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Double Bass The record that did it ... (DB forum thread)

#21
It was Ron Carter both times for me. The record that made me want to play upright was Flora Purim's STORIES TO TELL, the line that Ron plays on the title track. Then, MEETING OF THE TIMES - Roland Kirk and Al Hibbler, it was Ron's intro on DO NOTHING TILL YOU HEAR FROM ME.


 
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#23
Selim said:
Yes, Conference of the Birds! (later, for me).
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Still one of my favorites!

Selim said:
Ruby Vroom - I use to play in a band that opened for Soul Coughing - and I'd have to say it was a band that imitated Soul Coughing. Probably the only time I played very very loud music on the DB (I learned from Sebastian that you have to find that special spot on the stage where you won't feed back, and then stay rooted there the whole night).
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You are official the coolest person on TB for me today :) I didn't discover them until after they imploded... I still listen to and enjoy Mike Doughty but the magic was him interacting with Sebastian, Yuval and Mark. I'm glad Sebastian is still keeping busy, he is currently playing with 2 of my favorite acoustic/folk/bluegrass types, Sara and Sean Watkins.
 
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#25
Ed Fuqua said:
It was Ron Carter both times for me. The record that made me want to play upright was Flora Purim's STORIES TO TELL, the line that Ron plays on the title track. Then, MEETING OF THE TIMES - Roland Kirk and Al Hibbler, it was Ron's intro on DO NOTHING TILL YOU HEAR FROM ME.


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I'm with you on both of these. I especially remember Carter's slide at the beginning of that tune.
 
#28
I'm a little surprised that more of my bass brothers & sisters haven't responded to this. For me, if someone talks about a record that inspired them and you know that same recording, it can tell you something about that person. And if you haven't heard the record, it serves to hip you to something new.
 
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#29
shwashwa said:

for me, although i played electric bass first. first upright i ever heard was in person. that tone coming out of my friend's bass did it for me. we're still friends. its his fault. but this is one of the first albums. oh, and joe henderson page one.
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I just LOVE anything and everything about Joe Henderson.

Also, after playing a standard for so many years, it's very instructive to hear the note choice & rhythm patterns Butch Warren plays on Blue Bossa. It's made me realize that many of us bass players have gotten locked into a very straight 2-note bossa pattern.
 
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#30
Selim said:
I just LOVE anything and everything about Joe Henderson.

Also, after playing a standard for so many years, it's very instructive to hear the note choice & rhythm patterns Butch Warren plays on Blue Bossa. It's made me realize that many of us bass players have gotten locked into a very straight 2-note bossa pattern.
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people give you funny looks when you call blue bossa on a gig, but the original version is absolutely beautiful. i have yet to hear anyone try to play it like that on a gig. people ought to keep their funny looks to themselves until they can play like that!
 
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#31
Selim said:
Also, after playing a standard for so many years, it's very instructive to hear the note choice & rhythm patterns Butch Warren plays on Blue Bossa. It's made me realize that many of us bass players have gotten locked into a very straight 2-note bossa pattern
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The stuff that Butch Warren is playing was a written out part that was at the center of Invalid Link Removed.
 
#32
I was born at the start of the 80s and have parents who'd been very much into all of the British folk revival guys. So the first records that made me aware of the double bass as a kid all had Danny Thompson on them. He's still one of my major influences, for his tone and feel especially. I remember we borrowed an LP of Bert Jansch's Avocet from the library (and taping it, inevitably) and I was particularly struck by the bass on that. Going back and listening to that record, it still stands up IMO, and his bass solo on this track (from about 4 minutes in) gets surprisingly wigged out given the mellow feel of the record.

 
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#34
i was already a pretty active electric player before i got turned onto legit double bass playing;

first it was NHOP that made me (i literally remember saying it) "i had no idea a double bass could play like that"

maybe a year after that i heard gary karr. felt the same way all over again. from then on i've been in DB world.

the niels henning record was chops, the gary karr was an instructional VHS my first bass teacher in college played for us in masterclass every semester.
 
#35
Martin Beer said:
I was born at the start of the 80s and have parents who'd been very much into all of the British folk revival guys. So the first records that made me aware of the double bass as a kid all had Danny Thompson on them. He's still one of my major influences, for his tone and feel especially. I remember we borrowed an LP of Bert Jansch's Avocet from the library (and taping it, inevitably) and I was particularly struck by the bass on that. Going back and listening to that record, it still stands up IMO, and his bass solo on this track (from about 4 minutes in) gets surprisingly wigged out given the mellow feel of the record.

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Thanks - I enjoyed that. Yes, he really takes it somewhere else on the solo and yet still holds onto the spirit of the tune. That's not easy!
 
#40
You can never discount Ray Brown.

But when non jazzers ask how they can get to understand our genre I point them to the original cast recording of My Fair Lady. Then to the CD of Andre Previn, Shelley Mann and Leroy Vinegar. This will show firstly how you can take a list of straight tunes and improvise round them and secondly how a walking bass provides the pulse of that endeavour. So it was Leroy who was my earliest inspiration.

And later when I was at ease with myself, and may I mention, starting to get calls I looked back to my other influences and years after the event realised it had been................Sam Jones.
 
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