DIRECTIONS IN DRUMMING: THE ARTISTRY OF TONY WILLIAMS, JACK DEJOHNETTE, BILLY COBHAM, AND THE MUSIC OF MILES DAVIS, 1968-1971

Abstract

This thesis examines the innovations of drummers Tony Williams, Jack DeJohnette, and Billy Cobham in Miles Davis’ recordings from 1968 to 1971. During this transformative period, Davis' music underwent a significant evolution. These years saw a shift from a traditional acoustic jazz sound to an electrified, rock-influenced one, laying the foundation for jazz fusion. This thesis examines Williams, DeJohnette, and Cobham's contributions to Davis' music, analyzing their styles, choices, and the synergy between their rhythmic innovations and Davis' compositions. This research examines each drummer's distinctive approaches through an in-depth analysis of studio recordings, live performances, and historical context. It considers their stylistic choices, technical advancements, and improvisational interplay. By highlighting the drummers' creative input, this study underscores their indispensable role in one of the most dynamic periods of Miles Davis's illustrious career. This study highlights these drummers' technical and artistic innovations and situates their contributions within the broader historical and cultural shifts of the late 1960s and early 1970s. By illustrating how their rhythmic concepts expanded the vocabulary of jazz drumming, this research underscores their indispensable role in one of the most dynamic and influential periods of Miles Davis' career