Paul Warburton said:
Only wish I had found Double Bass at 16 years of age and not at 40 years of age.... all those wasted years!
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Double Bass Wasn't RED a GREAT Player?
- Thread starter powermans
- Start date
Only wish I had found Double Bass at 16 years of age and not at 40 years of age.... all those wasted years!
Paul Warburton said:
I just realized that I had a DVD that has Tal, Tommy, & Red playing Fascinating Rhythm all this time. I'm assuming it's a segment from the tape you guys are talking about. The DVD sucks cuz it doesn't tell you who the personnel are on each song, so I didn't know what Red looked like until recently. It's on "Legends of Jazz Guitar Vol. 2" published by Vestapol/Rounder. All three of those guys... SMOKIN'!
Heheh... I thought he looked more like one of Santa's elves. The angle of the camera had him looking like he's a dwarf standing behind the bass.Paul Warburton said:
For some reason, I liked seeing Tal misstart the end of the tune by accidentally cutting into the beginning of Red's turn to solo. Red looked just a little indignant until Tal gave him a nod as an apology. Throughout the whole thing, Tommy Flanagan was playing so fast, and yet the expression on his face was like he was strolling through the park, not even looking at his hands. Simply amazing.
I wasn't going to bring this up....everone respects Tal so much....but Tal seems to be really shakey on this entire tape.
Paul Warburton said:
You should see him on the "Great Guitars of Jazz" also from Vestapol w/ Herb Ellis and Charlie Byrd. He's even older and shakier. Poor guy, but he still sounded good anyway.
Paul, was Red the first guy to use double and triple stops on DB?
Michael Moore uses them a lot in his Moore/Reid video, and Michael sites Red as being an influence for his melodic conception.
Were there any bassists pre-Red who did that, or did he get it from playing piano and applying that to DB?
Michael Moore uses them a lot in his Moore/Reid video, and Michael sites Red as being an influence for his melodic conception.
Were there any bassists pre-Red who did that, or did he get it from playing piano and applying that to DB?
Eddie Safranski and Chubby Jackson used double stops. When I heard them I tried it on solo work just for kicks and just to impress (as did many other jazz bassists of the time, late 1940's). Probably not as polished as Red, but good kicks anyway.
Actually the first time I ever heard a double bassist using double stops was, as you mention, Eddie Safranski.....actually, in a Stan Kenton video.
In fourth tuning, Michael is the most fluent double stopper i've heard. Red, of course, with the fifth tuning, was certainly approaching a whole new level of double and triple stop comping.
In fourth tuning, Michael is the most fluent double stopper i've heard. Red, of course, with the fifth tuning, was certainly approaching a whole new level of double and triple stop comping.
I am currently reading my Xmas Pressie from my daughter titled "Jazz Anecdotes"by Bill Crow and although the odd story comes up about RED in this book, I thought you might like this particular reference. So as not to get clobbered over the head with copyrights, I'll give you the general outline as to how the story reads.
Apparently Red was living in Los Angeles at this time and, a local club made contact to see if he was available to play a week with Marion Mc Partland who was coming over from New York. It turns out that Red knew Marion however, had never played a gig with her. On hearing this, Red asked the agent for the club why he was contacted to play the gig? Oh said the guy, Marion asked me to find a bass player that sounds a lot like Red Mitchell and your number came up!
Apparently Red was living in Los Angeles at this time and, a local club made contact to see if he was available to play a week with Marion Mc Partland who was coming over from New York. It turns out that Red knew Marion however, had never played a gig with her. On hearing this, Red asked the agent for the club why he was contacted to play the gig? Oh said the guy, Marion asked me to find a bass player that sounds a lot like Red Mitchell and your number came up!
Thanks Power...Actually, Marion told me that story when I worked with her a few years ago. Although, when she hired me she didn't stipulate that she needed a Red clone.....I'm afraid (at the time ) She got one.
I also read Bills book....there's some funny **** in there!
I also read Bills book....there's some funny **** in there!
Pardon me if this came up before, but this thread is sooo long!
I just picked up the All Night Sessions, volume three. It is so relaxed and yet swings relentlessly. I've listened to it repeatedly, and it keeps growing on me. The whole band, Red's big sound with gut strings, soulful and lyrical solos...
On the 5th track, a C blues, you can hear people talking in the not so background. What is the story with this?
I just picked up the All Night Sessions, volume three. It is so relaxed and yet swings relentlessly. I've listened to it repeatedly, and it keeps growing on me. The whole band, Red's big sound with gut strings, soulful and lyrical solos...
On the 5th track, a C blues, you can hear people talking in the not so background. What is the story with this?
T, I can't seem to find my copy of Volume 3., so your guess is as good as mone.
I think Fuqua has these, so maybe he can shed some light. Different combinations of this band ( the Hawes trio, and several combinations of the same with other people) did a helluva lot of recording for that old Contemporary label. Off hand, I can't remember a live one though.
Interesting!
I think Fuqua has these, so maybe he can shed some light. Different combinations of this band ( the Hawes trio, and several combinations of the same with other people) did a helluva lot of recording for that old Contemporary label. Off hand, I can't remember a live one though.
Interesting!
It's definately a studio date. It's something weird like somebody left the talk back mic on in the control room, and that got recorded also. You can hear it through much of the track, but especially during the bass solo.Paul Warburton said:
Just like my gigs!
Hawes' bio ain't much use here. Three sentences on the session.
I've really been digging on these records lately too. Working on improving my RMQ, y'know.
(RMQ: Red Mitchell Quotient)
I've really been digging on these records lately too. Working on improving my RMQ, y'know.
(RMQ: Red Mitchell Quotient)
Just taking in These Foolish Things Track 9 off Hampton Hawes Trio Vol.1.as I type this....But what I wanted to mention was, I was at a local CD Store down the Gold Coast the other day and came across an unusual recording which featured Red with some other Jazz guys BUT!!!! the Cd was headed by a guy playing UKULELE!!!! doing Jazz? (Can't remember the name of the guy or CD) I already had 8 CD's selections in my hand to purchase and nearly made it nine but, was turned off at thought of a Ukulele playing Jazz... I would have bought it for Red alone if I didn't have the other 8 in my hand! I know there not going to sell this one in a hurry so, if ANY ONE has this CD /Recording or knows if it is any good! will you make a comment, and I might just take the 50 Mile drive back and get it! 
That uke player was Lyle Ritz, who actually is a great bassist as well. He's legendary. It's a great CD...you can actually Google up some sound clips from that CD if you want to check it out.
