Nice piece, Vinnie (although I don't share your veneration of my British compatriots).
One American session drummer you might have mentioned is Al Duncan, who played on many important Chess and VeeJay records in Chicago in the late 50s/early 60s, notably the Impressions' and Major Lance's early hits, on which his feel and tom-tom fills were very distinctive.
Also a couple of other Detroit drummers were used on many Motown hits, particularly after Benny Benjamin became unreliable: Richard "Pistol" Allen and Uriel Jones, both wonderful players. Did you know that the drummer on Martha & the Vandellas' "Dancing in the Street", an ur-Motown track, was the great Freddie Waits, a hard bop master (and father of Nasheet)? In the 60s, producers, musicians and fans spent much time trying to figure out the ingredients of the Motown backbeat. Eventually it became clear that it was a combination of snare, Jack Ashford's tambourine, and a chopped guitar chord played sometimes by Eddie Willis but usually Joe Messina, who used a Telecaster with heavy-guage strings for the job. Carefully balanced, that gave the Motown backbeat its unique colour and resonance. And, of course, the acoustics of the Snake Pit, Studio A at Hitsville USA, 2648 West Grand Blvd.
I wrote about Al Duncan on my blog a few years ago:
Thank you Richard....great info on the Motown sound, and Al Duncan is a new name to me, much appreciated. I actually wrote an essay on Freddie Waits (that I recently revised) where I talk about "Dancing In The Street". Do you have a favorite book on Motown history, and/or do you know a reliable source for you is thought to have played on what tracks?
Love this article! I wonder how drummers think about Stanton Moore’s “groove alchemy” section on backbeats? for me, a bassist, this chapter on placement unlocked so many interesting things but I’ve never heard any drummers I know talk about it
Growing listening to Black music distilled by English drummers, one can not argue at all with Steve Jordan's list of the great foundational drummers. I'd add Ziggy Modeliste from The Meters to any list of "funky" drummers (I mean, "Cissy Strut" is downright "filthy funk"!). Thanks, Vinnie!
The filthiest. The problem with any discussion of something as wide as backbeat drumming is that the story is incomplete, no matter how many names we mention. Glad you got Zigaboo Modeliste in there Richard!
When I was 12 the summer of 69 in Ann Arbor Mi, politics were raging, Viet Nam war, civil rights etc. Ann Arbor because of the university of Michigan was in the tick of it.
3 blocks from my childhood home the MC5 performed a free concert on a Sunday afternoon. I was impressed….. until
In the latter weeks of August the 1st Ann Arbor blues festival happened. I distinctly remember my friends Mom driving us on Friday night and as us 2 12 and 13 yr olds found our way to see the stage , there was Luther Allison, sounding great, next came Howling Wolf, seductive , incredible… I remember my friend saying to me “ This is the real stuff… he intuitively knew.
I spent the most of my time there I met T-Bone Walker , Big Mama Thornton, her drumming was great ,Fred Below played with many of the acts that weekend.
Speaking of Earl Palmer one my favorite stories not just musical, but in general is this
When Palmer was a young guy he really admired Shelly Manne. He went to the municipal auditorium in New Orleans to see Shelly Manne with Stan Kenton. He tried to go backstage to meet Shelly., he told the guy at the stage door that he was there to meet Shelly the guy yelled at Palmer, racial things terrible things
Then Shelly Manne came out the stage door with some other musicians, the guy at the door said hey this guy said he’s here to meet you, Shelly, having never met Palmer did not know who he was said…..yeah I thought we were meeting out front. Where the heck have you been come on? Let’s go … they became lifelong friends ; Palmer naming his daughter Shelly.
Lastly I’ve read but I can’t pinpoint that Stevie Wonder played drums on up tight.
Thanks for this! Do you consider Sid Catlett’s playing on Albert Ammons’ “Jammin’ the Boogie” (Commodore 1944) to be a backbeat? He really gets after it during Hot Lips Page’s solo and the shout bits, but not sure where “boogie-woogie” fits in the taxonomy.
Thanks Vinnie for the fascinating article and playlist. Have you heard James Black's playing on Eddie Bo's "the Hook and the Sling"? Black was a wild, larger than life character who struggled with heroin. He was also considered one of the greatest drummers to come out of New Orleans with his incredible syncopation.
Nice piece, Vinnie (although I don't share your veneration of my British compatriots).
One American session drummer you might have mentioned is Al Duncan, who played on many important Chess and VeeJay records in Chicago in the late 50s/early 60s, notably the Impressions' and Major Lance's early hits, on which his feel and tom-tom fills were very distinctive.
Also a couple of other Detroit drummers were used on many Motown hits, particularly after Benny Benjamin became unreliable: Richard "Pistol" Allen and Uriel Jones, both wonderful players. Did you know that the drummer on Martha & the Vandellas' "Dancing in the Street", an ur-Motown track, was the great Freddie Waits, a hard bop master (and father of Nasheet)? In the 60s, producers, musicians and fans spent much time trying to figure out the ingredients of the Motown backbeat. Eventually it became clear that it was a combination of snare, Jack Ashford's tambourine, and a chopped guitar chord played sometimes by Eddie Willis but usually Joe Messina, who used a Telecaster with heavy-guage strings for the job. Carefully balanced, that gave the Motown backbeat its unique colour and resonance. And, of course, the acoustics of the Snake Pit, Studio A at Hitsville USA, 2648 West Grand Blvd.
I wrote about Al Duncan on my blog a few years ago:
https://thebluemoment.com/2018/03/23/the-story-of-al-duncan/
A while later this excellent interview turned up:
https://scottkfish.com/2016/01/09/al-duncan-big-ears-and-a-good-memory/
All best, Richard
Thank you Richard....great info on the Motown sound, and Al Duncan is a new name to me, much appreciated. I actually wrote an essay on Freddie Waits (that I recently revised) where I talk about "Dancing In The Street". Do you have a favorite book on Motown history, and/or do you know a reliable source for you is thought to have played on what tracks?
Love this article! I wonder how drummers think about Stanton Moore’s “groove alchemy” section on backbeats? for me, a bassist, this chapter on placement unlocked so many interesting things but I’ve never heard any drummers I know talk about it
I don't know this book, will have to check it out.
Growing listening to Black music distilled by English drummers, one can not argue at all with Steve Jordan's list of the great foundational drummers. I'd add Ziggy Modeliste from The Meters to any list of "funky" drummers (I mean, "Cissy Strut" is downright "filthy funk"!). Thanks, Vinnie!
The filthiest. The problem with any discussion of something as wide as backbeat drumming is that the story is incomplete, no matter how many names we mention. Glad you got Zigaboo Modeliste in there Richard!
thanks Vinnie!
Thank you Ethan, as always!
A few things…..
When I was 12 the summer of 69 in Ann Arbor Mi, politics were raging, Viet Nam war, civil rights etc. Ann Arbor because of the university of Michigan was in the tick of it.
3 blocks from my childhood home the MC5 performed a free concert on a Sunday afternoon. I was impressed….. until
In the latter weeks of August the 1st Ann Arbor blues festival happened. I distinctly remember my friends Mom driving us on Friday night and as us 2 12 and 13 yr olds found our way to see the stage , there was Luther Allison, sounding great, next came Howling Wolf, seductive , incredible… I remember my friend saying to me “ This is the real stuff… he intuitively knew.
I spent the most of my time there I met T-Bone Walker , Big Mama Thornton, her drumming was great ,Fred Below played with many of the acts that weekend.
Speaking of Earl Palmer one my favorite stories not just musical, but in general is this
When Palmer was a young guy he really admired Shelly Manne. He went to the municipal auditorium in New Orleans to see Shelly Manne with Stan Kenton. He tried to go backstage to meet Shelly., he told the guy at the stage door that he was there to meet Shelly the guy yelled at Palmer, racial things terrible things
Then Shelly Manne came out the stage door with some other musicians, the guy at the door said hey this guy said he’s here to meet you, Shelly, having never met Palmer did not know who he was said…..yeah I thought we were meeting out front. Where the heck have you been come on? Let’s go … they became lifelong friends ; Palmer naming his daughter Shelly.
Lastly I’ve read but I can’t pinpoint that Stevie Wonder played drums on up tight.
Beautiful stories, incredible memories, thanks Drew!
Correction: "heavy-gauge"
So that's how they got such a huge snare sound on Let's Stay Together! I always wondered how they did that. I'm gonna have to use that.
Thanks for this! Do you consider Sid Catlett’s playing on Albert Ammons’ “Jammin’ the Boogie” (Commodore 1944) to be a backbeat? He really gets after it during Hot Lips Page’s solo and the shout bits, but not sure where “boogie-woogie” fits in the taxonomy.
Thanks Vinnie for the fascinating article and playlist. Have you heard James Black's playing on Eddie Bo's "the Hook and the Sling"? Black was a wild, larger than life character who struggled with heroin. He was also considered one of the greatest drummers to come out of New Orleans with his incredible syncopation.
"You done hired the hit-maker!"
(Bernard 'Pretty' Purdie)
https://xpn.org/2014/06/17/the-fantastic-rhythm-method-of-drummer-bernard-pretty-purdie/
Props, Vinnie!
ps I love your Substack and have learned a lot about music, not just drums & drummers, from reading Vinnie Sperazza. Plus, you're a mensch!
Brilliant, Vinnie! Brilliant!
Thanks Rob!