Stanton
Moore, founder member
of Galactic and drummer for,
among others, Garage-A-Trois
and The Preservation Hall
Jazz Band, is one of the principal
exponents of the New Orleans
drumming tradition and this book
accompanies his two excellent
DVDs of the same title.After
some historical information,
Moore explains the traditional
approach to Second-line rhythms,
which simulates what a traditional
parade band snare drummer
and bass drummer might play.
A selection of alternating sticking
snare grooves, incorporating
the trademark buzz rolls,over
typical New Orleans bass drum
patterns are presented before
Moore examines ‘Playing In
Between The Cracks’. Working
on this chapter may well be the
key to playing these grooves
authentically as Moore discusses
those sometimes elusive feels
that reside somewhere between
straight and swung eighth notes
before continuing with some
unison hand grooves.
Moore begins his discussion
of a modern approach to
Second-line rhythms with a
beat shown to him by Johnny
Vidacovich and continues with
countless variations on that
beat which could be used in
second-line,latin or other styles.
There are a host of other beats
and feels including Mardi Gras
Indian grooves,and a discussion
of existing grooves with a New
Orleans twist including Mambo,
Guaguanco and Samba. This is a
truly excellent book and essential
for students of this genre. - BK ****
Stanton
Moore, founder member
of Galactic and drummer for,
among others, Garage-A-Trois
and The Preservation Hall
Jazz Band, is one of the principal
exponents of the New Orleans
drumming tradition and this book
accompanies his two excellent
DVDs of the same title.After
some historical information,
Moore explains the traditional
approach to Second-line rhythms,
which simulates what a traditional
parade band snare drummer
and bass drummer might play.
A selection of alternating sticking
snare grooves, incorporating
the trademark buzz rolls,over
typical New Orleans bass drum
patterns are presented before
Moore examines ‘Playing In
Between The Cracks’. Working
on this chapter may well be the
key to playing these grooves
authentically as Moore discusses
those sometimes elusive feels
that reside somewhere between
straight and swung eighth notes
before continuing with some
unison hand grooves.
Moore begins his discussion
of a modern approach to
Second-line rhythms with a
beat shown to him by Johnny
Vidacovich and continues with
countless variations on that
beat which could be used in
second-line,latin or other styles.
There are a host of other beats
and feels including Mardi Gras
Indian grooves,and a discussion
of existing grooves with a New
Orleans twist including Mambo,
Guaguanco and Samba. This is a
truly excellent book and essential
for students of this genre. - BK