Ray Brown was born on October 13, 1926, in Pittsburgh, Pennsylvania, and took piano lessons as a child. After noticing how many pianists attended his high school, he thought of taking up the trombone, but his father was unable to afford one. With a vacancy in the high school jazz orchestra, he took up the upright bass instead.
A major early influence on Brown's bass playing was Jimmy Blanton, the bassist in the Duke Ellington band. Brown's high school music teacher believed that he was a diligent student, as he took the bass home with him on weekends. Brown, however, was already using the school bass in gigs; when this was discovered, the bass had to be returned and Brown's father bought him one. Brown graduated high school in 1944.
As a young man Brown became increasingly well known in the Pittsburgh jazz scene, with his first experiences playing in bands with the Jimmy Hinsley Sextet[a] and the Snookum Russell band. Later, having heard stories about the burgeoning jazz scene on 52nd Street in New York City, he bought a one-way ticket to New York. He arrived in New York at the age of 20, met up with Hank Jones, with whom he had previously worked, and was introduced to Dizzy Gillespie, who was looking for a bass player. Gillespie hired Brown on the spot, and he soon played with such established musicians as Art Tatum and Charlie Parker. In 1948, Brown left Dizzy's band to start a trio with Hank Jones and Charlie Smith.
It shows you how the bass functions, and the hand positions and locations on the instrument so you can find those beautiful notes too. And it has QR codes that link to video demos so you can watch the Maestro play the exercises himself.
1/2 through 5 1/2 positions*Etudes*Scales*Horizontal Technique*Arpeggios*Pizzicato*Bass solos*Tips for players*Improvisation tips*Ideal for both upright and electric bass.*Perfect for bass players and teachers alike.
"We jazz bassists all have the same notes. The difference is in our finding different and new places to play them on the instrument. This is what makes our own sound unique to us" - Ron Carter
"We are fortunate, as students, (and we are ALL Ron Carter students) that Sansei has codified his approaches to bass playing into concise and practical methods. Many decades of teaching at the highest level, at schools like Juilliard and Manhattan School of Music, and clinics and masterclasses at virtually every top conservatory in the world, insures his position at the top of the Jazz Bass Totem Pole, and the Bass Education Totem Pole!"
This is a great book to have for anyone serious about playing or teaching the bass! I have always thought if you can get just one great idea, but an idea so grand that you can build foundations, then the book was successful. Murray Grodner's "Guide to Refining Performance Practices" has so many great ideas and is built on years of wisdom.
This CD couples two albums recorded in early 1962 by nearly the same big band, conducted by Ernie Wilkins. While "Bursting Out With the All-Star Big Band" presented the Oscar Peterson Trio (with Ray Brown and Ed Thigpen) plus the Wilkins aggregation, "Ray Brown with the All-Star Big Band" showcased the bassist as the leader (he plays cello on three tracks, leaving the bass chair to Sam Jones) and Cannonball Adderley (who also plays on the Peterson album) as a guest soloist on most of the tracks. The accompanying bands on both LPs are authentic all star formations, including such names as Clark Terry, Nat Adderley, Roy Eldridge, Jimmy Cleveland, Slide Hampton, Melba Liston, Julius Watkins, Yusef Lateef, Budd Johnson, Milt Jackson, Tommy Flanagan, and Hank Jones, among others.
If you know how to create a walking bass line, you can be more creative in your jazz playing. A walking bass line is a more creative form of bass playing than the other swing styles because you choose new notes each time you play the same song.
Creating a walking bass line is one of the more elusive art forms in the bass world, but if you understand how to put it together, step by step (pun intended), it won't seem so frightening. The formula for a successful walking bass line is simple:
You can walk through almost any jazz tune. To demonstrate the jazz walking style properly, the following figure shows you how to walk in a jazz blues progression. In the figure, the chords are printed above each grid. The modes for each chord are clearly marked, and the leading tones are the last note in each sequence (follow the arrows). You can start this progression on any root. This blues progression is written in Bb, but if someone asks for a jazz blues in C, just move the whole pattern up two frets (toward the bridge of the bass) and start your first note on C.
When: Thursday, April 12th, 10 a.m - 3 p.m Where: Speedway Plaza in front of Gregory Gym Join SACA as we table on campus to show life in the animal agriculture industry from the animal's point of view, using virtual reality technology. We will have posters, flyers, and give brownies as incentives for watching a 4-5 minute video! Volunteers are needed to help with setting up the headsets and running our table. 2b1af7f3a8