The two general types of soloing include soloing IN TIME or OUT OF TIME.
AN IN TIME SOLO can be any length of time from a 1 measure (solo fill) to soloing on the form of a tune, to soloing on an unstructured form. The major, obvious requirement for an in time solo is that it be in the TIME of the tune you are playing. In the freest situations the time can be manipulated (double-time/half-time) and the groove can change (latin to swing to rock), but the under lying pulse should always be identifiable. If you are playing within a particular style, structure or form your solo should reflect and embody characteristics specific to that musical situation. I also suggest playing Jazz Standards on the drum set, both the melody and soloing. An excellent example of this style of soloing is Jeff Hamilton's solo version of "Caravan" on his trio recording, It's Hamilton Time. Finally, it is extremely helpful for developing your soloing ability to transcribe (and play) numerous solos of varying length and styles.
THE OUT OF TIME or open solo is often one of the most exciting opportunities for a drummer. You are given an empty space of indeterminate length (often indicated by a fermata) and expected to play something AMAZING. An open solo is the perfect opportunity for the drummer to express their musicality (connectedness with the music being played), creativity (fresh ideas of sound and color) and technique (show-off your chops) in anyway you choose.
IDEAS FOR SOLOING, as for an in time solo can be discovered (and hopefully applied) from doing a lot of listening/transcribing of both drum and other instrumental solos. To further develop solo ideas I suggest selecting ONE basic element of music such as rhythm, melody, harmony, dynamics, orchestration, form, sound (color, touch and balance), phrasing, emotion, technique, etc. and exploring as many aspects of that selected element as possible. As your confidence and ability grows, combine the "elements" together as you choose. Although none of these elements exist in a vacuum and often occur simultaneously, it's important to begin simply, remember this is an EXERCISE. Let your ideas grow slowly and naturally along with your creativity and intuitiveness.
1.) Practice the standard 26 drum rudiments (and their variations) as a means to develop a solid foundation for your technique. There are many ways to orchestrate and apply rudiments to the drum set. Example: play all measured rolls (5, 7, 9, 10, 11, 13, 15, and 17) in an orchestrated manner around the set while keeping a Samba pattern in your feet. You can play the rolls as eighth notes, sixteenth notes, triplets, etc. Although rudimental drumming is primarily concerned with single and double stroke combinations, it is also important to practice orchestral or "buzz", "crushed" rolls. I recommend the following books for technical development: Stick Control (Stone), Wrist and Finger Control and Swingin' the 26 by Charlie Wilcoxon and Accent on Accents 1 and 2 by Elliot Fine and Marv Dahlgren.
2.) For developing single strokes and a deeper understanding of basic rhythmic subdivisions practice the following exercise. In 4/4 play the BD in quarter notes and the HH on beats 2 and 4. As a starting point set the metronome between 60 -80 and on the SD play 4 measures of whole notes, followed by 4 mm. of half notes, half note triplets, quarter notes, quarter note triplets, eighth notes, eighth note triplets, sixteenth notes, sixteenth note triplets and 32nd notes. Then repeat and orchestrate around the drum set. Notice you are going from 1 to 2 then 3, 4, 6, 8,12,16,24 then 32 notes per measure. Keep all subdivisions even, smooth, connected and flowing. Increase the tempo as your chops develop. You can also play this exercise with double strokes and paradiddle stickings. Eventually you can add quintuplets and septuplets in their appropriate sequential order.
3.) Bass Drum and Hi-Hat technique can be developed by practicing the single stroke exercise described above. As you orchestrate elements of technique exercise 1 and 2 make sure to include either the bass drum or hi-hat as a component of the orchestration.
Please remember that technique develops simultaneously with independence, time, reading, interpretation and soloing practice. The 3 suggestions listed above are intended to help you create a strong technical foundation on which to build creative musical ideas.
Finally, to be JAZZ DRUMMER it is important to practice with BRUSHES as well as sticks. Many of the exercises listed here may be applied to brush playing, BUT brushes have unique characteristics and technical requirements that must be studied separately.
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