Modern Drummer, “Art Blakey,” Stern Chip.
Vol. 8, No. 9, September, 1984. pp. 8-13.

Art Blakey's explosive jazz drumming style is characterized by a powerful drive and rocksteady time, both of which remain unmatched in the hard-bop idiom. Blakey can light a fire under any soloist or ensemble with his hard-driving energy. Here's a look at a few of the elements that make up the burning Blakey style.

The Time

The distinguishable Blakey time feel is noticeably intense for several reasons: (1) Heavy accentuation of 2 and 4 on the right-hand time pattern, activated by a whip-like wrist action which moves in a circular motion over the ride cymbal. (2) A biting hi-hat which supports and blends with the solid cymbal work. (3) A remarkable ability to stay on the very front edge of the beat, without rushing, which gives a strong sensation of foward momentum.

The Press Roll Roar

Another dominant trademark of the powerful Blakey style is the roaring snare drum roll placed at the end of phrases, or as a lead-in to a new soloist. The dramatic effect of this technique is enhanced by the crescendo as the roll swells from a whisper to a roar.

The Hi-Hat

Blakey will often interrupt the flow of the biting 2 and 4, to incorporate the hi-hat as an independant rhythmic voice behind a soloist. Quarter-note triplets which sing out beneath the time beat is one approach.

The Afro-Cuban Feel

The West African flavor is prevalent in much of Blakey's music and no analysis of his playing would be complete without a glimpse at one Afro-Cuban rhythm applied to the drumset. The pattern below is from "Caravan," Art Blakey and the Jazz Messengers: Caravan (Riverside 438).

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