Jazz Concepts: More Bass In The Place! Multi-Bass Ensembles

Oscar Pettiford’s “Blues In The Closet,” Arranged For Three Basses

Jazz Concepts: More Bass In The Place! Multi-Bass Ensembles

Oscar Pettiford’s “Blues In The Closet,” Arranged For Three Basses

What’s better than one bass? Two basses, of course! What’s better than two basses? Three basses, of course! What’s better than…you get the idea. Today, let’s explore multi-bass ensembles and look at a three-bass arrangement of a bass-melody classic by the king of bebop, Oscar Pettiford. “Blues in the Closet” is a jazz standard that O.P. composed together with bassist/cellist Harry Babasin in 1953. The blues melody also appears on some recordings under the lesser-known title “Collard Greens and Black-eye Peas.” Although Pettiford is well known as a driving force of the bebop era, Harry Babasin was also a stalwart on the West Coast jazz scene and played on well over 1,500 recordings. “Blues in the Closet” has been recorded countless times, by Stan Getz, J.J. Johnson, Bud Powell, Chet Baker, and many others. It’s an easy 12-bar blues with a repetitive melody. The key of G makes it a fun playground for bassists. First, let’s look at the history of multi-bass ensembles in jazz history.

Probably the earliest prominent example of two or more bassists playing together is Hayes Alvis and Billy Taylor, who both worked in Duke Ellington’s band from 1935–1938. Oscar Pettiford and Harry Babasin were bass buddies who both played cello (tuned in 4ths, an octave above bass tuning) during the ’50s bebop era. Their recordings together are milestones — beautiful examples of two low-end masters working together. Bassist Arni Egilsson made a swinging album in 1985 with Ray Brown [Basses Loaded, Cambria]; Arni played arco melodies and solos, with Ray holding down the bottom. Egilsson would go on to work in a bass trio along with Niels-Henning Ørsted Pedersen and Wayne Darling [Live in Vienna, 2007, Quantum Leap]. Superbass is the name associated with the superstar bass ensemble led by Ray Brown and featuring John Clayton and Christian McBride. Their album Superbass! Live at Sculler’s Jazz Club [1997, Telarc] is a bass-gasmic, swinging affair.

Created in 1981 by Christian Gentet, L’Orchestre De ContreBasses turned the double bass world on its ear with their ensemble of jazz and classical-crossover virtuosi. Featuring players such as Renaud Garcia-Fons, Yves Torchinsky, and others, the multi-bass ensemble has recorded numerous albums through the years, including their tour-de-force project Bass, bass, bass, bass, bass & bass [1993, iTunes, http://odecontrebasses.free.fr/] And, no discussion of multi-bass ensembles could ignore the Mount Rushmore of electric bass ensembles: SMV with Victor Wooten, Marcus Miller, and Stanley Clarke. Since the supergroup recorded Thunder [2008, Heads Up], fans have been clamoring for a reunion. Wooten has been more prolific with his Berklee BFF Steve Bailey, recording several albums in the two-bass format with Bass Extremesthe latest being S’Low Down [2022, Vix].

In this issue’s Oscar Pettiford bass-trio arrangement of “Blues in the Closet,” the main melody (Bass 1) can be played in low position starting on the open G string. Or, to get a more open sound in the harmony, the main melody could be played in thumb position on the double bass or starting on the 12th fret on electric. A nice-sounding option is for all three voices to play unison in the low position; then, Bass 1 jumps up the octave when the harmonies enter in the second chorus.

For the shout chorus, I added a few choruses of Pettiford’s solo from his 1960 recording of “Blues in the Closet,” with pianist Bud Powell and drummer Kenny Clarke. O.P. is at the top of his game on this album [Bud and Hawk in Germany, 1960, Black Lion]. Note that this transcription starts on the fifth chorus of Pettiford’s amazing nine-chorus solo. You can experiment with where you want to bring in the shout chorus. You could use it to end solos from the three different bass voices before returning to the melody, or use the shout as an interlude between solos.

I suggest listening to the original recordings of Pettiford playing “Blues in the Closet” to emulate his feel and vibe. Once you’re comfortable playing the lines by yourself, find two bass friends to create your trio version. Or, do your best overdubbed version with a three-camera, made-for-YouTube performance. Have fun and keep swinging!

A Sampling Of Multi-Bass Ensembles

1. Original recording: “Blues in the Closet” [June 27, 1953, recorded for KGO radio]; Oscar Pettiford (cello), Harry Babasin (cello), Joe Comfort (double bass), Arnold Ross (piano), Alvin Stoller (drums).

2. Superbass Live at Sculler’s Jazz Club [Boston, October 17–18, 1996]; bassists Ray Brown, John Clayton, Christian McBride.

3. Superbass [Cologne, Germany, 1997]; bassists Ray Brown, John Clayton, Christian McBride, with guests John Goldsby (bass), John Riley (brushes on a phone book), Carmen Bradford (vocal).

4. The New York Bass Violin Choir [1980, Strata East]; bassists Bill Lee, Lisle Atkinson, Michael Fleming, Milt Hinton, Richard Davis, Ron Carter, Sam Jones. Intonation warning! That’s a lot o’ basses playing together! Richard Davis is taking most of the high lead arco parts.

5. “Blues in the Closet” [Bud Powell and Kenny Clarke, Bud and Hawk in Germany, 1960, Black Lion]. Note that the transcribed solo in this article starts on the fifth chorus of Pettiford’s nine-chorus solo.

6. L’Orchestre De Contrebasses — 12 bass, bass, bass, bass, bass …

7

The Art of the Bass Choir: Master bassist and Berklee teacher Lincoln Goines assembled a gaggle of top players to contribute to his multi-bass ensemble project including Lincoln Goines (featured on all tracks), Tom Kennedy, Ksenia Vasileva, Victor Wooten, John Patitucci, Matthew Garrison, Mike Pope, Susan Hagen, Gal Aviram, Mike Bendy, and Ed Lucie. Read about the making of the record in Bass Magazine: HERE

https://lincolngoines.bandcamp.com/album/the-art-of-the-bass-choir

Over the next year, John Goldsby will release a series of duo EPs with Billy Test. Listen to I’ll Be Around here. Check out John’s new video lesson series on bass soloing, Tell Your Story, at DiscoverDoubleBass.com and johngoldsby.com.

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John Goldsby   By: John Goldsby

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