Thanks for these excellent lessons. I'm 86 and my meds have weakened me to where I can no longer make gigs. I have been a student of all the great drummers you teach from. I learned, as you suggest, by playing and listening to their records on the radio when I didn't have a record player. This is important, I believe excellent comping truly keeps things swinging. It pulls everything like a snapping rubber band. It's always in time, on time and gives the soloist ideas. I appreciate your teaching. You are showing off what a great drummer you are, you are teaching how to be a better drummer. With the bass player just thumping along, it's up to the drummer to keep it swinging and interesting
I liked how once you started playing the triplets you started moving your head like Elvin Jones. I was blessed to see him at Yoshi's in Oakland before he passed. RIP- even though we're making him live for forever.
This guy wants nothing to do with Elvin Jones. He mentioned Elvin as if he understands Elvin. He rejects polyrhythm and he rejects Elvin. Modern Jazz drumming begins and ends with Elvin. I am a Berklee drummer so what up.
Ah man, you´re like a library for jazz drummers. I enjoy your videos, they´ve helped me a lot. You burn like hell behind the drums too, really inspirational!
I think you're one of the most accurate on explaining things and giving references among the online lesson videos i stumble upon on average. Such fine drumming too! Keep up the good work man!
Quincy..With all due respect to you your playing & teaching..I find that comping is directly related to what is happening musically within the group of musicians you are playing with!! Comping for me is responding & reacting to rhythmical phrases being played in piece of music or improvised solo!!...Learning to comp without practicing along with music can become mechanical and pattern based! I get inspiration by comping to jazz arrangements & jazz standards where you are forced to use your ears to play musically!!! Just wanted to offer some food for thought!!! Thx for allowing me to voice my opinion on your post!!!
Thanks for the comment truthbtold! The purpose of this video is to get drummers into the “house” where good comping lives. Too many drummers just play random arbitrary notes in the left hand with no thought as to what they are playing. These examples are just to get drummers to start thinking about what they are playing. Comping often IS indeed reactionary (as you stated) however, if a drummer is not familiar with the sound of Art Taylor or Max Roach’s (for example) comping, they will react using rhythms that frankly, get in the way of the soloist and the feel, as opposed to accentuating what’s happening musically. So this is a good place to start for those struggling with understanding comping. The next step would be to transcribe a master’s comping. But before doing ANY of this, drummers have to just listen and really pay attention to WHAT the these great drummers are playing and HOW they are playing it. Get it in the ears and soul and it will begin to come out in your (not YOU necessarily) playing.
Man that time feel is epic! I'd love to hear you do a video just on how to play that slow and swing that hard. That's a deep challenge. Sounding great!
You can also base comping patterns around rhythmic motifs in the tune being played. Frankie Dunlop with Thelonious Monk comps in a compositional manner. Roy Haynes, too. You will discover "new " comping patterns if you learn the melodies of the tunes. Big fun!
Hey Ed. Thanks for the comment. Very true! I should have mentioned this approach as well. I always have my students sing the melodies to tunes and comp for themselves. Btw, it was great to finally meet you and hear your wonderful students. I have great respect for what you as a musician and educator and I wish you all the best!
That's great independence-That ride is really playing its own thing and the snare and bass are comping the ride itself in the absence of saxophone, etc, etc...
Quincy !!! You're the man ! ! ! THANKS ! Finally a useful drum Video with great and useful tips. And not just hours and hours of bla bla bla!!! I wish more people would make Videos of this instructional quality ! I had tons of fun applying your techniques .
Thanks Quincy, I really enjoy your videos. I switched to drums in January of this year after playing jazz saxophone professionally for over 30 years internationally as a soloist. Another point from that perspective is that as a sax player I was always listening to the drummer comp. The good ones played very melodically and always added "spice" to the overall sound of the set. Very important regarding the "Weave" factor when playing straight ahead jazz. What is the "weave" factor. It is the voice that each musician brings to the table creatively, making the composition flow with grace and clarity. Much respect, Tim Mayo
My first thought as I watched the video was how important tuning of the drums are, Your kit sounds beautiful. 2nd thought was how well you verbally and physically articulated the grooves. Well done!
Thank you Quincy for making so simple to understand what this masters of drumming did when comping. You have filtered and made comprehensible and easy to work with.
Wow, this is the only book you need. Months of study. Thanks, If I ever get theses comps to sound good I will feel successful. Your other Q,s are amazing as well. Taught by a real drummer/ teacher. I do play well but this stuff will make you a real player.
I've watched slot of drummers here on RUclips and while many are technically proficient they leave me feeling a little flat. You've got a fantastic feel while capturing the technical aspects of master drummers. I look forward to watching more of your lessons.
Nice presentation and explanation of jazz drumming. What I found most important in your video is the way you highlight the Independence of keeping your left hand and right foot on the pedal free without loosing control or interfering with the ride on the "ping, ping ping, ping, ping ping" I'm still learning to control that, but it's very difficult, but I haven't intensively been practicing the jazz thing as much as I would like to, though I have a 1970 Slingerland kit that is begging to play some jazz lol. The book that I want to start with is The Art of Bop by Dan Thress, John Riley with 80 pages of glorious jazz essentials and charts! Yeah that is what I will start with since it has a audio cd included. Also, Jim Chapin: Independence for the Modern Drummer I heard is really good for even beginners. As for the rest of the books I have not heard of but I shall check them out as well. Again thanks for the tips and the book suggestions.
Great lesson! If I may add, another book I found of great help to my comping was Studio/Jazz Cookbook by John Pickering. Very easy to read notations, and provides hundreds of exercises that will help your independence (left foot hi-hat, left hand and right foot bass). Also, it provides some ride variations! It complements (pun unintended) Riley's book really well.
Great!! Im watching you from Colombia. I really like these lessons because I find a lot of mistakes in my playing and you explain in a simple way. Im really thankfull for your contribution
Never heard comping explained like this. Great lesson. I am learning to play bebop; love the music, trying to teach myself. Your lessons will help a lot. Thanks.
clear, easy, essential, gentle... well done job man, thanks a lot. I do not play drums anymore (not enough talent and skills - fortunately I discovered I was much more better as a visual artist with waste material, where I put music into stuff) but was a pleasure still to learn new things for appreciate better the music I listen to.
I'm a trainee jazz guitarist, but this info on limb independence is just as applicable to guitar. I'm currently trying to teach my foot to beat out constant walking bass type rhythm, while my picking hand and fretting hand play 'free time' phrases with the solid foot rhythm. This makes the free-time licks sound like they 'belong' with the main groove...
The info part was so useful, even more than the drumming itself, thank you for including some history and so much info into de videos. it would be great if you left the subtitles a little longer for us slow readers, really inspiring thank you
Excellent video. This was somethin I was trying to learn for the longest but didn't even know what the term for it was called. Thank you for making this video
Nice stuff.. I thought I heard a little bosa nova thing on the snare around the 7 minute mark spanning two bars .. I love it. Also, kudos on the Ted Reed book. Lots of times I don't even open the book and just mess with those nice figures on the cover. I developed my meager skills at comping, bosa nova, bluegrass, and single stroke triplet accents using mostly just the cover from that book.
Hey Quincy. I really enjoy you lessons and learn a lot from you. you’re a very good teacher and a fantastic Musician. Thank you for sharing your wisdom
A very well thought out approach to jazz drumming.And very well articulated. The slow tempo really puts many of the syncopation in perspective. And you know your history.I'm very happy to see this, and drummers that even if they do not follow or listen to jazz drumming, can learn so much from a video like this. I'm very happy to have found your excellent approach. Stay well. Thx
Thanks much, very well done and explained. Happy to hear you are an A.T. fan as well. I don't think he got the attention he deserved because he spent a huge portion of his career in Europe.
Excellent video- you play with a great feel. That ride cymbal is fantastic- the overtone sounds like rain on a tin roof, helped by the rivets, of course. Glorious!
Thank you so much for this breakdown! As someone learning more about the details of drumming and jazz, this gives me so many great things to practice and listen for
Love that look when he's playing the Elvin triplets! Yeah! Great video! Thanks. I suppose, in short, the lesson is . . . be musical. I studied in the early 1980s, with Alan Dawson, out at his home in Lexington, MA. When we played, he made it essential that we had the piece of music we were playing in our heads while we played. As wonderful as a man and teacher that he was, I would have liked him to make his concept of comping as explicit as this video. Curious to know what the teacher/jazz drummer thinks of Tony Williams' comping.
Thanks for the comment Mr. Cohen! Alan Dawson was soooo great. You're a lucky person to have gotten to study with him. Love Tony's comping. He was so clear and hip with his rhythms.
Yea Buddy!
Thanks man!
Do you always comment yea buddy!?
@@TurtleTurtlez I see the conundrum you're setting me up for. The answer is...
@@8020drummer Yeah Buddy! ;-)
I have learnt more from this lesson than 20 from yours!
Thanks for these excellent lessons. I'm 86 and my meds have weakened me to where I can no longer make gigs. I have been a student of all the great drummers you teach from. I learned, as you suggest, by playing and listening to their records on the radio when I didn't have a record player. This is important, I believe excellent comping truly keeps things swinging. It pulls everything like a snapping rubber band. It's always in time, on time and gives the soloist ideas. I appreciate your teaching. You are showing off what a great drummer you are, you are teaching how to be a better drummer. With the bass player just thumping along, it's up to the drummer to keep it swinging and interesting
Thanks for sharing Dave. God bless you for your love, passion and dedication to the music.
Straight outta Compin'
I liked how once you started playing the triplets you started moving your head like Elvin Jones. I was blessed to see him at Yoshi's in Oakland before he passed. RIP- even though we're making him live for forever.
This guy wants nothing to do with Elvin Jones. He mentioned Elvin as if he understands Elvin. He rejects polyrhythm and he rejects Elvin. Modern Jazz drumming begins and ends with Elvin. I am a Berklee drummer so what up.
@dan day wtf are you talking about man?
@@danday4634 ...
Yea! Keepin' the art of comping ALIVE!
Ah man, you´re like a library for jazz drummers. I enjoy your videos, they´ve helped me a lot. You burn like hell behind the drums too, really inspirational!
I think you're one of the most accurate on explaining things and giving references among the online lesson videos i stumble upon on average. Such fine drumming too! Keep up the good work man!
+Alex Fanari Thanks Alex!
I don't know how many times I come back to this video to get right comping understanding (I'm begginer)
Love your video!
You're the baddest dude! I could listen to you play time all day! Thank you!
Thank you kindly!
Again, again... Frank Dunlop's art of comping snare and bass! Best from Buenos Aires.
I'm not sure what your point is but yes, Frankie Dunlop! Love him. My favorite album with Monk of Frankie's is Monk's Dream.
Quincy..With all due respect to you
your playing & teaching..I find that comping is directly related to what is
happening musically within the group
of musicians you are playing with!!
Comping for me is responding & reacting to rhythmical phrases being played in piece of music or improvised solo!!...Learning to comp
without practicing along with music
can become mechanical and pattern
based! I get inspiration by comping to
jazz arrangements & jazz standards where you are forced to use your ears
to play musically!!! Just wanted to offer some food for thought!!!
Thx for allowing me to voice my opinion
on your post!!!
Thanks for the comment truthbtold!
The purpose of this video is to get drummers into the “house” where good comping lives.
Too many drummers just play random arbitrary notes in the left hand with no thought as to what they are playing. These examples are just to get drummers to start thinking about what they are playing. Comping often IS indeed reactionary (as you stated) however, if a drummer is not familiar with the sound of Art Taylor or Max Roach’s (for example) comping, they will react using rhythms that frankly, get in the way of the soloist and the feel, as opposed to accentuating what’s happening musically.
So this is a good place to start for those struggling with understanding comping. The next step would be to transcribe a master’s comping. But before doing ANY of this, drummers have to just listen and really pay attention to WHAT the these great drummers are playing and HOW they are playing it. Get it in the ears and soul and it will begin to come out in your (not YOU necessarily) playing.
Man that time feel is epic! I'd love to hear you do a video just on how to play that slow and swing that hard. That's a deep challenge. Sounding great!
Good idea!
You can also base comping patterns around rhythmic motifs in the tune being played. Frankie Dunlop with Thelonious Monk comps in a compositional manner. Roy Haynes, too. You will discover "new " comping patterns if you learn the melodies of the tunes. Big fun!
Hey Ed. Thanks for the comment. Very true! I should have mentioned this approach as well. I always have my students sing the melodies to tunes and comp for themselves.
Btw, it was great to finally meet you and hear your wonderful students. I have great respect for what you as a musician and educator and I wish you all the best!
Great great lesson. I liked in particular breaking down the basic patterns of Blakey, Taylor and Roach. I always try the same as a starting point.
That's great independence-That ride is really playing its own thing and the snare and bass are comping the ride itself in the absence of saxophone, etc, etc...
Love this guy's playing. Quincy Davis = Thanks for this free lesson. I will carry the exciting lesson on.
Quincy !!! You're the man ! ! ! THANKS !
Finally a useful drum Video with great and useful tips. And not just hours and hours of bla bla bla!!!
I wish more people would make Videos of this instructional quality ! I had tons of fun applying your techniques .
+Dominique Junker Worndli Happy you're finding my...Q-Tips helpful Dominique!
Thanks Quincy,
I really enjoy your videos. I switched to drums in January of this year after playing jazz saxophone professionally for over 30 years internationally as a soloist. Another point from that perspective is that as a sax player I was always listening to the drummer comp. The good ones played very melodically and always added "spice" to the overall sound of the set. Very important regarding the "Weave" factor when playing straight ahead jazz. What is the "weave" factor. It is the voice that each musician brings to the table creatively, making the composition flow with grace and clarity.
Much respect,
Tim Mayo
My first thought as I watched the video was how important tuning of the drums are, Your kit sounds beautiful. 2nd thought was how well you verbally and physically articulated the grooves. Well done!
Thank you Quincy for making so simple to understand what this masters of drumming did when comping. You have filtered and made comprehensible and easy to work with.
Wow, this is the only book you need. Months of study. Thanks, If I ever get theses comps to sound good I will feel successful. Your other Q,s are amazing as well. Taught by a real drummer/ teacher. I do play well but this stuff will make you a real player.
maestro ! Saludos desde la Patagonia Argentina! !! muy buenas lecciones !!!!
Gracias brother!
I'm not a drummer but a guitar player, but your videos are very useful to understand the rhythmic concept of jazz.
Please keep uploading more videos.
I've watched slot of drummers here on RUclips and while many are technically proficient they leave me feeling a little flat. You've got a fantastic feel while capturing the technical aspects of master drummers. I look forward to watching more of your lessons.
I greatly appreciate that Luis!
Nice presentation and explanation of jazz drumming. What I found most important in your video is the way you highlight the Independence of keeping your left hand and right foot on the pedal free without loosing control or interfering with the ride on the "ping, ping ping, ping, ping ping" I'm still learning to control that, but it's very difficult, but I haven't intensively been practicing the jazz thing as much as I would like to, though I have a 1970 Slingerland kit that is begging to play some jazz lol. The book that I want to start with is The Art of Bop by Dan Thress, John Riley with 80 pages of glorious jazz essentials and charts! Yeah that is what I will start with since it has a audio cd included. Also, Jim Chapin: Independence for the Modern Drummer I heard is really good for even beginners. As for the rest of the books I have not heard of but I shall check them out as well. Again thanks for the tips and the book suggestions.
Great lesson! If I may add, another book I found of great help to my comping was Studio/Jazz Cookbook by John Pickering. Very easy to read notations, and provides hundreds of exercises that will help your independence (left foot hi-hat, left hand and right foot bass). Also, it provides some ride variations! It complements (pun unintended) Riley's book really well.
Thank you very much for your teaching and generosity.
My word, this is an absolutely fabulous lesson! many thanks Professor Q!
Congratulations! It's a very clear vision of evolution on drums in 9 minutes!
Great!! Im watching you from Colombia. I really like these lessons because I find a lot of mistakes in my playing and you explain in a simple way. Im really thankfull for your contribution
Never heard comping explained like this. Great lesson. I am learning to play bebop; love the music, trying to teach myself. Your lessons will help a lot. Thanks.
clear, easy, essential, gentle... well done job man, thanks a lot. I do not play drums anymore (not enough talent and skills - fortunately I discovered I was much more better as a visual artist with waste material, where I put music into stuff) but was a pleasure still to learn new things for appreciate better the music I listen to.
+nome nemo My pleasure Nome. Thanks for watching!
Good with slow tempos to better understand the rythmic patterns in left hand and right foot. Thank you.
The TRUTH will set us all free. Thanks Quincy
Thank you :-) John Mclaughlin, Elvin Jones, Joey Defrancesco My Favorite Things
Thanks for the list of books to work from. Very nice video. Thanks again.
excellent and clear demonstration!
Thanks for the video. I have heavy hands, this will help for sure.
High quality everything. Down to the ease with which you explain things. These videos are helping me immensely. Thank you.
+Nic Wagner Very happy to hear that NIc! Coming out with a brush vid very soon so stay tuned!
Very useful and well explained examples. Will include these in my comping arsenal!
A very insightful tutorial and educational explanation as to the "why" & "what".
Great video, one way to improve it would be to add screen shots or insert slides with the patterns written out. Thanks for posting these ideas!
Great background on comping and how the concept originated. I hope you continue to post. Really informative
More to come Jack. Thanks for checking the vids out!
that ride cymbal is sooooo hot and nasty. love it.
Nice metaphors! hahaha
Yes it is.
I'm a trainee jazz guitarist, but this info on limb independence is just as applicable to guitar. I'm currently trying to teach my foot to beat out constant walking bass type rhythm, while my picking hand and fretting hand play 'free time' phrases with the solid foot rhythm. This makes the free-time licks sound like they 'belong' with the main groove...
old bebop school is the best.
thank you Mr. Q
Thanks Artur.
Thanks for that Quincy!
Great info from a master, thanks for sharing Quincy. What a great swingin feel!
paradidd No master but glad you like it!
Quincy Sheeeeeeeeeeet! You're a master and a humble one, the best kind! Thanks again! :)
Quincy, I love your ride cymbal beat! Beautiful playing and explanation.
Andrew Hare yeah Q, tell us what ride you're playing there (please)!
TheJuggernautv2 The Ride is a 22" Asian Spizzichino. Not sure of the weight.
Andrew Hare Thanks brother Andrew!
Quincy amazing sound! Love your playing Quincy! Thanks for the great videos!
This is one of best instructional video clips that I'v had.
Thanks Quincy and hope you upload more and more~
J LEE My pleasure!
The info part was so useful, even more than the drumming itself, thank you for including some history and so much info into de videos. it would be great if you left the subtitles a little longer for us slow readers, really inspiring thank you
Nice video & also The Jim Chapin book mentioned is phenomenal. Highly recommended for all jazz drummers.
Right on!
Beautiful little lesson there Quincy. Especially the issue of accents !
+CHRIS MILLAR Accents are where it's at!! Coming out with a brush vid very soon so stay tuned!
ooooh that ride. So nice!
Yeah Quincy,so great!!That's so true bro'..Thanks
Discovered you by mistake.....glad I did.
Quincy that was great sound knowledge.
I love.you videos. Thanks for helping the drum community.
My pleasure!
This video was very helpful! I will certainly be looking at your other videos for jazz. Thanks!
Thank you, probably the best lesson on this topic I've seen so far!
You're too kind Jazz2metal
Excellent video. This was somethin I was trying to learn for the longest but didn't even know what the term for it was called. Thank you for making this video
+Noble Nomad My pleasure sir!
Your videos are great for both experienced people as great tools and reminders of basics; and also so clear for beginners
Clear and concise information thank you
+glyn johnson Thnx Glyn.
great examples
mannn we need more videos they helped me get into The New School In New, York starting this fall! :)
Nice stuff.. I thought I heard a little bosa nova thing on the snare around the 7 minute mark spanning two bars .. I love it. Also, kudos on the Ted Reed book. Lots of times I don't even open the book and just mess with those nice figures on the cover. I developed my meager skills at comping, bosa nova, bluegrass, and single stroke triplet accents using mostly just the cover from that book.
Thanks for listening sir!
Superb presentation, diction, and musicianship. Nice scholarship as well, especially in the time limitations.
Extremely helpful video! Thanks a lot!
Hey Quincy. I really enjoy you lessons and learn a lot from you. you’re a very good teacher and a fantastic Musician. Thank you for sharing your wisdom
Amazing touch and spacing
Thanks Ian!
Clear and useful! Regards from Argentina
love the cymbal sound
最高のドラマーです！たまらなくかっこいいです！
どうもありがとうございます！
I can see that you are a great teacher. This was so basic, yet important to check out! Thanks a lot!
Beautiful lesson
Beautiful sounds! Great lesson!
Never mind!! I just found the list of books! Thanks again.
Lots of excellent information in this video. Great job explaining and demonstrating. Well done.
Thanks for the references and ideas, really great!
+Famerhugh No problem brother!
Great lesson, great player! Clear, concise teaching! LOVE the history behind those ideas.
Great stuff, simple ideas but since they are rooted in tradition they will make you sound authentic! Thanks for the lesson! Peace&Groove!
Cool. Glad I've found a great jazz drum teacher
A very well thought out approach to jazz drumming.And very well articulated. The slow tempo really puts many of the syncopation in perspective. And you know your history.I'm very happy to see this, and drummers that even if they do not follow or listen to jazz drumming, can learn so much from a video like this. I'm very happy to have found your excellent approach. Stay well. Thx
Thanks much, very well done and explained. Happy to hear you are an A.T. fan as well. I don't think he got the attention he deserved because he spent a huge portion of his career in Europe.
+hawkrider88 AT is THE MAN!!! Thnx for the checking the video. Coming out with a brush vid very soon so stay tuned!
Well explained, played and illustrated video . 😀
Excellent video- you play with a great feel.
That ride cymbal is fantastic- the overtone sounds like rain on a tin roof, helped by the rivets, of course.
Glorious!
It's a 22" Asian Spizzichino.
Thank you so much for this breakdown! As someone learning more about the details of drumming and jazz, this gives me so many great things to practice and listen for
Outstanding.
Great sound and beautiful playing! Thank you very much Quincy
Merci beaucoup pour cette leçon, vraiment utile!
Thank you for that,very clear description .Food for thoughts and Action on the Kit
great recap. Helped me organize all the comping I have studied. Thank you!
Great video on jazz timings and rythm. Good book to add would be buddy rich's modern interpretation of rudiments
thanks for explaining so well , looking forward to more jazz drumming tips
Love that look when he's playing the Elvin triplets! Yeah! Great video! Thanks. I suppose, in short, the lesson is . . . be musical. I studied in the early 1980s, with Alan Dawson, out at his home in Lexington, MA. When we played, he made it essential that we had the piece of music we were playing in our heads while we played. As wonderful as a man and teacher that he was, I would have liked him to make his concept of comping as explicit as this video. Curious to know what the teacher/jazz drummer thinks of Tony Williams' comping.
Thanks for the comment Mr. Cohen! Alan Dawson was soooo great. You're a lucky person to have gotten to study with him.
Love Tony's comping. He was so clear and hip with his rhythms.
The Frankie Dunlop mention is greatly appreciated! One of the most swingin next to Philly Joe imo
Agreed!
Excellent! And I'm a bass player
Useful stuff here Quincy! Thanks for sharing.
Ok, so now my drum kit is up for sale! Superb drumming and concept!
Thanks Bert!
Excellent presentation Quincy. Indeed, very insightful and SWINGIN!