Definition
Most musicians currently studying Jazz grew up in a completely different environment surrounded by completely different styles of music than what they’re currently studying. To give an example, I grew up playing Rock, Metal and occasionally Pop music on the Drums. However it’s interesting to see how the skills acquired from this style can be applied in so many different genres.
Let’s face it: Jazz (especially BeBop) was never mainstream. It’s the kind of style that only most of the time only serious listeners check out and study. But to quote every controlling record label, ‘that’s not what sells’. There have been several designated Jazz drummers throughout time who occasionally dipped their toes in the land of Rock and Roll music, including some who started with it just to earn their first pay checks and some who continued to do it long into their careers. Others turned to the visual media industry by composing soundtracks of notable films and even appearing in some movies themselves at times.
Context
This essay attempts to provide a brief overview of drummers throughout history who played on records the are well known to the general ‘non musician’ audience. Personally I chose this topic because as much as I love Jazz, I still somehow feel connected to the music that I started playing when I first held the drumsticks. I’ve been trying to come up with ways to find connections between the two and it was really interesting to dive into various artists who have done the same and the drummers they played with for these kind of projects.
Below are my top picks for this essay, covering drummers that we talked about in the Historical Development lessons. I’ve arranged them chronologically, as the idea of what was perceived as ‘commercial’ music has largely changed over time.
History
One of the first Swing Drummers on the scene, who inspired several musicians such as Buddy Rich, Gene Krupa, Duke Ellington, Art Blakey and Louis Bellson, Chick Webb also frequently appeared on television. Some of his notable features include ‘After Seben’ (1929) and ‘Cabin in the Cotton’ (1932). Moreover his version of the tune ‘Stomping at the Savoy’ has been used in a multiple movies and shows till as recently as 2023. While he is credited with being one of the musicians who laid the foundation of Big Band and BeBop music, he still managed to be an entertainer.
Earl Palmer was perhaps one of the biggest contributors to Rock and Roll drumming. His entire career was mainly focused on being a session drummer and his drumming can be heard on several notable Motown, Rock and Blues albums. He is also credited with playing the first ‘Straight’ groove on the song ‘Lucile’ by Little Richard. Other notable works of his include ‘Sunflower’ by The Beach Boys, ‘Together Again’ by Ray Charles, ‘La Midnight’ with B.B. King, ‘Tap Root Manuscript’ by Neil Diamond and ‘The Monkees Present’ with The Monkees.
Much like Palmer, Al Jackson was also a studio drummer who was quite well known for playing ‘groove’ music. Although he started with a swing band, he went on to record albums with a lot of Rock, Soul and Pop musicians. I was thrilled to discover that he played drums on the second solo studio album of one of my favourite musicians, Eric Clapton. The album is called ‘461 Ocean Boulevard’ and features the famous song ‘I Shot the Sheriff’. More of his popular works include ‘Green Onions’ by Booker T. & the M.G.’s, ‘Woman to Woman’ by Shirley Brown, ‘Young, Gifted and Black’ by Aretha Franklin, ‘Atlantic Crossing’ by Rod Stewart, the debut album of Bill Withers entitled ‘Just As I Am’, featuring his famous number ‘Ain’t No Sunshine’.
The second highest paid child artist when he was 11, ‘Traps the Drum Wonder’ was always associated with the entertainment industry. He regularly appeared on reality shows such as The Johnny Carson Show and The Muppets Show. On most of these occasions he gave some iconic and memorable performances, sometimes in the form of drum battles. The battles were against Ed Shaughnessy, Gene Krupa, and once even ‘The Animal’ from The Muppets Show. In 1957 he even recorded an album called ‘Buddy Rich Just Sings’ where his is featured as the lead vocalist, featuring several notable Jazz standards.
Single Album / Song features
Vinnie Colliuta on ‘Ten Summoners’ by Sting, featuring ‘Shape of My Heart’
Dennis Chambers on ‘Alive in America’ by Steely Dan
Steve Gadd on ’50 Ways to Leave Your Lover’ by Paul Simon (he also accompanied Simon and Garfunkle for their Central Park concert in 1981)
Peter Erskine on Micheal Buble’s ‘Christmas’ album and soundtrack of the hollywood musical ‘La La Land’ composed by Justin Hurwitz
James Gadson on ‘Still Bill’ by Bill Withers, featuring his most popular number ‘Lean on Me’
Wider Context
Honourable Mention: Tony Williams
Tony Williams, arguable one of the most influential ‘Jazz - Rock’ drummers, inspired several amazing drummers such as Vinnie Colliuta, Dave Weckl, Peter Erskine and Dennis Chambers who went on to play both rock and jazz fusion music. However, he was sadly unsuccessful in commercialising his projects which leaned more towards the Rock genre, even though he largely contributed to the sound. He collaborated with some notable rock musicians in his time:
Guitarist George Benson on the song ‘Paraphernalia’ on the album ‘Miles in the Sky’
Bass player Jack Bruce (Cream) joined the Tony Williams Lifetime (John Mcclaughlin and Larry Young) for a London Tour
Guitarist Allan Holdsworth on The New Tony Williams Lifetime
Further Research
Some other artists crossing between Jazz and Rock n Roll
Van Morrison on the albums ‘Days Like This’ and ‘You’re Driving Me Crazy (with Joey DeFrancesco)’
Brandford Marsalis (soprano Saxophone) and Gil Evans (Keyboard plus Orchestra) on the album ‘Nothing Like The Sun’ by Sting, featuring one of his most popular songs: “Englishman in New York’
‘Wynton Marsalis and Eric Clapton Play The Blues’ at Jazz at Lincoln Center, featuring big band arrangements of songs such as ‘Layla’
Rod Stewart’s recording of ‘Moon River’. There is also a version of this song recorded by Eric Clapton and Jeff Beck
‘That’s What I Say: John Scofield plays the music of Ray Charles’
Conclusion
Through this paper I’ve attempted to blur the lines between the kind of of music we study and music that is percieved as ‘popular’ amongst a more general audience It is interesting to note several instances in history where artists have stepped out of their comfort zone and done something different than their usual sound. These recordings also open up the possibility to explore both the genres in more details and find similarities between their vocabulary and origins. It helps gain us a deeper understanding of where the music we listen to came from and how it came to be what it sounds like today.
This paper barely scratches the surface of the plethora of collaborations and cross - genre projects done by artists (mainstream and non mainstream). There are so many artists exploring new sound and experimenting with new things every day. It’s so inspirational for me to see music serve it’s true purpose: unite everyone no matter what their preferred taste / style might be. Given all this data and history, it’s still difficult to say which direction the future of modern music is headed in. However there is one thing we know for sure: when collaborations like this happen, they create something new, something unexpected, something beautiful.
References
The Monkees Present - The Monkees
461 Ocean Boulevard - Eric Clapton
Visit to a Small Planet (1960)
Animal Drum Battle on The Muppet Show (1981)
It’s Beginning to Look a Lot Like Christmas - Micheal Buble
50 Ways to Leave Your Lover - Paul Simon
Paraphernalia by Mailes Davis with George Benson on Guitar
You’re Driving Me Crazy with Joey Defrancesco
Nothing Like the Sun with Brandford Marsails and Gil Evans