The professional collaborations of Philly Joe Jones and the
development of his musical style
Sitze, Brandt
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Permalink
https://hdl.handle.net/2142/122994
Description
Title
The professional collaborations of Philly Joe Jones and the
development of his musical style
Author(s)
Sitze, Brandt
Issue Date
2024
Director of Research (if dissertation) or Advisor (if thesis)
Spencer, Joel
Doctoral Committee Chair(s)
Spencer, Joel
Committee Member(s)
Gray, Lawrence
McNeill, Charles
Silvers, Michael
Department of Study
School of Music
Discipline
Music
Degree Granting Institution
University of Illinois at Urbana-Champaign
Degree Name
A.Mus.D. (doctoral)
Date of Ingest
2024-05-13T16:10:30-05:00
Keyword(s)
Philly Joe Jonas
Jazz Drums
Transcription
Max Roach
Roy Haynes
Art Blakey
Bop
Analysis
Language
eng
Abstract
This project will examine the musical stylings of jazz drummer Philly Joe Jones and the unique qualities that made him an innovative and influential member of the jazz drumming community. This study will examine Jones’ playing style regarding his soloing techniques, his
approach to comping/brushwork, and his methods for creating a conversational environment with his fellow musicians. In order to accurately portray Jones’ performance style across his long and prolific career, I will include transcriptions and analyses of his performances ranging from his early career in the 1950’s to his later recordings in the late 1970’s. Additionally, these
transcriptions will be pulled from Jones’ recordings with a number of different influential artists. In total, this study will include analyses of Jones’ performances from the following recordings:
Miles Davis
• The Complete Columbia Recordings of Miles Davis with John Coltrane (Columbia, 1955)
• Workin’ with the Miles Davis Quintet (Prestige, 1956)
• Milestones (Columbia, 1958)
John Coltrane
• Blue Train (Blue Note, 1958)
Freddie Hubbard
• Goin’ Up (Blue Note, 1960)
Hank Mobley
• No Room for Squares (Blue Note, 1963)
• The Turnaround! (Blue Note, 1965)
Bill Evans
• “My Romance” (RF TV Broadcast, La Grande Parade du Jazz, 1978)
Additionally, this study will include a comparison of Jones’ playing style with three iconic drummers of his time: Max Roach, Art Blakey, and Roy Haynes. Each of these drummers occupied their own spaces in terms of unique and innovative playing styles. By contrasting each
of their styles with that of Philly Joe Jones, I will demonstrate that Jones is not only unique from his peers, but that he also displays a comparable level of skill and artistry that is embodied in these three great mentors.
In summary, through a detailed study of Jones’ musical background, analyses of his playing style via transcription, and comparison to his peers in the bebop and hard bop eras, this project will get to the heart of Jones’ contributions to the jazz drumming community. Each
musician brings a unique sense of identity to their performances, and this project will discover exactly how Philly Joe Jones created his own musical identity.
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