Since 2005, Plastic Crimewave, also known as Steve Krakow, has devoted his work in the “Secret History of Chicago Music” to uncovering the stories of remarkable yet often overlooked musicians from Chicago.
This special focus has shone a light on the crucial role of drummers, who frequently go unrecognized compared to vocalists and guitarists.
However, the story of Fred Below is deserving of attention not solely because he is a drummer, but because his contributions to a wide range of musical genres make him a figure worth celebrating.
Born Frederick Below Jr. on September 6, 1926, in Chicago, his early musical education began under the tutelage of Captain Walter Dyett at DuSable High School in the vibrant Bronzeville neighborhood.
Initially picking up the trombone, Below quickly transitioned to the drums, joining the ranks of notable classmates such as tenor saxophonist Gene Ammons and trombonist Bennie Green.
By age 14, Below had set his sights on becoming a professional musician, demonstrating an early commitment to his craft.
His journey took him into the army during 1945 and ’46, where, despite the rigors of military life, he managed to keep his drumming skills sharp by improvising on helmets and boxes.
Upon returning home, Below further honed his drumming at the Roy C. Knapp School of Percussion, a revered institution established by one of America’s leading drum educators.
In 1948, Below enlisted again and found himself stationed in Germany, where he played jazz with the renowned 427th Army Band.
His experiences overseas allowed him to rub elbows with jazz greats like Erskine Hawkins and Coleman Hawkins, broadening his musical horizons significantly.
When Below returned to Chicago in the early 1950s, he encountered an altered musical landscape; many of his contemporaries had found success in other bands or had relocated.
Though he found more opportunities in the burgeoning blues scene, he initially lacked familiarity with the genre.
Fortunately, an older acquaintance from the Knapp School, Elga Edmonds, was well-versed in blues and helped Below navigate this new musical territory.
As Below’s career progressed, he made significant contributions to rock ‘n’ roll, though his role is often not clearly recognized in historical accounts.
He participated in recording sessions with legends like Bo Diddley, although claims regarding the origins of the famous “Bo Diddley beat” remain disputed.
Below’s involvement with Chuck Berry began in the mid-1950s, with notable sessions occurring on April 16, 1956, which produced enduring hits like “Brown Eyed Handsome Man” and “Too Much Monkey Business.”
While Below asserts that he played on Berry’s iconic track “Maybellene,” that honor is primarily credited to Ebby Hardy.
More likely, he contributed to other Berry classics during the late ’50s, including “School Days,” “Rock & Roll Music,” “Sweet Little Sixteen,” “Johnny B. Goode,” “Back in the USA,” and “Memphis, Tennessee.”
In an interview with Scott K Fish in 1981, Below expressed his passion for the craft, stating, “I’m a jazz drummer and I like sound. I don’t like to play on no one else’s drums. I know how mine’s going to sound when I touch them.”
His emphasis on tuning and personalizing his drums reflected his extensive training and sincere dedication to his musical expression.
Despite his prolific contributions, details about Below’s activities after the early 1980s become scarce.
While compilations highlighting the work of artists such as Howlin’ Wolf, Muddy Waters, and others have kept Below’s drumming accessible to the public, he sadly passed away from liver cancer in Chicago on August 13, 1988.
It is surprising how few people are aware of Fred Below today, with many perceiving him merely as a blues drummer, as if that designation diminishes his importance.
In a 1987 interview for Modern Drummer, Below articulated the complexities of the genre: “The blues, if played correctly, is not easy to master. People who say it’s a simple music form never played the blues. If they did, they probably didn’t play it right.”
His varied, emotional playing transcends genre and should be celebrated by those who recognize the profound connections between blues, jazz, and rock ‘n’ roll.
Fred Below’s mastery of his craft remains a testament to his significant, though often overshadowed, influence on American music.
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