Gene Krupa

Gene Krupa stood out as the earliest percussionist to attain genuine superstar status, and though he may not rank among the most technically progressive players of the 1930s, his overall importance remains undeniable in several key respects. Before his arrival, extended drum solos stayed exceptionally uncommon and percussion instruments were viewed strictly as background support. His striking appearance combined with flamboyant technique quickly turned him into a screen idol and permanently altered public perceptions of drummers.

Krupa etched his place in recording history during a 1927 date with the McKenzie-Condon Chicagoans by becoming the first musician to capture a complete drum kit on disc. He participated in Chicago’s vibrant jazz community throughout the 1920s, later relocating to New York where he took studio work in the initial years of the Depression. December 1934 brought his entry into Benny Goodman’s newly formed orchestra, where he spent the next three years shaping the ensemble’s groundbreaking sound. Though his bass-drum accents were rarely understated, Krupa shone within the Goodman Trio and Quartet; his extended showcase on the 1937 recording “Sing, Sing, Sing” proved landmark. After nearly eclipsing the leader at Goodman’s 1938 Carnegie Hall Concert, personality clashes prompted his departure to launch his own orchestra. Only gradually did he recognize that featuring a drum solo on every number was unnecessary. Talents such as Vido Musso, Milt Raskin, Floyd O’Brien, Sam Donahue, Shorty Sherock, and vocalist Irene Daye strengthened the group, while “Drum Boogie” enjoyed popularity, yet the band truly flourished only after Anita O’Day and Roy Eldridge joined in 1941. Hits from 1941–1942 included “Let Me Off Uptown,” “After You’ve Gone,” “Rockin’ Chair,” and “Thanks for the Boogie Ride.” During this era Krupa appeared in several motion pictures, most memorably in an extended “Drum Boogie” sequence (with Roy Eldridge) during the opening half-hour of Howard Hawks’s Ball of Fire and in William Dieterle’s stylized jazz chronicle Syncopation. A fabricated drug charge in 1943 led to damaging publicity, brief incarceration, and the dissolution of his orchestra.

September 1943 marked an emotional return to Benny Goodman, who warmly welcomed him back. Krupa also spent a short period with Tommy Dorsey before assembling another large ensemble in mid-1944 that incorporated strings. The string section soon disappeared, yet the band remained active until 1951. Tenor saxophonist Charlie Ventura and pianist Teddy Napoleon scored a trio success with “Dark Eyes” in 1945; Anita O’Day rejoined briefly that same year and registered a hit with “Opus No. 1.” Although Krupa’s own approach stayed rooted in Dixieland, he ranked among the first swing leaders to embrace bebop influences, several of which appeared in arrangements by Gerry Mulligan, notably “Disc Jockey Jump.” Soloists in this second orchestra included Don Fagerquist, Red Rodney, Ventura, altoist Charlie Kennedy, tenor saxophonist Buddy Wise, and, in 1949, Roy Eldridge once more.

After disbanding in 1951, Krupa primarily led trios and quartets featuring sidemen such as Ventura, Napoleon, Eddie Shu, Bobby Scott, Dave McKenna, Eddie Wasserman, Ronnie Ball, Dave Frishberg, and John Bunch; he also toured with Jazz at the Philharmonic, operated a drum school alongside Cozy Cole, and participated in occasional reunions with Goodman. Columbia Pictures released the biographical film The Gene Krupa Story in 1959, starring Sal Mineo in the lead role and featuring Red Nichols in a supporting part. Declining health during the 1960s brought semi-retirement, yet Krupa retained major stature until his death. His final recording session was directed by Eddie Condon, the same musician who had led his debut appearance on record. The Classics label continues to reissue Krupa’s pre-war big-band performances.