On March 23, he did the first of seven sessions with Dizzy Gillespie's big band before the "Sonny Side Up" session. Nine days later Charli and his Jazz Statesmen became part of Howard Rumsey and his Lighthouse All-Stars, recording for Liberty Records. His first recording in 1957 was on February 18, a Lee Morgan/Wynton Kelly Septet date for Specialty records. Historical Notes: By 1957, Charli Persip (then known as "Charlie") was a much in-demand drummer for recordings and performances, both in small groups and in big bands. His fours with longtime musical partner Dizzy Gillespie are not overshadowed by the tenor battle, as Charli Persip is a strong soloist in his own right. This transcription features some of Charli’s most fierce and energetic playing. Sonny Rollins and Sonny Stitt certainly take it to the next level on this recording, but not without the help of the great Charli Persip. Time playing behind melody out (melody above staff)ĭescription: The Eternal Triangle is perhaps the most famous “tenor battle” of all time. Trumpet and drums trading 4’s (2 choruses) ![]() Time playing behind the melody in (melody above staff) In a serendipitous coincidence, "Philly Joe's Beat" was recorded on Victor Lewis' (another master drummer) tenth birthday.ĭrum Transcription: A six-page in-depth drum transcription of drummer Charli Persip playing on the famous recording of The Eternal Triangle. His drum solo features some of his most characteristic stickings and phrases. Pay close attention to how Philly Joe sets up the quintet throughout this song. Not by overplaying or playing louder, but by playing like the man in charge. Many of the legendary drummers recorded often as sidemen, but when it was time to lead their own band in a recording date, they needed to somehow elevate or distinguish their playing. This is the first transcription of Philly Joe Jones on where he is featured on his own composition. everything Philly Joe plays on the out head, with melody shown above<ĭescription: The recording, "Philly Joe's Beat," displays some of Philly Joe's finest work as a bandleader. one chorus (32 bar) unaccompanied drum solo first 8 bars of setup into Walter Davis Jr.'s piano solo everything Philly Joe plays through the in head, with the melody shown above These two recordings were almost 20 years apart.Ĭheck out Victor Lewis as he talks about composing Seventh Avenue and playing it with Woody Shaw the first time on our YouTube Channel.ĭrum Transcription: A six-page in-depth drum transcription of everything Philly Joe Jones plays on his own composition, Got to Take Another Chance. It's also interesting to look at the two recordings side by side and notice the similarities and differences. ![]() When you're able to play them correctly, try playing along with the recordings to hear how Victor uses them in the music. They were taken directly from the recordings because they were some of Victor's most commonly used grooves in those recordings. Learn each groove pattern one at a time and be able to repeat them. These transcriptions are designed as worksheets. four to six groove variations taken from throughout the songĭescription: In talking to Victor Lewis about how best to use these transcriptions, we decided that instead of transcribing his playing throughout the entire head, it would be more important to focus on developing the basic groove, then learning to use it in a musical setting. Drum Transcription: Two transcriptions of variations on Victor Lewis' "grooves" from two different recordings of his composition "Seventh Avenue"
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