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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Wednesday, December 1, The Rhythm Man: Colin Bailey By Lars Trodson. The first track on the album “Jazz Impressions of Black Orpheus” begins simply enough: The drum-bass combo lasts about a minute, and then the piano kicks in.

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

The music hits a beautiful, easy stride. This isn’t music that gets a lot of airplay today, unfortunately. 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. And he had a rhythm section, Budwig and Bailey, phdasing was peerless. Drummer Colin Bailey is the only member of that trio still living.

Budwig died in and Guaraldi passed away in the ‘s. Bailey is still active, playing drums in jazz bands and teaching.

: Drum Solos: The Art of Phrasing: 1 () : Colin Bailey : Books

He’s written three hugely influential books on drumming, and he’s adapted his teachings to DVD. And he’s played with just about every major jazz figure in the 20th century — and then some. Bailey’s done it all. Drummers occupy a unique place in the panorama of music history.

They can be outsized and outrageous think Buddy Rich. They can be underestimated think Roy Haynes. Bailey seems to defy these stereotypes. He’s made a career by staying true to his sterling artistry — a craft that he’s been able to adapt to the unique demands of big band swing to jazz to movie soundtracks to the crazy versatility that’s required for in-house TV studio bands. He’s also never stopped learning. Bailey sounds as easy-going on the phone as he does on his recordings.

He has an even, gentle tone to his voice, and perhaps his English accent isn’t as strong phrqsing it was when he was growing up near a little town called Swindon just before World War II.

Bailey has been around long enough to have met his wife when she was working in a record store where they were still spinning 78s for the customers to being able to see an old video clip of him playing on a TV show with Ben Webster phrasng posted on YouTube.

We had a good-sized house and I had my own room with my drums to practice. It was very pleasant,” Bailey said. 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. 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.

I met one who gave me a bass drum pedal and they gave me some V-discs,” said Bailey. V-disc was short for “victory discs. Bailey had his first lesson on the drums when he was seven. Then when I was 10, there was a drummer named Peter Coleman who was with a band called Johnny Stiles, which was one of the better semi-pro bands in England.


They won contests and things like that. Peter was the drummer for them and he used to come over to my house and he taught me how to read drum parts.

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. It must have sounded like hell.

There were two accordions, a banjo and drums,” he said. My uncle was in the band. Then later I played with a band called The Firecrackers that had the most ridiculous lineup – two trumpets, a violin – I mean it was just ridiculous.

We played dances all the time.

I played pretty much all through my childhood. I was playing with these terrible groups but it was wonderful. While his schoolmates were doing their homework, Bailey was down at the Savoy Theatre in Swindon playing with the big bands that pgrasing through the area. It was the only thing apart from the drums that I was ever any good at. When I was fifteen, there was talk of the local name team and me going to their farm team, but my parents said that by my mid-thirties I’d be through,” Bailey said.

But he caught a lucky break. Instead of having parents that discouraged his artistic leaning, they supported his decision. I left school at When asked if phraslng parents saw him achieve success, he said, “My father came to the London Palladium in when I was playing with singer Vic Damone. Winifred Atwell About the time Bailey turned 18 he received an invitation to audition for a pianist named Winifred Atwell – a name that may not be familiar today, but who was a rising star at the time.

Bailey was hired as her personal drummer and she would go on to become quite famous. There’s a lovely clip of Atwell being hosted on the Australian version of “This Is Your Life”, during which the host tells Bailey to sit on the couch with Atwell because “you’re her family.

There were two drummers auditioning and the other guy was probably better but they liked my sense of humor,” said Bailey. From that, we went to Australia tue a tour in and we were on tour for 15 months in Australia and New Zealand.

Bailey said he and his wife Jan decided not to live in England and they emigrated to Australia. Atwell’s manager arranged for Bailey to start 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.

We hung out with Sarah and Diz. He was out there,” said Bailey. Bailey also got a gig playing with the Australian Jazz Quartet, which opened for, of all groups, The Kingston Trio when that popular folk group toured Australia in Oh, God, cornball stuff.

But they were jazz guys and they loved our music and we got along so well. My wife and I got a Green Card, and we had to sell everything in 10 days, our car and all the other stuff” to go on tour. Joe Morello A turning point in Bailey’s evolution as a drummer came in when he heard drummer Joe Morello play on a Dave Brubeck record.


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. For Colin Bailey, that person is Joe Morello. Morello is known for his unique time signatures like aft ones that can be heard coli such legendary recordings as “Take Five.

I was amazed by it,” said Phrasimg. He showed me this finger control technique which is a really difficult thing. Bailey explains the technique like this: When Joe came to L. I always got a lesson from him then. What we tend to forget now is that there were music scenes throughout the country that had their own distinct styles and culture.

And the scene in California, in L. Guaraldi was not yet nationally known, but he was highly respected by his peers. He had his own signature style.

Afterwards he said, I like the way you play. He said, would you like to come in and sit with us at the Jazz Workshop on Monday night,” said Bailey. I remember these words vividly, you know? So three days later I was in the drum shop hanging out and the guy said, Vince is on the phone and he rat to talk to you.

[PDF] Colin Bailey – Drum Solos – The Art of Phrasing – Free Download PDF

So he offered me the gig and fired his drummer and got me. Talk about heaven, to play with him and Monty bassist Monty Budwig on a regular basis, it was unbelievable. I was from England! Of the West Coast music scene, Bailey said, “Oh, it was beautiful.

Drum Solos Art of Phrasing (Book & CD)

There was a club in Berkeley we played — I forget what that was called. God, there used to be so many jazz clubs. When I was playing with Victor Feldman in L. Bailey played with the legendary Ben Webster during this time.

Ben Webster “It was an honor — what an honor — to play with Ben Webster. Ben was an original. No one sounded like Ben. He xolin come to the Jazz Workshop with Jimmy Witherspoon and we played a three week gig, six nights a week, and Sunday afternoons,” said Bailey. It would be like 3 o’clock in the morning and he would eat this big bowl of chili. He had an cast iron stomach. He was a beautiful person.

Bailey said there were two incidents in that signalled to him that jazz as the prevailing national music ohrasing coming to an end. Pheasing that bajley, I thought, shit, Ray Brown is the greatest bass player that ever lived,” said Bailey. He didn’t know how to do it. He didn’t want to know how to do it. It’s all over when the great Joe Pass has to play this crap. That’s the end of jazz.