The Bass Tradition (Todd Coolman)

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.

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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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Richard Davis (1930-

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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.

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Eddie Gomez (1944-

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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.

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"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

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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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Recorded 2/4/77. ENJA 2088. "Eclypso" "Confirmation" l. Little use of space.

2. 3. 4. 5.

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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