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Author Topic: The Famous Gadd Groove  (Read 1019 times)
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Chris Whitten
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« on: April 18, 2008, 01:13 AM »

50 Ways.......

Has this been posted before?
I've never seen it before.
Notice how quiet he plays:
<a href="http://www.youtube.com/v/sZZLLYEzKE8" target="_blank">http://www.youtube.com/v/sZZLLYEzKE8</a>

After watching it in solo, I think I might actually be able to play that groove.
Of course I would never have come up with it in a million years.
That's where the genius is!
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jnyman
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« Reply #1 on: April 18, 2008, 02:05 AM »

I spent an afternoon with that clip... and my admiration for Gadd just went up and up... he's come up with such great, musical stuff that just happens to be technically difficult... it's astounding. and he did most of it on the fly, under pressure... and maybe even a little stoned. An astounding talent that took me some learning to appreciate.
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Chris Whitten
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« Reply #2 on: April 18, 2008, 03:08 AM »

and he did most of it on the fly, under pressure...

Yes, that's a very important point to make.
Scary stuff.
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« Reply #3 on: April 18, 2008, 07:19 AM »

50 Ways.......

After watching it in solo, I think I might actually be able to play that groove.
Of course I would never have come up with it in a million years.
That's where the genius is!
I'm totally with you on that!
If it wasn't for the video and transcription, I never would have been able to play it.  But I got it!  Now, if I can only get my band to play the song........... Roll Eyes
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« Reply #4 on: April 18, 2008, 09:12 AM »

I wonder what we would come of with if we only had the guitar and vocal track to listen to...I don't know how they wrote the tune originally, but for us, if we only had those tracks, what beat would we use?
Probably playing a HH rimclick beat, or play 16th on the HH with some BD and then into the funky part. Who knows...but it is so inventive what he played and on other Simon and Garfunkel tunes, like "Late in the Evening". Very cool.

Thanks for putting this on here, its always good to see the correct way of doing it, its important, after seeing it butchered so many times by those who don't know the uniqueness of the strokes and left foot. And even his hitting both floor toms, I always forget that part.
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« Reply #5 on: April 18, 2008, 09:34 AM »

If you are really serious about wanting to learn this ...
Up Close (Manhattan Music Publications) is the transcriptions from the video. You get the book plus charts for the music stand, and at the time, a cassette tape. I don't know if they've updated this with a CD or not.

The footage is from the old VHS (now available on DVD), Up Close, Steve Gadd.

The notation for "50 Ways ..." in Rick Latham's book Advanced Funk Studies is completely wrong ... at least as Gadd actually played it.  I do believe this erroneous notation was fixed/corrected in Rick's revision of the book by the same title, but I haven't seen this to confirm that.

   "50 Ways To Leave Your Lover"
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New York Frank
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« Reply #6 on: April 18, 2008, 11:06 AM »

I don't suppose anyone would be inclined to write it out here?    Smiley

I can't see the video yet - at work - but actually, with Bart's clear audio clip, I think I'll be able to work that out.

You know, it would be kinda fun to take gems like these and have threads where everyone posts an MP3 of their performance of it.
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« Reply #7 on: April 18, 2008, 11:20 AM »

I don't suppose anyone would be inclined to write it out here?    Smiley

I can't see the video yet - at work - but actually, with Bart's clear audio clip, I think I'll be able to work that out.


That's a good clip (the VHS/DVD is great, despite the lame interviewer).  Once you see him play it, it'll make a lot more sense.  Perhaps even more than having it written out.
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« Reply #8 on: April 18, 2008, 02:48 PM »

forget 50ways  Grin , his 4 stick mozambique is what really kills on "up close" if you ask me.  I would buy that video again with the transcription just so I can finally play it correctly!

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New York Frank
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« Reply #9 on: April 18, 2008, 04:58 PM »

I just checked out the video.  That is Wicked Cool.

Now That's a creative mind and an artistic heart.

Very cool.
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« Reply #10 on: April 18, 2008, 05:03 PM »

seems to me you could probably devote an entire drum forum to "Gadd-isms", no?  Smiley

There's that very cool fill he does in "Chucky's in Love", or the one-take solo in "Aja", or  anything Paul Simon, or the stuff he's done w/ Chick Corea, or, or, or...

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« Reply #11 on: April 18, 2008, 05:56 PM »

Now, if I can only get my band to play the song........... Roll Eyes

Try to convince them, after all there must be......50 ways!   Grin
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« Reply #12 on: April 18, 2008, 06:52 PM »

The isolation of the parts that Gadd demonstrated was the breakthrough for me.
Listening to the audio rather scared me, as would seeing a transcription. But I admit that's my fault, not the fault of the educators.
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« Reply #13 on: April 18, 2008, 07:39 PM »

Obviously, Gadd's amazing talent to groove and innovate shows up in everything he plays. But, talking of creative drummers, why is no one ever talking 'bout Ringo Star Huh He's (with guys like Gadd and couple others) one of the few drummers you can ear the grooves without music and guess right away the song being played. Appart the fact that he came up with so many unique grooves and fills, he never really approach drums like...well let's say it...a "drummer". (exept the early stuff) Always played for the tune, not himself or others. Anyways, i could go like that for hours (loll) but hey, just though it would a cool specimen to talk about. (even though all the storys 'round him playing or not on the recordings) Maybe that's why it sounds so unique after all...loll. Don't know, let's talk about it !!

Oh yeh, almost forgot... Gadd RULZ and all of you s'well for noticing is tremendous genious !!!   
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Chris Whitten
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« Reply #14 on: April 18, 2008, 08:33 PM »

why is no one ever talking 'bout Ringo Star Huh

You make good points, but have you looked around Drummer Cafe for past threads?

In fact Ringo has been discussed at length here quite a few times, and the overwhelming attitude has been positive towards him and his drumming legacy.
Of course Steve Gadd gets discussed here a lot too, but I thought this old clip was worth posting anyway.


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New York Frank
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« Reply #15 on: April 18, 2008, 08:33 PM »

... must ... resist ... temptation ... to comment ... about ... mentioning ... Ringo ... when ... discussing ... the ... genius ... of ... Gadd ...

 Grin
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« Reply #16 on: April 18, 2008, 08:43 PM »

Okay kids, I took the time to write it out for you ... with all the stickings.




I'll probably go ahead and make a lesson out of this and post it in my 5-Minute Lessons soon.
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Chris Whitten
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« Reply #17 on: April 18, 2008, 09:59 PM »

Edited........

... must ... resist ... temptation ... to comment ... about ... the... genius... of ... Ringo ... when ... discussing ... the ... genius ... of ... Gadd ...

Wink


A five minute lesson would be fantastic.
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« Reply #18 on: April 18, 2008, 11:56 PM »

It is kind of funny to me that this thread came up because I have been trying and trying to come up with a groove for the community solo that is Gadd like, specifically something along the lines of 50 Ways. I didn't want it exactly but something unique that just blows it out the water. So far, I have absolutely nothing. It really makes you appreciate just how great Gadd really is. Playing is one thing, which he obviously does well, but creating like he does is just unbelievable. I play nothing like him, in reality, but I sure do like his stuff.
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Chonson
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« Reply #19 on: April 19, 2008, 02:14 AM »

I have nothing to say about this that hasn't been said 10,000 times before...

but this groove absolutely kills me every time. The incredible sense of space and time between the notes just kills me. It feels like you could have a meal between some of the notes, such a relaxed and mindblowing command of time. To me, this is one of those rare grooves where what isn't played (and not from the sense of, "What us plebes would play" but rather those beautiful silences) is almost more amazing than what is. That immense quarter note on three puts just a stunning amount of space into it. Contrasted with the 32nd notes and their placement... just... wow.

Like I said, nothing new, but there it is: my ode to this incredible pattern.
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boomka
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« Reply #20 on: April 19, 2008, 03:22 AM »

The isolation of the parts that Gadd demonstrated was the breakthrough for me.
Listening to the audio rather scared me, as would seeing a transcription. But I admit that's my fault, not the fault of the educators.

I originally learned the correct sticking/footwork from a transcription, but like Chris I tend to learn a lot from watching things done. Seeing them done provides an insight into some of the subtleties of the part that can't be expressed as well in notation. Things like small dynamic changes through the bar, internal dynamics (sound levels), the emotional mood, and even sometimes the body language of the player reveal so much about the part.

For instance, you pointed out the volume Steve played at. That's something that can be expressed by dynamic markings to some degree, but those are often relative. Really important elements like the articulation of the two BD 16th notes on the "a" of 2 and on 3 aren't usually notated. Those are played bi-BOOM. Play them as BOOM-BOOM and the pattern loses its swing. In this video we don't get to see his feet, but elsewhere we can see the technique he uses on the foot pedal to get that "bi-Boom" articulation. Those small details are the real nitty-gritty of Gadd's style.

Watch how his body sways into 3 - perfectly expressing the rise and fall/tension and release of the groove. It's like we breathe in on 4...1...2...and out on 3. Rest and breathe in again. Beautiful.

Anyway, here's another video of Gadd recently added to Youtube. Part way through there is another example of Gadd playing open-handed linear parts and generating a killer funk groove.

<a href="http://www.youtube.com/v/jSssS67uXOQ" target="_blank">http://www.youtube.com/v/jSssS67uXOQ</a>

Youtube can be a really great thing.
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« Reply #21 on: April 19, 2008, 06:30 AM »

This video (in glorious stereophonic technicolour) has been on Drummerworld's "clinic" section for some time, along with its transcription (which Bart has unsurprisingly nailed earlier in the thread):

http://www.drummerworld.com/Drumclinic/stevegadd50ways.html

If you've never checked this section of Bernard's site, do so: there is much treasure to be found.
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« Reply #22 on: April 19, 2008, 06:35 AM »

My friend just bought a super cherry set of Black Yamaha Rc's for 500 bucks.  DAWG.

There is like no way I'll ever play like Gadd.  We are stylistcally too far apart, but it's cool to watch these videos.  That left hand of his just kills!  I mean I can fake it but there is NO WAY LOL.

Is that Will Lee on bass?  Whatta classic.
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Chris Whitten
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« Reply #23 on: April 19, 2008, 06:37 AM »


If you've never checked this section of Bernard's site, do so: there is much treasure to be found.


They are so slow to upload I usually give up.  Undecided
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New York Frank
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« Reply #24 on: April 19, 2008, 07:17 AM »

Coupla  echoes of recent posts:

1. Yeah - the left hand is amazing.  Just about anyone can probably
    learn from watching how he applies his left hand.

2. He plays with his entire body.  Every muscle and breath is tied to the play.
   Very cool.

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« Reply #25 on: April 20, 2008, 01:18 PM »

Frank, type in "Steve Gadd" in YouTube and watch away. 

Or, go to Drummerworld.  From there, select Videos at the top.  Scroll down to Gadd and go from there. 

 Wink
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« Reply #26 on: April 20, 2008, 05:48 PM »

I may never fully recover from this exploration.  Smiley

I have spent a Great Deal of time playing this today.   Having a Ton of Fun with it.
Technically, it's rather simple.  Any of the unduplicatable secret sauce comes from Steve's heart.    Smiley    You just can't fake the secret sauce.    Smiley    I doubt I'm copping any of that.  Smiley

I'm going to have to pursue meeting Steve.  I have a sorta kinda connection to a key member of the Paul Simon band - via a colleague of my wife.    When I asked my wife - so, tell me, what drummer does so-and-so play with these days,  I got the dopey answer: "Oh, some Steve somebody.  Steve Gadd or something like that."   

I'm gonna have to find a way to shake his hand someday, before I have to check out myself.

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« Reply #27 on: April 22, 2008, 12:23 AM »

A vital part of the "swing" to the 50 Ways groove, as heard on the Paul Simon recording, is the tambourine played on the "ands" of every beat.  It really adds forward momentum to the riff.  Then on the chorus ("you just slip out the back, Jack...") the tamb switches to the downbeats which sets up Gadd's cool off beat hi-hats stuff.

Check it out:
<a href="http://www.youtube.com/v/TvZHNBOkNA8" target="_blank">http://www.youtube.com/v/TvZHNBOkNA8</a>
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« Reply #28 on: April 22, 2008, 04:46 PM »

If you are looking for more Gadd stuff ... I've added more videos to the Drummer Cafe including footage from the recent Steve Gadd - Master Series. The footage was shot during Steve's "Mission From Gadd" clinic tour.
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« Reply #29 on: April 22, 2008, 05:08 PM »

And it's also worth reminding you that Gadd features more than once on Mr Acrolite's guide to 'Grooves Of Doom':
http://www.keithcronin.com/groovedoom.html
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