@chazz101s: Jim Gordon is correct.
As The 3rd drummer’s name may not be as familiar to many as the other two, I’ll divulge it now: Earl Palmer. Earl considered himself a Jazz musician, but didn’t turn down offers for Rock ’n’ Roll recording sessions in the 1950’s and 60’s. He played on a lot of them, one being Little Richard’s "Keep A Knockin’". John Bonham was obviously a fan, as his intro in Zeppelin’s "Rock And Roll" is a carbon copy (inferior) imitation of Earl’s intro in the Little Richard song.
I and many other drummers went to Chadney’s restaurant in Burbank, California (directly across the street from the NBC studio where The Tonight Show is filmed) in the 90’s to see Earl and his little combo performing in the bar of the restaurant. I am not alone in considering Earl as the Father of Rock ’n’ Roll drumming. It is basically the same drumming the black drummers were already playing in Jump Blues music in the 1940’s, but with the backbeat (the 2 and 4 played on the snare drum) played louder.
In the related matter of the saxophone player who played in Rock ’n’ Roll bands from the 1950’s through the 80’s, it was Lee Allen. Lee is also heard on the recordings of Little Richard, and can be seen blowing sax behind Richard in the movie The Girl Can’t Help it. On drums is Richard’s road drummer, the great Charles Conner.
in the 1970’s Lee joined The L.A. roots band The Blasters, playing sax alongside Steve Berlin. I had the pleasure of seeing The Blasters (with Lee in tow) back Big Joe Turner in the mid-80’s at Club Lingerie on Sunset Blvd. Lee played in The Blasters throughout that decade, even I believe after Berlin left the band to join Los Lobos.
The Lee Allen song I referred to is entitled "Walking With Mr. Lee".
@waytoomuchstuff: If memory serves me, the bassist on the song in question---the title of which I don’t recall, but it was on Motown Records---is James Jamerson. James is my all-time favorite bass player, and to hear why, give a listen to his playing on Marvin Gaye’s "Pride And Joy". SO cool! Paul McCartney credits James with opening his eyes to the possibilities of the electric bass (especially the use of "inversion"). Listen to the difference between McCartney’s bass playing on Rubber Soul vs. Revolver.