Gene Krupa

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Gene Krupa and His Orchestra
On January 9, 1909, in the City of Chicago, Polish immigrants Bartley and Ann Krupa became the proud parents of their 9th child, Eugene Bertram Krupa. By the time Gene was born, his siblings were all working to help make ends meet for the family. He was 23 years younger than his youngest sibling. His 6 brothers were all heavily involved into the Catholic Church and it was the goal of his parents to see that he followed in that same path. When he reached the age of 10, he worked alongside his brother Pete at a local Music store. A few years later, he started to experiment with the Saxophone, but it was his brother Pete that bought him his first set of drums and it there was no doubt, Gene was born to play drums. This was in 1922. Pete was in a band called “The Frivolians” playing music mainly in Wisconsin. Many thought Gene, age 13, was too young to be exposed to the Jazz scene, much less, the Chicago Jazz scene. With the ‘anything goes’ mentality, the Chicago Jazz scene was wild, fun, spontaneous and often times dangerous and precarious. Growing up in South Chicago would pay off for Gene as he was very tough minded and had no problem holding his own.
His Mother Ann insisted that he pursue Priesthood and attend St. Joseph’s College, a preparatory seminary. Although reluctant, Gene respected his mother’s wishes and attended the college where he was involved in sports and other academic activities. After one year, Gene had enough and decided to return home. Much to the disapproval of his parents Gene decided to relinquish his obligations to pursuing Priesthood and decided that he was going to play music full time.
Gene’s musical interest was in the new sound coming from the black neighborhoods, Jazz. That swinging Jazz sound really captured his interest. At that time, Jazz was considered to be everything but decent and those associated with Jazz music were considered to be vagrant sinners with immoral vices and wicked iniquities. Not exactly the kind of scene that a church-proud family would want for their youngest child. He was really enthralled and deeply inspired by drummers like Zutty Singleton and Chick Webb. Keep in mind, during this era, the country was plagued with racism. Normal white kids were not into Jazz music.
In 1927, he became a member of the well known “Thelma Terry and Her Playboys” in Chicago. Many thought that Gene had no chance to break into the Chicago Jazz scene, but with his good looks, high energy and flamboyance, he had no problem getting noticed. That same year he made his first recordings at the Okeh Studio as a sideman for Eddie Condom and Red McKenzie. Many consider these recordings to be the primal and best classic example of true Chicago Jazz. It was also on these recordings that marked the very first time a full drum set had ever been used in a studio. The bass drum in the studio at that time was unimaginable. The Engineers and Producers were perplexed and confused about how they were going to record his drums.
Around this time, Gene was very persistent and continued to put pressure on the Slingerland Drum Company to make drums that contained tunable top and bottom heads. He also worked with them in helping to perfect the tom toms. He also teamed up with Armand Zildjian to help create some very important cymbals. Every drummer out there owes a little something to Gene Krupa.
In 1929, he moved to New York and was given a job by Red Nichols. It was there in New York that Gene was able to meet some of the biggest names in Jazz. A couple of years later, he joined Benny Goodman’s band and it was there that his drum work would be fully exposed and recognized. No doubt, Gene Krupa introduced and pioneered the world of drums to white people. There were many great black drummers before him, but they were not allowed to play at white establishments, and they were not given the opportunity to record in recording studios. Gene was so good, he earned honest respect from all the black players, and he was often seen at the famous Cotton Club in New York. Many times, he would be invited up to play alongside the great Chick Webb, and the 2 of them would embark onto what would later become known as a ritual with other great drummers that would later follow, the “Drum Battle”. During this time span, he also recorded the most inspirational drum piece of the century, “Sing Sing Sing” with the Benny Goodman Orchestra. That sound instantly made him a celebrity. By 1938, Benny and Gene were butting heads and Gene decided to pursue a solo career.
During his solo endeavor, he was able to score several hits. Having Anita O’Day and the phenomenal Roy Eldridge on Trumpet certainly helped his career become a success. It was during this time that the extended version of “Drum Boogie” was recorded. It was also around this time that he was arrested for a bogus possession of Marijuana charge. After spending a short amount in a cell, he was released. He got his band back together and later on during the mid to late 40’s, he cut down the size of his band and toured as a trio and quartet, and rejoined with Benny Goodman, Lionel Hampton and Teddy Wilson.
In the 1950’s, Jazz music was starting to change. The be-bop era was in full force and players like Buddy Rich, Max Roach, Art Blakey and Elvin Jones were changing the swing patterns and creating a whole new sound. Gene was still finding success and managed to maintain his popularity status. He joined up with Tommy Dorsey’s band for a while and stayed active in the music scene throughout the 50's with various trios and quartets.
In the 1960’s he basically retired, making occasional cameo appearances on various television shows. In 1973, he died of Leukemia in Yonkers, New York.
There were other drummers that were faster and more technically skilled, but none of them could hold a groove like Gene Krupa. You could have a room with 20 drummers each showboating their talents, and there would be no doubt that all eyes would be focused on Gene Krupa.
There is no argument, Gene Krupa was one of the most influential drummers of the 20th century. With his power, speed and agressive energy, he can very well be considered to be the John Bonham of the 40's. Every drummer in the past and in this day and age owes a little something to Gene Krupa.