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Great Session Players - Jeff Porcaro
By Fusion 45 | March 27, 2008
Whereas our last subject, Russ Kunkel, could be found in the drummer’s chair for just about every southern California rock record of the 1970’s, Jeff Porcaro was more of a moving target. Arguably more a stylistic chameleon than Keltner or Kunkel (or even Gadd), Jeff Porcaro played for a hugely diverse set of musicians. He laid down straight-ahead dance grooves for the likes of Madonna and Bonnie Pointer, played fusion with Steve Lukather and Larry Carlton and supported pop players like Alan O’Day and Leo Sayer. Here are a dozen tracks from my vinyl collection showing him at play.
Al Stewart - Valentina Way (Time Passages, Arista, 1978)
In many cases, Porcaro would play on just a tune or two per album. This is the only Porcaro-driven cut in this set from one of Stewart’s late 70’s records. It has his signature tight snare sound, high-hat swing and triplets around the tom that show up through much of his work.
Steely Dan - Dr. Wu (Katy Lied, MCA, 1975)
Some hard-core Dan-heads say this was the last true Steely Dan record. Save for one cut, Porcaro’s all over it. This is my favorite from that set. Listen to how the China ride cuts through starting with the first chorus, underscoring The Dan’s much-loved Asian vibe.
Seals and Crofts - Baby Blue (Get Closer, Warner Brothers, 1976)
I staunchly stand behind my POV that Seals and Crofts are the most underrated of all the 1970’s singer/songwriter duos: great harmonies, great songwriting and a cool spiritual message. Their stuff was challenging for drummers: it required imagination, a light touch and a sensitivity to the texture of their songwriting. Porcaro nails it on this one.
Rickie Lee Jones - Youngblood (Rickie Lee Jones, Warner Brothers, 1979)
It took some extra research to confirm but it’s accurate: Porcaro’s the guy behind this funky reggae-pop riff. Even if it weren’t documented, the high-hat work gives it away.
England Dan and John Ford Coley - Hollywood Heckle and Jive (Dr. Heckle and Mr. Jive, Big Tree, 1979)
OK, this isn’t Porcaro’s best work but it shows his diversity and has some pretty pointed drum production. Someone got a “wall of sound” instruction book for Christmas, it sounds.
Crosby, Stills and Nash - Since I Met You (Daylight Again, Atlantic, 1982)
This is the only cut featuring Porcaro on this album. I had to listen a few times before I decided to include it; it didn’t strike me as too interesting at first. But, the fact is, without Porcaro driving the train on this one, it would have been even less interesting.
Paul Simon - Train In The Distance (Hearts and Bones, Warner Brothers, 1984)
Back before Paul aged into a shorter version of Mel Brooks, he grabbed Porcaro for his “Hearts and Bones” album. (Gadd must’ve been in rehab.) There’s nothing spectacular about this cut; it just swings along nicely supporting a great Paul Simon story. Nice echo on the snare drum in the chorus.
Joe Cocker - Don’t Forget Me (I Can Stand A Little Rain, A and M, 1973)
Anyone who’s ever picked up a pair of sticks and played for more than 20 minutes knows what it means to play “behind the beat”. They also know how hard it is. Porcaro lays behind the beat just enough to give this tune it’s blues vibe (though Clydie King singing back-up doesn’t hurt). A great tune (witten by Harry Nilsson, I might add.)
Eric Clapton - Forever Man (Behind The Sun, Warner Brothers, 1985)
Disco rock ain’t easy, is it? Porcaro makes it work here on one of the two cuts he supports on this album. It will forever be Clapton’s dark period in my book (even more than his current “archive the blues” kick). But, in the end, I do dig this tune ‘cuz it’s got…rhythm and melody!
Jackson Browne - The Only Child (The Pretender, Elektra, 1972)
Even though I wouldn’t qualify myself as a J. Browne fan, many of his songs are at the heart of what I love..straight-ahead, well-written acoustic rock with a great melody and a great arrangement. This just works right.
Boz Scaggs - Lowdown (Silk Degrees, Columbia, 1978)
I try to avoid the songs you can regularly hear on just about any radio station but there’s no getting around this one. Second only to ‘Rosanna,’ this is a defining groove and it speaks for itself.
Toto - Rosanna ( IV, Columbia, 1982)
Transcribed, analyzed, scrupulously studied and poorly played by 1000’s of drummers from LA to Lhasa, this is his signature groove. ‘Nuff said.
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Many thanks to our new friend over at Walkn’ Tha’ Bass for the kind words and the great link. Please check out his site…he has some very cool stuff goin’ on!
Topics: Great Session Players |
March 27th, 2008 at 4:38 pm
Great series, I’m looking forward to future Great Session Drummer mixes. Must be tough picking just a dozen tracks.
March 27th, 2008 at 6:26 pm
This is just great stuff. It’s wonderful that you take the time to educate us dummies (OK - Not all of us) about these great drummers!
Forever Man (Clapton) and Rosanne (Toto) are just wonderful. I’d forgotten just how much. Thanks for reminding me!!
And thanks for the kind words!!
March 30th, 2008 at 5:49 pm
Been watching with great interest here at your blog. Man, you really have a qualified mind on what your writing about. I’ve really enjoyed your articles that get your
‘hands dirty’ with all the inside infomation you provide. Great attention to detail, mucho compelling and easy reading style. Great job - keep it coming and I’ll keep reading!
May 23rd, 2008 at 12:28 am
Dynasties of L.A. Studio Musicians (Part 3): The Porcaros
Drummer and percussionist Joe Porcaro (born April 29, 1930) plays many styles of music: jazz, opera, rock, pop and symphonic. He recorded among others with Stan Getz, Gerry Mulligan, Freddie Hubbard, Don Ellis, Frank Sinatra, Sarah Vaughn, Natalie …
July 19th, 2008 at 9:47 pm
Jeff plays tastefully on the title cut, “The Pretender.” Great stuff with Seals and Crofts, Boz Scaggs. I believe Jeff is one of two drummers on the Steely Dan cut, “Pretzel Logic.” I also have an album featuring all four Porcaro men backing the Swedish guitarist Janne Schaffer. Oh, there’s also Steely Dan’s “Gaucho.” I could go on. Jeff was a sensitive, musical, soulful human being and musician.