SA, No problem with any of the excellent bassists you list. It's Magnusson's horrible 70s tone and his need to slide notes at every grandstanding non opportunity. He also wrecked "Among Friends", Art's ultra rare reunion album with Frank Butler and Russ Freeman that should have been wonderful. And I paid a fortune for back then to import. Bstrd. BUT, he now teaches, is highly regarded it seems and wrote a book on "The art of the walking bass" (sic). Those who can etc.,,,
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The weird thing is that Art worshiped Paul Chambers....."Paul played so great I just had to stop, put down the horn and listen!" so how the hell he ever put up the Magnoman....
BN.
#great interview with Art by Charles Fox. Tape box 18995678!Comment
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I don't agree entirely with S.A's comment about bass players tending to play walking bass lines these days but there is a kernel of truth in this comment which, for me, marks out the Achilles heel in jazz. Because the role of the bass player is to provide both a harmonic and rhythmic anchor the role it plays is significantly more conservative than other solos instruments where the player will be reaching for the stratosphere within his solo. If you notated most bass lines from anyone in the history of jazz, I'm sure that you will find the actual lines played to be pretty uninteresting in themselves. For me, I can see why fans / musicians / critics from the world of Classical music might be critical of jazz when looking at the role of bass players in the music. It's a catch 22 situation. Play something really clever and intricate and the lines will be too busy and clutter up the ensemble. To fulfil a role in a group, the bass need to be subservient to the other members in the band but the way the musicians work within these parameters often dictates how much the band swings or can add colour to the ensemble.
I think the curious thing is that if you consider some of the great bassists from the past from Pops Foster, Jimmy Blanton, Paul Chamber or Charlie Mingus their lines hardly rival J S Bach yet they can provide a degree of propulsion missing from Classical music. I'd argue that walking bass lines are still relevant although proponents as diverse as Charlie Haden or William Parker offer a totally different solution to the likes of Paul Chambers with regard to both note choice and how they feel the beat. If you take a modern bass exponent such as Christian McBride the technical level of playing and drive he produces is well in excess of anyone in my list above. For me, he is very much the Paul Chambers of his generation. You could also say the same of a more sensitive player such as Marc Johnson.
I'm used to hearing all styles and approaches to bass playing these days and can appreciate both the traditional and more outside approaches. It's a bit of a generation to say that so many players still "walk" but then I would suggest that musicians like Barry Guy aren't really jazz musicians anymore than another bassist, Gavin Bryars. Must admit, I'd prefer to listen to his brother Buddy's guitar playing. (Comment
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I was listening to the re-issue of Booker Little's quartet date on Time with Roy Haynes and Scott Lafaro and as wonderful as Booker is...pointing right to Woody Shaw..its Laforo's bass that constantly leaps out. Not is any flash way but gorgeous singing lines that match Booker's thoughts. Lines like no-one else at that time. He is also brilliant..and slackd stringed...on Hamp Hawes earlier Four Real. Very Red Mitchell then.
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I remember it was Dave Holland's first solo on the Chick Corea Circle Live in Paris double album that taught me that, contrary to what Ian says above, a bass solo does not have to keep to "the parameters", or provide root and sub-root positions to underpin the harmonic sequence; thereafter I listened to his "accompanying" work on that set, and it was clear that the same principles were being applied. The freeing up of the medium allowed bassists to rear up into the heights when they felt it appropriate or "the spirit took them", as in the case of Gary Peacock in Ayler's 1964 quartet or Miroslav Vitous in early Weather Report, to cite just 2 of innumerable examples; other instruments are capable of taking on the bass function, as they do on one of the tracks on the John Stevens's Spontaneous Music Ensemble's first recording "Challenge", in which conventional roles are swapped; but it can be legit in straight-ahead performances too - the piano, or a bass clarinet laying down bass fundamentals while the bassist goes off on one.Comment
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Originally posted by BLUESNIK'S REVOX View Post
Bluesie: You got off easy on Blues For The Fisherman.
Back in the days when it was only available from the source - Mole Jazz Record Store - I had to buy a Brit-pounds' money order at the American Express office in L.A. and then wait months for my 'sea-mail' delivery.
As you know this release was by The Milchov Leviev Quartet (featuring Art Pepper).
When I saw the group at Donte's the night I had Art sign Straight Life, Art & Milchov on every solo, it seemed, shifted into overdrive...it was so damn competitive!
Speaking of books, Laurie Pepper just hit the shelves with 'Art: Why I Stuck With A Junkie Jazzman', a chronicle of their drugdaze together, mostly. Will take a pass.
Oh yes - Bob Magnusson was a real presence the times I caught him in the clubs, here. Especially backing-up pianist Mike Wofford.
Blame your disappointment on some low-fi technology?Last edited by charles t; 17-08-14, 18:44.Comment
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Yes Charles, I saw Art at Ronnies the week Fisherman and True Blues were recorded. Laurie very vocal, Art very expansive and happy to talk. I think he really enjoyed his time there and was moved by the support. I saw that Laurie had the book out which is being pushed as a sort of a relationship primer? Well..... Frank Morgan asked her to manage him after Art died. I think she said once is enough! More than.
Re Magnusson, I just do not like that playing. It could be the amp set up. Ron Carter could sound as bad at that time (70s). There is no wood. Gotta have wood...
BN.
Art also played Cardiff, Wales, near me. A gig I missed for some unknown reason but there had been a bust up in the band and John Taylor I think stood in on piano.Comment
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SA
I don't think that it is at all necessary to play the root in a bass line. I would have thought that my bass players are far more sophisticated these days and it's likely that the notes chosen might not even belong to the chord or even a triton sub. Check out William Parker's bass lines as his selection is never the obvious one. However, whatever note you choose, it's always going to imply some harmony.Comment
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Yes, Bluesnik...Art asked me what I thought of the book (Straight Life).
My reply: "I'm surprised that you are still living!"
Departing, I said to him: "Keep living, man!"
Art: "I certainly intend to, now that I have so much to live for!"
But, that would be for two years, only...
Inscription: "To Charles - I hope you enjoyed reading this half as much as I enjoyed living it." Art Pepper, Feb. 1980.Last edited by charles t; 18-08-14, 05:03.Comment
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