A Quote by Max Weinberg

There's a certain groove you pick that makes the music flow, and when you have it it's in your pocket. It's the feeling behind the rhythm... to me, the hardest thing to strive for is that feeling, behind the groove.
There's a certain groove you pick that makes the music flow, and when you have it it's in your pocket. It's the feeling behind the rhythm to me, the hardest thing to strive for is that feeling, behind the groove.
It takes me probably about four hours to get into the groove [with making music]. And it's really important for me to not break the groove.
It's always been my dream to have a monster rhythm section that's just all groove and pocket.
We are all human, and we are all able to listen to music that we cannot understand. I used to listen to English music like Notorious B.I.G., and I didn't know what he's talking about in all of his tracks, but I'm a fan. It's rhythm and a groove that makes me dance, so I'm convinced that my music can work in the U.S.
The melodies are always the most important part to me. I am pulled more to the groove than the chord progression. After you find the groove, you find the most simple chord progressions and then sit inside that groove.
I did ballet, jazz, and all that, but I think hip-hop is really where I learned rhythm and groove, which has helped me in music.
In order to have that incredible groove that makes you dream you have to think not of the groove, but of the dream.
I do not yet want to form a hypothesis to test, because as soon as you make a hypothesis, you become prejudiced. Your mind slides into a groove, and once it is in that groove, has difficulty noticing anything outside of it. During this time, my sense must be sharp; that is the main thing - to be sharp, yet open.
I'm a dude who likes to create music with good feeling. I live like a chameleon through music. It all depends on what the beat tells me to do; that's why you're always gonna get passionate hooks, because I'm feeling the beats and the emotion behind the drums and melodies.
I was in a band called Groove Solution. Because there was a groove crisis, and we solved it.
When I was growing up and listening to bands like the Dave Clark Five, the groove was what initially got me going. I really like that funky, heavy groove.
Just because a record has a groove don't make it in the groove.
There's a surge, there's a kind of energy field that says, 'I'm in my groove, I'm in my groove.' and nobody has to tell you, 'You go, girl,' because you know you're already gone.
White rhythm is waltzes, marches, and the polka. In Africa, rhythm is used for a celebratory groove, but white rhythm doesn't have such an enormous vocabulary of spirits. It's basically militant.
You get this really cool groove when you're playing just piano, bass, and drums where everyone's sort of feeling each other's space, which is the only way to put it, but it really is true, and everyone's sort of sitting in their own pocket. It's kind of jazz-like.
Probably the hardest thing to do was the beginning of the movie ["300"], I think, when we were in Sparta and all that - just getting in the groove.
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