COLIN BAILEY THE ART OF PHRASING PDF

This book by Bass Drum Control () author Colin Bailey is written for Colin helps drummers become more comfortable with phrasing drum solos, and. Colin Bailey – Drum Solos – The Art of Phrasing. Report. Published on Oct- View Download AddThis Sharing Buttons. Share to Facebook. Booktopia has Drum Solos, The Art Of Phrasing by Chief Curator Colin Bailey. Buy a discounted Paperback of Drum Solos online from.

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These four tracks may be among the most beautiful Sinatra ever recorded. It was the only thing apart from the drums that I was ever any good at. We just knew we were meant for each other, you know? Guaraldi’s stature as the creator of the iconic music for the Charlie Brown TV specials has overshadowed, to a very powerful degree, the fact that he was a hugely respected jazzman.

Colin Bailey – Bass Drum Control – Revised (Book + CD)

I played pretty much all through my childhood. God, there used to be so many jazz clubs. Of the West Coast music scene, Bailey said, “Oh, it was beautiful.

So he offered me the gig and fired his drummer and got me. His grandfather and his father were butchers, they had their own shop, and Bailey’s mother used to help out in the store doing the books. There were two accordions, a banjo and drums,” he said. Bailey phraxing to defy these stereotypes. He showed me this finger control technique which is a really difficult thing.

Bailey explains the technique like this: The first track on the album “Jazz Impressions of Black Orpheus” begins simply enough: There is always someone, in the career of any artist, who plays the important role of mentor – the person who makes the artist want to be better all the time.

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That’s the end of jazz.

COLIN BAILEY – Drum Solos – The Art of Phrasing — Solo Phrasing – Lesson #2

Atwell’s manager arranged for Bailey to bailsy playing with the house band on Australia’s Channel 9 in Sydney, and as a side gig he would sit in with the big jazz names that came through the continent. As for the quality of the music that the group played when he was just seven, Bailey says now that he’d “love to hear that on a recording.

They won contests and things like that. I used oclin sub for him at the club Shelley’s Manne Hole with his group. The defining jazz records from the s through the s had been recorded, and rock and roll, such as it was, had completely taken over the airwaves and the great jazz clubs started to close down.

It would be like 3 o’clock in the morning and he would eat this big bowl of chili. It was a shock playing with George Shearing after playing with Chet.

Colin Bailey – Drum Solos – The Art of Phrasing

Guaraldi was not yet nationally known, but he was highly respected by his peers. I always got a lesson from clin then. We hung out with Sarah and Diz. I mean, for instance, I was influenced by a drummer named Joe Daniels in England when I was about seven years old.

So three days later I was in the drum shop hanging out and the guy said, Vince is on the phone and he wants to talk to you. It must have sounded like hell. That’s why he got a nice sound, beautiful sound when the three instruments play in unison. Joe Morello A turning point in Bailey’s evolution as collin drummer came in when he heard drummer Joe Morello play on a Dave Brubeck record. Budwig died in and Guaraldi passed away in the ‘s. He had come to the Jazz Workshop with Jimmy Witherspoon and we played a three week gig, six nights a week, and Sunday afternoons,” said Bailey.

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Phrasibg was short for “victory discs. We had a good-sized house and I had my own room with my drums to practice. We played dances all the time. I played with him inand part of In I went back to George Shearing.

I was playing with these terrible groups but it was wonderful. copin

Oh, God, cornball stuff. He was not yet 10 when World War II started blazing across Europe, but he remembers that time in the more fractured, compartmentalized way a child sees huge events – a war is not seen as sweeping and gigantic to a child, but is experienced in small personal ways. Talk about heaven, to play with him and Monty bassist Monty Budwig on a regular basis, it was unbelievable.

Bailey also believes that “jazz has turned a lot of people off. Bailey had his first lesson on the drums when he was seven. He didn’t know how to do it.

And he had a rhythm section, Budwig and Bailey, that was peerless. Winifred Atwell About the time Bailey turned 18 he received an invitation to audition for a pianist named Winifred Atwell – hte name that may not be familiar today, but who was a rising star at the time. But now all these guys want to play outside the changes and it’s not harmonic,” said Bailey. Drummer Colin Bailey is the only member of that trio still living. But they were jazz guys and they loved our music and we got along so well.