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Messin Wid Da Bull
By Jeff Salem
Edited by Joe Bergamini
Conceived by Spencer Strand
Turn It Up & Lay It Down CDs produced by Spencer Strand
All songs © DrumFun Inc.
Executive Producers: Rob Wallis and Paul Siegel
Book Design by Joe Bergamini and Willie Rose
Music Engraving by Willie Rose
Cover Design by Rick Gratton
Cover Photo by Neal Burstyn
Photos by Neal Burstyn/NTB Creative, Rob McNeil, and Philippe Lapointe
Catalog HDBK18/HL6620127
ISBN: 1423466116
CD Credits:
Executive Producer: Spencer Strand
Tenor sax, horn compositions and arrangements: Josh Harris
Bass guitar, rhythm track compositions and arrangements: Dave DiMarco
Trombone: Matt Haviland
Trumpet: Scott Wendholt
Keyboards: Jon Hall
Horns recorded, mixed, and mastered at The Living Room, Stony Point NY
Engineered by Frank Dickinson
Pre-production and engineering by Mitch Shaivitz
Rhythm tracks recorded at Green Hill Studios, Abingdon MD
© 2008 Hudson Music LLC
International Copyright Secured. All Rights Reserved. No part of this publication may be reproduced
in any form or by means without the prior permission of the publisher.
Printed in the USA
www.hudsonmusic.com
Messin’ Wid Da Bull
A Word from Spence
About the Author
About the Recording
Online Examples
Key
Acknowledgements
Introduction
PART 1
Building Your Funky Beat
Broken 16th-Note Patterns
Paradiddle Sticking Patterns
Linear Sticking Patterns
Fill Shop
Putting It All Together.
PART 2
Chapter 1. Burn the Bridge
Chapter 2. Laid Back in Chi-Town
Chapter 3. Blood, Sweat & Beers
Chapter 4. Calif-Horn-Ya
Chapter 5. Trump Tower
Chapter 6. Tiujana Fool Around
Chapter 7. Dead Saxy
Chapter 8. Punch Drunk
Chapter 9. Stab
Chapter 10. Brown Baggin’
Chapter 11. Bad to the Bone
Chapter 12. Saturday Night in Memphis
Chapter 13. Lucky Chapter 13
Resources: Funklopedia
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Messin’ Wid Da Bull
About the Author
Jeff Salem is an internationally recognized drummer based in Toronto, Canada, who has performed in over 60
countries worldwide.
His professional career started in his late teens, performing and recording with well known rock bands such as
Fist (A&M), Sword (Aquarius), Saints & Sinners (Savage/BMG), Lee Aaron (Attic), Randy Bachman, Robben Ford,
Coop-De-Ville, Kalan Porter (Canadian Idol Winner 2004), and many other artists.
Jeff has also performed on many cruise ships as a player in the orchestra as well as a band leader. He is known
in the industry as a versatile drummer, performing and reading all styles of music. He had the opportunity to
perform on a millennium cruise to Antarctica working with various artists including The Chieftains, Diana Krall,
Natalie McMaster, Art Garfunkel and actor Dan Aykroyd.
Jeff is actively involved with music education in many school boards, performing percussion workshops and clinics to students of all grades.
He has become a public motivational speaker, inspiring students to learn a musical instrument. His program is
entitled “Music Is My Passion”. He has delivered this performance to over 500 schools in the past 15 years.
Jeff is involved with the program P.L.A.S.P. (Peel Lunch & After School Program). He offers his hand-drumming
clinic performance "A Little Drumming In Everyone" to this program. It caters to youths between the ages of 4
and 12.
Jeff has released three instructional videos: Groove-A Diddles, Drumology, and Double Bass Vocabulary-Vol.1.
He has performed at many music trade shows including the NAMM show, both in Anaheim, CA and Nashville, TN;
the Musikmesse in Frankfurt, Germany; Music West in Vancouver, BC; Cape Breton International Drumfest in
Sydney, Nova Scotia; Guitar Workshop Plus in Oakville, ON; and Canadian Music Week in Toronto, ON.
Jeff Salem is a freelance writer for the magazines Canadian Musician and Modern Drummer. He also maintains
a large roster of students for private instruction at J.S. Music Studio (his teaching facility in Brampton, Ontario).
Jeff Salem is endorsed by Yamaha drums, Sabian cymbals, Vic Firth drumsticks, Evans drumheads, Latin
Percussion, Mountain Rythym, and HQ Percussion (Real Feel Pads).
Please visit his websites at www.salemdrum.com and www.jsmusicstudio.com
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Messin’ Wid Da Bull
Introduction
I was introduced to the Turn It Up & Lay it Down series from my friend, the creator and innovator Spence Strand,
over five years ago. I thought it was a great tool for drummers to understand how our parts work with everything from bass guitar lines and piano montunos to full band compositions in the style of rock, metal, jazz—and
now including this funk series. As the title says “What Do You Get When You Mess With The Bull?” The horns! Yes,
that’s right! This CD has it all! Thirteen full songs with talented musicians who recorded these compositions with
influences from many popular horn bands of the ’60s to present. You will have a chance to sit in the driver’s seat
and experience performing tracks with a band consisting of bass guitar, electric guitar, keybords, piano, trumpet, saxophone, and trombone. In this book you will learn how drum parts work in this style, and how to read
through a band rhythm chart. Each song is divided into five sections:
1.
2.
3.
4.
5.
Information on the song
Grooves for the song
Full chart
Quick road map
Drum fill ideas
This book will also include a section on how to create your own funky beats, a page of fill ideas, hi-hat foot patterns, hi-hat and ride cymbal ostinatos, and a resource for great listening and instructional material in this style.
Let ‘s take a look at each section in detail and then mess with that bull!
Getting Started
My first advice is to listen to one of the tracks without playing along. Get a feel for what it’s all about. The next
step I would suggest is to have a look at either the full chart or the quick road map, and listen to the song to
see if you can follow along. No drumsticks are required yet. What’s most important in reading a chart is not to
get lost. Try to follow along carefully from the beginning to the end.
Next step: grab your sticks and have a look at each beat from every section. Even if you are an advanced player, I encourage you to go through each beat and see how they vary from level to level. Always start off at a slow
tempo (without playing to the music) when learning the beat. I suggest practicing with a metronome, and once
you have worked up to the tempo of the song, play your beat through that section with the music. Keep repeating it until you are comfortable enough to move on to the next section. Don’t worry about the fills yet. Once
you have all the parts down and you feel you can tackle the song, it’s time to Mess with the bull! When you are
comfortable with the song, start to incorporate some fill ideas. In time, with daily practicing, these songs will
become muscle memory. From this point, if you have tried all of the beats and fills in the book, it will be time
for you to create your own.
Information on the Tune
Each song will have a brief description with some information on the feel, possible artist influences, tips for the
song (including fill ideas), odd changes in the song, important figures to catch, and much more.
Grooves for the Song
The second section will include drum beats that work for the song at all levels from beginner to advanced. When
you’re comfortable, you can mix and match different beats from different levels. They will all work well with the
song. All of the groove examples are lettered to match the section of the song in which they should be played.
Charts
All the songs are in 4/4 time. Each of the charts will have tempo markings. All of the songs in this book have a
full band chart that is very detailed for the drummer. Some of you might look at this busy layout and wonder,
“What language is this?” My idea was to provide the drummer a level of detail on the song that would help them
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to see how their parts work with the bass guitar figures and the horn figures. I have notated all the horn rhythms
in the songs except for their solos. I have also included the duration of the notes from staccato to legato, as
well all the dynamic markings, repeat signs, ensemble figures, and sectional figures. Some things are not notated, like adding a crash cymbal on beat one after a fill or at the beginning of a new section.
I highly recommend for any student who is interested in pursuing their reading skills to study with a great
teacher who can assist you if you are new to drumming. The best part of learning to read charts is that you will
take your music vocabulary to a whole new level of versatility. For those who are not quite comfortable in reading charts just yet, no worries, the next section in this book is designed for you.
Quick Road Map
This is a shorthand version of the full chart. Most of the time, when I become very comfortable and know the
song quite well, a quick outline of the song will get me from the beginning to the end. Each section is labled by
a letter which is the section of the song, as well as a number with the letter “X”. The number and the “X” tells
you how many bars you play in that section. For example: The letter “A” over top of “8X” means you play the
A section 8 times, or 8 bars (even if the A section beat is a two bar beat). This is also a great way for you to
work on counting bars since many drummers would rather feel things through. Sometimes the unpredictable happens when you get 7 bars in a section. Enjoy your counting journey.
Fills
In this section, I will present detailed drum fills that work for all levels, and are specific to certain parts of the
song. It will include ensemble figure ideas.
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Building Your Funky Beat
When I first heard David Garibaldi’s groove to “The Oakland Stroke” by Tower of Power, or the unique feel and
pattern Zigaboo Modeliste created and laid down for the song “Cissy Strut” by The Meters, I had to ask myself:
How did these guys come up with these ideas? I would often analyze many great funky drummers. I realized most
of their ideas came from three areas or concepts in creating beats that I would like to share with you. Hopefully
you can use these ideas to create your own beat, and to help develop your own sound and style.
Three concepts for developing a funky beat:
1. Broken 16th-note patterns
2. Paradiddle sticking patterns
3. Linear sticking patterns
Lets take a look at each area in detail.
Broken 16th-Note Patterns
If we look at all the possibilities and variations of playing one, two, three, or four 16th notes to equal the value
of one quarter note, we would have a total of 15 different rhythms (see example A). This is what I call the
Rhythm Alphabet in 16th notes.
Example A: Rhythm Alphabet in 16th notes
When we look at a basic beat in this style, the bass drum and the snare are like the floor and walls of the groove.
When we add the ride, hi-hat, cowbell, or crash cymbal, that’s like the color of paint to the existing walls, or
the choice of hardwood or carpeting to the floors.
If we take each of the 15 rhythms and create all the possibilities of voicing them between the bass drum and
snare, we have a total of 80 combinations (see example B). With this type of vocabulary, there are endless
options for creating beats.
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Messin’ Wid Da Bull
Example B: Voicing possibilities, snare drum & bass drum
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1. Burn the Bridge
CD
Track
1
The opening track on the CD starts off with a great funky syncopated bass line. The A and B section beats are
two-bar patterns. This song doesn’t require many fills. It’s important to lock in with the bass player to make
this song groove. Have fun with this one.
TIPS:
1. Play the tune first without trying to play any fills; get a feel for the form (don’t get lost).
2. The bass drum is anticipated at the end of the 2nd bar of letter A.
3. Notice the 7-bar pattern in section B; its not 8.
4. Watch your dynamics and work towards the build-up to section C.
5. Catch the ensemble figures in the last bar of the tune.
6. Catch some of the horns figures, especially at the end of section C.
The grooves are lettered to match the section of the song in which they belong. For example, groove A (in all
sections from easy to advanced) belongs in section A of the song.
Grooves: Easy
A
B
C
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Grooves: Intermediate
A
B
C
Grooves: Advanced
A
B
C
Optional groove for section C:
C
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ìBurn the Bridgeî Chart
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Quick Road Map
Fills
One-beat fill ideas to transition from section B to section A:
1
2
3
Two-beat fill ideas to transition from section B to section C:
4
5
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Horn Figure Fills:
Bar 8 in section A going to section B:
6
Last bar of section C:
7
Ensemble figures in last measure of song:
8
9
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