I have been thinking a lot about “frame shifts.” A few months ago, I was studying a transcription of a Max Roach solo from the album “Deeds not Words”(from Modern Drummer magazine). Shortly after, I came across a description of Roach’s playing on this same album, by New Yorker jazz critic Whitney Balliett. To this critic’s ear, Roach’s playing sounded chaotic. You couldn’t tap your foot to it. On paper, of course, the drum solo revealed an extremely logical, almost “neo-classical” sense of organization, as one might expect from Max. I haven’t actually heard the music in question, so I am comparing an impressionistic critical description with a more-or-less accurate transcription.