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Idris Muhammad

Idris Muhammad (November 13, 1939 – July 29, 2014) was an American and drummer, born Leo Morris in New Orleans, , who pioneered the integration of funk beats into music and became a highly influential across , R&B, and experimental genres. Renowned for his distinctive New Orleans-rooted groove, Muhammad's drumming featured a signature technique inspired by the rhythmic sounds of local steam presses and parades, which he began emulating as a child. Growing up in New Orleans' 13th Ward, Muhammad started playing drums at age eight or nine, performing in Mardi Gras parades by age nine and making his professional debut at 14 with The Hawketts on the hit "Mardi Gras Mambo" in 1954. By 16, he contributed to Fats Domino's iconic recording of "Blueberry Hill" in 1956 and later toured with Sam Cooke while collaborating with soul artists like Jerry Butler and The Impressions in the early 1960s. After converting to Islam and adopting the name Idris Muhammad in the mid-1960s, he relocated to New York City, where he joined Lou Donaldson's band from 1965 to 1967, contributing to seminal funk-jazz albums such as Alligator Bogaloo (1967) and Mr. Shing-a-Ling (1967). Throughout the 1970s and beyond, Muhammad served as a house drummer for from 1970 to 1972, appearing on numerous albums during that time, and throughout his career recorded over 150 albums with jazz luminaries including , , , Johnny Griffin, and , while also leading his own groups on CTI's imprint. His solo debut Black Rhythm Revolution! (1970) and subsequent releases like Power of Soul (1974), (1976), and (1977) showcased his ability to blend jazz with infectious funk grooves, tracks from which were later heavily sampled in hip-hop by artists such as Tupac, , , and the . In later years, he continued performing with ensembles like the Paris Reunion Band (1986–1988) and released My Turn (1993) featuring Grover Washington Jr. and , while earning tributes from musicians like , who composed the piece "Idris" in his honor. Muhammad's legacy endures as a foundational figure in the evolution of drumming and its crossover into and , with his selfless approach to his craft encapsulated in his own words: "It don’t really belong to me, man… The gift the Creator has given me, I can’t be selfish with." He passed away in , after a prolonged illness, leaving behind a profound influence on generations of drummers and the broader rhythm sections of American music.

Early Life

Childhood in New Orleans

Idris Muhammad, born Leo Morris on November 13, 1939, in New Orleans' 13th Ward, grew up in a vibrant musical environment that profoundly shaped his rhythmic sensibilities. The youngest of four brothers—all of whom played drums—his father, Nathaniel Morris, was a traditional jazz banjo player, while his mother's family originated from France. This familial immersion in music, combined with the 13th Ward's proximity to influential figures like the Neville Brothers, exposed young Leo to the city's pulsating soundscape from an early age. Living next door to a dry cleaner's shop in a modest on Coliseum Street, Morris drew inspiration from everyday sounds that echoed the local cadence. He later attributed his distinctive technique to the rhythmic hiss of the shop's presser, a mechanical pulse that mimicked the syncopated grooves of New Orleans street life. By age eight, he had begun drumming, captivated by the bands and second-line parades that filled the neighborhood. These events, with their infectious thumps and communal dancing, instilled in him the foundational and polyrhythms of the city's tradition, as he often marched alongside revelers banging on makeshift drums. One of his earliest public performances came at age nine, when he joined a Mardi Gras parade, tapping out beats amid the festive chaos of floats, brass ensembles, and masked revelers. This experience, rooted in the exuberant second-line culture and brass band heritage, solidified his passion for percussion and foreshadowed his lifelong connection to New Orleans' rhythmic legacy.

Initial Professional Debuts

Idris Muhammad, born Leo Morris, made his professional debut at the age of 14 in 1954, drumming on The Hawketts' recording of " ," a track that became an enduring anthem for New Orleans celebrations. The session, led by pianist , took place at Cosimo Matassa's studio and captured the vibrant second-line rhythms of the city's street parades, marking Muhammad's entry into the local R&B scene. Two years later, in 1956, Muhammad contributed drums to Fats Domino's iconic hit "," further solidifying his role in New Orleans' burgeoning recordings. This session, also at Matassa's studio, showcased his emerging ability to lock into the genre's swinging backbeat, supporting Domino's piano-driven sound on one of the era's biggest-selling singles. As a teenager, Muhammad honed his skills through initial local performances in New Orleans clubs and neighborhood venues, often backing R&B acts and absorbing the city's traditions. These early gigs helped develop his distinctive backbeat style, characterized by a bottom-heavy groove influenced by patterns and second-line parades, which emphasized propulsion and danceable swing over flashy technique.

Career

Early Tours and Recordings

In the early 1960s, following his teenage experiences in New Orleans, Idris Muhammad expanded his career through national tours with prominent soul artists. He joined as a after an introduction by bandleader Joe Jones, performing across the and contributing to Cooke's live shows during a pivotal period in the singer's rise to fame. This opportunity came around 1960, marking Muhammad's entry into high-profile R&B circuits beyond local gigs. Muhammad's touring commitments soon extended to Jerry Butler and The Impressions, where he provided rhythmic support from 1962 to 1965, aligning with the group's burgeoning success in the soul genre. These tours took him to major venues in and other cities, immersing him in the evolving R&B landscape. Concurrently, he recorded with soul figures like , lending his precise, groove-oriented drumming to sessions that captured the era's emotive sound. Notable contributions included his work on Sam Cooke's hits "Chain Gang" and "(What a) Wonderful World," both released in 1960 and emblematic of soul's crossover appeal, as well as Joe Jones's chart-topping "You Talk Too Much," a No. 3 R&B single that same year. These recordings showcased Muhammad's ability to drive infectious backbeats while adapting to vocalists' dynamic styles. By the mid-1960s, Muhammad relocated to , seeking broader opportunities after his R&B stints in with and Mayfield. Arriving without an immediate gig, he began exploring the city's vibrant ecosystem, transitioning from soul's structured grooves toward improvisational frameworks. This shift allowed him to experiment with more complex rhythms, laying the groundwork for his evolving role in while retaining his soul-infused sensibility.

Jazz Scene and Broadway

Upon arriving in New York in the late 1960s, Idris Muhammad immersed himself in the vibrant scene, becoming a sought-after session drummer for major labels. He collaborated extensively with alto saxophonist on several recordings, including the funky soul-jazz albums Alligator Bogaloo (1967), Say It Loud (1969), Hot Dog (1970), and Midnight Creeper (1970), where his propulsive rhythms helped define the era's hard bop-to-soul crossover sound. Similarly, Muhammad contributed to sessions with , bringing his dynamic groove to explorations on Impulse! and related imprints, though his work often overlapped with similar experimental ensembles. His tenure with pianist further solidified his reputation, as he provided steady, swinging support on live and studio dates that blended with modal influences during the early 1970s. These collaborations, totaling over 150 sessions across and , showcased Muhammad's versatility in bridging traditional with emerging funk elements. A pivotal moment in Muhammad's career came with his role as the original drummer for the groundbreaking Broadway musical Hair, which premiered off-Broadway in 1967 before transferring to Broadway in 1968. Serving as the house drummer from 1969 to 1973, he crafted intricate rhythmic patterns from 43 pages of chord changes, establishing a tribal, percussive foundation that captured the show's countercultural spirit and influenced subsequent theater percussion. His innovative drum arrangements, blending New Orleans second-line grooves with rock and free-form improvisation, not only sustained the production's run of over 1,700 performances but also elevated his profile beyond jazz circles, attracting attention from sub drummers like Bernard Purdie and Billy Cobham who studied his parts. This Broadway stint provided financial stability and broader visibility, allowing Muhammad to transition seamlessly into leadership roles while maintaining his session work. As house drummer for Prestige Records starting in 1970, Muhammad capitalized on his rising prominence to release his debut album as a leader, Black Rhythm Revolution! (recorded 1970, released 1971), featuring a stellar lineup including trumpeter Virgil Jones and saxophonist Harold Vick on tracks that fused hard bop with Afro-Latin rhythms. The follow-up, Peace and Rhythm (1971), expanded this vision with the expansive "Peace and Rhythm Suite," incorporating soprano saxophonist Carlos Garnett and emphasizing Muhammad's signature rolling snare and hi-hat work to evoke spiritual and communal themes. These early Prestige outings marked his emergence as a bandleader, highlighting his ability to lead ensembles in soul-infused jazz that anticipated the fusion wave.

Later International Work

In the 1970s, Idris Muhammad collaborated extensively with singer Roberta Flack, serving as her drummer for nearly a decade and contributing to her live tours and recordings, including the hit "Killing Me Softly with His Song." During this period, he also signed with CTI Records, releasing influential jazz-funk albums such as Power of Soul in 1974, which featured collaborations with George Benson and Grover Washington Jr., and House of the Rising Sun in 1976, showcasing his fusion of New Orleans rhythms with soul and Latin elements.) These works highlighted Muhammad's shift toward broader commercial jazz audiences while maintaining his signature groove-oriented style. By the 1980s, Muhammad relocated to Europe, first to Britain and later settling in Austria, where he became a sought-after session musician and performed on international tours with artists including Pharoah Sanders and Ahmad Jamal. He participated in the Paris Reunion Band from 1986 to 1988 and recorded with keyboardist Bob James on albums like One (1974) and contributed to fusion projects that blended his funk roots with European jazz ensembles. His time abroad expanded his global reach, including tours across Europe and collaborations that emphasized his versatile drumming in diverse settings, culminating in releases like My Turn (1993) featuring Grover Washington Jr. and Randy Brecker.) Muhammad returned to New Orleans in 2011, reconnecting with his hometown roots and participating in local performances, including events in the Jazz Journey concert series organized by Dan Williams. These final appearances allowed him to share stages with fellow New Orleans musicians, drawing on his lifelong connection to the city's second-line traditions before his health declined leading up to 2014.

Musical Style and Influences

Drumming Techniques

Idris Muhammad's signature technique, characterized by a crisp, mechanical crispness that delivers a funky backbeat, was directly inspired by the rhythmic hissing sounds of steam presses from a dry cleaner's shop adjacent to his childhood home in New Orleans. This approach created a distinctive, percussive edge to his playing, blending industrial precision with organic groove to propel and ensembles forward. Muhammad himself described the influence as foundational to his hi-hat work, noting how the repetitive, pressurized clacks shaped his ability to lock in tight, driving patterns on the instrument. In his grooves, Muhammad masterfully incorporated —subtle, lightly struck accents on the —and intricate to add layers of rhythmic depth and propulsion. These elements allowed him to create a sense of forward momentum while maintaining a relaxed, feel, bridging traditional swing with the punchier demands of . His often served as between main beats, enhancing the overall polyrhythmic texture without overpowering the ensemble, a technique honed through years of session work in . Muhammad adeptly adapted the exuberant, marching-band second-line rhythms of his New Orleans upbringing to the modern , particularly in and R&B contexts, where he translated the parade's thumps and snare buzz rolls into footwork and hand patterns that infused tracks with celebratory energy. This adaptation involved reinterpreting the second line's call-and-response percussion on toms and cymbals, creating a danceable foundation that echoed street parades while fitting studio arrangements. His proficiency in these rhythms shone in later collaborations, such as with pianist , where he layered slow second-line pulses beneath ballads for added swing and vitality.

Contributions to Genres

Idris Muhammad pioneered the fusion of beats into during his tenure as house drummer for in the early 1970s, where he contributed to sessions that bridged and . His work on leader albums like Black Rhythm Revolution! (1970) and (1971), as well as sideman appearances on numerous releases, introduced syncopated, groove-heavy rhythms drawn from R&B and into improvisational contexts, exemplified by his collaborations with organist on tracks like "." During the era, particularly on the imprint starting with Power of Soul (1974), Muhammad elevated R&B drumming to improvisational heights by infusing hip, snazzy grooves into the vernacular, creating a slick sound that blended soulful backbeats with extended solos. His drumming on cuts like the title track, featuring Grover Washington Jr.'s , showcased restrained yet sensual rhythms that pushed R&B's accessibility toward 's exploratory depth, influencing the label's signature aesthetic. Muhammad's overall versatility across more than 150 recording sessions underscored his role in evolving groove-oriented , as he seamlessly adapted his swinging, blues-inflected style to , R&B, and ensembles throughout his career. This adaptability, evident from early work with to later CTI All-Stars tours, solidified his reputation as a foundational figure in genre-blending percussion.

Personal Life

Family and Relationships

Idris Muhammad married singer Dolores "LaLa" Brooks, formerly of the , in 1966. The couple had two sons and two daughters together, and Muhammad was also father to a daughter from his earlier marriage to Gracie Lee Edwards, resulting in five children overall. Their family life was centered in during much of Muhammad's active recording and touring years in the jazz and funk scenes, where the children grew up immersed in a musical household. The marriage lasted over three decades before the couple separated in 1999. Throughout this period, Brooks provided stability amid Muhammad's demanding schedule as a and , contributing to the family's relocation decisions that aligned with his career shifts. In the , Muhammad moved the family to primarily to offer his children superior educational opportunities, residing first in for eight years and later in for nine years. This transition underscored the family's role in supporting his international pursuits, allowing him to balance professional commitments abroad while prioritizing their development.

Conversion to Islam

In the 1960s, during the height of the and the rise of the Black Muslim movement among seeking spiritual and political empowerment, drummer Leo Morris converted to . This period saw many Black artists and intellectuals embracing as a means of cultural reclamation and resistance against systemic oppression, and Muhammad's decision aligned with this broader wave of conversions. Upon his conversion, Morris adopted the name Muhammad, drawing from Islamic tradition where is revered as a prophet symbolizing wisdom and piety, and Muhammad honors the faith's central figure. He made this change despite warnings from industry associates that it could hinder his career prospects, insisting that his distinctive drumming style would ensure recognition. His then-wife also converted alongside him, taking the name Sakinah Muhammad, marking a shared spiritual transformation that reshaped their personal identities. Muhammad's embrace of profoundly influenced his personal philosophy, emphasizing devotion to core Islamic principles such as discipline and community, which he later reflected in his as integral to his life. This spiritual commitment extended to his , where themes of and harmony appeared in works like his 1971 album Peace and Rhythm (Salam Wa Nagama), the subtitle of which translates from to "Peace and Rhythm," evoking Islamic greetings of peace (salam) and rhythmic expression.

Legacy

Impact on Hip-Hop

Idris Muhammad's drumming on his 1970s recordings significantly influenced production, serving as a bridge between funk-jazz grooves and the genre's signature backbeats during the and 1990s. His intricate, syncopated rhythms provided producers with versatile drum breaks that captured the energetic swing of while offering a funky foundation ideal for looping and layering in early hip-hop tracks. This connection is evident in how Muhammad's work was embraced by golden-age artists seeking , soulful percussion to underpin their rhymes, transforming his contributions into foundational elements of the genre's sound. The album Power of Soul (1974) stands out as a prime sampling source, with tracks like "Loran’s Dance" and the title song heavily utilized by prominent hip-hop acts. A Tribe Called Quest incorporated elements from the album into their laid-back, jazz-infused beats, while the Beastie Boys famously sampled "Loran’s Dance" for "To All the Girls" on their 1989 album Paul’s Boutique, highlighting Muhammad's ability to deliver propulsive grooves that enhanced dense, collage-style production. Overall, the album has been sampled in at least 15 hip-hop songs, exemplifying its enduring appeal for producers valuing authentic funk-jazz texture. One of Muhammad's most iconic contributions is the track "Could Heaven Ever Be Like This" from the 1977 album , which has been sampled extensively in for its infectious drum patterns and uplifting groove. Producers have looped its beats and percussion fills in over 45 documented tracks, using them to create driving rhythms that evoke a sense of and momentum. Notable examples include Lupe Fiasco's "" (2006), where the sample bolsters introspective flows, and J. Cole's "On Top of the World" (2011) featuring A.L., which leverages the groove for motivational energy. This track's widespread adoption illustrates Muhammad's pivotal role in supplying with versatile, groove-oriented elements that fused 1970s disco-funk with the genre's evolving backbeat aesthetic.

Recognition and Tributes

Idris Muhammad was recognized as a pioneering figure in funk drumming, often celebrated for his innovative grooves that bridged and rhythm-and-blues traditions. He endorsed , collaborating on a signature 22-inch designed to capture his distinctive, balanced sound with and spread. Muhammad died on July 29, 2014, at the age of 74 in , from kidney failure. His passing prompted widespread tributes, including obituaries in that praised his enduring backbeat as a foundational element in and , influencing generations of musicians through its deep, propulsive groove. Similarly, highlighted his legacy as a New Orleans drummer whose rhythmic innovations on tracks like Fats Domino's "" exemplified his backbeat mastery and genre-crossing impact. Memorial events honored Muhammad in his hometown of New Orleans, including a tribute concert by Jazz Studies students in October 2014, featuring performances that celebrated his contributions to the city's musical heritage.

Discography

As Leader

Idris Muhammad released his debut as a , Black Rhythm Revolution!, on in 1970. The embodied revolutionary themes, blending hard-hitting with modal explorations and covers of contemporary hits like Charles Wright's "Express Yourself" and James Brown's "Super Bad," showcasing Muhammad's New Orleans-rooted grooves amid social and musical upheaval of the era. His follow-up, (1971, Prestige), continued this trajectory with a focus on rhythmic innovation, featuring pianist and bassist on tracks that emphasized flowing, percussive interplay over extended solos, reflecting Muhammad's vision of as a unifying force. Transitioning to Creed Taylor's CTI/Kudu label, Muhammad's 1974 release Power of Soul marked a pivotal funk crossover, produced by David Matthews with arrangements by Bob James; its title track and "Loran's Dance" fused soul- grooves with electric bass and horns, establishing Muhammad as a bridge between and emerging sounds. The album's infectious rhythms influenced later genres, though it did not chart on major lists. House of the Rising Sun (1976, Kudu) further explored this hybrid style, reinterpreting the folk standard in a jazz-funk context with extended improvisations and Latin-inflected percussion, highlighting Muhammad's ability to adapt traditional forms to modern rhythmic sensibilities. By the late 1970s, Muhammad's output leaned deeper into disco-tinged funk, as seen in Turn This Mutha Out (1977, Kudu), where tracks like the eight-minute opener "Could Heaven Ever Be Like This" and the title cut delivered upbeat, danceable grooves with string sections and synthesizers. The album peaked at No. 127 on the Billboard 200 pop chart and No. 45 on the Top Soul Albums chart, demonstrating commercial appeal in soul markets. Overall, Muhammad helmed six leader albums during the 1970s across , , and other imprints, with several achieving modest chart placements on pop and soul lists, underscoring his evolution from to accessible .

As Sideman

Idris Muhammad's work as a sideman spanned over five decades, encompassing more than 150 recording sessions primarily for major jazz labels including , , and CTI, where he provided rhythmic foundation across , , and R&B genres. As the house drummer for from 1970 to 1972, he appeared on numerous albums, supporting artists like , , and Sonny Stitt, often infusing sessions with his signature New Orleans and grooves. In the mid-1960s, Muhammad (then known as Leo Morris) joined saxophonist Lou Donaldson's band, contributing to a series of influential recordings on , such as Alligator Bogaloo (1967), (1969), and Midnight Creeper (1968), where his driving, syncopated drumming helped define the label's funky house sound. His collaborations extended to pianist in the late 1990s and 2000s, including live trio performances documented on albums like Live in Baalbeck (2003, Dreyfus Jazz), showcasing his adaptable, sensitive support in settings. Muhammad's tenure with tenor saxophonist in the 1980s highlighted his role in experimental , with notable contributions to tracks on Kabsha (1980, Theresa) and Africa (1987, Timeless), where his polyrhythmic patterns complemented Sanders' avant-garde explorations. He also toured and recorded extensively with vocalist throughout the 1970s, providing the backbeat for soul hits on albums like Killing Me Softly (1973, Atlantic), blending precision with R&B accessibility. Similarly, his sessions with keyboardist Bob James on CTI in the 1970s, including One (1974), underscored his versatility in , with crisp, layered grooves that bridged and pop. Later in his career, Muhammad continued sideman work into the 2000s and 2010s, performing with artists like and in 2006, maintaining his influence across evolving jazz landscapes from to hip-hop-infused ensembles.

Sampling in Popular Culture

Idris Muhammad's album Power of Soul (1974) has been a frequent source for hip-hop producers, with its title track sampled in several notable recordings. incorporated elements of "Power of Soul" into the beat for "Ready to Die (Original Version With Different Beat)" from his 1994 debut , utilizing the track's funky drum groove and bassline to underpin the song's raw energy. Similarly, drew from the same track for "For Da Brothaz" on his 1995 Rated XX, layering Muhammad's rhythmic foundation over gritty lyrics to evoke streetwise resilience. More recently, featured a sample in "Crenshaw / 80s and Cocaine" from his 2015 mixtape , blending the original's soulful vibe with West Coast rap aesthetics alongside collaborators and Sonyae. The track "Loran's Dance" from Power of Soul has also proven influential in hip-hop and electronic music, prized for its laid-back keyboard riff and percussive drive. The prominently sampled it for "To All the Girls I've Wronged" and "B-Boy Bouillabaisse" on their 1989 album , chopping the groove into the record's dense, collage-like production to kick off the album with a jazzy flourish. and other producers have referenced similar Idris Muhammad breaks in their beats, though direct uses of "Loran's Dance" extend to broader applications like 's "The Weekend Starts Here" (1996), where the sample adds a funky underscore to big beat electronica.

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    An excellent drummer who has appeared in many types of settings, Idris Muhammad became a professional when he was 16. He played primarily soul and R&B ...<|control11|><|separator|>
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    Power of Soul by Idris Muhammad - Samples, Covers and Remixes
    Power of Soul by Idris Muhammad - discover this song's samples, covers and remixes on WhoSampled.Missing: Tribe Called Quest Eric B. Rakim
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    None
    Nothing is retrieved...<|separator|>