Double bass and under electrical

Double bass and under electrical

Double bass

The main function of the bassist in the jazz, as in any other musical style, is to maintain the time and to delineate the harmonic frame of the topic, to turn, generally of a walking line bass.

Of between the first jazz counterbassists, the most important was Pops Foster, easily identifiable for its skill of slap, which it kept on exhibiting till the end of the decade. Foster was, next to Steve Brown, Bill Johnson or Wellman Braud the initiator of a tradition that continued with John Kirby, Walter Page, Slam Stewart and Bob Haggart: the biggest counterbassists of the age of swing.

The history of the modern double bass of jazz began with Jimmy Blanton, the bassist of the band of Duke Ellington, whose band of beginning of the decade of full right soloist is considered to be the best of its career owed especially to the presence of Blanton, who had contributed an extraordinary grade of rhythmic and harmonic soundness, establishing the double bass, for the first time in the history, like an instrument. Oscar Pettiford is the second one of the big counterbassists of jazz, followed by Ray Brown a figure with one of the most extensive discographies of world Charles Mingus, died in, it was one of the most important figures of the history of the jazz, not only for its role like pioneer of the instrument, but – and especially – for its facet of composer and the musical director of avant-garde

Of the same generation of counterbassists that they, there stand out Chubby Jackson, Eddie Safranski, Milt Hinton, George Duvivier, Percy Heath, Tommy Potter, Curtis Counce, Leroy Vinnegar, Network Mitchell, Chuck Israels, Wilbur Ware and, especially, Paul Chambers. With Ware and Chambers we get in the bassists’ circle of hard bop, to which also there belonged Jimmy Woode, Wilbur Little, Jymie Merritt, Sam Jones, Doug Watkins or Reginald Workman.

Charlie Haden, helped to re-define the language of the modern post bop, while Scott Lafaro, dead person with only years, established like one of the biggest and influential instrumentalists of its epoch thanks to its work with Bill Evans. Otros important names of the mainstream of the jazz during the decades of the ends of the XXth century in the double bass are Jimmy Garrison, David Izenzon, Richard Davis, Ron Carter, Gary Peacock, Steve Swallow, There sweeps Phillips, Eddie Gomez, Cecil McBee, Buster Williams, David Friesen, Glen Moore, Stafford James, Mark Johnson, Clint Houston, Dave Williams, Calvin Hill, Cameron Brown, Michael Moore, Mike Richmond, Harvie Swartz, Frank Tusa, Gene Perla, Wayne Dockery, in addition to the Frenchman Henri Texier, the Hungarian Aladar Page, the German G√ľnter Lenz, the Swedish Palle Danielsson, the Danish Niels-Henning Orsted Pedersen, the Briton Dave Holland, the Israeli Avishai Cohen, and the Czechs George Mraz or Miroslav Vitous, charter member of Weather Report.
The bassist of Danish jazz Niels-Henning Pedersen.
Between the counterbassists of free jazz is necessary to be emphasized to Buell Neidlinger, Peter Warren, Jack Gregg, Sirone, Henry Grimes, Alan Silva, Malachi Favors, Fred Hopkins, Mark Helias, John Lindberg, Rick Rozie, Francisco Centeno, the Briton Brian Smith, the Japanese Yoshizawa Motoharu y Katzuo Kuninaka, by the Austrian Adelhard Roidinger, the Norwegian Arild Andersen, the Italian Marco Mellis, the Dutches Arjen Gorter and Maarten van Regteren-Altena, the Germans Peter Kowald y Bushi Niebergall or the South African Johnny Dyani.

Under electrical its journey began in the jazz of the hand of Monk Montgomery, brother of Wes and bassist of the band of Lionel Hampton. In under electrical, it was a very novel instrument and most of the counterbassists of jazz were despising it like a bastard and inexpressive instrument. Nevertheless, partly due to the interest that had caused the instrument in hands of Montgomerynota and partly due to the advantages as for transportabilidad and volume that under electrical it was presenting with regard to the double bass, the new instrument was gaining little by little in popularity, especially in other ambiences like pop, the rock and roll and r&b.

The world of the jazz had to wait more than years to receive the first instrumentalist of prestige that he had decided to adopt under electrical with all its consequences. He was Stanley Clarke, the first electrical bassist of importance in the history of the jazz, but the big revolutionary who was waiting for the instrument was a Small horse Pastorius, a “pure” electrical bassist notices that was named to re-write the history of its instrument as it did Charlie Parker in the saxophone and whose tragic death in finished the meteoric career of one of few musicians who have been capable of revolutionizing of above to below the history, the skill and the function of its it arrange

Jimmy Johnson, Anthony Jackson, Steve Swallow, or Paul Jackson, arose at the beginning of the decade of, but the first generation of electrical bassists post-small horse emerged at the beginning of the decade of, and between them it is necessary to quote Marcus Miller, Darryl Jones, Jeff Berlin, Mark Egan, Victor Bailey, Steve Rodby, John Patitucci, Gary Willis, Victor Wooten, Michael Manring or Oteil Burbridge. Actualmente the native of Cameroon Richard Bona emphasizes inside the merger bassists that it has kept on developing the previous line.

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