Man I just have to get this out. I graduated Berklee 2007. I recently discovered this channel and these videos are magnitudes of times more helpful than the majority of classes or lessons focused around jazz drumming that I took in school. Everything here is so well-explained and simply executed and *useful*. If you have even a passing foundation of jazz drumming like I (barely) do and many other drummers coming up playing mostly rock or funk, it feels like these are exactly the type of videos for you to instantly learn something that you can take back to the kit and improve on. Q, this is a wonderful channel man - it's unlocked my desire to return to jazz and try to get a little better. Thanks.
I’m a death metal drummer but these past few months I’ve discovered jazz and fusion, and man, this is what I want to drum 24/7 now. Chick Corea, Herbie Hancock, Jean-Luc Ponty, I’ve fallen down the rabbit hole. I’m starting a jazz music school soon, and these videos are SO helpful in getting my jazz chops up to date. THANK YOU!
“If you can’t do this, you have noooo business trying anything else”. 😂😂😂 so true! Great video, glad i stumbled upon your videos, they are great! You are very easy to listen to and watch 👍🏼
The biggest takeaway for me: I REALLY appreciate when a great educator breaks down complex concepts to bite-sized fundamentals that have otherwise been deemed illusive or "mystical"! I especially like the part where you demystified the whole "chatter" vibe...It's a language, and so Jazz isn't based on rhythmic randomness. Thanks for this video Quincy.. this was VERY insightful and helpful. I'm going to get to shedding!
I appreciate your extremely thoughtful comment. I definitely am striving to make what many feel are ambiguous concepts clear and fairly easy to understand. Thanks for watching as always my friend👊🏾
I love how your videos are more on teaching rather than flashy camera editing. Really shows the focus of your channel is to teach. The simplicity makes it very light to watch and easily understandable too!
When the student is ready, the teacher will appear.. thankQ Dr Q. You d'man. I learn and grow so much from your vids. I watched loads now.. and keep coming back to you.. owe you one fella.
Not being a native english speaker I do appreciate the clarity of your explanations and your flow, really easy to understand for foreign people. And also your humbleness and musicality.
Really great stuff, Quincy. In the 80s, my late great teacher from Chicago, Tony Caselli, constantly talked about comping as a language. Using the Ted Reed book, he would always have me keep time and sing the SD/BD parts for one line, then play it. This call and answer approach has stuck with me to this day, helping me to avoid the "chatter" habit of not communicating with others in the band. These days, I play gigs on both drums and piano (thanks to the same teacher that insisted I study jazz piano!), and my piano comping style comes directly from my drum comping.
Your insight into jazz drumming is unparalleled. You're also an amazing teacher. You also make me realize, even after playing off and on for 50 years,how much I have to learn! Keeping good time is hard enough alone!
By FAR the best video on this subject and clears up tons of misconceptions about jazz for people who just kind of fall into playing jazz as a path that they’re “supposed to” follow
Mr. Q - I've studied with some great drummers who were also excellent teachers. Your ability to articulate, break things down into real world language is exceptional! I hope everyone's listening. Real deal...
Ich verfolge deine posts seit langer zeit und bin sehr dankbar fuer das teilen deiner unglaublichen erfahrung und inhalte... Ich weiss es sehr zu schaetzen... Wise guy teaching
Lovely playing Quincy. So many jazz drummers I meet focus all their attention on comping without really getting the underpinning feel, and more importantly energy into the ride and the rest of the kit happening. For example, I could listen to what you do for just 30 seconds at say 1:00, or at 11:00 for hours! Because it means something. It's this that makes everything else you are showing golden. Lovely!
Once again,a great,well explained lesson! I love your humbleness - you obviously are a great player,but also a wonderful explainer when teaching very relaxed in your speech - very calming for my speedy brain
I have just discovered your channel, I like the way you break down concepts and make them easy to understand also to those who're new to jazz drums (like me). You just got a new subscriber!
Hello Q, just catching up on to your vids! I downloaded this one and watched on a train trip a while ago, I enjoyed it a lot as always! When you started with the "Rhythms that don't feel good" it remained of me playing the Syncopation P.38 on my left hand while keeping the cymbal beat on the right hand (great exercice for independence but not great for vocab...). I played like that and every one (including some of my teachers) was telling me "no, man, you play the left hand (or right foot) to loud, it's not rock music" and man, now I know that: THAT WAS NOT THE (only lol) PROBLEM! The real deal was that I was playing rhythms that DO NOT SWING, as Hutch would say "VOCABULARY, MAN!". When I started with the "Art of Bop Drumming" I understood that....
I've seen some of your older videos, and I've started watching more and more of late. I enjoy you being yourself on the videos I've been watching lately. Been around for a minute, and I've been wondering where I fit into today's scene after laying out for a few years. My son's enrolled at The New School, and he gave me a few ideas which helped get me back up to speed. As the dad that's no longer cool (ha), I don't hear from him as much, and this video was very helpful. I can do a lot with this. I appreciate you, Brother...
Great Lesson! In my collaborations I have noticed that pianists love modern comping, often some they ask for time dilation to make it more relaxed and less pulsating at the beginning of the solo.. But traditional comping is always the basis for any soloist!
Definiteky learning on this but 🎉Just an obervation ....you changed the ride cymbal emohasis when you changed tempos Quincy Emphasizing the one and three instead of two and and which you were to doing when you were playing slowly... This is something that is common to Jazz drummer This is something that is common to Jazz drummers and This is something that is common to Jazz drummers and different styles of playing that ride
Hi Quincy Brian up here in Canada i really like when you mentioned singing or humming the groove and trying to comp that way sort of tap dancing the left hand been trying to work on it
Thank you very much Quincy!!! very helpful!!! Here in my country , very far from there, I struggled myself for many many years, and I found yor lessons very helpfull, kind of the information we would never get in here (feels like that , chasing many years for the "reall information").... would yo explain in another video taking the rigth hand from the Ride cymbal, about concepts and stuff like that? please keep doing this!!! Greetings from Argentina
Quincy, as usual this lesson is priceless! I FINALLY understand the modern jazz comping, thanks to you. I am hearing the doubling up on the ride, etc. Thank you for your continued commitment to teaching us. One thing I've been doing the last year or so is: I've been messin' round and having fun w/my left foot (hi-hat foot). Aside from keeping time on the 2 and 4 w/the hats, I also switch it up and hit 2 and 3, or 2, 3, and 4. Sometimes I'll clap it wide open for 2 or 3 beats or even a measure, to add that little bit of spice. I know traditionally we keep it on the 2 and 4, but I"ve just been having fun using it on other beats. It doesn't seem to throw off anyone else in the band and I keep it even more fun than it already is to play jazz. There is a type of shuffle where the hats are incorporated and play a vital role in that particular shuffle (maybe Texas? No...another type, I can't think of it.). Jimmy Smith's drummer does it on Back at the Chicken Shack. Let me go try to find it....Yea, here it is. I love how he uses the hats in the shuffle: ruclips.net/video/SuMd8ldLqxo/видео.html
Man I remember when I was trying to separate the difference between traditional and modern comping. I love playing both depending on the era of music I’m playing, through modern comping is what comes out more in my own expression for when I play my own thing. I love the “conversation” I try to make between my limbs. Almost like I’m writing sentences.
Love it. First off, important lessons. I remember working through the Riley bop drumming book back in the late 90s when I earned my Masters degree in Baltimore. It's funny for me, calling it traditional, because I then moved to Pittsburgh and played primarily with a Trad Jazz band for a decade, and in a small way made a study of those drumming practices. They use no swing ride and little limb independence. So in my mind I connect the term "traditional" to limb dependence, and bop was modern (and I didn't get a lot of gigs playing bop).
I'm not a jazz drummer by any stretch, but when I was learning the fundamentals, limb independence was driven home *so hard* that it almost felt like I was cheating or taking a shortcut if I happened to play outside of a traditional swing ride pattern, or if god forbid I would match the ride up with the snare. I had never heard of it broken down like traditional vs modern before, so that's a super useful way to think about it.
I am coming back to this after a year of studying jazz. This is so usefull, you clearly stated the path to approach the modern style. Amazing as always Q
Im an old now retired Jazz and bigband drummer and its just great to see an apparent movement (all be it slowly) away from Rock drumming with its nothing much more than straight Quarter ,eighth and 16th note patterns, yes you young guys lets start to see that old "Swing" feel again ,I thought for decades it would never happen, two great books "Jim Chapin on coordinated independence" and Louie Bellson's " Modern Reading Text in 4/4" although there are three printing errors in that book of which I did mention to Mr.Bellson at one time but he didn't like me bringing his attention to it LOL, but still a great book.
There's a lot of swing in *good* rock drumming though!! All drumming requires good feel, and that is where the swing comes in. Phil Rudd in AC/DC is a classic example! I've been drumming for over 40 years and the longer you play the more you realise the fundamentals are the same with jazz and rock. Everything needs to swing! 😊
Looks like I have NOOOOO BUSINESS trying anything else for now... haha!! Thanks Quincy, your lessons are just great! I look forward to every new one. All the best! P
Hey Quincy, thank u so. I learn so many from U. I beginn too understand what I have to do in jazz. I play drums since 35 Jearsbut the most time linear routines gerry staffy und somie kind of fusion style. Since one jear im in a new Band, and they play things like: Not for Nothing, Well U needn't and things from Scofield. so in the beginning I was really lost and can't fid any helpful notations in Internet. now I have understand how I can construct my drumming into the song. thank U so much Sebastian Nippold from Cologne Germany
Amazing lesson once again! It's a joy to hear your flow on the drums, but also the way you tell things is very interesting to listen to! Great technique, and great sound. Lovely stuff, as always. Best regards from Finland!
Great videos! I'm a beginner jazz drummer, with some comfort playing rock. I've heard you and others reference Ted Reed's book, which I just got, but I don't see how people are using it. The syncopation exercises seem to be all kick drum and snare? A breakdown of how a beginner can use the Ted Reed book to gain jazz independence would be super helpful. Thanks!
nice! thank you. In the traditional section don't forget to mention the hihat on 2 and 4... also I've found to divide the Jazz feel into 4 sections is helpful i.e. "straight time "( hihat on 2 and 4 plus the swing ride) semi straight time ( swing ride constant other limbs variable ) semi broken time Hi Hat constant other limbs variable and broken time: nothing constant Roy Haynes, Jack D. Elvin, Tony etc.
Great playing and teaching as ALWAYS, Q. Something that helped me as far as "modern" comping that your viewers might like and tacks on to what you said: flip the snares off so that singing the SD notes makes more musical sense, and when you play unison/dependent/harmonic notes/phrases there's more of a foundation there. Geoff Clapp taught me this and it was huge for my musicality.
Dear Quincy - I have a wish: Could you make a series of lessons where one could progressively learn to add new levels of skill to a comping situation. Like: Starting to get the rhythm and the structure right - after that: learning to listen and to anticipate/support/participate at the other musicians playing after that maybe fills and trading 4s. Maybe always by the example of the same short simple tune? That would be great! Thanks!
Immediately fallen in love with your teaching style. You have a very modern approach, and it's genuinely more that I've learned from any of my jazz professors. Thank you so much sir
This is awesome. Santa came early & brought me your channel! BTW - it is a small thing, but your mic makes a big difference. You can speak over the groove without having to shout. Well done! More online drummers should use this setup.
Fabulous lesson great feel both traditional and modern ❤️ I also like your advice on not going anywhere else until you've worked on the foundations which is traditional 👍
Just working through that John Riley Modern Bop Drummer book... and whilst it's hard locking yourself in your shed practicing all day it's just nice to listen to such a relaxed guy like playing some killer phrases. Thanks for this
Thank you, again, for sharing your wisdom, Quincy…what I love about your posts is that you constantly emphasise the importance of serving and respecting the music above all else… Keep on keepin’ on!
Hey these are great Quincy! I studied with one of Alan Dawson's students, who started with him when they were 10 and then did the Berklee thing, and a couple guys from NEC and I'm pretty sure these institutions are going to be short some bucks after these videos keep showcasing all "their secrets". I dig it.
Ha! We work on the Ritual at my school. Alan Dawson is great so it's awesome you studied with one of his students. Secrets will keep coming until the jazz schools are out of business. LOL!
When I began to play the drums (Jazz drumming), I began playing not the traditional jazz forms, but the modern ones, like some of my idols do/did (most of them are not between us) like Elvin Jones, Peter Erskine and Jack DeJohnette. But this lessons were helpful. Greetings from Brazil.
Man I just have to get this out. I graduated Berklee 2007. I recently discovered this channel and these videos are magnitudes of times more helpful than the majority of classes or lessons focused around jazz drumming that I took in school. Everything here is so well-explained and simply executed and *useful*. If you have even a passing foundation of jazz drumming like I (barely) do and many other drummers coming up playing mostly rock or funk, it feels like these are exactly the type of videos for you to instantly learn something that you can take back to the kit and improve on. Q, this is a wonderful channel man - it's unlocked my desire to return to jazz and try to get a little better. Thanks.
I appreciate that Dan. Thanks for sharing and I totally understand your frustration. Glad you’re finding inspiration in my videos!
That’s why I went to UNT not Berkeley lol Berkeley accepts anyone!
Co-sign, every time I watch this channel I take something w me that transforms my playing. He is a maestro maestro ✌🏽👍🏽
@@policeluber6720UNT’s acceptance rate is 81% 💀 even Berklee’s ain’t that high.
I've always suspected that about Berklee
Of course the best demonstration of independence is the fact that you're able to talk so fluently while playing!
Not easy but I'm slowly getting better at it Ashley:)
I’m a death metal drummer but these past few months I’ve discovered jazz and fusion, and man, this is what I want to drum 24/7 now. Chick Corea, Herbie Hancock, Jean-Luc Ponty, I’ve fallen down the rabbit hole. I’m starting a jazz music school soon, and these videos are SO helpful in getting my jazz chops up to date. THANK YOU!
I love this comment! Glad my lessons have been helpful to my man! Rock on🤘🏾
Bro, I believe funk and deathmetal perfectly compliment one another, same with classical... They are the sex of their respect genres!
I discovered Chick Corea at 14 listen him once a day . I'm 54
“If you can’t do this, you have noooo business trying anything else”. 😂😂😂 so true! Great video, glad i stumbled upon your videos, they are great! You are very easy to listen to and watch 👍🏼
Awesome to hear Nick! Thanks for watching:)
The biggest takeaway for me: I REALLY appreciate when a great educator breaks down complex concepts to bite-sized fundamentals that have otherwise been deemed illusive or "mystical"!
I especially like the part where you demystified the whole "chatter" vibe...It's a language, and so Jazz isn't based on rhythmic randomness.
Thanks for this video Quincy.. this was VERY insightful and helpful. I'm going to get to shedding!
I appreciate your extremely thoughtful comment. I definitely am striving to make what many feel are ambiguous concepts clear and fairly easy to understand. Thanks for watching as always my friend👊🏾
This is so true!!
I love how your videos are more on teaching rather than flashy camera editing. Really shows the focus of your channel is to teach. The simplicity makes it very light to watch and easily understandable too!
I appreciate that feedback and I'm glad you like my teaching style Jiggy:)
When the student is ready, the teacher will appear.. thankQ Dr Q. You d'man. I learn and grow so much from your vids. I watched loads now.. and keep coming back to you.. owe you one fella.
I have nothing but respect for jazz drummers.
Then, they have nothing but respect for you Bryce:)
Not being a native english speaker I do appreciate the clarity of your explanations and your flow, really easy to understand for foreign people. And also your humbleness and musicality.
Glad my speaking and flow are easy for you to understand Bernard!
Really great stuff, Quincy. In the 80s, my late great teacher from Chicago, Tony Caselli, constantly talked about comping as a language. Using the Ted Reed book, he would always have me keep time and sing the SD/BD parts for one line, then play it. This call and answer approach has stuck with me to this day, helping me to avoid the "chatter" habit of not communicating with others in the band. These days, I play gigs on both drums and piano (thanks to the same teacher that insisted I study jazz piano!), and my piano comping style comes directly from my drum comping.
That’s awesome Toni! What a great teacher you had and an awesome application of Ted reads Syncopation book. Cheers!
Being able to speak over these patterns is masterful! Love your playing bro
I appreciate that!
Speech to gesture...all over the World ... THAT'S oral teaching in drumming...from India to Africa
Absolutely Delritmo!
Your insight into jazz drumming is unparalleled. You're also an amazing teacher. You also make me realize, even after playing off and on for 50 years,how much I have to learn! Keeping good time is hard enough alone!
Best jazz drumming channel
Very kind of you🙏🏾
By FAR the best video on this subject and clears up tons of misconceptions about jazz for people who just kind of fall into playing jazz as a path that they’re “supposed to” follow
I appreciate that No No!
I should say, so CLEARLY AND GENEROUSLY!!!
Mr. Q - I've studied with some great drummers who were also excellent teachers. Your ability to articulate, break things down into real world language is exceptional! I hope everyone's listening. Real deal...
like everyone, i watch lots of stuff on youtube, but yours is the only channel i subscribe to. the only one. you are a bad, bad man.
You’re too kind Ocho. I really appreciate your support and kind words. Thank you🙏🏾
I don't even know what "comping" means in drumming...didn't stop me from watching and learning. Great vid!
Glad you enjoyed it! Thanks for watching🙏🏾
I’d first like to thank you for diving in that wrinkle grenade and saving all our lives.
This is an excellent lesson
Ha! Thanks for watching Karl!
Dude. You're happening, but scholarly, which is cool. I'm subbed nevertheless but so much more.
I appreciate your kind words, my man!
Man oh man, you're a great teacher and fantastic drummer! Thanks so much for your videos!
Why am I just now finding this channel?! Such great content!!!
You gotta work on your timing. LOL!! I'm kidding. Welcome aboard Kev!
beautiful lesson Q, just what I needed! thanks!
Ich verfolge deine posts seit langer zeit und bin sehr dankbar fuer das teilen deiner unglaublichen erfahrung und inhalte...
Ich weiss es sehr zu schaetzen...
Wise guy teaching
Bitte schön my friend:) Danke für es geschauen👍🏾
Really great to hear someone who deeply understands what they're talking about, articulate it so generously. Thank you!
I appreciate that!
Lovely playing Quincy. So many jazz drummers I meet focus all their attention on comping without really getting the underpinning feel, and more importantly energy into the ride and the rest of the kit happening. For example, I could listen to what you do for just 30 seconds at say 1:00, or at 11:00 for hours! Because it means something. It's this that makes everything else you are showing golden. Lovely!
Thank you Q I just bought some lessons from your website I love your teaching
Excellent. Thanks so much . I love “ it’s not either or “ . And how you frame that in terms of needing independence.
Thanks for watching Jeff!
Great Lesson, Quincy!
Glad you liked it!
Once again,a great,well explained lesson! I love your humbleness - you obviously are a great player,but also a wonderful explainer when teaching very relaxed in your speech - very calming for my speedy brain
Thank you kindly my man Matt! The green tea keeps me cool😎
Like your Drum instructional Videos.
You have a wonderful feel reminds me of Jeff Hamilton or Gary chafee gréât lesson !
Thanks a lot for your lessons. They are awesome. I think I owe you money
You don’t owe me any money, you just owe me you’re swang César :-)
Beautiful ride cymbal sound at feel!
I have just discovered your channel, I like the way you break down concepts and make them easy to understand also to those who're new to jazz drums (like me). You just got a new subscriber!
Welcome aboard Claudia:)
Hello Q, just catching up on to your vids!
I downloaded this one and watched on a train trip a while ago, I enjoyed it a lot as always!
When you started with the "Rhythms that don't feel good" it remained of me playing the Syncopation P.38 on my left hand while keeping the cymbal beat on the right hand (great exercice for independence but not great for vocab...).
I played like that and every one (including some of my teachers) was telling me "no, man, you play the left hand (or right foot) to loud, it's not rock music" and man, now I know that: THAT WAS NOT THE (only lol) PROBLEM! The real deal was that I was playing rhythms that DO NOT SWING, as Hutch would say "VOCABULARY, MAN!".
When I started with the "Art of Bop Drumming" I understood that....
Thanks for sharing Joel. Your issue with the left hand that you had is common amongst many drummers.
I allways learn something new when I watch your lessons! Thank you from Germany!
So happy to hear that Anika:) Cheers to you and one of my fav countries, Deutschland❤️
I've seen some of your older videos, and I've started watching more and more of late. I enjoy you being yourself on the videos I've been watching lately. Been around for a minute, and I've been wondering where I fit into today's scene after laying out for a few years. My son's enrolled at The New School, and he gave me a few ideas which helped get me back up to speed. As the dad that's no longer cool (ha), I don't hear from him as much, and this video was very helpful. I can do a lot with this. I appreciate you, Brother...
So happy this lesson helped you! And congrats to you for raising a kid who is attending The New School. Cool school!
Great Lesson! In my collaborations I have noticed that pianists love modern comping, often some they ask for time dilation to make it more relaxed and less pulsating at the beginning of the solo.. But traditional comping is always the basis for any soloist!
Thanks for sharing your thoughts Roberto, and thanks for watching Roberto!
great video, thanks. Im a bass player, and I've never before quite understood why i click with some drummers and not with others. all makes sense now!
Glad this was helpful Mr. Bass Man:)
Definiteky learning on this but 🎉Just an obervation ....you changed the ride cymbal emohasis when you changed tempos Quincy Emphasizing the one and three instead of two and and which you were to doing when you were playing slowly... This is something that is common to Jazz drummer This is something that is common to Jazz drummers and This is something that is common to Jazz drummers and different styles of playing that ride
Hi Quincy Brian up here in Canada i really like when you mentioned singing or humming the groove and trying to comp that way sort of tap dancing the left hand been trying to work on it
I feel some Bernard Purdie vibes. I loved it.
Oh yes! He’s in there even if I didn’t intend it:)
Love you added the mic! Can hear u much better..thx again 4 these videos..super helpful!
Yeah, the mic is making a big difference in my overall flow. Thanks for the feedback Brandon. Cheers!
Thank you very much Quincy!!! very helpful!!! Here in my country , very far from there, I struggled myself for many many years, and I found yor lessons very helpfull, kind of the information we would never get in here (feels like that , chasing many years for the "reall information").... would yo explain in another video taking the rigth hand from the Ride cymbal, about concepts and stuff like that? please keep doing this!!! Greetings from Argentina
Great Lesson on traditional vs modern coping.
Thanks Veronica!
Brilliant lesson‼️it’s gonna be such a help with my progress, thank you MrQ✌️🌻
Quincy, as usual this lesson is priceless! I FINALLY understand the modern jazz comping, thanks to you. I am hearing the doubling up on the ride, etc. Thank you for your continued commitment to teaching us.
One thing I've been doing the last year or so is: I've been messin' round and having fun w/my left foot (hi-hat foot). Aside from keeping time on the 2 and 4 w/the hats, I also switch it up and hit 2 and 3, or 2, 3, and 4. Sometimes I'll clap it wide open for 2 or 3 beats or even a measure, to add that little bit of spice. I know traditionally we keep it on the 2 and 4, but I"ve just been having fun using it on other beats. It doesn't seem to throw off anyone else in the band and I keep it even more fun than it already is to play jazz. There is a type of shuffle where the hats are incorporated and play a vital role in that particular shuffle (maybe Texas? No...another type, I can't think of it.). Jimmy Smith's drummer does it on Back at the Chicken Shack. Let me go try to find it....Yea, here it is. I love how he uses the hats in the shuffle:
ruclips.net/video/SuMd8ldLqxo/видео.html
Great, Quincy, as always!
🙏🏾🙏🏾
Man I remember when I was trying to separate the difference between traditional and modern comping. I love playing both depending on the era of music I’m playing, through modern comping is what comes out more in my own expression for when I play my own thing. I love the “conversation” I try to make between my limbs. Almost like I’m writing sentences.
Glad to find your channel today, great video.
Welcome aboard Kev!
Really useful resource sır. Thanks for them 🤘🏻🥁
Glad you enjoyed it! Thanks for watching!
I just loved the way you explain the music, thanks a lot!
I really appreciate that Camilo!
Love it. First off, important lessons. I remember working through the Riley bop drumming book back in the late 90s when I earned my Masters degree in Baltimore. It's funny for me, calling it traditional, because I then moved to Pittsburgh and played primarily with a Trad Jazz band for a decade, and in a small way made a study of those drumming practices. They use no swing ride and little limb independence. So in my mind I connect the term "traditional" to limb dependence, and bop was modern (and I didn't get a lot of gigs playing bop).
Very cool. That’s a very interesting take on those approaches that I had not thought of. Thanks for sharing Dan!
I'm not a jazz drummer by any stretch, but when I was learning the fundamentals, limb independence was driven home *so hard* that it almost felt like I was cheating or taking a shortcut if I happened to play outside of a traditional swing ride pattern, or if god forbid I would match the ride up with the snare. I had never heard of it broken down like traditional vs modern before, so that's a super useful way to think about it.
Great tutorial; very practical, and Q’s teaching style is very natural and unpretentious...
I am coming back to this after a year of studying jazz. This is so usefull, you clearly stated the path to approach the modern style. Amazing as always Q
Glad it was helpful!
Thanks again Q bad phones computers lately been away great class will follow glad to see your still at it great playing comping ! knowledgeable
Good to see you again El! Thanks for the support my friend.
Im an old now retired Jazz and bigband drummer and its just great to see an apparent movement (all be it slowly) away from Rock drumming with its nothing much more than straight Quarter ,eighth and 16th note patterns, yes you young guys lets start to see that old "Swing" feel again ,I thought for decades it would never happen, two great books "Jim Chapin on coordinated independence" and Louie Bellson's " Modern Reading Text in 4/4" although there are three printing errors in that book of which I did mention to Mr.Bellson at one time but he didn't like me bringing his attention to it LOL, but still a great book.
There's a lot of swing in *good* rock drumming though!! All drumming requires good feel, and that is where the swing comes in. Phil Rudd in AC/DC is a classic example! I've been drumming for over 40 years and the longer you play the more you realise the fundamentals are the same with jazz and rock. Everything needs to swing! 😊
Looks like I have NOOOOO BUSINESS trying anything else for now... haha!! Thanks Quincy, your lessons are just great! I look forward to every new one. All the best! P
I guess I made my message loud and clear :-) Thanks for watching Pete and I’m glad you find my lessons helpful.
Another fantastic and useful lesson!
My man! Thank you🙏🏾
that drumkit 😋😍
Nice lesson!! Thanx
My pleasure Lucas!
Hey Quincy, thank u so. I learn so many from U. I beginn too understand what I have to do in jazz. I play drums since 35 Jearsbut the most time linear routines gerry staffy und somie kind of fusion style. Since one jear im in a new Band, and they play things like: Not for Nothing, Well U needn't and things from Scofield. so in the beginning I was really lost and can't fid any helpful notations in Internet. now I have understand how I can construct my drumming into the song.
thank U so much Sebastian Nippold from Cologne Germany
thnx again Quincy, another great lesson.
I appreciate that Eamon! Glad you're enjoying my lessons.
Another great lesson from a great jazz drummer.
I appreciate that Bill!
Excellent! Thank you for sharing 🥁
My pleasure Artie. Thanks for watching!
Amazing lesson once again! It's a joy to hear your flow on the drums, but also the way you tell things is very interesting to listen to! Great technique, and great sound. Lovely stuff, as always. Best regards from Finland!
I really appreciate that Ilari!
All I can say about this is, WOW! Thanks for posting this great lesson.
Thanks for watching Don!
Beautiful explanations
Sing it and you feel what you are playing!!
That's it Lems!
Wonderful lesson and playing 🙏
Glad you liked it Stevie!
Great videos! I'm a beginner jazz drummer, with some comfort playing rock. I've heard you and others reference Ted Reed's book, which I just got, but I don't see how people are using it. The syncopation exercises seem to be all kick drum and snare? A breakdown of how a beginner can use the Ted Reed book to gain jazz independence would be super helpful. Thanks!
Thank you so much for this. I just subscribed to you. I really appreciate this lesson so much.
Thanks Paul!
nice! thank you. In the traditional section don't forget to mention the hihat on 2 and 4... also I've found to divide the Jazz feel into 4 sections is helpful i.e. "straight time "( hihat on 2 and 4 plus the swing ride) semi straight time ( swing ride constant other limbs variable ) semi broken time Hi Hat constant other limbs variable and broken time: nothing constant Roy Haynes, Jack D. Elvin, Tony etc.
Very good points Joe! Should have mentioned that for sure. Thanks for watching and for your comments!
Yeah man I need to get on my comping even more ✌️🎶digging your lessons Mr.D‼️
Glad you’re enjoying the lessons! Thanks for your words.
Very nicely done. Well explained and executed.
Glad you liked it. Cheers!
Great playing and teaching as ALWAYS, Q. Something that helped me as far as "modern" comping that your viewers might like and tacks on to what you said: flip the snares off so that singing the SD notes makes more musical sense, and when you play unison/dependent/harmonic notes/phrases there's more of a foundation there. Geoff Clapp taught me this and it was huge for my musicality.
That's awesome. Great tip from the master groover himself Clapper Dapper! Thanks for sharing Adam.
@@drumqtips The Clapper! Yes Sir keep doing your thing my guy.
Dude I needed this video for sure.
It's yours Barret:)
Love these lessons!
what ride cymbal are u using? sounds amazing. love the channel! Keep it up😁
Thanks. The equipment should all be listed in the description.
Bro you da man great lesson love the way you teach thankyou thankyou
I appreciate that Bob!
Dear Quincy - I have a wish: Could you make a series of lessons where one could progressively learn to add new levels of skill to a comping situation. Like: Starting to get the rhythm and the structure right - after that: learning to listen and to anticipate/support/participate at the other musicians playing after that maybe fills and trading 4s. Maybe always by the example of the same short simple tune? That would be great! Thanks!
Immediately fallen in love with your teaching style. You have a very modern approach, and it's genuinely more that I've learned from any of my jazz professors. Thank you so much sir
That means a lot Sean! Glad you're learning from my videos!
Great stuff man, just discovered your channel and really love it.
Awesome, thank you!
Wonderful lesson... As usual 🤗
I appreciate that very much Luca!
Very beautiful ride sound.
Glad you like it Paulie!
Great lesson as always, thank you
My pleasure Steve!
Awesome man, great stuff! Youre a great great player, great teacher, and I love your setup to speak while playing, very helpful and efficient!
Thanks a ton Bee!
This is awesome. Santa came early & brought me your channel!
BTW - it is a small thing, but your mic makes a big difference. You can speak over the groove without having to shout. Well done! More online drummers should use this setup.
I appreciate that feedback. Happy holidays!
Tension and Release!
Yes! Tension and release is what it's all about. Thanks as always friend:)
You Sound Great!
Fabulous lesson great feel both traditional and modern ❤️ I also like your advice on not going anywhere else until you've worked on the foundations which is traditional 👍
Absolutely Peter! Having a good foundation is must. Thanks as always!
Great source of knowledge 🙏
Thanks Diego. Glad you’re enjoying the lessons.
Just working through that John Riley Modern Bop Drummer book... and whilst it's hard locking yourself in your shed practicing all day it's just nice to listen to such a relaxed guy like playing some killer phrases. Thanks for this
Awesome you’re going through that great book Morgen! And I appreciate the kind words!
Good dialogue and overall volume!
Finally I got it right! Lol
TY. Hi from Finland :)
Cheers!
Thank you, again, for sharing your wisdom, Quincy…what I love about your posts is that you constantly emphasise the importance of serving and respecting the music above all else…
Keep on keepin’ on!
It's alllll about the music. I appreciate that Mike!
Haven’t finished watching yet but I love this lesson and I just want to thank you
I appreciate that very much sir!
Hey these are great Quincy! I studied with one of Alan Dawson's students, who started with him when they were 10 and then did the Berklee thing, and a couple guys from NEC and I'm pretty sure these institutions are going to be short some bucks after these videos keep showcasing all "their secrets". I dig it.
Ha! We work on the Ritual at my school. Alan Dawson is great so it's awesome you studied with one of his students. Secrets will keep coming until the jazz schools are out of business. LOL!
When I began to play the drums (Jazz drumming), I began playing not the traditional jazz forms, but the modern ones, like some of my idols do/did (most of them are not between us) like Elvin Jones, Peter Erskine and Jack DeJohnette. But this lessons were helpful. Greetings from Brazil.
Happy to hear the lesson was so helpful Iki!