I'd like to direct everyone's attention to my alltime favorite drummer, the late B.J. Wilson, the most creative and musical drummer I've ever heard, who was instrumental in defining Procol Harum's unique sound from 1967-1977, and who also greatly enhanced some of Joe Cocker's best work. The 2 big hits B.J. played on were: "Conquistador, Live with Edmonton Symphony" by Procol Harum, recorded 1971, released 1972 and "With A Little Help From My Friends" by Joe Cocker, the hit single and album track 1968. He was in Joe Cocker's touring band from 1979-1983 or early 84, but didn't record on any of his studio albums at that time. A 1981 concert was released in Japan on video Laser Disk, entitled "Spirit of Live" (probaby a language misunderstanding), and this is now available on DVD under the title "Joe Cocker Live, 1981." Here's the DVD link at amazon.com: http://www.amazon.com/exec/obidos/ASIN/B00006AUJU/qid=1061160856/sr=2-5/ref=sr_2_5/104-0950864-8403953 B.J. is also the drummer on the "Rocky Horror Picture Show" movie soundtrack. His album work with Procol Harum can best be heard on Home, Grand Hotel and Exotic Birds&Fruit, but I'm hoping some of their Best classic Live shows will someday be released with state of the art sound, because the releases thus far don't do him justice. By turning up the volume and boosting the bass, however, you can get a good idea of his greatness from the currently available releases. And there's some incredible unreleased video from European TV in 1973 and 76 with such good camera work that, in addition to a great esthetic experience, could be very useful as drum instruction material.. B.J. deserves much more recognition in the drum world (currently he is virtually unknown), and I believe his influence could benefit the field of drumming immensely. --- Joan May

Accolades from the great drummer Billy Ward: "... drumming in music can equal passion. B.J. Wilson with Procol Harum seemed to have a similar commitment to each moment, and also quite a few jazz drummers like Elvin, Buddy, Tony and Jack ...." -- from tribute to Keith Moon, Modern Drummer Magazine, September, 2003

Praise from master guitarist (and sometime interviewer) Jimmy Vivino: "Was B.J. Wilson amazing from the beginning?..... ...he made the first Joe Cocker record happen, A Little Help From My Friends, all that is him." --- from 20th Century Guitar Magazine, December, 2001 (interviewing Robin Trower)

" ..some of the most tasteful and inventive rock drumming of all time, courtesy the late B.J. Wilson.." --- David Sokol reviewing Procol Harum's 'Home' album in the 'Records-to-Die-For' ('R2D4') Section of Stereophile Magazine, February 2001

"Wilson remains the most creative drummer in the business to my way of thinking ...Wilson's method of drumming in flourishes, rather than serving as a metronome, comes to the fore here. Brought to mind is a quote about BB King's genius that sums up Wilson's talent as well. 'It isn't so much what he plays but what he doesn't play that makes him so great' " ------ Joe Rogan, review of 'Something Magic' album, Atlanta Gazette, 1977

From the former Procol Harum folder on AOL: Subj: Baffling Barricades & Tidbits Date: 96-11-05 15:00:03 EST From: Jem33 (Joan May) This is for folks interested in drumming technique. Neil Peart of Rush, perhaps Rock's most highly respected drummer, recently decided his playing had become too mechanical, and took Lessons from drum master/teacher Fred Gruber. He and the article's author described his new technique in a recent issue of Modern Drummer, and I was amazed at how much it sounds like BJ's! "It's traditional grip** for me from now on" " ..flowing above-the-drums motion... his stroke is much more fluid...he's not boxing anymore – he's dancing on the drums..." Maybe Fred Gruber taught BJ, too? Or learned from him? I don't think Neil is familiar with BJ's work or he'd have sung his praises in print by now. ** Shortly before Neil's article came out, I had acquired a video of Procol from 1976 that has excellent camera work and on which BJ played a great solo. I could SEE him much better on this than when I actually had gone to see him, and I'd immediately taken notice of his grip – "Hey! he's holding the 2 sticks differently! That looks Cool" I learned that this is called Traditional grip – the left hand holds the stick like a fork or spoon, and the right like a bike handlebar. Most drummers I've seen use "Matched" grip – both sticks like handlebars. I emailed a professional drummer/BJ fan whom I met at the Drum Magazine Site (keyword Drum – message boards – Drum Gossip) and he told me all about the Traditional Grip, its history, etc. From Jazzer5a: >>>>The way you describe BJ holding his sticks is known as the "traditional" grip, so named because it evolved from the pre-drumset days when drummers played field drums carried on a sling around their shoulders...The drum naturally tilted in one direction, and the grip allowed the drummer to better access the playing surface in this position...This grip was carried through on drumset, with drummers typically tilting their snare drum stands to accomodate the grip... In the late 50's or early sixties with the development of rock and the need to play heavier backbeats some drummers began playing "palms down" (e.g both sticks parallel to the flat snare surface)..Technique and finesse were sacrificed, but in rock that did not matter as much as a fat snare sound..Nowadays I'd say that players are split about 50-50 between the two styles. Personally, I play either way depending on the requirements of the music I'm playing , but probably play traditional more....<<<<<<<<<<<<<< Then I asked him about all the "barricades" around the drumkit at Edmonton: Jazzer5a: >> ... all that stuff around him is to baffle the sound..The two panels on either side are called "Gobos";.(.don't ask me how they got their name).. but they are used in studios to isolate musicians playing in the same room so the the guitar amp, say, does not "bleed" into the bass mic..Nowadays you do not see them too much since so much recording is done right into the board (e.g, no mics on amps in the studio...The thing in front on the floor looks like a monitor with a blanket over it..possibly also for sound? <<<

Another interesting aspect of B.J.'s technique is when he holds one drumstick vertically on the drum while somehow achieving some melodic tones with the other stick. He may have learned this vertical technique from the great jazz drummer Joe Morello, with whom he studied (probably briefly).

But B.J.'s greatness isn't primarily about technique, but rather his incredible artistry, unmatched by any other drummer before or since. Stephen Braitman said it best in his letter to Goldmine Magazine in 1991: "...Despite what anyone else might have told you,  B.J. was the true heart of Procol Harum.  Not Matthew Fisher's grand organ washes, not Robin Trower's droning guitar, not Gary Brooker's droll vocals, not Keith Reid's wilfully enigmatic lyrics.  BJ's drumming was almost literary - following and emphasizing the narrative with far more power and passion than any mere beat structure. ... In the usual description of Procol Harum's style, "grandeur" is a typical adjective. B.J. created that grandeur with stunning punctuations, great open spaces, surprising reversals of rhythm. ..  B.J. Wilson made the drums express both the unpredictability and inevitability of fate.  He was awesome, and he will be missed ..."

B. J. Wilson performed with (among others): Procol Harum Joe Cocker The Rocky Horror Picture Show Soundtrack The Paramounts Lou Reed John Hiatt Leon Russell Frankie Miller The Incredible String Band Leo Kottke