57623-609-3
881:PeanutsJazz.com.
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538:of the ensemble.
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451:
439:
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398:
391:
388:
386:Shuffle pattern
381:
375:
370:
354:
324:
311:
265:Zutty Singleton
253:
238:
218:
216:Cuban influence
200:
199:
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87:
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28:
23:
22:
15:
12:
11:
5:
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2678:
2673:
2668:
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2631:
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2625:
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2617:
2614:Round Midnight
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2562:
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2344:Latin American
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2332:South American
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2313:
2312:
2309:
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2300:
2295:
2290:
2285:
2280:
2275:
2273:Baltimore jazz
2269:
2267:
2260:
2259:
2258:
2257:
2250:Latin American
2247:
2242:
2236:
2234:
2233:North American
2230:
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2221:
2220:
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2209:
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2197:
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2020:
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2015:
2013:
2012:
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1983:
1978:
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1602:Percussionists
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1561:
1556:
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1533:
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1525:Spiritual jazz
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1248:
1247:General topics
1244:
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1221:
1213:
1207:
1206:
1203:All About Jazz
1198:
1193:
1186:
1185:External links
1183:
1180:
1179:
1167:"Sunny Murray"
1154:
1134:
1100:
1082:. 2007-02-19.
1067:
1050:
1025:
1002:
985:
964:
942:Burns, Kenneth
934:
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566:1900s to 1940s
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132:Clave (rhythm)
130:Main article:
127:
124:
102:
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78:
60:and 1980s-era
26:
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6:
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2676:Accompaniment
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2570:Western swing
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2293:New York City
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2235:
2231:
2225:
2222:
2218:
2217:Flamenco jazz
2215:
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2210:
2206:
2203:
2202:
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2198:
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2043:South African
2041:
2039:
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2034:
2031:
2030:
2028:
2024:
2021:
2017:
2011:
2008:
2006:
2003:
2001:
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1993:
1989:
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1742:
1740:Discographies
1738:
1732:
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1628:
1627:Vibraphonists
1625:
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1547:Swing revival
1545:
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1422:
1419:
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1412:
1409:
1407:
1406:Flamenco jazz
1404:
1402:
1399:
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1392:
1389:
1387:
1384:
1380:
1377:
1375:
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1367:
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1357:
1356:
1354:
1352:
1348:
1342:
1341:Women in jazz
1339:
1337:
1334:
1332:
1329:
1327:
1326:Jazz trombone
1324:
1322:
1319:
1317:
1314:
1312:
1309:
1307:
1306:Jazz drumming
1304:
1302:
1299:
1297:
1294:
1292:
1289:
1287:
1284:
1280:
1277:
1276:
1275:
1274:Improvisation
1272:
1270:
1267:
1265:
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1260:
1257:
1255:
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1249:
1245:
1241:
1234:
1229:
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1222:
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1215:
1214:
1211:
1205:
1204:
1201:Symposium at
1199:
1197:
1194:
1192:
1189:
1188:
1168:
1161:
1159:
1152:
1148:
1144:
1138:
1124:on 2011-05-17
1123:
1119:
1118:
1113:
1107:
1105:
1096:
1085:
1081:
1077:
1071:
1064:
1060:
1054:
1039:
1032:
1030:
1023:
1022:0-89898-890-X
1019:
1015:
1009:
1007:
999:
995:
989:
974:
968:
961:
960:
955:
951:
947:
943:
938:
924:on 2007-03-30
920:
913:
906:
904:
889:on 2008-05-15
888:
884:
877:
870:
866:
865:
858:
856:
848:
844:
843:Percussionist
838:
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795:
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723:
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716:
712:
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698:
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693:
689:
685:
681:
680:Tony Williams
677:
673:
672:John Coltrane
669:
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196:
172:
151:
150:African clave
133:
123:
121:
120:clave rhythms
117:
112:
108:
107:improvisation
98:
96:
95:African music
92:
80:Early history
77:
75:
71:
65:
63:
59:
55:
51:
47:
46:Jazz drumming
40:
36:
32:
19:
2632:
2619:
2612:
2605:
2601:(miniseries)
2598:
2590:
2560:Sophisti-pop
1990:
1981:Jazz royalty
1971:Jazz funeral
1767:Contemporary
1658:Chamber jazz
1612:Saxophonists
1582:Clarinetists
1554:Third stream
1391:Chamber jazz
1305:
1291:Scat singing
1202:
1171:. Retrieved
1142:
1137:
1126:. Retrieved
1122:the original
1115:
1093:– via
1088:. Retrieved
1079:
1070:
1062:
1058:
1053:
1042:. Retrieved
1013:
997:
993:
988:
977:. Retrieved
967:
957:
946:Novick, Lynn
937:
926:. Retrieved
919:the original
891:. Retrieved
887:the original
876:
868:
862:
846:
842:
824:
789:
720:Cecil Taylor
715:Sunny Murray
704:
696:
666:
662:
650:
643:Kenny Clarke
637:
626:
589:
585:
548:
544:Bunk Johnson
531:
514:
440:
428:
416:
407:
355:
346:Congo Square
342:pattin' juba
338:
330:
312:
284:
254:
241:
239:
219:
207:
205:
201:
192:
104:
88:
66:
45:
44:
18:Jazz drummer
2543:Quiet storm
2506:Contradanza
2288:New Orleans
2283:Kansas City
2086:Jazz mugham
2081:Azerbaijani
2005:Second line
2000:Rare groove
1986:Jazz theory
1976:Jazz poetry
1961:Contrafacts
1945:Saint Lucia
1925:New Orleans
1857:Strata-East
1832:MPS Records
1762:Cobblestone
1683:Smooth jazz
1673:Jazz fusion
1617:Trombonists
1530:Sacred jazz
1515:Smooth jazz
1448:Jazz fusion
1331:Jazz violin
1311:Jazz guitar
1286:Jam session
1259:Jazz (word)
1065:(1), 14–17.
1000:(2), 26–28.
956:). (2000).
871:(1), 59–71.
849:(2), 39–44.
740:Jazz portal
707:avant-garde
676:Miles Davis
647:Elvin Jones
576:Sonny Greer
431:Second line
425:Second line
309:Dance bands
295:snare drums
224:, African,
68:jazz—
58:jazz fusion
2655:Categories
2528:Brass band
2516:Jump blues
2360:Ethno jazz
2323:Australian
2303:West Coast
2060:Zimbabwean
1900:Copenhagen
1822:Mainstream
1632:Violinists
1622:Trumpeters
1592:Guitarists
1500:Organ trio
1485:Modal jazz
1458:Latin jazz
1438:Gypsy jazz
1336:Vocal jazz
1321:Jazz piano
1173:2008-02-24
1128:2008-02-24
1090:2008-02-24
1044:2008-02-24
1036:Pias, Ed.
979:2008-02-24
928:2008-01-13
893:2008-01-14
766:References
692:polyrhythm
688:Jimmy Cobb
612:Buddy Rich
608:Chick Webb
604:Gene Krupa
594:, Chinese
592:wood block
517:media help
410:media help
236:Latin jazz
230:Latin jazz
195:media help
62:Latin jazz
2496:Acid jazz
2353:Worldwide
2339:Brazilian
2136:Bulgarian
2098:Indo jazz
2048:Cape jazz
1935:North Sea
1890:Cape Town
1877:Festivals
1852:Riverside
1827:Milestone
1752:Blue Note
1747:Bethlehem
1731:post-1950
1703:Standards
1688:Soul jazz
1637:Vocalists
1597:Organists
1569:Musicians
1559:Trad jazz
1520:Soul jazz
1443:Jazz-funk
1431:Punk jazz
1421:Free funk
1416:Free jazz
1411:Folk jazz
1401:Dixieland
1396:Cool jazz
1386:Cape jazz
1301:Jazz bass
1264:Jazz band
950:Producers
786:Gioia, T.
711:free jazz
701:Free jazz
574:Image of
419:the blues
316:quadrille
273:rudiments
267:used the
171:2-3 clave
35:Max Roach
2671:Drumming
2501:Afrobeat
2415:Pre-1920
2400:Jazz Age
2316:Oceanian
2266:American
2240:Canadian
2124:European
2115:Japanese
2076:Armenian
2038:Malawian
2033:Ethiopia
1920:Montreux
1915:Montreal
1910:Monterey
1847:Prestige
1817:Landmark
1802:Impulse!
1782:ESP-Disk
1711:Pre-1920
1668:Hard bop
1607:Pianists
1587:Drummers
1577:Bassists
1510:Ska jazz
1453:Jazz rap
1379:Post-bop
1369:Hard bop
1269:Big band
1117:DownBeat
1084:Archived
954:Director
788:(1997).
726:See also
652:DownBeat
600:cowbells
596:tom-toms
362:American
50:drum kit
2548:Ragtime
2533:Exotica
2489:Related
2395:Ragtime
2373:History
2278:Chicago
2245:Haitian
2224:Swedish
2212:Spanish
2195:Italian
2148:British
2143:Belgian
2110:Iranian
2026:African
1954:Culture
1930:Newport
1905:Jakarta
1895:Chicago
1792:Freedom
1490:Nu jazz
1374:Neo-bop
580:timpani
552:triplet
443:ragtime
437:Ragtime
358:Haitian
303:melodic
287:Cymbals
226:Spanish
116:measure
91:Moorish
2200:Polish
2190:German
2185:French
2170:Danish
2131:Balkan
2093:Indian
2053:Marabi
2010:Venues
1537:Stride
1480:Marabi
1470:M-Base
1351:Genres
1149:
1040:. Pias
1020:
796:
686:, and
610:, and
556:soloed
299:hi-hat
293:, and
277:triple
222:French
2579:Media
2538:Plugg
2511:Blues
2465:2010s
2460:2000s
2455:1990s
2450:1980s
2445:1970s
2440:1960s
2435:1950s
2430:1940s
2425:1930s
2420:1920s
2385:Blues
2255:Cuban
2175:Dutch
2103:Sitar
2069:Asian
1862:Verve
1726:1940s
1721:1930s
1716:1920s
1693:Swing
1653:Bebop
1542:Swing
1364:Bebop
922:(PDF)
915:(PDF)
623:Bebop
617:bebop
550:note
368:Blues
280:meter
243:swung
126:Clave
111:tones
74:bebop
70:swing
39:bebop
2599:Jazz
2592:Bird
2480:2022
2475:2021
2470:2020
2205:Yass
1940:Pori
1842:Muse
1678:Scat
1279:Jazz
1240:Jazz
1147:ISBN
1018:ISBN
944:and
794:ISBN
748:Beat
709:and
674:and
638:with
535:roll
291:bass
263:and
255:The
72:and
54:jazz
1837:MPS
1812:JMT
1777:ECM
1772:CTI
1757:BYG
1095:PBS
41:era
2657::
1157:^
1114:.
1103:^
1078:.
1063:30
1061:,
1028:^
1005:^
998:19
996:,
902:^
869:17
867:,
854:^
845:,
832:^
804:^
774:^
722:.
682:,
619:.
606:,
546:.
348:.
289:,
282:.
232:.
1232:e
1225:t
1218:v
1176:.
1131:.
1097:.
1047:.
982:.
948:(
931:.
896:.
847:7
519:.
412:.
197:.
20:)
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