By Gwen PierceWhen I caught up with GRAMMY-nominated drummer, composer, and producer Nate Smith, he was in Richmond, Virginia, savoring what he calls his favorite season. “The East Coast transition from summer to fall is beautiful,” he said warmly, setting the tone for our conversation. Known for his visceral drumming style and collaborations with artists ranging from Pat Metheny to Childish Gambino, Smith is one of the most influential drummers of his generation. We spoke about collaboration, improvisation, and the influence of John Coltrane on his artistry.
Q: You’ve collaborated with so many artists across genres — from Pat Metheny to Childish Gambino. What do you look for in a collaboration, and how do you adapt your style?
A: Every time I show up to play with someone, I’m open to play what they want. If I’m invited to collaborate, there’s something specific about that artist that I love, and I want to do whatever I can to shine a light on that. For instance, I just recorded with Lalah Hathaway on a remake of a Pointer Sisters song. Ruth Pointer had such a low register, and I thought, Lalah is the only one who can pull this off. When she said yes, I was thrilled. My hope is that when someone calls me to collaborate, they see something in my playing that they want to bring out too.
Q: Many of your drum videos have gone viral. What do you think it is about your approach that resonates with so many people online?
A: That’s the hundred-thousand-dollar question. I think people respond to the fact that I’m genuinely improvising. Some videos capture a moment of discovery, and the audience senses that. Sometimes I’ll even play a solo with one stick, drop it, and have to adjust. That’s actually the video most people have seen! It captures what happens in real life — something unexpected happens, and you have to pivot. There’s a lesson in that.
Q: Your compositions weave jazz, R&B, hip hop, and more. When you sit down to write, do you start with rhythm, melody, or a story you want to tell?
A: A lot of the time, it starts at the piano. I’ll fish around for two or three chords that I like in a sequence. My iPhone is full of little ideas — if it weren’t for that, I’d still be carrying a handheld recorder everywhere. Sometimes a song begins rhythmically, sometimes melodically, but the key is catching the idea as soon as it comes. I wouldn’t call myself a piano player, but I can play enough to get my ideas down.
Q: I read where you co-wrote and co-produced “Heaven Can Wait” with Michael Jackson. What was that experience like?
A: That song has become a real fan favorite, and I’m so proud to be part of it. I didn’t get to meet Michael, though. I wasn’t in the studio when he recorded it. I composed the music, another person wrote the lyrics, and somehow, through a long and winding process, it made its way to him — and he loved it. There’s something in the harmonies and melody that reminds people of vintage Michael. There’s a vulnerability in his voice that makes it special. The more I listen to it, the more proud I am.
Q: How did growing up in Chesapeake, Virginia shape your sound and approach to music?
A: It all started with my dad. He had a big vinyl collection, and music was always playing in the house. He loved what I call the “Golden Age of Instrumental R&B” — artists like Bob James, The Jazz Crusaders, and Quincy Jones. This was before smooth jazz, when Black instrumentalists were making music that fused R&B with soul and jazz harmony. Those records, and seeing how people reacted when my dad played them, became my earliest influences.
Q: What draws you personally to John Coltrane’s music?
A: Oh, so many things. Coltrane was searching for something profound and beautiful, and you can hear that in every note. All those hours of practice were his way of getting closer to the truth. That search is documented in his recordings, and it’s timeless.
Q: Are there particular Coltrane compositions that resonate with you most?
A: Yes. When I was at James Madison University, one of the first Coltrane pieces I learned and played in band was Naima. To me, that ballad created its own sub-genre. The way he suspended chords, the way the story unfolds — it’s one of my favorite ballads ever, definitely in my top five. Lately, I’ve been revisiting the Coltrane/Johnny Hartman record. Their treatment of standards is so simple, but so profound.
Q: What aspects of Coltrane’s legacy do you feel are most important for today’s audiences?
A: His search for beauty. Coltrane also understood that music is a healing force. And right now, with everything happening in the world, people need healing. The most important function of music is to inspire and heal, and Coltrane was a North Star in that quest. Especially live music— there’s a powerful force in that experience.
Q: Are there elements of Coltrane’s style that you’ve incorporated into your own playing?
A: Absolutely. My favorite drummer of all time is Elvin Jones, who was Coltrane’s drummer. His work is essential to jazz history. He was such an innovator, and a huge part of that quartet. I always point back to the music they made together as a reference point. I’m grateful Coltrane hired him, because they made some of the most incredible music ever.
Nate Smith will join trumpeter Keyon Harrold in Celebrating John Coltrane, a one-night-only powerhouse jazz double bill at UC San Diego’s Epstein Family Amphitheater.
🎟 Tickets: $30–$55 | UCSD Students: Limited Free Tickets via SSO.