Ndugu Chancler, is known not only as a world-class drummer and percussionist, but also a producer, composer, clinician and teacher. Ndugu Chancler is a three-time Grammy nominee, he has to his credit an extensive list of performances, recordings, original compositions and productions. As a studio musician, Ndugu Chancler has performed and recorded with Miles Davis, Herbie Hancock, George Duke, Patrice Rushen, Hubert Laws, The Crusaders, Frank Sinatra, Weather Report, Lionel Ritchie, Kenny Rogers, Thelonious Monk and John Lee Hooker. He was the drummer on the biggest selling pop album by Michael Jackson, Thriller, providing the beat on "Billie Jean."
As a producer and songwriter, Ndugu Chancler has written hits for The Dazz Band and George Duke, and produced for Flora Purim, Bill Summers, Toki and his own solo recordings. Ndugu Chancler has co-produced recordings for Santana, The Crusaders, George Duke, Tina Turner, Joe Sample, Wilton Felder and The Meeting, the group he co-leads with Patrice Rushen and Ernie Watts. As a clinician, Ndugu Chancler has led extensive clinic tours for Yamaha, Toca, Paiste, Remo and Shure. In addition to his faculty position in the jazz studies department at the Thornton School, he is on staff at the United States Percussion Camp at Eastern Illinois University, the Stanford University Jazz Workshop, Jazz America and the Thelonious Monk Foundation.
Ndugu Chancler needs no further introduction, here we present an exclusive AudioCourses.com interview with Ndugu Chancler.
AC: How were you approached regarding the session for Billie Jean?
Ndugu Chancler: I was contacted by Quincy Jones’ office to do that session. I had been working with Quincy on some sessions back then. I was also heavy into producing at that time and was producing as record projects at that same time.
AC: Billie Jean appears to have a very tight feel and the drums in particular really do cement the track together, can you tell us how the drum track was laid down?
Ndugu Chancler: The Drum track was an overdub to the rest of the music and vocals. The Drum Machine was already there, which is what I had to sync up to.
AC: How many takes did you need to nail the drum track, and what did you have as a guide?
Ndugu Chancler: It took about three takes for the basic track. The basic track was only kick, snare, and hat. The toms and cymbals were overdubs.
AC: Were you informed exactly what to play or was there some flexibility to allow for your input?
Ndugu Chancler: Basically I was matching what was already there on the drum machine verbatim.
AC: There is some tasteful hi-hat work on Billy Jean, was this your input? And what about the tom toms?
Ndugu Chancler: The hi-hat work is one of the trademarks of my sound in the studio. By using the hi-hat I can give the recording my signature without getting in anyone’s way.
AC: Do you recall the microphone set-up for Billie Jean? Our readers would love to know how to achieve that classic sound that may have in fact motivated a generation!
Ndugu Chancler: Bruce Swedien uses an assortment of basic mics. If I can recall, it a Shure 57 on the snare, and a condenser on the hat. Placement was the most important aspect of getting that sound along with it being recorded onto 16 track 2”tape. All his focus was on getting the drum sound.
AC: What are your feelings regarding the track Billie Jean? I mean after all it really must be one of the most well known Jackson tracks of all time?
Ndugu Chancler: Billie Jean for me represents a good job by all the participants, and the success being rewarded to all because it was done by a winning team. It is grtatifying to be a part of a huge success.
AC: Who exactly did you work with on Billie Jean? I’m talking about the management and the engineer, producer other musicians etc.
Ndugu Chancler: I worked with Quincy Jones, the Producer; Micheal Jackson, the Artist; and Bruce Swedien, the Engineer.
AC: How might you advice a novice looking to become a session musician?
Ndugu Chancler: All musicians looking to do studio work should learn to play various musical styles, get a variety of sounds quickly, read very well, and be able to play with all kinds of musicians and get along with them all. The most important thing is to be very consistent with your playing.
Ndugu Chancler: What are you feelings regarding drum tuning, and did you have any choice regarding this for Billie Jean?
AC: Tuning the drums should blend in with the other instruments and also be representative of the style of music you are playing.
AC: Have you ever played Billie Jean live for Jackson?
Ndugu Chancler: No
AC: Many of our readers would be interested to know your thoughts on creating a “pop” rhythm track, what’s your advice?
Ndugu Chancler: Pop recording is based on simple solid grooves. Less is actually more. Make a creative sacrifice for the sake of the music. Remember you are accompanying a vocalist.
AC: What are you opinions on programmed drums and sequenced drum parts, are you a fan and are you a drum programmer?
Ndugu Chancler: I have no problem with sequencing and programming. In the right hands, it is very creative. I use both in my home studio. Most of the time I play the drum parts from beginning to end for continuity and them edit.
AC: Do you have any favourite drum microphone techniques? If so what are they, recordings have come along way since the Decca Tree, no?
Ndugu Chancler: I use a mic for each part of my kit. I have an endorsement with Shure Microphones and use them on not only my drums but everything else in the studio. They have a wide assortment of mics.
AC: On behalf of AudioCourses.com and all of our readers may I thank you kindly and send my very best wishes to you Ndugu Chancler.
Billy Jean Production Workshop
