DAVID GARIBALDI THE FUNKY BEAT PDF

David Garibaldi – the Funky Beat – Download as PDF File .pdf) or read online. The Funky Beat (Manhattan Music Publications): : David Garibaldi: Books. View credits, reviews, tracks and shop for the CD release of The Funky Beat on Discogs.

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To me, that’s as deep as the jazz tradition,” says David Garibaldi, the funk master behind the mighty Tower Of Power.

David was a key figure in the development of Oakland funk, named after the city hhe spawned the style. From Tower’s debut album inDavid has crafted grooves that are part of the funk canon on timeless tracks like ‘Squib Cakes’ and ‘What Is Hip?

He was my advocate.

David Garibaldi – The Funky – PDF Free Download

When guys would get bugged because I was turning things around and they couldn’t find where the beat was, he was right there with me. Everybody has a defined role that really makes the music work. The dynamic of the jazz tradition is improvisation and the dynamic of the funk tradition is orchestration.

That’s how it all locks together. You can still have an organic thing that goes on. I got tired of a lot of the old stuff and wanted to simplify it somewhat so that’s what I did, but still there are arrangements to be played and things within the arrangements that you’ve got to do.

This is a band with an established musical tradition like Count Basie or the Village Vanguard Orchestra. If you come into an established band, I think the first thing you have to do is stylistically behave. The people that have stayed in the band and been the most successful, they have found a way to be themselves within that structure and create within that framework. This guitar player wouldn’t do that so we had to get rid of him.

The guy that we have now is a fabulous player and understands how we do things.

It works, and it works tremendously. Time can be fluid, it can be elastic, it can move, which is a different thought process because for a lot of r’n’b thinking it is supposed to be immovable. We move around a lot because it feels good to do that. It’s a beat, you play it.

The Funky Beat – David Garibaldi – Drumshack

It’s a perception that can be developed and improved upon throughout your musical life but it can also be your musical handwriting, how you perceive time. If it speeds up a little bit, if it slows down a little bit, that’s what happens in the course of your musical life.

In a way, it’s a reflection of your life but you baet certainly work on it and as you develop your life to become more of a stable person that can be reflected in your music and playing in a more stable way. Maybe that sounds simplistic but it’s true. It’s just not the way it’s done. No, it should be this. It should be that. That’s something we do with our band. If the time is going one way, we’re all going there. We’re in it together.

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It’s going to go where it’s going to go. We talk about ideas we want to try but we just play with each other. One kid asked, ‘If you could have us take one thing from this today, what would it be? He’s dunky big dude dwvid he plays like a freight train, he plays big like he is but he’s got that New Orleans thing.

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There’s a great groove and great pocket but within that it’s like not all the bolts are tight.

You can play those New Orleans-style beats but it’s not going to have that grease on it like happens when you grow up there. All those guys have got bolts missing – Stanton Moore, Johnny Vidacovich.

It’s just amazing down there. It’s in the air in that place. A lot of that has to do with having the proper size drums to match your conception of the sound you want. I always used to struggle with tuning. The TOP guys would get so pissed off because I was trying to get a sound and I didn’t know how to do it and I’d take hours. Setting up for recordings was a nightmare. That alleviates one major problem. If you have inch and inch drums and then a inch tom, you have a 1-inch difference and then a 3-inch difference.

Really that’s okay, you can get it to sound right but it’s a lot easier to get it to sound right if it’s 10, 13, inch or 10, 12, inch or even 12, 13, inch. The big thing is to have the sizes equidistant apart then the tuning is even within that scale you’re creating. Then I could take that drum that was in the middle, the inch drum, and I didn’t have to be trying to get it to sound deep enough because it was deep enough by virtue of the fact that it was the right size.

That allowed me to tune beah drum within its range. He would take one lug on each drum and he would de-tune it slightly so there yhe be a bend on the end of each note. You mic everything and you get an enormous sound. That comes from the James Brown, r’n’b vibe, I think of that as the basis of my sound. The bottom head is very, very tight like a table top and I adjust garialdi snare strainer so that when I tap the drum, like a ghost note, I hear the snare sound.

When I play a rim shot I want to hear the rim and the snare sound. If ravid is too tight you’ll only get it on the loud notes.

You can tell because if you play the ghost notes and it sounds like a tom then your snare is too tight. Keep tapping your drum and loosening the snare strainer until you hear just that right amount. If it is too loose you’re going to hear rattling snares. As you hit the drum and de-tune, you’ll hear the size of the drum start to deepen as the sound gets bigger and fatter so you’ve still got that real crack on the top but you have all this thickness underneath.

So that’s what I do with my snare. Even though it’s a metal snare you can still get it to sound really fat in the middle. That’s kind of like a cosmetic upgrade to the old Simon Phillips trick of rolling up a towel and taping it to the bottom where the head meets the shell.

He would only do one ffunky, the batter side. I use one for a inch on the batter side and one for a 20inch on the front side. That’s all that’s in the bass drum.

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Who decided that the hole was going to move from the centre, which was a pretty cool sound, to a smaller hole off-centre? I believe that created a lot of problems sonically for drummers trying to figure out how to get that ‘thud’ and that feeling in the bass drum, not realising they weren’t getting it because that hole was no longer in the centre.

When the hole is in the centre, the air is moving straight out so you feel the weight of the drum when you play.

Funky Beat : Book & 2 CDs

He had the most polished sound and that really resonated with me because I thought, man, this is very sophisticated-sounding aside from being technically interesting. It was very precise and clean, which I always dug so I gravitated towards that and when I started doing it myself I practised it and used it like, this is how. I want to communicate my ideas and then set about to refine it within the context of my playing.

It’s an ongoing process still.

The root r’n’b concept is no fills. Have the discipline to play one groove for the length of the song while resisting the temptation to ‘make it better’ by playing a fill. It’s your commitment to what you’re doing that sells it. He sells the most simple stuff because of his commitment to it. The new Cinque album, Catch A Corner, with Joey Defrancesco and Steve Gadd, it’s really good and one of the coolest things about it is there is nothing new under the sun but when you listen to him play it’s fresh and alive.

Places dsvid you think there should be a fill, he’s not playing any fills, all the places where we would think we’d be funkj it better’, he doesn’t do that. He just sticks the groove up gqribaldi ass. It’s like a probe. Watch the James Brown YouTube clips and you’re not going to hear one fill.

It’s just not the way it’s done in the world of James Brown. Keep those fills at home. Keep them locked up. That being said, there’s nothing wrong with fills and, done at the right moment, they’re an awesome enhancement to a great groove.

What I learned is that fills are secondary to the groove and for davvid to work, they must be in time and in context.

I think that if you look at daavid areas that you need to improve upon then all of a sudden things appear that need to get practised. I’m always looking at sections of tunes that I’m not performing right.

There are always new things to develop, but the main thing is if you look at your areas of need then there will be plenty of stuff to practise. Subscribe to Rhythm for expert tuition and interviews with the world’s top drummers each month.

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