Drummers Tour

FRED BELOW (1926-1988)

Oak Woods Cemetery
1035 E. 67th Street
Chicago, IL 60637

_{Grave: 41°46’20.1″N 87°35’40.7″W}

Blues Drummer

Fred Below was an influential American blues drummer whose career helped shape the sound of modern Chicago blues and early rock and roll. Born in Chicago in 1926, Below developed his skills through jazz training and formal percussion study before serving in the U.S. Army, where he gained further musical experience. After returning to Chicago in the early 1950s, he joined the Aces, a group that later became the backing band for Little Walter, helping establish the powerful electric blues style that became a trademark of the era.

During the 1950s, Below became a key session drummer for Chess Records, recording with many of the biggest names in blues, including Muddy Waters, Howlin’ Wolf, Bo Diddley, and Chuck Berry. His distinctive drumming style, especially his driving backbeat and jazz-influenced rhythms, became a foundation of Chicago blues and influenced generations of rock and blues drummers. He played on numerous classic recordings, including major works by Chuck Berry and other Chess artists.

Throughout the later part of his career, Fred Below continued performing and recording with blues musicians, including touring internationally and reuniting with former collaborators. Although he was often known more among musicians than mainstream audiences, his contributions were considered essential to the development of electric blues and the transition from blues into rock music. He remained active until his death in 1988, leaving behind a legacy as one of the most important drummers in blues history.

Fred Below -> Wikipedia

JAMES A. “JIMMY” BERTRAND (1900-1960)

Holy Sepulchre Catholic Cemetery
6001 W. 111th Street
Alsip, IL 60803

_{Sec. 9, Blk. 8, Lot 38, Grave 1 (unmarked per cemetery staff)}

Jazz & Blues Drummer

Jimmy Bertrand was an influential jazz and blues percussionist whose career was closely tied to the development of the Chicago jazz scene during the 1920s and 1930s. Born in Biloxi, Mississippi, he moved to Chicago in 1913, where he studied percussion and began performing in theater orchestras before joining Erskine Tate’s Vendome Orchestra in 1918. Over the following decade, he established himself as one of the city’s leading drummers and washboard players, performing and recording with many of the era’s most important musicians, including Louis Armstrong, Johnny Dodds, Blind Blake, Ma Rainey, Tiny Parham, and Eddie South.

In addition to his work as a sideman, Bertrand led his own ensemble, Jimmy Bertrand’s Washboard Wizards, which featured notable collaborators such as Louis Armstrong and Jimmy Dodds. His recordings showcased not only his drumming but also his skill on the washboard, xylophone, and other percussion instruments, reflecting the versatility that made him a sought-after performer in both jazz and blues sessions.

Bertrand was equally significant as a teacher. He trained several future jazz greats, including Lionel Hampton, Big Sid Catlett, and Wallace Bishop. Hampton later referred to Bertrand as his “original idol,” highlighting the lasting influence Bertrand had on the next generation of percussionists. Although he continued leading bands into the early 1940s, he left professional music around 1944 to work in a Chicago meat-packing plant, making only occasional musical appearances thereafter. While he never achieved the fame of many of his contemporaries, Bertrand’s recordings, performances, and teaching established him as a foundational figure in early Chicago jazz and blues.

James A. “Jimmy” Bertrand -> Wikipedia
Secret History of Chicago Music – Jimmy Bertrand -> Chicago Reader

CASSEL BURROW (1914-1980)

Washington Memory Gardens
701 Ridge Street
Homewood, IL 60430

_{Grave: 41°33’38.7″N 87°37’54.2″W}

Blues Drummer

Cassel Burrows was an influential Chicago jazz drummer and percussionist who became a respected figure in the city’s vibrant music scene during the mid-20th century. Known for his versatility, steady timekeeping, and expressive playing, Burrows worked with numerous jazz, blues, and rhythm-and-blues musicians throughout his career, performing in clubs, theaters, and recording sessions across the Chicago area. His drumming reflected the city’s rich musical traditions, blending swing, bebop, and blues influences while providing a solid rhythmic foundation for both small ensembles and larger bands.

Although he never achieved the widespread fame of some of his contemporaries, Burrows earned the admiration of fellow musicians for his professionalism, musical sensitivity, and ability to adapt to a variety of styles. He was part of the generation of Chicago drummers who helped sustain the city’s reputation as one of America’s premier jazz centers, contributing to live performances and collaborations that shaped the local music community. His career serves as an example of the many accomplished working musicians whose dedication and talent were essential to the development and preservation of Chicago’s jazz heritage.

Cassel Burrow ->

BARRETT DEEMS (1915-1998)

All Saints Catholic Cemetery & Mausoleum
700 N. River Road
Des Plaines, IL 60016

_{Grave: 42°03’54.1″N 87°53’37.6″W}

Blues Drummer

Barrett Deems was one of the most energetic and technically gifted swing drummers of the big band era, earning the nickname “the world’s fastest drummer” for his remarkable speed, power, and precision behind the drum kit. Born in Springfield, Illinois, he began performing professionally as a teenager with Paul Ash before leading his own bands during the 1930s. His reputation grew through long stints with violinist Joe Venuti, followed by performances with Jimmy Dorsey, Red Norvo, Charlie Barnet, and Muggsy Spanier, establishing him as one of the leading jazz drummers of his generation.

Deems achieved his greatest international recognition as the drummer for Louis Armstrong and His All Stars from 1954 to 1958. During this period he toured extensively around the world, appeared in the classic 1956 film High Society, and performed on landmark Armstrong recordings including Satch Plays Fats and Louis Armstrong Plays W.C. Handy. His explosive solos, particularly his signature feature “Mop Mop,” became audience favorites and showcased his extraordinary technical ability and showmanship.

After leaving Armstrong’s band, Deems toured with Jack Teagarden before settling in Chicago, where he became a fixture of the city’s traditional jazz and swing scene. He performed with numerous acclaimed musicians, led his own big band, toured internationally with Benny Goodman’s sextet and Wild Bill Davison, and continued recording and performing well into his eighties. His later recordings, including Deemus, demonstrated that he had retained his speed, musicality, and dynamic style throughout his career. Barrett Deems remains remembered as one of the finest swing drummers in jazz history, admired for his relentless energy, technical brilliance, and lifelong dedication to live performance.

Barrett Deems -> Wikipedia

WARREN “BABY” DOBBS (1898-1959)

Lincoln Cemetery
12000 S. Kedzie Avenue
Blue Island, IL 60406

_{Grave: 41°40’19.5″N 87°42’16.5″W}

Jazz Drummer Legend

Baby Dodds (Warren “Baby” Dodds), his musical career was one of the most influential in early jazz history. Born in New Orleans in 1898, Dodds became one of the first great jazz drummers, developing a highly expressive style that used accents, improvisation, and rhythmic variations rather than simply keeping time. He began playing in local New Orleans bands before joining the riverboat band of Fate Marable in 1918, where he performed alongside a young Louis Armstrong.

In 1921, Dodds joined King Oliver’s Creole Jazz Band and became part of the Chicago jazz scene, where he helped shape the sound of early jazz drumming. He later recorded and performed with major figures including Louis Armstrong, Jelly Roll Morton, and his brother Johnny Dodds. His work with Armstrong’s Hot Five and Hot Seven recordings helped establish him as one of the defining drummers of the 1920s.

During the later part of his career, Dodds remained dedicated to traditional New Orleans jazz and became an important figure in the jazz revival movement of the 1940s. Although health problems limited his performances in his final years, his innovations in rhythm and improvisation continued to influence generations of drummers. Baby Dodds died in 1959, leaving behind a legacy as one of the pioneers who helped transform drums from a background rhythm instrument into a central voice in jazz.

Warren “Baby” Dobbs -> Wikipedia

JOHNNIE MAE “BIG BOSS LADY” DUNSON (1921-2007)

Oakridge Glen-Oak Cemetery
4301 W. Roosevelt Road
Hillside, IL 60162

_Grave:

Jazz Singer, Band Leader & Drummer

Johnnie Mae “Big Boss Lady” Dunson was a Chicago blues singer, songwriter, and bandleader whose powerful voice and commanding stage presence earned her the nickname “Big Boss Lady.” Born in Mississippi, she moved to Chicago during the Great Migration, where she became an active performer in the city’s thriving blues scene. Influenced by gospel music and traditional Delta blues, Dunson developed a soulful style that blended gritty vocals with emotionally charged storytelling. She was a regular performer in Chicago clubs during the 1960s and 1970s and worked alongside many respected blues musicians, helping preserve the city’s rich musical heritage.

Dunson is best remembered for writing and recording the blues classic “Big Boss Lady,” a song that became her signature and has since been covered by numerous artists. Throughout her career, she recorded for several independent blues labels and remained dedicated to performing even as mainstream popularity shifted away from traditional blues. Her music reflected themes of resilience, independence, love, and life’s struggles, resonating with audiences who appreciated authentic Chicago blues. Although she never achieved the commercial success of some of her contemporaries, Johnnie Mae “Big Boss Lady” Dunson earned lasting respect within the blues community as a talented performer and songwriter whose contributions helped keep classic Chicago blues alive for future generations.

Secret History of Chicago Music – Johnnie Mae Dunson -> Chicago Reader

ELGA SPEED EDMONDS (1909-1966)

All Saints Catholic Cemetery & Mausoleum
700 N. River Road
Des Plaines, IL 60016

_{Grave: 42°03’54.1″N 87°53’37.6″W}

Blues Drummer

Elga Speed Edmonds, sometimes mistakenly credited in early record listings as Elgin Evans, was one of the pioneering drummers of postwar Chicago blues. Born in Urbana, Illinois, he began his musical career playing the washboard in local blues groups before relocating to Chicago during the 1930s, where he became an active performer on the city’s thriving South Side blues scene. His steady, understated drumming style helped establish the rhythmic foundation that defined the electrified Chicago blues sound.

Edmonds is best remembered as the first permanent drummer in Muddy Waters’ band. Beginning in 1950, he became an essential member of the group during a period that transformed Waters into one of the most influential figures in blues history. Although producer Leonard Chess occasionally used other drummers on some early Chess Records sessions, Edmonds played on many of Muddy Waters’ landmark recordings between 1951 and early 1955. His solid backbeat and dependable sense of timing complemented the performances of legendary musicians including Little Walter, Jimmy Rogers, Otis Spann, and Willie Dixon, helping shape the classic Chicago blues ensemble.

In addition to his work with Muddy Waters, Edmonds recorded and performed with other prominent blues artists such as Jimmy Rogers, Leroy Foster, Floyd Jones, and later Johnny “Man” Young. His playing emphasized groove and feel over flashy technique, making him a highly respected accompanist whose drumming allowed the vocals and harmonica to take center stage while providing an unwavering rhythmic pulse.

Although he was eventually replaced in Muddy Waters’ band by Fred Below, Edmonds’ contributions remained an important part of the evolution of modern blues drumming. His work influenced later generations of blues, rock, and rhythm-and-blues drummers by demonstrating how simplicity, consistency, and musical sensitivity could drive a band’s sound. Edmonds continued performing into the 1960s, making his final known recording session in late 1965 before his death in Chicago in 1966 at the age of 57. Today, he is remembered as one of the foundational drummers of the Chicago blues era and a key contributor to some of the genre’s most enduring recordings.

Elga Speed Evans -> Wikipedia

S.P. LEARY (1930-1998)

Forest Home Cemetery
863 Des Plaines Avenue
Forest Park, IL 60130

_{Grave: 41°52’14.2″N 87°49’48.1″W}

Blues Drummer

S.P. Leary was one of the most respected and influential drummers in the history of Chicago blues. Born in Carthage, Texas, he began playing drums as a teenager and developed a refined style that combined powerful rhythm, tasteful restraint, and exceptional brushwork. During the 1940s he toured with pioneering blues guitarist T-Bone Walker, whose sophisticated swing-influenced music helped shape Leary’s approach to drumming. After relocating to Chicago around 1949, Leary became an essential part of the city’s thriving blues scene and quickly established himself as one of the most sought-after session and touring drummers.

Throughout the 1950s and 1960s, Leary recorded extensively for Chess Records, providing the driving beat behind many classic Chicago blues recordings. He was a longtime collaborator with Howlin’ Wolf, performing on memorable songs including “Howling for My Darling,” “I’ve Been Abused,” and “I’m Leaving You.” He also recorded and performed with Muddy Waters, Otis Spann, Jimmy Rogers, Willie Dixon, James Cotton, Little Johnny Jones, Magic Sam, John Lee Hooker, Memphis Slim, and many other leading blues artists. His ability to lock into a groove without overpowering the music made him a favorite among singers and bandleaders, and his understated yet deeply swinging style became a hallmark of the classic Chicago blues sound.

Leary was admired for achieving tremendous rhythmic power with a simple drum setup, often using only a bass drum, snare, floor tom, and cymbals. Fellow musicians frequently praised his impeccable timing, dynamic control, and mastery of brush technique, qualities that influenced generations of blues drummers. His work extended beyond studio recordings to performances at blues clubs, festivals, and international tours, helping bring Chicago blues to audiences around the world. He also appeared on notable recordings such as Otis Spann’s 1969 album The Biggest Thing Since Colossus, where his drumming was specifically requested because of his longstanding musical partnership with Spann.

Leary remained active well into the 1990s, performing with respected Chicago blues musicians including pianist Erwin Helfer and Blind John Davis. His contributions to blues music were recognized with his induction into Cleveland’s Rock and Roll Hall of Fame in 1995. He died in Chicago in 1998, leaving behind a legacy as one of the definitive drummers of the Chicago blues tradition, whose steady, elegant playing helped define countless classic recordings and continues to inspire blues musicians today.

S.P. Leary ->

GENE KRUPA (1909-1973)

Holy Cross Cemetery & Mausoleum
801 Michigan City Road
Calumet City, IL 60409

_{Grave: Immaculata Section G, Lot A, Lot 22 – 41°36’16.9″N 87°32’33.9″W}

Jazz Drummer Legend

Gene Krupa was one of the most influential drummers in the history of jazz and helped transform the drum set from a background rhythm instrument into a featured solo instrument. He also helped shape the modern drum set itself. Born in Chicago in 1909, Krupa began his professional career in the 1920s playing with local jazz groups before gaining wider recognition through early recordings with musicians such as Eddie Condon and Red McKenzie. He became known for his powerful style, showmanship, and innovative approach to percussion.

Krupa achieved national fame in the 1930s as the drummer for Benny Goodman’s orchestra, where his explosive performance on the famous recording of “Sing, Sing, Sing” became one of the defining moments of the swing era. His dramatic drum solos and energetic stage presence made him one of the first celebrity drummers and inspired generations of percussionists. In 1938, Krupa formed his own orchestra, which became highly successful and featured notable musicians such as trumpeter Roy Eldridge and singer Anita O’Day. The band produced popular recordings, including “Let Me Off Uptown,” and helped keep Krupa at the forefront of the big band scene.

During the later years of his career, Krupa continued performing with small jazz groups, participated in drum battles with other great percussionists, and helped educate younger musicians through drum instruction. He also appeared in films and was portrayed in the 1959 movie “The Gene Krupa Story” (which was not a very accurate story of Krupa’s life). Although the popularity of big bands declined after the 1940s, Krupa remained an important figure in jazz and left a lasting legacy by shaping modern drumming techniques and popularizing the role of the drummer as a front-line performer.

Gene Krupa Biography -> drummerman.net
Gene Krupa -> Wikipedia

JOHN PANOZZO (1948-1996)

Holy Sepulchre Cemetery
6001 W. 111th Street
Alsip, IL 60803

_{Grave: Section 19, Block 15, Lot A, Lot 24, Grave 1 – 41°41’19.9″N 87°46’02.3″W}

Original Drummer For Styx

John Panozzo was an American drummer best known as a founding member of the rock band Styx. Born in Chicago in 1948, Panozzo developed an interest in drums as a child and began performing with his twin brother Chuck and future Styx vocalist-keyboardist Dennis DeYoung in the early 1960s. The group started as a local act called The Tradewinds, later becoming TW4, before adopting the name Styx and signing with Wooden Nickel Records in the early 1970s.

As Styx’s original drummer, Panozzo helped shape the band’s blend of progressive rock, hard rock, and melodic pop. He played on many of the group’s most successful albums, including The Grand Illusion, Pieces of Eight, and Paradise Theatre, contributing to major hits such as “Come Sail Away,” “Renegade,” “Babe,” and “The Best of Times.” During the late 1970s and early 1980s, Styx became one of America’s biggest arena rock bands, achieving multi-platinum success and international recognition.

Panozzo remained with Styx through much of the band’s peak years, performing on their classic recordings and tours. Health problems related to years of alcohol abuse eventually limited his ability to perform, and he was unable to fully participate in later Styx reunions. He died in 1996, but his energetic drumming and role as a founding member of one of Chicago’s most successful rock bands left a lasting impact on fans and musicians.

John Panozzo -> Wikipedia

ODIE PAYNE (1926-1989)

Oak Woods Cemetery
1035 E. 67th Street
Chicago, IL 60637

_{Grave: 1°46’22.2″N 87°35’58.3″W}

Blues Drummer

Odie Payne Jr. was one of the most influential drummers in the development of Chicago blues, known for his powerful rhythm, innovative techniques, and work with many of the genre’s greatest musicians. Born in Chicago in 1926, Payne studied percussion after serving in the U.S. Army and began his professional career in the late 1940s, first working with pianist Little Johnny Jones and later joining Tampa Red’s band. He became widely recognized after playing with Elmore James and the Broomdusters, recording numerous sides during the 1950s, including the classic blues recording “The Sky Is Crying.”

Throughout the 1950s and 1960s, Payne became one of Chicago’s most sought-after session drummers, contributing to recordings by artists such as Muddy Waters, Otis Rush, Magic Sam, Buddy Guy, and Chuck Berry. He recorded for major blues labels including Chess Records and Cobra Records, appearing on important blues and early rock recordings.

Payne was especially admired for his distinctive double-shuffle drumming style, his use of the cowbell, and his energetic bass drum and cymbal work, techniques that influenced later blues drummers. His playing helped define the driving rhythm of electric Chicago blues and made him a respected figure among musicians. He continued performing and recording through the 1970s and 1980s before his death in Chicago in 1989, leaving behind a legacy as one of the foundational drummers of the blues.

Odie Payne -> Wikipedia

Earl Warren Phillips (1920-1990)

Lincoln Cemetery
12300 S. Kedzie Avenue
Blue Island, IL 60665

_{Grave: 41°40’15.1″N 87°41’47.6″W}

Blues Drummer

Drummer Earl Warren Phillips, better known professionally as Earl Phillips, was one of the most influential session drummers of the Chicago blues era. Born in Harlem, New York, in 1920, he moved to Chicago around 1940, where he initially played jazz and swing before becoming deeply involved in the city’s thriving postwar blues scene. His powerful yet restrained drumming became a defining element of Chicago blues during the 1950s and 1960s, helping establish the rhythmic foundation of countless classic recordings.

Phillips became a first-call studio drummer for both Chess Records and Vee-Jay Records, working with many of the greatest blues artists of the era. He performed on landmark recordings by Howlin’ Wolf, Jimmy Reed, Billy Boy Arnold, Eddie Taylor, Snooky Pryor, John Lee Hooker, and numerous other musicians. His driving shuffle rhythms, impeccable timing, and understated style allowed singers and lead instrumentalists to remain the focus while providing an irresistible groove. One of his best-known performances can be heard on Howlin’ Wolf’s classic recording “Smokestack Lightning,” where his drumming helped create one of the most recognizable rhythms in blues history.

Throughout his career, Phillips was regarded as one of the elite drummers of the Chicago blues recording scene alongside fellow drummers Fred Below, Odie Payne, Al Duncan, S.P. Leary, and Jump Jackson. His versatility enabled him to move effortlessly between traditional blues, electric blues, rhythm and blues, and jazz-influenced sessions, making him one of the most dependable musicians in Chicago studios. Although he rarely received the public recognition given to the artists he accompanied, fellow musicians admired his professionalism, musical sensitivity, and ability to elevate every recording without overwhelming it.

Earl Phillips remained active in Chicago’s music community for decades, influencing generations of blues drummers through both his recordings and live performances. His extensive body of work helped define the sound of modern Chicago blues and continues to inspire drummers and blues enthusiasts today. He died in Chicago on November 20, 1990, leaving behind a legacy as one of the most important rhythm section musicians in the history of American blues.

Earl Warren Phillips ->

ROBERT GARLON PLUNKETT (1931-2004)

HOMEWOOD MEMORIAL GARDENS
600 Ridge Road
Homewood, IL 60430

_{Grave: 41°34’04.3″N 87°37’37.0″W}

Blues Drummer

Very little reliable published information is available about the musical career of drummer Robert Garlon Plunkett, and he does not appear to have the extensive documented recording or touring history that many nationally known drummers have. Available historical references indicate that Plunkett was an active drummer within Chicago’s rich blues and R&B scene, where he developed a reputation as a capable and dependable rhythm section musician. Like many working Chicago drummers of his era, his contributions were primarily made through live performances, club engagements, backing local artists, and participating in the city’s vibrant music community rather than through widely documented commercial recordings or national touring. His career reflects the important role played by countless professional drummers who helped sustain Chicago’s blues tradition by providing the steady, dynamic rhythmic foundation essential to live performances and local recording sessions. Although detailed documentation of his performances and collaborations is limited, Robert Garlon Plunkett is remembered as one of the many dedicated musicians whose work supported Chicago’s enduring reputation as one of America’s most influential centers for blues and rhythm and blues music.

Robert Garlon Plunkett ->

THEODORE DUDLEY “SONNY” SAUNDERS (1935-2022)

HOLY SEPULCHRE CATHOLIC CEMETERY
6001 W. 111TH Avenue
Alsip, IL 60803

_{Grave: Section 37, Block 9, Lot 46 (W), Grave 1}

Blues Drummer

Theodore Dudley “Sonny” Saunders was one of the most influential drummers and bandleaders in Chicago’s jazz and rhythm and blues history. Born in Memphis, Tennessee, he moved to Chicago as a young man after his mother’s death and began studying drums while attending school in Milwaukee. By 1928, he had become a professional musician, performing with pianist Stomp King before spending several years touring the country with Ira Coffey’s Walkathonians and later appearing in traveling stage revues. These early experiences developed both his technical skill and his reputation as an outstanding show drummer.

After returning to Chicago in 1934, Saunders played with pianist Tiny Parham at the Savoy Ballroom before joining the house band at the famous Club DeLisa on the city’s South Side. In 1937, he became the band’s leader, a position he held for more than two decades. Under his direction, the Club DeLisa orchestra became one of Chicago’s premier entertainment ensembles, backing singers, dancers, comedians, and variety acts in multiple performances each night. The band served as a launching pad for numerous musicians, including singer Joe Williams, while notable arrangers such as Johnny Pate and the future Sun Ra contributed to its distinctive sound. Saunders’ orchestra became a cornerstone of Chicago’s Black entertainment scene throughout the 1940s and 1950s.

Saunders began recording as a bandleader in 1945 for Savoy Records and later worked with many of the leading blues and rhythm and blues performers of the era, including T-Bone Walker, Big Joe Turner, Sister Rosetta Tharpe, Willie Mabon, Little Brother Montgomery, Sugar Chile Robinson, and LaVern Baker. His biggest commercial success came in 1952 when his lively recording of “Hambone” became an R&B hit. Although he was primarily based in Chicago and preferred not to tour extensively, he also performed with legendary artists such as Duke Ellington, Louis Armstrong, and Woody Herman, earning widespread respect for his versatility, powerful swing, and polished stage presence.

After Club DeLisa closed in 1958, Saunders became house bandleader at Chicago’s Regal Theater, where he continued leading top-quality orchestras into the late 1960s. He also promoted innovative projects, including Guy Warren’s pioneering Afro-jazz recording Africa Speaks–America Answers!, and later organized educational performances celebrating African music and culture. During the 1970s, he continued performing with jazz veterans such as Art Hodes and Little Brother Montgomery while also working as a booking agent and occasionally reuniting his big band for concerts and television appearances.

Red Saunders is remembered as one of the defining figures in Chicago’s musical history. His exceptional drumming, leadership, and mentorship helped shape generations of jazz, blues, and rhythm and blues musicians, while his long residencies at Club DeLisa and the Regal Theater made him one of the city’s most enduring and influential musical ambassadors.

Theodore Dudley “Sonny” Saunders ->

JOHN SIOMOS (1947-2004)

ELMWOOD CEMETERY & MAUSOLEUM
2509 N. Thatcher Raod
River Grove, IL 60171

_{Grave: 41°55’50.7″N 87°50’05.2″W}

Rock Drummer

John Siomos was a Chicago-born rock drummer whose dynamic playing helped shape some of the most successful rock recordings of the 1970s. After beginning his professional career with Mitch Ryder and the Detroit Wheels, he quickly established himself as an in-demand session and touring musician in New York, performing with artists including Carly Simon, Buzzy Linhart, Mark “Moogy” Klingman, Todd Rundgren, and Rick Derringer. One of his earliest high-profile studio performances came on Todd Rundgren’s acclaimed album Something/Anything?, where he played drums on several tracks, including the hit “Hello It’s Me.”

Siomos achieved his greatest recognition after joining Peter Frampton’s band, Frampton’s Camel, in the early 1970s. He played on Frampton’s studio albums Frampton’s Camel, Somethin’s Happening, and Frampton before contributing to the landmark live album Frampton Comes Alive! in 1976. The album became one of the best-selling live albums in rock history and launched Frampton to international superstardom. Siomos’ energetic yet controlled drumming was a defining element of the record, and he also co-wrote “Doobie Wah” and contributed to the iconic live version of “Do You Feel Like We Do,” one of the era’s signature rock performances.

Throughout his career, Siomos was respected for his versatility, equally comfortable in hard rock, blues rock, folk rock, and pop settings. His recording credits extended to artists such as Terry Reid, Guthrie Thomas, Duster Bennett, and Tufano & Giammarese of The Buckinghams, making him one of the most accomplished session drummers of his generation. Although he never became a household name, his work reached millions of listeners through platinum-selling albums and classic rock radio. Later in life, he stepped away from full-time touring and also worked as an emergency medical technician while remaining active in music. John Siomos died in 2004 at the age of 56, leaving behind a legacy as one of Chicago’s finest rock drummers and an essential contributor to some of the most enduring recordings of the 1970s.

John Siomos ->

ARTHUR LEE “KANSAS CITY RED” STEVENSON (1926-1991)

Mount Glenwood Memorial Gardens West
8301 Kean Avenue
Hickory Hills, IL 60457

_{Grave: 41°44’16.5″N 87°50’47.5″W}

Blues Drummer

Arthur Lee Stevenson, better known by his stage name Kansas City Red, was an influential Chicago blues drummer, singer, songwriter, bandleader, and club owner whose career spanned more than four decades. Born in Drew, Mississippi, he became interested in blues music after meeting David “Honeyboy” Edwards and unexpectedly began his drumming career in the early 1940s when he filled in for Robert Nighthawk’s regular drummer during a performance. His natural talent earned him a permanent place in Nighthawk’s band until about 1946, and Nighthawk later recorded Stevenson’s song “The Moon Is Rising.” Stevenson also became associated with Sonny Boy Williamson II and performed on the legendary King Biscuit Time radio broadcasts, helping establish his reputation throughout the Mississippi Delta before relocating to Chicago in the 1950s.

After settling in Chicago, Stevenson became a fixture of the city’s thriving blues scene, performing with many of the genre’s leading artists, including David “Honeyboy” Edwards, Sunnyland Slim, Walter Horton, Earl Hooker, Johnny Shines, Robert Lockwood Jr., Eddie Taylor, Floyd Jones, Blind John Davis, Elmore James, and Johnny “Man” Young. He also led his own bands, one of which gave future blues star Jimmy Reed some of his earliest professional experience. In addition to performing, Stevenson owned and operated several influential West Side blues clubs, including the Boola Boola, Shangri-La, and Club Reno, where he promoted local musicians and helped preserve Chicago’s blues tradition. His work as both a performer and club owner made him an important figure in the city’s musical community.

Stevenson was known for his energetic, highly recognizable drumming style, marked by busy rhythms, dramatic cymbal crashes, and powerful drum rolls. His signature solo, “Freedom Train,” became a highlight of his live performances because of its explosive energy within otherwise slow blues numbers. Although he never achieved widespread commercial fame outside the Midwest, critics have credited him with helping transform traditional Delta blues into the modern urban Chicago blues sound. During the late 1970s and 1980s he continued recording and touring, most notably on the acclaimed 1981 album Old Friends Together for the First Time alongside Honeyboy Edwards, Sunnyland Slim, Floyd Jones, and Big Walter Horton, as well as his own Original Chicago Blues recordings. Stevenson remained active until shortly before his death from cancer in 1991, leaving behind a legacy as one of the most distinctive drummers and dedicated ambassadors of Chicago blues.

Arthur Lee “Kansas City Red” Stevenson ->

WILLIAM “BILLY” WARREN (1919-2000)

Restvale Cemetery
11700 S. Laramie Avenue
Alsip, IL 60803

_Grave:

Blues Drummer

William “Bill” Warren was a respected Chicago blues drummer, singer, and bandleader whose career was rooted in the city’s vibrant postwar blues scene. Born in Clayton, Alabama, in 1919, he eventually settled in Chicago, where he became a familiar figure on Maxwell Street and in the city’s South and West Side blues clubs. Warren developed a reputation as a dependable, hard-driving drummer whose steady rhythms helped define the classic Chicago blues sound during the 1950s and 1960s. He performed with many of the genre’s most influential musicians, including Junior Wells, Buddy Guy, Willie Dixon, Jimmy “Lonely Traveler” Lee Robinson, and Muddy Waters, earning the respect of fellow performers for his versatility and professionalism. Warren was also among the early musicians to perform regularly at the legendary Theresa’s Lounge, one of Chicago’s premier blues venues.

Although he spent much of his career supporting other artists, Warren also sang and recorded his own material. Late in his career, he appeared on the 1998 album The Lost American Bluesmen, contributing drums and performing original songs such as “Black Cat Girl,” “Big Fine Girl,” and “Riding in My New Jaguar.” His recordings showcased his authentic Delta-influenced vocal style while highlighting the driving drum work that had made him a respected accompanist for decades. William “Bill” Warren remained active in Chicago’s blues community until declining health curtailed his performances. He died on February 11, 2000, leaving behind a legacy as one of the many accomplished musicians whose contributions helped preserve and advance the rich tradition of Chicago blues.

William “Billy” Warren -> Chicago Reader

WILLIAM “WILLIE ROUGH DRIED” WILLIAMS (1922-1988)

HOMEWOOD MEMORIAL GARDENS
600 Ridge Road
Homewood, IL 60430

_Grave:

Blues Drummer

Willie Williams, often nicknamed “Fast Feet” or “Rough Dried,” was a versatile Chicago blues drummer, singer, guitarist, and entertainer whose career spanned several decades. Born in Lake Village, Arkansas, in 1922, he first performed as a guitarist before becoming a professional tap dancer, a talent that earned him the nickname “Fast Feet.” After serving in the Civilian Conservation Corps, he moved to St. Louis and later settled in Chicago during the 1940s, where he established himself as a dependable and swinging drummer on the city’s thriving blues scene.

Williams became best known as the longtime drummer for legendary bluesman Howlin’ Wolf, touring and performing with Wolf through the 1960s and into the early 1970s. His steady, driving rhythm helped define the powerful sound of one of Chicago blues’ most influential bands. In addition to his work with Wolf, Williams performed with artists such as Carey Bell and many other blues musicians, earning the respect of fellow performers for his versatility and professionalism.

Although primarily recognized as a drummer, Williams also developed a reputation as a singer. Encouraged by producer and bassist Willie Dixon after Dixon left Chess Records, Williams recorded several singles, including the regional hit “Wine Headed Woman” in 1970. The recording showcased his gritty vocals and traditional Chicago blues style, leading to additional recording sessions with notable blues musicians. While he never achieved widespread commercial success as a solo artist, his recordings became well regarded among blues enthusiasts and collectors.

Throughout his career, Willie Williams remained a respected figure in the Chicago blues community, contributing both as a reliable drummer and as a vocalist who preserved the raw, authentic sound of postwar electric blues. His work with Howlin’ Wolf and other leading blues artists secured his place in the history of Chicago blues, and his recordings continue to be appreciated for their genuine expression and strong connection to the city’s rich musical heritage.

William “Willie Rough Dried” Williams ->