Post-session with Jim Keltner and Jason Scheff

 

 

 

 

 

Where Drummers Dare

How Jim Keltner heightens suspense across a galaxy of styles

 

Jim Keltner has drummed for everybody from Bob Dylan to Steely Dan to Ry Cooder; he drives a lot of the better rock albums you own even when he goes uncredited. His cunning discretion colors two of this year's better CDs (Lucinda Williams and Neil Young). Studio musicians pride themselves on anonymity. Hal Blaine, the great '60s drummer, played on sessions for the Byrds, the Beach Boys, the Monkees, and many others. Yet solid as he was, you'd be hard pressed to figure out which tracks he did or didn't play on. His job was crucial: in a single session, reading sheet music for the first or second time, he laid down a rhythmic bedding against which the others defined themselves. A crack session ace like Blaine is the canvas to which producers add paint.

But there is a breed of session player that stands apart. These musicians cultivate a recognizable sound, and add nuance to projects that might otherwise sound flat. Jim Keltner, a top studio drummer for the past 30 years, has power, subtlety, and good taste. If his name appears on a recording, it's a good bet you'll want to hear it.

Keltner started to gain stature as the Beatles were breaking up, when he met up with his hero Ringo Starr at The Concert for Bangladesh, where they gleefully double-drummed (a terrifically difficult task). Session players are in the service industry; they have to accommodate every imaginable style to suit every employer taste. Keltner does this while constantly refining his cunning, discrete sound. This past year he colored two such distinct sessions you'd never guess the same player was behind them both: Lucinda Williams' Essence, and Neil Young's Road Rock. (A partial list of the sides Keltner's played on in the past season includes Jon Brion's Meaningless, Peter Case's Blue Guitar, The Charlatans UK's Wonderland, Cracker's Garage D'or, Dion's Born to Be with You, Neil Finn's One Nil, and Rufus Wainwright's Poses.)

To begin with, Keltner's "time" is both fluid and firm. "Time" is that elusive steadiness all drummers seek, so elusive that many producers simply hook up a "click track" to a drummer's headphones and make them play along to a digital metronome. It's a big part of what makes today's slick contemporary sounds so stiff. "We never used a click track in the old days," Ringo Starr once said. "We did okay." Through the infinitely subtle way he controls the beat by pushing and pulling against it, Keltner can make a click track sound like a human pulse: steady, yet flexible. (The other great click track wizard is Rolling Stone Charlie Watts, with whom Keltner collaborated on an ambitious but ultimately out-of-reach project last year).

Keltner's drumming is poetic; however simple, his patterns always send off more than one message at a time. On Williams's "Get Right with God," his patterns rise above the typical bass, snare, and hi-hat clichés; he gives you something to listen to beyond mere rhythm, without drawing undue attention to himself. This track would challenge any drummer to give the static rhythm a sense of shape, movement, and purpose. Keltner creates curves in the sound, gives the others a sense of where to land, and which accents can work as pivots. Half of the pleasure in listening to him lies in the sheer confidence he inspires from the others, including Williams's raspy vocal. The other half lies in the ongoing sense of anticipation he creates, the aura of the unexpected that hovers in the air even when nothing special is happening.

A show-off drummer would have enough trouble toning down for a Lucinda Williams session—her songwriting calls for interior moods. But to hear the same Keltner bash his way through a thrilling set behind Neil Young makes you marvel at how much his ears embrace. Even when he starts soloing behind Neil Young's ravenous guitar in "Cowgirl in the Sand," a song you thought you were familiar with, he traces an intangible line between utter control and utter abandon. The challenge here is completely different: to make yet another live Neil Young effort sound fresh through songs that have become second nature. Keltner's choices here are uncanny: he's not pushing the music forward so much as pulling it more into itself, like the whirlpool at the center of a vortex. He can lope along with the song's lopsided verve, awash in its dismay, and then build to refrain-ending flourishes that have no right to fit into the small spaces he squeezes them in. As barbed and chaotic as Young's guitar playing is, you can get just as many thrills from Keltner's tidal control and release.

When Neil Young appeared on the "Tribute to Heroes" telethon on September 21st [2001], he sang John Lennon's "Imagine" with a fearsome tenderness. That was Jim Keltner on drums, supporting the song's vast ambition with a decisive rhythmic spine, the same way Alan White did on the original session. When singers want deeply felt definition, contour, and color from a stickman, they know who to call.

 

 

by Tim Riley 

 

 

 

Amjad Ali Khan & Joe Walsh - Prayers

 

 

Amjad Ali Khan & Joe Walsh - Prayers
Universal digital (2021)



Track Listing:
1. Goddess
2. Healing Love
3. Hope (We Shall Overcome)





Personnel:
Jim Keltner - Percussion
Amaan Ali Bangash - Sarod
Amjad Ali Khan - Sarod, Vocals
Ayaan Ali Bangash - Sarod
Davey Johnstone - Guitar
Ed Roth - Keyboards
Joe Vitale - Keyboards
Joe Walsh - Guitar, Producer
Leland Sklar - Bass
Michael Thompson - Keyboards
Nathan East - Bass
Satnam Ramgotra - Tabla
Stewart Copeland - Percussion 

Live From My Drum Room E254

 

 

 

 

Jim Keltner Drums For Rock Royalty, Including Paul Simon, Eric Clapton. But You Don’t Know His Name

 

 

Jim Keltner is one of the best studio drummers in the world, having recorded and played with John Lennon, Eric Clapton, John Fogerty, George Harrison, Neil Young and Simon & Garfunkel. But few outside of the music business know his name, and he’s okay with that. He told me he has never sought the spotlight. In our exclusive interview series, Keltner discussed many things, including his early influences, relative anonymity as a popular musician, involvement with the “12 Drummers Drumming” charity auction for veterans with PTSD and Cream drummer Ginger Baker’s African influences. Here, in Part 1, we focus on two of the most famous talents he has had the pleasure of working with: Clapton and Lennon. Following are edited excerpts from a longer conversation.

Jim Clash: The list of those you have recorded with reads like a who’s-who in the music business. Let’s discuss some off them. How about Eric Clapton?

Jim Keltner: That’s a special case [laughs]. I wish this unbelievable stuff [his anti-vaccine stance] hadn’t happened. What Eric has done to himself is something nobody seems to be able to explain. And he is not explaining it, either, which is the worst part. He’s just doubling down. I hope he can find a way out. But it doesn’t change my opinion of the man. I can’t tell you how much I love Eric, one of my very favorite to play drums with, an unbelievable guitar player. He also is a great singer. When he connects with a good song, like any good artist, you can’t go wrong.

Cream was one of my favorite bands of all-time, just like about everybody else. Jack’s [Bruce] singing was incredible. Anytime you put on a Cream record, it sounds great, feels great, never seems dated. But Eric didn’t like his own singing back then. In fact, we were at lunch one day, between sessions working on one of Eric’s albums, just sitting around talking about our favorite Clapton eras. I joined in, said mine was Cream. Eric just looked up and said, “Oh, f’ck off,’” in a funny way, of course [laughs].

Delaney & Bonnie And Friends really helped launch a bunch of us. For me, it started a relationship with John [Lennon] and George [Harrison], unreal. Eric fell in love with our music, and we opened for Blind Faith, his band with Ginger Baker and Stevie [Winwood]. Those guys would take their limos, private jets and stuff, but Eric traveled with us on our funky bus. In the back, Delaney [Bramlett] would try to teach him how to strengthen his voice, sing out more, how to “call the hogs.” Delaney was from Mississippi, with a lot of farm time. They were doing this hog-calling really loud [laughs]. Eric always credited Delaney with helping his singing.

Jim Clash: You’re a known commodity in the music community. But, as a behind-the-scenes studio guy, not many average rock fans know your name. Does that ever bother you?

Jim Keltner: I’m one who never wanted the spotlight. I’ve been around so many of what I call “geniuses.” Not all of those guys lived to be famous, either. Most want to use their musical gifts to satisfy their souls and to enlighten the world. The Randy Newmans, the Bob Dylans. I know Bob very well. Like John [Lennon], he’s been in the limelight all of his life. He was just a kid when it started. Now I don’t think Bob is uncomfortable in the spotlight, but it’s not something he ever wanted. It just came to him. When it comes like that, how you handle it is key. The cool ones use it wisely. The sad stories are the ones you see all the time, the ones who can’t handle it. For me personally, I’ve been blessed. I’m grateful for the gifts I have, and just to be a part of this whole [musical] thing. You come into this world, live your life and then you’re gone. I’m a strong believer in God. My mama made sure of that. I spend my time on Earth preparing for what’s next. So I don’t want my life to be about how rich I get, or how famous. Those things are fleeting. But there’s nothing wrong with that, either. I don’t resent people’s wealth and fame. Without them, I wouldn’t be able to use my own gifts [laughs].

Jim Clash: I just interviewed Def Leppard’s Rick Allen, who’s involved like you in the “12 Drummers Drumming” charity effort to benefit PTSD victims. As you probably know, Rick lost an arm in a car accident, but has relearned how to drum on a pro level with just three limbs.

Jim Keltner: That’s the heroic part. He’s laid it out there for anybody to follow. God forbid, if you ever find yourself in a similar predicament, read that man’s story. Find out how he got through it. It’s awesome that he’s that guy, and that he’s also giving back with this wonderful charity event.

Jim Clash: You’ve been on so many albums with so many big names. Name one or two you are particularly proud of.

Jim Keltner: That’s one of those questions that’s hard for me to answer. The body of work is just so tremendous. If I mention one, it’s not fair to the others. That said, one of my favorites was back a few years with Mavis Staples, and Ry Cooder producing. We knocked it out of the park. Then there was Randy Newman, who I always loved playing with. He was funny, smart and musically amazing. I won’t go into the names of the songs. Neil Young was another. Eric Clapton, too. Not everybody loves Eric’s blues album, “From The Cradle,” as much as I do. I always felt that it was a really good start to a blues series, and have been hoping that there would be another opportunity to do a blues record with Eric, one where we would still capture the real thing, but even more so. There’s a record I did with Lucinda Williams, I think it was called “Essence,” one of my favorites to play in the studio and then to listen to later.

Jim Clash: The Wrecking Crew, a bunch of studio guys, were famous in the sixties and seventies for redoing parts of songs for known artists, but incognito. Have you played with and/or do you know any of them?

Jim Keltner: Yes, but they were already big-time dudes when I was a kid just starting. Hal Blaine, God bless his soul, was one of my main heroes, as was Earl Palmer. Every chance I got to see or meet them was a huge thrill for me. Hal actually threw me into the deep end for a session early on, and I made it through. That was the beginning for me, knowing that I could handle those kinds of things. Then, when I got calls to play with them - various combinations of the Crew over different periods - I would find myself on different sessions, especially when Phil Spector was producing. So yeah, I pretty much got to know all of The Wrecking Crew. They knew that I didn’t play like Hal - that I could never rise to him, or to Earl Palmer - but they liked what I did, what I brought to the table.

Jim Clash: You had mentioned Ginger Baker earlier. I love how he plays that inverse beat on the Cream classic, “Sunshine Of Your Love.”

Jim Keltner: Ginger was a jazz guy. That’s one of the reasons he didn’t play terribly conventional rock stuff, and that’s what drew me to him. As far as playing on all fours on “Sunshine” – by the way, he didn’t just do that on one song, he did it a lot – it’s African. They don’t necessarily clap on two and four like we do here in the U.S. and in other parts of the western world. Africa is a wonderful source, and Ginger grabbed onto as much of it as he could. “Sunshine” is a perfect example. But it was not only the way he played around the drums, but the way he tuned them, too. Everything about Ginger Baker was really frickin’ cool. It was Afro and jazz, not your normal rock thing. I once talked to Eric [Clapton] about Ginger. He loved him, too.

Jim Clash: Let’s go back to your youth. Who were your biggest influences?

Jim Keltner: My first influence, like a lot of people, was Gene Krupa. Then I discovered Buddy Rich, and went nuts. I didn’t think what he did was possible. Buddy was kind of inhuman, whereas Gene was soulful swing, a beautiful sound. Buddy always pointed that out about Gene. There was no competition. There couldn’t be anyway, because nobody could compete with Buddy, not even today. Later on, I would listen to records not having a clue as to who the drummers were. Eventually, I made a point of finding out. That’s when I discovered that Hal Blaine, who we discussed earlier as part of The Wrecking Crew, had played on a bunch of those records - and Earl Palmer, too. The drums were the key to many of those. When I fell in love with jazz, I learned about Philly Joe Jones, and the records he played on with Miles [Davis], and then Elvin [Jones] with [John] Coltrane. If I had to pick who was most influential to me, I would say Elvin. His playing was a blueprint for all jazz players, which was key to my life. He played so wide. It all comes at you at the same time. You find yourself studying it, playing like it. His [cymbal] ride pattern was completely different from anyone else’s. Again, like Ginger, very African.

Jim Clash: Is there a question I didn’t ask that you want to answer?

Jim Keltner: That’s a good one, but it’s surprised me. My wife has left the room now, so I can say this. She sometimes listens to my interviews and tells me later, “You don’t have to say everything that’s on your mind.” And I know what she means. I do tend to go on. That’s not really a question, but it’s an observation [laughs].


By Jim Clash

Uncut 2021 June

Modern Drummer 2025 12

Congratulations. Well-Deserved.

Listening Guide: Jim Keltner

 

Jim Keltner has been a go-to session drummer since the '70s. From ex-Beatles to Bob Dylan to Steely Dan, here’s a taste of the legendary player.


Jim Keltner has been a go-to session drummer since the ’70s, and the legendary player retains his iconic status. Renowned for a style that is wide open and precise, tasteful and timely, and, above all, rocksteady. Jim has a knack for both finding a groove and paying tribute to every song he’s ever performed on. And as you read his list of credits, you’ll find there’s a good chance you’ve also paid tribute to a few of those classics. From ex-Beatles to Bob Dylan to Steely Dan, here’s a taste of Jim Keltner.

PLAYLIST

I Don’t Wanna Be a Soldier Mama by John Lennon (1971)

Keltner’s first collaboration with an ex-Beatle, this track from the legendary Imagine album is an early keystone for the indulgent ’70s drum sound—wet and resonant with Phil Spector’s Wall of Sound reverb. Keltner fills the space generously with a straight-ahead 4/4 groove, peppering the hi-hat with eighth notes and barking it on the first downbeat of each bar. With a consistent tempo and sultry sax leads, this track offers a great vibe for a cocktail party background.

Better Off Dead by Bill Withers (1972)

From the 1972 album that made Withers a star, Just As I Am, this deep brooding track deviates slightly from straight-ahead classics like “Ain’t No Sunshine.” Paired with hand percussionist Bobbye Hall, Keltner doubles her congas in circling the backbeat in the verses with ghost and pickup notes on the snare. Then, he deviates from the congas into a straight 4/4 groove in the chorus and bridge. It’s a tasty soul track from top to bottom. 

 

 

Give Me Love, Give Me Peace on Earth by George Harrison (1973)

After playing on The Concert for Bangladesh in 1971, Keltner kicked off a long-term friendship with George Harrison. The first track on Living in the Material World is a prayer for world peace that he serves with a refined and minimal performance. Keltner plays halftime against Harrison’s acoustic sixteenth notes, leaving room for his signature post-Beatles slide guitar. The song has an organic build where you feel relief when Keltner opens up with a straight 4/4 beat. 

 

 

 

Knockin’ On Heaven’s Door by Bob Dylan (1973)

Another milestone appearance from Keltner, this classic Dylan tune was a hit as part of the soundtrack for 1973’s Billy the Kid and Pat Garrett. From the first sidestick, Keltner’s dynamic play rises into a straight 4/4 groove on the hi-hat and snare, falls into the verses, then rises again on the last haunting chorus. There’s little more than hi-hat, snare, kick, and crash, but it’s the perfect prescription.

 

Haven’t Got Time for the Pain by Carly Simon (1974)

On his early-to-mid ’70s dance card, Kelter played on three Carly Simon albums during her rise. It isn’t easy to shift focus from Simon’s breathtaking voice on this tune. True to form, Keltner sits back at the first chorus with a full note on the kick and a closed hi-hat. He jumps into a 4/4 beat at the pre-chorus before doubling the strings on the kick before jumping into the full chorus. The orchestral arrangement of this song is indulgent, but it doesn’t overshadow the rhythm.

Short People by Randy Newman (1977)

Before Randy Newman was an Oscar-winning composer, he was a successful pop songwriter. With future Eagles Glenn Frey and Timothy B. Schmit (note the signature background vox at the bridge), Jim Keltner played on the Newman’s Little Animals sessions. His half-time shuffle throughout puts the spotlight on the aggressive eighth-note piano melody. As the final chorus gives way to the end of the song, listen for Jim’s interspersing of toms and tom fills.

Josie by Steely Dan (1977)

Steely Dan was famous for exacting studio production, so getting brought in for a session was a big deal. It was a victory to appear on the album. From his panning quadruplet on “Josie,” Keltner’s only credit with Steely Dan is all things tasteful. Chuck Rainey’s melodic bass delicately balances the sneering riff and melody, and Keltner’s disco-inspired backbeat just swings. Note the 16th notes played on a trash can lid at the bridge to the guitar solo.

I Think It’s Going to Work Out Fine by Ry Cooder (1979)

Keltner has been a constant collaborator of guitarist and producer Ry Cooder since 1972. Cooder is a master musical storyteller who, like Keltner, expresses beautifully in what he plays as much as what he doesn’t. On this 1979 ditty, Keltner follows Cooder into a half-time 4/4 hi-hat groove, flawlessly flips to full 4/4, and back again. Meanwhile, he paints the snare with three-note drags against Cooder’s lively harmonics throughout. This song is so colorful you can almost see it as a painting.

She’s My Baby by The Traveling Wilburys (1990)

A band fronted by titans of pop music, Jim Keltner was the sixth Traveling Wilbury credited with tongue-in-cheek as “Buster Sidebury.” This punchy track off the second Wilbury LP is just straight-up rock n’ roll with vocals from each member. The drum sound is raw and ambient, with Keltner tight in a 4/4 pocket throughout. He builds on the snare and floor tom at the verses to give the melody heft and into the breaks to elevate the storytelling. What more can one ask?

Savior Complex by Phoebe Bridgers (2020)

Among Jim Keltner’s greatest strengths as a drummer is his committed restraint. One recent example is his play on Phoebe Bridger’s “Savior Complex” off her stellar 2020 album, Punisher. Driven mainly by acoustic guitar and a synth, Keltner elevates the angelic melody by playing a full note on an acoustic kit with mallets to the song’s 6/8 swing for just the right amount of drums. It’s a vital layer in a moving composition.

by Nate Duchene

Backbeats: A History of Rock and Roll in Fifteen Drummers

 

“Jim Keltner was another. He came from Tulsa, which is how he knew Leon Russell, Hal’s old Wrecking Crew friend. Another early jazz obsessive, Keltner arrived in LA in the 1960s and learned the obvious: the money was in rock and roll. Then he learned the next most obvious: the kings of Hollywood, drum-wise, were Earl and Hal, so he lied or hid or did whatever he could to sneak into Sunset Sound Recorders whenever Hal had a session there, ”“just to sit near the guy who played on everything, and made it all sound stronger.

Keltner’s eventual credits read like a history of the album-rock era: Dylan, Neil Young, Steely Dan, Joni Mitchell, Ry Cooder, Jackson Browne, Roy Orbison, Tom Petty, and solo albums by multiple members of the Beatles and Stones. Ringo Starr employed him in the All-Starr Band and famously called Keltner his favorite drummer. Jim Keltner defined rock and roll drumming in his era as much as Earl Palmer did in his, and his north star was Hal Blaine. From him, Keltner learned “the discipline of going in, sitting down, and looking at a simple chart, maybe a chord chart, and playing a feeling on this song or that song, playing a shuffle one time, a heavy rock thing another time.” “The man had perfection and time and feeling and sound,” Keltner said. “And I just studied the shit out of it.”