‘re Duke's endlessly inventive rhythm grooves. ‘true blues scholar as well asa gentleman, Ro bilard recent invited GP into his Louisville, “Kentucky, home fora rhythm session. Here he shares the kind of secrets that can bypass years of head- scratching, Savor their authenticity A few tips: Be sure to adapt Duke's chord grooves tothe IV and V chords and put them ‘through thelr 12-bar paces. Better ye, rather ‘than copy the examples nate for noe, absorb the concepts and let them take you beyand your rhythmic limitations ESSE GRESS Bbw Inthe 4s, when R&B was coming into pop- larity, a “shuffle chythm” meant the piano played a figure like Ex. 1a The guitar part re sembled Ex. 1b, Note the G-barre formation of ‘Bx leillustrates how to apply these forms. {0a 12-bar progression Inthis kind of 40s shut fe, ther always a-V change (Cm7-F7 inbars ‘and 10. Thismusicis typically played in horn keys—Bb, Ab, and F Talso use major-6th chords inthis seting ‘Some people think thats wrong, but itcomes ‘down to how you hear it To me, a major th tte 8 © abe = Bb sounds like a major chord. Thats exactly what {'m doing in "Texas Hop’ from Due’ Blues. ‘That hythm creates a tremendous tension, a push/ pull that makes the music interesting, Stevie Vaughan modified this rhythm and ‘sed itin amore contemporary way, playing the ‘bassline followed by chord upstroke (Ex 1). ‘Ob, boy, im ging to giveaway one ofmy se- ‘ret hythms now It comes from the original "Honky Tonk,” asax/quitar instrumental by Bill Dogget. always wanted to emulate the way the ‘organ sounds in the first chorus so leame up rH wit Pp + t eb ‘cmatiy Fw) eho) Bbw 98 GUITAR PLAYER FEBRUARY 996withthe pattern in Ex.2a. Basically youreverse You." is based on this pattem. Ifyou doublet T-Bone Walker was the frst person Theard the orginal part puringthe on thebotiom. witha immy Reed figure (Ex.25,itsoundsreally sliding 6h and Sth chords. Right aftere dd it, Playthatoverabassine and youcan feethe or- big, Tohearthe effect, record orhave someone every guitar player from Texas to California ‘gan-like sound. One of my songs,"LetMeLove play Gultar2 against the organ rf jumped on it Itimmediately became popular mete ah ee ais ole oleae FS FS FS FB cs C6 cs ce abs Bb Bhs abs TTD TTT? x ab FG OFSOFB. Fs Bhs Bs cs toe ova epee anger tad tar pts ba 727777) S77 2 72? Rroovs Roove Reotthi7 ay Sh gh ang 7m rnd at natn tt Pract ans 996 GUITAR PATE 99with al hebives guys—Pee Wee Cayton, Lowell Fulson, Gatemouth Brown. Overa second guitar part play iton the high strings (Ex. a). 1f1 ‘want to sound jazae,o maybe to accompany ‘vocal, luse the inside voicing because is ‘warmer and fuller. You also have the option of| Putting the 3rd on the bottom, That's what > ‘Bone did (Ex. 3b) | dont know ift want to give this next line away before record it t's froma Little Water thing, It sounds 50 good over a Jimmy Reed shuffle in B, and it's go all the elements of a groove (Ex. 4). x30 eo fab swege deca 00 ath mea decase noth BF KD ‘eneuanyyg6 caMTAR PLAYER ro:(On Duke's Blues, we did Timmy Liggen's “Never Let You Go" in a Magic Sam style that bears no resemblance tothe orginal except for the vocal. refer to that style asa “major! nor"—its either/or you know? I gt that sound ‘on the tipe-stops by using my middle finger ‘on the frst and second strings and aapickon, ms wisi: 85) BBB iecase one ont BBs XL dD XD XX 7) ‘the third string (Bx. 5). Heres the lasic Eddie Taylorhammer-on ‘move. It ike a second guitar part moving along, with straight immy Reed rhythm. Examples 6b, and 6e show some ofthe diferent ways you can play this. Bx 7is cool doube-stop thing. You say- — AS AG OAT ABS Bs >?) ingon the I while iting with the 1. simple, bout there so much you can do with this kind of rolling pano sound. x Bis my basic New Orleans groove. It the shythm toa tune called “Boy And Fender Mar” that wrote with Doe Pomus and recorded with {Allen} Toussaint old rhythm section, David 86 rd» m7 decar0s Ph A) TAR PAYER EARUARY 1996Bride and Herman Ernest “Bom To Love You. atune of mine from my last bum, ‘Temptation, makes use ofa funk groove in Ff. Istolethe 47 from some Johnny Rivers song when Iwasa kid. He played it ke John Lee Hooker. based “Born To Love You" ‘on that sound with a funky New Orleans fel (Ex). Here's agood funky groove. I's kind of aminor-key R&B song | wrote with Doc Pomus. | puta tle muted ‘bas line leading up tit and then slide the whole Fm chord (Ex 10), ve gota bluesy, jazzy pop song that’ based around, 4 Kenny Burell-Navored groove (Ex. 11). The idea sto ‘mute the low strings and accent the upper part ofthe chord Nor ersie art) orkiwy ROMY RYROM yy Rony a Asisn0 a) 8 04 GHITAR PLAYER FEBRUARY 996near the bridge (marked Sul. pont. tsa really 001 sound. [Ex 12isalitle more sophisticated. ts just an organ shuffle, but use D710 Amo getthe sroove. Islide into A—the 5—in the bass and suspend the D7on top. fet sey Jecaioo Om? ‘There’ a swamp groove I play based on a James Burton part from Dale Hawkins original version of "Suzy Qs not ike real ingerpck- ing—itsa combination ofa ehylumic bas line ‘that you atpickand a few moving ines on tp, ‘which you play with your middle finger (13) m1 oaay deca D7 7 {ve gotan instrumental groove wejam with every now and then called “Swamp Thing” Its ‘one of those rhythm pars that has ali line and thena chord figure like Lee Dorsey's "Get Out Of My Life Woman’ and Ear King’s"Come On Part." Tm playing inthe middle and ting the open top strings and low Fring (Bx. 14). It flsupalot of space when youre trying to make abigsound with afew instruments. | went from beta e me decse NC. ‘aseven-piee band to tro and had to come up ‘ith ll these ways to make it sound bigger. nice tohave an opportunity ofocus on the groove. People usually ask me about other things. cone myst ter playes but nobody else does!