#193 James Gadson- Drummer for Bill Withers, Vulfpeck, D'Angelo and So Many More!
This week’s episode is sponsored by Dream Cymbals. Every Dream cymbal is hand-made and hand-hammered, painstakingly created from fire, base metal and human spirit to create an individual masterpiece. The hand-craftsmanship of their master smiths is apparent in every Dream cymbal.
James Gadson (born June 17, 1939) is an American drummer and session musician. Beginning his career in the late 1960s, Gadson has since become one of the most-recorded drummers in the history of R&B. He is also a singer and songwriter.
Born in Kansas City, Missouri, Gadson played with the first line-up of Charles Wright's Watts 103rd Street Rhythm Band, and recorded three albums with them between 1968 and 1970. Along with other members of Wright's band he went on to appear on many hit records, including with Dyke & the Blazers. Gadson started to become well known as a drummer following the release of the album Still Bill by Bill Withers, released by Sussex Records in 1972. He played on The Temptations album 1990, released on the Motown label in 1973. In 1975 he played with Freddie King on Larger Than Life and went on to record with Martha Reeves, Randy Crawford, Quincy Jones, Herbie Hancock, B.B. King, Albert King, Rose Royce, Elkie Brooks and many more artists. In 1975 he anchored the Motown classic double platinum album City Of Angels, recorded by Billy Griffin & The Miracles.
Gadson was also the drummer on Marvin Gaye's "I Want You" in 1976 and Diana Ross's hit 1976 single Love Hangover and appeared on two tracks, "At The Mercy" and "Riding To Vanity Fair", on the 2005 Paul McCartney album Chaos and Creation in the Backyard.
He has a brief appearance in the Adam Sandler 2009 movie Funny People as a member of the jam band that Sandler's character hires to play with him.
In April 2009, Gadson joined Alex Dixon, grandson of Willie Dixon, on his 2009 release titled Rising From The Bushes, in which he appeared on two tracks, "Fantasy" and Willie Dixon's famous song "Spoonful".
In June 2009, Gadson joined Beck, Wilco, Feist and Jamie Lidell covering Skip Spence's Oar as part of Beck's Record Club series, with videos appearing on Beck's website beginning November 2009. He has drummed on Beck's albums Sea Change, The Information and Morning Phase, as well as Jamie Lidell's 2010 album Compass. Gadson played drums, as well as hambone (slapping his legs), on the D'Angelo song "Sugah Daddy", on the Black Messiah album (2014). He appeared in the 2016 video for “Mama Can’t Help You No More,” by Doyle Bramhall II. You can see a list of some of the credits for James’ work by CLICKING HERE.
R.I.P.
Rest in peace to Tommy “Chucky” Lopez. He was a bongo player for many, especially Eddie Palmieri’s La Perfecta band. Eddie said, “I am very saddened to hear of the passing of Chucky Lopez, he was a truly talented percussionist who left an indelible impression on many of my songs and Latin music as a whole. Chucky was 13 when he joined my band in the late 1960’s and his bongo solo on “Adoracíon” is an all-time classic rhythmical tribute to his musical family and for all of us to cherish. May his soul and spirit rest well.”
The article Damon talks about with Les Moncada can be found by CLICKING HERE.
You can hear the track Eddie described, “Adoracion” with Chucky’s bongo solo below.
Gig Alerts
The Modern Drummer Festival is going virtual this September.
You can stream the festival by CLICKING HERE. Lots of bonus content and exclusive packages.
Summerfest 2021 will feature more weekends and more headliners. It means the festival will feature more national talent and a longer booking window to find that talent. Organizers say it also gives them a better chance of having sunny days during “unpredictable Wisconsin summers.” -Article
Educational Spotlight
Pasic came out with updates to the preliminary artists selected for the virtual convention.
Ash Soan’s Zildjian Live video will be up on Zildjian’s YouTube page at 3pm starting on Wednesday September 9th. There will be a Q&A at 3.30 on Zildjian’s Instagram page.
Damon is featured in Chapter 5 of Latin Percussion’s new series “Stories”. You can watch it on Latin Percussion’s YouTube page. All of the LP Stories and other featured segments can be found on DW’s Drum Network.
Product Review
Sugar Percussion has added to their giveaway through the help of Istanbul Mehmet Cymbals. So now, here’s what they’re giving away:
Mahogany Bop Kit - 18,14,12,14
Istanbul Mehmet Legend Dry 15” hats, 20” crash/ride, 22” ride.
All you need to buy is a couple stands and a pedal. Suck it up.
To participate:
$20 per optional entry.
Donate any amount in increments of 20. $20=1 entry, $40=2 and so on.
Send via PayPal (friends) to js@sugarpercussion.com with your name and IG or FB handle.
Please spread this around so we can help as much as possible.
Iconic Recording
I Want You is the fourteenth studio album by American soul singer and songwriter Marvin Gaye. It was released on March 16, 1976, by the Motown Records-subsidiary label Tamla.
Gaye recorded the album during 1975 and 1976 at his studio Marvin's Room in Los Angeles and at Motown's Detroit-based Hitsville West studio. The album has often been noted by critics for producer Leon Ware's cinematic, downtempo sound, the erotic themes in his and Gaye's songwriting, and the singer's prominent use of the synthesizer. The album's cover artwork adapts neo-mannerist artist Ernie Barnes's famous painting The Sugar Shack (1971), which you can purchase by CLICKING HERE.
I Want You consisted of Gaye's first recorded studio material since his highly successful and well-received album Let's Get It On (1973). While it marked a change in musical direction for Gaye, departing from his trademark Motown and doo-wop-influenced sound for funky, light-disco soul, the album maintained and expanded on his previous work's sexual themes. Following a mixed response from critics at the time of its release, I Want You has earned retrospective recognition from writers and music critics as one of Gaye's most controversial works and influential to such musical styles as disco, quiet storm, R&B, and neo soul.
You can hear the deluxe album on Spotify, complete with instrumental versions and bonus tracks.
The personnel on this album is as follows…..
Artwork: Ernie Barnes, Frank Mulvey
String and horn arrangements: Coleridge-Taylor Perkinson
Bass: Chuck Rainey, Henry Davis, Ron Brown, Wilton Felder
Bongos, Congas: Bobbye Hall Porter, Eddie "Bongo" Brown
Drums: James Gadson
Piano, Fender Rhodes: Jerry Peters, John Barnes, Sonny Burke, Marvin Gaye
Engineer: Fred Ross, Art Stewart
Executive Producer: Berry Gordy, Marvin Gaye
Guitar: David T. Walker, Dennis Coffey, Jay Graydon, Melvin "Wah Wah" Watson, Ray Parker Jr.
Percussion: Gary Coleman, Jack Arnold
Producer: Leon Ware, Marvin Gaye, Arthur "T-Boy" Ross (co-produced tracks: A1, A3, B1, B2, B4-B6)
Synthesizer: Marvin Gaye
Vocals: Marvin Gaye
Music News
The Nashville Metro Council has approved $2 million in CARES Act funding for independent music venues. Independent music venues are considered one of Nashville’s most celebrated attractions. COVID-19 precautions shuttered many venues in early March. All live events in the city were eventually closed in the three months following. -Article
Racial justice group #TheShowMustBePaused has a new set of demands for the music industry. The organization was formed in the wake of George Floyd’s death. Music industry execs Jamila Thomas and Brianna Agyemang started the group with calls for a single-day shutdown. Now, the organization is seeking more than just lip service from the music industry. -Article
Earlier this year, Digital Music News was first to report that California lawmakers had agreed to revise the restrictions within Assembly Bill 5 (AB5), making it easier for artists and music industry professionals to collaborate. Now, the Legislature has passed a bill, AB 2257, containing these long-sought exemptions. -Article
Musicians Fire Back, File Lawsuit Against New York’s Ticketed Event Ban. Michael Hund, a New York native and Buffalo Music Hall of Fame guitarist, just submitted the complaint to a federal court. An exclusive copy of the filing was shared with DMN this morning. Naming Governor Andrew Cuomo and State Liquor Authority Chairman Vincent Bradley as defendants, the 17-page-long document quickly takes aim at the ticketed event ban, which the governor and chairman allegedly implemented “without authority or justification,” thereby depriving the plaintiffs and other musicians “of their personal and professional property without just compensation.” -Article
The song leading into the interview is “Kissing My Love” by Bill Withers from the ‘Still Bill’ album.
James Gadson Interview
James was talking about playing with a percussionist and how he lets the percussionist take the lead when he plays with them. Among the tons of percussionists he has played with, he mentions Eddie “Bongo” Brown as one of his favorites.
James talks about not having formal training. Damon brings up Charles Wright and the 103rd Street Rhythm Band. James said he got that gig when he was 26.
James talks about how he was a jazz drummer first in Kansas City, as well as playing with a lot of Organ Trios. When he moved out to L.A. he would walk 75 blocks to get turned down from sitting in on Jazz gigs. James’ first gigs in L.A. came from the late John Boudreaux. That is how he got the gig with Charles Wright. James talks about keeping time and playing the Motown 4.
James was listening to Elvin Jones (who just had a posthumous birthday), Roy Haynes, Charlie Persip, Philly Joe Jones, & Donald Bailey. When he got to L.A. he started listening to some of the New Orleans drummers like: John Boudreaux, Leslie “Star Drums” Milton, & Zigaboo Modeliste.
Special shout-out to the James Brown drummers Clyde Stubblefield and John “Jabo” Starks. The first hit record (which was also James’ first recording session) that James played on he tried to mimic the style of Clyde and Jabo. That tune was called “Funky Walk” by Dyke and the Blazers.
James talks about going to Motown in the early 70s after playing with Bill and having to play differently. The first record James played on for Motown was “Do It Baby” by the Miracles (later known as Smokey Robinson and the Miracles).
Damon brings up Patrice Rushen’s album “Shout It Out” (that album also had Bill Summers on percussion). The song Damon refers to that James played on was called “The Hump”. James talks about how Patrice helped guide James’ playing and how much he really enjoyed recording on that album.
James talks about learning how to read charts and that playing on “Dancing Machine” he thought he was going to be fired for making a mistake. But, that “mistake” remained on the record. It also inspired other producers to try something new. He talks about how detailed the Motown charts were and which producers gave freedom.
James mentions getting his funk chops together by listening to Stax recordings and doing some projects for Hi Records. The Hodges brothers and Al Jackson Jr. were part of the rhythm section that he would sometimes work with. He then goes on to talk about the different variations of playing through the south and midwest.
Damon brings up the singing that James did. One group was a doo-wop group called The Carpets he was in at age 14. James talks about hearing Frankie Lymon as a kid.
James talks about starting with singing doo-wop, flirting with trumpet and finding the most success with drums. He did do some song writing as well.
By singing first and then playing drums as well as playing with his brother (guitar) he learned how to play with singers and phrase with them.
James was in the Air Force right after the Korean War. He talks about his time overseas in Korea and Taiwan.
Damon brings up Blue Mitchell and James’ time playing with him (also featuring Paulinho da Costa on some percussion). James talks about the jazz players that would come sit in at the afterhours club. He also talks about how the music evolved with Blue’s vision.
The song leading out of the interview is “Mississippi Jump” by Blue Mitchell that Damon Brings up.
James talks about the session with D’Angelo and how “Sugah Daddy'“ came together. Damon also brings up working with Justin Timberlake. The rhythm section was Bill Withers’ band: Benorce Blackmon on guitar, Melvin Dunlap on bass, James Gadson on drums. (The band from Still Bill and Carnegie Hall.) Rick Rubin produced the track. The other guitar player James couldn’t remember might have been Smokey Hormel.
Damon talks about BBQ after hearing that James really enjoys BBQ. Damon talks about the various regions and also how divided South Carolina is by area and sauce. James mentions later having worked for Gates BBQ before moving to L.A.
There was a restaurant named after James by his niece, but that restaurant has since closed.
James talks about the love of the music keeping him going. He also appreciates playing with younger (than him) artists like Harry Styles, and Lady Gaga or legends like Paul McCartney.
James regrets studying formally. Damon challenges the groove, swing, and feel that James got while playing for years that could have been stifled by “too much” technique and training. James says its two different things. Teaching groove and feel is possible. He credits being a singer and listening to the singer has helped him. He listens to all styles of music and currently enjoys church music and classical.
Damon brings up the different “Kings” the James played with from B.B. to Albert to Freddie. James talks about how each region has a different feel with how they play their blues and shuffles. He even mentions Albert Collins and Eddie Harris.
James talks about the rigorous schedule of gigging all night into the morning matinees, then having to drop out of college, all while getting married and having a daughter.
James talks about his feelings toward Bill Withers about not getting credit, specifically for Use Me and Kissing My Love. He said they ironed everything out, but a lot of drummers don’t get the credit they deserve (see Funky Drummer, one of the most sampled beats ever).
James drops the bomb about being the drums that were sampled for the LM2. The second drum machine created by Roger Linn. The first one was the LM1.
Back in 2014 James had a bunch of drums and other studio equipment stolen from his studio. He has never had it returned. Maybe you have seen some of his gear and want to return it to him or even let him know where you have seen it?
He talks about how connected you are to the gear and how that can affect your sound and how you play.
Watch out for James playing some stuff in odd meters in the future!!!
He regrets never meeting Clyde, but he did meet Jabo and says that “Turn on Your Love Light” by Bobby “Blue” Bland was an inspiration for him. James also mentions playing with Hank Ballard and the Midnighters, who did the Twist before Chubby Checker, as well as, meeting several members of James Brown’s band.
James refers to Sonny Payne who played with the Count Basie Orchestra and could push a big band better than anyone else James had seen.
James talks about the segregation that went on in the entertainment industry. Things like the Chitlin Circuit, not getting paid, poor quality of food and more! He even talks about how tense things got playing with Claude “Fiddler” Williams.
James uses Istanbul Agop Cymbals, shout-out to DW Drums, C&C drums, & Innovative Percussion.
You can follow James on Facebook
