Double Bass Christian McBride

The only thing that matters to me is the sound of a players voice and McBride is one of my favorites.
I especially enjoy the fact that he teaches and shares in the open studio platform.
I had a chance to hang out with he and Ray Brown one evening and they were generous with their time and fans of each other.
Same with Dave Holland and Ron Carter and Rodney Whitaker.
Players focus on the outcome and sound and all of the great players have great sound and are appreciated by the artist they work with.
 
I can't imagine a 2 minute video with more impact and information on the instrument than this one. I've watched it many times and recommended it even more.
I think there are some great players in his generation, but as he moves into his "old master" phase he gets more and more inspiring. Anyone even half awake during the experiences he has had would be great, but he seems have been fully present for every bit of it. Chris Wood is beautiful player, too, though! Pick bass is way underrated!

The thing for me was tapping who am I as a musician and who I want to be. There's an apocryphal quote about guitarist Eddie Lang, who was a major influence on Django Reinhardt. When Lang soloed, he "sounded like a guy running with a pie in his pants". That's me playing fingerstyle bass. I'm just comfortable with a pick. And frankly, that's ok. My sound is my signature, and the pick is part of how I get my sound. So instead of running from it (with a pie in my pants), I'm leaning into it.

I may want to channel Chris Wood on an electric bass, but I'm going to get there by heeding the advice of Christian McBride.
 
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The only bass guitarist fully accepted into acoustic jazz at the highest level is Steve Swallow - a pick player.
The thing for me was tapping who am I as a musician and who I want to be. There's an apocryphal quote about guitarist Eddie Lang, who was a major influence on Django Reinhardt. When Lang soloed, he "sounded like a guy running with a pie in his pants". That's me playing fingerstyle bass. I'm just comfortable with a pick. And frankly, that's ok. My sound is my signature, and the pick is part of how I get my sound. So instead of running from it (with a pie in my pants), I'm leaning into it.

I may want to channel Chris Wood on an electric bass, but I'm going to get there by heeding the advice of Christian McBride.
 
The only bass guitarist fully accepted into acoustic jazz at the highest level is Steve Swallow - a pick player.

I first heard him on "I Can See My House From Here" by Pat Metheny and John Scofield, but he's just never been the same level of influence on me the other two have. I've been listening to Scofield's "Country for Old Men" and "Swallow Tales" recently, but I've got a long way to go on Steve Swallow.
 
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The thing for me was tapping who am I as a musician and who I want to be. There's an apocryphal quote about guitarist Eddie Lang, who was a major influence on Django Reinhardt. When Lang soloed, he "sounded like a guy running with a pie in his pants". That's me playing fingerstyle bass. I'm just comfortable with a pick. And frankly, that's ok. My sound is my signature, and the pick is part of how I get my sound. So instead of running from it (with a pie in my pants), I'm leaning into it.

I may want to channel Chris Wood on an electric bass, but I'm going to get there by heeding the advice of Christian McBride.

Ultimately nothing else matters but getting the music inside of you out into the world. It's fun to talk about other players, listen to other players, be inspired by other players but it's really just about you and the music you want to play. I've said this before but if Hank Williams decided he wanted to be a jazz player the world would have lost a genius. You gotta just be true to yourself, work hard and be honest, follow your heart and your ears. I don't care if you play with a big fat felt pick if you make something beautiful with it.
 
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Cage had a quote about if you "hear" music in your head then just listen to it there, he wanted to find the music he couldn't hear. I think there is a second path - not to exclude your post - because the Hank Williams bit is dead on.
There is another path of finding where you can contribute to music, which may be different than what set you on your path in the first place.

Ultimately nothing else matters but getting the music inside of you out into the world. It's fun to talk about other players, listen to other players, be inspired by other players but it's really just about you and the music you want to play. I've said this before but if Hank Williams decided he wanted to be a jazz player the world would have lost a genius. You gotta just be true to yourself, work hard and be honest, follow your heart and your ears. I don't care if you play with a big fat felt pick if you make something beautiful with it.
 
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It's hard to not worship and imitation is a big part learning and it gets us so far. But oddly, the closer we get to imitating another persons expression it is possible that, at a certain point, we get further away from our voice. This is just a working theory, up for discussion here or elsewhere. It's satisfying to hear a player who has done the homework, where you can hear the influence, even trace a recording source in real time, but after that initial hit we need to hear what they did to it, how they altered it, filtered and reconstituted, broke up the light source through the prism of their own personality and life experience. In today's broad spectrum of music and content we can take from innumerable sources of inspiration. I think there is more freedom than ever to create our own voice, to express ourselves deeply. Of course, that may not result in a career, in fact, the more personal, the less likely any life-sustaining income will follow but hopefully that isn't why we do what we do. I have a rather cynical and negative term I call the "Forever Student". This is not to be confused with studying our craft over our lifetimes and bear with me, it's not particularly soft or cuddly. The "Forever Student" is a person that worships other players around them to such an extent that they lose sight of themselves and, for me at least, the reason to play music at all. They find comfort in the humility of worship. Unfortunately they often plateau early on and remain there indefinitely and never reach their potential as musicians (or people in some cases). I say don't worship. Study and observe, carefully, but return to the bass as yourself. Face yourself in the mirror, place the bow or finger or felt pick on the string and draw your sound. Play your fundamentals until you start to resonate with your sound, listen for the music within and begin the daily work of refining. Can we seriously talk about Hank Williams in the same breath as John Coltrane? Can we call them both geniuses? By my armchair-regular-guy assessment, yes. Both had influences, but better yet, both knew themselves. The only thing that really interests me going forward is: how close I am to being in the zone of pure expression while fulfilling and hopefully surpassing the music before me?
 
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I Can we seriously talk about Hank Williams in the same breath as John Coltrane? Can we call them both geniuses? By my armchair-regular-guy assessment, yes. Both had influences.
You can especially when you pare things back and find the person's musical line. For me, Coltrane was as much a master of the three note minor riff as Black Sabbath - I don't say that lightly because glorifying pop music beyond what it already is generally not for me. Still, Coltrane is equal parts "sheets of sound" & Equinox! You can really hear Cage's true melodic and harmonic voice from the Sonatas & Interludes to the late Number pieces. It is just used as connector, not as primary material.
I think what happens is you have to be clear and honest about whether your inner voice is interesting as primary material or not. Morton Feldman and Hank can put it forward because it is unique.
There are a lot of ways to use what you have! Cage and Coltrane gave us a lot to work on an think about. Certain other musicians, great as they are are giving us finished work to enjoy - there is nowhere really to go from there, they got there.
Back on topic, Christian brings his sound and his experience to everything does, it is all woven in there.

I also don't really think in terms of imitation - you don't know where something goes or what is on the other side of it until you learn it. I look at researching what others have done using their end point as a starting point. I feel like Christian sort of did that with Ray Brown. He doesn't sound like him, but it all seems to grow out from there. A curious person would never stop at imitation.
 
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thread bump ... i have tickets for 'christian mcbride's new jawn' performance tomorrow night. i'm pretty excited about this show! has anyone been to one of his shows lately?

I'm seeing that group later this month. I'll be interested in your impressions of tomorrow's concert. Have a great time.
 
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the performance was damm impressive. sound quality was superb. only issue was that it was too short - about 80 minutes with no encore despite a standing ovation. this link gives a perspective more adroitly than i could: Christian McBride's Chordless Quartet New Jawn Returns With Spirited 'Prime' (ALBUM REVIEW) - Glide Magazine with a few added thoughts from me: they did play 'head bedlam', 'obsequious', 'prime', and 'moonchild'; not sure about the others. they played a monk-inspired tune named 'ballad for ernie washington' and a rhythmically challenging tune named 'funny walking'. some of the tunes alternated between free-jazz chaos and groove-infested comping for soloists.

justin faulkner played drums instead of waits. mcbride and faulkner stole the show, so to speak, but the horn/wind players were also amazing. the band performed with tangible positive energy, smiling at and encouraging one another. the thing i most noticed was how mcbride commands both simple and extremely difficult passages with a natural, relaxed approach. a masterful performance!
 
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It is an incredible performance. There are fewer and fewer who can play that music on that level. It is really cool watching him move into his old master phase. He is more and more inspiring as he keeps moving. He is so relaxing in that setting.

woooo this is a doozy. warrants repeated viewings.

 
Man, I gotta start breaking out my bass clarinet again. I miss that sound. The guy on trumpet is giving me some serious young David Baker vibes. Thanks for the video , Paul (et all)
 
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