A Mel Bay Publications, Inc. Webzine
April 2009 · Bimonthly
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In this issue: Techniques For Recording Drum Set: Part Two | Beyond The Funky Drummer | Grooving and Syncopated Fills Part 2 | Left Foot Independence: Lesson 2 | Beginner Systems in 5/4: Part 1
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Beyond The Funky DrummerGreat Drum Breaks of the 1960s/early 1970sby Dustin Ransom
Much as been written about Clyde Stubblefield’s legendary, timeless drum break on James Brown’s “The Funky Drummer,” (1969) and rightly so. Those few bars basically laid the groundwork for the inception of hip-hop only a few short years later, and are still being analyzed, sampled, copied, and mulled over by drummers everywhere. Yet during this same era, the idea of having a drum break within a song was common practice, particularly in soul, r&b, and funk circles. These were not necessarily drum solos, but short fragments of groove that often allowed the drummer to stretch out a little bit and add a bit of color to what was already being played. Presented here are five of these incredibly funky breaks. 
The great James Gadson lays down a relentless, syncopated, and propulsive groove during this drum/horn break that is simply undeniable. Check out the super funky offbeat 16th notes in the 4th and 5th bars and the fantastic bass drum/snare interplay that occurs throughout. 
Although Marlena Shaw is often more recognized for her great vocal jazz repertoire, she released a couple of superb soul-funk records in the late 60s that feature Chess Records drummer Morris Jennings laying down some deep grooves. Check out this tasty two-bar break just a few seconds into the track. 
This huge 1968 dance hit features Dwight Burns, drummer for the funk outfit The T.S.U. Tornadoes, “tightenin’ it up” on the drums with some slick snare/tom interplay before a nicely-executed fill to return to the original feel. 
On this instrumental one-hit wonder, drummer Tommy Soul plows ahead like a locomotive, laying down an unapologetic, aggressive groove. Check out Soul’s monstrous left hand chops, particularly in the 6th bar of the break. 
The legendary Clyde Stubblefield’s drum break near the end of this milestone in funk allows him to add a bit of coloration to the original groove. Stubblefield throws in some tasty tom hits and some nice snare/bass drum work, particularly in the last bar. About the Author Born and raised in Boonville, Indiana, Dustin Ransom now resides in Nashville, Tennessee where he earned his degree from Belmont University in commercial music. He is currently an in-demand multi-instrumentalist, transcriber, arranger, teacher, and programmer. Visit him at myspace.com/dustinransom. [ top ]
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