I can’t count how many times when I have been sitting in a blues club somewhere and the band’s front person has exclaimed, “Give the guitar man some” or “Give the bass man some” or “Give the piano man some.”  However, rarely, extremely rarely, have I ever heard the phrase, “Give the drummer some.”

Chicago’s blues history is often spoken about in terms of separate who’s-who lists of guitarists, piano players, skillful vocalists, and even saxophonists, but rarely are blues drummers (and bass players too for that matter) called-out in discussions for their percussion specialties.

Now, my mind could be fooling me here, but I seem to remember Living Blues Magazine doing a piece about blues drummers back, I think, in 1991.  If I again recollect correctly, blues drummers highlighted in that issue included Chicago drumming elite Clifton James, Fred Below, S.P. Leary, Kansas City Red, Sam Lay, and Casey Jones, among others.  Perhaps Francis Clay was also profiled in this issue, as he initially made his strong reputation with the Muddy Waters Band before relocating to the west coast where he eventually passed.

I believe the magazine did another blues drummer profile in 2011, again, if my memory is holding-up, but I also believe at some point the magazine did a story dedicated to Chicago blues drummers.  Nonetheless, despite Living Blues Magazine reporting on Chicago blues drummers, and blues drummers in general, scant information overall is publicized on those who make their way sitting behind a drum kit.

One Chicago blues drummer I feel is worthy of study is Odie Payne, Jr.  Payne, Jr. came into the world in 1926 in Chicago, the son of Odie Payne and his wife Lena.  As with so may destined for a career in music, whatever the genre, he indicated an early interest in music; all music.  It is said that his curiosities abounded, whether the musical form was big band, pop, stage production musicals, and everything in between; Payne, Jr. was absorbing the nuances of each category of music he came into contact with.  To him, it all merited study and appreciation. 

Though Payne, Jr. made it a point to study music as part of his high school curriculum, he was otherwise not a terribly good overall student, and because of this, he was drafted into the U.S. Army.  Payne, Jr. did serve his term in the service to discharge, at which time he enrolled in the Roy C. Knapp School of Percussion in Chicago.  Knapp was known as the “Dean Of American Percussion Teachers,” and students in his school’s programs included Gene Krupa, Louie Bellson, Dave Tough, Baby Dodds, and Bobby Christian; all important names in the percussion world.

After his percussion training, at age 23, Payne, Jr. began playing with Chicago pianist Little Johnny Jones.  It was through his association with Jones that Payne, Jr. met and befriended Chicago blues recording star Tampa Red, and the result was Payne, Jr. joining forces with Red in his band.  He stayed with Red for a three-year period, essentially using the opportunity as a valuable blues drumming internship, while also recording with Red.  The value of this initial blues orbit exposure cannot be overstated.

In 1952, after his beneficial turn with Red, Payne, Jr. joined the popular blues band of slide guitarist Elmore James, The Broomdusters.  Though Payne, Jr. was with James’ band for three years, he nonetheless recorded with him for an additional four years until 1959.  Payne, Jr. recorded a total of 31 blues singles with James, playing on one of James’ signature blues classics, “The Sky Is Crying.”

Upon leaving James’ famed band, Payne, Jr. became an in-demand studio drummer for many of Chicago blues’ biggest names, including Magic Sam, Buddy Guy, and Otis Rush (all incidentally for the Cobra Records label).  But Payne, Jr. was not confined to studio work for just Cobra. His energies were sought by Chess Records, as well, and he recorded on numerous outings for various Chess stable artists, including a young man who was to revolutionize American music, Chuck Berry.  Payne, Jr. played on Berry classics including “Nadine, “You Never Can Tell”, “No Particular Place To Go, and “Promised Land.”

As his blues drumming career progressed, Payne, Jr. continued to prolifically record, with his percussion skills boosting the works, both recorded and in-performance, of blues stars such as harmonica giant Sonny Boy Williamson II, the legendary Muddy Waters, mandolinist Yank Rachell, guitarists Jimmy Rogers, Eddie Taylor, Memphis Minnie, and Sleepy John Estes, along with blues piano titan Little Brother Montgomery, among so many others.

What was it about Payne, Jr.’s drumming that made him so in-demand?  Without getting too deep into the weeds, Payne, Jr. utilized what came to be known as a double-shuffle method, whereby he used both hands to produce the signature shuffle beat.  This drumming scheme has also become known as the Chicago shuffle beat.   Both of Payne, Jr.’s hands were pumping out the shuffle feel at the same time, and he is deemed by many a guru of this groove.  The aforementioned Chuck Berry classic “No Particular Place To Go” contains the deployment of this drumming pattern.  Go back and listen to this Berry cut and see if you can detect Payne, Jr.’s drumming scheme.

Also, Payne, Jr. was acknowledged for his usage of prolonged drum rolls and cymbal turns, along with utilization of the cowbell, and heightened bass drum pedal utilization.  But, don’t mistake his style as noisy; no, it was all uniquely crafted.

Due to Payne, Jr.’s pioneering blues drumming techniques, his work became highly-noticed, with the next generation of blues drummers, including Sam Lay and Fred Below, studying and using his methodologies.  Payne, Jr.’s influence remains compelling.

In every sense of the words, Payne, Jr. became a roll model for many up-and-coming blues drummers of his time, and by all accounts was a kind, respected, and loved man among his peers.

Payne, Jr.’s daughter, Darlene Payne-Wells, a blues drummer musician herself, played and recorded with Darlene Payne And The O-D Girls, and The Chicago All Stars.  Collections upon which she appears can be found on the CMA Music Production and OPJ Records labels.  Odie Payne III is a Chicago physician, and the son of Darlene Payne-Wells.  He also has involvement in the music industry. 

Payne, Jr. passed away in Chicago at age 62 in 1989.

Without a steady influence keeping time, any band would simply fall apart.  The historic Chicago blues drumming roster is steeped with many accomplished individuals.  Do they get the credit they deserve?  Overall, no.  But like any instrumental lineage, the Chicago blues drumming ranks have passed down lessons learned and competences to subsequent generations, ensuring that its rosters will continue to produce the rock-solid framework necessary for a worthy blues band.  Odie Payne, Jr. remains one of the main blues drumming influences to this day.  His work continues to inspire and mold young blues drummers everywhere.