A successful career in the music industry is a feat that often takes years or even decades to achieve. Joining Rich Redmond is legendary Nashville drummer Chad Cromwell.
Chad Cromwell was born in Paducah, Kentucky, on June 14th, 1957. He started playing drums by the age of eight, then worked with local garage bands at the age of 12, and was working professionally in London after graduating. With a life-long career in the music scene, Chad has more than one lesson to share and plenty more fun anecdotes to tell, from failed opportunities to big breaks.
In this article, we delve into the drumming style and equipment preferences of Chad Cromwell, a highly respected and sought-after drummer in Nashville and beyond. We'll explore his influences, techniques, and the gear he uses to create his signature sound.
Early Influences and Development
When he was three years old his family moved to Memphis, Tennessee, where he grew up. He started playing drums at the age of eight, wearing headphones as he played along to records in an upstairs room of his parents' home. By the age of twelve he was playing in garage bands in the local neighborhood.
Among Chad's early influences were drummer Al Jackson and the artists of Stax Records, and artists such as Al Green on Willie Mitchell's Memphis based label, Hi Records. Jim Stewart, founder of Stax Records, along with Bobby Manuel, started a production company called The Daily Planet after the sale of Stax. Chad "hung out" and subsequently worked for The Daily Planet and learned more about rhythm and recording than anywhere else thus far. In fact, Jim and Bobby were key influences on Chad's style of drumming.
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In 1975, upon graduating high school, Chad flew to London to join two Memphians who already had gigs. Chad also got an "education" with Larry Raspberry & The Highsteppers, a very high powered rhythm and blues band. This was his first extensive touring band (piled into the back of a van, pulling a trailer).
Through associations with a recording studio in Memphis, Chad caught an ear on the West Coast. He started playing with legendary guitarist Joe Walsh in 1986, a collaboration which produced two albums, Got Any Gum? and Ordinary Average Guy, and resulted in multiple US and worldwide tours.
Nashville Career and Recognition
In 1990, Chad moved to Nashville, got married and started a family. Richard Bennett and Tony Brown were among the first producers to call in Chad for sessions in Nashville. Richard and Tony have been extremely helpful in helping Chad to create a very successful recording career.
Formal recognition from his peers came in 1996 when Chad was nominated for the Nashville Music Awards. Chad's career has seen him in the studio and on stage/TV/touring with an impressive list of major recording artists. In addition to those already mentioned, Chad has worked with Willie Nelson, Jackson Browne, Boz Scaggs, Wynonna, Bonnie Raitt and Peter Frampton.
Chad recorded and toured with Mark Knopfler for ten years. His playing can be heard on each and every solo recording of Knopfler's including his most recent Shangri La. During the Summer of 2006, Chad toured with Crosby, Stills,Nash and Young.
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Mark Knopfler
Chad performed on Neil Young's Heart of Gold Movie directed by Johnathan Demme. Chad spent 2006 recording and touring with Neil Young and CSNY's "Freedom of Speech Tour".
There was one year that I did this two-part spread for Rhythm Magazine on the drummers of Nashville. You’re so busy that you couldn’t even make this session.
Chad Cromwell's Drumming Style
Chad Cromwell's drumming style is characterized by a combination of solid grooves, musical fills, and a deep understanding of song dynamics. He is known for his ability to play what the song needs, rather than overplaying or showing off technical skills.
You played on the record Thunder & Roses so you were on my radar. You’re playing on this Radney Foster record. It was eye-opening because it was a masterclass in how you play for a singer-songwriter. The drum tones were so open. I don’t think there was moongel in sight. It was gorgeous. I was like, “Check out this drummer. He doesn’t play a crash cymbal where you want to hear one and he plays a crash cymbal where you would never expect one.” Maybe out of the blue, there’s some floor tom hit. All incredibly musical stuff but different from what I was hearing with Eddie, Lonnie and with the folks I was hearing on Music Row. That’s where you first got on my radar.
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His playing is heavily influenced by the Memphis sound, which emphasizes groove and feel over technical complexity. He often incorporates elements of blues, R&B, and rock into his playing, creating a unique and versatile style. He’s toured and recorded with longtime drummers. Folks like Neil Young, Mark Knopfler, Joe Walsh, Crosby, Stills & Nash. You can hear him with all the usual crew of characters like the Chesneys, the Mirandas, the Blakes and the Traces.
Key Elements of His Style:
- Solid Grooves: Cromwell's ability to lay down a solid, consistent groove is the foundation of his playing.
- Musical Fills: His fills are always tasteful and musical, enhancing the song rather than distracting from it.
- Dynamic Awareness: He has a keen sense of dynamics, knowing when to play loud and when to play soft to create the desired emotional impact.
- Versatility: He is equally comfortable playing rock, country, blues, or R&B, making him a versatile and in-demand drummer.
Equipment Choices
While specific details on Chad Cromwell's exact equipment setup can vary depending on the gig, he generally favors high-quality, versatile gear that allows him to achieve a wide range of sounds. Nashville is divided into two seasons for me before I was living here. I was coming up here in the early ‘80s doing contemporary Christian projects. I got to know guys like Jerry McPherson and Mike Brignardello. The list goes on in all these great players in that genre. I never could quite get my head around, “I don’t want to go to Nashville to play on contemporary Christia...
His drum sets are parked over at the same place, Drum Paradise.
He once said that the way that I approach music and the way about music, one feeds the other and there’s no particular order of priority. It’s just that one feeds the other. There’s physical energy that playing live has that you cannot reproduce in a studio. It’s not possible.
In modern country music, drummers will often use the same drum sets that are used in rock and pop music. They will consist of a bass drum (22”-24”), one or two rack toms (10”-13”), one or two floor toms (14”-16”), and a snare drum (14”). Country drummers will also often use deep snare drums that have a depth of 6”-8”. A standard cymbal setup for playing country consists of a pair of hi-hats (14”-15”), a variety of crash cymbals (18”-20”), and a ride cymbal (20”-22”). Cymbals that are used for playing country music are often large and “washy”. Both coated and clear drumheads are used for playing country music.
Here is a general overview of the types of equipment he might use:
- Drums: High-quality drum sets from brands like DW, Gretsch, or Ludwig.
- Snare Drums: A variety of snare drums to suit different musical styles, including wood and metal options.
- Cymbals: A selection of cymbals from brands like Zildjian, Sabian, or Paiste, including hi-hats, crashes, and ride cymbals.
- Drumheads: Drumheads from brands like Remo or Evans, chosen for their durability and sound quality.
- Sticks: Drumsticks from brands like Vic Firth or Pro-Mark, selected for their feel and balance.
Advice for Aspiring Drummers
For serious young students who might be reading this, be aware that to major in drums or jazz performance at a university, you will be taking courses in music theory, and you will need to possess and exhibit a basic understanding of theory. I would also say that although it is important to understand music theory, someone who is still learning the drumset must put a priority on the many hours of practice that it takes to come close to having a professional level of skill on this instrument.
I feel that understanding how a guitar or bass interacts with the drums allows me to be more selective in the parts I play and how it will relate to the music being performed. As a singing drummer, I have always had admiration for the greats (Don Henley, Phil Collins, Levon Helm, Karen Carpenter, and more). I always felt that they had more connection to the inner workings of the songs than just the drum parts. In my own playing, I try to support the whole song with the choices I make and the things I do and DO NOT play.
Also, many of my favorite drummers are also songwriters and producers, which I feel allows them to really get inside the arrangement of a song and make the right choices in the drum parts they play. I spend a lot of my own personal practice time learning how a great song is supported on the drums.
I believe that in order to command the respect of your band mates, it’s important to have additional skills outside of drumming. I play functional piano at best (simple chord voicings with my left hand and melodies with my right hand). This enables me to write tunes for my small group as well as big band arrangements for the Army Blues. Having some knowledge of piano also allows me to be a better accompanist to the players I’m working with.
As a performer, I happen to believe that no matter what instrument a musician plays, it would be useful for him or her to have some level of functional knowledge of the drums and the piano.
The initial explanation is simple: the piano has it all laid out very clearly when it comes to melody and harmony. After all, the music theory which stems from classical music and serves as the basis for the kind of “jazzed up” version of theory we’ve come to utilize in contemporary music is all but drawn onto the keyboard.
On the other hand, the drums are the corner stone of the music’s rhythmic movement, and though I may be biased when saying this (I am a drummer after all), it is the instrument that I feel is being developed more than any other in today’s music. Finally, rhythmic sophistication in its many forms is the playground on which most creative music is being built upon these days; it is also a field with perhaps more possibilities left to explore when compared to the other two building blocks of music, melody, and harmony.
But, let us move for a moment from the more general world of theory, concepts, and ideas toward the realities of a life as a competent, functional drummer. I believe that the piano is our biggest ally as that perfect tool on which we find out what all of the theory actually sounds like.
For example, sitting at the piano and getting to know what musical intervals sound like is one of the most important things you can do. I can’t even begin to think how many times I have been saved by finding my spot in chord charts (especially longer ones) by hearing the bass motion and looking for the place on the page where I would encounter the ink which corresponded with what I was hearing.
Also, doing some harmonic ear training on the piano will make you aware of colors and vibes that different chords have. This comes in handy especially when improvisation is taking place and the piano or guitar are playing what is known as extended harmony, moving in ways that were not written out by the composer of the tune.
If the bass player follows suit, we can’t rely on the predictable “song-like” bass movements anymore either. Without enough harmonic savvy, a drummer can be thrown out of the loop by becoming harmonically disoriented in moments like this.
As a composer who happens to be a drummer, the knowledge of the keyboard and my interest in harmony have been pivotal in rounding out my ability to express myself through writing original music. And although I do not think that you actually have to play an instrument to be able to create music from scratch (you can come up with it and then sing it to those who play them), chances are that by using the piano you will be able to get a good idea of what that “thing going around your head for days” would actually sound like, as well as all the places you could potentially take it.
You can test the melody against various bass notes and thus find the harmony to go with it. Lastly, with the advent of sequencers back in the late ’70s and early ’80s which turned into today’s home recording software of the Garageband variety, if you have some piano skill you can easily create what I call an audio chart to go along with the actual written chart (if you have one).
By using the keyboard to record all of the parts (including drums) you can actually create a working version of your new song. The upside of this is that when bringing the new song into the first rehearsal, you are ahead of the game because your band mates can actually hear what it’s supposed to sound like, as opposed to having to figure everything out from the page, which is a great advantage.
As a bandleader, I wish I could say I had the ability to play all of the instruments that I call upon when making my music come to life. The reality is that my knowledge is mostly theoretical, apart from the trumpet (which I played as a child) and the piano, which I have been trying to keep up with since high school.
Another aspect, which I can’t stress enough, and which is available to you only if you happen to have some skill on an instrument other than drums, is that you can jam with another drummer!
I have been very humbled at times when, while trying to play a solo on the keys, I would hear the drummer do things that I might have done, which were really not working for me as a soloist. Time issues and inconsistencies become more obvious if you are trying to lock-in the groove. In a nutshell, it is a great way to realize some things about your own drumming that may be painful.
Ultimately, though, I do not think that any of what I have laid out so far is absolutely essential for one to be a fine, musical drummer. The one thing we should never forget, however, is that the most important instruments we have are our ears.
The development of one’s listening capacity is a sine qua non of musicianship, and it goes without saying that any drummer who cuts corners in this area will have a tough time being considered any more than “that guy who beats the drums,” as opposed to playing the drums as the musical instrument they are.
After all, music is about communicating effectively. And communication rests in equal parts on your ability to articulately express yourself and your ability to hear what others are trying to communicate and express. To all who are interested in helpful ideas and concepts for developing their listening ability, seek out the Bob Moses book, Drum Wisdom.
Finally, as I was contemplating the question in the title of this piece, I realized that this might be a good spot to take note of the stigma attached to playing our instrument that summons up the cruel portrayal of the drummer as “that guy who hangs out with musicians.”
Even this question about the necessity of playing an instrument other than the drums harkens back to our concern about the insufficiency, or even worse, illegitimacy of our instrument. In an interview with the great drummer Art Taylor (check out Taylor’s beautiful book Notes and Tones, made up of interviews with many of the finest jazz musicians of our era), Dizzy Gillespie went so far as to say that he would never entrust a drummer with writing the music and/or leading a band.
Now, I have some doubts as to whether it wasn’t all in jest, just some old school roughhousing between two colleagues. (The interviews were intimate and candid; since Taylor was one of the finest jazz drummers of this time he knew his subjects personally and closely, and played with many of them, as well).
So, I thought that maybe, just maybe, the famous trumpeter was giving his drummer friend a hard time. I kept asking myself how Gillespie could make a statement of this kind while being well aware of folks like Max Roach, Art Blakey, Chick Webb, Lionel Hampton, to name a few percussionists who excelled at leading a group or composing, or both.
Therefore, it is hard to fathom that he would say something so crude and be serious about it. So, deep down, does everyone harbor latent prejudice towards the drums, including the drummers ourselves?
And what of those feelings of musical incompetence and inadequacy, which we all must have felt, especially in the beginning stages? Picture yourself back in that garage, rehearsal studio, or band room. Someone says G minor, or mentions rhythm changes (I thought this meant that there were changes in time signatures, before I learned it was a chord progression named after a tune entitled I’ve Got Rhythm, in which it was famously utilized), or talks about a I IV V chord progression.
In addition to practicing the drums, almost anything and everything a drummer does, either through learning and studying or just doing, is going to have an effect on their drumming skill. Of course, some of these pursuits have a more direct and immediate impact on drumming than others.
Although learning to play another instrument may be seen as having more influence on our drumming than some of the things mentioned above, I believe it is similar. Some highly successful drummers play other instruments; most do not.
Of course if you do learn to play another instrument (or sing or compose) it will have some effect on your drumming, but to what degree depends on your goals and purpose. I feel that being able to physically and musically play another instrument may not be as important for a drummer as being able to play with those other instruments and to recognize their role in an ensemble.
If the goal is to understand music, form, and structure better, then it’s not necessary to learn to play those instruments. Listening intently to other instruments, including voice, and how those musicians phrase, articulate, and develop melodic lines can help inform how you want to develop your own sense of phrasing on drums in soloing, comping, and creating grooves and patterns.
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