Dude thank you for taking the time to write this and pass on this knowledge. You just gave me a mini master class. I really appreciate it. This is why I love this forum.A couple of other things to add about this particular solo.
1) Wilcoxon’s accent patterns are very specific and not always conventional. When you adhere to what he has notated you get an entirely different level of music. (The “ swing” element?). A good example of this is the single drags at the top of the second page. He does this a lot through all of his books and he has exercises in the beginning of the book to strengthen the concept. He likes to move between accenting the “ruff”, the “ruff” and the tap and then the traditional accent of only the tap. This is an area many people gloss over instead just playing the traditional accented tap. This is a very “jazzy” sounding phrase that can be heard in Philly Joe Jones (who studied with Wilcoxon), Frankie Dunlop (who studied with John Rowland my first teacher, lucky me!) and many other jazz drummers. This figure appears again in the dotted 16th’s and 32nd note figure on the fifth line from the bottom of page
2) Note that most of the 32nd Note rolls are written out long hand whereas the 7’s use roll notation.
3) There is a couple of interesting spots related to the 7’s. One is the 7 at the end of the 4th line on page 2. This roll is again metered as a 16th triplet while the subsequent rolls are slower being metered in 32nd’s. While the end of the 3rd line from the bottom has a 13 stroke roll going directly into a 7 that is metered in 32nds.
4) There is one odd sticking spot associated with this particular 7. Note the that the roll is a right hand 7 ending on the left and the figure following it begins on the left. This all makes sense if you consider where the 7 comes from and where it is going. The slight sticking anomaly there makes everything else lay natural.
(wow that took awhile!! And my phone died in the middle!)
I hope all of that helps!!
Yes the unconventional accent patterns I've played thus far have been a little tricky, but I can tell they are VERY valuable and will come in handy when playing them in a kit or fill context. Also, how I mentioned earlier playing stickings a lil different here and there after I learn the piece, I ALWAYS keep the accents where they are meant to be. Regarding the swing element, I noticed some solos are more conducive to swinging then others. But the ones where you can swing are oh so fun.