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34-541: Mann emphasized the groove approach in his music. Mann felt that from his repertoire, the "epitome of a groove record" was Memphis Underground or Push Push , because the "rhythm section locked all in one perception." Herbie Mann was born in Brooklyn , New York , New York , to Jewish parents Harry C. Solomon (May 30, 1902 – May 31, 1980), who was of Russian descent, and Ruth Rose Solomon (née Brecher) (July 4, 1905 – November 11, 2004), of Romanian descent who

68-466: A "groove") are improved when the musicians are "open to other's musical ideas", "finding ways of complementing other participant's [ sic ] musical ideas", and "taking risks with the music". Turry and Aigen cite Feld's definition of groove as "an intuitive sense of style as process, a perception of a cycle in motion, a form or organizing pattern being revealed, a recurrent clustering of elements through time". Aigen states that "when [a] groove

102-564: A broader ethnomusicological perspective, groove has been described as "an unspecifiable but ordered sense of something that is sustained in a distinctive, regular and attractive way, working to draw the listener in." Musicologists and other scholars have analyzed the concept of "groove" since around the 1990s. They have argued that a "groove" is an "understanding of rhythmic patterning" or "feel" and "an intuitive sense" of "a cycle in motion" that emerges from "carefully aligned concurrent rhythmic patterns" that stimulates dancing or foot-tapping on

136-399: A cycle of time, of length 2 or more pulses, enabling identification of cycle locations, and...effectiveness of engaging synchronizing body responses (e.g. dance, foot-tapping)". The "groove" has been cited as an example of sensory-motor coupling between neural systems. Sensory-motor coupling is the coupling or integration of the sensory system and motor system . Sensorimotor integration

170-421: A great feel...", this is referred to informally as being "in the pocket"; when a drummer "maintains this feel for an extended period of time, never wavering, this is often referred to as a deep pocket." A concept similar to "groove" or "swing" is also used in other African-American genres such as hip hop . The rhythmic groove that jazz artists call a sense of “swing” is sometimes referred to as having "flow" in

204-409: A groove "... marks an understanding of rhythmic patterning that underlies its role in producing the characteristic rhythmic 'feel' of a piece". He notes that the "feel created by a repeating framework" is also modified with variations . "Groove", in terms of pattern-sequencing, is also known as " shuffle note "—where there is deviation from exact step positions. When the musical slang phrase "Being in

238-428: A groove as "a pronounced, enjoyable rhythm" or the act of "creat[ing], danc[ing] to, or enjoy[ing] rhythmic music". Steve Van Telejuice explains the "groove" as the point in this sense when he defines it as a point in a song or performance when "even the people who can't dance wanna feel like dancing..." due to the effect of the music. Bernard Coquelet argues that the "groove is the way an experienced musician will play

272-407: A heavy groove." With heavy metal, the term "groove" can also be associated with stoner metal , sludge metal , doom metal and death metal genres as well as djent . Jim Mullen Jim Mullen (born 26 November 1945) is a Scottish, Glasgow -born jazz guitarist with a distinctive style, like Wes Montgomery before him, picking with the thumb rather than a plectrum . Jim Mullen

306-665: A jazz musician. According to a 1998 interview Mann had made at least 25 albums that were on the Billboard 200 pop charts, success denied most of his jazz peers." Mann provided the music for the 1978 National Film Board of Canada animated short Afterlife , by Ishu Patel . In the early 1970s, he founded his own label, Embryo Records , distributed by Cotillion Records , a division of Atlantic Records . Embryo produced jazz albums, such as Ron Carter 's Uptown Conversation (1970); Miroslav Vitous ' first solo album, Infinite Search (1969); Phil Woods and his European Rhythm Machine at

340-413: A lot about "the groove." In the 1950s, Mann "locked into a Brazilian groove in the early '60s, then moved into a funky, soulful groove in the late '60s and early '70s. By the mid-'70s he was making hit disco records, still cooking in a rhythmic groove." He describes his approach to finding the groove as follows: "All you have to do is find the waves that are comfortable to float on top of." Mann argues that

374-415: A period of declining interest in jazz. The musicians on these recordings are some of the best-known session players in soul and jazz, including singer Cissy Houston , guitarists Duane Allman , Larry Coryell , and Sonny Sharrock , bassists Donald "Duck" Dunn , Chuck Rainey , and Miroslav Vitous , and drummers Al Jackson, Jr. and Bernard Purdie . In this period Mann had a number of pop hits — rare for

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408-404: A rhythm compared with the way it is written (or would be written)" by playing slightly "before or after the beat". Coquelet claims that the "notion of groove actually has to do with aesthetics and style"; "groove is an artistic element, that is to say human,...and "it will evolve depending on the harmonic context, the place in the song, the sound of the musician's instrument, and, in interaction with

442-443: Is a completely subjective thing." He claims that "one person may think a given drummer has a great feel, while another person may think the same drummer sounds too stiff, and another may think he is too loose." Similarly, a bass educator states that while "groove is an elusive thing" it can be defined as "what makes the music breathe" and the "sense of motion in the context of a song". In a musical context, general dictionaries define

476-495: Is established among players, the musical whole becomes greater than the sum of its parts, enabling a person [...] to experience something beyond himself which he[/she] cannot create alone (Aigen 2002, p.34)". Jeff Pressing's 2002 article claimed that a "groove or feel" is "a cognitive temporal phenomenon emerging from one or more carefully aligned concurrent rhythmic patterns, characterized by...perception of recurring pulses, and subdivision of structure in such pulses,...perception of

510-496: Is not a static process. For a given stimulus , there is no one single motor command. "Neural responses at almost every stage of a sensorimotor pathway are modified at short and long timescales by biophysical and synaptic processes, recurrent and feedback connections, and learning , as well as many other internal and external variables". Recent research has shown that at least some styles of modern groove-oriented rock music are characterized by an " aesthetics of exactitude" and

544-439: The "epitome of a groove record" is " Memphis Underground or Push Push ", because the "rhythm section [is] locked all in one perception." In Jamaican reggae , dancehall , and dub music , the creole term " riddim " is used to describe the rhythm patterns created by the drum pattern or a prominent bassline. In other musical contexts a "riddim" would be called a "groove" or beat. One of the widely copied "riddims", Real Rock ,

578-400: The 1950s, when ' funk ' and 'funky' were used increasingly as adjectives in the context of soul music—the meaning being transformed from the original one of a pungent odor to a re-defined meaning of a strong, distinctive groove." As "[t]he soul dance music of its day, the basic idea of funk was to create as intense a groove as possible." When a drummer plays a groove that "is very solid and with

612-632: The 1980s, he found critical notice as joint leader of the British jazz funk band Morrissey–Mullen . Record producer Richard Niles , who produced the band's sixth album, It's About Time , later produced three solo albums for Mullen. Mullen has also played and recorded with, among others, Mose Allison , Hamish Stuart , Joanna Eden , Tam White , Claire Martin , Mike Carr , Jimmy Witherspoon , Dave O'Higgins and Georgie Fame , Sinan Alimanović , David Tughan , Jimmy Smith , Terry Callier and Frank Holder . Mullen has recorded as part of The AllStars ,

646-461: The 1990s the term "groove" was used to describe a form of thrash metal called groove metal , which is based around the use of mid-tempo thrash riffs and detuned power chords played with heavy syncopation . "Speed wasn’t the main point anymore, it was what Pantera singer Phil Anselmo called the 'power groove.' Riffs became unusually heavy without the need of growling or the extremely distorted guitars of death metal , rhythms depended more on

680-663: The AIDS-Benefit album Red Hot + Rio produced by the Red Hot Organization . Mann also played flutes on the Bee Gees ' album Spirits Having Flown . His last appearance was on May 3, 2003, at the New Orleans Jazz and Heritage Festival . In a review of Mann's Beyond Brooklyn (2004), his final recording (co-led with Phil Woods ), critic George Kanzler proposed that Mann's status as an innovator had been overlooked: Mann

714-556: The Frankfurt Jazz Festival (1971); and Dick Morrissey and Jim Mullen 's Up (1976), which featured the Average White Band as a rhythm section; and the 730 Series, with a more rock-oriented style, including Zero Time (1971) by TONTO's Expanding Head Band . He later set up Kokopelli Records after difficulty with established labels. In 1996, Mann collaborated with Stereolab on the song "One Note Samba/Surfboard" for

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748-502: The groove of the other musicians", which he calls "collective" groove". Minute rhythmic variations by the rhythm section members such as the bass player can dramatically change the feel as a band plays a song, even for a simple singer-songwriter groove. UK musicologist Richard Middleton (1999) notes that while "the concept of groove " has "long [been] familiar in musicians' own usage", musicologists and theorists have only more recently begun to analyze this concept. Middleton states that

782-460: The groove" is applied to a group of improvisers, this has been called "an advanced level of development for any improvisational music group", which is "equivalent to Bohm and Jaworski's descriptions of an evoked field", which systems dynamics scholars claim are "forces of unseen connection that directly influence our experience and behaviour". Peter Forrester and John Bailey argue that the "chances of achieving this higher level of playing" (i.e., attain

816-400: The hip hop scene. "Flow is as elemental to hip hop as the concept of swing is to jazz". Just as the jazz concept of "swing" involves performers deliberately playing behind or ahead of the beat, the hip-hop concept of flow is about "funking with one's expectations of time"—that is, the rhythm and pulse of the music. "Flow is not about what is being said so much as how one is saying it". In

850-471: The jazz standard ) was widely used from around 1936 to 1945, at the height of the swing era, to describe top-notch jazz performances. In the 1940s and 1950s, groove commonly came to denote musical "routine, preference, style, [or] source of pleasure." Like the term " swing ", which is used to describe a cohesive rhythmic "feel" in a jazz context, the concept of "groove" can be hard to define. Marc Sabatella's article Establishing The Groove argues that "groove

884-469: The mid-1960s Mann hired a young Chick Corea to play in some of his bands. In the late 1970s and early 1980s Mann played duets at New York City's The Bottom Line and Village Gate clubs, with Sarod virtuoso Vasant Rai . Following the 1969 hit album Memphis Underground , a number of smooth jazz records influenced by Southern soul , blues rock , reggae , funk and disco elicited criticism from jazz purists but allowed Mann to remain active during

918-413: The part of listeners. The concept can be linked to the sorts of ostinatos that generally accompany fusions and dance musics of African derivation (e.g. African-American , Afro-Cuban , Afro-Brazilian, etc.). The term is often applied to musical performances that make one want to move or dance , and enjoyably "groove" (a word that also has sexual connotations). The expression "in the groove" (as in

952-475: The sense of an effect ("feel") of changing pattern in a propulsive rhythm or sense of " swing ". In jazz , it can be felt as a quality of persistently repeated rhythmic units, created by the interaction of the music played by a band's rhythm section (e.g. drums, electric bass or double bass , guitar, and keyboards). Groove is a significant feature of popular music , and can be found in many genres, including salsa , rock , soul , funk , and fusion . From

986-405: The strongest groove stimulation could be observed for drum patterns without microtiming deviations. In some more traditional styles of jazz, the musicians often use the word "swing" to describe the sense of rhythmic cohesion of a skilled group. However, since the 1950s, musicians from the organ trio and latin jazz subgenres have also used the term "groove". Jazz flute player Herbie Mann talks

1020-494: Was an early pioneer of the fusion of jazz and world music . In 1959, following a US State Department -sponsored tour of Africa, he recorded Flautista! , an album of Afro-Cuban jazz . In 1961, Mann toured Brazil , returning to the US to record with Brazilian musicians, including Antonio Carlos Jobim and guitarist Baden Powell . These albums helped popularize bossa nova in the US and Europe. He often worked with Brazilian themes. In

1054-743: Was born in Bukovina, Austria-Hungary but immigrated to the United States with her family at the age of 6. Both of his parents were dancers and singers, as well as dance instructors later in life. He attended Lincoln High School in Brighton Beach , Brooklyn. His first professional performance was playing the Catskills resorts at age 15. In the 1950s Mann was primarily a bop flutist, playing in combos with artists such as Phil Woods , occasionally playing bass clarinet , tenor saxophone and solo flute. Mann

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1088-477: Was guitarist with Pete Brown & Piblokto! for two albums in 1970. He then played with Brian Auger 's Oblivion Express, appearing on the band's first three albums together with future Average White Band drummer Robbie McIntosh . Mullen then joined Kokomo and later toured with the Average White Band . It was while both musicians were touring the United States with AWB in the mid-1970s that Mullen met tenor saxophone player Dick Morrissey , and throughout

1122-448: Was married to Susan Janeal Arison. His four children are: Paul Mann, Claudia Mann, Laura Mann-Lepik and Geoffrey Mann. Geoff is a multi-instrumentalist who plays drums for Los Angeles-based metal/afrobeat group Here Lies Man. After a long battle with prostate cancer , Herbie Mann died at age 73 on July 1, 2003, at his home in Pecos, New Mexico . Groove (music) In music, groove is

1156-461: Was recorded in 1967 by Sound Dimension. "It was built around a single, emphatic bass note followed by a rapid succession of lighter notes. The pattern repeated over and over hypnotically. The sound was so powerful that it gave birth to an entire style of reggae meant for slow dancing called rub a dub. " The "groove" is also associated with funk performers, such as James Brown 's drummers Clyde Stubblefield and Jabo Starks , and with soul music. "In

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