Double Bass NYC BASS WORKSHOP

[Paul Warburton]

Thanks, Fellers.

 

[Ed Fuqua]

From Mike Kanan -

It was an amazing experience getting to play with the three bassists at Joe Solomon's SYMPOSIUM PROFUNDUM. I have played with all of the bassists before (though it had been more than 12 years since I had played with Lou Stelluti). Hearing them all one after the other (where the bassist is the 'leader' in a duo context) really illuminated the qualities that make each of them special.


Sean Smith is such a unique player. While he is strongly informed by Jazz tradition, he has such an individual style as a player and composer. He is always melodic, but in the most unexpected ways. He also has a very personal way of interpreting harmony on the spot while soloing. He floats over the chords without necessarily spelling out each one, but his lines always retain a sense of momentum and logic. Playing with Sean always feels like a conversation. He picks up on whatever the soloist is doing, and is able to reflect it in his line, without just parroting the soloist's phrase. And his beat is swinging, but very fluid. He is a very adventurous player.


I have played with Neal Miner since 1993, and for the last three years we have played together in Jane Monheit's band, traveling quite a bit. I've learned so much from him. His ears are so fantastic. When he's soloing, he knows exactly where his lines are going - there's no mucking about. Every note is clear as a bell, with beautiful intonation, and perfectly framed in the phrase that he's playing. And he plays in phrases, not just note to note. It gives his solos a real vocal quality, as if he is speaking, and all the music flows out completely naturally. His beat is tends to be right in the middle. His bass lines have so much momentum, that it allows the soloist to play with space, without feeling responsible for providing all the excitement. When I'm soloing with Neal, it feels great just listen for a few beats, between my own phrases. It makes a soloist feel like a leaf on a stream. And all of this great bass playing is wrapped up in a warm, inviting sound.


Lou Stelluti is the real spirit of Jazz: swinging, spontaneous, courageous, honest. So much strength and beauty in his playing. Lou had no planned material. He just called tunes, and let the spirit move him. I remember many years ago sitting in his apartment with him and watching a video of Earl Fatha Hines. As one tune was winding down to an improvised conclusion, Lou laughed in delight, saying, "He's not worried about anything! He knows he'll come up with something!" And that describes Lou. He just dives into the music, heart and soul. He has a driving beat, a beautiful sound, and a maturity of approach that can only be won through many years of dedication. With Lou soloing and playing the melodies, I felt like I was accompanying a great horn player. During one tune, he even played a Lester Young solo on the bass!


As Ed Fuqua pointed out, all of the bass players played solo lines that could have been played on any instrument. They were not just playing lines that fit comfortably on the bass. They were playing music. There were definite differences in the way that each player approached rhythm, soloing, and repertoire. But what they had in common is that they were all successful at bringing the bass into the foreground. Its not easy for the bass to lead. A pianist can lead by giving all kinds of melodic cues, setting up phrases, shout choruses, or trading. Its much harder for a bassist to indicate where the music might go. All three bassists approached this task a little differently. I had rehearsed a couple of things briefly with both Neal and Sean, as they each had some original material. I had no rehearsal with Lou, and as I mentioned, hadn't even played with him in over a decade. But he carried the music with such simplicity, clarity and conviction. It was so easy to fall in with his routines on each tune. Later on, Neal mentioned to me that he was very moved by Lou's willingness to jump in without anything prepared.


I feel extremely fortunate to have played with three players of such high caliber. They are all fantastic accompanists, soloists, and leaders.

 

[Peter_00]

Awesome stuff, nice to hear the perspective of someone that plays with Neal a lot. Here is a nice clip from recent:

(Neal's solo starts at about 4.43.)

I only have 'The Evening Sound' by Neal but even between that and this clip I can hear similar ideas and ways of phrasing that are his, even though the contexts are totally different. Off to transcribe I think..

 

[Nuno A.]

From Mike Kanan -

It was an amazing experience getting to play with the three bassists at Joe Solomon's SYMPOSIUM PROFUNDUM. I have played with all of the bassists before (though it had been more than 12 years since I had played with Lou Stelluti). Hearing them all one after the other (where the bassist is the 'leader' in a duo context) really illuminated the qualities that make each of them special.


Sean Smith is such a unique player. While he is strongly informed by Jazz tradition, he has such an individual style as a player and composer. He is always melodic, but in the most unexpected ways. He also has a very personal way of interpreting harmony on the spot while soloing. He floats over the chords without necessarily spelling out each one, but his lines always retain a sense of momentum and logic. Playing with Sean always feels like a conversation. He picks up on whatever the soloist is doing, and is able to reflect it in his line, without just parroting the soloist's phrase. And his beat is swinging, but very fluid. He is a very adventurous player.


I have played with Neal Miner since 1993, and for the last three years we have played together in Jane Monheit's band, traveling quite a bit. I've learned so much from him. His ears are so fantastic. When he's soloing, he knows exactly where his lines are going - there's no mucking about. Every note is clear as a bell, with beautiful intonation, and perfectly framed in the phrase that he's playing. And he plays in phrases, not just note to note. It gives his solos a real vocal quality, as if he is speaking, and all the music flows out completely naturally. His beat is tends to be right in the middle. His bass lines have so much momentum, that it allows the soloist to play with space, without feeling responsible for providing all the excitement. When I'm soloing with Neal, it feels great just listen for a few beats, between my own phrases. It makes a soloist feel like a leaf on a stream. And all of this great bass playing is wrapped up in a warm, inviting sound.


Lou Stelluti is the real spirit of Jazz: swinging, spontaneous, courageous, honest. So much strength and beauty in his playing. Lou had no planned material. He just called tunes, and let the spirit move him. I remember many years ago sitting in his apartment with him and watching a video of Earl Fatha Hines. As one tune was winding down to an improvised conclusion, Lou laughed in delight, saying, "He's not worried about anything! He knows he'll come up with something!" And that describes Lou. He just dives into the music, heart and soul. He has a driving beat, a beautiful sound, and a maturity of approach that can only be won through many years of dedication. With Lou soloing and playing the melodies, I felt like I was accompanying a great horn player. During one tune, he even played a Lester Young solo on the bass!


As Ed Fuqua pointed out, all of the bass players played solo lines that could have been played on any instrument. They were not just playing lines that fit comfortably on the bass. They were playing music. There were definite differences in the way that each player approached rhythm, soloing, and repertoire. But what they had in common is that they were all successful at bringing the bass into the foreground. Its not easy for the bass to lead. A pianist can lead by giving all kinds of melodic cues, setting up phrases, shout choruses, or trading. Its much harder for a bassist to indicate where the music might go. All three bassists approached this task a little differently. I had rehearsed a couple of things briefly with both Neal and Sean, as they each had some original material. I had no rehearsal with Lou, and as I mentioned, hadn't even played with him in over a decade. But he carried the music with such simplicity, clarity and conviction. It was so easy to fall in with his routines on each tune. Later on, Neal mentioned to me that he was very moved by Lou's willingness to jump in without anything prepared.


I feel extremely fortunate to have played with three players of such high caliber. They are all fantastic accompanists, soloists, and leaders.

This just made my day, thanks Ed.

Nuno

 

[Paul Warburton]

This whole concept was a very cool idea and, IMO, speaks volumes about the NY Jazz comminity. It practically shouts the word healthy, both in the state of the art and the spirit of sharing.
My props to all involved.

 

[Ed Fuqua]

a couple of pics -

cell phone pic from Chris Madiou

This was THESE FOOLISH THINGS

and from an earlier workshop - Three Tenors-
with Ted Brown, Jimmy Halperin and Dave Frank
Photo copyright by Joseph Squillante

That's my teacher Joe on bass and Skip Scott on drums.

 

[Paul Warburton]

YOU ARE THERE!

 

[fred pratt]

Excuse me. Could someone tell me how to get to the Reading Room? I'd like to check out the Neal interview.

 

[Peter_00]

http://www.talkbass.com/forum/showthread.php?t=121394

By our very own Ed Fuqua!

 

[fred pratt]

Wow. Excellent, inspiring interview.

 

[Stan Haskins]

Wish I could have caught this - the whole family was down with strep. :scowl: