So from this small piece of adhoc "research" it seems that the classics are still the most popular, with the Piano Bass Drums Trio equal first place on 6 votes with the Quintet which adds a front line of Sax and Trumpet.
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Double Bass Small Jazz Group lineups?
- Thread starter Bruce Lindfield
- Start date
I'm partial to pianoless ensembles, one or or more winds/brass plus bass and drums.
Examples would include Mingus' quartet with Dolphy amd Curson, Sonny Rollins's trios, Dave Holland's quintet, pre-electric Ornette.
Piano is OK, but I like how the bass takes on a bigger role when the piano is gone. Piano trios are probably my absolute least favorite.
Examples would include Mingus' quartet with Dolphy amd Curson, Sonny Rollins's trios, Dave Holland's quintet, pre-electric Ornette.
Piano is OK, but I like how the bass takes on a bigger role when the piano is gone. Piano trios are probably my absolute least favorite.
Well it's a real word over here - a lot of it happens and it's quite annoying if you're interested in seeing particular bass players. I often go out of my way for a gig onl'y to find that another bassist has depped for the guy I wanted to see!
By the way did you know that an anagram of my name is "Nice Burl Fiddle" - it must be fate!
Also by the way, if you go over to the BG side (!) and look at the thread in Misc. titled "So, what's the best gig a bass player can have nowadays?" - there are people actually admitting to having been to a Kenny G gig and enjoyed it!
I was speechless - well almost...
I reluctantly voted pno, bs, drms (who needs youse stinkin' horns?), but of course, it all depends on the musicians and so forth. But I really never get tired of the intimacy and versatility of the piano trio: the telepathic empathy of the Evans/LaFaro/Motian or the Jarrett/Peacock/DeJohnette groups, the relentless swing of the Garland/Chambers/Jones rhythm section, the list goes on and on.
Playing-wise, I always jump at the chance to play a guitar or piano trio (the guitar trio has its own set of challenges.) Again, the opportunity for empathy and spontenaity appeal to me.
Not that I mind playing with horn players, but my heart sinks when I walk into a "blowing" gig and see more than two horns--the more cats on the stand, the less room there is for flexibility. I know I'm usually in for the tiresome "play-the-head-everybody-takes-6-choruses-drummer-plays-fours-play-the-head-again" formula.
Playing-wise, I always jump at the chance to play a guitar or piano trio (the guitar trio has its own set of challenges.) Again, the opportunity for empathy and spontenaity appeal to me.
Not that I mind playing with horn players, but my heart sinks when I walk into a "blowing" gig and see more than two horns--the more cats on the stand, the less room there is for flexibility. I know I'm usually in for the tiresome "play-the-head-everybody-takes-6-choruses-drummer-plays-fours-play-the-head-again" formula.
My trio, when possible, is bass, vibes & drums. My big Labor Day fest-gig had that band backing tenor/soprano sax. The sax-player was worried that he'd miss that big pianistic cushion, but our vibe-player rose to the occasion.
I like vibes because their sonic range leaves a lot of room for bass -- pianists around here tend to have heavy left hands. Guitar-sound leaves room, too, so that makes a good quartet. Vibes and piano, for all that it is the classic MJQ sound, sounds bad if the piano's not really in tune.
I like vibes because their sonic range leaves a lot of room for bass -- pianists around here tend to have heavy left hands. Guitar-sound leaves room, too, so that makes a good quartet. Vibes and piano, for all that it is the classic MJQ sound, sounds bad if the piano's not really in tune.
guitar bass drums (Metheny trio, Frisell trio)
guitar bass (Jim Hall & Red Mitchell)
piano bass (Monty Alexander & John Clayton, Hampton Hawes & Charlie Haden)
sax bass drums (Joe Lovano, Dave Holland, and Elvin Jones!!!)
trumpet, guitar, bass, drums (Jack DeJohnette's old band with Lester Bowie, John Abercrombie, and Eddie Gomez
guitar bass (Jim Hall & Red Mitchell)
piano bass (Monty Alexander & John Clayton, Hampton Hawes & Charlie Haden)
sax bass drums (Joe Lovano, Dave Holland, and Elvin Jones!!!)
trumpet, guitar, bass, drums (Jack DeJohnette's old band with Lester Bowie, John Abercrombie, and Eddie Gomez
Back when I smoked weed, I used to love Cecil Taylor's piano trio, with Jimmy Lyons on alto and Andrew Cyrille on drums. Don't know how it would sound now
Hello
I use Trumpet ,Tenor sax, Drums, Piano or Organ, Acoustic or ele bass & perc in my band.You can here tracks from my New CD Melange, on Blue note records at my website at
WWW.LONNIEPLAXICO.COM let me know what you think about my music good or bad.
thank you .
I use Trumpet ,Tenor sax, Drums, Piano or Organ, Acoustic or ele bass & perc in my band.You can here tracks from my New CD Melange, on Blue note records at my website at WWW.LONNIEPLAXICO.COM let me know what you think about my music good or bad.
thank you .
Hello Lonnie - do you choose that line-up because it fits your compositions or is it your preferred line up for jamming - or is there another reason?
Hello Bruce.Responding to what you ask.well i use the line up i talk about because is't small and,i can get alot out of the two horns.I think more about the music first and then jamming last,after the head of the song.also it cost to much money to travel with more then a five piece band.take care lonnie
Thanks Lonnie - I guess that practical issues may well come into lineup considerations more than we all think. I always think of Miles' great quintets as "classic" lineups that played exactly the right music for the time, but maybe it was more of a great business decision?
As a listener I often choose which Jazz gigs I'm going to really make an effort to get to, by the lineup - after considering the musicians.
But I suppose people are constrained by having to make money. I was thinking that the two horn quintet is sort of like an "optimum" for giving tonal variety but being small enough to be economically viable even in small venues.
So, in my home town - large Jazz ensembles always get big audiences, but I suppose they cost a lot to set up and keep going. Duos or solo artists can struggle to get audiences. A quintet with two horns can do nice varied arrangements, but is small enough to keep together easily. maybe I should start a new thread on the "optimum" small Jazz lineup in terms of musical variety vs. financial practicality! Or maybe not...
As a listener I often choose which Jazz gigs I'm going to really make an effort to get to, by the lineup - after considering the musicians.
But I suppose people are constrained by having to make money. I was thinking that the two horn quintet is sort of like an "optimum" for giving tonal variety but being small enough to be economically viable even in small venues.
So, in my home town - large Jazz ensembles always get big audiences, but I suppose they cost a lot to set up and keep going. Duos or solo artists can struggle to get audiences. A quintet with two horns can do nice varied arrangements, but is small enough to keep together easily. maybe I should start a new thread on the "optimum" small Jazz lineup in terms of musical variety vs. financial practicality! Or maybe not...
- Jan 11, 2002
- 3,042
- 10
- Disclosures
- Artist: JAF Basses, Circle K Strings
One of the projects in the works for me is a guitar and bass improv jazz duo. I've worked with this guy before in a similar project and it turned out okay.
The fact that there were only the two of us made it possible to really listen to the other guy, know what he was trying to say and play something appropriate. There is also a lot of room to fill without really having to worry about stepping on toes.
The fact that there were only the two of us made it possible to really listen to the other guy, know what he was trying to say and play something appropriate. There is also a lot of room to fill without really having to worry about stepping on toes.
