Al Foster, Master of the Jazz Drums, Is Dead at 82

He was probably best known for his long tenure with Miles Davis, who praised his ability to “keep the groove going forever.”

Al Foster, a drummer whose six-decade career saw him collaborate with jazz legends like Miles Davis, Sonny Rollins, and Joe Henderson, died Wednesday at his Manhattan apartment. He was 82. His daughter, Kierra Foster-Ba, announced the death without providing a cause.

Foster first made his mark in the 1970s when Miles Davis hired him to support his evolving, funk-infused sound. Foster’s dynamic drumming brought a springy energy to Davis’s psychedelic, groove-heavy performances, which Davis later praised for their endless rhythm.

Although he gained fame during the electric era of Davis’s music, Foster’s roots were in bebop, emulating the greats like Max Roach. He later thrived in more traditional jazz settings with musicians such as Rollins, Henderson, Herbie Hancock, McCoy Tyner, and Tommy Flanagan.

Rollins, recalling his time playing with Foster, said, “He always had that feeling about him, those great feelings of those people,” referring to icons like Roach and Art Blakey. “That’s why I could never be disappointed playing with Al Foster.”

Foster often reflected on how lucky he felt to play with the musicians he admired as a teenager. “I’ve been so blessed because I’ve played with everybody I fell in love with when I was a young teenager,” he told Jazz Forum.

Beyond his work as a sideman, Foster also led his own groups and composed original pieces. Pianist Adam Birnbaum, a frequent collaborator, said, “Every note meant everything to him, and you could feel that in the way that he played.”

Born Aloysius Tyrone Foster on Jan. 18, 1943, in Richmond, Va., he was the second of five children. The family moved to Harlem when he was 10, and it was there that his musical identity took shape. Early on, an older brother’s conga playing helped ignite his interest in rhythm.

Foster began experimenting with drums as a child and was profoundly inspired by Max Roach’s performance on the 1955 recording of “Cherokee.” That revelation drove him to practice tirelessly, trying to unlock the mysteries of Roach’s musical drumming.

He left high school early to help raise his first daughter, Kierra, with his then-wife, Tina Hunt. At just 21, he made his recording debut on Blue Mitchell’s 1964 album The Thing to Do, showcasing his versatility and rhythmic command.

Miles Davis first noticed Foster at the Cellar, a Manhattan club, and quickly hired him. On albums like In Concert, Dark Magus, and Agharta, Foster delivered a propulsive energy shaped in part by Davis’s suggestion to listen to Jimi Hendrix, Sly Stone, and James Brown.

Despite his proficiency in Davis’s electric style, Foster admitted he didn’t always love the music. “I never cared for what I did with him in the ’70s,” he told All About Jazz. “I was a jazz drummer… But who’s gonna turn down a job with Miles Davis?”

Their close friendship endured beyond Davis’s 1970s hiatus and continued through his return to music in the 1980s until Davis’s death in 1991. Foster remained a steady, trusted presence throughout.

Foster’s relationship with Rollins began rocky, with a short-lived gig in 1969. But in 1978, Rollins rehired him for a European tour, and they continued collaborating into the mid-1990s. Their Harlem roots even inspired Rollins to name the 1979 track “Harlem Boys” in Foster’s honor.

Throughout the decades, Foster worked extensively with jazz giants like Tyner, Hancock, and Henderson. His trio with Henderson and bassist Ron Carter produced the iconic 1985 live album The State of the Tenor, now considered a jazz essential.

In his later years, Foster focused more on leading his own projects, such as the group ScoLoHoFo and the album Inspirations & Dedications (2019), which featured personal compositions inspired by family. Despite lacking formal musical training, he would develop melodies one note at a time, said Birnbaum.

Foster is survived by his longtime partner Bonnie Rose Steinberg, three daughters, five grandchildren, and three great-grandchildren. His son, Brandyn Dayne Foster, died in 2017. Reflecting on his artistic evolution, Foster once said, “It took me years to find something that nobody else played.” Even in his final years, he pursued growth: “Show me something I don’t know. I want something different.”