Steve Jordan, filling in for the late Charlie Watts on the Rolling Stone's No Filter Tour, on Keith Richards, Mick Jagger, and growing up a Beatles fanatic.
Last summer, the call came from the Rolling Stones: the invitation to fill in for Charlie Watts on the band’s No Filter Tour. Watts had been sidelined with a health issue; in August, as the world knows, he died, at age 80. With the tour now underway , Jordan took a break to chat by phone with’s supergalactic charisma, the everlasting brilliance of his friend Charlie Watts, and a certain band from Liverpool.: Oh, man. It’s pretty wild. Pretty surreal. The whole thing….
What’s it like working with Keith? You’ve had a relationship with him that goes beyond playing drums. There’s so much collaboration and friendship there. Beyond that, the Stones always had a very tight bond. First of all, they loved the same type of music. Their love for Chicago blues, in particular, is the backbone of the band. I mean, MickLittle Walter. We jam on Little Walter sometimes. I don’t think people really understand the deep level of love for blues and jazz that the band has, especially Charlie’s love for jazz. Which is the reason why he approached the music the way he did.
I collected records from a very, very early age. The culture I grew up with, it was music all the time. My dad was listening to Miles Davis. My mom listened to all types of music. And they were always supportive of music. I started collecting records, like, three years old? My parents got me a record rack. And if I was good, they would get me a 45 and I would make my own charts up. “This is the number one record this week!” I just loved records.
First of all, there was no question it had to be Gretsch drums, because that’s the sound of the band. So that was a no-brainer. But I wasn’t going to go and use exactly what he was using, because, you know, this is not a Stones karaoke band. I’m going to do my thing: I’m going to approach it in the way I want to hear the Stones. One of my favorite periods of the Stones was when all hell was breaking loose as far as their sound [in] live [performance], between ’71 and ’75.
It was a complete and utter shock, just devastating. Because I was of the mindset that he was getting better. I had no idea that things had taken a turn.
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