In this thesis, the interplay between the soloist and drummer in a post-bop jazz setting is examined, studied, and implemented in my playing.    The basis for the work is six transcriptions of soloists and the accompaniment of the drummer, put side by side. Three of the transcriptions are from the 1960s, and the three are from the period 1998 to 2020. To further develop the interplay in this setting, exercises with emphasis on interplay and collective improvisation were done in a quartet featuring electric guitar and tenor saxophone. In this work, I write about the transcriptions, their implementation on the drum set, and the ensemble work to develop the concepts found in the material.   Concludingly, despite the sample size being small, I find that the drummer’s role has moved even further into a counterpoint state of mind since the 1960s. Together the soloist and the drummer create textures of sound, and they react to each other in a less immediate way, prolonging the scope and tension of the music. The vocabulary has moved further away from the idea of the ride cymbal as the centerpiece of timekeeping. Instead, drummers treat the drum kit even more as one voice whilst creating melodic structures that move the music forward.   This work could be of value to any jazz musician wanting to learn more about the drummer’s role in the jazz setting and especially to drummers and soloists wishing to develop their interplay within the band. / <p>På konserten framfört material:</p><p>"Blues to You" (J. Coltrane)</p><p>"I'll Be Seeing You" (S. Fain)</p><p>"Upper Manhattan Medical Group" (B. Strayhorn)</p><p>"Sandslott" &amp; "HJ7" (egna kompositioner)</p><p></p><p>Medverkande musiker:</p><p>Marius Zeeberg - tenorsaxofon</p><p>David Kontra - elgitarr</p><p>Jakob Ulmestrand - kontrabas</p><p>Henrik Jäderberg - trummor</p>