The REAL Way To Play The Blues – Tony Coleman Drum Lesson

You’re not trying to play perfect like you get, you know. I love today’s modern musicians they go how many BPMs are we playin’? Man, screw a BPM. A BPM?
It should be how many FBMs. Feelin’ per minute. You got to feel it, you got to taste it you got to understand it in
order to make it come out right. The only click in a blues band you hear is a click of somebody’s pistol, click. Mess up again, I will show you a click. Well done, man. Thank you.
Well done. Hey, welcome everyone. Thanks for joining us. I’m sitting beside the man Tony Coleman. What a monster. Thank you, thank you. It’s great to be here with y’all man. I’ve been watchin’ Drumeo
forever and now here I am. Now you’re here! This is a lesson that’s
been long in the works. Actually NAMM, we first met and Tony came up to me and says hey man I wanna come on your ’cause we had a live
set there at NAMM show. He says I wanna come on your show there and tell everyone or teach everyone the real
way to play the blues. That’s right.
I’m like absolutely, man. After all that we invited him out now you’re here at Drumeo,
I’m so pumped your here. I’m glad to be here. If you don’t know who Tony is I mean, you’ve gotta check him out. He is played with, I think almost every blues artist there is. Yes.
Most notable would be B.B. King. You played with B.B.
King for how many years? Over 30 years. Crazy. He must’ve taught you so much. Yeah, I’ve been everywhere in the world. B.B. taught me everything
about being focused and not wavering and concentrating on nothing but what you’re
supposed to be doing up here and not what’s going on out there. We supposed to project to
make the people feel good that was B.B.’s whole thing. Totally. If you think about the legacy B.B. has and how many years you played with him you’re the guy to teach the
real way to play the blues in my opinion, at least. I agree because everything that I’m gonna be sharing with people is what B.B.’s asked me to do. What Bobby Blue Bland asked me to do what Albert King and so
on and so on and so on. What they liked. No doubt. And you’re not just a
blues drummer necessarily you’ve also played with county acts. Jamey Johnson, Willie Nelson. Yeah, and working with Jamey Johnson was phenomenal for me after B.B. passed and Willie Nelson introduced
me to Jamey Johnson and Jamey said hey, you know gimme your number and I’ll call you. Really?
Okay. Gave him my number and next thing I know about three days later, Jamey Johnson. I said man I don’t know you,
I don’t know your music. He said well you know Willie Nelson and you played with B.B. King,
I think you’ll be all right. You’re all right for me. You’re also the author of
Authentic Blues Drumming a great book. That’s why we called the lesson
Authentic Blues Drumming. If you haven’t checked it out you should. But if you’re a drummer you guys remember, nothing to worry about because we’re filming a whole course basically updating this product. We’re completely revamping it and you’re gonna get video lessons from everything from the Texas Shuffle the double shuffle,
slow blues, you name it. Whatever’s on this book.
Blues Funk. It’s gonna be great. so if you’re a Drumeo Edge member if you’re watching this and
you’re not a Drumeo Edge member and you enjoy Tony’s playing go to Drumeo dot com slash trial. We filmed all day today. Yeah. Which was awesome. It’s been a lot of fun, man. That song you just played in the beginning it’s called Get Ready that’s from the Tony Coleman Band and it sounds like cover like a Temptations song? That’s the Temptations, Get Ready. Actually, Peter the drummer
that was with Rare Earth did it a different way than they did it and I liked the way he did it and now I’m doin’ a blues way. My way from a Smokey Robinson song. A Motown song, you know I wanted to put some blues in it. But basically everything
that came out of Motown had blues in it anyway. But I just put a little extra blues in it. I love it. That song plus a couple others from the Tony Coleman Band’s albums are gonna be available
for Drumeo Edge members as play-alongs, so if you like
that head on over to Drumeo. Huge thanks, obviously to Maypex to Sabian, Remo, Audix. You brought your own mics
for this, which is great. Yeah man, thank you to Audix for supplying me with all
these great microphones. It help me sound good, you know. And Maypex Canada has
always been great with us. Huge thanks to Dave Lawrence. Vater sticks, too.
Vater sticks and JH audio. You’re in ears that have Tony, TC on them. I was just lookin’ at
them when I said that. Anyway, so the lesson isn’t just about how to play a certain blues beat it’s how to really play
blues authentically. Yeah. The real way to play. The real way. ‘Cause you told me at NAMM you said there’s a lot of people that don’t play the blues right. What do you mean by that? What I mean by that is and you know I always use analogies cut me off if I get the mumbling too much. It’s okay man. But it’s like if someone
teach you how to make gumbo or you read the book on how to make gumbo and you go by the book you see what the person that
gave you the ingredients didn’t tell you about the love in it the time in it, how you feel about You gotta put the love
and the passion in it and you got to know it. You got to feel it, you got to taste it you got to understand it in
order to make it come out right. So music is the same way or anything else. Until you learn it or until
somebody who do that well tell you you got it. You graduated, then you do it right. What happens with a lot of guys when it comes to shuffles they just do the basic shuffle
and it’s nothing there. It’s just plain and kinda plain. With no flavor. So that’s what I wanna
teach how to put the flavor. We can do that. We’re gonna do that today. Before we do, one more song. Is that cool?
Yeah, sure. This is one of my favorites
from his last album and it’s called the
Tony Coleman TC Shuffle. It’s an awesome track
and play us with it man. Ready to teach us the real way to do that? I am . I’ll let you catch your breath. There is sheet music to this. You can download it if you want. I don’t think it’s
really important, though because it’s not really
about the sheet music here. Well, the music when you look at it it’s supposed to be the road map but how you get there is
the most important part. A lotta people can drive but a lotta people get in accidents. And I don’t wanna ride with
somebody that’s gonna wreck. Basically you gotta know what
to do when it needs to be done and that’s where the feeling comes in. To make it become yours. So let’s get into it then.
Okay. Basic shuffle, man. For those who’ve never
heard of basic shuffle teach that first. The basic shuffle is very simple. It’s just four on the floor pick your tempo, let’s
just pick a moderate tempo. That’s the basic shuffle. Now, that type of shuffle is a shuffle that if you’re playing
with a old school laid back shuffle blues, harmonica some slide, bottle neck
acoustic type situation where you don’t have to be
too loud and too powerful. You just have to shuffle consistently. It’s just simple. Now, if you just play it like that and don’t put anything into it which means you don’t put any
feels or anything into that it’s gonna be very boring. People like come on drummer. If even you just gotta
play a simple shuffle you’re like what am I gonna do? Well put something into it. A little more oomph in it. Without even being strong, just like so. One, two, three, four. That’s how you spice up a basic shuffle. I love that. What I wanted to point out there, too is you played a basic
12 bar pattern there. Yes I did. So you’re singing– Oh yeah, yeah.
the blues in your head. You might not a caught that but even the flow and where you went when you put those little
building tension and all that. Those are, you’re not
trying to play perfect. I love today’s modern musicians they go how many BPMs are we playin’? Man, screw a BPM. A BPM?
It should be how many FBMs? Feelin’ per minute. Not beats per. If you’re sitting there thinking about I say if you sitting there thinking about beats per minute you can’t play with any feeling because you’re worried about
am I playin’ the right BPMs? Just play with the feeling. You breathe it. Did you play with click anytime when you’re on tour with B.B. or with any other of those artists? The only click in a blues band you hear is a click of somebody’s pistol, click. Mess up again I will show you a click. Pop! That’s the click you would
hear in a blues band. Yes, I love it. I don’t know nothing about no clicks man. It’s all feel. I wish I woulda said this statement but the best statement I heard about someone ask about someone
playin’ with a click track if I’m not mistaking,
it was Steve Cropper. Steve Cropper said, “Yeah,
I played with a click. “His name was Al Jackson.” I love that, I wish I
woulda thought of that one. That’s great. I am the click. But you know a lot of
people they get onstage they’re too concerned about being perfect with the perfect click and when I came from growing up you go in the studio and
you have to play perfect and make sure everything is great so it don’t sound goofy but when you get onstage,
now put something in it. Make the audience happy. I don’t think people really wanna just hear you
play exactly like the record. Me personally, I don’t think. They wanna hear summin. At least in black culture they wanna hear summin, see summin. Some movement, some feel. You can’t see and hear that see just doing that. That’s better than just goin’. The first example you just
kept it fairly straight and then you added some
different feel to it. Adding some extra triplets to that. I saw you played some extra
bass drums notes on there, too. And you’re singing the
12 bar blues pattern. Yes, I’m feeling what’s happening. I’m feelin’ it. I’m feelin’ it. I’m not thinkin’ about it I’m makin’ sure that the space is there. One of your best quotes is if I’m thinkin’ I’m not playin’. If I’m thinkin’ I’m not playin’. Yeah, that’s brilliant. Everybody else is playin’. The horn players are playin’ the guitar player’s bending and squeezin’ and you’re thinkin’. You can’t enjoy that. I can’t. When you go into the next
step, the double shuffle. The double shuffle, now
we take that shuffle and this is another thing that I say I wanna teach people
how to play this shuffle the correct way. The way all of the great blues musicians that I work with like it to happen. Bobby Blue Bland was really
the one that taught me where he wanted that shuffle feel to be because Jabo Starks was
playin’ on his records and Jabo came from down in Mobile, Alabama and he had that feelin’ what we call sanctified
feelin’ from the church from the black church. If anybody out there,
you go to a black church you gonna get some feelin’. You’re not gonna be sittin’
in there all angelical. You gone be shoutin’ Lord! Wow! You gotta have some feelin’ man. Get to me, touch me, grab me, shake me. Bobby Bland liked the shuffle
to be a double shuffle so if you would play a
double shuffle like this bang, bang on the kick drum. Start out four, four. I need that kick to move me because that four four is killin’ me so you got the . Now check this out. When I stop doin’ the double on the floors hear and feel the difference. Double. Three, four, marchin’ here, march. With that double goin’ on the snare instead of once the music, you
been playin’ with a big band with lot of horns or what have you. When you playin’ the double where is the two and four? I don’t feel the two and four anymore. So you got to play this double shuffle and snap on the two and the four so everybody will know
where we are in the rhythm. You gotta play the snare but you gotta . I play with the butt end of my snare because I like to get that backbeat. And if I do it on the front it’s just not at solid on the rim. You don’t hit in the center you hit kind of like back from the center. That give you the feel to it. You know where the groove is right there. You gotta have some feelin’ man. You can’t just be oh I’m so cool. You know, like I said that’s
when you’ll hear that click. Click, pow!
Get off my stage. So basically . If you got horn arrangements and you’re supposed to play a shuffle well you gotta accent with the horns to make it come alive. Put summin in it. A lot of the stuff you talked about great, great feel. A lot of the stuff you talked about around that is listening. When you’re the drummer
everybody in the band blames the drummer for everything. The drummer, guitar’s outta tune. Hey man, pick it up. The audience does not react
to the front guy enough. Come on man give me summin. You’re mad at your wife, your girlfriend. Damn man, can’t you give
me summin back there? You didn’t like catering. Dang drummer, come on man let’s go! Every musician out there thinks he can come from
what his instrument is and come and sit down at the drum kit. That’s the only instrument this instrument is where
everybody think I can beat. I can beat on stuff. Every musician at one point was like I think I can play drums. You never see drummers unless they are really great
at playin’ other instruments pick up somebodies trumpet. Go pick up somebody’s bass or guitar if that’s not their instrument but every musician thinks he can do this because the best drummers
make it look simple. If you’re out there twirlin’ sticks if you’re doin’ that, you want attention. That’s cool if you wanna be
an attention getter drummer. My thing is if nobody is
turnin’ around and noticing me that’s when I’m doin’ my job. Right. Play man, and just groove and hold ’em in there, groove ’em. Because everybody solos,
especially in blues bands guitar players, horn players the drummer’s job is not to be you’re not in a fusion band. Your job, you’re in a soul
band and a blues band. Lock us in baby, so everybody can lock in. Like a heartbeat. Did I get off point there? Tony, I’m not gonna stop you even if you did, man. I’m just gonna say that. This is all great. Let’s talk about slow blues before we get into the
more conceptual stuff. Oh boy, that slow blues that’s when you really
wanna kill a drummer. Because the mentality is it’s just slow just keep the time slow don’t put anything in it. Of course B.B. would start it off with the pick-up on the guitar. Hey man, hey what’s goin’ on man? That’s what most guys think you can do because I’m just doin’ a slow beat so it’s really nothing to do. No, you gotta play with the pattern the bass, listen to the horns the swells, musicality. Get in there man, play. You got to play. You know, but most slow blues people play slow blues
they do this all the time that kills me, this. If you did that on B.B. King’s stage and Bobby Blue Bland and Albert
King would really kill you. It’s like man, you’re
draggin’ me down dude. You go well I heard it
that way on your record. Well most of the records. Didn’t he record some like that? Most of the records were
recorded by some producer who had a pocket full of money and said the record company
said B.B. or whoever he’s gonna produce you and he’s the boss. The boss say I like that. I’m gonna call in the best
studio guy I know to do that and then he records that. Then B.B. or whoever gets on stage they say hey listen, don’t play that. I can’t feel that. Why’d you record it that way? Don’t worry about it, just don’t do it. Give me something, make it feel alive. Did you feel the difference Big time.
in the pulse? Albert King liked it even worse than that. It was like . You gotta play with feeling. You gotta put some orchestration in it. You got to be alive. You can’t play blues dead. I got the blues now you
gonna give me the blues too? No.
That’s brilliant, yeah. This is a Tony Coleman, this is mine. Okay. The blues is the antidote to the blues. If you go the blues you go to hear the blues to feel better. Right. You don’t go to hear
the blues to feel bluer. That’s right. It’s like if you got bit by
a venomous, poisonous snake you need some snake
venom to make you better. Yeah, not a second snake bite. Those are the little nuances that when I say guys aren’t
putting anything in the blues. What’s that magical ingredient? What is it that you have
that can make these beats just feel so good? The golden nugget there if you’re talking to students
watching you right now how do they get that feel? What is it that you’re doing different? First of all, you have to
remember it came from somewhere. It came from somewhere. If you wanna play this music and the thing I wanna put
emphasis on about blues music blues music is the black man’s black woman’s music in America. This is our culture. Because all of that hard work being disrespected, beat upside the head the Civil Rights Movement, cotton pickers illiterate, can’t read or write. They got the blues, that’s
the get away from the blues. A lot of black people suffer so much. Old black people would hum like from the church. When they’re workin’ they’re hummin’. Black people would hum in America. ♪ I don’t wanna have to kill this man ♪ I better hum about it ’cause if I say something I’ma killa you. So basically, you gotta go to the culture. Learn the culture. This is an indigenous art
form, blues is a culture. It’s our culture. It’s more to it than just
sayin’ I like the blues. I wanna be the Blue Brothers you know, and put on my sunglasses. Hey, John Belushi and
those guys were great. Dan Aykroyd, thank you for
the Blues Brothers movie but you know it wasn’t
just puttin’ on sunglasses and puttin’ on a hat and
sayin’ I’m playin’ the blues. You gotta play from the
culture, our culture. And I didn’t like the blues. I didn’t wanna hear about
no old black folks stories I didn’t wanna hear that. I wanted to hear James
Brown or summin funky. But then when I got with B.B. King and Albert and Bobby Blue Bland and all those guys it was like hey man, this is serious business. You gotta play it the way we play it. So to answer your question if you wanna learn how to
play this the right way go to guys like me who
are serious and sincere and will show you and teach you and talk to you about it as opposed to just you know you just can’t
just jump in a airplane and say I’m gonna fly. Go to the source. That’s what we’re gonna do in Drumeo in the course you’re gonna teach it’s gonna really dive
into this style of music. And you’re gonna get
listening recommendations Different fills and stuff.
Sorry, ‘scuse me. But more importantly, it’s the concept. How do you actually get that feel? So for someone like me, all right? How would I start
developing a feel like that? What would you suggest I do? I would suggest you just play trumpet. What a burn. You haven’t heard me play trumpet. No, I’m just kidding. I’m a mad trumpet player. No, but seriously. Don’t worry about it.
So there’s no hope? No, no.
Is what you’re saying. Anybody can learn. Like I said, I just would listen. Go and listen, seriously to people like myself who
are authorities on this and have been exposed
to it and can teach you. But don’t learn on your own and learn on the surface. Let me just say this I’m not tryin’ to skate
around your question. When Jamey Johnson asked
me to play in his band Jamey Johnson is country
as a chicken coup, man. And I’m funky as a chicken coup. But he don’t need funk, he need country. You know what I would do? I would go around Nashville go to all the country bars and watch the country drummers and pay attention to them and listen to ’em and ask questions. And go on YouTube and
listen to Merle Haggard and everybody, you know. Waylon, everybody. And I knew a lot of those guys but I would go and listen and ask questions and study it and teach myself by being open to learning as opposed to being I don’t
need to know all of that. I’m on the surface, I’m good enough. I got the video and I’m good to go. No, it doesn’t work like that. That’s for any genre of music and real country is like blues. It’s got it’s own flavor. You gotta learn the flavor and present it that way. And when someone in any art form tells you you got it, you graduated. Then you got it. Basically all I’m saying if you wanna learn how
to play what I’m playing listen to the people
who do it the real way and not the show way because there’s a lot of smoke and mirrors involved where
you’re not learning anything. Just be sure to remember I need
to put some feeling into it. I gotta shuffle. If I hear the guitar player . Keep the basics, but add to it. That’s your little flavor. Don’t do it too much. Just do it enough where it
stand out and goes away. But if you’re constantly
back there doin’ that you become nuisance to the guy out front who’s tryin’ to concentrate on feel good and then you’re back there
goin’ all over the place. Right. Talk about this little
flavor, the spice that you add or the sprinkles on the cake. You had a great cake analogy the other day or just before the lesson that you said. What are some examples of those sprinkles that you can add into the genre? Let me just make this clear. I’m gonna give you an example. Can I give you a little example
of what I’m talkin’ about? Yeah, please. The first professional serious gigs ‘scuse me that I ever got was with
soul singer Otis Clay. One of the best soul singers ever and I played with all of ’em and he was so serious into the blues soul that he was singin’ a song. He was singin’ a song. And he had a tear come out his eyes. I can’t take it. He was into it man. He was cryin’. Anyway, Otis is a soul singer. Check him out he’s like
Al Green, Memphis stuff. Sang a song Tryin’ To
Live My Life Without You and it goes something like this. ♪ I smoke five packs of cigarettes a day ♪ ♪ It’s the hardest day to put them away ♪ ♪ Fight that battle of mine ♪ ♪ I’m burnin’ all the time ♪ ♪ My uh uh ♪ ♪ My uh uh ♪ ♪ Tryin’ to live my life without you ♪ So that’s the song, just groove. It’s on the record, it
feels good just groove, man. That’s your job to just
play in the pocket, right? At that particular time I was into Billy Cobham really heavy. I liked Stratus and I
like all of those guys. Lenny, you know they’re like drummers man they’re all over the place. I’m like he’s tryin’ to sing and I’m going . ♪ I smoke five packs of cigarettes a day ♪ ♪ It’s the hardest day to put them away ♪ And the man’s tryin’ to sing and I’m back there doin’
all of that and he’s like okay.
Hear that click. You hear that click. Click! One more roll, drum filled and I will show where
it’s gonna be a field in that graveyard right here. No, but seriously just
put your little feelings where they come in just
enough, not too much. Where it enhances the music
and make it feel good. ♪ I smoke five packs of cigarettes a day ♪ And another thing, drummers whether you’re playing whether it’s blues or whatever in soul music, most music there’s a part where you have the intro and the vocals gets ready to start. We always hit that flam to bring it down. So the band’s . See? Bring that planbp. That’s that stop, bang, groove. It’s listening to what they’re doing. Listen, listen to everybody on stage. Don’t just listen to your self. I’m glad you sang now because we’re gonna pull out
a mic here for your last song and Tony’s a killer singer. I don’t know if anyone knows that. He’s a killer singer. And we’re gonna get you to
play us out with a song there but lets recap here
before we do wrap this up ’cause we do gotta go soon. Basically you got the sheet music there everyone has the sheet music. You can look at those
three basic shuffles. Listen to how Tony played it, though rather than just reading it from the page. Think about the tips that he gave you about feeling about when to add stuff. I really like the fact
that every time you play you’re singing in your head. You’re singing in that 12 bar blues. You have something goin’ on. Listen to this style of music. Get engulfed in the culture of it. Most drummers because we’re
in the back most of the time we’re in the back. Except when you get your
own band like Levon Helm Buddy Miles, Karen Carpenter, Phil Collins Don Henley, whoever you can put your drum kit out front but until that day come your ass is in the back. You supposed to listen and
hold everybody together. And most drummers listen so intently they know the lyrics to the song. Most drummers can write down the lyrics. This is what’s happening. If you’re really paying attention. That’s pretty much what we do. We’re the eagles of the group, the hawks. We’re the music hawks. One last tip from you, Tony. Yes? What can you give to beginners who may have never played blues maybe don’t listen to blues that often. They wanna get into the style what do you say to them? What I would tell ’em is
go get Tony Coleman’s book. Even better, sign up to Drumeo. Go to Drumeo and listen to this. Updated version of this with
play-alongs and everything. We’re gonna talk a bunch about that. What I would recommend is, seriously listen to whatever genre of music it is. Go listen to the people that do it and ask questions and study that. Just always be open to criticism and suggestions and
you’ll learn something. But if you reject what people tell you you won’t get anywhere. I rejected B.B. five times. He sent me home ’cause I rejected him. ‘Cause you rejected him? Is that the way it went Tony? Tony Coleman, son I want
you to play like this. I don’t wanna play like that, man. Well why don’t you go
home and think about it. Before we wrap up, what
was the biggest lesson you learned from B.B. King? That you’re musician is for the people it’s not about you. And I’m not trying to
piss off jazz musicians but most jazz situations is ladies and gentlemen look how great I am. Look how awesome I am. Look how quiet I can play, hear that? Shh. Look at him, he’s amazing. Oh my goodness, he’s phenomenal. He can play with a drum
stick stuck in his butt. I’m just sayin’ most jazz
situations it’s about me. How great I am on my instruments. On my instrument. With this music, blues,
country, rock and roll soul music it’s about
me makin’ you feel good. That’s what we do. We lift people up. When you come hear us it’s about you. It’s not about us and B.B. taught me that. It’s not about you son. It’s about those people
that paid for those tickets. Come here, bring your
head over here a minute. Let some the air out of it. It’s big enough dude. Wise words Tony. Wise words buddy. Thank you so much for coming out. Thank you for having me. And thank everybody for checkin’ it out. Absolutely. And if you’re watching this
on YouTube land somewhere make sure you come over to Drumeo dot com ’cause that’s where we’re
gonna host a whole course. This is just scratching the surface. This is just the introduction basic blues, basic shuffles but we’re gonna dive a
lot more in depth into it. And again you can follow Tony if you like what you saw here outside of Drumeo you can go
to Tony T C Coleman dot com. Did I get that right? Yes.
Beautiful. Go to Tony T C Coleman dot com. You can find him on Facebook as well. Get his Tony Coleman Band
albums, they’re great. Absolutely fantastic music, man. Thank you, I appreciate it. We’re gonna close this lesson out with another song from
that called Blues And Soul. Music. It’s great because he played
this before we were live and within the first chorus
I was already singing it so it’s got a great hook and you’re gonna hear Tony sing. Again, thanks all for watchin’. Drumeo dot com slash trial. Check out more with Tony and we’ll see you guys all later. Tony, you ready for this? Yeah. I’m gonna bring the mic over to ya. What cha lookin’ for? You lookin’ for the mic? Oh there it is.
There it is. That’s what I’m talkin’ about.

100 thoughts on “The REAL Way To Play The Blues – Tony Coleman Drum Lesson

  1. Tony is a great player, but "Screw a BPM?" really? Granted most authentic blues gigs don't require the drummer to play with a click, but 99% of touring situations do these days. I personally wouldn't risk 'feeling' 67 BPM in an audition without having done some work with a metronome. And Since when are Jazz players not playing for the people? I just went to a jazz concert in a 2,000 seat theatre. 3 standing ovations, 2 encores etc. There seems to be a general 'jazz hate' among many 'blues' players. I'm not sure where that is coming from. Not only is Rock & Roll an offshoot (baby) of the blues, but so is Jazz. Jazz is more complex because of it's improvisatory nature and not for casual listening or dance music. I get what he was trying to say though, no need to throw jazz under the bus. I have been to blues concerts where the guitar player seemingly soloed for 99 choruses of Stormy Monday, was that for the people? Anyway, Tony is great. I just had to point these 2 things out. Peace.

  2. Toney’s playing comes from so deep inside him, I don’t know how you can possibly teach that. You can teach the notes, but the feel, that’s something else.

  3. I wish all young drummers would listen and LEARN from this man. In live music, listen to the band, find that pocket and go. God bless this man.

  4. 2nd track, left hand snare shuffle really sounds placed too late and too sixteenth, can't bear listening to this. Is there some latency there? Am I the only one hearing this?

  5. Absolutely brilliant course. Impossible to stop watching when you start . What a great drummer ! and so entertaining to watch and hear. Thank you

  6. There's guys that play drums and then there's guys that play THE drums.
    I'd love to hear what his right foot is doing alone, BTW.

  7. What an amazing underrated drummer! Such amazing pocket and feel! I love his understanding of the click! Lol awesome! Keep on playing like you play Mr. Coleman.

  8. The best "learning" experience i have had and still do is house drummer for a Jam night near me.
    Some songs I know and play as expected but many I don't know and all I can do is turn on the "feel" button and create on the fly.

  9. It's interesting to me that no one seems to notice how he's ebbing and flowing out of sync with the backing track… Does anyone else hear that? Of course I mean no disrespect at all, playing live and playing to a backing track are two totally different animals, but still, I see all these comments saying that he's so tight, and I don't hear that at all

  10. The click of my .45 lmao. Brother your an incredible Blues Drummer. Also do you use 2B size sticks? I do. Have for 15 years. Also my blues style has came by your influence. Thank you. I’m Kenny Wayne Shepherds drummer. My music name is different from my YouTube/gmail identity. For reasons I do not like the fame. Keep it up my friend. Your inspiration is to great to many drummers.

  11. Great lesson! Love how real Tony is 😊 seems like fate… I just scored my first real blues gig for an artist's album launch. I started listening to and looking around for authentic blues artists, studying the history and culture, and then I get a YouTube notification for this vid. Thank you @drumeo and @tonycoleman for this awesome lesson and all the insight and ideas. I'll definitely be applying these ideas and tips in my playing. 1st rehearsal tomorrow so I'll pull out my new blues bag of tricks.

  12. No such thing as blues drumming, just drumming. You take away the music and what he's playing could be anything.

  13. I could not agree more!!; F**k a BPM!
    Now I'm not advocating for bad timekeeping, but damn, put your heart into it! Add some Dynamics, FEELING!
    Thanks so much for the insight and wisdoms! Keep banging away.

  14. That thing about Jazz is bullshit. Blues is important in jazz, but blues is even equal to itself, so after 20 minutes is boring. When i see Wayne Shorter there is no ego. And I can listen classical music inside but also the blues. Jazz is a form of art superior and complete compared of blues. Sucks my socks!

  15. I love this dude great feel and I love what he said about the click track and thank you for saying that!!

  16. If you're reading this and thinking you're off the hook for time and technique… Tony Coleman has good time and good technique. Elvin Jones had good time and good technique. Mike Clark has good time and good technique. Just sayin'…

  17. I'd love to see Eric Hernandez on Drumeo..
    Tony was amazing, funny and rock solid, thank you sir!


  18. 15:42
    1) Starts with bass drum
    2) Adds snare drum (slightly off-synch with the bass)
    3) Adds hi-hat (slightly off-synch with both snare and bass)

    That's the magic. Maaaaaaaan!

  19. Great stuff from a legend. I am right down his alley when it comes to drumming. Very similar. The same lessons I convey to others l. Play with your heart and with feeling and soul.

  20. theres just so much great info in this video that you cant just be taught from a book, you need to see it, hear it and feel it before you learn it correctly, amazing

  21. That was sooo Killer, Thank you for confirming the method I fell into through my learning to play without knowing how to read music properly, feeling and groove is everything, like dancing the way you n feel instead of choreographed, Loved it and Tony, Drumeo

  22. This has to be the absolute BEST Drumeo episode ever! Tony Coleman is hilarious as well as a virtuoso drummer.

  23. I absolutely loved touring with this gentlemen. I'm not great singer or musician, my role was tour coordinating the PR and VIP events backstage, around college lectures and radio appearances. But being on the road with TC taught me a lot about focus and determination to hostess and keep everyone on time off stage. Luv always Tony!

  24. Who noticed in the songs his amazing gentle shoeless foot on that bass drum and not kicking the hell out of it?Total in synch and harmony with that bass….like a solid marriage.

  25. Love his personality , and ability. Seems like there are many thousands of drummers who beautifully replicate others work, and then there are percussionists of every age creed location and ethnicity that blow my mind with their skill and uniqueness, and here is one

  26. 53 dislikers were more concerned about filling spaces than actually making music. Tony Coleman is exactly the opposite style of Chris Coleman , are they related?

  27. I like the way you introduced these guys to feel & emotion. They are the BPM guys you referred to…. they can never understand why it's not quite right. Now we know!!! Thank you!!!

  28. Probably the best thing I’ve seen on drumeo!! Saw him live with B.B and it was fantastic… the real thing

  29. 18.00-18.01 чел же не ровно играет двойку из треолей, промежуток ближе к 16тым
    потом 23.35 – 23.37 тоже самое играет пару двоек ближе к 16ым… криво.

  30. that's about feeling you could say more even on guitar in two or three licks compared to what a Shredder could say in 500 notes or EVH what's a couple of weedly Dees and whitdly doos..
    when it comes to playing Blues

    need to hit Max Weinberg on Drumeo sometime

  31. great guy. finally someone said the truth about (free) jazz musicians and paying attention only on bpms and machine perfect timing. also if I had the money for it, I would buy the same mapex saturn with exactly that finish and AA-AAX-HHX cymbals. totally my guy.

  32. T Coleman. What it is. Just a stone groove. Shuffles are like the heartbeat. Chops and techicality don mean shit if you cannot groove. Shuffles might be simplistic in nature, and there are many different types, but it will take your lifetime to get them DOWN. Overlook or dismiss them at your drumming peril.

  33. Hey, it's "just a blues" right? How often have you been in a casual jam situation, somebody counts in a nice shuffle, and the drummer falls on his face? Hey it's "just a blues". Funny how many posers walk among us who have no idea what blues really is. It is deep, it is varied, and it takes a lifetime to get to know it. Take the time and effort, you will be rewarded in your heart. Listen and learn.

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