Word: bassist
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Dates: during 1960-1969
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...enough to make the most seasoned performers pack up their axes, but the Handymen-Guitarist Gerry Hahn, Violinist Mike White, Drummer Terry Clarke and Bassist Don Thompson-rallied with some surprises of their own. Turning to Handy's Scheme No. I, they erupted in a dreamy and delirious atonal free-for-all, creating a great whirl of sound, like a radio with the dial spinning at peak volume. Handy, looking like a Chinese Pope in his foot-high brocade hat, sketched high looping solos that trembled and fluttered. When it was over, the sellout crowd of 7,000 turned...
...most impressive thing about the soloists was how well they blended on the soli passages. The only poor performance came in some low register passages that were clearly beyond the ability of the Bassist, especially in some sustained notes of questionable constancy in the Gloria; but he sounded fine in the higher registers. The star of the evening was soprano Marsha Vleck who, though lacking the heroic power of the Choral Society's previous sopratio soloist, sang beautifully, accurately, and gracefully...
...Chicago Musical College, with aspirations of becoming a concert pianist. But he got married at 18 and quit college to take a job as a clerk in a record shop. Soon he shelved the classics to form a jazz trio with a pair of high school chums-Bassist Eldee Young and Drummer Isaac ("Red") Holt. For the next ten years, the trio roamed the outskirts of success as virtuosos of the expectable in a trade that doted on the different...
E.S.P. (Columbia). Miles Davis and his fine quintet in abstract musings of their own invention (Agitation by Davis, Iris by Tenor Saxman Wayne Shorter, Mood by Bassist Ronald Carter). Sometimes the drum, bass and piano drive the soloists, but mostly they provide only phantom rhythms under the fluid runs and fragmentary phrases of the trumpet and tenor sax. No one will be tempted to tap a foot or sing along, but few with any E.S.P. at all will stop listening...
Pure speed was also an impressive part of bassist Gary Peacock's playing. It pulled him with flying colors through a long unaccompanied solo in "L". This kind of unaccompanied chorus demands technical proficiency, in addition to purely musical content. For no matter how much thought backs the melodic line, the audience loses the rhythmic and harmonic context normally provided by other instruments; the solo then sounds like a lot of notes in a vacuum. But Peacock's fast playing, by bringing the notes closer together, adds the harmonic element, almost like broken chords...