How Charlie Watts breathed jazz into one of rock’s greatest bands


IN AN ERA where rock drummers were larger than life showmen with big kits and an ego to match, Charlie Watts has remained the quiet man behind modest drums. But Watts was not your typical rock drummer.

Part of the Rolling Stones installation from 1963 until his death on August 24, Watts provided the backbeat to their greatest hits by injecting jazz – and swing – sensibilities into the sound of the Stones.

Like a musicologist and co-editor of Cambridge Companion of the Rolling Stones, as well as a fan who has seen the Stones live more than 20 times over the past five decades, I see Watts as integral to the group’s success.

As Ringo starr and other drummers who emerged during the British pop explosion of the 1960s, Watts was influenced by the swing and big band sound that very popular in UK in the 1940s and 1950s.

Modest with the sticks

Watts was not formally trained as a jazz drummer, but jazz musicians like Jelly Roll Morton, Charlie Parker, and Thelonious Monk were the first influences.

In a 2012 interview with the New Yorker, he recalled how their records informed his style of play.

“I bought a banjo and didn’t like the dots on the neck,” Watts said. “So I took the neck off, and at the same time I heard a drummer called Chico Hamilton, who was playing with Gerry Mulligan, and I wanted to play like that, with brushes. I didn’t have a snare drum, so I put the banjo head on a stand.

Watts’ first group, the Jo Jones All Stars, was a jazz band. And elements of jazz remained throughout his career with the Stones, giving Watts a wide stylistic versatility that was essential to the Stones’ forays beyond blues and rock to country, reggae, disco, funk. and even punk.

There was a modesty in his playing that came from learning jazz. There are no big rock drum solos. He made sure the attention was never on him or his drums – his role was to move the songs forward, to give them movement.

He also didn’t use a big kit – no gongs, no scaffolding. He kept a modest most commonly found in jazz quartets and quintets.

Likewise, Watts’ occasional use of brushes on sticks – as in 1976’s “Melody” from “Black and Blue” – more explicitly shows his debt to jazz drummers.

Source: The Rolling Stones – Subject/Youtube

But he didn’t come with just one style. Watts was trained to adapt while retaining elements of jazz. You can hear it in the R’n ‘B of “(I can’t get no) Satisfaction, “To the hellish samba rhythm of”Sympathy for the devil”- two songs in which Watts’ contribution is central.

And a song like “Can’t you hear me hit“from 1971” Sticky Fingers “develops from one of Keith Richards ‘highest caliber riffs into a long final instrumental section, unique in the Stones’ catalog of songs, from Santana-esque Latin jazz, containing superb syncopated rhythmic shots and a tasteful hi-hat game through which Watts steers the different musical sections.

You hear similar elements in “Give me shelterAnd other classic Rolling Stones songs – it’s perfectly placed drum fills and gestures that make the song and surprise you, always in the background and never dominant.

Power supply for the “engine room”

Watts to the Stones was so central that when bassist Bill Wyman retired from the band after the 1989 “Steel Wheels” tour, Watts was tasked with choosing his replacement.

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He needed a bass player who matched his style. But his choice of Darryl Jones as Wyman’s replacement wasn’t the only key partnership for Watts. He played out of time, complementing Richards’ very syncopated, riff-focused guitar style.

Watts and Richards set the tone for many Stones songs, such as “Honky Tonk Women” or “Start Me Up”. If you watched them live, you would notice Richards watching Watts all the time – his eyes fixed on the drummer, looking for where the musical accents are and matching their rhythmic “hits” and offbeats.

Watts did not aspire to be a virtuoso like John Bonham of Led Zeppelin Where Who is Keith Moon – there was no excess battery. From this initial training in jazz, he keeps his distance from exterior gestures.

But for nearly six decades, he was the main occupant, as Richards puts it, of the legendary “engine room” of the Rolling Stones.

Victor Coelho is a music teacher at Boston university This article is republished from The conversation under a Creative Commons license. Read it original article.

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