Thursday, August 17, 2017

Groove o' the day: Milton Nascimento - Tudo Que VocĂȘ Podia Ser

My apologies for the lack of new posts. I'm putting together a new show of my paintings— first one in 15 years— and that has been occupying most of my spare time of late. Here's a straightforward little GOTD played by one of my favorite Brazilian drummers, Robertinho Silva: Tudo Que VocĂȘ Podia Ser, on Milton Nascimento's epic Clube de Esquina album. The groove happens mainly on an instrumental break between vocal parts. The crash happens every measure.

Silva plays through one of the verses without the crash:

What the heck, since the groove is pretty easy, let's do a practice loop too. At quarter note = 99 BPM, this will be a good right hand workout. Practice it with and without the crash. Here's a link to the actual song, which you'll love.

Wednesday, August 02, 2017

Groove o' the day: Billy Cobham - The Dancer

Today we have a funk samba groove from Billy Cobham, playing The Dancer on Stanley Clarke's School Days— one of the biggest fusion albums of the 70s. We're actually throwing a bone to the open-handed players here, because I think Cobham was playing his left hand on the hihat on this. The break in the bass drum pattern on 4 is unusual for a samba feel; the long sound on 4 is also very 70s-fusion to me. This is a very 70s groove.

There are three tom toms here— two medium-pitched drums and a 20" or 22" gong drum. If you don't want to screw with the open-handed thing, just play your right hand on a cymbal. It's not a big deal. The groove develops somewhat during the tune, but the toms are always prioritized. There is a recurring unison on the snare and tom tom on beat 4 of the first measure, which requires a fast move from the hihat to a drum. The quick open hihat on the e of 3 of the second measure is not really a regular part of the groove— you can continue the regular hihat rhythm there if you want.