I like Kyle Eastwood's solo in "I Can't Remember" on his album "Now." Great tune and great playing.
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Double Bass Your favorite jazz bass solos
- Thread starter bmanbill
- Start date
some pretty amazing jazz bass solo is the full length recording of Dave Holland "One's All". I saw him doing a live show on german tv at "Jazz Baltica" whole concert just bass. He pulls off a nice program with both up tempo high energy stuff and ballads and so on, very complete! well arranged for a solo instrument. I can listen to that without getting that "show off" feeling
It's not strictly a solo, but I'd consider the bass duet (Haden/LaFaro) section from Ornette Coleman's "Free Jazz" to be a bit of a milestone...
Mine are pretty basic:
Mingus on Moanin' (Blues and Roots)
Mingus on "Fables of Fabus" (Right Now)
WW on Softly as in a Morning Sunrise (Sonny Rollins Live at the VV)
All Red Mitchell's solos on I Concentrate on you, the duo with Lee Konitz
Mingus on Moanin' (Blues and Roots)
Mingus on "Fables of Fabus" (Right Now)
WW on Softly as in a Morning Sunrise (Sonny Rollins Live at the VV)
All Red Mitchell's solos on I Concentrate on you, the duo with Lee Konitz
Here's a simple, short list, with some variety:
Terry Plumeri on "Dolphin Dance" (Terry Plumeri trio, "Blue in Green")
Terry Plumeri on "Ongoing" (Terry Plumeri Quartet, "Water Garden" - formerly, "Ongoing")
Dave Holland on "Conference of the Birds" (Dave Holland Quartet, "Conference of the Birds")
Reggie Workman on "Footprints" (Wayne Shorter, "Adams Apple")
+1 to George Mraz his "Jazz" album
Eddie Gomez on "Humpty Dumpty" (on Chick Corea, "The Leprechaun")
Paul Chambers' intro on "Teenie's Blues" (Oliver Nelson, "Blues and the Abstract Truth")
Jimmy Blanton on any of those duets with Duke Ellington
Terry Plumeri on "Dolphin Dance" (Terry Plumeri trio, "Blue in Green")
Terry Plumeri on "Ongoing" (Terry Plumeri Quartet, "Water Garden" - formerly, "Ongoing")
Dave Holland on "Conference of the Birds" (Dave Holland Quartet, "Conference of the Birds")
Reggie Workman on "Footprints" (Wayne Shorter, "Adams Apple")
+1 to George Mraz his "Jazz" album
Eddie Gomez on "Humpty Dumpty" (on Chick Corea, "The Leprechaun")
Paul Chambers' intro on "Teenie's Blues" (Oliver Nelson, "Blues and the Abstract Truth")
Jimmy Blanton on any of those duets with Duke Ellington
Marc Johnson - check out his solos on "Pure Getz".
Or his solo on Alice in Wonderland from J.Abercrombie's "Current Events". Or anything else - his solos surprise each time, you never know what to really expect. This is a unique quality which very few bassplayers have, in my opinion.
Or his solo on Alice in Wonderland from J.Abercrombie's "Current Events". Or anything else - his solos surprise each time, you never know what to really expect. This is a unique quality which very few bassplayers have, in my opinion.
Well its not really classic jazz but Jaco's solo in 'Havona' is very nice to the ears
Funny these two posts should be next to each other - Christian McBride actually does a version of Havona playing Double Bass on one of his solo albums and his solo starts by quoting Jaco's BG solo from Heavy Weather and then taking it further and developing it!
I though that was quite an interesting idea - so it shows how the instrument doesn't matter if you like the idea(s) - some people think Jaco was playing things that could only have been done on BG and that he was separated off in a box called "fusion" - but Christian McBride shows how it can all be used and built on, as part of a long Jazz tradition that didn't stop when electric instruments entered the scene!
[so it shows how the instrument doesn't matter if you like the idea(s) - some people think Jaco was playing things that could only have been done on BG and that he was separated off in a box called "fusion" - but Christian McBride shows how it can all be used and built on, as part of a long Jazz tradition that didn't stop when electric instruments entered the scene! [/QUOTE]
Bruce,
Well said. Don't try selling that idea to the so-called jazz purists, though!
[/QUOTE]Bruce,
Well said. Don't try selling that idea to the so-called jazz purists, though!
I am confused. Why don't you just write the article? If you can't come up with a list of 50 historically significant bass solos on the spot and then whittle them down to 4 or 5 outstanding examples to focus the article around you probably don't need to be the one writing the article.
Maybe you can; I just don't know why you would be soliciting advice from an internet forum if that were the case. If you need help coming up with examples your article will be no better than the Kurtz article (although I actually agree with about 70% of what Kurtz is saying).
JYS
Maybe you can; I just don't know why you would be soliciting advice from an internet forum if that were the case. If you need help coming up with examples your article will be no better than the Kurtz article (although I actually agree with about 70% of what Kurtz is saying).
JYS
I love everything Red Mitchell played on the Sweet Basil album with Jim Hall, but his tuning in 5ths put a degree of separation between what he played and my relating to it as a solo on the same instrument that I play. But then again, his solos transcend "bass" anyway. As far as my favorite "EADG" tuned bass solos go, off the top of my head I have: Paul Chambers on "This Can't Be Love", from Red Garland's "It's a Blue World", and PC on "Sid's Ahead", too, from "Milestones." Wilbur Ware on the aforementioned "Softly as In..", with his little "Picardy 3rd" moment at the end of the 2nd A on his last chorus. I love Wilbur's "The Man I love", too, off of his record. Red Mitchell on "You Are Too Beautiful", from Warne Marsh's "Music for Prancing." Darn near everything Oscar Pettiford ever played, with "Blues in the Closet", "Tricotism", "Stradust", "Caravan", and "Honeysuckle Rose" coming to mind. Eddie Gomez on "Elsa" with Bill Evans in duo at Montreaux. Mingus, "Folk Forms 1" and "What Love." Dave Holland on Hank Jones' "The Oracle"--dang near every cut. There are too many to mention, but these rose in my mind tonight.
this thread my just be an attempt by goia to bring back all the bass players he alienated with that kurtz article. its nice to know that he sees the significance of the talkbass community. as evidenced by this thread or at the least by hiring a member of this site.
i'll have to suggest the whole sunday at the village vanguard album, because it's amazing (specifically my many's gone now) , and because kurtz specifically trashes the bass playing on that album.(what a jerk) and also paul chambers' bass on top album, i really love his solo on dear old stockholm.
but i'll still never go back to jazz.com
i'll have to suggest the whole sunday at the village vanguard album, because it's amazing (specifically my many's gone now) , and because kurtz specifically trashes the bass playing on that album.(what a jerk) and also paul chambers' bass on top album, i really love his solo on dear old stockholm.
but i'll still never go back to jazz.com
Jymie Merritt on the Blakey Moanin' album, recorded at about the same time as LaFaro. Early Gary Peacock on the Carmel Jones album, illustrating the point that LaFaro turned bass thinking around. It's like when the 4-minute mile seemed for years impossible to break. Then, Bannister did it, and soon everybody was doing it. Scot showed the bass world what the possibilities were.
I think you have enough sources now.
I think you have enough sources now.
I don't need help thinking of a ton of great bass solos. I just thought it would be interesting, thought-provoking and, um, fun to solicit other bassist's ideas. Perhaps someone might mention something I either haven't heard or have forgotten about. Neither thing has happened yet, but it might. Feel free not to contribute if you don't feel like it.
Only thing I can offer that you may not have heard about is Terry Plumeri's recent album, "Blue and Green." I feel that this disc may be the most significant recorded milestone for jazz bass since the Evans trio "Sunday at the Village Vanguard" (IMHO, of course...).
There are very few jazz bassists who do much more than use the bass as a pitch drum...since that's its role in the jazz rhythm section, that's usually fine. When they solo, however, some bassists just bang the pitch drum faster.
Now, I have heard a lot of bass solos that are basically pitch-drum solos. That's cool, its a style of playing, but it is sort of like listening to a drum solo. Its a groovy thing, but a different thing than listening to a voice or a horn, for example; instruments that are less encumbered by size and geography.
What is significant to me is how little of the bass I hear in somebody's playing. I am not interested in hearing somebody struggle with our instrument, or make compromises based on what they know lies under their hands. What inspires me is music that happens in spite of our instrument. To my mind, Terry leads the pack in this department, arco, and George Mraz has similar melodic freedom, with pizz.
Whether others like Terry Plumeri's and George Mraz's playing or not doesn't worry me too much - we all have varying tastes, and our rights to them. What does seem important is this; isn't the point of any attempt at good melodic playing to truly transcend our instruments?
What the aforementioned author (of the provocative article) may be griping about is that Scott Lafaro (and some other great players) makes everyone want to solo, and gives the bass more credibility in that regard. Honestly though, only a few players can do too much more than be pitch drummers. So, the bass solo ends up being another sort of drum solo, in some cases.
So, perhaps the article could talk about how the previous author is confusing two things, pitch drumming and unconstrained melodic playing (?). In the case of melodic playing, what does it matter what instrument the player's voice is coming through? A improvised melodic solo should be just that, notes/motives should be stand-alone musical ideas, regardless of whether they are played on soprano sax or bass...does is matter which instrument the music comes out of?
There are very few jazz bassists who do much more than use the bass as a pitch drum...since that's its role in the jazz rhythm section, that's usually fine. When they solo, however, some bassists just bang the pitch drum faster.
Now, I have heard a lot of bass solos that are basically pitch-drum solos. That's cool, its a style of playing, but it is sort of like listening to a drum solo. Its a groovy thing, but a different thing than listening to a voice or a horn, for example; instruments that are less encumbered by size and geography.
What is significant to me is how little of the bass I hear in somebody's playing. I am not interested in hearing somebody struggle with our instrument, or make compromises based on what they know lies under their hands. What inspires me is music that happens in spite of our instrument. To my mind, Terry leads the pack in this department, arco, and George Mraz has similar melodic freedom, with pizz.
Whether others like Terry Plumeri's and George Mraz's playing or not doesn't worry me too much - we all have varying tastes, and our rights to them. What does seem important is this; isn't the point of any attempt at good melodic playing to truly transcend our instruments?
What the aforementioned author (of the provocative article) may be griping about is that Scott Lafaro (and some other great players) makes everyone want to solo, and gives the bass more credibility in that regard. Honestly though, only a few players can do too much more than be pitch drummers. So, the bass solo ends up being another sort of drum solo, in some cases.
So, perhaps the article could talk about how the previous author is confusing two things, pitch drumming and unconstrained melodic playing (?). In the case of melodic playing, what does it matter what instrument the player's voice is coming through? A improvised melodic solo should be just that, notes/motives should be stand-alone musical ideas, regardless of whether they are played on soprano sax or bass...does is matter which instrument the music comes out of?
I feel that I can state with confidence that calling any recently released album the "most significant recorded milestone for jazz bass since the Evans trio "Sunday at the Village Vanguard" is ridiculous.
If you prefer the solo styles of Scott LaFaro and George Mraz, then your taste leans toward more lyrical playing (which is what I think you really mean by your phrase "melodic freedom"). OK, then what about Michael Moore, Marc Johnson, Charlie Haden, Eddie Gomez, Niels Pederson, Dave Holland, Red Mitchell and many other players who play what would be great melodies on any instrument.
To disregard the artistry or "significance" of these great bassists strikes me as rather ignorant. Also, it seems to me that the term "pitch drumming" is malevolently dismissive of a great many terrific players. Could it be that you just don't like the sound of the bass?
If you prefer the solo styles of Scott LaFaro and George Mraz, then your taste leans toward more lyrical playing (which is what I think you really mean by your phrase "melodic freedom"). OK, then what about Michael Moore, Marc Johnson, Charlie Haden, Eddie Gomez, Niels Pederson, Dave Holland, Red Mitchell and many other players who play what would be great melodies on any instrument.
To disregard the artistry or "significance" of these great bassists strikes me as rather ignorant. Also, it seems to me that the term "pitch drumming" is malevolently dismissive of a great many terrific players. Could it be that you just don't like the sound of the bass?
I certainly didn't mean to be offensive. I will try to better express what I am hoping to say...
"Pitch-drumming" is neither an original phrase, nor intended as a judgment. I used it to be descriptive, not dismissive or "malevolent" in any way. I think it objectively describes our role in a jazz rhythm section.
When we read about American musical history we learn about "banned" or forbidden African music and instruments (especially drums) during slave times. We learn about the creative substitution of Western instruments, tonality, and forms to meet the cultural need of the oppressed.
Jazz comes out of this history. In traditional African music, "talking drums" (pitch drums) are routine. Our musical role, when we walk, or vamp, is an updated version of pitch drumming.
As far as, "...Michael Moore, Marc Johnson, Charlie Haden, Eddie Gomez, Niels Pederson, Dave Holland, Red Mitchell and many other players who play what would be great melodies on any instrument..." I couldn't agree more! I know and appreciate their playing, have many of their discs, and try to listen, learn, and grow. All tremendous players! And what about the newer players? Tony Falanga, Scott Colley, etc.?
I said that only a few players go beyond being a "talking drum" in their solos. All of these great bassists, and many more, are part of that group of select few.
That said, most of these great musicians are, still, essentially "reworking cleared land" in terms of their basic approach and overall concept (IMHO). To my musical orientation, none of their solo work represents a huge conceptual leap from pre-established approaches, post La Faro.
I know their playing and can comment on it. Do you know Terry's? Have you heard the album I mentioned? I would respectfully suggest that you listen to that disc, then consider my statement. i will personally send you a copy, out of goodwill...(PM'ing you now for your snail mail address).
I view Terry's playing as a significant step forward because he is approaching the bass significantly differently as a soloist. By playing arco, with the technical freedom, articulations, and motivic creativity of a great horn player, he is doing something groundbreaking.
I love the bass' sounds, and arco is a big part of what the bass can do. The arco "voice" is simply a totally different approach, in jazz. Many folks have tried it, over the years. He is the only one I have seen/heard pull it off with great tone, running 8th note freedom, and grace. Who else can do all of this?
You asked for help. You wrote," I don't need help thinking of a ton of great bass solos. I just thought it would be interesting, thought-provoking and, um, fun to solicit other bassist's ideas. Perhaps someone might mention something I either haven't heard or have forgotten about. Neither thing has happened yet, but it might. Feel free not to contribute if you don't feel like it."
In response, I offer a visionary player, who you may not have been aware of, who has advanced the jazz bass solo concept in a big way. From your response, I am guessing that I did provide something with which you were unfamiliar.
Best,
Eric
I sent an e-mail for Kurtz to jazz.com and got back what seemed to be a canned reply from Ted Gioia. Did anyone here have the same experience? It's as if he didn't even read my e-mail, which was not combative, and IMHO contained a wry reference to Jonathan Swift and the fact that Alan Kurtz has never heard LaFaro play.
Just wondering.
Just wondering.
