ABSTRACT
This chapter explores the concept of groove in the light of recent research in the field and introduces the idea of solo groove as it relates to time, with particular reference to sampling and the role of the producer. It defines a model for conceptualising groove and time by defining three categories of interaction, with analyses of funk performances to illustrate the discussion. The chapter focuses on the musician's relationship with musical time and, more specifically, the way in which the capacity for groove depends upon familiarity with stylistically nuanced conceptions of time. It considers the link between groove and familiarity to expand the role of the listener as well as the skewing effect of sampling. Despite the nearly limitless supply of hitherto unexplored musical examples that are used, some familiar groovological warhorses are also re-examined from a new perspective in order to illustrate author's thinking.
