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Drawing inspiration from the great Bass player Jaco Pastorius and his New York Band in the 80's, this funky groove uses a 16th rhythmic ostinato on the high hat, with a variation on the ride and bell. Probably the most challenging of ALL the shuffles, Pat takes the mystery out of these, and gives different variations to spice up your groove. Learn this, and the rest makes ALOT more sense The beat that started it all, the origins of this Mardi Gras Indian beat stem back to the Clave rhythm of Cuba, by way of West Africa. 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. Study the Evolution of Groove!
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Username Password Remember Me. Each groove comes with a pdf chart. In this classic Mardi Gras Indian beat, we are first introduced to the Cinquillo Rhythm and how it is derived and applied. This is an authentic, roots, second line march beat. In this video, Pat explains the origin of the rhythm, from West Africa to the deep south, and finally to the drum set. The origins of the modern drum set.. Get an Autographed Picture of Pat! Username Password Remember Me. Of all the grooves Earl created with the great Little Richard, this one is the fastest, and most difficult to achieve. 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. 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. Learn this, and the rest makes ALOT more sense When studying Mardi Gras Indian Beats and their evolution into popular music, this groove is a landmark in it's originality and complexity. This is a "swampy yet groovy" feel that is the essence of the second line vibe. Shuffle Series Part 1: Classic 50's Rock n Roll feel. Shuffle Series Part 2: 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.
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Shuffle Series Part 2: This is a real important part of groove history that shouldn't be ignored. In the 60's, this groove was boss, and it still is very relevant and applicable today. Playing a Soul groove that Swings is critical, and also difficult to play consistently. 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. Each groove comes with a pdf chart.