bingbing said:
Which song are you talking about? I'm pretty sure Stewart studied African rhythms quite carefully. It's possible that the "out of time" triplets were intentional. That motion is quite common in Guinean, Malinese, and Ghanaian drumming. None of the police began as "formally trained musicians", and their music was wonderfully raw and advanced at the same time.
Someone please define "groove" to me......the word is used so often to define a drummer. I think both Copeland and A.V.H. have proven their respective grooves in musical context.
bing
Bing,
You could be right that out of time triplets were intentional but I don’t think so in the context of the track. It just sounds badly played. The tune has Stanley Clark on Bass doing his ‘I wish I’d been a lead guitarist’ impression.
As far as defining groove and the use of throw away terminology, to some extent you are right; many adjectives get used to describe attributes of music and players because it’s difficult to put many into words.
By groove I mean that thing which sets drummers aside from drum machines. It is therefore much more than time keeping, although time keeping is fundamentally necessary. At its essence it’s the musical bit of drumming. The best way I can describe my understanding in context is by example
Some drummers seem to have an intrinsic style which creates a certain groove. A good example of this is to check out the Steely Dan making of AJA (part of the classic album series). Two great drummers play the same tune (Peg), first the original player Rick Marotta then Bernard Purdy. Both great drummers but the track sounds totally different when played by Purdy. He has a weight to his drumming where Marotta has lightness. They both play in time, but the groove is different. The skill of Fagan and Becker was to pick the best style for the track.
A tune which sums up groove because the playing is actually fairly ‘scruffy’ is Stevie Wonders’ I Wish. For my money Stevie Wonder is the ultimate groove merchant, not a great technical drummer. I don’t know how he does what he does, but if anyone does know, please tell me. I do know that in terms of drumming it has little to do with a technical degree of difficulty but is intrinsically musical and unique.
The ability to change style to fit the tune is what I believe sets Steve Gadd aside from almost everyone else. On Chuck E’s In Love he plays a little behind the beat (not slower) and it creates a heaviness to the sound and stops the tune sounding to ‘chirpy’. On One Trick Pony he drives the tune (I don’t mean speeds up) which generates an inertia and excitement. This seems to be created by subtle changes in the sub divisions of the rhythm coupled with specific accenting.
This is my take on it anyway and what I mean by groove.