Jimmy Jam is back. Not only appearing live in Vegas in a showcase of classic tunes alongside his longtime production partner Terry Lewis, but also providing hundreds of drum patterns for EastWest’s new DrumX drum machine plugin, released April 27.
For ‘80s and ‘90s aficionados Jam and Lewis will need no introduction. Starting out as part of Prince’s backing band (before being “let go” by the temperamental superstar) the pair swiftly moved into music production, crafting such classics as Just Be Good To Me for the SOS Band, Change of Heart for Change, Saturday Love for Cherelle and Alexander O’Neal, plus their incomparable work across the decades bejewelling hits for Janet Jackson.
To date, they’ve scored 42 Billboard No 1s and more than 100 gold, platinum, and diamond records. Check the sleeves of beloved albums by Michael Jackson, Mariah Carey, Usher, Boyz II Men and many more, and you’ll find Jam and Lewis in Control.
Meanwhile, EastWest’s DrumX brings together 10 of the most iconic drum machines ever created – including the LinnDrum, TR-808 and TR-909, DR-55, DMX, DrumTraks and SP-12 – all meticulously sampled by the producers and reimagined for modern production by Jimmy Jam himself in an exclusive collaboration with the award-winning virtual instrument developer.
We caught up with the production legend alongside EastWest’s founder, producer and king of the sample library Doug Rogers to talk sampling, AI and what comes next in Jimmy’s illustrious career.
What is it about DrumX that made you want to get involved?
Jimmy Jam: “I liked the concept of going back and doing things the way that I used to do them. In the early days, a lot of the stuff we did started with drum machines and beats. So the idea of having something starting with a drum beat again was very intriguing.
“I think it was not only the ask, but who was doing the asking. What Doug has built is pretty amazing and it was exciting to be a part of.”
And it’s not just your sounds? It’s got your grooves in there as well?
JJ: “Somebody literally gave me the drum machine and said ‘Go create’. That’s what we did for a couple of weeks – just experimenting, learning things about it. There were things that the machine could do that I don’t even think the designers knew that it could do. And there were other things where I’d say, ‘You know, man, it’d be great if we could do this…’ and then the next day I’d come back and they’d say, ‘Oh, it’s there now.’”