CONTENTS About The Author .............................................................................................................. Acknowledgements ............................................................................................................. Preface .............................................................................................................................. Ho w T o Use This Book ..........................................................................................................
l l l 2
JIMMY BLANTON .........................................•...................................................................... 3 "Body and Soul" .......................................................................................................... 3 "Sophisticated Lady" ................................................................................................... 5 "Mr. J.B. Blues" .......................................................................................................... 6 LEROY "SLAM" STEWART.................................................................................................... 9 "Just You, Just Me" .................................................................................................... 9 MILT HINTON ........................................................................•............................................ lO "Flyin' Home" ............................................................................................................ lO GEORGE DUVIVIER ............................................................................................................. l3 "Sweet Loraine" ......................................................................................................... 14 OSCAR PETTIFORD ............................................................................................................ 15 "Tricotism" ................................................................................................................ l5 "Stardust" ................................................................................................................. 17 "Falling In Love With Love" ........................................................................................ 18 RA Y BROWN ...................................................................................................................... 19 "Killer Joe" ..................................................... : ......................................................... 20 "Blues For Basie" ....................................................................................................... 23 "Kadota's Blues" ........................................................................................................ 25 ISRAEL CROSBY ................................................................................................................ 28 "But Not For Me" ....................................................................................................... 28 "Ali The Things You Are" ........................................................................................... 30 "Falling In Love With Love" ....................................................................................... 32 PAUL CHAMBERS.............................................................................................................. 36 "Blue Spring" ............................................................................................................ 36 "This Can't Be Love" ................................................................................................. 38 "The Theme" ............................................................................................................ 41 KEITH "RED" MITCHELL.................................................................................................... 43 "These Foolish Things" ............................................................................................... 44 "Will You Stili Be Mine?" ........................................................................................... 46 "Aprii In Paris" ......................................................................................................... 48 SCOTT LA FARO............................................................................................................... 50 "Nardis" ................................................................................................................... 50 "S'posin'" .................................................................................................................. 52 SAM JONES....................................................................................................................... 54 "It Could Happen To You" .......................................................................................... 55 "Stella By Starlight" .................................................................................................. 56 "Bittersuite" ............................................................................................................. 58 RON CARTER .................................................................................................................... 60 "Now's The Time" ...................................................................................................... 60 "Last Resort" ............................................................................................................ 63 "Untitled Blues" ........................................................................................................ 65 RICHARD DA VIS................................................................................................................ 66 "Shiny Stockings" ...................................................................................................... 67 "Like Someone In Love" ............................................................................................. 69 EDDIE GOMEZ .................................................................................................................... 71 "Samba Song" ..••...........................•.......................................•................•................... 71 NIEL8-HENNING 0RSTED PEDERSEN ................................................................................. 74 "Blues For Dorte" .•.......•....••...•.•......•.....•.....•.•.......•...•••.........•..........•......•................. 75 STANLEY CLARKE ............................................................................................................ 76 "500 Miles High" ....................................................................................................... 77 GEORGE MRAZ .................................................................................................................. 78 "Confirmation" .......................................................................................................... 79 MICHAEL MOORE ............................................................................................................... BO "I Should Care" .......................................................................................................... 81 Selected Discography .. .. •. . .. .. .. .. •. . . ••. .. . ..•.•.. ... . .. . . .•. . .. .•.•. .. •. .. . ..•.. .•. . . . . .. .. . . . . . .. . . . . .. .. .. .. . . .. . ••. .. . .. 8 2 Bass Player List .................................................................................................................. 85 Bassists of The Future ......................................................................................................... 86
Published by Jamey Aebersold 1211 Aebersold Drive, New Albany, IN 47150 Copying & Graphics by Pete Gearhart Copyright ©1985 By Jamey Aebersold lnternational Copyright Secured
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ABOUT THE AUTHOR
Todd Coolman received a B.M. in Double Bass performance from the Indiana University School of Music in 1975. Since moving to New York in 1978, he has received criticai acclaim performing and touring with major jazz musicians such as Horace Silver, Stan Getz, The Mel Lewis Jazz Orchestra, Benny Goodman, Slide Hampton and many others. He is currently a regular member of the James Moody Quartet. Since 1979, Todd has been much in demand as a jazz educator and clinician. He is a member of the Jamey Aebersold Summer Jazz Clinics, and has made numerous clinic presentations at colleges and universities world-wide. Since 1982, he has been an instructor of jazz studies at William Paterson College and has had articles published in Downbeat and The National Association of Jazz Educators Journal. In the future, Todd plans to continue his performance schedule while devoting more time, through clinics and lectures, to educating young people in the history and heritage of jazz music.
ACKNOWLEDGEMENTS I would like to thank Dan Morgenstern and Ed Berger of the Institute of Jazz Studies at Rutgers University for their kind assistance in research and use of their facility. I would also like to thank my wife, Darla, for her continuing support, encouragement, and love.
PREFACE The selected bassists and musical examples contained in this book are the culmination of three years of research, including listening to numerous recordings and reading articles, interviews and books on the history of jazz. To my knowledge, it is the first book of its kind which concentrates on the major innovators of jazz bass playing from 1939 (Jimmy Blanton) to the present. Every effort has been made to include as many important players as possible and not to omit anyone who had a major impact on bass playing, past or present. If a certain player is not mentioned, it is not to suggest that his influence was not important to the music community. A subsequent volume will focus on other important players. The purpose of this book is to instill a sense of heritage and tradition, especially to younger, aspiring bassists who have not been exposed to a variety of music and styles. It is also expected that this information can further the appreciation level of those already knowledgeable.
r~Xk~~ 1985
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HOW TO USE THIS BOOK Many young bassists today exhibit serious deficiencies in their playing due to their lack of understanding of the musical legacy of those who preceded them. Without adequate knowledge of previous jazz bass styles and innovations, a young player will sound unseasoned, stylistically misplaced, and ill-equipped to perform in the variety of musical situations that will confront him/her. The great bassists throughout history have always been acutely aware of their heritage and thus developed a mature and idiomatic playing style. There are several levels a t which this book can be useful. Belo w, I ha ve outlined an approach which I feel is the most logical, and will provide the reader with the deepest understanding and appreciation of the subject. The outline should be followed step by step, in order. l. Study each player in order, one at a time. Do not skip ahead. The players have been arranged in a chronological/historical order which approximates their piace in the history of jazz bass playing. By going in order, you will better understand the heritage of the instrument and can trace its evolution.
2. Read the biographical sketch of the selected player. individuai contribution
This will help you understand his
3. Select a single transcription of the selected player and locate the recording that is listed. 4. Carefully listen to the recording several times, without the book. 5. After several listenings, test your familiarity with the music by seeing how much of the solo (or bass line) you can sing from memory. 6. Find the transcription and listen severa! more times to the recording while following along with the printed music. 7. Try to play the solo (or bass line) on your instrument. Begin a t a tempo slower than the recording and gradually work up to tempo. You can extract particularly difficult passages and work on them separately. 8. Once you can play the solo (or bass line) proficiently, use the transcription and try playing along with the record simultaneously. Try to imitate and capture every nuance and musical quality the selected player demonstrates. 9. Finally, try playing the solo (or bass line) from memory.
Jimmy Blanton (1918- 1942) Jimmy Blanton is regarded by most as the "father" of modern jazz bass playing, and is unquestionably the centrai figure in the evolution of the bass. He was the first bassist to solo in a "horn-like" fashion and liberate the bass from its basic four-notes-to-the-bar "walking" function. He possessed an enormous, warm sound that was easily heard and felt in a big band, without amplification. Originally a violinist, Jimmy enrolled in Tennessee State College and switched to string bass. After playing only a short while, he was heard by Duke Ellington in the fall of 1939 and immediately hired. In the span of just two years with the playing and, for that matter, the sound felt today. Many of the discoveries he Duke, are being rediscovered and explored
Ellington orchestra, Blanton revolutionized jazz bass of jazz itself. His influence can stili be heard and made, especially evident on the duo recordings with further by today's players.
Tragically, Jimmy died of tuberculosis at the age of 23 (July 30, 1942). In a career spanning two short years, Jimmy did more than any other bassist before or since to influence the evolution of jazz bass playing. Jimmy Blanton's piace in jazz history is strikingly similar to that of players like Bix Biederbecke, Charlie Christian, Clifford Brown, Scott LaFaro and Booker Little, all major innovators who died at an early age.
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8
Leroy ''Siam'' Stewart (1914 -1987) Slam Stewart is one of the best known and most widely respected bassists to emerge in the swing era. Perhaps inspired by violinist Ray Perry of Boston, Slam began simultaneously singing an octave above his bowed bass solos and developed a style that has become his trademark. Slam moved to New York in 1937 and formed a duo with Slim Galliard. They recorded Flat Foot Floogie which became an enormously popular hit. Over the years, Slam has performed with an array of great artists including Art Tatum, Tiny Grimes, Benny Goodman, Errol Garner and Roy Eldridge. He has also made numerous appearances in movies and television, and appeared on the Today show frequently with Bucky Pizzarelli. Slam is active today as a player and educator. As a player, he is widely visible at jazz festivals and performs in New York with Illinois Jacquet and Bucky Pizzarelli. He is also a lecturer and clinician. Slam is currently on the faculty of the State University of New York in Binghamton.
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Milt Hinton is quite simply a living legend. He has worked with virtually everyone in the jazz field, and has been active in recording and television. He has probably appeared on more recordings than any other bassist throughout the entire history of recorded jazz. The players that have called on Milt during the span of his career read like a 11 Who's Who 11 of jazz. They include Red Nervo, Cab Calloway, Teddy Wilson, Benny Goodman, Flip Phillips, Terry Gibbs, Joe Venuti, Zoot Sims, Buck Clayton, Dick Hyman, Errol Garner, Bobby Hackett and numerous others. Few bassists can equal Milt in the sheer volume of work he has done. Milt has become known for his superior abilities as an accompanist, demonstrating a beautiful sound, superb time, a thorough knowledge of jazz repertoire, and indefatigable swing. His reputation has earned him the nickname 11 Judge." Milt has also held an important role in discovering and encouraging new talent on the bass (most notably Oscar Pettiford and Israel Crosby), as well as on other instruments. He has that rare gift of being able to fit into any musical situation he is placed in.
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Geor2e Duvivier
George Duvivier is one of the most recorded bassists of ali time. He has enjoyed a reputation for reliability, consistency, musicality, outstanding intonation and swinging. George has performed in a wide variety of musical styles, from Coleman Hawkins to Eric Dolphy, from Jimmy Lunceford to Bud Powell. At present, George divides his t ime between studio recording an d li ve performances with a variety of players. A contemporary of Milt Hinton, George is an integrai part of the evolution of the bass and haS steadily kept pace with the times. It is impossible to place a label on his distinct style, but "superior" would be a good piace to start. George has also gone out of his way to inspire and assist young aspiring bassists.
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14
Oscar Pettiford (1922- 1960) Oscar Pettiford was born into a musical family, and began his career as a member of the family band which performed mostly in Minneapolis. In 1942, Milt Hinton, who was the bassist with Cab Calloway at the time, heard Oscar in Minneapolis and encouraged him to move to New York and display his talent. Oscar moved t o Ne w York in 1943 an d began playing with the Charlie Barnett orchestra. l t di d not take long for him to emerge as the major bassist on the New York scene, and he subsequently worked with Roy Eldridge, Lucky Millender, Boyd Raeburn, Duke Ellington and Woopy Herman. During the 1940's and early 1950's, Oscar performed with numerous groups, including his own on 52nd Street, playing the new "experimental" music which carne to be known as bebop. Oscar is often thought of as the successor to Jimmy Blanton. He was melodically and technically innovative, and also helped introduce the celio to jazz. Like Blanton, Oscar's influence is widely felt and most bassists regard him as one of the all-time giants of the instrument. Oscar's motto was "put ali your love into your instrument."
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16
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2. 3. 4. 5.
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2. 3. 4. 5.
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Ray Brown (1926-
)
To a large degree, Ray Brown epitomizes the best of what modern bass playing is ali about. Among his trademarks are a huge, warm sound, beautiful walking lines with a great choice of notes, an endless swinging feeling which propels the whole band, and technically involved solos which "tell a story." He has probably influenced more bassists world-wide than any other bassist. In the mid-1940's, Ray was a member of one of the earliest "bebop" small groups formed by Dizzy Gillespie and Charlie Parker. After performing and recording with virtually everyone in the 1950's, Ray began an historic tenure with the Oscar Peterson trio, a group which defined piano trio music of the time. In later years, Ray has exhibited his many talents as an author, producer and manager and continues to be in demand as a player in television, recording and live performances.
19
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2. 3. 4. 5.
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22
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"Blues for Basie" l. Overall simplicity and clarity of bass lines.
2. 3. 4. 5.
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2. 3. 4. 5.
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27
1
Israel Crosby (1919- 1962) Far too few people are aware of who Israel Crosby was, and why he is an unsung hero of the bass. His sense of harmonic function and his understanding of the role of the bass line in music is unparalleled. His choice of notes made his lines very definitive, much the same way that J.S. Bach conceived basso continuo parts. Originally a trumpet, trombone and tuba player, Israel switched to the bass in 1934. He played with Albert Ammons, Gene Krupa, Fletcher Henderson and Teddy Wilson in the 1930's and 1940's, and with Benny Goodman from 1953 to 1954 and later in the 1950's as well. His most significant contributions carne during his association with Ahmad Jamal (1951-53 and 1957-62). During the late 1950's, Jamal had the most originai and spontaneous piano trio in existence. Shortly before Israel's death in 1962, he performed briefly with George Shearing. In Shearing's words, Israel "played bass parts that were so beautiful you could never write anything that good."
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2. 3. 4. 5.
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"Falling In Love With Love" l. Remains in 11 two 11 feel for 3 complete choruses and last 16 bars.
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Predominance of half notes during 2-beat choruses. Clear delineation of form (mostly 4-bar phrasing). Extended use of upper register (2nd walking chorus). Light touch, but strong rhythmic pulse.
35
Paul Chambers (1935- 1969) Pau! Chamber~ \<\'<1:- tl!e most recorded bassist in jazz between 1955 (when he moved to New York) an Davis bands of the late 1950's and early 1960's. Equally adept at soloing arco or pizzicato, Paul helped synthesize the "bebop" vocabulary on the bass. He also was a great "walker" with a big sound and uniquely buoyant time feel. He was among the most talented bassists of ali time, and was certainly a pivotal figure in the evolution of jazz bass playing. Paul was one of the few bassists to record as a leader, and was often a featured performer on other leaders' record dates. With a feeling tllat was intense but relaxed, Paul's pref,ence was immediately recognizable and his profound influence o n other bassists is still widely ar,pa~·ent today.
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37
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Recorded 7/14/57. Blue Note BLP 1569. "Bass On Top" "The Theme" l. Great sense of "bebop" phrasing through use of slurs and accents.
2. Extensive use of chromaticism on bridge(s). 3. Quotes "I Got Rhythm" (3rd chorus). 4. Severa! extended eighth note phrases. 5. Rhythmic variety.
Keith ''Red'' Mitchell (1927 ..
)
Throughout his career, Red i\'Iitchell has continued to exhibit an individuai and innovatiV(• rnusic8' style. His musical influences and associations have been varied, and it is very difficult to pln.~e labels on his playing. Red began working with Woody Herman in 1949, and during tllc 1 ~l.-,0'.:, worked extensively with Red Norvo, Gerry Mulligan and Hampton Hawes. Since 1955, Red ha:.:. been featured on weli over l 000 LP's with a wi de array of artists. In 1968, Red left the U.S. to live in Stockholm, and today divides his tìme between there and :··~e·,, York. When in New York, he is heard prin~ipally in duos and other small drummerless gr~)Ups. !Ie now tunes his bass in fifths and has developed a very individuai style in the duo context. He Ìf' able to accompany chordally as well us with bass lines, nnd continues to have a r·coutahm 'i being one of the most lyrical soloists on the ~cene today, regardless of instrument. Red has also been active as a composer and lyricist. He has stated that "communic;.ìtioP' i','"'' highest musical priority, and nll indicatiorts are that he is consistently succf::'ft!i 1n ~ha t endeavor.
43
These Foolish Things
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These Foolish Things -
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Recorded 6/28/55. (with Hampton Hawes). Contemporary C3505. "Hampton Hawes Trio" "These Foolish Things" l. Rhythmic complexity.
2. 3. 4. 5.
Abundant lyricism. Extensive use of grace notes, slurs and left-hand articulation. Ampie use of space. Extended use of implied double-time and tritone substitutions.
45
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Will You Stili Be Mine? -
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Recorded 11/13/56. (with Han1pton Ilawc~L Contemporary 87:146. "All Night Session 2"
"Will You Stili Be Mine?" l. Use of repetition.
2. 3. 4. 5.
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Aprii In Paris
48
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"Aprii In Paris" l. Comfortable "loping" groove.
2. Effective use of sequence (bars l 7-20). 3. Phrases extended from the end of one chorus through the beginning of the next (1st to 2nd chorus). 4. Melodically inspired - absence of cliches. 5. Rhythmically organized throughout.
49
l
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(1936- 1961) Scott La Faro's brief but widely influential playing career began in California in the mid-1950's. There he worked with Chet Baker, Barney Kessel, Hampton Hawes and Victor Feldman, among others. Scott moved to New York in 1959 and made his most significant contributions to the music, performing with the Bill Evans Trio until his tragic death in 1961. Scott is credited with being the first player to free the bass from its long accepted restrictions, and succeeded in making the bass a more "conversational" member of the group. His solos exploited the upper registers of the bass, and are rhythmically and technically more demanding than those of his predecessors. His influence is easily traceable to a number of players who followed, including Gary Peacock, Steve Swallow and Eddie Gomez.
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Recorded 2/2/61. Bill Evans Trio. Riverside 351. "Explorations" "Nardis" l. Exploits entire range of the bass.
2. Extensive use of triplet figures. 3. Lyrical quality throughout. 4. Extensive use of arpeggios, from lower register to upper register. 5. Masterfully organized.
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Recorded 1/21,22/58. Contemporary 7549. (with Vietar Feldman). "Arrivai of Victor Feldman"
"S'posin' " l. Symmetrical phrasing- mostly 4- and 2-bar phrases.
2. 3. 4. 5.
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SamJones (1924- 1981)
Sam Jones developed a singular voice that was crucial to the evolution of the music during his career. His principal playing activities began in the 1950's when he performed with the outstanding groups of Cannonbali Adderly, Dizzy Gillespie, Thelonius Monk an d numerous others. Sam remained with Adderly until 1966 when he replaced Ray Brown in the Oscar Peterson trio. During the 1970's, Sam performed and recorded with Cedar Walton, Barry Harris, Clifford Jordan and severa! of his own groups, including a "smali" big band which received criticai acclaim. He was a versatile player, able to adapt to many different musical settings. Sam was popular with ali musicians because of his great sound and his beautiful, strong and supportive bass lines. He was a capable soloist on both bass and celio, much in the tradition of Oscar Pettiford. In addition, he composed severa! tunes which are jazz standards today. Throughout his career, Sam was always in demand. As excelient a player as he was, he was egoless and gave himself entirely to the music, his feliow musicians, and the listening audience. According to Sam, the main ingredient in good music is "humility." He lent such a secure feeling to any musical situation that he gained the nickname "Home," which he later lengthened to "Homes."
54
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55
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Recorded 6/4/79. Interplay IP-7726. "Something New"
57
Stella By Starlight -
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"Stella By Starlight" l. Tritone substitutions (1st chorus, bars 29-30; 2nd chorus, bars
2. 3. 4. 5.
6, 29-30). Use of space to divide phrases and denote 8-bar sections. Extensive use of eighth note lines. Use of chromaticism throughout. Begins severa! phrases on off-beats.
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Recorded 1/3/79. Interplay IP-7720. "Sam Jones Trio"
59
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cont.
"Bittersuite" l. Use of space.
2. 3. 4. 5.
Use of syncopation. Clarity of ideas. Preference for lower registers. Sets up end of solo beautifully by gradually going into walking.
Ron Carter (1937-
)
Ron Carter is probably the best known bassist of modern times, and since 1960 he has been the most recorded bassist in jazz. He has gained a reputation for being an outstanding accompanist, adaptable to any musical setting. His acoustic sound is clear, warm and distinct - a trademark. Ron is a master at bass line construction from both melodie and rhythmic points of view, with one of his main influences being Israel Crosby. Joe Farrell praised Carter as having "the best low notes in the business." Ron worked with Chico Hamilton, Cannonball Adderly, Eric Dolphy, Jaki Byard, Sonny Rollins and others in the early 1960's, and was a member of the Miles Davis Quintet from 1963 to 1968. During the 1970's, Carter formed his own quartet in which he plays piccolo bass. He also plays and has recorded on celio. Through his more recent explorations of the piccolo bass, Ron has added to his already proficient vocabulary as a soloist. There is no doubt that he is the most in-demand bassist in New York today, especially for jazz record dates. His influence on other contemporary bassists is easily recognizable.
Now's The Time
60
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61
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2. 3. 4. 5.
1
effectively outlines and supports melody. Wide variety of rhythmic embellishment throughout. Very few repeated notes. Good blend of scalar, chordal and chromatic construction. Beautifully contoured and logicallines; effective use of chord inversions.
62
11
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64
Last Resort -
cont.
"Last Resort" l. Extensive use of left-hand articulation/glissandos.
2. 3. 4. 5.
Effective use of repetition/sequence. Preference for low to middle registers. Use of diminished scale (2nd chorus, bars 7-8). Quotes opera "Carmen" twice (2nd chorus bridge, bars 3-4; 3rd chorus, 2nd eight, bars 3-4, octaves).
Untitled Blues
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65
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Recorded 7/13/77. Milestone M-9105. "Third Piane"
"Untitled Blues"
l. 2. 3. 4. 5.
Use of left-hand articulation. Glissandos. Preference for lower to middle registers. Preference for eighth note lines. Ideas organized by chorus.
Richard Davis (1930-
)
The best way to describe Richard Davis is "versatile." Comfortable in a wide variety of contexts, Richard has emerged as one of the most influential of the modern bassists, putting emphasis on "doing it ali." He has performed with such diverse groups as Benny Goodman, Eric Dolphy, Igor Stravinsky, Bobby Hackett and Frank Sinatra. Capable in both classica! and jazz settings, Richard is credited with doing much to free the role of the bass from traditional functions. In the 1960's he was very involved with the "New Jazz," often referred to as "avant garde" jazz. Richard Davis is also a publisher, band leader and educator, and is currently the Director of Jazz Studies at the University of Wisconsin. His musical career has spanned more types of music than virtually any other bassist in history.
66
Shiny Stockings
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l. 2. 3. 4. 5.
Angular bass line construction. Exploits full range of the bass. Overall virtuosity. Chromaticism. Variety of ideas.
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2. 3. 4. 5.
Rhythmic variety. Double-time passages. Extensive use of triplets. Density.
Eddie Gomez (1944-
)
In the early 1960's, Eddie Gomez began appearing with such name jazz artists as Gary McFarland, Gerry Mulligan, Marian McPartland and Paul Bley. He began his most important endeavor in 1966 when he joined the Bill Evans Trio. It was in this context that Eddie caught the attention of musicians and public alike as one of the major voices on the instrument. His playing is often compared to that of Scott La Faro, but Eddie has synthesized and added to that style. Eddie has been one of the few to realize the full potential of the bass as a solo instrument. Demonstrating seemingly limitless technique in ali registers, he has been associated with abundant lyricism and horn-like melodie content. With Evans, he carried on the La Faro tradition of a freer approach to playing or "implying" time (not always four-notes-to-the-bar), and strived to have the bass take on a more "conversational" musical role. More recently, Eddie has been closely associated with Jeremy Steig, Chick Corea, and was a member of "Steps Ahead" with Michael Brecker. Eddie typifies the kind of total musician that is more and more abundant on the bass in modern times. His influence has been far-reaching indeed.
Samba Song J= !82 D·
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Recorded ca. 1978. (with Chick Corea). Polydor PD-1-616 O. "Friends"
"Sarnba Song" 1. 2. 3. 4. 5.
Preference for extreme upper registers. Use of sequence and repetition (rhythmic). Overall virtuosity. Several short rhythmic phrases. Prolonged intensity.
Niels-Henning ~rsted Pedersen (1946-
)
Born in Denmark, Niels began playing the bass at an early age and first recorded with Bud Powell at fifteen. He became a member of the house band at the Montmartre jazz club in Copenhagen and, in that capacity, he played with a wide range of American jazz artists including Ben Webster, Dizzy Gillespie, Oscar Peterson, Dexter Gordon and Johnny Griffin. During the 1970's and 1980's he has remained very active in Europe, appearing with Tete Montoliu, Kenny Drew and Phillip Catherine. He is also in demand for numerous jazz festival appearances. Niels was part of the "bass explosion" of the late 1960's and 1970's when the role of the bass underwent a dramatic change. He is one of several bassists of this era who have seemingly solved the technical problems associated with the instrument, and can spend their time concentrating on the music. He is one of the most in-demand players today, the first in a growing line of great bassists to emerge from his country in recent years.
74
Blues For Dorte ) =120 ,Sf,1
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"Blues for Dorte" l. Very little space (density).
2. 3. 4. 5.
Extended eighth note phrases. Chromaticism. Extensive use of triplet figures. Clarity of ideas.
Stanley Clarke (1951 -
)
Around 1970, the "Shot Heard 'Round The World" carne from the bass of Stanley Clarke. Rising from relative obscurity playing in rock bands in Philadelphia, he quickly gained attention performing with Horace Silver, Joe Henderson and Stan Getz. Stanley had developed, at a very early age, a virtuosity as a soloist that rivaled the technique of most horn players. In the mid-1970's, Stanley joined "Retum to Forever" with Chick Corea and concentrated most of his efforts on that group. Today, Stanley leads his own groups and is generally more closely associated with "fusion" and "funk/popular" music. Equally proficient on electric or acoustic bass, Stanley has brought a new level of virtuosity to both instruments. He is able to take a "lead" role in a group and function as a front-line player as well as accompanist. He has influenced younger players and probably elevated the level of popular music in generai.
76
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SOO Miles High -
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Recorded 1972. Polydor PD 5525. "Light As A Feather"
"500 Miles High" l. Extensive use of upper register.
2. 3. 4. 5.
Technical virtuosity. Many sixteenth-note passages. Good development of ideas. Use of double stops.
Geor2e Mraz (19~-
)
George Mraz is a native of Czechoslovakia and studied the bass at the Prague Conservatory from 1961 through 1966. He moved to the U.S. in the late 1960's, and began working with Dizzy Gillespie and Oscar Peterson among others. In 1972 he joined the Thad Jones-Mel Lewis Orchestra, touring and recording extensively with this group. Since the mid-1970's, George has enjoyed much popularity among musicians and is very much in demand. He has worked more recently with Stan Getz, Zoot Sims, Tommy Flanagan, and the New York Jazz Quartet. George, along with Miroslav Vitous and Niels Pedersen, is one of the many players to emerge from Europe in recent years and become active on the American Jazz scene. He has become known for a strong beat, a clean, clear sound, and lyrical and technically advanced solos. He is often heard in the piano/bass duo fermat in New York with Tommy Flanagan, Hank Jones and Roland Hannah.
78
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Confirmation -
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Recorded 2/4/77. ENJA 2088. "Eclypso" "Confirmation" l. Little use of space.
2. 3. 4. 5.
Lots of chromaticism. Logica! development of ideas. Command of entire instrument. Horn-like lyrical quality.
Michael Moore (1945-
)
Michael Moore stands out as one of today's most originai bassists. He has brought a high level of refinement and musicality to the bass that few players have equalled. His reputation for being a sensitive accompanist is perhaps exceeded only by his outstanding solo playing. He is a clear-thinking improvisor who plays lyrically, without eliche. He has adapted various aspects of technique from the classica! tradition (primarily from studying the Ludwig Streicher method) and is not plagued by the usual physical problems commonly associated with the instrument. More than most other bassists, Michael has captured the attention and respect of other instrumentalists, and increased their awareness of the power of the bass as a solo voice.
An
Michael Moore - continued After moving to New York in 1968, Michael's first major job was with Marian McPartland. Before long, he was in demand by a variety of players, and during the 1970's worked with Freddie Hubbard, Ruby Braff, Bill Evans, Bob Brookmeyer and others. These varied musical experiences aided Michael in becoming one of the more versatile bassists on the scene. Today, Michael devotes much of his time to a duo he has formed with guitarist Gene Bertoncini. In addition to playing, he is writing music and teaching at the Eastman School and New York University.
~. 116
Recorded 4/19/79. Steeple Chase SCS 1118. (with Jimmy Raney). "Stolen Moments"
81
I Should Care -
cont.
"l Should Care" l. Very complete statement in only one chorus.
2. 3. 4. 5.
Rhythmic variety. Lyricism. Use of diminished scale and patterns (bars 10, 15, 21). Extensive use of upper register.
SELECTED DISCOGRAPHY JIMMY BLANTON l. 2. 3. 4.
Duke Duke Duke Duke
Ellington Ellington Ellington Ellington
"1940" "1941 Il "Live At Fargo 1940" "1941 Classics"
Smithsonian Collection !!
!!
Book of Month Club Almanac
DPM 2-0351 DPM 2-0492 BMC 30-5622 QSR 2404
SLAM STEWART l. 2. 3. 4.
Art Tatum Slam Stewart Dizzy Gillespie Don Byas
"Echoes of An Era" Roulette RE l l O "Quartet" Savoy 537 Prestige P24030 "Sextet" "Quartet" Embassy 128, Commodore FL20025, Mainstream l\156002
MILT HINTON l. "Teddy Wilson &. Gerry Mulligan Quartet"
2. 3. 4. 5.
Teddy Wilson Milt Hinton Buddy Tate Quintet Ben Webster
"For Quiet Lovers" "Here Swings The Judge" "The Great Buddy Tate" "The Sound of Ben Webster"
Verve Verve Famous Door Concord Verve
~"Here's Ray Bryant" "Magie" "Johnny Hodges" "The Main Man" ''lridescence"
Pablo Prestige Verve Inner City Concord
"Quintet" "Freedom Suite" "Sextet" "The Hawk Flies High" "Brilliant Comers"
Spotlite Riverside Riversi de Riversi de Riversi de
"The Trio" "Soul Believer" "Affinity" "Live At Montreaux" "Very Tali"
Verve Pablo Verve Concord Verve
MGV 8235 MGV 20.29 HL 104 CJ 163 MGV 8359
GEORGE DUVIVIER l. Ray Bryant
2. 3. 4. 5.
Eric Dolphy Johnny Hodges Eddie Jefferson Warren Vache
2310764 p 24053 V6-8834 IC 1033 CJ 153
OSCAR PETTIFORD l. 2. 3. 4. 5.
Coleman Hawkins Sonny Rollins Kenny Dorham Coleman Hawkins Thelonius Monk
SPJ 119 RLP 258 SMJ 6075 RLP 233/0JC 027 RLP 226/0JC 026
RAY BROWN l. 2. 3. 4. 5.
Oscar Peterson Milt Jackson Oscar Peterson L.A. 4 Oscar Peterson
82
v 8420 2310832 v 8516 CJ 100 v 8429
SELECTED DISCOGRAPHY - Cont.
ISRAEL CROSBY l. Gene Krupa
2. 3. 4. 5.
Benny Morton Ahmad Jamal Ahmad Jamal Ahmad Jamal
"Gene Krupa Sextet" "Ali Stars" "Count 'Em 88" "A t The Pershing" "Ahmad Jamal"
Verve Blue Note Argo Argo Argo
MGV 8087 89902 LP 610 LP 628 LP 636
"Kind of Blue" "At The Black Hawk" "Whims of Chambers" "A Garland of Red" "Red Garland's Piano"
Columbia Columbia Blue Note Prestige Prestige
KCS 8163 c 25820 BLP 1534/BST 81534 LP 7064 LP 7086
"Red Mitchell Quartet" "I Concentrate On You" "Yard's P ad" "Duo" "Choice"
Contemporary lnner City So n et Artists House Pacific Jazz
PAUL CHAMBERS l. Miles Davis
2. 3. 4. 5.
Miles Davis Paul Chambers Red Garland Red Garland
RED MITCHELL l. Re d Mi tchell
2. 3. 4. 5.
Lee Konitz Red Rodney Jim Hall/Red Mitchell Zoot Sims
s 7538 2018 SNTF 698 AH 5 PJ 20
SCOTT LA FARO l. Bill Evans
2. 3. 4. 5.
Ornette Coleman Bill Evans Bill Evans Ornette Coleman
"Village Vanguard Sessions" Milestone "Omette!" Atlanti c "Portrait In Jazz" Riverside "Explorations" Riversi de "Double Quartet" Atlantic
M 47002 SD 1378 RIV 315 RIV 351 ATL
SAM JONES l. Barry Harris
2. 3. 4. 5.
Cannonball Adderly Cedar Walto n Clifford Jordan Ted Dunbar
"Live In Tokyo" "In San Francisco" "Eastern Rebellion 2" "Firm Roots" "Opening Remarks"
Xanadu Riversi de Timeless lnner City Xanadu
"My Funny Valentine" "The Real McCoy" "Maiden Voyage" "Down Bere on The Ground" "Magnificent"
Columbia Blue Note Blue Note A&M Prestige
130 RLP 12-311 SJP 106 2033 155
RON CARTER l. Miles Davis 2. McCoy Tyner 3. Herbie Hancock 4. Wes Montgomery 5. Barry Harris
es 9106 BLP 4264/BST 84264 BLP 4195/BST 84195 SP 3006 7733
RICHARD DAVIS l. Richard Davis
2. Thad Jones/Mel Lewis 3. Sarah Vaughn 4. Sonny Stitt 5. Eric Dolphy
"Muses for Richard Davis" BASF "Suite for Pops" A&M "Live At The London House"Trip "Stitt Plays Bird" Atlantic "The Great Concert of Prestige Eric Dolphy"
83
20725 701 5595 SD-1418 P-34002
SELECTED DISCOGRAPHY - Cont.
EDDIE GOMEZ l. Jack DeJohnette
2. Jeremy Steig 3. Bill Evans 4. Bill Evans 5. Bill Evans
"New Directions" "Jeremy Steig" "A Simple Matter of Conviction" "Montreaux Il" "lntuition"
ECM Europa Verve CTI Fantasy
1128 EJ 1012 MGV 8675 6004 F-9475
NIEL8-HENNING 0RSTED PEDERSEN l. NH0P & Sam Jones
2. Kenny Drew 3. Tete Montoliu 4. Johnny Griffin
"Double Bass" "Duo" "Tete!" "You Leave Me Breathless"
Inner City Inner City Steeplechase Black Lion
"Ca'purange" "Moon Germs" "lliusion Suite" "School Days" "Joumey To Love"
Prestige CTI ECM Nemperor Nemperor
p 10051 6023 1026 NE 439 NE 433
"Surge" "Soprano Sax'' "Ballads &: Blues" "New Life" "In Tune"
ENJA Pablo ENJA (Horizon) A &: M MPS
2094 2310770 3031 SP 707 88041-2
"Trio At Montreaux" "A Taste of Jazz" "Small Band" "Polished Brass" "Quintet"
Concord Concord Gryphon Concord Pablo
CJ 116 CJ 93 G 2785 CJ 98 2310861
2055 2002 SCS-1029 BL-304
STANLEY CLARKE l. Dexter Gordon
2. 3. 4. 5.
Joe Farrell Stanley Cowell Stanley Clarke Stanley Clarke
GEORGE MRAZ l. New York Jazz Quartet
2. 3. 4. 5.
Zoot Sims Tommy Flanagan Thad Jones/Mel Lewis Oscar Peterson and the Singers Unlimited
MICHAEL MOORE l. Herb Ellis
2. 3. 4. 5.
Ruby Braff Bob Brookmeyer Warren Vache Zoot Sims
BASS PLAYER LIST .·.
Anyone serio"us · ab.out understanding or playing the bass should be familiar with a wide variety of bassists spanning ali periods of music. I have listed below bassists who have contributed to jazz music over the past 65 years. These players are fairly well documented on recordings. No players were intentionally omitted, but as with any list, omissions are practically unavoidable. Lyle Atkinson Max Bennett Artie Bernstein Keeter Betts Jimmy Blanton Walter Booker Nelson Boyd QRonnie Boykins O· CHi Wellman Braud Cameron Brown Ray Brown Tommy Bryant Monty Budwig Red Callender Ron Carter Bob Casey Buddy Catlett Paul Chambers Buddy Clark Stanley Clarke John Clayton Bob Cranshaw Israel Crosby Bill Crow Art Davis Richard Davis Steve Davis Hai Dodson e>Chuck Domonaco. Ray Drummond Tony Dumas George Duvivier Cleveland Eaton Richard Evans Charles Fambrough Addison Farmer Malachi Favors Arnold Fishkin Pops Foster Henry Franklin o David Friesen • Jimmy Garrison Leonard Gaskin Victor Gaskin
)vWF'i
'·'
r:
'~··
Russell George Steve Gilmore Eddie Gomez Henry Grimes Charlie Haden Bob Haggart Al Hall John Heard Percy Heath Milt Hinton Dave Holland Major Holley Fred Hopkins Peter Ind Dennis Irwin Chuck Israels David Izenzon Chubby Jackson Stafford James Bill Johnson Reggie Johnson Eddie Jones Sam Jones Red KelJy John Kirby Teddy Kotick Scott La Faro Steve Laspina Bill Lee ._Tay Leonhart Jack Lesberg J oh n Lindsay Wilbur Little John Lockwocd Curtis Lundy Bob Magnuson Bob Maize Earl May Cecil McBee Ron McClure Al McKibbon Jymie Merrit Chuck Metcalf Herb Mickman Link Miliman
85
Charles Mingus Red Mitchell Whitey Mitchell Joe Mondragon Glen Moore Michael Moore Wilbur Morris Peck Morrison George Mraz Jamil Nasser Steve Novosel John Orr Walter Page Jaco Pastorius Gary Peacock Niels-Henning 0rsted Pedersen Beverly Peer Bill Pemberton Gene Perla Oscar Pettiford Lonnie Plaxico Tommy Potter Junior Raglin Gene Ramey Rufus Reid Mike Richmond Larry Ridley Jimmy Rowser Curley Russell Eddie Safranski Ed Schuller Artie Shapiro Arvell Shaw Ernie Shepherd John Simmons Andy Simpkins Jack Six Carson Smith Victor Sproles Slam Stewart Ted Sturgis Albert Stinson Steve Swallow Harvie Swartz
BASS PLA YER LIST - Cont. Billy Taylor Gene Taylor Don Thompson Brian Torff George Tucker Frank Tusa Leroy Vinnegar
Miroslav Vitous Wilbur Ware Butch Warren Peter Warre n Doug Watkins Paul West Chris White
Buster Williams David Williams Tommy Williams Jimmy Woode Reggie Workman Eugene Wright Eldee Young
BASSISTS OF THE FUTURE Since 1939, several stylistic changes in jazz bass playing have occurred. There have been many contributions in the areas of accompaniment (walking) as well as soloing. Many of today's bassists are aware of these styles and have incorporated them into their own playing and, in many cases, added innovations of their own. Since the demands jazz music places on the bassist are always expanding, the bassists of the future will have to be even more versatile than their predecessors. lt would stand to reason that the bassist of the future will have to be superior in both areas, walking and soloing, not just one or the other. Below are listed (in alphabetical order) some of today's bassists who are beginning to demonstrate the overall spectrum of versatility referred to above. These players have begun to set the standard for bassists of the future. They were asked to list five recordings that they felt were most representative of their playing. They are: I. RAY DRUMMOND l. Johnny Griffin. "Return of The Griffin." (Galaxy GXY5117).
2. 3. 4. 5.
Ted Curson. "The Trio." (Interplay IP-7722) Slide Hampton. "World of Trombones." (West 54 WLW8001) George Coleman. "Live At Ronnie Scott's." (PYE N121) Ray Drummond. "Susanita." (Nilva Records NQ3409)
II. JOHN HEARD l. Harold Land. "Xocias Dance." (Muse 5272)
2. 3. 4. 5.
Oscar Peterson. "Live At Royal Festival Hall." (Pablo 2620111) Joe Henderson. "Canyon Lady." (Milestone 9057) "Basie Jam #1." (Pablo 2310718) Zoot Sims. "Just Friends." (Pablo 2310841)
III. REGGIE JOHNSON l. Archie Shepp. "Fire Music." (Impulse A-86)
2. 3. 4. 5.
Bobby Hutcherson. "Total Eclipse." (Blue Note BST 84291) Kenny Burrell. "Both Feet On The Ground." (Fantasy 9427) "Eddie 'Lockjaw' Davis." (ENJA 3097) Frank Wess and Johnny Coles. "Two At The Top." (Uptown UP27 .14)
IV. BOB MAGNUSSON l. Joe Farrell. "Skateboard Park." (Xanadu 17 4)
2. 3. 4. 5.
Sue Raney. "Sings The Music of Johnny Mandel." (Discovery DS-875) Horace Silver. "Guides To Growing Up." (Silveto SPR 101) Shorty Rogers/Bud Shank. "Yesterday, Today and Forever." (Concord CJ223) Road Work Ahead. "Night and Day." (Trend TR520)
BASSISTS OF THE FUTURE - Cont.
V. STEVE NOVOSEL l. Stanley Cowell. "Blues for the Viet Cong." (Arista-Freedom AL 1032)
2. 3. 4. 5.
Andrew White. "Passion Flower." (Andrews Music #5) Roland Kirk. "The lnflated Tear." (Atlantic SC 1502) Charles Tolliver. "Compassion." (Strata-East SES 8001) Allen Houser. "No Samba." (Straight Ahead Records)
VI. RUFUS REID l. Dexter Gordon. "Sophisticated Giant." (Columbia JC 34989)
2. 3. 4. 5.
"Thad Jones/Mel Lewis Quartet." (Artist House AH3) Kenny Burrell. "Listen To The Dawn." (Muse MR5264) Rufus Reid. "Perpetuai Stroll." (Theresa TR 111) Jack DeJohnett's Special Edition. "lnflation Blues." (ECM 1244)
VII. ANDREW SIMPKINS l. Three Sounds. "Beautiful Friendship." (Limelight 86026)
2. 3. 4. 5.
Monty Alexander. "In Tokyo." (Pablo 2310836) Mike Wofford. "Plays Jerome Kern, Vol. 1." (Discovery 808) Bill Mays. "Tha's Delight." (Trend 532) Andy Simpkins. "Summer Strut." (Discovery 892)
VIII. DON THOMPSON l. "Ed Bickert/Don Thompson." (Sackville 4005) 2. Jim Hall. "Live." (A & M Horizon SP 705)
3. "Paul Desmond." (Artist House AH 9402) 4. Emily Remler. "Take Il." (Concord CJ 195) 5. Don Thompson. "Beautiful Friendship." (Concord CJ 243)
87
