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Playing during bass solos

I'm a trumpet player/leader.

The other instruments in our jazz combo are often uncertain if they should lay out or play some kind of counterpoint during bass solos.

What do bassists prefer?

Is the root open to other instruments during a bass solo?

What do bassists definitely not like other players to do during their solos?
I play trumpet and bass. Personally during a bass solo I think it's great for everyone else to outline some chord structure but not be too busy. If there's a piano player and the bass solo goes high, use the piano to fill in the low end, as for horns, basically just don't be too busy or overbearing. Play long notes with some dynamic variation, that kind of stuff more so to "set the mood"
 
I'm a trumpet player/leader.

The other instruments in our jazz combo are often uncertain if they should lay out or play some kind of counterpoint during bass solos.

What do bassists prefer?

Is the root open to other instruments during a bass solo?

What do bassists definitely not like other players to do during their solos?

Depends on the context of the solo. Personally, I would find counterpoint horn hits very distracting, especially if I'm ablibing, unless it was well rehearsed.
 
In a jazz context, treat the bassist like any other soloist. ie don't get in the way, 'Mickey Mouse' them, or stand in the sonic spotlight.

  • Play 'guide tones' to outline the harmony (while staying aware of the soloists approach and possible re-harm)
  • If the soloist is setting up a shout or 'call and response' phrase (shout out, don't leave em hanging)
  • If the piece is more open and free-form style, dance with them and 'let them lead'.
Your bassists will thank you ;)
 
I asked my urb instructor how did anyone in the band/combo know when to come back in when he was soloing and was to my ear "far afield" or "out there". Did he have to bring them back in with some dramatic flourish or what? His response was that he was singing the song in his head, soloing based on melody and harmonic content and knew exactly where he was at. He also knew which of the other players were doing exactly the same thing and knew exactly when to come back in. He also knew which players were NOT singing the changes and would have to have their hand held to be brought back in. That was an eye opener for me. Of course I would need to be very familiar with the ins and outs of the tune; the melody, the lyrics, history...

As a guitarist in a couple of big bands where I was the kid, surrounded by old guys with impressive credentials, I hung close to the pianist and listened carefully to his comping patterns and learned a bit about the use of shell chords so as to avoid crowding any soloist's harmonic landscape while providing a bit of context and pulse.
 
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