Check out this short phrase from the legendary Max Roach. This is from Roach’s classic solo recording “For Big Sid” off his 1966 Drums Unlimited record. You’ll find the phrase about 1:05 into the track.

Airto Moreira is a hugely influential drummer that helped to make Brazilian rhythms a core element of jazz fusion in the early 1970s. Here’s a groove in 3 that he played on Chick Corea’s classic “Return to Forever.” You’ll find this groove about 1:56 into the track.

Check out this solo phrase from Joe Chambers. This comes from the track “Aquarian Moon” off Bobby Hutcherson’s 1967 record Happenings. You’ll find the phrase about 5:53 into the track.

Aside from being one of the most swingin drummers of all time, Art Blakey was a pioneer of adapting African and Afro-Cuban rhythms for the jazz drum set. This groove from the Jazz Messengers arrangement of “A Night In Tunisia” is one of his most recognizable.

For the 50th episode of Minute of Drums, a swingin comping idea from Philly Joe Jones! This comes from the duo recording of “Surrey With The Fringe On Top” that Philly Joe played with Sonny Rollins on the album Newk’s Time. You’ll find the phrase about 2:00 into the track.

More Billy Higgins! Here’s a solo phrase he plays on “Black Circle” from Bobby Hutcherson’s record “Stick-Up!” The phrase comes about 5:30 into the track.

Here’s a comping idea from one of the unsung legends of jazz drumming, Al Harewood. This is from the song “If Ever I would Leave You” on Bobby Hutcherson’s album The Kicker. You’ll find the phrase about 6:01 into the track.

Check out this solo phrase that Tony Williams plays on the song “Refuge” from Andrew Hill’s record Point of Departure. The phrase comes about 9:50 into the track.

Here's another great comping phrase from Roy Haynes. This comes from the track “Pumpkin” from Andrew Hill’s 1964 record Black Fire, about 2:18 into the track.

Here’s a solo phrase in 3 from Elvin Jones. This comes from his solo on “Someday My Prince Will Come” off the Great Jazz Trio record of the same name. You can find the phrase about 2:58 into the track.

Check out this fast comping phrase from Jack DeJohnette with the hihat on all 4 beats. This comes about 1:42 into “The Brain” on Chick Corea’s The Complete “IS” Sessions.

Here’s a 4-bar brush trade from Art Taylor. This comes from the title track on Lee Morgan's 1958 record Candy. You can find the trade about 5:54 into the track.

Check out this comping phrase from Ben Riley. This comes from the title track on Thelonious Monk’s 1967 Straight, No Chaser album. You’ll find this phrase about 3:50 into the track.

You may have heard Ahmad Jamal trio drummer Vernel Fournier's groove on Poinciana, but have you checked out his New Orleans-inspired take on Autumn Leaves? This comes from a 1958 live recording originally released on the record Portfolio of Ahmad Jamal.

Here’s a comping phrase that Art Blakey plays on “Free For All.” Blakey creates a churning 3 against 2 undercurrent throughout this track.

Check out this trading phrase from Tony Williams. This comes from a 1978 live recording of “Confirmation” from the record Carnaval. You can find the phrase about 5:50 into the track.

Al Foster is a master of melodic solo development. This phrase comes from his solo on “Ornithology” from Hank Jones’s Great Jazz Trio - Chapter II record. You’ll find this phrase around 3:46 into the track.

Here’s a groove in 7/4 from Jack DeJohnette. I transcribed this off of the track “Flying Spirits” from DeJohnette’s 1976 ECM record Untitled. You can find this phrase about 22sec into the introduction. If you listen carefully, you’ll notice much of this song is in 13… 7/4+6/4 with extended phrases in 7/4. DeJohnette flows through it all, making it feel completely natural.

Check out this comping phrase from Louis Hayes. This comes from the relentlessly swingin version of “Work Song” from the Cannonball Adderley “Radio Nights” recording (originally a live radio broadcast from the Half Note in NYC - New Year’s week 1967-68). You'll find this phrase about 4min into the track.

More solo inspiration from Jimmy Cobb! This short phrase comes from his solo on "Out Front" from the 1965 Wynton Kelly Trio record Undiluted.