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Ginger Baker
(August 19, 1939-October 6, 2019)

There’s drummers, and then there’s the Red Haired Madman himself, Mr. Ginger Baker. Rather with the seminal power trio Cream, the Graham Bond Organization, Blind Faith, his very own Air Force, or collaborating with a wide array of artists such as Fela Kuti, Public Image Ltd, Hawkwind, George Harrison, Paul McCartney, Jack Bruce, and many more, the mold was truly broken when Ginger was made.

Life began for young Peter Baker in Lewisham, South London. His mother Ruby May worked in a tobacco shop while father Frederick was a bricklayer who served in World War II, perishing in the Dodecanese campaign of 1943. Despite having some initial interest in bicycling and football, or soccer for the Americans, Ginger would soon discover jazz music and immediately become enthralled with it. After a good run of pounding away on the desk at school, Ginger would finally take up the drums at 15. Taking lessons from seminal British jazz drummer Phil Seamen, Ginger would absorb not only his jazz teachings but also the African rhythms that Phil often played on record. And with these lessons imparted to him by Phil, Ginger would begin his drumming journey.

Starting in London’s jazz scene of the early sixties, Ginger gigged with the likes of Terry Lightfoot and Acker Bilk in various traditional jazz ensembles. However, Ginger proved to be a square in a peg hole owing both to his passion on display as well as his outspoken nature. The jazz scene was too confined for Ginger’s liking, so he would instead turn to the burgeoning blues scene in London full of younger, more open minded players such as Cyril Davies and Alexis Korner. On the recommendation of Charlie Watts, Ginger would replace his friend in Alexis’ Blues Incorporated. It was here that he’d meet two musicians who would play a key role in his career-organist/saxophonist Graham Bond and young bassist Jack Bruce, whose relationship with Ginger would epitomize the expression Vitriolic Best Buds. While Blues Incorporated provided a solid living for the three, they soon began itching for an outlet of their own and formed a group. Initially rounded out by a young John McLaughlin on guitar before he was replaced by saxophonist Dick Heckstall-Smith. Together, the four became the Graham Bond Organization, a lean, muscular rhythm and blues outfit driven by Graham’s gritty vocals and a strong jazz leaning. The group would build an enthusiastic fan base among British blues aficionados, particularly for their fierce live performance, and would go on to appear in the film Gonks Go Beat playing “Harmonica”.

Problems arose, however. Due to Graham’s battles with addiction and mental illness, Ginger would end up taking over de facto leader. He and Jack would also end up having…disagreements. Jack was Scottish and Ginger was an Irish drummer, so this was perhaps inevitable. After one fight too many, Jack was gone from the group in 1965, with Ginger himself departing within a year. At the same time, a young guitarist named Eric Clapton had been making his name playing with The Yardbirds and John Mayall’s Bluesbreakers, quickly becoming noted for his chops and spawning graffiti dubbing him God. Ginger naturally took note and was set on starting a band with this young guitarist. Eric was absolutely up for it, and had just the bassist in mind-Jack Bruce. Giving all their past issues, Ginger naturally had reservations but gave in as the prospects were too great. And so Jack, Eric, and Ginger joined forces to become the cream of the crop in the English scene, dubbing themselves what else but Cream.

Over a two year period, Cream was a blazing comet across the rock world. Blending blues, jazz, and psychedelic rock, the trio became the first of many of things-the first supergroup, the first power trio, the first band to tour arenas, and a precursor to heavy metal, hard rock, progressive rock (particularly on Wheels Of Fire), and the jam band scene thanks to the heavy improvisation that occured during Cream’s live performances. Ginger, in particular, became noted for his innovative drumming, making use of African rhythms and polyrhythms as well as also playing in odd time signatures relatively uncommon in popular music. He was also a pioneer in the use of double bass drums in rock, and the first drummer in rock to record a drum solo in “Toad”. Beyond drumming, Ginger would also occasionally contribute material to Cream’s records, writing and singing on “Blue Condition” as well as co-writing “Sweet Wine”, “Those Were The Days”, “Passing The Time”, “What A Bringdown”, and “Pressed Rat and Warthog”, which also featured Ginger performing spoken word.

Once the comet of Cream burned bright and burned out, Ginger would join Eric in another group alongside former Traffic keyboardist/singer Steve Winwood and ex-Family bassist Ric Grech called Blind Faith. Once Eric departed to join Delaney & Bonnie, Ginger persuaded the other two to join him in a new band he was starting. He would dub the band Ginger Baker’s Air Force, rounding out the band with such elites as ex-Moody Blues bassist Denny Laine on guitars, Graham on organ and saxophones, Traffic saxophonist Chris Wood, Jamaican-born saxophonist Harold McNair, Seamen and Remi Kabaka joining Ginger on drums, and Jeanette Jacobs from The Cake on vocals. Blending Cream and Blind Faith’s blues rock with jazz fusion and African music, the band was a potent force onstage, unleashing a massive sound upon listeners that could not be ignored, even in a rougher live recording. Be it on new numbers such as “Da da Man” and “Don’t Care” or on numbers like “Early In The Morning” for the Organization, “Do What You Like” from Blind Faith, or the seminal “Toad”, this ensemble was truly outstanding. The group would reconfigure under different lineups throughout 1970, seeing people such as Plastic Ono Band drummer Alan White, session saxophonist Steve Gregory, and percussionist Rocky Dijon playing with the group while Ginger and Graham served as the two constants. Unfortunately, the Air Force would be short lived as Ginger’s previous groups had been, so it was on to the next thing.

After a one-off project called the Drum Choir, Ginger decided to build a studio in Lagos, Nigeria and further pursue his passion for African music. In the process, Ginger began collaborating with Afrobeat pioneer Fela Kuti, sitting in for recording sessions for Live! and the two collaborating on Ginger’s own record Stratavarious. Meanwhile, Ginger’s studio would be used by many artists both local and from the West, most notably by Paul McCartney and Wings for their album Band On The Run, where Ginger contributed percussion to “Picasso’s Last Words (Drink To Me)”. Ginger would also play in another trio called Baker Gurvitz Army with brothers Paul and Adrian Hurvitz in the mid seventies and later serve a stint with space rockers Hawkwind, playing on Levitation before leaving after the tour. However, Ginger’s studio in Lagos fell through, and he’d soon relocate to an olive farm in Italy, during which he’d play very little music. That would change as soon as he was contacted by American bassist and producer Bill Laswell, who recruited him to play on an album with Public Image Ltd, featuring the former Johnny Rotten on vocals. The two would go on to collaborate on Ginger’s solo records Horses and Trees and Middle Passages, which saw Ginger’s brand of African-tinged jazz fusion further complimented by Laswell’s downtown sensibility to some very strong results.

For the remainder of his career, Ginger would alternate between projects such as drumming with Masters of Reality and leading his own jazz groups and reuniting with former band mate Jack Bruce in the trio BBM (rounded out by guitarist Gary Moore) and for the odd Cream reunion-first 1993 when the band was inducted into the Rock and Roll Hall of Fame and then for a string of shows in Royal Albert Hall and Madison Square Garden in 2005. He’d also develop a great love of polo, but would have to give it up once health problems started plaguing him. Then in 2012, Jay Bulger, who’d previously interviewed Ginger for what became a piece in Rolling Stone, released the documentary Beware of Mr. Baker. Warts and all, it was far from the hagiography we’ve come to expect of rock docs and would bring renewed interest in Ginger.

Ginger was not always the easiest person to like, often coming across to people as very abrasive and volatile. There is certainly some truth in that, yet every so often his softer side shined through when discussing his great passions for jazz, African music, animals, or polo, or when talking about people such as Eric or Charlie Watts who meant a great deal to him. He was a man with immense dedication to his craft, even as he stopped making the kind of money he once did with Cream, and changed the way many thought about drumming and playing music. And that is something which cannot be denied him, now or ever.

So let us remember the one and only Ginger Baker, a true maverick if there ever was one.

Description
Ginger Baker
(August 19, 1939-October 6, 2019)

There’s drummers, and then there’s the Red Haired Madman himself, Mr. Ginger Baker. Rather with the seminal power trio Cream, the Graham Bond Organization, Blind Faith, his very own Air Force, or collaborating with a wide array of artists such as Fela Kuti, Public Image Ltd, Hawkwind, George Harrison, Paul McCartney, Jack Bruce, and many more, the mold was truly broken when Ginger was made.

Life began for young Peter Baker in Lewisham, South London. His mother Ruby May worked in a tobacco shop while father Frederick was a bricklayer who served in World War II, perishing in the Dodecanese campaign of 1943. Despite having some initial interest in bicycling and football, or soccer for the Americans, Ginger would soon discover jazz music and immediately become enthralled with it. After a good run of pounding away on the desk at school, Ginger would finally take up the drums at 15. Taking lessons from seminal British jazz drummer Phil Seamen, Ginger would absorb not only his jazz teachings but also the African rhythms that Phil often played on record. And with these lessons imparted to him by Phil, Ginger would begin his drumming journey.

Starting in London’s jazz scene of the early sixties, Ginger gigged with the likes of Terry Lightfoot and Acker Bilk in various traditional jazz ensembles. However, Ginger proved to be a square in a peg hole owing both to his passion on display as well as his outspoken nature. The jazz scene was too confined for Ginger’s liking, so he would instead turn to the burgeoning blues scene in London full of younger, more open minded players such as Cyril Davies and Alexis Korner. On the recommendation of Charlie Watts, Ginger would replace his friend in Alexis’ Blues Incorporated. It was here that he’d meet two musicians who would play a key role in his career-organist/saxophonist Graham Bond and young bassist Jack Bruce, whose relationship with Ginger would epitomize the expression Vitriolic Best Buds. While Blues Incorporated provided a solid living for the three, they soon began itching for an outlet of their own and formed a group. Initially rounded out by a young John McLaughlin on guitar before he was replaced by saxophonist Dick Heckstall-Smith. Together, the four became the Graham Bond Organization, a lean, muscular rhythm and blues outfit driven by Graham’s gritty vocals and a strong jazz leaning. The group would build an enthusiastic fan base among British blues aficionados, particularly for their fierce live performance, and would go on to appear in the film Gonks Go Beat playing “Harmonica”.

Problems arose, however. Due to Graham’s battles with addiction and mental illness, Ginger would end up taking over de facto leader. He and Jack would also end up having…disagreements. Jack was Scottish and Ginger was an Irish drummer, so this was perhaps inevitable. After one fight too many, Jack was gone from the group in 1965, with Ginger himself departing within a year. At the same time, a young guitarist named Eric Clapton had been making his name playing with The Yardbirds and John Mayall’s Bluesbreakers, quickly becoming noted for his chops and spawning graffiti dubbing him God. Ginger naturally took note and was set on starting a band with this young guitarist. Eric was absolutely up for it, and had just the bassist in mind-Jack Bruce. Giving all their past issues, Ginger naturally had reservations but gave in as the prospects were too great. And so Jack, Eric, and Ginger joined forces to become the cream of the crop in the English scene, dubbing themselves what else but Cream.

Over a two year period, Cream was a blazing comet across the rock world. Blending blues, jazz, and psychedelic rock, the trio became the first of many of things-the first supergroup, the first power trio, the first band to tour arenas, and a precursor to heavy metal, hard rock, progressive rock (particularly on Wheels Of Fire), and the jam band scene thanks to the heavy improvisation that occured during Cream’s live performances. Ginger, in particular, became noted for his innovative drumming, making use of African rhythms and polyrhythms as well as also playing in odd time signatures relatively uncommon in popular music. He was also a pioneer in the use of double bass drums in rock, and the first drummer in rock to record a drum solo in “Toad”. Beyond drumming, Ginger would also occasionally contribute material to Cream’s records, writing and singing on “Blue Condition” as well as co-writing “Sweet Wine”, “Those Were The Days”, “Passing The Time”, “What A Bringdown”, and “Pressed Rat and Warthog”, which also featured Ginger performing spoken word.

Once the comet of Cream burned bright and burned out, Ginger would join Eric in another group alongside former Traffic keyboardist/singer Steve Winwood and ex-Family bassist Ric Grech called Blind Faith. Once Eric departed to join Delaney & Bonnie, Ginger persuaded the other two to join him in a new band he was starting. He would dub the band Ginger Baker’s Air Force, rounding out the band with such elites as ex-Moody Blues bassist Denny Laine on guitars, Graham on organ and saxophones, Traffic saxophonist Chris Wood, Jamaican-born saxophonist Harold McNair, Seamen and Remi Kabaka joining Ginger on drums, and Jeanette Jacobs from The Cake on vocals. Blending Cream and Blind Faith’s blues rock with jazz fusion and African music, the band was a potent force onstage, unleashing a massive sound upon listeners that could not be ignored, even in a rougher live recording. Be it on new numbers such as “Da da Man” and “Don’t Care” or on numbers like “Early In The Morning” for the Organization, “Do What You Like” from Blind Faith, or the seminal “Toad”, this ensemble was truly outstanding. The group would reconfigure under different lineups throughout 1970, seeing people such as Plastic Ono Band drummer Alan White, session saxophonist Steve Gregory, and percussionist Rocky Dijon playing with the group while Ginger and Graham served as the two constants. Unfortunately, the Air Force would be short lived as Ginger’s previous groups had been, so it was on to the next thing.

After a one-off project called the Drum Choir, Ginger decided to build a studio in Lagos, Nigeria and further pursue his passion for African music. In the process, Ginger began collaborating with Afrobeat pioneer Fela Kuti, sitting in for recording sessions for Live! and the two collaborating on Ginger’s own record Stratavarious. Meanwhile, Ginger’s studio would be used by many artists both local and from the West, most notably by Paul McCartney and Wings for their album Band On The Run, where Ginger contributed percussion to “Picasso’s Last Words (Drink To Me)”. Ginger would also play in another trio called Baker Gurvitz Army with brothers Paul and Adrian Hurvitz in the mid seventies and later serve a stint with space rockers Hawkwind, playing on Levitation before leaving after the tour. However, Ginger’s studio in Lagos fell through, and he’d soon relocate to an olive farm in Italy, during which he’d play very little music. That would change as soon as he was contacted by American bassist and producer Bill Laswell, who recruited him to play on an album with Public Image Ltd, featuring the former Johnny Rotten on vocals. The two would go on to collaborate on Ginger’s solo records Horses and Trees and Middle Passages, which saw Ginger’s brand of African-tinged jazz fusion further complimented by Laswell’s downtown sensibility to some very strong results.

For the remainder of his career, Ginger would alternate between projects such as drumming with Masters of Reality and leading his own jazz groups and reuniting with former band mate Jack Bruce in the trio BBM (rounded out by guitarist Gary Moore) and for the odd Cream reunion-first 1993 when the band was inducted into the Rock and Roll Hall of Fame and then for a string of shows in Royal Albert Hall and Madison Square Garden in 2005. He’d also develop a great love of polo, but would have to give it up once health problems started plaguing him. Then in 2012, Jay Bulger, who’d previously interviewed Ginger for what became a piece in Rolling Stone, released the documentary Beware of Mr. Baker. Warts and all, it was far from the hagiography we’ve come to expect of rock docs and would bring renewed interest in Ginger.

Ginger was not always the easiest person to like, often coming across to people as very abrasive and volatile. There is certainly some truth in that, yet every so often his softer side shined through when discussing his great passions for jazz, African music, animals, or polo, or when talking about people such as Eric or Charlie Watts who meant a great deal to him. He was a man with immense dedication to his craft, even as he stopped making the kind of money he once did with Cream, and changed the way many thought about drumming and playing music. And that is something which cannot be denied him, now or ever.

So let us remember the one and only Ginger Baker, a true maverick if there ever was one.