John JR Robinson

Iowan native, Grammy winning drummer John JR Robinson, celebrates 50 years of music making. John JR’s world-renowned versatility and groove have made him one of the most prolific and sought-after drummers in the industry whose musicianship has helped define the pop, R&B, and jazz era for the last half century. No one will forget JR’s landmark fill which introduces the iconic smash hit, “Rock With You,” from Michael Jackson’s Off the Wall (an essential piece of pop music history) or his acrobatic, finessed touch that launches Steve Winwood’s No. 1 hit, “Higher Love” from Back in the High Life.

With 30 No.1 all-time hit records, 10,000 recording sessions for albums, movie and TV soundtracks, JR has joined the exclusive ranks as the most recorded drummer in history. His signature ‘groove’ played a part in over 60 Grammy winning records, over 200 Billboard Hot 100 songs as well as more than ½ billion units sold, earning him a permanent spot in Rolling Stone Magazine’s “The Top 100 Drummers of All Time” list. 

John JR Robinson's illustrious career was built by working with some of the greatest minds and artists in music history including; the quintessential producer Quincy Jones, Michael Jackson, Rufus and Chaka Khan, Ray Charles, Lady Gaga, Peter Frampton, George Benson, Stevie Wonder, Elton John, George Duke, Stanley Clarke, Daft Punk, Madonna, Lionel Richie, The Pointer Sisters, Stevie Nicks, Diana Ross, Whitney Houston, David Foster, Steve Winwood, John Fogerty, David Lee Roth, Herbie Hancock, Toby Keith, Clint Black, Eric Clapton, Brothers Johnson, Marvin Hamlisch and Barbra Streisand, plus a dictionary-sized list of other legendary musicians and music leaders, all of whom specifically requested JR to add his ‘signature groove’ to their genius.


You write about knowing at five years old that you’d be playing with legends—how did that early sense of destiny shape your choices growing up?
I had an inner feeling that I was to reflect what my parents were projecting in me. The first time I heard my dad playing the piano and violin implanted the musical tones in me. I thought it just was normal to possess music. When the drum God appeared, I grabbed on and never let go. I found a certain superpower with drumming. It gave me great pleasure to see people smile and dance.

Your drum fill on Michael Jackson’s “Rock With You” is iconic—can you walk us through how that moment came together in the studio?
One of the great rhythm sections, David “Hawk” Wolinski [piano], Bobby Watson [bass], David Williams [guitar] and myself were in Westlake B studio recording for Michael Jackson’s soon to be released album, “Off The Wall”. The song of that day was Rod Temperton’s, “Rock With You”. This was my band Rufus in which legend Quincy Jones cast and produced. After many takes the magic hadn’t entered the room yet. We were a bit stuck in the mud. Quincy and Rod both came out of the control room and flanked me. Q said, “JR, can you come up with and intro drum fill that the whole world will forever identify with this song?” I said “sure!” I didn’t…. however when take four started I just looked up and let the rest happen naturally.

With over 200 Billboard Hot 100 songs under your belt, how do you approach each session to keep your groove fresh and authentic?
I empty out my head with any [and all] noise. Then, I absorb the new music at that moment. Each song is its own living entity. It may take me moments or hours, but I allow the music to take me over and I trust in myself to create the musical drumming that best complements the song. It’s ALL about the song.

Quincy Jones wrote the foreword to King of the Groove—what do you remember about your first meeting with him, and how did that relationship evolve?
I was first introduced to Quincy in 1978 by Mark Hartley who gave me a seat right next to him for The Orchestra at The Dorothy Chandler Pavillion. It was set up via our common denominator, Berklee College of Music. Q was preparing to produce Rufus and Chaka Khan and our college became the focal point. After our record, “Masterjam” he asked me to stay on and start recording for the new Michael Jackson album which was to be, “Off The Wall”. I recorded about 8 straight albums in a row without a break. This relationship was built by love and trust.

You’ve played on more than 50 Grammy-winning songs—was there ever a moment in your career where you felt the most creatively fulfilled?
The first time I played live at The Grammy’s was in 1982 on February 24th. I was with Quincy Jones and James Ingram was singing “Just Once”. Little did we know but “The Dude” took home several Grammy’s. My son was almost born right the at The Shrine Auditorium and the next day Q named my son John, “Grammy”. Another is when I won a Grammy with Rufus and Chaka in 1983 for “Ain’t Nobody”. One of the greatest moments was when Steve Winwood won the Grammy for “Higher Love” from the album “Back in the Highlife” Producer Russ Titelman gave me a huge thank you to the world.

Your story with Barbra Streisand was described as heartbreaking—without spoiling the book, what did that experience teach you about resilience or the music industry?
With all artists, there are huge triumphs and huge failures. It can never be just linear. This would be monotonous. The key is to have a conscious balance in your psyche with total control not allowing your ship to rock to far one way or the other. Our human reflex sometimes dominates the reaction abruptly as to cause conflict. Barbra Streisand demonstrated the absolute highest level of compassion in my moment of extreme crisis. I can’t thank her enough.

You’ve worked with such a wide range of artists—from Peter Frampton to Daft Punk—how do you adapt your style without losing your own musical identity?
In “King of the Groove”, I speak about looking in the mirror. This is your true test daily. I plug myself in to musical styles and allow them to stimulate me. I trust in my instincts to have a solution that’s fits best for that song in that moment. I also have learned from all the other musicians I have adjoined with is to listen. Sometimes playing nothing is stronger than a flurry of meaningless notes.

What was the energy like during the recording of “We Are the World”? Did you have any idea it would become such a cultural touchstone?
When Quincy called me for “We Are The World” I immediately said yes. I was overwhelmed at the magnitude of the production. Even when we were recording the rhythm section first at Lion Share Recording Studios, there
were so many members of the press trying to fit into our music. I had to give them the ‘ole boot to get our tracks on tape. When our industry can give back, you must make that your priority. Sure, our music is a bit self-serving, but nothing feels better than making people smile.

You mention belief in yourself as a key lesson—how did you hold onto that belief during moments of struggle in your career?
Struggling is human. We all do it daily and it’s nothing to be ashamed of. If it wasn’t a struggle, then you will never find success. I am still learning piano. It’s the hardest musical instrument. Some might say that drums are the hardest but it’s piano. I have goals within my brain, but I do not allow them to rule my momentum. You have one life and make the best of it-don’t waste it. My dad accomplished so many things in his life which I looked up to and honored. My main goal is to try and be like my dad.
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Looking back at your journey, what advice would you give to young musicians hoping to carve out a legacy like yours?
To all the young and aspiring musicians, remember to trust in yourself. Remember, there is no hurry in life. Life is how you become an adult. You are totally in control of your own story. Live it… believe it… and fall in love with it.

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LINK for BOOK:
https://www.amazon.com/King-Groove-John-JR-Robinson/dp/B0DDQX7LPJ