Warren “Baby” Dodds

Warren “Baby” Dodds (pronounced “dots”) (1898-1959) was a New Orleans born jazz drummer. He was among one of the first drummers who improvised while performing during recordings. Dodds is known for his varied drumming patterns with accents and flourishes, and his ability to keep the beat with the brass drum while playing the buzz rolls on the snare.

Early Years
“Baby” Dodds was born into a musical family. His father and uncle played the violin, his sister played the harmonica and his brother, Johnny Dodds, was a famous clarinetist. “Baby” is considered the very best of pre-big band era and one of the most important and influential early jazz drummers. His mother taught him at an early age the valuable lessons of persistence, and being the best in one’s craft. His father was religious and the family would often sing hymns together.

At 16 years old, Dodds saved up enough money for his own drum set. He was fortunate enough to have drum lessons and the attention and exposure of various jazz drummers around New Orleans. He played in street parades with Bunk Johnson and then with Willie Hightower’s band, The American Stars. He heard the influential sounds of Buddy Bolden, John Robichaux, and Jelly Roll Morton. He played with Frankie Duson and Sonny Celestin and was a big part of the New Orleans jazz funeral. Dodds describes this experience in his autobiography:

“The jazz played after New Orleans funerals didn’t show any lack of respect for the person being buried. It rather showed their people that we want them to be happy.” (The Baby Dodds Story: As Told to Larry Gara, Louisiana State University Press, 1992, p.12)

Success
Dodds earned a top reputation as a young drummer and in 1918 left Sonny Celestin’s band to play with Fate Marable’s riverboat band. He traveled up and down the Mississippi river performing with the band that included Louis Armstrong. They played jazz, popular, and classic music from 1918 to 1921. Both Dodds and Armstrong left the band over disagreements regarding musical style. Dodds joined King Oliver’s Creole Jazz Band, so he played with Joe “King” Oliver on cornet, his brother, Johnny Dodds, on clarinet, Davey Jones on alto saxophone, Honore Dutrey on trombone, Lil Hardin on piano Jimmie Palao on violin, and Eddie Garland on bass fiddle. They moved to California in 1921 and played together for 15 months before moving to Chicago. They played at the Lincoln Gardens and Louis Armstrong joined the band in 1921. Dodds describes playing in this band as ‘a beautiful experience.” (Gara, p. 34)

“Baby” Dodds later records with Louis Armstrong, Jelly Roll Morton, Art Hodes and his brother Johnny Dodds. He played in Armstrong’s famous Hot Five and Hot Seven groups. After his brother’s death, Dodds worked as a free-lance drummer until the time of the New Orleans Revival emerged in response to bebop. The jazz traditionalists wanted jazz to return to its roots and Dodds was the drummer as he was untouched by the sounds of swing; therefore, Dodds played a major roles in the New Orleans jazz revival. He continued to play in California, Chicago, and New York City in the late 1940s. On trips back to New Orleans, he recorded with Bunk Johnson, and then they played together in New York City.

Dodds is admired and remembered for his creativity. He believed in playing something different for every chorus of every tune. He played a long roll that lasted until the following beat that in turn created a smoother time feel later referred to as a jazz ride pattern. Dodds was well known for what he called his “shimmy beat” that he first used in 1918 at Jack Sheehan’s in New Orleans. Dodds “shimmy beat” and his ability in fit his drumming into the style of the band he was playing with caught the eye of Louis Armstrong and other great jazz musicians. He believed in studying and listening to different band members and used his role as drummer to create unity within the band.