By Colin Ramsay
Contributing Writer

I recently read an article in the April issue of Modern Drummer by managing editor Mike Dawson entitled “Know No Limits,” and a particular line stuck out to me. In reminiscing about excuses he used as a teenager he remembers the thought that “I’ll never be able to play like Vinnie Colaiuta. I’m more a groove drummer.” While Dawson’s purpose was to illustrate the danger of self-imposed limitations, what resonated with me was this idea of chops and technical facility versus groove.

I find that many drummers draw a distinction between chops and groove; You’re either a chops player, or a groove player. The common perception seems to be that they’re two different approaches. Under the “chops” category one might put Weckl, and Vinnie among others. The so-called technicians of drums. On the other hand, groove drummers might include Steve Jordan and the likes. However, I believe such classifications are inherently flawed. The problem is the idea that technical ability and the ability to groove are two separate and distinct entities. I would argue that on the contrary, they’re extremely related and almost inseparable. Of course, this is all personal opinion as is everything in any artistic field, but allow me to wax philosophical for a moment.

Chops are a tool with which to construct a groove, and by groove I don’t mean a beat, but rather a groove. To use a piece of hip drummer lingo, something with a pocket. This is because chops are a quantitative skill while groove is a qualitative skill. The word “chops” brings to mind bpm and numbers, essentially how fast or accurately you’re able to play something, but groove revolves around an unquantifiable feeling. It’s why pocket is one of the most difficult things to teach a drummer. How do you teach someone to make a groove feel good? Some would say pocket is sitting on the back of the beat, but in reality it’s a stylistic choice and playing on top of the beat can feel just as good. This distinction between the nature of chops and groove is the exact reason why the former facilitates the latter. Much like a building that relies on a strong foundation, chops provide the technical foundation upon which to establish a sense of groove.

I think it’s important to mention here that I believe part of the problem is that the labels “chops drummer” and “groove drummer” are somewhat misnomers. We tend to write off technically flashy drummers as the chops guys, while calling more simplistic drummers groovers. Groove, however, is not synonymous with simplicity as chops are not synonymous with a technical playing style. You’d be hard pressed to find someone who is willing to argue that Weckl can’t groove, and while it may not be readily apparent in his playing style, I’d be amazed to find that Steve Jordan doesn’t posses a certain level of chops. The difference is stylistic appropriateness. Fusion calls for more involved, denser drumming so to speak, whereas Jordan’s seat behind John Mayer dictates a straight-ahead, open groove.

Regardless of what a certain style calls for, chops are a drummer’s backbone from which to artistically express themselves. Just as we must learn words before we can verbally express ourselves, we must possess the chops to express ourselves musically – to establish the groove we’re seeking. With that in mind, I encourage all drummers to pursue both chops and groove, and I think you’ll find yourself a more effective drummer, whatever your musical preference.