Jazz Drum Transcriptions - an educational resource - newest transcription: In the Mood - drums: Maurice "Moe" Purtill

Dear community,

in my newest YouTube video, I dive into the timeless jazz standard “Blue Monk” by Thelonious Monk and show a detailed drum transcription and performance of the first 72 bars of Art Blakey's drumming on Monk's early recording of this piece.


First recorded for Prestige Records in 1952, “Blue Monk” quickly became one of Thelonious Monk's most important compositions. The piece was originally recorded in a trio setting, with Monk on piano, Percy Heath on bass and Art Blakey on drums. The song “Blue Monk” is a study in simplicity and depth. The blues form offers a familiar structure, but Monk's genius lies in the way he transforms it into something entirely his own. This early version emphasizes the bluesy character of the piece and offers a genuine and intimate insight into Monk's evolving artistry. Over the decades, “Blue Monk” has been reinterpreted countless times. As the drummer on this recording, Art Blakey played a crucial role in shaping the dynamic feel of “Blue Monk”. Blakey, known for his powerful and expressive style, combines sensitivity and strength in his playing to complement Monk's unique harmonic ideas. His ability to support Monk's intricate melodies while adding his own subtle touches is a masterclass in jazz drumming. His use of the hi-hat as a comping instrument, which was unusual at the time, is particularly noteworthy. Blakey's intuitive playing brings out the blues essence of the piece and emphasizes its swing and groove.

Let me know what you think and share your experiences with “Blue Monk”, I look forward to it!

Very cool.

taiko said:

Very cool.

Click to expand...

Thank you very much!!!

Dear community,

“Lullaby of Birdland” is one of the best-known jazz standards and was composed by George Shearing in 1952. The piece was written as a theme tune for the famous New York jazz club Birdland, which was named after Charlie “Bird” Parker. In this video I analyze the first 68 bars of the original recording of the George Shearing Quintet and present a detailed drum transcription and performance. The original was recorded by Marquis Foster, a drummer about whom I unfortunately couldn't find much information. Foster, who was a key figure in the Boston jazz scene of the 1950s, worked with Billy Taylor, Sarah Vaughan and Charlie Parker, among others. His playing on “Lullaby of Birdland” is a good example of tasteful jazz drumming that shows both drive and restraint. At around 190 BPM, the track moves in a brisk yet relaxed swing groove.


On July 17, 1952, “Lullaby of Birdland” was recorded with the George Shearing Quintet. The line-up included: George Shearing (piano), Dick Garcia (guitar), Joe Roland (vibraphone), Al McKibbon (bass) and (as already mentioned) Marquis Foster (drums). Drummer Marquis Foster played a crucial role in this recording. His elegant, swinging and restrained playing complements the characteristic “shearing sound”, in which the melody is played in unison by piano, vibraphone and guitar.

“Lullaby of Birdland” quickly became one of the most played pieces in the jazz repertoire. The composition has been interpreted by countless musicians, including Ella Fitzgerald, Oscar Peterson, Erroll Garner and Sarah Vaughan. Erroll Garner's version is particularly noteworthy, as he played the piece in a slower, almost narrative style that lent it a completely new character. George Shearing himself later expressed surprise that his own piece had been further developed by other interpretations.

Thanks for your time!

Dear community,

Art Blakey's solo on “Blue Monk” - genius, confusion or even a mistake?


Art Blakey's drum solo on “Blue Monk” is anything but conventional! His phrasing raises some questions: Is his felt “1” really the “1”? Or is the downbeat somewhere else? His solo almost sounds as if he has shifted the “1” - depending on how you hear it, the “1” could also be the “3”. And at the end? Monk doesn't quite seem to go along with Blakey's interpretation...

I transcribed and played the solo exactly - listen for yourself.

How do you hear the solo?

Dear community,

“Stella by Starlight” is one of the best-known jazz standards and was originally composed by Victor Young as the theme tune for the film The Uninvited (1944). Since then, the piece has been interpreted by numerous jazz greats, including Charlie Parker, Stan Getz, Bud Powell and Stan Kenton. The recordings by Miles Davis, who had the song in his repertoire several times, are particularly outstanding.


In this video, I focus on the Miles Davis version with Jimmy Cobb on drums on the 1958 version of Stella by Starlight, which appeared on the album Jazz Track (1959). This recording was made at Columbia 30th Street Studios in New York City with Miles Davis' legendary sextet, the same line-up that recorded the album Kind of Blue shortly afterwards (with the exception of Wynton Kelly, who was not yet on piano).Jimmy Cobb is known for his tasteful, swinging and at the same time subtle playing. His accompaniment on this version of Stella by Starlight is a great example of his musical sensitivity and tasteful timekeeping. The challenge in Cobb's playing therefore lies less in technical extravagance and more in timing, control of the sounds and dynamic balance.

This version of Stella by Starlight is particularly exciting because it was recorded during a transitional phase in Miles Davis' sound. In 1958, his sextet was moving stylistically towards what would later culminate in Kind of Blue: a more minimalist, modal approach that broke away from the previous hard bop aesthetic. Jimmy Cobb played a decisive role in this. His restrained but swinging accompaniment laid the rhythmic foundation for this new sound.

Please enjoy!

Hello everyone,

in my latest video, I take a closer look at big band drumming by comparing the original big band chart of “Hay Burner” with a drum transcription from the Kendor Music version. “Hay Burner”, composed by Sammy Nestico and recorded by Count Basie and His Orchestra in 1968, is one of Nestico’s most famous works. Over the years, it has become a staple of big band jazz, showcasing his signature smooth, melodic, and swinging style.


In the original 1968 recording, we hear Harold Jones on drums, whose impeccable time and effortless groove helped shape Basie’s sound. However, since this transcription is based on the Kendor Music version, it remains unclear who played drums on this particular arrangement.

The video features synchronized notation: the upper system shows the original big band chart, while the lower system presents the drum transcription. This provides an insightful way to understand how the drummer approached the arrangement.

Enjoy the video!

Awesome! Keep them coming.

Hello dear drummers,

In my video I take a look at the big band classic “Have You Met Miss Jones”, as interpreted by Robbie Williams on his 2001 album Swing When You're Winning.


The British drummer Ralph Salmins played on the original album recording. The original composition dates back to 1937 by Richard Rodgers and Lorenz Hart and was written for the musical I'd Rather Be Right. This song is one of the classics of the Great American Songbook and has been interpreted by numerous jazz greats.

My video features synchronized notation: the upper system displays the original big band chart, while the lower system presents the drum transcription. So you can see very well how drummer Ralph Salmins interpreted the big band chart and realized it musically.

Ralph Salmins is one of the most sought-after session drummers in the world and has worked with artists such as Paul McCartney, Aretha Franklin, Quincy Jones and the Count Basie Orchestra. His playing is characterized by musicality and an extraordinary stylistic range. In addition to his countless studio and live performances, Ralph Salmins is also a renowned teacher. He teaches at the Royal College of Music and gives masterclasses and clinics worldwide.

Enjoy the video!

Dear drummers,

welcome to a look at Cantaloupe Island from Nat Adderley’s album Sayin’ Somethin’, recorded February 16, 1966. In this video, I present a drum transcription and performance of the first 68 bars of of Roy McCurdy’s playing on this classic.


Originally composed by Herbie Hancock in 1964, Cantaloupe Island was first recorded for the Blue Note album Empyrean Isles, featuring Hancock on piano with Tony Williams on drums. The piece is one of the earliest examples of a funk-influenced groove, making it a defining track of its era. However, Hancock revisited the tune in 1966 as part of Nat Adderley’s album Sayin’ Somethin’, this time with Roy McCurdy behind the drums.

In a previous video, I transcribed and performed Tony Williams' interpretation of Cantaloupe Island from Herbie Hancock’s Empyrean Isles session.

Watch it here:
Let these videos inspire you to explore both Herbie Hancock’s original 1964 version and Nat Adderley’s 1966 recording, comparing the drumming approaches of Tony Williams and Roy McCurdy.

A true legend in jazz drumming, Roy McCurdy has worked with some of the greatest names in jazz, including Cannonball Adderley, Sonny Rollins, Ella Fitzgerald, and Benny Golson. His playing is characterized by a solid groove, crisp articulation, and a deep sense of swing. McCurdy’s drumming is rooted in groove, making him a perfect fit for the soulful and hard bop-influenced music of the 1960s.

I hope you enjoy this transcription and performance of Roy McCurdy’s drumming on Cantaloupe Island.

Dear drummers,

in my new video I present a drum transcription and performance of the first 68 bar of Art Taylor’s drumming on the 1956 recording of The Way You Look Tonight from the album Thelonious Monk and Sonny Rollins.


The session for The Way You Look Tonight took place on October 25, 1954, and was recorded for Prestige Records. The lineup featured Thelonious Monk (piano), Sonny Rollins (tenor saxophone), Tommy Potter (bass), and Art Taylor (drums). Originally composed by Jerome Kern (music) and Dorothy Fields (lyrics) for the 1936 film Swing Time, the song became a jazz standard recorded by numerous artists over the years.

Art Taylor was a defining figure in jazz drumming. His work with artists such as John Coltrane, Miles Davis, Jackie McLean, and Donald Byrd made him one of the most sought-after drummers of the 1950s and '60s.

I hopy you'll enjoy it!

I always say he was the Steve Gadd of his Day before there was a Steve Gadd.. was on 'everyone's session ton of Lps loved by all
Art Taylor b. 1929 (same year as Alan Dawson btw.

Yes, Art Taylor is one of the greatest. His touch and musicality were out of this world. He deserves more attention! A nice comparison with Steve Gadd. Alan Dawson is another one of those who are mentioned far too rarely.

Is it possible to download the transcriptions? I'm delving into Jazz a little, being more of a metal/rock drummer, but transcriptions seem hard to find, as Jazz is so often improvised. I'm trying to get better at improvisation, but some Jazz transcriptions would be amazing!!!

@Purple Cobwebs: Thanks for your message and great to hear you're diving into jazz from a rock/metal background!

At the moment, downloading the transcriptions isn’t possible just yet, but I’m actively working on a solution to make them available very soon. Thanks for your patience and please stay tuned, I’ll definitely announce it as soon as the downloads are ready!

Dear community,

in my newest video, I take a close look at the big band classic “Groove Merchant” by the Thad Jones/Mel Lewis Jazz Orchestra, recorded June 17–18, 1969 at A&R Studios, NYC and featured on the Grammy-nominated album Central Park North.


This medium-tempo shuffle, composed by alto saxophonist Jerome Richardson, has become a standard in the modern big band repertoire.In this video, I present a partial transcription for drums and a performance of the piece to help you understand Mel Lewis' playing in the context of the drum chart. The video features synchronized notation: the upper system displays the original big band chart, while the lower system shows my transcription of Mel Lewis’ drumming.

Mel Lewis, a master of swing, helped define the sound of modern big band drumming. His work with Thad Jones is legendary, and “Groove Merchant” offers insight into his approach: supportive, dynamic, and deeply musical. His belief in supporting, not pushing or pulling, makes his drumming a unique study in big band interplay.
Thank you for your interest, I hope you find it helpful and I hope you enjoy watching it!

Dear drummers,

I updated my version of my drum transcription and performance of “St. Thomas” by Sonny Rollins, as recorded on his 1956 album Saxophone Colossus. This updated version reflects a deeper understanding of Max Roach's drumming gained through renewed and repeated analysis and encouragement from John Riley. But perhaps the truth lies somewhere between the two versions.


In this revised video, I present the first 68 bars of St. Thomas, featuring a refined drum chart and new performance based on Max Roach’s iconic playing.

‘St. Thomas’ is a calypso-inspired jazz tune rooted in Caribbean tradition, featuring a rhythmically nuanced groove that floats somewhere between binary and ternary feels. Originally credited to Rollins but based on the folk tune “Fire Down There,” this piece has become a defining standard in the jazz canon.After revisiting the original recording in more detail, I’ve revised my transcription to reflect Max Roach’s playing even more closely. A step forward in capturing the nuance of his incredible playing.

I hope you like it.

Dear community,

in my newest video, I present a drum transcription and performance of the first 68 bars of the 1955 recording by Clifford Brown and Max Roach, featured on their celebrated album Study in Brown.


The Clifford Brown–Max Roach version was recorded in February 1955 and released on Study in Brown. Alongside Roach on drums were Clifford Brown (trumpet), Harold Land (tenor saxophone), Richie Powell (piano), and George Morrow (bass) — a quintet that pushed the boundaries of modern jazz.

“Take the A Train,” composed by Billy Strayhorn in 1939 and made famous by the Duke Ellington Orchestra, became the band’s signature tune and a defining piece in the jazz canon.

Are you interested in the original take on “Take the 'A' Train”? Check out my transcription and performance of the 1941 version by Duke Ellington:


If you enjoyed this, please like, comment and subscribe. Thank you for your time!

Dear community,

in my new video, I take a deep dive into the funk-infused 1973 version of “Watermelon Man” by Herbie Hancock, featured on his groundbreaking album Head Hunters. At the drum kit: Harvey Mason.


Originally composed in 1962, “Watermelon Man” was first recorded with Billy Higgins on drums. If you’re curious about that earlier version, check out my drum transcription and performance here:


The 1973 version, which was recorded in September 1973, turns the title into something completely new. Opening with a now-legendary intro using beer bottles (played by percussionist Bill Summers) to imitate the Hindewhu style of Central African Pygmies, the track quickly moves into a hypnotic, interlocking groove. Hancock himself described this track as a study in rhythmic interaction, where each instrument plays a distinct role in the collective feel, like an ensemble of African drummers.

I hope you enjoy it!

Dear drummers,

in my video, I present a detailed drum transcription and performance of the first 69 bars of Paul Desmond's Take Ten, featuring the tasteful and understated drumming of Connie Kay. The video includes synchronized notation.


This track was recorded on June 25, 1963 for the RCA Victor album Take Ten and is often considered a rhythmic cousin of Take Five. The similarity cannot be denied. Although both are in 5/4 time, Connie Kay's approach to Take Ten is more minimalist and accessible than Joe Morello's playing on Take Five, making it a good introduction to odd time signature swing for drummers of all experience levels.

If you'd like to explore Joe Morello's playing on Take Five, here's the link to the transcription:


In contrast to Joe Morello's energetic style on Take Five, Connie Kay's groove is more relaxed. Perfect for learning how to shape a 5/4 swing.

Some of the sounds in Kay's setup are rather unconventional. Some of Kay's photos show various percussion instruments on his drum kit, including darabukas. Since I didn't have one at hand, I tuned my high tom very high to imitate this higher timbre. In the transcription, the diamond-shaped note heads indicate the darabuka.

Take Ten is an ideal practice piece for 5/4 time and a perfect reminder that complexity in jazz doesn't always have to mean more notes, but can also mean more clarity.

Have fun watching!