Musical Upbringing and Early Influences

Steve Smith began playing drums in 1963, coming of age in a world where genre lines were more porous. Pre-Beatles America, he recalls, offered far more space for big band jazz, with jazz icons appearing on mainstream TV shows—a world that shaped Smith’s self-identity as a jazz drummer. Yet, influenced by rock drumming pioneers like Mitch Mitchell and John Bonham, for Smith, “the line between jazz and rock… really wasn’t much of a boundary.” This open-mindedness became a hallmark of his musical journey.

He cites the likes of Buddy Rich—“one of the first jazz-rock drummers”—as crucial in inspiring his ability to straddle multiple styles, with jazz, rock, and fusion repertoires all feeding into the drummer he would become.

The Path to Journey: Following Opportunities

Steve’s career trajectory was a masterclass in seizing opportunities. After coming out of Berklee College of Music in 1976, he landed his first big gig with jazz-fusion violinist Jean-Luc Ponty (on the legendary “Enigmatic Ocean” album). Shortly after, his openness to different genres saw him playing with Ronnie Montrose on a rock-fusion tour whose opening acts included a then-unknown Van Halen—demonstrating Steve’s knack for being at the center of musical turning points.

Playing as the middle act, with Journey headlining over Van Halen, Smith caught the attention of Journey’s key members. He describes this as his “initiation into rock and roll”—watching both bands nightly, soaking up the energy and diversifying his drumming vocabulary.

Becoming a Journey Man

After building camaraderie on tour, Steve was invited by manager Herbie Herbert to join Journey—no formal audition required. Both Steve Perry and Neal Schon saw something in his approach: Perry valued his R&B-infused rock groove, while Schon appreciated Smith’s improvisational instincts.

At just 23, Steve became Journey’s drummer—a move that would both elevate his profile and challenge his sense of musical identity. He soon found that success did not come overnight; “I inherited one-sixth of a million-dollar debt to Columbia Records,” he shares. Even as hits like “Lovin’, Touchin’, Squeezin’” and “Any Way You Want It” rolled out, it took years, relentless touring, and merch sales to start seeing financial reward.

Crafting Iconic Drum Parts: The “Don’t Stop Believin’” Story

One of the most fascinating insights is Smith’s process in writing drum parts—particularly for “Don’t Stop Believin.’” With no click track and live studio sessions, Smith approached the song by seeking “countermelodies” on toms and cymbals, composing drum parts as integral musical lines rather than mere rhythmic support. Inspired by Ringo Starr and Terry Bozzio, Smith often worked up ideas at home, presenting them to the band and hoping “nobody responded—that was a good thing,” as it meant his parts fit seamlessly into the bigger picture.

The result: a drum track with its own melodic narrative, now instantly recognizable by millions. As Elmo points out, it’s remarkable that a song with such unconventional, tom-heavy drumming became a radio staple.

Fighting Typecasting and the Return to Jazz

Despite the fame with Journey, Smith never wanted to “be pigeonholed as a rock drummer that just played the music of Journey.” Throughout his tenure with the band, he remained dedicated to jazz, launching Vital Information and connecting with other genre leaders. By 1986, Smith stepped outside Journey, replacing Peter Erskine in Steps Ahead alongside legends like Michael Brecker and Mike Stern.

His drive to be “taken seriously as an artist” led him to educational work—videos, clinics, and teaching—further deepening his impact on the drumming community.

Navigating Change and Reinvention

A pivotal chapter unfolded when Steve was asked to leave Journey during the production of “Raised on Radio,” a process marked by new technology (drum machines, sequencers) and a creative shift led by Steve Perry. Smith candidly discusses the emotional challenge of this “divorce”: “I was invested as being a band member… There was a lot of legal work to officially separate.” Therapy and a quick pivot to clinics and jazz tours helped propel him into his next act—one where he fully embraced his multidimensional musical self.

Educator, Traveler, and Lifelong Student

Steve’s later career as an educator and touring jazz drummer reflects his passion for learning and sharing. He discusses systematic practice, the importance of continuous learning (even at 70), and the grit required to tour without the luxury of rock stardom. For Smith, the joy is in playing with great musicians, not in the trappings of fame.

He also dives into the influence of South Indian rhythmic systems (Konnakol), his collaborations with legends like Zakir Hussain, and ongoing projects to further expand the drum vocabulary.