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Step 1: This exercise is a great way to begin working on simultaneously singing and playing the melody, while also learning about Papa Jos style and an important phrasing technique. Listen to the suggested recording, memorize the melody, and then sing the and play the melody on the snare drum with the snares off for a more latin feel. One of the main differences between latin and traditional jazz is that in general the rhythmic feel of latin jazz is straight eighth notes as opposed to swung eighth notes. Unlike what Papa Jo plays on the recording, be sure to sing, feel, and play this melody as straight eighth notes. Also, with your feet play beats one, the and of two, three, and the and of four with your bass drum and beats two and four with your hi-hat (Bossa feet).

Guide R.H. and L.H.= The melody on the snare drum (snares off) with straight eighth notes and alternating sticking R.F.= Softly play beats one, the and of two, three, and the and of four L.F.= Crisply close hi-hat on beats two and four (R.F. and L.F.= Bossa feet)

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Step 2: When you listen to the recording of this melody, notice how the piano makes a statement and then responds to that statement with the band. This musical structure is known as call and response, and it is a very potent musical technique featured in much of the music during Papa Jos time. In fact, Papa Jo would often use this technique in his own improvising to help create musical structure. Once you feel comfortable playing through step 1, try playing through the exercise again, but this time in the A sections improvise your own response to the pianos call. Play your response exclusively on the snare drum while continuing to play bossa feet. Even though you are improvising a new rhythm, try to sing the same (or similar) notes of the response from the original. Also, stick to one improvised response throughout the form, and the next time through, improvise a new one. Try to make your response feel like a natural reaction to the response rather then trying to force rhythmic complexity. Notice that you will repeat your improvised response two times starting at measure 34 (tag ending) before returning to the original melody in the last measure.

Guide (A sections) R.H. and L.H.= Play two bars of the original call and two bars of improvised response using straight eighth notes R.F. and L.F.= Bossa feet Guide (B section) R.H. and L.H.= The melody with straight eighth notes R.F. and L.F.= Bossa feet

Example #2
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Playing Tips In addition to showcasing call and response, this melody also helps outline the form by breaking from the call and response structure on the bridge. The 32 bar AABA form of this song is one of the most common and important in jazz, so always knowing where you are in this form without needing to count is a critical skill to develop. Also, if you listen to what Papa Jo is playing in the A sections you will observe that he is playing the response note for note on the drums. The idea of playing the melody on the drums has been around for a long time! Once you feel comfortable doing this with sticks, try it with brushes with the snares off, aiming for a clean, clear sound. Try starting on both hands to develop your weaker hand. Remember to play with a light touch, or as Papa Jo put it, When it comes to percussion instruments, you dont beat the drum, you play the drum. (Modern Drummer). Suggested Recording Jo Jones, The Essential Jo Jones