The Groove

In my opinion, the fundamental principle in developing a groove is --- patience. This might seem odd at first read, but here’s why I think patience is the key.

The “groove,” as an experience, is difficult for most folks to describe. It’s kind of like “Well, I can’t tell you what it is, but I know it when I feel it!” In that regard, the groove is a very personal thing, so what I’m about to share is just one point of view. Let me describe my idea of a groove, as I like to experience it.

First, there is a physical component to the groove. You not only hear it - you “feel” it – low in the gut. It moves you. This physical response to the groove is instantaneous and very sensitive to the rythms of the bass and kick drum. This is why “locking in” the bass with the kick drum typically has such an appealing and powerful effect on any tune.

Secondly, as this physical component to the groove is so responsive, so sensitive; the groove should be comfortable. I'm not using the word “familiar,” cause - hey - nothing's better than a great new groove.  But, some familiarity helps increase a groove’s accessibility by the audience (i.e., a strong backbeat).  New rhythms can be employed to great effect – particularly if the experience is a comfortable one for the listener. It needs to "fit."  Remember when "Graceland" hit the shelfs?  Or the first time you heard Little Feat?

 Comfort is also critical to the groove because the best musical experience, for both the musician and the listener, is one that “tranports” the audience/performer – a “transcendent” experience, if you will. It carries us in “the pocket.” A cozy place, with well-defined boundaries – but plenty of room to put stuff in. Of course, the fuller (more busy) the pocket gets, the more restrictive it gets – the fewer choices it offers. There is limited room in the pocket, so – that space which is taken up by the rhythm section leaves less for the non-rhythm components of the song (um, your vocalist and your guitar player).

While the pocket has room, the pocket is also strong – there is a re-assuring nature to it. It is well-defined, remember. There is a reliability to it. Everyone would like to know they can count on it being there. Therefore, a constantly and rapidly evolving pocket can quickly become no pocket at all.

So, because the groove is both a physical and auditory experience, the audience – once captured in the pocket – is held by it. Now, just be conscious that there are others along for the ride. Don’t make it too bumpy. Give the groove time…… time to develop – slowly. Experiment with subtleties before offering up departures from what has locked everybody in. Target simple alterations like having the kick lock onto the bass, flirt with the timing on the backbeat – drop a backbeat here or there, or use 8th note variations from the backbeat rhythm.

Please! Make that backbeat POP! As a bass player, I lock onto the snare as much as I do the kick, perhaps even more. The snare typically occupies space by itself.  Let me repeat that - The snare typically occupies space by itself – both tonically and rhymically. When it drops, there really isn’t anything else left to cover that space. That’s why it is important. It is also why subtle variations on a POPPING snare beat can have dramatic, yet simple effects on the pocket and groove.  And this is also why a bassist - who gives the snare room - makes for a happy band.

Bassists, let’s start our explorations by first focusing on simple things like, well, letting your notes fill the whole space alloted for them. I know, this sounds elementary – but, trust me – we don’t do it nearly as often as we should. It isn't so much the note that's played, it's how it's played. Prudent use of ghost notes, altering note attacks, playing in front of (or behind) the beat, and note lengths (staccato/legato) are all ways to gently “hone” the groove even further. If done correctly, your audience will be transported, without losing too many along the way.

As the rhythm section becomes more comfortable with the groove, magic starts to happen. We begin forgetting about how to play the figures, and learn to relax and listen more – both to ourselves and our bandmates. Things become tighter. More honed. A fine “groove” has developed. The mechanics and machinations have been left behind…we’re groovin'.