Probably the most challenging of ALL the shuffles, Pat takes the mystery out of these, and gives different variations to spice up your groove.
The great Memphis Shuffles of Al Jackson Jr. are explored, including a discography of landmark grooves.
Pat shows 3 real distinct Chicago Style Shuffles, each with their own unique sound.
In this lesson, Pat teaches how to play "Back Beat" Shuffles in the 12 Bar Blues Form. He will also show how to end the form with a classic fill, ending. Be ready to sit in on your next jam session!
THIS is where it ALL began! The origins of the modern drum set..taking the rhythms of a New Orleans street parade, played by the snare drummer and bass drummer, and playing it directly on the drum set. This is an authentic, roots, second line march beat. Learn this, and the rest makes ALOT more sense...
As the name implies, now Pat takes the traditional snare caters and moves them into a more rudimental direction using some "fat" flams and more buzz rolls, inspired by the great New Orleans drummer Freddie Staehle. This is a "swampy yet groovy" feel that is the essence of the second line vibe.
By adding a swinging 16th 16th note pattern on top of the bass and high hat rhythms, you can then add some accents that fit in between and set up a 'call and response" type of pattern, like a marching street band. A "Go To", MUST have second line groove.
In this groove, Pat takes it off the snare and moves it over to the high hat, changes up the bass drum groove just a bit to add a little more rhythmic interest, as well as going to the ride cymbal.
Yes, this one is hotter, more high hat variation and one handed buzz rolls, yet full of roots second line flavor!
Now that you know the Roots of Second Line, try this modern approach, which is more up tempo and syncopated on the snare and bass patterns.
The beat that started it all, the origins of this Mardi Gras Indian beat stem back to the 3-2 Clave rhythm of Cuba, by way of West Africa. Here, the 3-2 beat is first heard as a precursor to the more popular "Bo Diddley" Beat. You gotta get a feel for this in order to capture the other variations that come ahead.
In this classic Mardi Gras Indian beat, we are first introduced to the Cinquillo Rhythm and how it is derived and applied. A standard New Orleans groove!
Ancient in it's origins, this rhythm is the backbone to many Mardi Gras Indian percussion rhythms played on tambourines and bells. In this groove, Pat takes a tambourine rhythmic variation and puts on the Bell, over a backbeat to create a cool groove ala The Meters.
When studying Mardi Gras Indian Beats and their evolution into popular music, this groove is a landmark in it's originality and complexity. Fast, fun, and challenging, you'll be playing this infectious beat for years!
If you've never heard of Professor "Fess" Longhair (aka Henry Byrd), now is your chance to delve into this feel that Earl Palmer helped to shape. The Godfather and originator of early Rhythm & Blues/Rock & Roll, this groove mixes double time snare feel on top with a and half time feel on the bottom to create fun drumming time.
As the Godfather of Rock & roll drumming, Earl Palmer dug deep into his roots as a second line parade drummer and brought the street beat to popular music. An ESSENTIAL groove, if there ever was one!
Of all the grooves Earl created with the great Little Richard, this one is the fastest, and most difficult to achieve. Using the fast swing high hat pattern, ghost notes, and syncopated bass drum, it is a trip "around the world", for sure!
Not quite swing, not quite straight, Pat will explain exactly how to achieve this elusive "in the cracks" feel with a great groove he created to demonstrate the stylistic interpretation.
Another great feel created by the great Earl Palmer, this one has two variations, and lots of grease for slidin around. Classic 50's Rock n Roll feel.
In this video, Pat explains the origin of the rhythm, from West Africa to the deep south, and finally to the drum set. This is a real important part of groove history that shouldn't be ignored.
A different take on the "Bo Diddley", this took the rhythm in a faster, funkier direction. It's a "sweet" variation that compliments the original feel.
This is a more difficult variation of the 'Bo Diddley", syncopating the bell rhythm "over the bar line" that will be a challenging yet rewarding addition to your groove arsenal.
In the 60's, this groove was boss, and it still is very relevant and applicable today. Mixing A Mambo flavor with a bit of Songo and a solid backbeat! Fun and functional.
Yes, it has a name, and it's a signature sound that is the quintessential R&B/Soul beat, played on hundreds of records A MUST for all drummers. PLUS, there is a bonus variation with lots of ghost notes that's a real 'Mother'!
Jabo Starks grew up playing vaudeville and old school Gospel. You will here how both of these styles were mashed together to create this great beat that's unconventionally funky!
The Godfather of Soul, James Brown, and the great Jabo Starks laid down the law on how to play this mid tempo shuffle feel. You'll be doin' it for hours once you got the groove!
Playing a Soul groove that Swings is critical, and also difficult to play consistently. This groove will help you master that classic feel.
This classic Motown beat is a MUST, but here's a little twist that incorporates a blues R&B beat variation in this cool groove mashup!
One of the most difficult beats to pull off in all of R&B because of the tempo and complexity of the one handed 16th notes.
The Stax/Volt and Hi Record labels produced great artists, and the beats of drummers Al Jackson Jr. and Howard Grimes were the driving force. Here is a beat that is a must learn for every drummer!