Deep Blues: Rhythm

One of my favorite activities is playing very simple two or three-string chords in rhythm parts on more sophisticated, perhaps organ trio or jazzy style blues shuffles. Examples of this sound include "Organ Grinder Swing" by Jimmy Smith with Kenny Burrell on guitar and "All About My Girl" by Jimmy McGriff.This sound gained popularity in the early 60s, characterized by a trio of organ, drums, and guitar playing blues shuffles. These were danceable grooves infused with a sophisticated jazzy blues style. Guitar players often played big, lush ninth and thirteenth chords.Consider a shuffle in the key of F, with a standard walking base. The guitar often plays accents like a 9th chord or a 13th chord, producing a beautiful sound.Albert Collins, one of my biggest heroes, was unique. He played in an open minor key tuning with a capo and was intrigued by the sophisticated jazz blues sound. Instead of playing big lush jazz chords, Albert would approximate the organ right hand comping with just two notes, capturing the essence of the whole thing.The beauty lies in the simplicity: two notes, the seventh and the root of the key. For the four chord, move the bottom note down to get the third of the four chord. For the five chord, move up two frets. This approach allows for a percussive, almost country blues boogie rhythm. In the context of a more sophisticated swinging shuffle, it creates an engaging push and pull dynamic and leaves ample room for other instruments.I owe much of this unique approach to Albert Collins. It’s versatile, adaptable to various styles, including funk grooves. There’s something profoundly beautiful about eliciting a rich sound from just two strings.

In this lesson series, we will explore the art of creating rich, percussive textures in a 12-bar blues format, specifically within an organ trio style shuffle in the key of F. We will break down the technique of using just two strings to weave a percolating rhythm that not only supports but elevates the overall musical piece. We will delve into the skill of suggesting chord changes with minimal hand movement, employing little half-step fills to add depth and dimension. Accent enhancements to enrich the sophisticated jazz shuffle will also be covered, offering insights on how to make the rhythm cut through and support the overall melody, creating a harmonious and compelling musical experience.

In this lesson series, we will explore the art of creating rich, percussive textures in a 12-bar blues format, specifically within an organ trio style shuffle in the key of F. We will break down the technique of using just two strings to weave a percolating rhythm that not only supports but elevates the overall musical piece. We will delve into the skill of suggesting chord changes with minimal hand movement, employing little half-step fills to add depth and dimension. Accent enhancements to enrich the sophisticated jazz shuffle will also be covered, offering insights on how to make the rhythm cut through and support the overall melody, creating a harmonious and compelling musical experience.

In this lesson series, we will explore the art of creating rich, percussive textures in a 12-bar blues format, specifically within an organ trio style shuffle in the key of F. We will break down the technique of using just two strings to weave a percolating rhythm that not only supports but elevates the overall musical piece. We will delve into the skill of suggesting chord changes with minimal hand movement, employing little half-step fills to add depth and dimension. Accent enhancements to enrich the sophisticated jazz shuffle will also be covered, offering insights on how to make the rhythm cut through and support the overall melody, creating a harmonious and compelling musical experience.

Right now, I want to dive into one of my favorite grooves and celebrate one of my favorite players in the process. There's a fantastic variation of the shuffle known as the flat tire. This groove is special because it emphasizes the upbeat, a technique achieved by the drummer playing every upbeat on the snare drum, which gives it that distinct “flat tire” feel.You’ll often hear this groove in Texas blues. For instance, Bobby Bland’s song "I Don’t Want No Woman" features it. One artist synonymous with this groove is B.B. King. B.B., my favorite guitarist, also shines as a rhythm guitar player, even though he seldom acknowledged his prowess in this area. He once said he didn’t really play chords too much, yet his chord stabs during horn solos were always impeccable. His style, influenced by the big brass sections popular among Texas blues artists of the '50s and '60s, blurred the lines between rhythm and lead parts.The use of sixth chords and similar techniques helped create those big, brassy chord accents. When playing in a band, the extent to which you blend rhythm and lead depends on your judgment and the song’s context. Sometimes, taking a step back allows other elements to shine, while other times, your guitar can be front and center, echoing the energy of a vibrant horn section.The flat tire shuffle offers a dynamic platform for anticipating upcoming chords and downbeats, creating a forward motion in the music. It allows you to lock in with the drummer's upbeat snare drum rhythm. My approach involves minimal hand movement to transition between chords, a technique influenced by voice leading, where notes of one chord are close to those of the next. For instance, B.B.’s chords often transition smoothly from a sixth chord to others, each change adding a different flavor to the music with varied sustain and attack.This style allows for colorful accent chord work while maintaining the groove’s integrity. Achieving the flat tire feel involves specific left-hand techniques, including the timing of lifting your fingers and occasional right-hand muting. The goal is a staccato effect, with each chord coming out cleanly and distinctly for that sophisticated, uptown sound. I sometimes sprinkle in single note embellishments, playing around with chord shapes to enhance the melody’s richness.

In this lesson series, we will explore the nuances and techniques of playing rhythm parts over a flat tire shuffle groove in the key of C. Participants will learn the art of transitioning between different playing styles across three choruses to create a dynamic and engaging musical experience. The journey begins with a staccato approach, evolving into a more resonant, ringing out style with high note embellishments inspired by BB King. The climax features a horn section shout chorus style, showcasing how varying rhythmic approaches using the same chords can profoundly impact the song’s character and audience’s experience. Each technique will be demonstrated and broken down in detail to offer a comprehensive learning experience.