6hr&rtrrlfiork Uiurcs March 31, 20O9; Circulation: !,O37,828
A SIGNATURE SHUFFLE ENJOYS A NEW LIFE By David Segal
Bernard Purdie is a faculty member of The New School for Jazz and Contemporary Music For bowlers the ultimate test is the 7-10 split. For card sharks it's the hot shot cut. For drummers it's the funky little miracle of syncopation known as the Purdie Shuffle.
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perform his creation on Steely Dan's You've heard Bernard Purdie better known as Pretty Purdie "Home at Last," from the L977 album "Na." And you've heard variations on songs by Led Zeppelin ("Fool in the Rain"), Toto ("Rosanna") and Death Cab for Cutie ("Grapevine Fires"). Created with six bass, high-hat and snare tones, the Purdie Shuffle is a groove that seems to spin in concentric circles as it lopes forward. The result is a Tilt-a-Whirl of sound, and if you can listen without shaking your hips, you should probably see a doctor. Now the beat has a whole new life. On YouTube dozens of amateurs, aspiring pros and assorted dilettantes have uploaded videos of their attempts to teach or demonstrate the Purdie Shuffle. But you post at your peril. A guy identified as BazyBeats was savaged in the comments section of the video he posted of his attempt at "Fool in the Rain." He slightly bungled the pattern on the snare, and dozens of angry nitpickers let him know it. Eventually he
asked them to "go somewhere else with your negative, hateful, blackhearted and useless souls."
these days at the Al Hirschfeld Theater playing for the Broadway revival of "Hair," previews which has been in since early March and opens Tuesday. For Mr. Purdie, the "Hair" gig is one of those full-circle experiences that can't be planned. He worked with the show's composer, Galt MacDermot, in New York in the early 1960s, when demos of the songs for the show were first recorded. Those tracks were later refined for the musical.
time Mr. Purdie was a relative newcomer to the city, having spent most of his life in Elkton, Md., a town near the Delaware border. One of 15 children, he had started by banging on his mother's pots and At the
pans.
"l knew right away that's what I wanted to do with the rest of my life," he said. "No matter what happened, I wanted to play the drums." Mr. Purdie, who says he is 68, was sitting at a sushi bar across the street from the theater, dressed in a dark suit and a satiny white tie. He was an hour from changing into Tommy Bahama-style casual wear and climbing onto the rear of a colorful pickup truck stationed onstage, where he drums for the show.
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f 'r'c known Bernard since about 1966. I was sixceen when I met him. As a musician, Bernard I.am. along when the music changcd. Belbre him'thc beat relied orr rhe shuffie. Purdie carne along rvich a straight eight-beat-with the shuffle on the inside. See what I'm saying? And the sound just changed. He also came along when rhe electric bass came in. Afier '64,yot didnt see acoustic basses rvith R&B groups. As the bass got more projeclis6-3id louder-the drummer could afford to be louder. And Purdie certainly was louder ehan any of those other cats rhat were down there I He had a strong, strong fooc and a strong, strorlg bear that lvas perfect for the bass guitar.
Vrhar a person plays means nothing if the times no good, and Purdie is rhe kirrg of time. The naval observatory can ger their time from Purdie. They gotta call hirnl That's rvhy me and him hit it off right away, When I firsr came down and hit the scene I was knou,n as a very busv bass player. Itlot busy in terms of lvork, but busy in terrns of notes! Mostly rvhat i iearned liom Purdie rvas what not $ play. I saw how Purdie u.ould build a song. A little bit here, a little more next rime around, throrv your little zinger in here but don't overshadow the resr of the rh,vthm section. He played like a boxer in a boxing match. A boxer doesnt come out swinging like crazy at rhe opening bell; he picks [his opponent] apart graduallv. Thafs ll hat I learned from Purdie. He's the master of building. He is rvorth everyriring that everybody says about him. He's rhe man. In that particular groove of music, he rs the man and bas been and always *ill be. ] n the ve in of music thar you call rhyrhm and blues, I don't think I've ever comâ‚Ź across anl.one thae is his equal.'W'hen he's in his ele merlt, forget about itl
I bclieve everything that
-V/ilbur
rve hear today, no matrer what
"Bad" Bascomb,
as
told to Eothen Alaparr.
it is, cafie from rvhat Purdie set up.
/4[oz
.
Eorrrlr: You
k-aow, evetr though I've kuown you for quite some time, I dont think I've ever read any interviews rnith you. Most of the information I have on you comes from the back cover of the Sbapes of Rbytbm wl For insta*ce, your birthplace.., BsnNeno Pvaore:
I was born in Elkton, Marl'land-the
Cecil County, Maryland has trvsnty-three counties, Cecil Cour:ty is one of them. Elkton is the biggest of the small, Iittle towns, and that's where all the politicians aod banks are. lt's there that everybody comes !o. It's also the place that had one [institution] where all the Black kids went to school, which is George \flashington Carver. Every Black kid in Cecil Counry was bussed to the Black school. It was right near my home-a mile away actually-in Elkron. My family walked to schooi. seat of
'Was
Elkton a cultural, as well as political, center? Did
you grow uP around music?
No, there were no musicians around me. I'm riorry-there The Clyde Bessick Orchesrait the time. It was callcd "dance music.o I w*s five or six when I first took rotice. I srarted playing with the band at age eight. My teacher at cwc, Leonatd Hayrood, was the drummer with vras o&e, aad he had a band.
This
wa.s
jazz,but it was called "big baod"
the orchestra.
had me play thc trumpet and the flute becausc hc wanted me to learn musrc. But I didn't knorv that. I thoirght hc rvas
punishing rreI
How fortunate that
he started
Ofcoursr it is, rvhen you realize that rw-enry or thirty ye;us larer.
It
takes a hip teacher to instill that nrusicality in you,
vr.ithout )'ou even knowing rvhat he was doirrg. He u.:is quite the hip re aclrc.. Oh, hc sarv the giti. I had the gift. And that's rvhat he used to say to me. I would get so upset, tause I thought that he rvas saying that to get mc t() shut up. You knorv, thcrc rvere.so mally little rhings rhar hc w-ould say and do, but hc never raised his voice. Thar's thc rhing rhat got to mc. I would get mad ald upset, and he would tell me, "You're still going to have to drr it." I rvould say-, "Vh1', x,hy? No one else has to do it. And I'm better rhan any of the other students you havc. I can play rings around rheml" He rvorrld say sortrething like, "Yeah, but rhe,v're oldcr." He always had an excuse.
Ah, the infarnous Bernard Purdie self-confidence
He wouldn't let me in the band at first. [taughl I'm very serious. It wasn't so much that I wasn't good enough, it was about an age situation. I was roo young to be in the band, but I was gifted enough to play. So in ordcr to do what I did, he would allow me to be in rhe band only if I rcok up anothcr instrument.
Which wasi The trumpet. The worst thing hc could possibly do to me.
whv? llaaghfi Becausc I couldn't stand the trurnpet! From trumpet I had ro go play futc for a year and a half, I was seven or eight at the tinre. See, I always had rhythm on the drums.
But he wouldn't let me touch the drums at school-he would only let me do it ar his house. So I would go m his house, while he was teaching other studenrs, and sit on the steps rvatching him teach other students. When he wanted
an example, I'd jump up to do it. He would tell me to sit down and play what he wanted, then I would get [of[ the drum kit] and sit back on the steps. This rvent on for almosr seven years,
\trfty did you go along with
rears
its head at an early agel
t)h, my confidence rvls So you played in the school band, aod Haywoo{ was your instructor?
you on the path to [,ecom-
ing a musical drummer.
there when
i
lvas lour or fir'e.
You said you pla'1.ed in Bessick's orchesara at age eight. So lv{r. Haywood nust heve taken your latent abilities seriously. Oh ycs, I playcd on the bandsrand. The reason is that evcrv Friday and Saturder., tr,Ir. Hayrvood had to plav rvith the band. And he wouid get drr.rnk. See, he liked vodka or gin. And he would gire nre this tallglass, supposedly filcd u'ith water, and i would hold it fbr him. And I ra'ould teed him fiom this glass, rvhich was Frrll of either vodka or gin. And it was great. Ltaughtl Because when the intermission c:rme. hc lvould sweat so much rhat he rl'otrld go out to his station rvagon, and he'd sit down and fall asleep. So I rvould
finish the job. I *ould go back, and sit dorvn, 6nish the job-[and everyone in the band] would know he rvas roo drunk to cont.inue.
\(ow! }'eah. I knew all of the Bessick songs. Every onc oF the m. Because I knew' evcr,vthing lr'lr. Ha1'rvood did. l could mimic him with no problem. But it wasn'r about mimicking. He rvaured mc to learn mu.sic. So I kIret,'how'to play-end interpret-wharcvcr I sat dorvn to do. 'When did you form your first band?
shis?
Most kids would har.e
given up!
I always wanccd to play the drums- I wasn't gonna let no one stop me from playing the drums, But Mr- Hayrr,'ood
I had my band rvhen I was tu,e[ve years old. Thar ra'as Jackie Lce and the Angels. I was the leader, even thoueh -Jackie Lce. I was definitely an Angel. my name rvasn't also signed the contracts. I lkughsl
Bernard "Prettyl Purdie Selected Disco graphySoul Drumt \Daec ry62)
Purd ic Good
Arerha trranklin Wirh Eucrlrhing I Fce I in Caesar Frazier 7 (V/esrbound i97y)
r97r)
(P r esrige
$ l{c (\Yharha Scc Is V}tatcha Gct) (Mega r97) Soul Is...Pretty Purlia (Flying Durchman r97:)
Nikki Giovanni
Stand
Shaf {Presdge ry7) Lialth (Originil Mo"-it Sound*acle) (Bryan Cootin' 'n Groouin" (rf,est 47rh r95)
& %i7o (\Yesr aTrh r99i) Mtio Drsmntcrt, l'olvmt t (Lw
Herbie Hsncock.FztAlbert Rotunda
Bcrnard Purdic\ Soul
1995)
to
Jazr
II I.Lcr
Richard "Groore" Holmes &cp Grooaa (Croovc Merchant)
ry17J
The Insect Trust SclfTitie d \Cryirol ry68) The Insect Trust Hobolcn Sanrday rVrglr (Atco r97o) Dizz,v Gillcpic Corrucopia (Solid Srare r97o)
Harold Alexander Ssnshinc Man (Flving Durchman r97) Harold Alexander Arc You Read7? (Fl,"-.ing Dutchman r97u)
"Boogaloo" Joe Jo oes Boogaloo ,/oc (Presrige 1969) "Boogaloo" Joe Jo nes Right On, Brothr! (P resrige
Genc Ammons Thc tsas Is Bech (.Presrlge 1969)
Ccne Ammons Brothcr Jug! (Presrige r97o) Louis Armstrong Zrds Amstrung ard H k &rrl: (Flying Dutchrun ry,ro) Roy Ayers Ubiquity Chang Lp thc Groovc {Polydor ry7q) Roy Alers Ubiquiry ,4 Tcar to a Smilc (Polydor 1975) Rov Aycrs
Ubiquity Vibrations (?olydor ryz6j
Alberr Avler Nrr 6ra* (impulse I 1968) Bama rhc Viliagc Poec Ghcnos of My Mind (Llare tg74) Gato Barbieri El Gato {Flying Dutchman r97r) Selome Bcy Sirg Song frotn Drlr (Kilmarnock 1971) Michael Bolotin S clfTit le d {w Randy Brecl<cr Srarr (Solid State James Brow'n lt's a Man t
Mani Man's
Wo
l{c (Conrao
l97z)
rld (King 1966)
Motir' On (Arlanric l97z)
lri Timc For l'ou to Go (Presrige Bazrr Sclf-Titbd {tce ryz:) Garl.Burton Good Vib* (i\tlanric ry7o)
1974)
Billy Burler Phy Via Gahctita (Kilmzrnock r94) Charlic Byrd The Grttt Byrd (Columbia 1959) -Ra
(Columbia r97)
in bow (B
Kirk Bkrlnus (Arlanric r97r) Al Kooper Yot Never Know Who Yoar Fiodslrz (Columbia Charles Kynard Rrclin'uith the Fcchn' (Presrige 1969)
oxot Sound
Charles Kvnard
lrio-Drirc
(Presrige r9:o)
Charles Kynard Wa-Tu-Wa-Zui \Presrigc r97o) The L*st Poers Delightt of thc Gardn{Douglas/Casablanca
Thc Diucuc Latccf (Arlantic) Liglrrnin' Rod Husrbri Conucntion (Douglas Collecrion/ur 1971) Love Child! Afro Cuban Blues Band Sclf titkd lRoulcttc 1975) Hcrbic l{ann Puh ?uh (Embryo ry71
Mastcrs of Groove Mastcrt of Gruoue Mcct Dr. No {Jnzxcriazoot\ Les lvlcCann Inaitation to Opcnncss (Arlantic t9V) Freddie ivlcCoy FunA Drops (Presrige tg65)
1959)
Freddie McCo1.
Larry CoryeJi Fair/and (Mega t97l
Galt MacDermor Shapa of Rhybm (Kiimarnock 1956) Galt N'[acDcrmot Hair Piccet (Yavc 1967] Galt MacDermot Ham lc t (N etional 1968) Lacetate] Galt MacDermor Voman Is Swutct (Kilmarnock 1969)
Joe Cocker Luxary You Can Affird (xu ry78) Hank Crarvford It\ a Funry Thing to Do (hrl,zntic/Cotillion r97o)
Hank Crawlord l1rlp Mc Mahc It Thrcugh th Night (mu r97:) Hank Crawford Don't You Worry 'Bout a Thing(ntou t974) Hank Crawford I Hcar a Slmphony (mu rgn) Eddie Curtis Eddic Curtis and All rhosc Catt (Sherc Khza)
'lfild Bili Dzvis Doin'His Thing\xu196ll
Iu{iles Davis Gct Up \Yitb h (Columbia r9n)
Davis,{ Yiw From Anothtr Placc lArlanic r9V)
Lou Donaldson Surer l.or (Bluc Note
Cornell Duprcc
Tcrui n'
1974)
(Arbmic tgi4l)
After Houn With thc g't $Bt r99j) Pcc !'rce Eliis Homc in thc Counrry \Savoy t977) Roberra Flack Qti tt Fire {Atlaoric ry71
Thc Dynamic
Roberra Flack
aB's
*
Donny Hathau,ay Sclf-Tiild (ldznictgTzj
Sonny Forriesr Tufi' P ic * in' {D eca) Ronnie Fosrer Suvet Rcviual (Bloc Note Arcrha Franklin Young, Giftcd Arerha Franklin
Le t
Z
ittcn Herc {Prcsdge ry68\
Galt N,lacDermot Cottoa Coma
co
Harlcm(uttgto)
Galt l\'{acDermot Tuo Gcntlcmcn of Vcruna (Kilmaroock ry7o) Galt }lacDermot The Nvclcu (Kilmarnock rgTr) Gait MacDermor Ghetto
Suit {Kilmarnock
Galt \'lacDermot Isabcl\
a
r97r)
Jezebcl (Cast Recording) (u.r r97u)
Galt \4acDermot Ta*e thb BrsdlA Mas in Our Timc {Kilnraroock r97) Galr MacDe rmot Dudt/The Highoal Lift iKilmaroock ry:1,)
Galt MacDermor Karl Marx Play lKilmarnock r91) Galc lvlacDermot La h'ovcla (Kilmarnock rg75)
Galt \{acDermot rvith Prctty Purdic (Kilmarnock zooo) Galt MacDcrmot
Up
e. Bad Bescomb Liyc in
r97r)
ltfc in Yotr Lifc {Arlantic ty74}
Natbilllt
fiom thc Basemrzr (Kilmarnock zooo)
Galt r\facDermot Morc from thc Barrzrzr (Kilmarnock Gar,v lv{cFarland,4meriu rhe Buutifal (Gryp}:oo 1968)
1973)
d Blrc& (Atlantic
1977)
)uscfLatcef
Larr1, Corycll Coryc ll (Y anguzrd ry6gi
Vrayne
1969)
Yusef Lareef Yuscf Latcd't Dctroit lAtlanric 1959)
1969)
Rusrv Bryant Until
Bobby Callendar
r5ry:)
B.B. King Gucst lY/:o1>tc+t9V';
Rusty Bryanr Night Train Nou! (Prestige
Aqurir
Quincr Jones Valling in Spau lrur 1969) Quiocy lones BodT Heat (*w t974) Arrie Kaplan Conferions of a Mah Chautinis PiglVanguard King Curtis Li'-c ar Fillmorc W'ot (Arco ry7t)
Rahsaan Roland
1969)
Jamcs Brown Sa1 It Loud, I'm Blac* and I'm Proud {Kingr969) Jame s Brown Gct on thc Good Foot (Polydor ry72)
Char\cByrd
tgToiil
"Boogaloo" Joc Jones .&b 1727./ (Prestigc r97) "Boogaioo" Joe ]ones W'hEt h k lPresrige r97:)
King Curtis Eucrybody! Talkin'!,\rco tgtz) King Curris a the Kingpins 5e lf-Titbd (Arco) B-8. King Comphtej \Yell{*c tgTo)
ry7j.\
Chariie Brorvn \Yfu Is Eurybodl Atwtls ?ic*in'on
Oscar Bro.vn
1969)
John Lee Haoker Simply rht Trtth (OneY'av t969) Ireddie Hubbard A Sovl Expoimrnr (Arlanric 1959)
(zoot)
Bear
\ss
Ellcrine Harding Elbrinc lMeinstteam ry72) Eddie Harris a Les McCann Sccond Mowmrnt (Adanric r97r) Richard "Groovc" Holmes Night Glidtr(Groove Merchant 1971)
Ma$tr Drtmmcrs, Volatnc z tUt:iqutty ty15) Braard P*dic's Soul to Jau (Lct t996) Kixg ofthc
I Fcel(Nikrom)
nny Golson T*nc In, Turn On lYcrvc ry6;) Daryl HalllJohn Aarcs Abandoncd Lutcheonette (Adantic r92) Be
1974)
n' Haight
Thc Vey
Mt (Ar\anricgT+)
roz)
]imm1' lv{cGriff/Groove Holmcs Coru Togcrh* (Groove Muchant r97) Jimmy lt4cGriff Stpa Coohin' (Groovc llcrchanr r91)