House of Drumming.com

Sadness...

I knew it was a matter of time.

He is perhaps the greatest player to ever play the kit...we can talk Buddy and Dave and everybody, but that one beat is so ubiquitous, who else has that?

This is unreal shit!!! Check out James!!! He's just right there, square in the mix. That bass drum was hitting him hard...

Question is=from whom did Clyde 'borrow' this pattern from?

Here you go. My ears tell me the drummer way ahead of his time who played FUNK AND FATBACK,
is Brown's previous drummer (( and buss driver and light man )), Clayton Filyah....you might forget
about Clyde after hearing him.....listen to I GOT MONEY. You'll be very surprised. None of Brown's drummers
ever played fatback so funky and at that tempo ???? Fugedaboudit.

Spelling Correction: CLAYTON FILLYAU

Having adapted this new technique to his rhythmic vocabulary, Fillyau expresses that he had a newfound preference for syncopation and for ‘playing rhythms against rhythms’.[5] According to Fillyau it was during this time that, while touring with blues singer Etta James, he met James Brown. He explains that he met Brown on two occasions, the first of which Brown refused him the opportunity to ‘sit in’ and show him how he could play on the basis that he would not be good enough.[6] However, upon their second encounter in Washington D.C. Brown heard Fillyau play and hired him soon after in 1961, inspired it seems by Fillyau’s distinctive New Orleans influenced style.[7] Fillyau would go on to feature, a year later, as the drummer on the Live at the Apollo album – a breakthrough album that, staying in the charts for over a year, took James Brown into the mainstream.[8]
The syncopated rhythms of the Mardi Gras Indians informed a style of kit drumming that retained a connection to the West African traditions that many enslaved Africans had no choice but to leave behind. Through Fillyau we see a direct connection to James Brown, presenting to Brown a new musical direction that embraced rhythmic interplay as an echo of the African American ancestor and a signification of blackness. During a civil rights 1960s, as Brown’s popularity increased, this arguably came at a time when ‘black’ needed to be beautiful.

Dude...your timing SUCKS. OK...Clayton might or might not have dome this or that...
but in a RIP thread to Clyde? Really...you gonna make an argument that he borrowed
from someone else now?

The syncopated rhythms of the Mardi Gras Indians informed a style of kit drumming that retained a connection to the West African traditions that many enslaved Africans had no choice but to leave behind. Through Fillyau we see a direct connection to James Brown, presenting to Brown a new musical direction that embraced rhythmic interplay as an echo of the African American ancestor and a signification of blackness. During a civil rights 1960s, as Brown’s popularity increased, this arguably came at a time when ‘black’ needed to be beautiful.

What? No idea what this means.

Clyde was a monster drummer, not sure how anyone could think differently. Cheers!