Double Bass Arco solos of Ray Brown

[redwookie]

In a Youtube clip (sorry I can't find it right now) I watched a few years ago, I heard Ray Brown say that one of his greatest ongoing lifelong challenges was...intonation. I was a beginning upright player when I first heard that. He said it almost as an offhand joking comment without much elaboration. As a player new to upright at the time, it didn't mean a whole lot to me as I was struggling with a tuner to play 12 scales and wondering what I'd gotten myself into. However, I was struck with the humility and honesty of the statement. It's still a great take-away for any player.

 

[gerry grable]

Search YouTube on Ray and If I Loved You, Gene Harris, Hamilton

I'm far from an expert on arco, but hasn't Ray shown very good bow control on this clip? He uses all the hair from frog to tip with a steady speed and an unquavering sound. I'm willing to overlook any slight intonation.

 

[Dave Roberts]

I wonder why more jazz bassists don't bow their solos. My guess is that it's because bowing is so difficult, exposing intonation problems, etc. The only bassist I'm aware of who regularly bowed his solos was Slam Stewart, who also scatted along with them. It was very interesting and effective.

 

[Sean Riddle]

I wonder why more jazz bassists don't bow their solos. My guess is that it's because bowing is so difficult, exposing intonation problems, etc. The only bassist I'm aware of who regularly bowed his solos was Slam Stewart, who also scatted along with them. It was very interesting and effective.

There’s probably a lot of factors involved. One I’m thinking about right now is that in the early 20th century I imagine it would’ve been extremely difficult for an African American person to receive conservatory training. This is just my assumption considering that Jim Crow was in place at the time. Slam Stewart did attend the Boston Conservatory though, but I don’t know if it was for violin or for bass. Also, Bert Turetzky mentions in his intro to the Contemporary Contrabass that education for bass in conservatories in the first half of the 20th century was not considered a top priority.
Nowadays it’s probably a mixture of difficulty/lack of practice and the fact that pizzicato is considered the standard bass sound in Jazz music today. Like for me in my years in school, my program doesn’t require that Jazz Bass majors take more classical lessons or play in the chamber orchestra and groups. I’ve had to seek that out on my one to make sure my arco chops are up to par with my pizz chops, making opportunities for myself. There are plenty of great Jazz and improvising bassists alive now and in the past who are/were incredible arco players. Some that are coming to mind are Paul Chambers, Major Holley, David Izenzon, Bert Turetzky, Mark Dresser, Barre Philips, Henry Grimes, Richard Davis, Christian McBride, Stephan Crump, Dave Holland, John Hebert, Peter Kowald, and Ken Filiano.

 

[lurk]

I was at a lecture/workshop run by Red Mitchell and someone asked him why he never or at least very rarely bowed a solo. His answer was that he spent 90% of his time playing pizz, so why when it's his turn to step into the spotlight would he play arco?

 

[bassmanbrent]

The only bassist I'm aware of who regularly bowed his solos was Slam Stewart, who also scatted along with them. It was very interesting and effective.

Two words - Paul Chambers. And many others too, of course...

 

[craigie]

Years ago I heard Ray Brown’s trio with Benny Green and Jeff Hamilton live in a small room (Top of the Senator in Toronto). I was maybe 10 feet from Ray who always was and remains my bass hero. He swung like crazy and the Trio was terrific. But you know what? His intonation was really iffy. That night I learned to relax about it (and that’s hard) and to focus on time and motion and structure in my lines. It’s not sacrilege to listen critically to the greats. My favourite recording of Pictures At An Exhibition is the piano version played live by Sviatoslav Richter. It’s a magnificent interpretation—and it’s got at least three real clunkers in it. So what.

I may have been sitting the next table over from you!

 

[craigie]

Two words - Paul Chambers. And many others too, of course...

Well yeah, Paul chambers was great at the arco solos and it was his thing, but to me the tone is still pretty scratchy.

For modern jazz players who use steel strings, most are going to choose the set that sounds the best for pizz.

 

[gerry grable]

I wonder why more jazz bassists don't bow their solos. My guess is that it's because bowing is so difficult, exposing intonation problems, etc. The only bassist I'm aware of who regularly bowed his solos was Slam Stewart, who also scatted along with them. It was very interesting and effective.

Major Holly

 

[sean_on_bass]

Probably a number of factors at play. I always thought alot of the early greats learned classical technique but i could be wrong. I know Ron Carter did, and even he is more on the pizz side of things even when playing melodies.

-Jazz bassists tend to have their bass setup for walking in the way of string choice, string height, and maybe even arc of the strings over the fingerboard
-Jazz/modern styles are just primarily played pizz so arco becomes sidelined or reserved to the practice room. some may not have time to practice both in equal amounts.
-Pizz offers more rhythmic possibility which suits a rhythmic style such as jazz(imo)
-Jazz pizz could be considered more ground breaking and exciting, while arco is the "old way"

But at the end of the day, many of the best jazz players spent time with the bow, so the above list are just hunches. I also really think that purely playing pizz gives plenty for a listener to enjoy as evidenced by a number of great bassists who choose to make it their main vehicle and stretch it rather far. When i saw Christian McBride recently, it really didn't bother me that he didn't even have a bow on stage. His pizz playing was so good that you really never needed a break from it.