Earl Palmer
From Blues to Rock & Roll and Beyond
A Brief Biographical Sketch
Earl C. Palmer was born October 24, 1924 in New Orleans, Louisiana to a vaudevillian mother, and as early as the age of four he was exposed to the lifestyle of an entertainer. As a singer and dancer, in his childhood he toured with many well-known vaudeville blues artist including Ida Cox. The performance exposure of the vaudeville circuit ultimately led him to discover the drums, where it he took to them easily, having learned a sense of rhythm from his tap-dancing childhood. After a three-year stint in the army from 1942-45, Palmer returned to New Orleans and began his percussion career learning bebop and jazz; however, it was ultimately the blues and R&B that “paid the bills.” Beginning in 1947 he joined Dave Bartholomew’s band in New Orleans and started to make a name for himself in the New Orleans scene.
Palmer recorded several sessions in New Orleans with Cosimo Matassa’s J&M Studios where new and influential artists of the area were being developed and discovered. Matassa recorded many significant artists that would later become chart-toppers including Little Richard Fats Domino. Palmer’s association with Cosimo gave the drummer the opportunity to record with many different artists and served to diversify the drummer. These early sessions also solidified Palmer’s status as “the greatest session drummer of all time.”
Palmer remained a New Orleans session, “first-call drummer” throughout the 1950’s, recording several hits including “The Fat Man” (Fats Domino, 1949), “Lawdy Miss Cawdy” (Lloyd Price, 1952), “Tipitina” (Professor Longhair, 1953), “Tutti Frutti” (Little Richard, 1955), “Blueberry Hill” (Fats Domino, 1956), and “Long Tall Sally” (Little Richard, 1956). The success of Palmer’s session work eventually caught the ear of Aladdin records’ executives and in 1957, Palmer relocated to Los Angeles where he continued to record many more hit records such as “Lucille” (Little Richard, 1957), “I’m Walkin’”(Fats Domino, 1957), “You Send Me” (Same Cooke, 1957), and “Rockin’ Robin” (Bobby Day, 1958). Palmer’s career continued to mature and develop as he began to spread out into areas apart from blues and R&B. He went on to record pop hits like Ritchie Valens’ “La Bamba” (1964) and The Righteous Brothers’ “You’ve Lost That Loving Feeling” (1965). The studio exposure in Los Angeles led to even more prolific session work and Palmer recorded drums and percussion for many television themes songs including the theme to Mission Impossible by Lalo Schifrin in 1965.
It’s interesting to note how, when viewing Earl Palmer’s discography, it is easy to see a progression of interests and abilities. In the late 1940’s and early 1950’s, Palmer recorded almost entirely R&B records with transitional artists such as Fats Domino and Little Richard. Both of these artists were steeped in the shouter/jump blues traditions and both were piano-playing boogie-woogie performers, and while Domino, more so than Richard, was truer to more traditional blues style, both carried strong jump blues roots. Along with other artists like Lloyd Price and Professor Longhair this group of artists were all integral to the shaping of the emerging New Orleans R&B sound, and laying the groove for all these influential recordings was Earl Palmer – just the right drummer to come along and fuse blues and New Orleans second-line drumming. The end result had a resounding impact on the musical landscape and shaped drumming for decades to come. This style was to become Rock and Roll, and Earl Palmer was there driving it.
Selected Musical Analysis
Recorded in 1949, “The Fat Man” by Fats Domino is one of Palmer’s earliest recorded works. The song is a typical 12-bar blues and features interesting vocalizations by Domino where he seems to imitate a trumpet. In this recording, the drums are almost inaudible, but what can be heard is Palmer’s use of a continued half-open hi-hat and his incorporation of a strong backbeat – a snare drum accent on beats 2 and 4 of a measure. This is an early indication of the drum patterns later used in rock and roll. Because the piano is carrying much of the rhythm, Palmer’s simple drumset rhythms stay out of the way nicely and provide rhythmic support only. Palmer’s use of the New Orleans,’ snare-driven, second-line drumming is more subdued in this cut than in later ones to come, but the New Orleans influece still remains. The shuffled, train-like chugging of the rhythm is unmistakable. Some rhythmic tendencies of this track borrow more directly from shouter blues such as the swung/triplet-based feel being driven by the piano.
“Lawdy Miss Clawdy,” recorded in 1952 by Lloyd Price, demonstrates a continuation of the drumset rhythms heard in “The Fat Man.” However, this track contains a much clearer backbeat that is more accented and distinguishable. This may just be due to a whim of the engineer, but the effect brings the backbeat into a whole new prominence in the musical texture. Suddenly, beats 2 and 4 are more important than beats 1 and 3. This feeling of backbeat will only get stronger as rock and roll grows beyond its jump blues roots. Of note in this track is Palmer’s use of the ride cymbal virtually throughout the entirety of the song. In a method similarly found in jazz, Palmer rides along during verses and chorus over the ongoing, triplet-based shuffle feel – yet another example of Palmer’s fusion of varying genres.
On the track, “Tipitina,” by New Orleans native, Professor Longhair, Palmer demonstrates a departure from the 12/8, blues shuffle feel found in previous examples in favor of a straight-eighth, syncopated pattern. Also different than previous tracks is the absence of a strong backbeat. The snare drum accents in “Tipitina” occur on beat 2 and the “and” of 4 as Palmer is incorporating another New Orleans second-line feel. The rudimental-esque snare drum and bass drum parts, with little or no cymbal work to speak of, borrow from the marching traditions of the area. A boogie-woogie piano feel is still somewhat present, but is more reminiscent of a ragtime feel than jump blues. This straightforward rhythmic feel is indicative of the parallel direction that rock and roll will take over the next several years. In the 50’s and 60’s rock and roll had both swung, blues feels alongside the boogie-woogie, straight-eighth styles. Later in the 70’s these two feels would go on to explore other areas that lead into disco and funk.
By the middle of the 1950’s, this budding genre called rock and roll began to take shape and more artists emerged from jump blues/R&B traditions to make careers for themselves. One such prominent artist was New Orleans native, Little Richard. His 1955 cut, “Tutti Frutti” demonstrates Richard’s electric vocal stylings and energetic piano playing.
“With his [Little Richard’s] bullet-speed deliveries, ecstatic trills, and the overjoyed force of personality in his singing, he was crucial in upping the voltage from high-powered R&B into the similar, yet different, guise of rock & roll.”
Earl Palmer is the drummer on many of Little Richard’s hits and “Tutti Frutti” demonstrates his ability to provide an energy level equal to that of the lead vocalist. The track is a further exploration of the frenetic boogie-woogie feel of the up-and-coming rock and roll style and Palmer’s groove straddles the line between straight eighths and blues shuffle. Listening to Richard’s piano parts would indicate a straight feel, but the sax solos are clearly swung. Palmer splits the difference brilliantly with a quarter note ride pattern coupled with the now standard 2 and 4 backbeat as the quarter note pulse is echoed in the bass guitar. The effect is an almost two-against-three feeling during the fills and solos. Also of note are the punches, stops, and starts by the band during the second half of the verses and going into and out of the choruses. Little Richard’s unique style would become a benchmark for what rock and roll was to be for the next decade.
Even while artists like Little Richard were pushing R&B further towards rock in the middle of the 1950’s, artists such as Fats Domino were still recording songs that held on to more traditional blues. His 1956 “Blueberry Hill” is an example of this almost backwards-looking technique. Percussion-wise, there is not much variation to speak of with Palmer holding down a tight 6/8 ride pattern. What is different from the blues standards this track borrows from, however, is the presence of Palmer’s signature 2 and 4 backbeat. This aspect of the track is forward-looking and tips the tune more towards R&B or rock and roll than blues.
It is fascinating to contemplate the studio abilities of Earl Palmer. In 1956, the same year the retro-looking “Blueberry Hill” was released, Palmer cut Little Richard’s “Long Tall Sally,” another genre bulging tune that propeled R&B further into the solid rock and roll realm. A complete 180° departure from the 6/8 waltz of “Blueberry Hill,” “Long Tall Sally” is another energetic, up-tempo track. Similar to “Tutti Frutti,” this track blends the straight-eighth and triplet-swing feel along with tight starts and stops by the band. In contrast to “Tutti Frutti,” however, Palmer seems to be a little more in control of his ride and hi hat work. The parts are less frantic sounding and overall just feel more in control. Also much more prominent is Palmer’s bass drum, particular on the outro. Palmer departs from the four-on-the-floor standard pattern and works in some syncopation on the bass drum. The effect adds to the “party” feel of the track.
Rounding out the discussion of Palmer’s work with Little Richard is “Lucille.” This track, cut in 1957 after Palmer’s move to Los Angeles, displays a beginning maturation in Palmer’s playing. This maturation process can be traced over the cuts mentioned previously, but “Lucille” shows the most noticeable difference. The parts seem more in control and overall are just tighter. All of the signature Little Richard-isms are present in “Lucille” (such as the punches in the band and the trilling falsetto by Richard), but everything simply feels more polished. In the percussion, Palmer is keeping a steady eighth-note bass pattern that echoes the guitar parts, and he also holds down a tight hi-hat – something not heard to this point. The effect is a nice, crisp “chick” sound on the hats. When Palmer does move to the ride cymbal, the sound is still very controlled. The overtones do not get away from him and there is plenty of stick definition. Even in the bridge, when the drummer incorporates some floor tom work, the sound is polished and controlled. What is most noticeable, however, is a subtle departure from the roots, New Orleans groove he usually displays in his session work. All of the components are present, but the New Orleans vibe is lost amongst the more controlled sounds. This chameleon ability to blend into varying music genres and styles proved most indispensable to Palmer’s career.
Demonstrating that Palmer hadn’t forgotten his New Orleans roots, “I’m Walkin,’” released by Fats Domino in 1957, uses a heavily second-line snare drum pattern throughout the song. In fact, the cut starts with an obvious homage to the New Orleans marching style on the bass drum with hand clap accompaniment. Almost non-existent, though, is any hi-hat or ride cymbal work. A few crashes are heard on accents and at the end of phrases, but overall the track is void of cymbals. Palmer is continuing to incorporate a more prominent bass drum in his studio sessions of these years, and this tune contains variable bass drum patterns throughout. Whether it’s a straight four pattern, or syncopated with the guitar, the bass drum factors in more than in previous tracks. As with other Fats Domino numbers of the time-period, “I’m Walkin’” doesn’t really raise the bar far away from the solid R&B style. Some rock and roll elements do exist in this cut, but Domino doesn’t push the limits as much as Little Richard does.
Session greats don’t become “greats” unless they have an ability to blend into any musical landscape. Palmer is no exception to this ideal and Sam Cooke’s 1958 cut “You Send Me” is a perfect example of how a good drummer holds down the pocket and does only what the music requires. This is a true testament to Earl Palmer’s outstanding musicianship. This track, while not Palmer’s first non-R&B cut, symbolizes a departure from the drummer’s New Orleans influences in the studio. Pop tracks such as these were popular during the same time that Little Richard and Fats Domino were dominating the charts, but the fact that artists such as Same Cooke had hit singles demonstrates the diversification of the mainstream market. In regards to the percussion, the parts are very out of the way and in the background – a huge difference from Palmer’s usual backbeat-heavy work. The track contains a light backbeat played using brushes with a subtle 12/8, eighth-note ostinato throughout. What’s important to note during these sessions is how Palmer did only what was musically necessary. There’s no flash, no vanity, no conceit – just simple, perfect parts that demonstrate Palmer’s excellent versatility.
In 1958, Earl Palmer laid down the drum parts for Bobby Day’s “Rockin’ Robin.” A product of his L.A.-based session reputation, this track is one of Palmer’s more overtly jazz-influenced rock and roll hits. The tune starts with an open-closed, swing hi-hat pattern that he later revisits during the outro of the song. During the verses, there’s only a simple bass drum lick hinting at a Bo Diddly-like riff, and then the drums go into a shuffle ride pattern with a heavy 2 and 4 backbeat during the chorus. This track also contains handclaps throughout that help to emphasize the backbeat. The form is using a simple 12-bar blues, thus giving an R&B feel to the track, but this tune is solidly in the realm of rock and roll.
Palmer demonstrates his ethnic percussion prowess in Ritchie Valens’ 1964 hit, “La Bamba.” Perhaps some of his work most far removed from his New Orleans roots, this cut demonstrates Palmer’s continued excellent musicianship and ability to effortlessly blend into to any musical styling. The Latin percussion parts include a woodblock and congas with a drumset part in the background that consists of light ride work with bass drum. Again, Palmer only plays what is required musically in this track. It would be really easy to make a groove like this extremely busy considering all the rhythmic possibilities afforded in Latin music, but Palmer simply lays down a repeating ostinato and settles in. “La Bamba” is also another testament to the Palmer’s extreme versatility.
The Righteous Brothers’ 1965 hit, “You’ve Lost That Loving Feeling” marked a return to Earl Palmer’s pop/crooner styling. What is of particular interest in this track is Palmer’s percussion parts throughout. Almost symphonic in scale, the track is thick and lush with texture and Palmer contributes with multiple percussion patterns. Using tambourine, booming toms, bongos, and even timpani, Palmer creates a sonic landscape that affords new discoveries upon every listen. Although it might be hard to distinguish amongst the dense musical texture, Palmer’s New Orleans roots can be uncovered. The percussion parts of the verses are in fact New Orleans second-line beats simply slowed down. The recording is interesting in that it almost sounds as if a recording engineer has taken an audio sample of a groove found in a Little Richard tune, for example, and physically slowed it down. However, the effect is more than likely simply a product of clever drum tuning and reverb technique.
By 1965, Earl Palmer had conquered practically the entirety of the music industry. There was virtually no artist in Los Angeles with whom the drummer had not recorded or performed. In his ongoing search for new musical challenges, Palmer began to do studio work for television. He has laid down the drum parts for some of TV’s most beloved shows including the 1965 series Mission Impossible. The theme, written by composer Lalo Schifrin, is an energetic jazz-influenced piece in 5/4 and Palmer lays down a wonderfully subtle jazz-ride groove underneath the theme’s melody. Again, demonstrating his versatility and diversity as a percussionist, Palmer brings a great sense of musicianship to the project. The 5/4 meter is not beat over the heads of the audience, and the odd time signature feels natural, thanks in part to Earl Palmer’s effortless sense of time.
Closing Remarks
Earl Palmer’s list of artists with whom he’s recorded reads like a blues, R&B, and rock & roll Hall of Fame inductee list. Artists include Pat Boone, The Beach Boys, Roy Brown, Charles Brown, Ray Charles, Rosemary Clooney, Priscilla Coolidge, Elvis Costello, The Everly Brothers, Dizzy Gillespie, Screamin' Jay Hawkins, Lightnin' Hopkins, Jan & Dean, King Pleasure, B.B. King, Peggy Lee, Smiley Lewis, Little Feat, The Mamas & the Papas, Amos Milburn, The Monkees, Johnny Otis, The Platters, Lou Rawls, Diana Ross, Shirley & Lee, Frank Sinatra, Barbra Streisand , Roosevelt Sykes, Big Joe Turner, T-Bone Walker, Dinah Washington, and many, many more. Although this list of artists is impressive, what’s most important about Earl Palmer is his place in music and percussion history.
As a drummer Earl Palmer stood between two of the greatest styles in music – blues and rock and roll – and he helped to bridge the two, stylistically. He introduced the concept of the backbeat into the mainstream and helped bring R&B to a greater audience. He blended blues and jazz styles but he’s never forgotten his New Orleans roots and continues to demonstrate the style that made rock and roll what it is today to a new generation. From his early days with Smiley Lewis and T-Bone Walker up to his current recordings, Earl Palmer has been one of the most versatile, dependable, and musical drummers to ever work in the industry. Palmer has set forth a shining example of what it truly means to be a working, gigging, professional studio player and he has set the mold for what all studio drummers should aspire to be in their originality and musicianship.
BIBLIOGRAPHY
The New Grove Dictionary of Music and Musicians, online edition, s.v. “Palmer, Earl (C., Sr.)” by Howard Rye and Barry Kernfield (1 December 2004).
Bill Dahl, “Earl Palmer: Biography,” All Music Guide, online edition <http://www.allmusic.com> (4 December 2004)
New Grove, “Palmer, Earl (C., Sr.).”
Dahl, “Earl Palmer.”
Ritchie Unterberger, “Cosimo Matassa: Biography,” All Music Guide, online edition <http://www.allmusic.com>
Quote by Little Richard as recounted in “Earl Palmer: Side Men,” from Rock and Roll Hall of Fame and Musesum [online] <http://www.rockhall.com/hof/inductee.asp?id=221> (4 December 2004).
Dahl, “Earl Palmer.”
Unless otherwise indicated, all song recording information taken from all Music guide [online edition], <http://www.allmusic.com> (4 December 2004)
All recordings referenced in this paper provided in the accompanying Audio Appendix CD. The compilation is listed chronologically
Palmer has had independent recording projects as a band-leader (and drummer), and some have been quite successful, but he is best known for his contribution to a countless number of songs.
Audio tracks for the Selected Musical Analysis can be found on the accompanying Audi Appendix CD
Audio Appendix - Track 1.
Audio Appendix - Track 2.
Audio Appendix - Track 3.
Audio Appendix - Track 4.
Richard Unterberger, “Little Richard: Biography,” All Music Guide, online edition, <http://www.allmusic.com> (4 December 2004)
Audio Appendix, Track 5.
Audio Appendix, Track 6.
Audio Appendix, Track 7.
Audio Appendix, Track 8.
This opening lick could very well be a nod to Mardi Gras parades of New Orleans. The marching band influences are unmistakable.
Audio Appendix, Track 9.
Audio Appendix, Track 10.
Audio Appendix, Track 11.
Audio Appendix, Track 12.
Audio Appendix, Track 13.
Artist list from Bernard Castiglioni’s Drummer World [online] <http://www.drummerworld.com/drummers/Earl_Palmer.html> (6 December 2004)
Ibid. Video clip