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>

In this thesis, I have examined, analyzed and studied the interplay between the soloist and drummer in a jazz context.To understand it better I have chosen to study some of the masters in the history of jazz on this very subject. By analyzing legendary jazz drummers such as Elvin Jones, Tony Williams and Ari Hoenig, I have transcribed excerpts from recordings on which they are comping the soloist, and with that analyzed the topic of communication and interplay. Doing that I have gained a clearer picture of what these drummer’s concepts were, regarding the subject. With the conclusion that the vocabulary has moved further away from the idea of timekeeping. Instead, drummers developed the vocabulary to a more melodic and interactive way of playing. It has also been important to choose the right music and musicians to explore different interaction techniques. Together we have questioned the drummer's role and his/her relationship to the role of accompaniment. Finally, I did a concert where these techniques were put to the test, to see if our learning method had evolved the way we interacted with each other. In conclusion, what you can clearly see is that the concept of tension and release, dramatic dynamics and an open approach are consistently techniques of communication that all the drummers I have chosen to study have mastered. It is something rebellious and innovative that I have really taken a liking to, and look forward to explore further myself in the future. This study could be interesting to the jazz musician wanting to learn more about the drummer’s role in a contemporary jazz context. Especially to the drummer wishing to develop their interplay. / <p>På konserten framfört material:</p><p>"Untitled Original 11383" (J. Coltrane)</p><p>"Gingerbread Boy" (J. Heath)</p><p>"In Walked Bud" (T. Monk)</p><p>"Chim Chim Cheree" (J. Coltrane)</p><p> "Song Of Praise" (J. Coltrane)</p><p></p><p>Medverkande musiker:</p><p>Isac Schillberg - altsaxofon</p><p>Milos Lindegren - piano</p><p>Anton Brodin - elgitarr</p><p>Anton Berndts - kontrabas</p><p>Richard Andersson Rasheed - trummor</p>