I'm glad he mentioned how you need to drop it on the 4 every other measure, that's essential to the New Orleans feel. I used to hear that in street bands playing during Mardi Gras when I was a kid down there, it's a signature thing.
Oh man, thank you! This is the best intro and description of second line drumming I've seen. So many people get it wrong, and I think it's the lack of background knowledge.
Fantastic! I met Ernie in Perugia, Italy in 2011 when I was performing with Tribute To Miles during Umbria Jazz Fest. We hooked up a few times in Chicago as well. Great player. Great man.
Wow that was such a great lesson. Histry n drum lesson. I was wondering why we feel rythm so deeply. U can play something but then play something like a clave and instantly u and others respond to it like its literally in our dna
This is the way -- Funk isn't about "swing", it's about playing the right patterns. What he's saying here applies to all the styles of funk that very few people seem to be able to play correctly anymore.
Some are insisting that the New Orleans street beat goes back further than the late 1930s. Rather than waste arguments, I'll just ask for proof. A link to any recording that features that particular street beat that was made from 1880 to 1930 will be enough. If I'm wrong, I'll be happy to admit it.
It was part of the African heritage that was more systematically erased were Africans were enslaved by Protestants vs. Catholics. In NO it kind of survived because if the complex history of that city.
@@musamusashiThe clave is not a native rhythm to New Orleans or anywhere in the U.S. and you can tell that by the way it’s parsed and how it doesn’t function in the same way as it does in Afro-Cuban and Afro-Brazilian, etc etc music. The clave is a feature of timeline patterns, which is a rhythmic concept absent from U.S. music. In Cuban and Brazilian music and the West African cultures that influenced them (i.e., the Yoruba and Fon), the clave is essentially the “metronome” of the music and can’t be altered or broken within a single song. It is constant and continuous and it isn’t affected by the behavior of other rhythms. In contrast, African American (U.S.) rhythm is more influenced by the rhythmic principles of West African cultures that don’t use time-line patterns, such as the Mandinka, Jola, Hausa, Fulani, etc etc. These cultures have more simple (although still complex) rhythmic concepts and usually involve only a few drums and bells. Off beat accenting and swing are particularly unique and persistent rhythmic aspects of these cultures, and many drum pairings have a similar tonal relationship (i.e., high and low) to the snare and bass, which is probably why the rhythmic principles of these cultures were more strongly selected for in the U.S., where African drum-making traditions did not survive or evolve like they did in the Caribbean and South America. If you listen to Mandinka drumming, you’ll notice that the drummer playing the lower pitched drum always plays a repetitive pattern, while the drummer playing the higher pitched drum improvises. The lower pitched drummers pattern will change frequently. This bares strong resemblance to how drums work in pretty much all U.S. popular music going back to jazz, and how the snare and drum relates in African American drumming traditions like fife and drum blues and second line. If you listen closely, you’ll even hear iterations of what is known in jazz as the “big four” (what Ernie is talking about when he says “emphasize the four”) which is a rhythm important to fife and drum blues as well.
@@musamusashi I did read your comment. I’m just clarifying that it did, in fact, not survive, not even “kinda”. It was perhaps only reintroduced to New Orleans (assuming it was ever there before) when jazz started influencing and being influenced by Cuban and Brazilian music. That may be one of the few things Ernie gets wrong here, that the clave is in anyway an aspect of early jazz drumming. It absolutely wasn’t. In “Africa and the Blues”, Gerhard Kubick points out (and I’m heavily paraphrasing here) that time-line patterns are not something that a culture simply loses, and that they are in-grained rhythmic concepts that can’t be mutated by a mere change in instrumentation or what have you. The lack of time-line patterns in early jazz strongly suggests that they never existed in New Orleans musical culture, or at least not in the African American culture there. What did survive in multiple parts of the southern U.S. though, was the tresillo, which is technically the first half of the clave, as well as some peculiar variants thereof, although, it probably didn’t come entirely from the same West African cultures that it did in certain South American and Caribbean cultures. The tresillo can be heard in traditional Jola music being used in much the same way it is in African American (U.S.) folk music like ring shouts and on the banjo.
@@bluesmusicandwhatnot2845 i don't agree with this analysis: in Jamaica for example, the clave was present in some early music styles like Mento, but was later deliberately abandoned when music was americanized in both instrumentation and form. I hold my position, that more African cultural aspects, including some forms of clave, survived in NO compared to other areas of the US, due to the peculiar history of that city.
NOLA drumming as he teaches it, bears no resemblance to pioneer history. From around 1910 to 1940s the drums kept time because they were interested in hot jazz and swinging, not making lots of noise. The role of drums was to keep time so the other instruments could syncopate against it. When syncopation is played against syncopation each cancels the other out. And if anyone disputes that I invite them to submit a recording that features a street beat (on recordings that were made before 1940s).
Dude that's the problem..NOLA Jazz music comes from the Street!!. ..To this day!!!..Jazz is about improvisation at its root and core..It is something that can change on the spot..People were playing hot 🔥as early as the late 1885 and the early 1890s with Buddy Bolden in the Jazz music precession of the Secondline ( Not in a club , but in the streets)..Louis Armstrong got his start in the Wafers Brass Band which played in the strer..But the Music of New Orleans in general in reference to it syncopation goes back to the Afro-synchopated and beats of Congo Square..Please go and research Congo Square..There are the use of the Bamboula drum beat, Afro- Clave and even military march beat influences all in that Secondline beat..This ain't that dixieland crap..The white folks came up with who imulated the African Americans who made the music..This is the street beat which was made for the dance..Jazz was about the Dance in the beginning..( I challenge you to go listen to the U.S . Congress recordings on Jelly Roll Morton, Papa Oscar Celestine and Alphonse Picuo, Baby Dodds by Alan LoMax etc..)..It goes more in depth on the history and Beginnings of Jazz, street marches , Jazz funeral processions and benevolence parades in which the music was initially created Sir..So I respectfully disagree.. czcams.com/video/1IMMeEWD-2A/video.html
@@TheEmpireStrikes74 Well, your statement indicates you were there in the 1880s and 1890s. That means you are at least 130 years old. Thank you for clearing this up. I find it interesting that you refer to "some cheesy recording" then you ask me to listen to recordings. By the way, those Lomax recordings were made in the 1940s. My reference to recordings was made because those are the most accurate of historic sources we have at this time. And I have never heard a recording (cylinder) from the turn of the century that featured a modern street beat. In fact, the earliest I have found were in the late1930s. I'll grant there were probably versions done live in the street but that's just conjecture. And guessing isn't accurate.
@@TheEmpireStrikes74 czcams.com/video/lMCnFPAT9pc/video.html czcams.com/video/Rhfg6csXWw4/video.html czcams.com/video/TnqKwfU9S1M/video.html The above are three examples of how some *black* New Orleans drummers played before 1940. The "street drumming" you're referring to is the type of drumming that was reserved for marching/brass bands, even as early as 1929: czcams.com/video/12Br4yeT48Y/video.html, see 1:32-1:42. After 1940 the New Orleans sound began to shift towards Rhythm and Blues, and there was a strong influence from Cuba and Jamaica reasserting itself (it was always there, of course); elder drummers such as Baby Dodds and Zutty Singleton began to sound old-fashioned. Furthermore, jazz music wasn't merely developed in the street. Remember Funky Butt Hall? Or the Big 25 cafe and Tom Anderson's cafe, in Storyville? Early jazz evolved a great deal in these sweaty dives where prostitutes, pimps and other street folk went afterhours.
It's called bamboola. Just come to new Orleans. You'll hear it everywhere. But, it's the essential rock and roll beat. Some people call it the Bo Didley beat...
The SECOND example is bamboola/Bo Diddley/3-2 clave. But John Lanou is asking about the THIRD pattern at 3:33 which, as Alex Stewart says, is baião - more here: www.google.com/search?client=firefox-b-d&q=Bai%C3%A3o+beat
I'm glad he mentioned how you need to drop it on the 4 every other measure, that's essential to the New Orleans feel. I used to hear that in street bands playing during Mardi Gras when I was a kid down there, it's a signature thing.
Oh man, thank you! This is the best intro and description of second line drumming I've seen. So many people get it wrong, and I think it's the lack of background knowledge.
Thank you Mr Adams & crew - that’s some education right there 🟨
Awesome video. As someone who is trying to become more educated on Dixieland Jazz, this helped me considerably.
SO HELPFUL. He is amazing
Thanks Ernie, very helpfull for my drum memory.
Great insight and accurate understanding of Clave, Ernie!! Keep it up brother!!
This is just what I was looking for! Thank you!
Great historical background of why NO rhythmic palette is more complex and nuanced than in the rest of the USA.
So happy to have stumbled upon this great little lesson about a great place I know as NOLA. Thanks and Blessings!!!
Excellent lesson. Ernie you were clear and spoke and played clearly the style. Thank you Ernie.
Yup, you bet !
This is the real deal.
Excellent presentation, thank you !
Amazing lesson!!!!🥁🪘🥁🪘🥁🪘✨✨✨✨✨✨✨✨✨
Really interesting, thanks!
such a quintessential second line video ♡
That was excellent.
Outstanding.
great ernie, thanks!
Wow! Eons ago I studied with Ernie. Great drummer and great guy. Love you brother.
Fantastic! I met Ernie in Perugia, Italy in 2011 when I was performing with Tribute To Miles during Umbria Jazz Fest. We hooked up a few times in Chicago as well. Great player. Great man.
The spirit of Earl Palmer is alive and well! Thanks Ernie....beautifully played and explained!
Very cool
Wow that was such a great lesson. Histry n drum lesson. I was wondering why we feel rythm so deeply. U can play something but then play something like a clave and instantly u and others respond to it like its literally in our dna
Right on
4:34 to 5:00 is teh jam
Nice
It’s incredible how many styles of music can trace their origins back to African music and rhythms.
Sounds a bit like the beginning of "Billy Don't Be A Hero". Cool.
Clave bass is the heat.
🌹🙌🌹📯🌹
This is the way -- Funk isn't about "swing", it's about playing the right patterns. What he's saying here applies to all the styles of funk that very few people seem to be able to play correctly anymore.
Some are insisting that the New Orleans street beat goes back further than the late 1930s. Rather than waste arguments, I'll just ask for proof. A link to any recording that features that particular street beat that was made from 1880 to 1930 will be enough. If I'm wrong, I'll be happy to admit it.
20inch bass right?
Interesting bit about the clave. I had no idea, I thought it was purely found in Latin music like salsa
It was part of the African heritage that was more systematically erased were Africans were enslaved by Protestants vs. Catholics. In NO it kind of survived because if the complex history of that city.
@@musamusashiThe clave is not a native rhythm to New Orleans or anywhere in the U.S. and you can tell that by the way it’s parsed and how it doesn’t function in the same way as it does in Afro-Cuban and Afro-Brazilian, etc etc music. The clave is a feature of timeline patterns, which is a rhythmic concept absent from U.S. music. In Cuban and Brazilian music and the West African cultures that influenced them (i.e., the Yoruba and Fon), the clave is essentially the “metronome” of the music and can’t be altered or broken within a single song. It is constant and continuous and it isn’t affected by the behavior of other rhythms. In contrast, African American (U.S.) rhythm is more influenced by the rhythmic principles of West African cultures that don’t use time-line patterns, such as the Mandinka, Jola, Hausa, Fulani, etc etc. These cultures have more simple (although still complex) rhythmic concepts and usually involve only a few drums and bells. Off beat accenting and swing are particularly unique and persistent rhythmic aspects of these cultures, and many drum pairings have a similar tonal relationship (i.e., high and low) to the snare and bass, which is probably why the rhythmic principles of these cultures were more strongly selected for in the U.S., where African drum-making traditions did not survive or evolve like they did in the Caribbean and South America. If you listen to Mandinka drumming, you’ll notice that the drummer playing the lower pitched drum always plays a repetitive pattern, while the drummer playing the higher pitched drum improvises. The lower pitched drummers pattern will change frequently. This bares strong resemblance to how drums work in pretty much all U.S. popular music going back to jazz, and how the snare and drum relates in African American drumming traditions like fife and drum blues and second line. If you listen closely, you’ll even hear iterations of what is known in jazz as the “big four” (what Ernie is talking about when he says “emphasize the four”) which is a rhythm important to fife and drum blues as well.
@@bluesmusicandwhatnot2845 all true, but apparently you didn't read my comment.
@@musamusashi I did read your comment. I’m just clarifying that it did, in fact, not survive, not even “kinda”. It was perhaps only reintroduced to New Orleans (assuming it was ever there before) when jazz started influencing and being influenced by Cuban and Brazilian music. That may be one of the few things Ernie gets wrong here, that the clave is in anyway an aspect of early jazz drumming. It absolutely wasn’t. In “Africa and the Blues”, Gerhard Kubick points out (and I’m heavily paraphrasing here) that time-line patterns are not something that a culture simply loses, and that they are in-grained rhythmic concepts that can’t be mutated by a mere change in instrumentation or what have you. The lack of time-line patterns in early jazz strongly suggests that they never existed in New Orleans musical culture, or at least not in the African American culture there. What did survive in multiple parts of the southern U.S. though, was the tresillo, which is technically the first half of the clave, as well as some peculiar variants thereof, although, it probably didn’t come entirely from the same West African cultures that it did in certain South American and Caribbean cultures. The tresillo can be heard in traditional Jola music being used in much the same way it is in African American (U.S.) folk music like ring shouts and on the banjo.
@@bluesmusicandwhatnot2845 i don't agree with this analysis: in Jamaica for example, the clave was present in some early music styles like Mento, but was later deliberately abandoned when music was americanized in both instrumentation and form. I hold my position, that more African cultural aspects, including some forms of clave, survived in NO compared to other areas of the US, due to the peculiar history of that city.
NOLA drumming as he teaches it, bears no resemblance to pioneer history. From around 1910 to 1940s the drums kept time because they were interested in hot jazz and swinging, not making lots of noise. The role of drums was to keep time so the other instruments could syncopate against it. When syncopation is played against syncopation each cancels the other out. And if anyone disputes that I invite them to submit a recording that features a street beat (on recordings that were made before 1940s).
Dude that's the problem..NOLA Jazz music comes from the Street!!. ..To this day!!!..Jazz is about improvisation at its root and core..It is something that can change on the spot..People were playing hot 🔥as early as the late 1885 and the early 1890s with Buddy Bolden in the Jazz music precession of the Secondline ( Not in a club , but in the streets)..Louis Armstrong got his start in the Wafers Brass Band which played in the strer..But the Music of New Orleans in general in reference to it syncopation goes back to the Afro-synchopated and beats of Congo Square..Please go and research Congo Square..There are the use of the Bamboula drum beat, Afro- Clave and even military march beat influences all in that Secondline beat..This ain't that dixieland crap..The white folks came up with who imulated the African Americans who made the music..This is the street beat which was made for the dance..Jazz was about the Dance in the beginning..( I challenge you to go listen to the U.S . Congress recordings on Jelly Roll Morton, Papa Oscar Celestine and Alphonse Picuo, Baby Dodds by Alan LoMax etc..)..It goes more in depth on the history and Beginnings of Jazz, street marches , Jazz funeral processions and benevolence parades in which the music was initially created Sir..So I respectfully disagree..
czcams.com/video/1IMMeEWD-2A/video.html
@@TheEmpireStrikes74 Well, your statement indicates you were there in the 1880s and 1890s. That means you are at least 130 years old. Thank you for clearing this up. I find it interesting that you refer to "some cheesy recording" then you ask me to listen to recordings. By the way, those Lomax recordings were made in the 1940s.
My reference to recordings was made because those are the most accurate of historic sources we have at this time. And I have never heard a recording (cylinder) from the turn of the century that featured a modern street beat. In fact, the earliest I have found were in the late1930s. I'll grant there were probably versions done live in the street but that's just conjecture. And guessing isn't accurate.
@@TheEmpireStrikes74 czcams.com/video/lMCnFPAT9pc/video.html
czcams.com/video/Rhfg6csXWw4/video.html
czcams.com/video/TnqKwfU9S1M/video.html
The above are three examples of how some *black* New Orleans drummers played before 1940. The "street drumming" you're referring to is the type of drumming that was reserved for marching/brass bands, even as early as 1929:
czcams.com/video/12Br4yeT48Y/video.html, see 1:32-1:42.
After 1940 the New Orleans sound began to shift towards Rhythm and Blues, and there was a strong influence from Cuba and Jamaica reasserting itself (it was always there, of course); elder drummers such as Baby Dodds and Zutty Singleton began to sound old-fashioned.
Furthermore, jazz music wasn't merely developed in the street. Remember Funky Butt Hall? Or the Big 25 cafe and Tom Anderson's cafe, in Storyville? Early jazz evolved a great deal in these sweaty dives where prostitutes, pimps and other street folk went afterhours.
This is Swang???
At 3:33 what's he calling that kick pattern? The bayal pattern? I can't make it out.
Baião. a sub-genre of samba
It's bamboola
It's called bamboola. Just come to new Orleans. You'll hear it everywhere. But, it's the essential rock and roll beat. Some people call it the Bo Didley beat...
The SECOND example is bamboola/Bo Diddley/3-2 clave. But John Lanou is asking about the THIRD pattern at 3:33 which, as Alex Stewart says, is baião - more here: www.google.com/search?client=firefox-b-d&q=Bai%C3%A3o+beat
It's actually a very old RAGTIME pattern. Play that beat alongside the Maple Leaf Rag and it fits like a glove.
Your history on where and how it got invented is a little lacking sir. All due respect