One of the earliest ever posts on this blog was a transcription of the intro of this tune. Now, 11 years later, I've finally gotten around to transcribing the solo Philly Joe takes over the whole form. And it's a good introduction to a form that I like. It's an AABA form, but each A section is a 12-bar blues. Some people call this a "blues with a bridge". "Unit 7" is another example of one.
If you've been following all the Philly Joe posts I've been doing as of late, then you'll notice a lot of familiar vocabulary, particularly as his three-beat triplet lick. It's one of those things you can't unsee; once you notice it, you realize it's everywhere. I'm not entirely sure what sticking he's using in this case, but I've made my best guess. To my ear, especially when slowed down, bars 11 and 12 sound different to the long phrase starting at measure 20. I've written what I think is most likely, but you should experiment with what works for you. Revisit this post for some alternate stickings to try.
In fact, all of the stickings found here are my best guess. I listened hard, and then based my choices on things that I know Philly Joe liked to do, such as playing a long string of 8th notes with one hand, as in the first bar.
Regarding the rolls, at the beginning of the second A, they are probably closed double-strokes that lead to each stick shot (RRLL R). But in the middle of the bridge I can't help but wonder if what I notated as rolls are actually four-stroke ruffs. In that particular grouping of three 8th notes that goes "roll, snare, bass", Philly Joe often played a four stroke ruff with the sticking rllR. This allowed him to finish with a nice strong single stroke on the right hand. You can find more on the four-stroke ruff on this post from a few years back.
This is all nitty gritty stuff that I enjoy trying to decipher, but really, what's important is the sound, and the vocabulary. So, as always, I recommend listening a bunch, singing it a bunch, and they trying to put it on the kit.
