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| 3.311 Ft
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| 1. | Come Sunday/Warm Valley
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| 2. | Simone
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| 3. | Estate (Summer)
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| 4. | A Flower Is a Lovesome Thing
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| 5. | Eccles Sonata
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| 6. | Lift Every Voice and Sing /The ... [Afro-American National Anthem/The L
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| 7. | Go Down Moses
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| 8. | Little Benny
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| 9. | Skylark
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| 10. | C.C. Rider
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Jazz
Richard Davis - bass
John Hicks - Inspiration, Piano
Bassist Richard Davis celebrates Diversity On his Palmetto Records debut Virtuoso bassist Richard Davis debuts on Palmetto Records May 1 with The Bassist - Homage to Diversity. The recording features John Hicks on piano and highlights a variety of musical styles.
"The music for the CD was chosen to exemplify diversified attitudes in music," says Davis of his collection. "I chose a little of this, a little of that, all within the realms of the music I like to play."
The CD begins with a Duke Ellington duo "Come Sunday/Warm Valley." "I am reminded of gospel singer Mahalia Jackson's recording of ‘Come Sunday’ with the Duke Ellington Orchestra in the mid-fifties," says Davis. "This was a momentous diversity occasion of a religious and jazz performance. Basically one and the same."
The Bassist includes a classical piece, "Eccles Sonata;" traditional gospel tunes, "Lift Every Voice and Sing" and "Go Down Moses;" and a traditional blues piece, "C.C. Rider." Davis also chose to include the Charlie Parker composition "Little Benny."
"Charlie Parker maximized diversity during the great music revolutionary 1940’s period of jazz," says Davis. "Jazz is not a sub-standard music. He raised the self-esteem of all black people who heard him. He and many other famous black musicians proved that we had our own Bachs, Haydns and Mozarts."
Davis is well known throughout the music world for his success in bringing the bass to new heights as a solo instrument in both classical and jazz traditions. His virtuosity has caused international audiences to develop a new appreciation of the purity, melodic beauty and power of the bass sound.
An artist par excellence in technique and range, Davis is well known among double bassists as one of the great pioneers of the instrument. Possessing rich symphonic training and diverse background, he demonstrates extraordinary technique. Yet this technique does not overpower his imaginative interpretation. A list of contemporary artists for whom Davis has provided his rich, resonant bass sound reads like a Who's Who of this segment of the music world--Stan Getz, Barbra Streisand, Sarah Vaughan, Kenny Burrell, McCoy Tyner, The Manhattan Transfer, Eric Dolphy, John Lennon, Chick Corea, Bruce Springsteen and a host of other notables. Through performances, recordings, composition and teaching, Davis remains a major force in jazz, an art form that is uniquely American.
Known as an excellent classical musician with exceptional bowing technique, Davis is equally at home in the world of classical music. He has played under the batons of Leopold Stokowski, Igor Stravinsky, Pierre Boulez, Gunther Schuller, and Leonard Bernstein. Onstage after a 1975 concert in Boston, the great composer Igor Stravinsky walked through the orchestra to lay his hand on Davis' shoulder in a tribute rarely accorded a bassist--or any other orchestra member--by the Maestro himself.
Born in Chicago, Illinois, Davis spent 23 years living and working in New York City, solidly establishing himself as one of the world's premier bassists. From 1967 through 1974 he was chosen as winner of the Down Beat Magazine's International Critic's Poll - Best Bassist. He has recorded well over a dozen albums as a leader and featured artist for various record labels. He has also traveled and performed throughout Europe and Japan. As a tenured Professor of Music at the University of Wisconsin in Madison since 1977, in addition to maintaining a busy schedule as a clinician, performer and adjudicator, he empowers the rising generation of bass artists through his own vision, courage and creativity in bass music performance.
In April of 1994, Davis launched what could literally be his most enduring commitment to the bass. He formed his not-for-profit Foundation for Young Bassists in order to bring together young bass students, their parents, teachers and masters, and other friends of the bass, to revolutionize the teaching and support provided to young bassists. Davis is determined to ensure that the instrument he first picked up and played in Chicago over 50 years ago remains a major force in our music.
* Susumu Morikawa - Producer
* Yasuhisa Yoneda - Photography
Master jazz bassist Richard Davis teams up with the esteemed John Hicks on piano for a round of sensitive duets. With a rapport that is truly rare, the two play music that spans genres from classical to bebop to spirituals and vintage blues. Davis is especially moving on Ellington's "Warm Valley" and Strayhorn's "A Flower Is a Lovesome Thing," the latter sounding as though it were written specifically for bowed bass. Moving freely and elegantly between arco and pizzicato, Davis possesses a virtuosity that remains undimmed. His music takes him through a wide swath of emotional terrain, from the dead-serious mood of his unaccompanied "Go Down Moses" to the lighthearted spoken-word ending of "C.C. Rider." This, too, is a part of the "diversity" to which the album title refers. But one ought to read Davis' program notes to see just how expansively he's defining that word.
---David R. Adler, All Music Guide
Richard Davis
Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: Apr 15, 1930 in Chicago, IL
Genre: Jazz
Styles: Fusion, Hard Bop, Mainstream Jazz, Modern Creative, Post-Bop
A superb bass technician who doesn't have as extensive a recorded legacy as expected, Richard Davis has a wonderful tone, is excellent with either the bow or fingers, and stands out in any situation. He has been a remarkable free, bebop and hard bop player, served in world class symphony orchestras, backed vocalists and engaged in stunning duets with fellow bassists. He does any and everything well in terms of bass playing; accompaniment, soloing, working with others in the rhythm section, responding to soloists, or playing unison passages. He combines upper register notes with low sounds coaxed through the use of open strings. Davis studied privately nearly 10 years in the '40s and '50s, while also playing with Chicago orchestras. He played with Ahmad Jamal, Charlie Ventura, and Don Shirley in the early and mid-'50s, then worked with Sarah Vaughan in the late '50s and early '60s, as well as Kenny Burrell. Davis divided his duties in the '60s between recording and performing sessions with jazz musicians and freelance work with symphony orchestras conducted by Leonard Bernstein and Igor Stravinsky. He recorded often with Eric Dolphy, including the unforgettable dates at the Five Spot. He also worked with Booker Ervin, Andrew Hill, Ben Webster, Stan Getz, Earl Hines, and the Creative Construction Company. Davis teamed with Jaki Byard and Alan Dawson on sessions with Ervin, and others like Rahsaan Roland Kirk. He also played with Van Morrison. During the '70s Davis worked with Hank Jones and Billy Cobham, and he was a member of the Thad Jones - Mel Lewis Orchestra in the '60s and '70s. Davis left New York in 1977 to teach at the University of Wisconsin in Madison, where he remained into the mid-'80s. He appeared at the Aurex Jazz Festival in Tokyo in 1982, playing in a jam session led by trombonists J.J. Johnson and Kai Winding, and at the 1984 Chicago Jazz Festival. Davis was featured in the 1982 film "Jazz In Exile." He's done relatively few recordings as a leader, though three Muse sessions are now available on CD. The superb The Philosophy Of The Spiritual which matched Davis and fellow bassist Bill Lee is not in print or on CD.
---Ron Wynn, All Music Guide |
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