Today’s blog directs our attention to possibly the greatest living session drummer, J.R. Robinson. Any drummers who don’t know of his CV can find it here – https://www.johnjrrobinson.com/music
Although I highlighted this song in a previous blog, this time I want to do a ‘deep dive’ into what makes JR so great.
https://www.youtube.com/watch?v=YgjQmA9tI_Y
As you watch him re-create his iconic intro – with an explanation of how he was instructed by Quincy to create it – then the main grooves of the song, I suggest you pay special attention to the following:
TOUCH
JR exhibits a finesse in his grips (in the French tympani style) and touch, that creates a full sound without needing to wallop anything using large upstrokes above his head.
One can see other evidence of this efficiency in other studio legends’ videos, such as Earl Palmer, Jabo Starks etc.
SUBTLE TIMING
JR creates what is usually referred to as a ‘lilt’ on the sixteenth hi hat work, which is not quantized, yet propels the groove beautifully. Notice also that he plays on top of the hi hat as distinct from the edge (emphasising the attack, with less of the thick sound one gets when playing the edge). Think about how this makes the hi hat sit in the final mix. This also allows for the contrast of the offbeat accents, along with some left hand variations, to stand out.
CONSISTENCY
Notice JR lands every hit in the middle of the snare drum – whether right or left hand – at exactly the same spot. There is some rebound, allowing the drum to ‘speak’.
Kick is likewise incredibly consistent, as JR uses the ‘deadstroke’ approach to lean into each hit. This keeps the note length short (the Axis Signature JR hard beater is pressed into the head), and I imagine he feels most comfortable keeping his groove steady with this approach. Note that his heel never rises very much, unlike some students I’ve seen who raise their heel excessively.
During the seventies, the majority of sessions would have the front kick head removed, and lots of pillows stuffed in the drum, which (as well as keeping the note short and contained) gives some useful added rebound from the pillows pushed up against the playing head.
I used to do the same, but changed to allowing the beater to rebound in order to give me more sound options (e.g. in jazz contexts, I might need a longer sustain). Also, these days I think it’s more rare to deaden the kick so much.
I have to say, not leaning the beater against the head (and dropping the heel down briefly when possible) has helped me avoid leg fatigue when doing live gigs.
ORCHESTRATION
Here is where the ‘genius’ comes in – like all great studio players, JR knows how to choose the tastiest parts of the kit to enhance each section as the song progresses. Utilising hi hat opening, change-ups in kick phrasing, crashes (not all the same intensity!), minimal tom fills and dynamics. I notice he chooses not to emphasise any of the horn lines, as one might in a big band style.
In addition, check out the way JR’s performance is already mixed as he plays, perfect for this pop tune. No problems with a hi hat or crash that’s too loud, a snare that’s too soft or inconsistent, etc. Great tuning is a must.
EMOTION
Yes! Look at JR’s face as he plays, it revels his joy as he re-lives this iconic song, and of course the late MJ’s inspiring vocals.
If he is tired of performing it yet again, it certainly isn’t showing. Also, look at how his body is feeling the time and subdivisions. Head and shoulder movement, left foot/leg ‘dancing’, right foot demonstrating the power (leg) strokes, each followed by relaxation before the next stroke.
I noticed how his stick downstrokes almost look like they are slightly ‘held back’ – to my eyes he seems like he is trying to land the main quarter notes just a little on the back edge of a metronomic pulse.
If you’re anything like me, you might at times allow too much adrenaline to manifest itself in rushed strokes…so what that reveals is how much control JR has; recording drummers need to try and emulate that, without losing the vibe of whatever we are playing.
CONCLUSION
Today’s drummers are so lucky to have these videos available. Free instruction on how to play drums in recording sessions. I would recommend always going to the source, however. By that I mean, avoid unknown drummers trying to emulate the legends on YouTube, playing on hit songs, just go straight to the videos of the actual drummers themselves!
