 By
the time Earl Palmer moved from New Orleans to join the Los Angeles session musician Mafia
in 1957, he'd already had a couple of careers in entertainment. As a kid tap dancer in
black vaudeville, he saw the country, crossing paths with the likes of Art Tatum and Louis
Prima before embarking upon a stint in the segregated World War II Army ("You was
always running into stuff you didn't like. At first you took it. After two years you ready
to hurt somebody"). Back in Louisiana, he took up work as a jazz drummer, little
knowing that he'd soon be part of a revolution in music. As a regular on the scene, Palmer
played on the seminal sides by Little Richard, Fats Domino, and many other R&B and
early-rock & roll performers. Marked by a preternatural sense of propulsion and
delightfully sly fills, Palmer's drumming was an indispensable part of shaping the new
sound. By the '60s, he was working with Sinatra and Phil Spector, playing jazz (his first
love) in clubs and contributing to dozens of movie and TV soundtracks (you'll hear him
next time you watch Harold and Maude, Cool Hand Luke, or a rerun of M.A.S.H.
or The Odd Couple). Backbeat is an incisive, frequently hilarious read that
opens doors on recording studios, show business, and race in America. --Rickey Wright
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