Very early on my dad exposed me to a lot of music that I really dug but the musical conversations of Bill Evans and Eddie Gomez are what made me want to play.
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This record did it for me - I was lucky enough to see this trio in Buffalo, NY(!) in the early 70's. I had no effing clue as to what was going on then, other than "something" pulled me into this music. Once bit, like most musicians, I found myself going back in time to try and hear where this (1970) music, and these musicians had come from. I know that Ray Brown and Paul Chambers get lots o' love on these pages, (as they should), but Eddie G., (and his contributions to so many of Bill E.'s recordings), really deserves the credit/blame for starting the fire. (The kindling was a $100 plywood bass that I bought in 1973.)
Thanks.
Thanks.
For me bass as a thing I needed to do started with my grade school band director who played electric in a Dixieland group. Then upright came from seeing Phil Palombi at Youngstown State jazz concerts. The CD that nailed it all down, though, was Mingus' Changes 2.
I was already playing guitar. But it was early Brian Eno albums with Percy Jones that got me thinking that fretless bass was where the bizniss was.
I don't remember what inspired me to play upright. Maybe all the cool lines on Tom Waites' albums like on "Step Right Up". Or John Leftwich's many tracks on Indy folk albums in the late '80's. But the transition sort of happened organically.
I don't remember what inspired me to play upright. Maybe all the cool lines on Tom Waites' albums like on "Step Right Up". Or John Leftwich's many tracks on Indy folk albums in the late '80's. But the transition sort of happened organically.
This album was played in my house. Here's another, perhaps more obscure album with EG that I also heard growing up. Eddie smokes,
I got into bass guitar because I wanted to play music but guitar had too many strings. I started upright bass because I needed to play it in college to study jazz.
When I got to college my teacher made me listen to jazz, specifically Paul chambers. I found this album called Lee-Way by Lee Morgan and it was awesome! Then an EP called Can't See for Looking by red garland.
Still waiting for electric bass inspiration to come...
When I got to college my teacher made me listen to jazz, specifically Paul chambers. I found this album called Lee-Way by Lee Morgan and it was awesome! Then an EP called Can't See for Looking by red garland.
Still waiting for electric bass inspiration to come...
Holy poopie yes! And I really love P.C. and Blakey together, their work here as well as on a few other classic records makes them one of my favorite rhythm sectionsLee-Way is a not-well-known but GREAT album.
He's all over this (and ANY) record, but in my estimation, here's one example of what the fuss is about. Masterful time and a groovy, magical solo with long, beautiful phrases:
If I had heard this record way back when, it sure would have sealed the deal as far as wanting to pick up the bass.
If I had heard this record way back when, it sure would have sealed the deal as far as wanting to pick up the bass.
It's honestly my favorite PC sound. He sounds...dare I say fuller than on the quintet miles sessions (workin cookin relaxin). Something about that record is amazing.
Oscar Peterson, live at Montreux '77 (?) - got this recording in high school, NHOP on bass. (I don't play, nor do I want to, anything like NHOP, but there's just so much bass going on there).
Brian Bromberg, Wood.
Ahmad Jamal, at the Spotlight and Pershing, with Israel Crosby.
Brian Bromberg, Wood.
Ahmad Jamal, at the Spotlight and Pershing, with Israel Crosby.
If you want a real thrill and you're into vinyl, you owe it to yourself to throw down the duckets and get the Music Matters/Blue Note AAA remastering of LeeWay. Wanna hear what P.C. really sounds like?
^^^This. I'd already been playing EB and guitar and drums and flute for years before I ever heard Stan on the upright, but these two tracks especially really blew my mind:
- Jan 11, 2008
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while they couldn't be more opposite ends of the aesthetic spectrum, the first two albums with acoustic bass that captured my imagination (when I was about 15) were 'In A Silent Way' and 'Chick Corea Acoustik Bank: Alive'...
'In A Silent Way' I was just fascinated by the atmosphere, even though the sophistication was way beyond me. the Acoustik band think just freaked me out because I had never heard upright bass played like that, and it made me realize it wasn't just the frumpy thud thud thud that I heard when my dad would listen to 89.7 in the car.
'In A Silent Way' is still one of my favorite records of all time, and while my taste can no longer really deal with Dave Weckl, I love John's playing, and am fortunate to have gotten to study with him for a while, and now consider him a good friend. Funny how that sort of thing works out sometimes.
John
'In A Silent Way' I was just fascinated by the atmosphere, even though the sophistication was way beyond me. the Acoustik band think just freaked me out because I had never heard upright bass played like that, and it made me realize it wasn't just the frumpy thud thud thud that I heard when my dad would listen to 89.7 in the car.
'In A Silent Way' is still one of my favorite records of all time, and while my taste can no longer really deal with Dave Weckl, I love John's playing, and am fortunate to have gotten to study with him for a while, and now consider him a good friend. Funny how that sort of thing works out sometimes.
John
I came to jazz a bit late, and when I did, I was playing electric bass. The tipping point to buy a double bass came with an album from Charlie Haden and Pat Metheny - Beyond the Missouri Sky. Essentially a duo recording (and probably not 'Jazz' in the strict sense) I still wonder how you can play so little and have the sound so full.
