A lot of guys in New York will only play with an edge. They find their groove and that's their groove. to me, once I do that, there's no point in playing anymore because it should always be a mystery. Depending on who you are playing with, there are hundreds of ways of playing. I think that a master can play all those different kinds of time.
I wanna hang a map of the world in my house. Then I'm gonna put pins into all the locations that I've traveled to. But first, I'm gonna have to travel to the top two corners of the map so it won't fall down.
The groove is so mysterious. We're born with it and we lose it and the world seems to split apart before our eyes into stupid and cool. When we get it back, the world unifies around us, and both stupid and cool fall away. I am grateful to those who are keepers of the groove. The babies and the grandmas who hang on to it and help us remember when we forget that any kind of dancing is better than no dancing at all.
As a performer, I groove to my own songs.
I like clever songs. I like songs that make people think and I try to have substance in all my records, even with 'Sweet Dreams' how it was a club record and it was up tempo, but it was melodic and it was, like, lyrical.
Playing inside the changes means playing enough of the important notes of the chord progression at important times. A good solo might be very free, but every once in a while it loops or hooks into an essential note that describes the harmonic change.
To me, groups of musicians playing together, not fighting each other, but playing a groove together is one of the most exciting things to listen to.
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 tend to gravitate toward ballads and mid-tempo songs.
It's so easy to make albums with overdubbing and editing these days, but I really prefer playing live and just getting the music to sound right because the musicians, the songs and the performances are good.
The Meters are, I think, the most influential group in our time to come out of New Orleans, to have changed and introduced us all to a way of playing, and to a groove and a level of feel in playing funk-jazz.
People know me for up-tempo songs because of my hits.
The art of not playing in tempo--one has to learn it. And the art of not playing what is written on the printed paper.
Any time I'm trying to find that groove on a big tempo song, I go back and listen to some Aerosmith records. 'Love in an Elevator,' 'Rag Doll,' all that stuff was really great music. It's something that I still dig and go back and listen to.
Up-tempo or slow tempo, I don't feel that one is better than the other.
I was in a band called Groove Solution. Because there was a groove crisis, and we solved it.