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.
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.
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.
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.
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.
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.
