Improvising with Words: A drummer's perspective on the integration

Improvising with Words: A drummer’s perspective on the integration of recorded speech with jazz performance – A portfolio of recorded

performances and exegesis.

Stephen Neville B. Mus. (Hons) 2011

Submitted in fulfillment of the requirements for the degree of Master of Philosophy

Elder Conservatorium of Music Faculty of Humanities and Social Sciences

The University of Adelaide

October 2014

NOTE: 2 CDs containing 'Recorded Performances' are included with the print copy of the thesis held in the University of Adelaide Library. The CDs must be listened to in the Music Library.

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PROJECT SUMMARY The project uses prerecorded speech as a theme in a jazz context and

demonstrates through performance: 1) the musical potential of the qualities of

speech; that is the sound of speech, and the meanings it carries and moods it

conveys, 2) the ways in which speech can be used either directly, or as a source

of inspiration in improvisation, and 3) how playing with speech patterns has

impacted my drumming. The first recital centres on the performance of pieces

that are structured around excerpts of recorded speech. These pieces aim to

show how recorded speech can inspire free improvisation. The second recital demonstrates how the study of speech patterns has effected my drumming in a

contemporary jazz setting. The outcomes of the recitals are discussed in selected

case studies in this accompanying exegesis. The overarching aim is to

incorporate speech and speech patterns into my playing in order to achieve a

method of phrasing that is not restricted by time signature, subdivisions or

conventional jazz rhythms.

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DECLARATION I certify that this work contains no material which has been accepted for the

award of any other degree or diploma in any university or other tertiary

institution and, to the best of my knowledge and belief, contains no material

previously published or written by another person, except where due reference

has been made in the text. In addition, I certify that no part of this work will, in

the future, be used in a submission for any other degree or diploma in any

university or other tertiary institution without the prior approval of the

University of Adelaide and where applicable, any partner institution responsible

for the joint award of this degree.

I give consent to this copy of my exegesis, when deposited in the University

Library, being made available for loan and photocopying, subject to the provision

of the Copyright Act 1968.

I also give permission for the digital version of my thesis to be made available on

the web, via the University’s digital research repository, the Library catalogue

and also through web search engines, unless permission has been granted by the

University to restrict access for a period of time.

Stephen Neville

14 October 2014

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ACKNOWLEDGEMENTS I would like to thank my supervisor Dr. Mark Carroll for his patience

(thoroughly tested at times), advice and guidance throughout each stage of this

project. Also my co-‐supervisor Bruce Hancock for his assistance with the initial

stages of the project and general support.

Dr. Kimi Coaldrake for her support and understanding.

My bandmates James Brown, Sam Cagney and Lyndon Gray for their wonderful

musicianship and enthusiasm.

Jarrad Payne for making the sounds sound good and for his sampling knowhow.

Alex Wignall for bringing ‘UFO Guy’ to smallies.

Zoe and Ruthie for filling my life with love and happiness.

Mum and Dad and the rest of my family for their unending support of what I do.

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LIST OF FIGURES Figure 1: Looped voice on ‘Ringing My Phone’ from The Bandwagon: Live at the

Village Vanguard ..................................................................................................................... 10

Figure 2: Voice and Drum Rhythm of 'Break Down' from Artist in Residence ........ 11

Figure 3: 10 bar cycle of ‘Break Down’ ................................................................................... 12

Figure 4: '8 51 waltz', YouTube video Dan Weiss’ drum interpretation of

auctioneer Ty Thompson, 0:47 ........................................................................................... 18

Figure 5: Space and 'the aqueduct', CD 1 -‐ track 1, 0:55. ................................................. 22

Figure 6: Basic groove .................................................................................................................... 22

Figure 7: Application of groove, CD 1 -‐ track 1, 1:18 ....................................................... 23

Figure 8: Quintuplet application of groove, CD 1 -‐ track 1, 1:32 .................................. 23

Figure 9: Melodic contour example, CD 1 -‐ track 1, 1:09 ............................................... 24

Figure 10: 7/4 vamp, CD 1 -‐ track 1, 1:56 ............................................................................. 24

Figure 11: 5 over 4 and 5 over 3 solo phrases, CD 1 -‐ track 1, 2:18 ........................... 25

Figure 12: Palin's 'Dennis', CD 1 -‐ track 6, 0:00 -‐ 0:17 .................................................... 26

Figure 13: Chapman's King Arthur, CD 1 -‐ track 6, 0:29 .................................................. 27

Figure 14: Shut up loop, CD 1 -‐ track 6, 6:30 ........................................................................ 28

Figure 15: 6/4 loop, CD 1 -‐ track 7, 4:20 ................................................................................ 31

Figure 16: A little Christian charity, CD 1 -‐ track 7, 1:01 ................................................. 31

Figure 17: 4/4 loop, CD 1 -‐ track 7, 2:55 ................................................................................ 31

Figure 18: Comping on 'Crepescule With Nellie', CD 2 -‐ track 1, 4:22 ....................... 35

Figure 19: 'Ouff' bass line, CD 2 -‐ track 5, 0:25 .................................................................... 36

Figure 20: Phrasing behind the beat, CD 2 -‐ track 5, 3:10 .............................................. 37

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INTRODUCTION The project is effectively built around the premise that if the aim of music (and

art in general) is to relate to people, essentially ‘speak’ to them, then it makes

perfect sense to use the human voice as a major creative influence on the music

itself. To my knowledge there has been no practical study exploring the

application of recorded speech to jazz performance, let alone one from the

perspective of a drummer. The project looks to remedy this problem and offer

the discipline original findings in a previously under-‐investigated area of

performance. These findings are sourced from two sixty minute recordings that

articulate the differences in musical responses when dealing with the application

of recorded speech, and demonstrate how the study has informed and extended

my approach to rhythm.

As is discussed in Chapter 1, the integration of recorded speech with jazz

performance is not without precedent. Jazz artists such as Max Roach, Jason

Moran, Robert Glasper and Dan Weiss have all experimented with the

application of recorded speech in their creative output. These artists, and Moran

in particular, have built upon the work of pioneers outside the realm of jazz. In

his book Four Musical Minimalists, Keith Potter describes Steve Reich’s use of

recorded speech in his music as ‘… the use of raw material drawn from everyday

life’. (Potter 2000, 12) In the first chapter I discuss Reich’s use of recorded

speech in two case studies and analyse the musical consequences. Another

important innovator is Brazilian Hermeto Pascaol. Pascaol’s interest in the use

recorded speech stemmed from his early experience of ‘this sound of the aura

that I have perceived since childhood, that people are singing instead of

speaking, could it be only in my head that this happens?’ (Neto 2000, 132.)

Reich’s and Pascaol’s use of recorded speech set a precedent particularly

expanded upon by Moran; this point is discussed further in the first chapter.

And yet scholars seem reluctant to engage with the application of recorded

speech to jazz performance practice, and only a small number of articles address

the issue in any way. In his Downbeat article ‘Adventurous Soul’, Dan Ouellette

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constantly refers to Moran’s uniqueness and individualism but fails to engage in

any level of detail with the use of recorded speech in Moran’s music. (Ouellette

2011) A similar problem is encountered in Ted Panken’s article ‘Experimental

Attitudes’ where the interview circles around Monk’s influences and experiences

but does not connect with the use of recorded speech in his music. (Panken

2008)

The current project goes beyond a mere analysis of the use of recorded speech in

jazz, and provides a scholarly commentary on the ways in which I have selected,

analysed and incorporated recorded speech in my playing. To that end, the core

aims of the project are: 1) To demonstrate through performance the musical

potential of the integration of recorded speech with a jazz setting, 2) to

incorporate into my playing a method of phrasing inspired by speech patterns

and assess the practical application of this method and 3) to create original

music utilising recorded speech.

With these core aims in mind the project is broadly divided into three phases of

study. Firstly, existing repertoire relevant to the project is identified and

analysed. Secondly, recorded speech is applied to jazz performance in the first

recital. And finally, the studies impact on my own playing is evaluated through

the analysis of the performances of the second recital.

The first phase of research involves identifying existing repertoire relevant to

the project and analysing how recorded speech has been incorporated into this

repertoire. This initial stage will not be strictly limited to the realm of jazz, in

order to gain a more complete understanding of the previous use of recorded

speech in music. However, as this is a jazz performance project the most obvious

and direct influences to the development of recital repertoire and application to

my own playing come from examples within a jazz context. These examples have

been analysed to identify different techniques of applying speech to jazz and

evaluate their overall musical effect.

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The second phase of research explores the variety of performance techniques

made possible when integrating recorded speech with jazz performance. These

performance techniques and their effects are discussed and analysed at length

through three case studies in the second chapter and can be heard on CD 1.

The final phase identifies the impact of the study on my playing and explores its

musical ramifications through analysis of case studies from the second recital

(heard on CD 2). The analysis and discussion of case studies from both the

second and final stages of research is supported by relevant transcriptions taken

from the CD recordings. The overall findings of the project are then briefly

discussed in the conclusion of this paper.

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1. RECENT USES OF RECORDED SPEECH IN MUSIC

• 1.1 JASON MORAN (B. 1975) An example of the exciting potential of recorded speech used in a jazz context is

renowned pianist Jason Moran’s piece ‘Ringing My Phone (Straight Outta

Istanbul)’ from his album The Bandwagon: Live at the Village Vanguard (2003).

The piece is structured around a recording of one side of a phone conversation in

Turkish. Due to the incomprehensibility of the Turkish speech (to an English

speaker’s ear) the ensemble can only utilise the phonetics of the speaking voice

to inspire and shape the music. The ensemble plays in unison with the speech for

an extended period (roughly three minutes), mirroring the busy rhythms, fast

tempo and melodic inflections present in the speech. This extended section

gradually builds intensity as the unpredictability and freneticism of playing in

unison with the speech goes on. This tension is then released as a more steady

sense of time is introduced by looping a small section of the speech (figure 1).

Figure 1: Looped voice on ‘Ringing My Phone’

After the looped section the ensemble builds toward the end as they begin to

collectively improvise (without the recording), revisiting melodic and rhythmic

themes heard in the recorded speech. In this piece the ensemble makes the

speech the foundation of the music, a static presence in the group sound that is

played with, embellished upon and used to inspire the tone for the improvising.

On his piece ‘Break Down’ from the album Artist in Residence (2006) Moran uses

short samples from a speech by performance artist Adrian Piper. Her phrase

‘break down’ is sampled and looped with the drums playing a strong backbeat

groove in 4/4 (figure 2).

™

™

™

™Voice44& >

3

Ringing My Phone - Loop

Transcribed by Stephen Neville

≈ œ œ œ œ œ œ ‰ œb j œn œ œb œ œ ≈ œn œ

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Figure 2: Voice and Drum Rhythm

Other samples from the same speech are interspersed within the groove in a

repeating 10 bar pattern (see figure 3). Moran uses this pattern to structure the

form of the piece, playing through it once and then repeating the first 5 bars to

create an A B A form.

It is interesting to observe how the drummer (Nasheet Waits) interacts with the

speech. When there is space in the speech’s rhythm, he fills it with a busier part

(see bar 4 of figure 3). Conversely, when the rhythm of the speech is denser he

leaves space for it to be heard (see bar 5 of figure 3).

™

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Voice

Drum Set

44

44

&Break Down Break Down Break

Break Down - Loop

Stephen Neville

/o o + o o + oV

r ≈ V™

j Œ Œ ‰™ V

r ≈ V™

j Œ Œ ‰™ V

r

œ¿r

≈ œ¿ ™™

j œ¿ ¿ œ¿ ¿ œ¿ ¿ œ¿ ≈ œ¿ ™™

j œ¿ ¿ œ¿ œ¿ ¿ œ¿ ™™ œ¿

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Figure 3: 10 bar cycle of ‘Break Down’

This is another example of how the phonetics/sound of speech can be used to

form a musical response. The rhythm of Piper saying ‘break down’ is the basis of

the groove played by the trio, with the anticipated downbeat creating a strong

sense of forward motion. Moran also uses the melodies of the samples

sometimes playing them accurately and other times just using the general

inflection of the sample for a short piano flourish.

™

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Voice

Drum Set

Voice

Dr.

4

Voice

Dr.

7

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Voice

Dr.

9

44

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&Break down the barriers break down misunderstanding break down the art world break

3

Break Down - Voice and Drums Rhythm

/o o + o o + o

&down the artist break down the general public break down their society break

/o + o o + o o + o

& down pro - ce - dures break down pre -supp-o - si - tions break

3

/o + o o + o

&down con - ten - tions break down i - deas break

/o + o o + o

V

r ≈V ™j ‰™ VrVVV ‰™ Vr ≈V ™j V V V V V ‰™ V

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j 7œ¿ ¿ ™ œœ ™ œ¿ ≈œ¿ ™™

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On his solo piece ‘Artists Ought to be Writing’ from his album Artist In Residence

(2006) Jason Moran plays along with the speech by performance artist Adrian

Piper used for his piece Break Down. In this solo setting the meaning of the

speech is brought to the foreground as Moran accompanies the speech as he

would a jazz singer, in which context the lyrics of the song take on greater

importance. At the beginning of the piece he plays harmony underneath the

speech, establishing his role as accompanist and drawing attention to Pipers

voice. He then incorporates the phonetics/sound of the speech as he begins to

mirror it melodically and rhythmically, playing in-‐between Piper’s phrases and

giving the impression of conversing with the speech. The content of the speech,

discussing the potential to break down barriers between artists and the general

public, is obviously something that Moran wants to communicate with the

listener given his sensitive accompaniment. For example, when Piper uses the

phrase ‘break down’ Moran plays accented chords in time with her voice and

tacets the rest of the sentence (‘…some of the barriers of misunderstanding’)

emphasising the meaning of the speech.

Moran has become known for his conceptual innovations in jazz. He has

accompanied artists of different forms (painters, film makers and dancers,

among others) and has ignored genre boundary lines to create his music. It is

easy to see why the jazz organisation, SFJAZZ stated ‘Jason Moran is jazz’s wild

card, a probing conceptualist who transforms everything he touches into a

bracingly contemporary statement.’ (SFJAZZ 2012)

Moran elucidates on his reason for experimenting with speech in an interview

for the Kennedy Center;

This is how I like to put pieces together because what they also do is they

challenge my notion of what is a melody. When you speak you are making

your own melody, just as much as I’m making a melody right now. And in

my way of thinking about melody these melodies, the melodies of people

speaking, are just as important as the melodies that Duke Ellington writes

as a composer or that Beethoven writes as a composer. These reflect my

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environment and the people I interact with. These become the melodies of

the world. (Moran 2013)

1.2 STEVE REICH (B. 1936)

A pioneer of experimenting with recorded speech in music is Steve Reich. Reich

was the first to sonically pull apart a recording of a voice and show the potential

for music within. In his pieces It’s Gonna Rain (1965) and Come Out (1966) he

used phasing, looping and sampling (among other techniques) to create music,

which for the time was incredibly original and innovative. With It’s Gonna Rain

Reich makes obvious the musical qualities present in the phonetics of an African

American preacher delivering a zealous sermon. The piece begins with a short

excerpt from the sermon that is full of distinctive rhythm, melodic inflection and

tone. By looping and phasing very short (roughly one second) samples from the

speech Reich distorts the preacher’s voice to the point where it is unrecognisable

as human speech. This process of taking short samples from a larger excerpt of

speech and looping and phasing them is repeated on his piece Come Out. The

piece begins with an excerpt of a young man speaking, from which a short

sample is taken and looped and phased to the point of non-‐recognition. In both

pieces Reich is exploiting and exaggerating the sonic qualities of speech to create

his music. This project will use the sampling and looping techniques pioneered

by Reich in a similar manner to Jason Moran on ‘Ringing My Phone (Straight

Outta Istanbul)’ and ‘Break Down’.

Steve Reich combines the sonic and emotional aspects of speech in his famous

piece Different Trains (1988) to tell the story of his experience of train rides in

war time America while people in Central and Eastern Europe were riding trains

to the concentration camps of Nazi Germany (Potter 2000). Due to the historical

significance and emotionally loaded content of the topic, the excerpts of speech

(particularly those of three holocaust survivors) take precedence over the

musical accompaniment of the Kronos Quartet (which is based on the pitch and

rhythm of the excerpts) creating a distinct change in the listener’s perception of

the piece. The overtly emotional subject matter present in the music would not

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have been obvious without the speech and the piece’s impact and impression on

the listener would be much less profound.

1.3 HERMETO PASCOAL (B. 1936)

Another to experiment with recorded speech is Brazilian multi-‐instrumentalist

Hermeto Pascoal. His highly individual approach to music making involves the

use of sounds present in everyday life. As well as human speech, he has become

known for using animal noises and performing his music on everyday items such

as kettles, pots, bottles and toys. (Neto 2000) Pascoal has perfect pitch, which

has led him to perceive music in everyday situations:

My mother was talking to a friend of hers and suddenly I said, ‘Mother,

she is singing,’ and my mother, ‘my son, what's this? Are you crazy?’ So

between the ages of 45 and 50 I became worried, thinking I had a hearing

problem. Could this sound of the aura that I have perceived since

childhood, that people are singing instead of speaking, could it be only in

my head that this happens? (Neto 2000, 132.)

According to Neto, Pascoal’s perception of the human voice as singing lead to

experimentation with what he calls his music of the aura, where ‘speech is

perceived by the musician in terms of its rhythmic-‐melodic contours’. (Neto

2000, 131.)

In his two pieces ‘Aula De Natacao’ and ‘Pensamento Positivo’ from his album

Festa dos Deuses (1992) Pascoal focuses solely on the phonetic qualities of speech.

In both pieces a recording of speech is played and then repeated with Pascoal

playing in unison on clavinet. Both pieces are relatively short (around one

minute) and as compositions are unremarkable, one feels that Pascoal’s aim in

these pieces was to reveal the musicality of the speaking voice rather than create

memorable compositions. However, what makes these pieces noteworthy is

Pascoal’s unison playing with passages of speech and his harmonic

accompaniment of the melody of speech. In this way Pascoal’s work could be

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considered a precursor to Jason Moran's, who has developed and extended both

these techniques.

1.4 MAX ROACH (1924-‐2007) On his 1981 album Chattahoochee Red, legendary jazz drummer Max Roach

plays a drum solo with excerpts from Martin Luther King Jr’s I Have A Dream

speech. Roach relates his drum solo to the meaning of the speech, preferring to

use the themes and emotions in the text rather than the sonic qualities of King’s

voice. More specifically, Roach creates musical themes on the drums that

represent the meaning of the speech. He rolls on a floor tom while rapidly

altering its pitch to create an abrasive sound that represents the jangling

discords from the famous line, ‘With this faith, we will be able to transform the

jangling discords of our nation into a beautiful symphony of brotherhood.’ He

uses this technique again for the ‘Let freedom ring’ section of the speech. Roach

lets ‘freedom ring’ by crashing on his cymbals and playing time with a swing feel.

The cohesion between the meaning of the speech and the drum solo show

Roach’s compulsion to musically express and communicate the content of the

speech (he was an active participant in the civil rights movement himself). This

piece is of particular importance to the study not only because it is a rare

example of musically relating to the speech by its meaning alone, it also informs

the approach and performance of the solo repertoire of the recitals.

1.5 ROBERT GLASPER (B. 1978)

In 2009 pianist Robert Glasper reworked his composition Enoch’s Meditation to

incorporate speech and celebrate the inauguration of Barack Obama. He uses an

excerpt from Martin Luther King Jr’s We Shall Overcome speech from 1966,

Barack Obama’s speech from the night he won the first election and a Cornel

West speech discussing self-‐expression in music. Glasper uses the excerpts of

speech to create a context that highlights the significance of Obama’s

inauguration. The reflective and somber mood of the piece matches the content

of King’s speech, where he discusses the suffering to come for the advancement

of civil rights, consequently putting the celebration of Obama’s election in a

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historical context. To mirror the triumphant air of Barack Obama’s speech and

pay a subtle tribute to him, Glasper plays a reharmonised version of ‘Hail to the

Chief’ (Jackson 2009) while the excerpt of Obama’s speech is playing. Glasper

then uses Cornel West to articulate the role of music in relation to the preceeding

speeches, ‘… music we need for when language fails us but we cannot remain

silent.’

The synergy between the playing of the trio and the meaning of the speech

excerpts leave the listener contemplating the theme of social progress in

America from 1966 to 2008/9.

1.6 DAN WEISS (B. 1977)

After recording the two recitals for this project, I discovered the work of New

York based drummer Dan Weiss. An active performer in the underground jazz

scene in New York, Weiss is gaining acclaim for his unique drumming that

combines jazz and Indian rhythms. Of more importance to this project are Weiss’

experiments with recorded speech. On his album Timshel (2010) he orchestrates

dialogue of a scene from the movie Glengarry Glen Ross on the drums. While

Weiss plays in unison with the busy rhythms of the speech, a pianist and bassist

accompany the scene by playing long, sustained notes that contrast the rhythmic

density of the speech. Coincidentally, I used this same approach on the piece UFO

Guy in my first recital; getting the bass to play legato phrases while the guitar

and myself played in unison with the recorded speech.

Weiss has also recorded a series of four videos that he has shared on his

YouTube channel (named ‘Dan Weiss’) that feature him playing in unison with

excerpts of recorded speech. Two of these excerpts are taken from well-‐known

hip hop tracks; Big Punisher’s Twinz featuring Big Pun and Fat Joe, and Busta

Rhymes Iz They Wildin Wit Us? In these videos Weiss plays along with the raps of

Big Pun, Fat Joe and Busta Rhymes. I feel that Weiss’ drum interpretation of

these raps doesn’t fully fall within the scope of this project (as the nature of

rapping relates strongly to the beat and its subdivisions, making it fall more in

the realm of singing than speaking) but are definitely worthy of a mention.

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Especially considering that they form part of a series of four videos that contain

two excellent examples of playing in unison with recorded speech. The first of

these is Weiss’ drum interpretation of livestock auctioneer Ty Thompson. This is

a remarkable example of playing in unison with speech due to Weiss’ rhythmic

accuracy and creative orchestrations of Thompson’s constant and rapid

auctioneering style. Weiss uses the full range of his four piece drum kit to

recreate the rhythmically dense and intricate phrases in a variety of musically

pleasing ways. Weiss also plays a ‘pseudo groove’, that is he orchestrates a

phrase of the speech in a way that it resembles a typical drum groove. Towards

the end of the excerpt Thompson repeats the phrase ‘eight fifty one, eight fifty

one’. The natural rhythm of saying ‘eight fifty one’ creates a strong pulse in a 3/4

time signature. Weiss exploits this by orchestrating the phrase as a typical jazz

waltz feel (see figure below).

Figure 4: '8 51 waltz'

This sudden break from the excerpt’s rhythmic density combined with the

familiarity of the jazz waltz pattern contrasts the rest of the piece and gives the

listener a brief moment of respite to process what has happened previously.

The other example of Weiss’ ability to play in unison with speech is a video of

him playing along with a FedEx commercial that features John Moschitta (who

held the world record for the fastest talker until 1990 [Wikipedia 2014]). Like

the Ty Thompson video, Moschitta’s delivery is extremely rapid. Weiss’

orchestration of the speech is particularly astonishing as it outlines the subtle

changes in dynamics, melodic contour and timbre, despite the speech’s rapid,

dense, and intricate rhythms.

While the artists mentioned above have explored the use of recorded speech in

music to varying degrees, Steve Reich and Hermeto Pascoal are not considered

Voice

Drum Set

34

34

&Eight fif - ty one eight fif - ty one

/

V V V V V V V V

œ¿ ¿œ¿ œ¿ œ¿ œ œ

¿¿œ¿ œ¿ œ¿

19

jazz musicians or composers. The application of recorded speech to

contemporary jazz is essentially limited to Jason Moran's experiments, Dan

Weiss’ drum interpretations and Robert Glasper’s reworking of Enoch’s

Meditation. This project is looking to further expound upon these artists’ work as

I explore the integration of recorded speech with contemporary jazz.

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2. CASE STUDIES FROM FIRST RECITAL

2.1 A BRIEF NOTE ON THE LEARNING PROCESS

The process of learning to play in unison with speech patterns is a simple but

laborious one. After choosing an excerpt of recorded speech, the first step is to

learn to speak the speech excerpt in time with the recording. Once this was done

I would sit down at the drum set and play the speech excerpt on snare drum,

focusing only on playing in unison as accurately as possible with the recording.

During this stage I utilized the program Transcribe! to loop small sections of the

recorded speech that were particularly troublesome. When I could play in unison

with the recording I then gave thought to specific orchestrations and stickings,

the method of which is outlined in more detail in the following case studies.

Of particular import were the changes in arranging and rehearsing this

repertoire. Each individual in the ensemble had to put in intensive practice into

learning the speech excerpts first internally, using a similar method as outlined

above. Having transcribed the rhythm and pitch of the speech excerpts and

presented it to my ensemble, the next step for the other musicians was to

translate the internalized speech excerpts onto their instrument. Once each

individual member of the ensemble had prepared their part, the rehearsal

process began to turn these individual parts into a cohesive ensemble

arrangement. It cannot be overstated how time intensive and difficult this

process is, and how grateful I am to have engaged musicians of outstanding

caliber with matching enthusiasm for the project.

2.2 WHTREDFU?

The inspiration for this piece came from viewing a YouTube clip of German

drummer Marco Minnemann playing along with the ‘What Have the Romans

Ever Done For Us?’ scene from the Monty Python film The Life of Brian.

Minnemann’s interpretation of the sketch is firmly rooted in the progressive rock

idiom; characterized by his use of large drums, bright and heavy cymbals, double

21

bass drum and rock beats. I thought it would be interesting to play along with

the same scene, given that my interpretation would organically come from a jazz

context due to my history as a jazz drummer.

However, what really piqued my interest in including this in my repertoire were

the musical characteristics present in the sketch. There are four main characters

in the sketch with varying rhythms, dynamics and timbre and also occasional

interjections from a mob of people (the rest of the People’s Front of Judea that

are congregated in the room).

The first voice we hear is Michael Palin’s, outlining the plan to kidnap Pilate’s

wife. His quick fire, staccato delivery of the dialogue is typical of much of the

sketch. This staccato delivery, the thin timbre and mezzo piano dynamic of his

dialogue led me to orchestrate Palin’s part on closed hi hats and cross stick on

snare.

Following Graham Chapman’s inquiry of the demands, John Cleese’s character

(Reg) is introduced. This character plays the main part in the sketch; it’s

essentially a conversation between Reg and the rest of the People’s Front of

Judea (not to be confused with the Judean People’s Front, splitters.) Cleese’s

voice and delivery have a raw and abrasive quality to them that contrasts the

thin, reedy characteristics of Palin’s and Idle’s voices. This quality influenced my

decision to orchestrate Cleese’s part mainly on the snare drum, as the timbre of

the drum would match the voice and distinguish Cleese’s character from the rest

of the group. Another factor that influenced this decision was the dynamic range

present in Cleese’s part throughout the sketch (piano to fortissimo). The snare

drum allows the drummer to effectively make rapid changes in dynamics while

maintaining clear articulation (more so than the other drums in a drum set as

they are more resonant), this quality allowed me to follow Cleese’s shifting

dynamics and match his staccato delivery.

An interesting challenge presented itself when I was learning the piece; what

was I to do with the space seen in bar 25 of figure 5. Initially I simply didn’t play

22

in the space and tried to come in with the line ‘The aqueduct’. This proved

troublesome because it was difficult to feel the space in between the phrases and

accurately come in with ‘the aqueduct’, it was too hit and miss. The idea for the

solution came from the rhythm of the phrase ‘the aqueduct’ which sounds like a

fairly typical jazz phrase. With this in mind I decided to fill the space with two

bars of 4/4 time with a standard ride cymbal pattern to ‘set up’ the swung

phrasing of ‘the aqueduct’ and to put a rhythm to the space that enabled me to

feel when the phrase began.

Figure 5: Space and 'the aqueduct', CD 1 -‐ track 1, 0:55

Throughout the opening minute of the sketch the dynamic and general intensity

of the dialogue is gradually increasing. To reflect these changes I thickened the

texture by adding bass drum and turning some phrases of the dialogue into

typical drum grooves. One groove I used on a number of occasions is seen in

figure 6.

Figure 6: Basic groove

I use this groove to create a brief moment of time; that is steady tempo and

meter, under the line ‘Well yeah, obviously the roads. I mean the roads go

without saying don’t they?’ in figure 7.

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/And from our fa - thers fa - thers fa - thers fa -

3

/ers. Yeah al - right Stan don't la - bour the point.

3

/And what have they e-ver given us in re -

3 3

/turn?

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/What? The a - qua - duct.

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3 3

/er san - i - ta - tion.

3

/Ohh yeah the sani - ta - tion Reg. Re- mem - ber

3 3 3

/what the ci - ty used to be like? Yeah al - right I'll

3 53 3

/grant you the a - quaduct, the sani - ta - tion are two

3 3

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Drum Set

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23

Figure 7: Application of groove, CD 1 -‐ track 1, 1:18

The rhythmic pulse and time that is generated by this groove gives the listener

something to briefly latch on to before I delve back into the seeming randomness

of playing in unison with the speech. A more unusual application of this groove

finds its way into figure 8.

Figure 8: Quintuplet application of groove, CD 1 -‐ track 1, 1:32

In this example I’ve twisted the groove to fit in with the unusual phrasing of the

eighth note quintuplet and the more extended phrase that immediately follows

it.

An example of the melodic contour of the speech influencing the orchestration of

the drum part can be seen in the bottom stave of figure 9. The natural falling

inflection of ‘Oh yeah’ and the ends of the sentences is emulated by moving from

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/3 53 3


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/3 3

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things the Ro - mans have done. And the roads!

33

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> > >3

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Well yeah ob- vi - ous - ly the roads I mean the roads3

/

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go with out saying don't they?3

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3 3

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/

and the roads. Irr - i - ga - tion.

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right, fair en - ough. And the wine!

33

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/

Ooh yeah yeah the wine the wine

/

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Yeah, yeah that's something we'd rea - lly miss Reg

5

/5

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/if the Ro - mans left. Huh. Pub - lic

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33

/33

/like this. Ha ha ha ha ha

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8

24

the higher pitched (by roughly a fourth) rack tom to the floor tom. This

emulation results in a unity between the drum part and the speech that leads to a

more convincing unison effect.

Figure 9: Melodic contour example, CD 1 -‐ track 1, 1:09

Inspired by Jason Moran’s use of looped sections of speech I decided to loop the

phrase (and title of the sketch) ‘What have the Roman’s ever done for us?’ to

create a strong pulse in 7/4, seen in figure 10. The reasons for this were to

contrast the two minutes of playing in unison with the dialogue (and therefore

having no real fixed tempo or meter), give me a steady foundation and thematic

material from which to launch a free improvisation and give the listener a

reference point at the beginning of my improvisation.

Figure 10: 7/4 vamp, CD 1 -‐ track 1, 1:56

An interesting phrase that came up in my solo over the vamp can be attributed

to the influence of the project on my drumming. The phrase starts on beat 4 of

bar 67 (see figure 11) and uses a 5 over 4 and a 5 over 3 polyrhythm. While

feeling the 7/4 time signature as a group of 4 and 3 beats, is something I have

done since first encountering it earlier on in my career, I have never specifically

practiced putting 5 beat phrases over 4 or 3 beats in 7/4. The fact that this

phrase came out organically in my solo shows a new freedom in regards to

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/turn? The

/

>o >3 3 3

/a - que - duct?

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> > >


/

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3 3

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3

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What have the Ro - mans e - ver done for us?3

WHTREDFU loop


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25

rhythmic invention and phrasing that is a direct result of the study and

application of speech patterns to my playing.

Another interesting thing about this phrase is that I slightly accent the second

note to make that feel like the downbeat, this disguises the time by creating a

faux downbeat and thusly helps to generate the tension that builds until the

phrase is resolved with a more typical 4 over 3 polyrhythm seen at the end of bar

69.

Figure 11: 5 over 4 and 5 over 3 solo phrases, CD 1 -‐ track 1, 2:18

After the loop fades out I use its phrasing (figure 10) to structure an improvised

solo; the phrasing of the loop appears many times in various forms (more freely

in regard to tempo and specific rhythm played) at the beginning and toward the

end of the solo before the speech excerpt is reintroduced to end.

2.3 CONSTITUTIONAL PEASANT

After including ‘What have the Romans ever done for us?’ in the repertoire I was

inclined to see if I could find other excerpts from the Python canon that could

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/


/5

/


/o5 5

/


/5 o4

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/


/

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12

26

lend themselves to making interesting music. When I came across this excerpt

from the ‘constitutional peasant’ scene from Monty Python and the Holy Grail

(1975) I was immediately struck by the rhythmic interplay between Michael

Palin’s peasant character (Dennis) and Graham Chapman’s King Arthur; Palin’s

character speaks most of the conversation while King Arthur occasionally

interjects with “shut up!” The rhythm of Palin’s delivery of the text also appealed

to me. As can be seen in figure 12 the rhythm of Palin’s speech is broken (has

gaps), uses a variety of subdivisions and has variable rhythmic density.

Figure 12: Palin’s ‘Dennis’, CD 1 -‐ track 6, 0:00 -‐ 0:17

Contrasting Palin’s part, Chapman’s delivery of his brief outbursts is heavy and

loud. To accentuate these qualities I orchestrated Chapman’s part with bass

drum and ride cymbal accents and distorted electric guitar. Rhythmically,

Chapman’s part is less dense, more legato and tends to imply more of a rhythmic

pulse, than Palin’s peasant Dennis. This can be seen in figure 13 (at the end of bar

9 and start of bar 10) where I orchestrate the rhythm to sound like a jerky swing

pattern on ride cymbal and bass drum.

Piano

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2

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&Listen strange women ly - in in ponds di - stri - bu - tin

3 3

3 3

3

The Constitutional Peasant


&swords is no ba - sis for a sys-tem of government su - preme> >3

& exe cu tive po - wer derives from a man - date from the mass - es

3

3 33 3

&not from some far - cical a - quatic cere - mony. BE>

>

&QUIET! Oh but you can't ex - pect to wield su - preme> > > >

&ex - ec - utive power just cause some wa - tery tart>

&threw a sword at you. SHUT UP! Oh but if I went round sayin I> >

3 3

& was an emperor just because some moistened bint had lobbed a

33

&scimitar at me they'd put me a - way. SHUT UP! WILL> > >

3

&YOU SHUT UP!?! Ahh, now we see the vio - lence in - herent> > >

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œb œb œn œ# j œû œb ™ œb œn œ œn œb œ œ œ

27

Figure 13: Chapman’s King Arthur, CD 1 -‐ track 6, 0:29

To match the staccato delivery of Palin’s part I decided to orchestrate the speech

on muted snare drum (muted with my left hand), cross stick on snare drum and

hihat. To develop the structure and intensity of the piece I later change the

orchestration of Palin’s part to snare drum (not muted), bass drum and hi-‐hat;

with accented sections of the speech being played on bass drum and open hi-‐hat.

I thought this piece would be most effective as an ensemble instrumental. This

immediately presented two challenges: the first being finding musicians of a high

caliber willing to learn a piece of speech (an unusual request even by my

standards), and the second being the question of how to present the speech to

the ensemble as a piece of music. Fortunately for me I have talented friends, so

finding capable musicians willing to participate in the project was relatively easy.

The question of how to present the piece was more difficult (read: time

consuming) to answer.

I had already roughly transcribed the rhythm of the phrases when I realized that

I should try and transcribe the melody of the speech. After beginning this process

I found that some words and phrases could be easily transcribed melodically.

Unfortunately this was not the case for the majority of the piece and many an

hour was spent ‘note bashing’ on a piano just to achieve approximations of some

notes and phrases (people don’t talk in an equally tempered tuning system). I

utilized the program Transcribe! to slow down the audio of the sketch.

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&in the sys - tem. SHUT UP! Ohh, come and see> >

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2

28

Sometimes this presented more problems than it solved, as slowing down the

audio revealed rises and falls in inflection that led to two or more notes being

present in a single syllable. Listening to the audio at normal speed and choosing

the note that was most apparent to my ear remedied this problem.

The colla voce rendering of the head (the excerpt of recorded speech being the

head) the second time through is designed to be a stark contrast of the rhythmic

density and articulation of the Python sketch. The desired effect of this contrast

was to give an edited feeling, as though a different band playing a different tune

suddenly dropped in on the recording. To achieve the colla voce feeling, the bass

played through the melody of the sketch freely with guitar and drum

accompaniment. I approached this section by playing free legato phrases under

the melody while occasionally trying to subtly capture some of the atmosphere

of the sketch in my orchestration or phrasing.

I should mention here that the structure of the improvisation in this piece was

discussed and arranged. It was decided that the piece would be structured

around four themes: the head in, the colla voce rendering of the head, a looped

sample seen in figure… and the head out. Between these themes would be free

improvisation with a view to create gradual transitions from section to section

(the exception being the sudden shift between the head in and the colla voce

section).

Figure 14: Shut up loop, CD 1 -‐ track 6, 6:30

From the colla voce section the band gradually changes gears to match the

rhythmic density, staccato articulation and dynamics of the recorded speech.

This leads into the looped section where the loop seen above is accompanied

with a strong backbeat groove. The energy and forward momentum produced by

this 4/4 groove is then used to propel the ensemble towards a climactic end with

the speech excerpt being reintroduced.

Drum Set

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2

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Shut up! Will you shut up?!?

/ ! ! ! !

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29

2.4 STORY OF HANNAH

Following the example of Max Roach and Robert Glasper I decided to include in

the recital repertoire a piece the responded to the mood and emotion of a speech

excerpt, as opposed to its rhythmic and/or melodic qualities.

The recorded excerpt I chose for this piece was the ‘Story of Hannah’. It is the

field recording of Hannah Bar Yesha returning to the infamous Auschwitz-‐

Birkenau, where she was imprisoned as a child. She is speaking Hebrew; a

language that neither my fellow musicians nor myself speak, thusly creating a

language barrier that enabled us to deal with the mood and emotion in her voice

on a primary level without engaging with semantics or more secondary themes.

This piece had no preconceived ideas or specific arrangement. I wanted it to be

pure response to the recording. The only information I presented to the other

band members were the details outlined in the previous paragraph.

The emotional weight of Bar Yesha’s voice is immediately apparent and the band

responds to this with silence, creating an atmosphere of reverence and respect.

This atmosphere is continued once the band begins to play. The muted bass

notes, the sparse guitar chords (rhythmically and harmonically) and the

understated drum accompaniment with brushes on cymbals all reflect the

emotion of Bar Yesha’s voice. This initial response then serves as the basis for

the improvisation.

As the guitar part gradually increases in rhythmic density the bass plays arco

and I play a cymbal bell with a mallet. The effect of this bass and drum

counterpoint is an underpinning of both the guitar part and the recorded speech.

The structure of the free improvisation also communicates the depth of feeling

in the recording. There are no sudden or dramatic changes, just one drawn out

improvisation that has a slowly developed beginning, middle and end. This

approach is similar to the improvisations of Australian group ‘The Necks’, but

obviously differs in context. I feel this approach helps to communicate a more

30

introspective and somber feeling to the listener through an improvisation that

respectfully deals with the sensitive topic of the holocaust of Nazi Germany.

2.5 WILDE SONG

There was one concept that appealed to me early on in the project; and that was

the idea that I could have someone outside of the ensemble triggering and/or

looping a number of different samples that the ensemble would react to in real

time. While sourcing recordings of speech to use in the recital repertoire I

stumbled across the LibriVox catalogue of public domain audio files. In this vast

collection I was lucky enough to click on a file of a man named Martin Geeson

reading an excerpt of Art and Morality: A Defense of the Picture of Dorian Gray

compiled by Stuart Mason. Geeson’s voice is wonderful; an unusual British

accent with wild inflections (both up and down) present in his amusingly over

dramatic rendering of the text. I thought this example would be perfect to take

phrases I thought the most entertaining and use them for the concept I envisaged

earlier on in the project.

After selecting and transcribing nine separate phrases I came up with guidelines

for each phrase that the ensemble could choose to adhere to or ignore. For

example, some of these guidelines were, ‘bass solo’, ‘guitar solo’, ‘understated

ensemble improvisation’, ‘distorted ensemble improvisation’ ‘tacet’ and ‘drum

solo’. These guidelines were intended to help structure the piece by giving the

person on samples an idea of the musical ramifications of their actions.

One major impact that this piece had on my playing was that it allowed me to

develop two approaches in accompanying repeated ostinatos; one to do with

breaking away from an ostinato with a steady rhythmic pulse and/or meter, the

other to do with feeling a steady pulse and/or meter with an ostinato that has

neither of these qualities.

The first approach is heard with the loop ‘Is sorely wanted’ (4:20 on the

recording). A steady pulse in 6/4 is established (figure 15) which I then solo

31

over. In this solo I play long phrases that seem to flow independently of the loop

but also occasionally catch random parts of it, giving the brief impression of

togetherness between the drum solo and the loop. This seemingly paradoxical

method of phrasing creates the ‘break away’ effect mentioned in the previous

paragraph.

Figure 15: 6/4 loop, CD 1 -‐ track 7, 4:20

The second approach can be heard with the loop ‘A little Christian charity’

(figure 16). This loop has no strong meter and is not looped at a regular interval.

However, I heard the phrase structured as a loose 7/4 time signature, with the

last three beats being slightly slower than the first four. When feeling the phrase

this way it became a great deal easier to improvise with it in a manner that was

‘appropriate’ (in other words, it sounded good).

Figure 16: A little Christian charity, CD 1 -‐ track 7, 1:01

Another example of this second approach is heard on the reprise of this loop at

2:55 in the recording. In this example the loop is cut short and repeated at

regular intervals creating a strong half-‐time feel in 4/4 as can be seen in figure

17. I play off this half time phrase, using a pseudo reggae groove to create a brief

moment of time and feel.

Figure 17: 4/4 loop, CD 1 -‐ track 7, 2:55

This piece allowed me to interact with recorded speech in a unique way when

compared with the other pieces in the recital repertoire. Not having strict unison

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passages but still having a constant stream of recorded speech to deal with

created an interesting challenge to the ensemble and myself.

33

3. CASE STUDIES FROM SECOND RECITAL

In the project summary I described the desired outcome of the second recital to

be that it demonstrates how the study of speech patterns has effected my

drumming in a contemporary jazz setting. In essence, what techniques and

concepts have I garnered through the study of speech patterns and how has my

playing evolved in response to these techniques and concepts. Each case study

aims to demonstrate a particular technique or concept that has derived from

learning the first recital repertoire. For clarification, my meaning of the term

‘contemporary jazz setting’ comes from personal experience of playing jazz and

the case studies are examples of this experience and understanding.

In the second recital I played a variety of contemporary jazz repertoire and

focused purely on my phrasing (as opposed to time). The reason for this was to

allow the influence of the study of human speech patterns to come out in my

playing. The desired outcome was for a synthesis between phrasing, time and

groove that is unique and applicable to a contemporary jazz setting.

The second recital is mostly made up of the repertoire of an original project I’ve

been a part of for the last few years Yeahyeahabsolutelynoway!. I felt that the

aesthetic of this band would create an environment conducive to the exploration

of the effects the study has had on my playing. Yeahyeahabsolutelynoway! is

firmly rooted in the jazz tradition in terms of its approach to harmony and

improvisation but also has elements of ambient rock, hip hop and the fusion

movement of the 70s. These different ingredients made an interesting musical

soup that matched the nature of the project.

Each of the case studies presented in this chapter have been selected due to the

presence of techniques and approaches learned from the experience of

preparing the repertoire of the first recital. Specifically, these three case studies

present distinct arguments that demonstrate the effect the study of speech

patterns has had on my drumming.

34

3.1 CREPESCULE WITH NELLIE

I included the Thelonious Monk tune ‘Crepescule with Nellie’ in the repertoire

because it has a strong and distinctive melody with many rests that act as

pregnant pauses. The combination of these characteristics meant that the tune

lent itself to a rhythmically free interpretation, which enables a more free and

open approach to my accompaniment. To enhance this rhythmic freedom I

decided to perform this as a duo with guitar. This also prevented the rhythmic

elements from sounding too cluttered or ‘muddy’, which could be the case if the

same approach was applied to a trio or quartet.

My approach to accompanying the melody was informed by the method of

phrasing used in ‘Wilde Song’, specifically how to give the effect of ‘floating

above’ or being independent of an ostinato (or in this case the melody of

‘Crepescule With Nellie’) while still hinting at some of its rhythmic elements. This

method is particularly apparent once I switch from brushes to sticks at 2:30 into

the recording.

There are also elements within my playing on this piece that begin to hint at the

impact of the study of speech patterns on my development as a drummer. In

figure 18 there is a basic triplet figure that begins on beat 3 of bar 3. As a phrase

it is unremarkable and fairly typical jazz drumming language; what makes this

unique is the slight accelerando through the triplet figure and the sudden

slowing down on beat 3 of bar 4. The slowing down is an attempt to restore

equilibrium to the time that was thrown out of balance with the accelerando. It is

in this rendering of the phrase, which sounds more interesting because of the

speeding up and slowing down, that we begin to see the disregard for metric

considerations such as pulse or meter and start to see a different approach to

phrasing that is a direct result of the study of speech patterns.

35

Figure 18: Comping on 'Crepescule With Nellie', CD 2 -‐ track 1, 4:22

Another example of the project’s impact on my playing is seen in the figure

above. Beginning on beat 3 of bar 5 I start to use flams, a basic drumming

rudiment where a grace note is played just before a main note, in my phrasing. In

this example beats 3 and 4 of bar 5 give the impression of the time slowing

down, this is due to the delayed snare hit on beat 4. This is followed by the

slightly jarring phrasing in bar 6 where once again the downbeat is displaced by

roughly a 32nd note and followed by the anticipated grace note of beat 3. This

phrase continues into bars 7 and 8 where flams are used in a similar way to

muddy the waters of the time. The lack of adherence to conventional

subdivisions heard in this example is a quality in my playing that has developed

through the study of speech patterns, where I’ve focused on the natural phrasing

of speech without strict musical considerations such as tempo or meter. The

influence of this study comes out in my playing by producing interesting phrases

like the one above and opening up new avenues of creativity in regards to my

drumming language.

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3.2 OUFF

I included my own composition ‘Ouff’ in the recital repertoire because of the

frenzied and spontaneous nature that Yeahyeahabsolutelynoway! breathe into it.

There have been no two occasions where this tune has been played the same

way and it is for that reason that it made a perfect vehicle for the influence of the

study of speech patterns to be highlighted in my playing. The tune is built

around the bass line seen in figure 19 which itself is a reduction of the sound of

the falling melodic inflections of saying ‘Jelly Roll Morton’ (I wrote this piece as

part of a Jelly Roll Morton concert for the SA Composers Collective).

In the introduction of the tune the guitar starts loosely playing this bass line and

I accompany it by playing phrases that rhythmically contract (cycle through

subdivisions for example, from 8th notes, to triplets, to 16th notes, to quintuplets

and so on) that give the impression of speeding up and building intensity. This

intensity then reaches its peak when the guitar and I hit a staccato accent on the

downbeat of the bass figure that leads into it being played in time, with me

playing standard jazz time in accompaniment. This technique of loosely

contracting the rhythm is a combined effect of absorbing speech patterns and

having more rhythmic freedom in regard to weaving in and out of subdivisions;

and the ability to play in tempi other than that of the accompanying ostinato

(this time the bass line) while still maintaining a rhythmic relationship with it,

the technique that was utilized in Wilde Song.

Figure 19: 'Ouff' bass line, CD 2 -‐ track 5, 0:25

At 2:00 into the recording I play a 6 over 4 metric modulation creating an

implied faster tempo with the guitar gradually speeding up to match this tempo.

As the guitar does this the drums slow down, creating tension by having the

tempi pull away from each other. This technique came up spontaneously in the

improvisation and I can only attribute its genesis to the rhythmic freedom that

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37

this project has allowed me; as I’ve certainly never practiced intentional counter

tempo shifts in this manner.

Figure 20: Phrasing behind the beat, CD 2 -‐ track 5, 3:10

Another example of the project’s influence on my playing is seen in the figure

above, which starts at 3:10 into the recording. I intentionally ‘lean back’ on the

time (play slightly behind the beat) of the phrase that begins on beat 2 of bar 4,

giving the listener a feeling of the time slowing down. The swung eighth notes on

snare drum are accompanied by flams on the ride cymbal; this creates an

interesting effect because the flams anticipate the snare rhythms played behind

the beat. This means the ride cymbal notes fall nearer to the beat and create the

illusion of the beat being ‘wider’, which gives the phrase a heavier sound that

accentuates the effect of playing behind the beat. This ability to manipulate

phrases around the beat stems from playing in unison with speech patterns

where phrases naturally speed up and slow down.

3.3 A PERFECT DAY FOR BANANAFISH

The reason for adding ‘A Perfect Day For Bananafish’ to the repertoire originates

from the experience of playing ‘Story of Hannah’ in the first recital. I wanted to

further explore the concept of improvisation informed by a specific mood or

emotion. In the case of ‘Story of Hannah’ the improvisation was a response to the

emotion in Hannah Bar Yesha’s voice; for ‘A Perfect Day For Bananafish’ the

improvisation was built around the composition that follows a fictional narrative

of a man quietly walking home, having a psychotic episode and in a moment of

madness ending his life.

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38

The composition follows these three phases of the narrative in four distinct

sections (see the chart attached in appendix) Section A represents the man

walking home alone at night. I match this almost peaceful image of the man

walking by playing this section on brushes in a sporadic way to give the listener

a sense of serenity, to lure them into thinking nothing is wrong. Section B

represents the man arriving home and gradually descending into a psychotic

episode. It begins with a repeated vamp in 11/4 that gradually dissolves into

freely improvised noise, denoting the man’s descent into psychosis. In this

section I switch to sticks to represent the change of setting and while the two

guitars dissolve into ambient noise I still reference the 11/4 time signature in my

improvisation to signify the man’s attempt to cling to his sanity.

Section C represents the moment of clarity when Bananafish realises the

solution to his madness. To get this theme of ‘epiphany’ across to the listener I

clearly play jazz time in 6/4 that contrasts the seeming randomness of the

previous section. Section D symbolizes the moments immediately preceding the

man’s suicide. To create a feeling of the madness necessary for such an act, the

band goes into a heavy rock groove with distorted guitar soloing and

accompanying. I tried to capture the theme of insanity in the powerfully loud

dynamic with which I play the rock groove; this builds energy and intensity that

leads to the end of the piece and the man’s demise.

How successful the ensemble and myself were at recreating the narrative of

‘Bananafish’ is of course subjective to the listener but I feel that the experience of

playing ‘Story of Hannah’ developed the concept of thematic improvisation, that

is improvisation informed by semantics, emotion and/or mood, in my own

playing to the point where it enhanced my playing on ‘A Perfect Day For

Bananafish’.

39

4. CONCLUSION

The case studies presented in the ‘Prior Use of Recorded Speech in Music’

section and the first recital recording show clearly the musical potential of

recorded speech. They show that the rhythmic and melodic qualities of speech

can be exploited in a variety of ways to produce creative and interesting music.

Using speech as inspiration for improvisation provokes the improviser to play in

a different way. The way someone relates to the sound and emotional content

inherent in a human voice is different to the way they relate to the sound of an

instrument. This difference in perception acts as a catalyst for new avenues of

approach to improvisation; this is clearly heard in the first recital, especially

regarding the humour of the Monty Python pieces and the melancholia of ‘Story

of Hannah’.

Playing with recorded speech has allowed speech patterns to organically blend

with my drum set phrasing. This has led to a rhythmic freedom that can be

applied to a variety of playing situations. The examples seen in both of the

recitals show how incorporating speech patterns into my playing enables me to

play beyond the restriction of subdivisions and meter, giving a sense that my

phrasing is floating above the time. This rhythmic freedom is due to a

heightened awareness of phrasing that has come out in my playing due to

incorporating speech patterns. While this heightened awareness allows me to

phrase beyond the restriction of subdivisions or meter, I am still aware of bar

lengths and tension and resolution points within longer forms. This makes the

effect of the study applicable in performing contemporary jazz, as shown in the

second recital. Overall, the study has thoroughly enriched my playing and has

opened up new pathways of conception in regard to composition, arranging and

performing.

40

REFERENCES Potter, K. 2000. Four Musical Minimalists: La Monte Young, Terry Riley, Steve Reich, Philip Glass. Cambridge, United Kingdom: Cambridge University Press. Miller, P. D. 2008. Sound Unbound: Sampling Digital Music and Culture.

Cambridge, Massachusetts: MIT Press. Ouellette, Dan. 2011. ‘Jason Moran: Adventurous Soul’, Downbeat 78 (8): 21-‐27. Ouellette, Dan. 2005. ‘Jason Moran: Rising Star Jazz Artist, Acoustic Group,

Acoustic Pianist and Composer of the Year’, Downbeat 72 (8): 54-‐55. Panken, Ted. 2008. ‘Experimental Attitudes’, Downbeat 75 (7): 28-‐35. Neto, Luiz Costa Lima. 2000. ‘The experimental music of Hermeto

Paschoal e Grupo 1981–93: A musical system in the making’, British Journal of Ethnomusicology 9 (1): 119-‐142.

Monrad-‐Kohn, G.H. 1947. ‘The Prosodic Quality of Speech and its Disorders: A Brief Survey from a Neurologists Point of View.’ Acta Psychiatrica Scandinavica 22 (3): 255-‐269.

Pascoal, Hermeto. 2006. Hermeto Pascoal’s Aura Sound of Yves Montad. Accessed 8 November 2012. http://www.youtube.com/watch?v=SrgveUpwCnM

Pascoal, Hermeto. 2011. Hermeto Pascoal: Tiruliruli and Papagaio Alegre. Accessed 23 January 2013. http://www.youtube.com/watch?v=XSO6swEh2ME

Chesworth, Darren. 2002. The Outsider: The Story of Harry Partch. Accessed 20 November 2012. http://www.ubu.com/film/partch_outsider.html

Moran, Jason. 2009. Jason Moran on Thelonious Monk. Accessed 21 November 2012. http://www.youtube.com/watch?v=sqC1pj_iRb8 Moran, Jason. 2010. Jason Moran and The Bandwagon: Ringing My Phone -‐ Jazz Baltica 2004. Accessed 30 October 2012. http://www.youtube.com/watch?v=TpHq_cRKGyw Roach, Max. 2012. Max Roach – Martin Luther King: I Have a Dream. Accessed 10 December 2012. http://www.youtube.com/watch?v=sQ405rpEHkg Roach, Max. 2013. Max Roach Chattahoochee Red: The Dream/It’s Time. Accessed 19 March 2013. http://www.youtube.com/watch?v=JxneNQUMcCc Glasper, Robert. 2009. WBGO Studio Session: Robert Glasper Trio -‐ "Enoch's (Inaugural) Meditation". Accessed 20 February 2013. http://www.youtube.com/watch?v=zDcjzdrkHDE

41

“John Moschitta Jr.” 2014. Wikipedia.com. Accessed 29 August 2014. http://en.wikipedia.org/wiki/John_Moschitta,_Jr. SFJAZZ 2012. ‘Jason Moran, solo.’ Accessed 4 December 2012. http://www.sfjazz.org/events/season1/jason-‐moran-‐solo Scott Johnson Composer. ‘John Somebody: Notes on the Music’. Accessed 19 December 2012. http://www.scottjohnsoncomposer.com/compositions/johnsomebody.ht ml Hermeto Pascoal. ‘Biography’. Accessed 19 December 2012. http://www.hermetopascoal.com.br/english/biografia.asp Jackson, Josh. 2009. ‘Robert Glasper: Jazz for Obama’. NPR Music. Accessed 20 February 2013. http://www.npr.org/templates/story/story.php?storyId=99565794 Moran, Jason. 2013. In the Studio: Infospace. Accessed 25 June 2014. http://www.youtube.com/watch?v=7_Z5LCaK3fE Weiss, Dan. 2014. Dan Weiss drums to Busta Rhymes Iz Wildin Wit Us. Accessed 30 July 2014. http://www.youtube.com/watch?v=08-‐Wp8iDDoU Weiss, Dan. 2014. Dan Weiss’ Drum Interpretation of FedEx Fast Talker. Accessed 30 July 2014. http://www.youtube.com/watch?v=mIIP4zIi4DM Weiss, Dan. 2014. Dan Weiss Plays Big Punisher “Twinz”. Accessed 30 July 2014. http://www.youtube.com/watch?v=z-‐an6QFjAYo Weiss, Dan. 2013. Dan Weiss’ drum interpretation of auctioneer Ty Thompson. Accessed 30 July 2014. http://www.youtube.com/watch?v=bEHz__pQdXY Geeson, Martin. 2010. Mr. Robert Buchanan on Pagan Viciousness. Accessed 17 July 2013. http://ia600204.us.archive.org/11/items/oscarwilde_artmorality_1010_ librivox/oscarwilde_18_mason.mp3

42

DISCOGRAPHY These recordings have influenced the project, either by directly relating to the

topic of recorded speech in music, or improvisation in general.

Hill, Andrew. 1964. Point of Departure. CD (reissue). Blue Note 7243 4 99007 2 1. Evans, Bill. 1956. New Jazz Conceptions. CD (reissue). Riverside OJC20 025-‐2. Mehldau Trio, Brad. 2006. Live. CD. Nonesuch 7559-‐79956-‐5. Corea, Chick. 1968. Now He Sings, Now He Sobs. CD (reissue).

Blue Note 7243 5 38265 2 9. Ellington, Duke. 1962. Money Jungle. CD (reissue). Blue Note 7243 5 38227 2 9. Dolphy, Eric. 1964. Out To Lunch. CD (reissue). Blue Note 7243 4 98793 2 4. Hancock, Herbie. 1964. Empyrean Isles. CD (reissue). Blue Note 7243 4 98796 21. −−. 1963. My point of View. CD (reissue). Blue Note 7243 5 21226 2 2. −−. 1965. Maiden Voyage. CD (reissue). Blue Note 7243 4 95331 2 7. −−. 1974. Headhunters. CD (reissue). Columbia 471239 2. Coltrane, John. 1959. Giant Steps. CD (reissue). Atlantic 8122736102. −−. 1961. My Favorite Things. CD (reissue). Atlantic 7567-‐81346-‐2. −−. 1963. Impressions. CD (reissue). Impulse 543 416-‐2. −−. 1963. Newport ’63. CD (reissue). Impulse GRD-‐128. −−. 1964. A Love Supreme. CD (reissue). Impulse B0000610-‐02. −−. 1966. Ballads. CD (reissue). Impulse IMP 11562. Davis, Miles. 1956. ’Round About Midnight. CD (reissue).

Columbia/Legacy CK 85201. −−. 1959. Kind of Blue. CD (reissue). Columbia/Legacy 487496 2. −−. 1965. E.S.P. CD (reissue). Columbia/Legacy CK 65683. −−. 1966. Four and More: Recorded Live in Concert. CD (reissue). Columbia/Legacy CK 93595. −−. 1968. Nefertiti. CD (reissue). Columbia/Legacy CK 65681.

43

−−. 1968. Filles De Kilimanjaro. CD (reissue).

Columbia/Legacy CK 723796. −−. 1971. A Tribute to Jack Johnson. CD (reissue). CK 93599. Coleman, Ornette. 1959. The Shape of Jazz To Come. CD (box set reissue). Atlantic 8122797709. −−. 1960. Change of the Century. CD (box set reissue). Atlantic 8122797709. −−. 1961. This Is Our Music. CD (box set reissue). Atlantic 8122797709. Coleman Double Quartet, Ornette. 1961. Free Jazz: A Collective Improvisation. CD (box set reissue). Atlantic 8122797709. Jarrett Trio, Keith. 1995. Standards in Norway. CD. ECM 1542. −−. 1998. Tokyo ‘96. CD. ECM 1666. −−. 2000. Whisper Not. Double CD. ECM 1724/25. Motian, Paul. 2010. Lost In A Dream. CD. ECM 001403302. −−. 2005. I Have A Room Above Her. CD. ECM 000396602. Metheny, Pat. 1975. Bright Size Life. CD (reissue). ECM 827133. −−. 1980. 80/81. CD (reissue). ECM 843169. −−. 2000. Trio 99/00. CD. Warner Bros 9362 47632-‐2. Metheny, Pat and Ornette Coleman. 2005. Song X: The Twentieth Anniversary. CD. Geffen 1078737. Moran, Jason.1999. Soundtrack To Human Motion. CD.

Blue Note 7243 497431 2 0. −−. 2000. Facing Left. CD. Blue Note 7243 5 23884 2 4. −−. 2001. Black Stars. CD. Blue Note 7243 5 32922 2 5. −−. 2003. The Bandwagon: Live at the Village Vanguard. CD. Blue Note 7243 5 91893 2 4. −−. 2005. Same Mother. CD. Blue Note 7243 5 71781 2 9. −−. 2006. Artist In Residence. CD. Blue Note 62711.

44

−−. 2010. Ten. CD. Blue Note 509994 57186 25. Monk, Thelonious. 1963. Monk's Dream. CD (reissue). Columbia CK 63536. −−. 1967. Straight, No Chaser. CD (reissue). Columbia/Legacy 64886. −−. 1968. Underground. CD (reissue). Columbia/Legacy 513359 2. −−. 1956. Brilliant Corners. CD (reissue). Riverside 0888072305014. Pascoal, Hermeto. 1992. Festa dos Deuses. CD. Polygram 510 407-‐2 Williams Lifetime, Tony. 1969. Emergency. CD (reissue). Verve 314 539 117-‐2. Reich, Steve. 1987. Early Works. CD. Elektra/Asylum/Nonesuch Records

979 169-‐2. −−. 1987. Drumming: Steve Reich and Musicians. Elektra/Asylum/Nonesuch Records 979 170-‐2. −−. 2006. Steve Reich Phases: A Nonesuch Retrospective. Nonesuch Records 79962-‐2. Roach, Max. 1981. Chattahoochee Red. LP. Columbia FC 37376. Haynes, Roy. 1958. We Three. CD (reissue). Prestige/New Jazz PRCD-‐30162 Haynes and The Fountain of Youth Band, Roy. 2006. Whereas. CD. Dreyfus DRY 36694. Shorter, Wayne. 1966. Adam’s Apple. CD (reissue). Blue Note 7243 5 91901 2 9. −−. 1964. Juju. CD (reissue). Blue Note 7243 4 99005 2 3. −−. 2005. Beyond the Sound Barrier. CD. Verve B0004518-‐2. −−. 2002. Footprints Live. CD. Verve 589 679-‐2. Trio Beyond. 2006. Saudades. CD. ECM 000642102. Weiss, Dan. 2010. Timshel. CD. Sunnyside Records SSC1242.

45

APPENDIX A: RECORDED SPEECH EXCERPTS USED IN RECITAL REPERTOIRE SOURCED FROM: Hiro11923. 2007. Japanese Weather. Accessed 17 July 2013.

http://www.youtube.com/watch?v=HbaoawNjxaw

Yad Vesham. 2009. “She was there and she told me” – The story of Hannah Bar

Yesha. Accessed 28 July 2013.

http://www.youtube.com/watch?v=xV6p2JmxzKk

Geeson, Martin. 2010. Mr. Robert Buchanan on Pagan Viciousness. Accessed 17

July 2013.

http://ia600204.us.archive.org/11/items/oscarwilde_artmorality_1010_l

ibrivox/oscarwilde_18_mason.mp3

Monty Python. 1988. “Architect’s Sketch.” The Final Rip Off. iTunes download.

Downloaded 3 August 2012.

Monty Python. 1988. “Constitutional Peasant.” The Final Rip Off. iTunes

download. Downloaded 3 August 2012.

Weidmoo. 2012. Monty Python – What have the Roman’s ever done for us?

Accessed 9 September 2012.

46

APPENDIX B

1. ‘WHTREDFU?’ Chart and solo transcription. 2. ‘Architect’s Sketch’ Chart. 3. ‘UFO Guy’ Chart. 4. ‘Japanese Weather’ Chart. 5. ‘Constitutional Peasant’ Chart. 6. ‘Wilde Song’ Chart. 7. ‘Crepescule with Nellie’ drum transcription. 8. ‘A Perfect Day for Bananafish’ chart.

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33

What Have the Romans Ever Done For Us?0:00 - 3:11


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&I seen em' I been out there Au - ro - ra Tex - as they

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&Ar - i - zo - na or somethin' figure some - thin' out. Or not A - ri - zo - na what

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&You're right there, there's no proof but I

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83

APPENDIX C: RECITAL PROGRAMME NOTES

The Integration of Recorded Speech with Jazz Performance:

A Drummers Perspective

Stephen Neville (1174298)

First Recital

Submitted in partial fulfilment of the requirements for the degree of

Master of Philosophy in Music Performance

Elder Conservatorium of Music

Faculty of Humanities and Social Sciences

University of Adelaide

Supervisors: Professor Mark Carroll

Mr. Bruce Hancock

April 28th 2014

84

The Music

WHTREDFU? – Monty Python (arr. Stephen Neville)

Architect’s Sketch – Monty Python (arr. Stephen Neville)

Story Of Hannah – arr. Stephen Neville

UFO Guy – arr. Alex Wignall and Stephen Neville

Japanese Weather – arr. Stephen Neville

Constitutional Peasant – Monty Python (arr. Stephen Neville)

Wilde Song – arr. Stephen Neville

The Musicians

James Brown – Guitar and Pedals

Lyndon Gray – Bass

Stephen Neville – Drums and Laptop

Jarrad Payne – Sound Engineer and Samples

The Thank You Bit

Firstly to Lyndon and JB for putting in the time learning this stuff.

Mark, Bruce and Kimi for their wisdom and patience.

My wife Zoe and all my family.

85

The Integration of Recorded Speech with Jazz Performance:

A Drummers Perspective

Stephen Neville (1174298)

Second Recital

Submitted in partial fulfilment of the requirements for the degree of

Master of Philosophy in Music Performance

Elder Conservatorium of Music

Faculty of Humanities and Social Sciences

University of Adelaide

Supervisors: Professor Mark Carroll

Mr. Bruce Hancock

May 12th 2014

86

The Music

Crepescule with Nellie – T. Monk

Shetland Dream 1863 – S. Cagney

Misterioso – T. Monk

Plastic Hands – S. Cagney

Ouff – S. Neville

A Perfect Day for Bananafish – S. Cagney

On Your Marx – J. Brown

Look at You – J. Brown

Believe in the Monocause – J. Brown

Goodbye Blue Monday – S. Cagney

Requiem for David – S. Cagney

87

The Musicians

James Brown – Guitar and Pedals

Sam Cagney – Guitar and Pedals

Stephen Neville – Drums

The Thank You Bit

Firstly to JB and Sam for their wonderful playing and writing.

Jarrad for being a master of sound.

Mark and Kimi for their wisdom and patience.

My wife Zoe and all my family.

Documents

Improvising with Words: A drummer's perspective on the integration