10 Bassists With Best Arco (Bowing) Technique

[Capt. W./TX.]

In alphabetical order:

Richard Davis
Dominic Duval
Michael Formanek
Eddie Gomez
Drew Gress
Mark Helias
Dave Holland
John Lindberg
Buell Neidlinger
Lynn Seaton

[Pete C]

Some favorites off the top of my head:

Slam Stewart
Paul Chambers
Renaud Garcia-Fons

[Sergio Zamora]

Clay and I saw the Marks Bros (Dresser and Helias) tearing up an arco storm last year.

[Squaredancecalling Steve]

David Izenzon

Joelle Leandre

Christian McBride

Edgar Meyer



and seconds for

John Lindberg

Dominic Duval

Dave Holland

Michael Formanek

Mark Helias

Mark Dresser

[Tom Storer]

I'm not sure I would recognize "good arco technique" if I heard it. I do note that in general, jazz bassists don't sound *anything* like classical bassists when they play arco. Most of them sound pretty rough around the edges to me - Paul Chambers, for example, loved his arco solos, and so do I, but I don't know if in terms of "good technique" they're all that.

BWTFDIK?

[Pete C]

Tom, in this case I interpreted "technique" to mean "approach" rather than "technical prowess."

[Tom Storer]

Oh, you did, did you? Well, be that as it may.


[not bad for a completely meaningless post if I do so say so myself]

[Derek Taylor]

I’d add:

Bertram Turetzky
Jean-Jacques Avenel
&
William Parker

Turetzky edges out Davis by a narrow margin at the top.

[Pete C]

Originally posted by Tom Storer
BWTFDIK?

Tom, there are young people here. Can't you say BWTHDIK?

[frankpop1]

I'm not sure I would recognize "good arco technique" if I heard it. I do note that in general, jazz bassists don't sound *anything* like classical bassists when they play arco.


that's becuz most jazz bass players are terrible at arco technique. i think that most listed above fail to *practice* the technique to my ears. usually an improvised arco solo is worse than a bad drum solo, altho i find that there is some clear winners who are pretty skilled.

1. dominic duval
2. peter kowald
3. joelle leandre
Barre Phillips
Maarten Altena
Barry Guy
Miroslav Vitous
jean-francois jenny-clark


how bout cellist tom ulrich

[graypencil]

nothing at all wrong with the Capn.'s list ..

but I'd add John Clayton to that list as well ..

This year at the Centrum jazzfest, I heard him play a solo
"medley" of Bachs' Air on a G string ..and ..One Mint Julep !

and it worked!! ..

besides which, John is such a great guy personally ..

[Samuel]

Assuming you're not looking for "Gary Karr," let's not omit Michael Moore. D'ya think Stan Clarke gets on the list, too?

[hornplayer]

I'd add Ron Carter.....
originally a classical cellist....

[Capt. W./TX.]

I picked the names I did largely because they have good-to-excellent intonation when they use the bow and an overall mastery of arco playing that-to my ears, anyway-is pretty close to what you'd expect from a professional section bassist in one of the major symphony orchestras.

Incidently, Davis and Neidlinger both have legit orchestra experience-maybe some of the others as well.
(Neidlinger is also a cellist).

A couple of items worth considering: most jazz bassists have their instruments set up primarily for pizzicato playing. The position of the sound post inside the instrument and the height of the strings over the fingerboard is all calculated to get the best-and biggest-possible sound from their bass while playing pizzicato. Their use of the bow is usually confined to endings on ballads, etc. The jazz bassists that use the bow often will have their instruments set up to sound great either played pizzacato or arco (really good basses that can be set up this way are often quite expensive!)

Another point is that most jazz bassists will sound fairly in tune playing normal pizzicato, but have serious sound and intonation problems when they do use the bow. The pitch problems playing arco are usually most obvious while the player is bowing on the upper two strings (using the so-called 'thumb positions' where the thumb is used in additioin to the fingers to stop the strings). The higher up in pitch you go on rthe instument,
the harder it is to play in tune.

One jazz bassist who gets a truly beautiful arco sound in the upper register, with excellent intonation-almost like a cello-is Eddie Gomez.

Oscar Pettiford was one of the true jazz greats-but arco was not his thing. Paul Chambers bowed solos were
among his stock-in-trade, but his intonation and overall sound while playing arco was not exactly legit-grade; at least not compared to the ten on my list.

Ray Brown mostly avoided arco playing-especially solo, although he had apparently invested time in some legit
bass study and had many admirers among classical bassists.

[Capt. W./TX.]

I picked the names I did largely because they have good-to-excellent intonation when they use the bow and an overall mastery of arco playing that-to my ears, anyway-is pretty close to what you'd expect from a professional section bassist in one of the major symphony orchestras.

Incidently, Davis and Neidlinger both have legit orchestra experience-maybe some of the others as well.
(Neidlinger is also a cellist).

A couple of items worth considering: most jazz bassists have their instruments set up primarily for pizzicato playing. The position of the sound post inside the instrument and the height of the strings over the fingerboard is all calculated to get the best-and biggest-possible sound from their bass while playing pizzicato. Their use of the bow is usually confined to endings on ballads, etc. The jazz bassists that use the bow often will have their instruments set up to sound great either played pizzicato or arco (really good basses that can be set up this way are often quite expensive!)

Another point is that most jazz bassists will sound fairly in tune playing normal pizzicato, but have serious sound and intonation problems when they do use the bow. The pitch problems playing arco are usually most obvious while the player is bowing on the upper two strings (using the so-called 'thumb positions, where the thumb is used in additioin to the fingers to stop the strings). The higher up in pitch you go on the instrument,
the harder it is to play in tune.

One jazz bassist who gets a truly beautiful arco sound in the upper register, with excellent intonation-almost like a cello-is Eddie Gomez.

Oscar Pettiford was one of the true jazz greats-but arco was not his thing; his intonation with the bow was mostly inferior. Paul Chambers bowed solos were among his stock-in-trade, but his intonation and overall sound while playing arco was not exactly legit-grade; at least not compared to the ten on my list.

Ray Brown mostly avoided arco playing-especially solo, although he had apparently invested time in some legit
bass study and had many admirers among classical bassists.

[James Lee]

Bob Magnusson is a an absolute monster arco style. Great intonation, vibrato control, and his huge sound make for sheer jazzsonic bliss. Bob was originally a classical French Horn player 'till he heard Kind of Blue and put down the horn for the bass & jazz. It's clear that he holds himself to classical standards with regard to arco performance.

[Pete C]

Originally posted by James Lee
Bob Magnusson is a an absolute monster arco style. Great intonation, vibrato control, and his huge sound make for sheer jazzsonic bliss. Bob was originally a classical French Horn player 'till he heard Kind of Blue and put down the horn for the bass & jazz. It's clear that he holds himself to classical standards with regard to arco performance.

Does he gig a lot in So. Cal.? I only know him from Pepper's "Among Friends" and some Mark Murphy albums. He has a great, pure, resonant pizz. tone.

[Fred K]

I've enjoyed Dan Berglund, the bassist of E. S. T., the 2 times I've seem him live. He is featured quite a bit with the band. He solos some, but much of the arco playing comes with the arrangements. He has a nice sound and it works with E. S T. is doing. I often cringe when I see a bassist reach for the bow (even the best ones), so Berglund is quite enjoyable for me.

[frankpop1]

excellent thread idea. im tuned in, now, like never b4


just heard john clayton pull off a nice tiny arco solo on mcpartlands benny carter' songbook.
i also just caught some great work on sun ra's live at montreaux recording. Hayes Burnett - Bass

Davis and Neidlinger both have legit orchestra experience-maybe some of the others as well

im sure that youll agree that MERE orch experience or good intonation and tone should be no guarantee for a slot on the list for top ten 'IMPROVISORS'.........

for example, i intentionally left off dave holland. holland sounds like a very strong technical arco player, but i always found his arco playing to be boring with no passion, 0, while I FIND most of the rest of his work quite interesting.

i think i heard magnussen play some great arco on a kellaway recording yrs back.

[frankpop1]

Does he gig a lot in So. Cal.?

as if there are a lot jazz gigs in so calif.

[SEK]

François Rabbath
Richard Davis
Barre Phillips
Dave Holland
David Izenzon
Mark Helias
Cecil McBee

[James Lee]

Pete C - yes, Bob makes San Diego his home. Years ago he lived in L.A. and I believe that was during his association with Art Pepper. BTW, it was one year after he picked up the acoustic bass that he went on the road with Buddy Rich.

frankpop -- I understand your distinction regarding great improvisors. IMO Bob fits that catagory. I enjoy his lyrical lines, phrasing, beautiful sound - basically the whole package while understanding that this is a highly subjective area we're talking about. And I'm trying to figure out your somewhat dismissive remark regarding the SoCal jazz scene. Clearly San Diego's scene can't compare with that of L.A.'s, (in terms of *quantity*) but are you suggesting that there is nothing happening in either city?

There is some great talent in San Diego, frankpop. I get my fill of live jazz between what happens in the local clubs, concert venues, and the occasional jump up the coast to Steamers Cafe in Fullerton. Mr. Robinson can back me up on the caliber of the players here, and talk to jazzymary about what she thought of a guitarist by the name of Peter Sprague.

[Uli]

I'd like to add Fred Hopkins to the list. After he moved back to Chicago I heard him often live in more relaxed situations and he used the bow much more than I remember from his recordings. He often presented some stuff he was working on for a future Fred Hopkins solo album which unfortunately never came to pass.

[bluenoter]

A "third" (or fourth, or whatever) for Richard Davis.

[Cannonade]

Richard Davis is now in his early 70's, a professor at the Univ. of Wisconsin. A graduate of the "Univ. of Sarah Vaughan," he is not only a great bassist but also a wonderful gentleman.
Blooper

[Capt. W./TX.]

Richard Davis was always a powerhouse: one of the major jazz bassists of the last four decades. His level of instrumental mastery and overall musicianship were factors that reset the bar for jazz bassists all over the world.

Along with Scott LaFaro, Gary Peacock and Steve Swallow, Davis created new options for the bass in a jazz ensemble-in some cases, redefining the traditional role of the bass player. He added a unique sound and instrumental color to any ensemble with his characteristic fills and vibrant, cutting-edge sound.

And-although it wasn't what what he was famous for-he could 'walk' with the best of them!

The first Thad-Jones-Mel Lewis Jazz Orch. recordings, the Andrew Hill Blue Note sessions and the Oliver Nelson
"More Blues And The Abstract Truth" are just a few of my 'desert island' jazz records of which Davis played a major part.

On Hill's Blue Note debut album as leader, "Black Fire", there is a wonderful duet between Joe Henderson and RD (playing arco) on the track titled "McNeil Island".

Note to blooper: Is RD still active as a player? Any recent recordings?

[Cannonade]

1994-5 RICHARD DAVIS REMINISCES (Sympatico)
1998 TOTAL PACKAGE w/ the Richard Davis Quartet (Terrones)
2001 THE BASSIST: Homage to Diversity Richard Davis w/ John Hicks (Palmetto)

Richard founded the Richard Davis Foundation for Young Bassists, a non-profit, tax exempt
org. He also is heavily into a group focused on the eradication of racism. On the 1994-5
CD, the notes are extensive and interesting.

Blooper

[frankpop1]

I understand your distinction regarding great improvisors. IMO Bob fits that catagory. I enjoy his lyrical lines, phrasing, beautiful sound - basically the whole package while understanding that this is a highly subjective area we're talking about.>>
i agree bob is great. i am making no opinion on his arco playing since im not that familiar with it, but i suppose it's very strong. after an amg check, i couldnt find that kellaway recording and i dont think that was bob.


And I'm trying to figure out your somewhat dismissive remark regarding the SoCal jazz scene. Clearly San Diego's scene can't compare with that of L.A.'s, (in terms of *quantity*) but are you suggesting that there is nothing happening in either city?>>it was tongue in cheek remark, altho when i lived there or was making frequent visits, it was not too impressive considering ...tho now it's been a few yrs so i will withdraw my opinion, but im a smidgeon skeptical and apathetic.

[James Lee]

Gotcha, frankpop1. I guess I've grown used to a defensive posture with regard the local scene, and could have read a "wink" into your post!

[claude]

Stange that as I started reading this thread Kent Kessler went into an arco solo on the Vandermark 5 CD that I was listening to.

I have no knowledge with which to evaluate the technique, but I can say that I thoroughly enjoyed the solo so I will put in a vote for Kent Kessler who I haven't seen mentioned here yet.

[frankpop1]

theyre good players, but i have to admit i am just not a fan yet of that chicago scene by and large, but yea ive keard Kent Kessler lays some good shit down on arco.


what does impress me was a solo concert by peter kowald on arco that was on internet radio at sometime somewhere. anyway, it was fascinating. just to show a little more support for the late mr kowald, he deserves a virtuositic thumbs up on any arco list.it was amazing. i know shrugs saw a similar concert.

[frankpop1]

tho google search shows an increase in so calif jazz activity than even 5-10 yrs ago. kewl.


Gotcha, frankpop1. I guess I've grown used to a defensive posture with regard the local scene, and could have read a "wink" into your post!


hi, cutie

:)







how zat, mr lee

[James Lee]

hi, cutie

:)







how zat, mr lee [/B][/QUOTE]

Ummmmmmmm...........zat's just a bit too strange for my blood.........................................

[Chris D]

Richard Davis is definitely still active. He plays around town, and each year he has some of his friends like James Williams and Javon Jackson come in to play a nice benefit for the Urban League. I think he also may make the occasional pilgrimage out to N.Y. at times when school is not in session.

[Cannonade]

Not only is Richard Davis the prime senior bassist musician in this country, but James Williams is probably the most remarkable pianist going today. James, a graduate of the Univ. of Memphis, now plies his trade in NY. I have an extraordinary album of his compositional work.
He's a wonder!
Blooper

[frankpop1]

and james williams enters the discussion because......................?

[shrugs]

Yeah Uli, Fred was great. Some great arco on Air Mail.
some of my faves are John Lindberg, Dominic Duval, David Izenon, Richard Davis, Peter Kowald, Paul Chambers, Barry Guy, Barre Phillips and Fred Hopkins.
And if you haven't heard Kowald's solo and duets reocrdings then you haven't heard what he can do with the bow. Same goes for Lindberg's solo sets.

[Cannonade]

He is now out, Pops, because you appear to mind. No problem.
Blooper

[Cannonade]

Let's see, Pops, Lynn Seaton enters the discussion because he's a fine bassist whose arco technique is amazing. Agree or disagree? Find Lynn's appearance here to your liking?
Blooper

[Cannonade]

I reviewed the thread to locate Lynn's name in the first post. That probably makes
Pops's o.k. tacit, right? Any other member of a rhythm section must never be named or discussed. Rigid!
Blooper

[frankpop1]

i dont mind, i just asked, did the post offend u? i wondered, why do we shift..................i just missed chris d's post, so tear me a new asshole :)

[frankpop1]

Lynn Seaton enters the discussion because he's a fine bassist whose arco technique is amazing.

never heard him or of him

[Capt. W./TX.]

Lynn Seaton is a veteran of both the Count Basie & Woody Herman orks. He has also worked with Tony Bennett, George Shearing & Monty Alexander-just for starters...

He has also appeared on several big band albums by John Fedchock-an old associate from the Woody Herman band; those CDs are on Reservoir Records.

Lynn was active on the New York scene during the 80's & 90's, but moved to the Dallas-Ft. Worth area a few years ago to join the music faculty at UNT in Denton. There, he's an Associate Professor, teaching jazz bass.
He still gigs quite a bit-as much as his teaching schedule permits.

Although he is unashamedly a 'straight-ahead' jazz bassist in style of Ray Brown, Oscar Pettiford and Milt Hinton, he has as comprehensive a command of the instrument as anyone I've ever played with or heard that's still living. Lynn knows the WHOLE tradition of jazz bass. And he can do just about anything on the instrument any band could want or need. His stamina at 'flagwaver' up-tempos is pretty amazing.

He is a joy to play with-and to listen to. A great team player-and a sweetheart!

While still in the NY area, he produced a solo bass CD on himself that was issued on Omnitone Records, titled
"Solo Flights"; it is still listed in the company's online catalog and-as far as I know-still available. The very first track, "Improv For Audrey" (a 'free' solo flight), should enough to convince anyone why he belongs on this thread. There's also a solo bass rendition of Jimi Hendrix's "Purple Haze"-performed entirely arco!

FWIW: Lynn was one of the 50 bassists who gathered together onstage a few years ago to play "Happy Birthday" to 'The Judge' (Milt Hinton)-on his 90th!

[Cannonade]

Yes, Pops, you did upset me. Yes, you did tear yourself another new asshole. Read it.
Blooper

[James Lee]

Have to support those who have spoken in support of Lynn Seaton's playing. I had a chance to hear him live with Jeff Hamilton's trio many years ago and YES he has tremendous arco technique. The other aspects of his playing that I recall --- a very large sound, and as the Captain has pointed out the ability to play beautifully at absolutely demonic tempos.

[James Lee]

BTW Capt. ---- thanks for your info. re. "Solo Flights." Due to excessive CD spending I have put myself on a very tight budget, but ordered this one just now nevertheless. My recollections
of Lynn's playing tell me that there is ZERO doubt that I'll enjoy this recording a great deal!

[Tanager]

Originally posted by blooper
Yes, Pops, you did upset me. Yes, you did tear yourself another new asshole. Read it.

Cranky, cranky, cranky.

[mke]

Originally posted by blooper
Yes, Pops, you did upset me. Yes, you did tear yourself another new asshole
Are you saying that "Pops" has (at least) 3 assholes, the latest one being self-made?

[Cannonade]

At the present time, Lynn serves as bass professor at the Univ. of North Texas (formerly No. Texas State). For two years straight, I have listened to duos he's done with Kenny Drew, Jr., a pianist for which Lynn appears to have a musical affinity. Though I believe it's hard to find, PORTRAITS OF CHARLES MINGUS & THELONIOUS MONK (Claves) is my favorite recording combining the efforts of the two guys (plus drummer Marvin "Smitty" Smith).
P. S. to Tanager: You are absolute master of the obvious!

[James Lee]

After my last post I looked through my Jeff Hamilton recordings, and sure enough - I have one which features Lynn together with Jeff & Larry Fuller. "Hamilton House" was recorded live at Steamers - my new semi-regular hang in Fullerton. A very fine recording which I'm going to revisit right now as I do a few little chores around here.

[frankpop1]

ok, well now that blooper's matter is cleared up and enuf time has passed where blooper should be over her hysterical days for at least for a couple of weeks anyway.

now it may be safe to share a thought that immediately came to my mind when i saw the name james williams. altho i cant remember him playing arco, i really enjoyed the time that i heard CHARNETT MOFFETT play with williams. i always thought that they made a great bass and piano team.

[Cannonade]

It would be helpful if "Pops" could recall the name of the duo recording James Williams made with Charnett Moffett. Of course, we don't want to dwell on anything that is the least bit off topic--topic being arco playing. I have Williams's MEET THE MAGICAL TRIO, but it's a trio recording w/ drummer Jeff Watts being the third member.
If, in fact, there is a duo recording, I'd like to have it. Just asking, but let's make it out to be misogynous and hysterical, if that's Pops's schtick.

[James Lee]

Originally posted by Capt. W./TX.
While still in the NY area, he produced a solo bass CD on himself that was issued on Omnitone Records, titled
"Solo Flights"; it is still listed in the company's online catalog and-as far as I know-still available. The very first track, "Improv For Audrey" (a 'free' solo flight), should enough to convince anyone why he belongs on this thread. There's also a solo bass rendition of Jimi Hendrix's "Purple Haze"-performed entirely arco!



My copy of "Solo Flights" arrived today and Capt. W.'s remark about the opening track is right on the money. What a SOUND this man generates! And what an imagination! Recently I had the subwoofer in my car's system bumbed up a notch ------ can't wait to get this recording on the road. Here are two excerbs from the liner notes describing a couple of the songs, written by Lynn:

"Ode to Jimi" --- Jimi Hendrix is the inspiration for this improvisation. I admire his music for it's rawness and bluesy feel. A technique called *ponticello* is used to alter the sound and create the effect of distortion. The bow is drawn close to the bridge, which creates the artificial harmonics reminiscent of an amplified guitar.

"Rain" --- Another alternate bowing technique called *col legno* ("with the wood") is used to perform this piece. Turning the bow over and striking the strings with the wood produces the percussive effect. It starts with random raindrops, builds to a torrent, then calms back down to where it started.

I've never been a huge fan of the "col legno" technique, but then again I'd never heard it applied by Lynn before today. I enjoyed the composition "Rain" --- his refined use of the technique won me over; others have applied it in a relatively crude and heavy handed fashion.

Thanks for the rec., Capt.!

[Clay Fink]

Originally posted by Sergio Zamora
Clay and I saw the Marks Bros (Dresser and Helias) tearing up an arco storm last year.

Yes! And I'd second (or third or fourth) all the votes for Richard Davis. I really like Fred Hopkins' work too. He plays an arco solo on Charles Brackeen's "Atainment" (produced by another Mexican, this one from Dallas or somewhere like that) that is otherworldly.

[Kurt Anderson]

I'd like to add Fred Hopkins to the list. After he moved back to Chicago I heard him often live in more relaxed situations and he used the bow much more than I remember from his recordings. He often presented some stuff he was working on for a future Fred Hopkins solo album which unfortunately never came to pass.

Agreed! The best jazz arco player I've ever heard is Fred Hopkins.

[Squaredancecalling Steve]

Have to bring this thread up to celebrate what may be the most extraordinary (and moving) arco playing I've heard on a jazz record: Richard Davis on "Wailing Wail" from Andrew Hill's album Smokestack. Arresting and sensational!

[shrugs]

is Peter Janson still playing? His work with the AALY trio was fantastic.

[Pete C]

The fact that some people enjoy Dominic Duval & William Parker's arco playing shows that jazz is one big, happy tent :)

[shrugs]

tent's can be broken down and set up again and again.

very nomadic

[clinthopson]

Not knowing much about technique on the double bass, I have to just rely on how they sound to me.

I've seen John Clayton numerous times and his arco playing always sound first rate.

Slam Stewart was unique with his bowing and singing, Lynn Seaton is of that school. I've talked to him a number of times and says it's not as easy as it looks.

There was a player in the 50's who used the same approach but I can;t remember his name.

The master bass player of all time, IMHO, is Ray Brown, whether plucking or bowing. He was the best.

Richard Davis is a genuine monster.

I don't think I've ever heard any bowed recordings by Jimmy Blanton. Same goes for Paul Chambers.

I think of Milt Hinton as of more a slapper than a bower.

[Pete C]

tent's can be broken down and set up again and again.

very nomadic

"Doctor, Doctor, sometimes I think I'm a teepee and sometimes I think I'm a wigwam."

"Your problem is your two tents."

[Mike Schwartz]

Unless I missed it as I scanned the thread, I haven't seen Ray Brown mentioned.
In the years since moving to CA got to see Brown regularly while he was still with us. It seemed that most every time he would play Kuumbwa Jazz Center in Santa Cruz he'd play a piece arco style.......MAGNIFICENT!

The style is different, but when Stanley Clark puts down the bass guitar, he plays a mean double bass, including an energetic and impressive arco from time to time.

Forgetting all the names at the moment (Charnett Moffett is one of them!) , Ornette's band with three basses has 2 of them working out arco-style almost constantly.

The late NHOP was wonderful as well.....

[clinthopson]

A few of other top bass players who handle the bow very well are Chuck Berghofer, Jennifer Leitham and a marvelous young guy from Austria, Christoph Luty.

[Pete C]

Forgetting all the names at the moment (Charnett Moffett is one of them!) , Ornette's band with three basses has 2 of them working out arco-style almost constantly.



Now it's just two. Tony Falanga plays lots of arco & Al McDowell is on electric. I hate when Charnett does his distortion a la Hendrix shit.

[Frisco]

Cecil McBee

Just saw Cecil here in Detroit with Sonny Fortune's quartet. Although he didn;t do a whole lot of arco playing, he sounded excellent with his ever-inventive work. What a treat to hear him.

Did anyone mention Barry Guy?

[Pete C]

Just saw Cecil here in Detroit with Sonny Fortune's quartet. Although he didn;t do a whole lot of arco playing, he sounded excellent with his ever-inventive work. What a treat to hear him.


I've mentioned before that I could probably survive for a year just on records he's appeared on.

[Jazz Purist]

The first name that came to mind when I saw the thread title was John Clayton. Boy, can he make the bass instrument sing. Very articulate. :)

[Capt.W./TX.]

And-two you probably never heard of, with whom I get to play quite a bit here in Dallas: Jonathan Fisher and Jeffrey Eckels.

Jeff is currently at work on a PhD in double-bass performance at UNT in Denton. He has absolutely everything: great time, great sound, superb reading skills, impeccable intonation, interesting, often complex solos, listens and reacts like no one I've ever played with, and-to top it all off-he's totally comfortable and convincing in almost any jazz style, including free and experimental jazz settings (in which he is often amazing!).

He also plays electric bass-if you really want that.

He's also a very low-key dude, easy to get along with and work with.

Never thought I'd find all this in a bass player outside of NYC or LA.

Jonathan Fisher is really coming along-and his arco work is first-rate.

[bernard lyons]

Paul Rogers

[robert]

Does he gig a lot in So. Cal.? I only know him from Pepper's "Among Friends" and some Mark Murphy albums. He has a great, pure, resonant pizz. tone.

I saw him about six months ago playing with Benny Golson at the Jazz Bakery

[Valerie]

nothing at all wrong with the Capn.'s list ..

but I'd add John Clayton to that list as well ..

This year at the Centrum jazzfest, I heard him play a solo
"medley" of Bachs' Air on a G string ..and ..One Mint Julep !

and it worked!! ..

besides which, John is such a great guy personally ..

just got on this thread with the intention of posting John's name but i see you've beat me to it! amen to what you've said. i love his playing and he is definitely a great guy!

[Valerie]

. . . and talk to jazzymary about what she thought of a guitarist by the name of Peter Sprague.

i was delighted to hear Peter recently in l.a. when he was playing a gig with Dianne Reeves for the first time! she was in love with him from the first minute, from what i understand.

[Valerie]

A few of other top bass players who handle the bow very well are Chuck Berghofer, Jennifer Leitham and a marvelous young guy from Austria, Christoph Luty.

i will definitely second the Jennifer Leitham nomination!

[Iñaki]

The best arco playing I know is the one of the rcently died Israel "Cachao" López.

Without the bow, it's exciting too his very personal and solid walking. Cabrera Infante called him: the "más alto bajo" all over the world.

Bajo has two meanings in spanish: bass and short, as "más alto" is sinonyme of highest tone or tallest, and that's funny because Cachao was so shorty, but true indeed because his usual tone is so high for a bass.

[ericdevin]

No mention yet of the severely underrated Ken Filiano. Check out his solo disc 'Subvenire' on Nine Winds to understand; brilliant...

I'll second the mentions of Kowald, Dresser, Parker, Duval, Davis and Leandre.

[Tom Marcello]

George Mraz

[Hot Ptah]

Another vote here for Richard Davis.

In live performance, for arco playing, he is in another league above anyone else I have seen, including Dave Holland, Fred Hopkins, Cecil McBee, Ron Carter, and......anyone else, actually.

He is currently performing regularly with pianist Willie Pickens. Someone, please record them!

[barryC]

Reuben Radding should be on this list for sure. Fantastic arco playing.