Clyde S. - Drums Fred Thomas - Bass John Medeski - B3 Organ Fred Wesley - Trombone John Scofield - Guitar 1999, Video Workshop Series, Soul Of The Funky Drummers - Clyde Subblefields and John jabo Starks
@@bonzo8617 because there a mission where in the game you thieves steal instruments to resell on the black market and you have to recover them so the community museum isn’t shut down. This is one of the people you learn about and some of us are interested enough to search more information on some of the musicians spoke about.
This is an amazing example of pocket, groove, and feel drumming. He leaves so much space for the other guys to fill in, or paint over.. That is what playing with other people is all about. There is a time and place for everything regarding chops and you just have to have that maturity and musicality to know when to play and when to hold back. Mike Mangini Dream Theater fills and crazy beats would sound so stupid in a groove like this. This man is an absolute master of "feel"
lol... I just read a comment below that pretends to be a wise comment. Something about 'if you can't lay down a tasty groove like this....you need to rethink your drumming'. ROFL... asshole tries to suggest that he or ANYBODY can lay it down "like this". NO ONE can!!!!! "This man is an absolute master of "'feel"'. BRAVO! bmillerdrums, and thank you for getting it correct so that I could stop myself from typing a message to dipwad below about why he's a dipwad. Clyde Stubblefield actually HAD amazing chops! He just used them in ways that were so subtle that you nearly took them for granted. One night, I was playing double drums with him. I was young. He was 60. I had obvious chops - the kind that could easily impress a simple mind. I would playing a lot of fast double stroke patterns - taking a "percussionist type" role using cymbals, rims, shells of the drums, etc. Clyde would always crack up, smile and say something like, "wow". That night, we're playing something similar to "Mojo Working", I don't remember what it was. OUT OF NOWWHERE, during an instrumental solo, I feel like Lois Lane must've felt whenever Superman swooped in, and swept her up, up and AWAY!. Except, I'm on the top a train, going CHOOGA-CHOOGA....OH, THE JOY JOY JOY of flying. I squeezed down on my drumsticks (because I was always a chicken shit like that and never really learned to stay relaxed at those crucial moments), slowly look to my left and downward, and guess what? CLYDE "NO CHOP" STUBBLEFIELD's LEFT stick (he played Vic 7A's ... little twigs that most of of couldn't get to bounce with a spring attached to the tip) is playing the train pattern as he's singing with his voice, and swinging with his right hand on the ride cymbal. The FEEL. The SPEED. This was WAY BACK. Drummers we're using that rim-fulcrum technique for one-handed rolls a little more often by that time. But, you just didn't see something of that sort being used to play specific patterns that even the best of players NEEDED both hands to execute. God, Clyde was awesome. Another evening, I swear to God he made it feel like I was a rock on Dagobah and he was Yoda's force-brother come to visit for the weekend. I felt like I was levitating and all he was doing was playing to softest 12/8 slow blues groove I've ever heard and FELT. I remember looking at his hands and body during that song. THAT was a lesson x 2 that would impress ANY world class musician. His left stick came about an inch off of the surface of the snare and landed a perfectly consistent RIM-SHOT back beat EVERY TIME for 10 minutes! NO ONE else can do that!!!!! That is PROFESSIONAL athlete skill at the world champion level!!!! Holy crap!!! I've just spent 15 minutes typing a bunch of stuff that no one except me cares about. Unless, you enjoyed reading this... I apologize. Clyde not only DESERVES every IOTA of respects that can be gathered, but the persons (drummers) who get to listen to CLYDE's music DESERVE to be informed. They DERSERVE to be EDUCATED about WHAT to listen for, how to understand it, and perhaps, even how to replicate it, I that's even attainable. Peace, brother. Sorry for the rant and typing as if I'm just trying to brag about how cool I am for getting to perform with Clyde. I'm not cool. Clyde knew that. He still encouraged me to come with him, and he LET me come with him. If I didn't type this here then I'd probably have typed something worse down the page... lol..
To make this a fair comparison, I'm not sure if Mr Stubblefield's pocket drumming would fit on Dream Theater style, either. I think it's too... umm minimalistic. His playing certainly fits funk, which is dance oriented music. But if we are talking about prog, which is not obiously not for dancing, I'd love to hear more time signature changes, crazy tom riffs, thundering bass drums, etc. Yes, I'm aware that any good musician, no matter what genre is playing, knows when to play and when to hold back.
@@JohnJohn-ir5hw Thanks for sharing this. I understand about feeling levitated. Some people combine a natural gift with hard work wisely directed. These are people I see as a channel from some special place I wont get to, but am grateful I can feel it when I hear it. I share too and IDGAF if some think I'm bragging -as long as others get something from it, or it helps them get there.
@@anta40 EXACTLY. Music is not a linear ladder. Plus, as long as you are having fun in playing wtv you are playing regardless of the nitty gritty technicalities, dun stop.
Seriously, everyone saying he's not good, anytime you've heard the term 'funky drummer' it's this guy they're talking about, because he wrote 'the funky drummer', the most sampled drum groove ever, by a long long way. He's not showing off, that doesn't mean he's no good.
I saw Clyde three times in Toronto..1967...Craving plaza..1968 Maple Leaf Gardens....2003 Massey Hall... with put Clyde..I am a summer..long live the funk...1 and 3...Vic King
Man... I walked down to the local pub to see some band my buddy demanded I come to see... at age 22-23... I was a well meaning young Neil Peart/Buddy Rich/Roach/Blakey/Joey Baron/MMW/etc loving drummer kiddo... and I saw, from behind (the drummer sets up with his back to the big front windows at that bar) ... Mr. Stubblefield... playing groove after groove... without bothering to drop any big fills (but obviously he could if he wished)... and ... without actually knowing the history, or truly understanding who the man really was... I sensed a strange aura of authentic mastery that I cannot describe. Somehow he could simply hit the snare drum once...and it was a complete statement, interwoven with complex emotional forces, and as mystifying as any single brush stroke of an ancient master. It's been well over a decade now... and I am still making adjustments to just how much that experience affected me. I spent plenty of time catching up, listening, and getting over myself a bit on the drums... He is the embodiment of "laying down a groove". In the ancient world he would be revered by all of his people, as the one person among them whose gift it was to incite enthusiasm and dance. Even in this world, he is revered for his magic touch at the drums. A 'simple' groove, played by this Titan, has a shimmering, supernatural quality to it. It might be a good idea to create a website devoted to giving he and Jabo their due credit, for all of the music that has been made with their grooves, by using their life's work like paint out of a tube. They are still alive, and I would hate for them to leave the Earth without getting a proper "Thank you" from the many thousands of humans who have made livings off of their spark. Perhaps the most overdue MacArthur grants in history.
finnishguy845 I play drums in my school's prestigious Jazz Band. And I hardly stick to the sheet music. As long as the brass and rhythm section is keeping the tone, I can change the feel from eigths to triplets for example. It changes the entire song, in a way, and stops these excellent songs we play from dulling.
Conversely, "knowing" about music and notation doesn't automatically make you an emotionless robot of a player, either. For example, I started drumming when I was ten. I knew nothing. I learned more about rudiments and notation via our high school band program. I really loved drumming and music, so I went to college to study it. Around age 20, I became interested in singing, so I ended up with a degree in Choral Music, but I kept drumming throughout. Around age 25, I started blending singing and drumming together. I'm about to turn 41 next week and, looking at where my drumming is at now, after so many years of combined study, improvisation, AND self-taught exploration, I feel like my playing is, if nothing else, "well-rounded." So, yes, learning about notation, etc. isn't always the key to being a solid drummer if you have no "feel," but I would still encourage ANYone who IS interested in learning more about drumming, or just Music in general, to do so. You never know what may catch on. I never thought that I would be interested in singing, but I found it just as fascinating as drumming. But, if there is any advice that I could give to drummers (or any instrumentalist) who want to play in bands, it is this: You are there to serve the SONG, not yourself. I once asked an over-playing guitarist who refused to turn down to meet the mix (even after the club owner instructed him to do so) to "turn down a bit." He threw a fit and screamed in my face: "IF YOU DIDN'T WANT TO HEAR GUITAR, WHY ARE YOU EVEN IN A BAND?!?" I was like: "Well, first off, I joined a band to hear THE SONGS, not just GUITAR. Secondly, the PEOPLE WHO ARE PAYING US told you to turn the $%^& down. Thirdly, enjoy over-playing too loudly tonight, because you are $%^&-ing FIRED." To his credit, he at least finished the last set without issue. He thought I was joking about firing him. I wasn't. See what I mean, though? This guy actually thought that everyone wanted to hear HIM, not the actual MUSIC! He could've been a drummer, a guitarist, a bassist, even a singer, it wouldn't have mattered. I have no room for people who don't serve the song, and especially when we are getting paid to. Unless you are a solo performer, you have to learn how to "blend." If it's time for a solo, then solo. If it's a verse and you are noodling or doing fills behind or over the vocal line or melody, then you are just going into business for yourself and not the song. It's such a simple concept, yet some people either never learn it or lose sight of it over time. They get bored with repetition and overstep their bounds. If anyone knows about repetition, it would be us drummers. Playing "Brown Eyed Girl" for the thousandth time sure feels like working on an assembly line, but it's not our place to try and turn it into a Prog Rock/Jazz Odyssey if we're playing a tiny bar in the middle of nowhere. We don't have to play it note-for-note, but it has to at least resemble how the crowd remembers it, because, let's face it: Most people don't know what they like, they like what they know. Conversely, if you want to "jam," then join a Jam Band. If you want to be more free-form, go for jazz. It all depends on where you live, what sort of musicians are available to you, and what sort of venues are around in which to present your performances to. Where I'm at, it's almost all bars, so being in cover bands is the way to play and get paid. Maybe one-or-two jazz gigs a year. Weddings in the summer. The occasional travelling, high-paying casino show. That's it, really. Any sort of super-improvisational/experimental stuff has to be done at open mics, at home, or in the rehearsal space and presented at the rare weekend-long outdoor druggie music fest in the middle of the woods with zero pay and having to ptch a tent overnight.
Man, you know you are a freakin' legend when John Scofield plays background complementary guitar for you, Prince pays for your medical bills and about every drummer mentions you as unique and a milestone.
The angels now have a Funky Drummer, Thank you so much for your beautiful Funky rhythm's you will greatly be missed but not forgotten and the sounds of your funky Beats on earth plays on.
That's the beautiful thing about music. At least for me, my "pocket" has always been funk. I can relate to Clyde in the sense that I can't read music either. It's not something that you can put on to paper really. You have to FEEL IT! And let me tell you, I'm feeling this!!
Clyde told me when I was about 15 years Old "if you don't use it on every song get rid of it" "Hit that snare like you mean it" always stuck with me.. Straight up groove,, screw the haters that have to show off on every song and couldn't hold a solid straight groove and drive the bus...without having to constantly stroke their ego.. if you don't think he's good you are hollow..
clyde’s playing is obviously amazing, but when the guitar comes in, before the camera pans over, i already KNEW that was john scofield playing. unmistakeable tone🔥🔥🔥
I love this guy ! I don't know much about notes but I've been playing for 8 years. My way of learning is to listen and try and play it until it sounds correct!
I'd like to him and thank him for this beat, witch got me crazy 🤪, it electrified me gets me into another world like a metamorphosis, that's the true word!
Drummers are first are foremost musicians. Everything else is secondary - Clyde laid down some of the most memorable (and sampled) grooves because he served the music.
The band is so good, so tasteful, so tight. In Africa, home of the best and most diverse drumming tradition in the world, rhythms are taught that way. You learn the rhythm by singing it. Once you can sing it, as long as you have some technique, you can play it. It is the most effective and efficient way to learn rhythms.
The man,the myth,the legend. Original Funky Drummer and most humble person ever. Such a feel for the groove. Fred Thomas gets a shout out as I am a bassist.
Man... Mr.Stubblefield is burning the shit... There is no discussion about if good or not! Music has many faces, and for that one who still complain and criticize,instead of listening, learning and goin deep into it, maybe they never get it... Anyway, amazing playing by Mr Stubblefield, so in the pocket, that sound, musicianship, timing!!!!! , is amazing!!
Its unbelievable this guy could hum it and play it. It has taken me days to figure out all the patterns he plays. I think I have about 15 different combinations of hand to foot beats. He is incredible. I just cant remember them all they are close, but nothing like the way Clydes configures them. He plays from the soul. You are the best Clyde. Your snare sounds great love the deep sound.
There are so many great drummers, but there's something about Clyde Stubblefield that's just on another level. Best argument ever for not using a click track. Compare this to a techno track or anything with a sequencer. It's alive!
To all the snobs out there hung up on being a great site reader, Let us remember Buddy Rich , Dave Tough and for a longtime Gene Krupa did NOT read music. These 3 men were probably the most influential Drummers of the big band era. My teacher from long ago would say "You read notes..but you play music."He did teach me to read and it served me well in understanding things i was doing in a analytical sense and how to improve upon them.. If you cant swing or groove, no amount of ink on manuscript paper will get you where you want to go. Clyde is the proof of that. He made the music FEEL GOOD!!!
I love to see the 'old' old school kick out this stuff. The older I get as a player the more I realise it's about making beats and notes "count" rather than "impress". Anyway love this stuff
See, this is the essence of music. Like Clyde said, "if I can hum it, I can play it"! I love that. Just play the Goddamn music!! A'int that hard. True musicianship. Non existent today.... Sad!! Or maybe I should re-word that cause a lot of folks will be offended. So much bs technology takes away from stuff like this... A damn shame!!!!!! Cause there are still some hellified musicians out there!!!! Much love to all those who are still JAMMIN!! PEACE!!!
Barnards half time shuffle has taken a year to practice anytime I can and getting closer all the time. John Roberson said to me I asked about his solo and he kept saying go for the groove 😀
