Jazz Bassists

His pursuit of music began with the cello, at age 10. Another product of what was then a rich environment for students aspiring to be artists in the Detroit Public Schools, he switched to the bass at Cass Tech High School. His professional career began in 1955, playing around town with various groups. In 1956 he went to the Eastman School of Music, earning a Bachelor of Arts in Music in 1959. While studying at Eastman he played with his own bands around Rochester, NY. After moving to New York, where he earned his Masters in Music from the Manhattan School of Music in 1961, he began freelancing around town. Among his early affiliations were Chico Hamilton, Eric Dolphy (with whom he recorded on cello), Cannonball Adderley, Jaki Byard, Randy Weston, Bobby Timmons, Thelonious Monk, and Art Farmer.

In 1963 he joined Miles Davis in what would become the trumpeter’s second great quintet, eventually including Wayne Shorter, Tony Williams, and Herbie Hancock. He remained with Miles from 1963-1968 whereupon he grew tired of the rigors of the road, preferring to freelance, lead his own groups, and teach. Among the cooperative bands he performed with during the remainder of the 1960s were the New York Jazz Sextet, and the New York Bass Choir. Through the 1970s he was a recording studio bassist in high demand, though he never stopped gigging with a variety of artists and bands, and several touring all-star units. These included the CTI All-Stars, V.S.O.P. (ostensibly a reunion of the Davis band minus the leader), and the Milestone Jazzstars. Other affiliations included Stanley Turrentine, Hubert Laws, Joe Henderson, and Lionel Hampton.

His freelance work has continued throughout his career, including chamber and orchestral work, and even some hip hop recordings. He has scored several films and television movies, and won a Grammy for his “Call Sheet Blues,” a contribution to the soundtrack of the 1986 feature film Round Midnight. A multiple poll winner, his college and university teaching career has also been quite active and ongoing.

All of these musicians recognized immediately the ferocious dexterity and complete musicality the young Clarke possessed on the acoustic bass.  Not only was he expert at crafting bass lines and functioning as a timekeeper in the bass’ traditional role, Stanley also possessed a sense of lyricism and melody gained from his bass heroes Charles Mingus, Scott LaFaro, and others, including non-bass players like John Coltrane.  Clarke recognized the opportunity to propel the bass into a viable melodic soloist role and was uniquely qualified to do just that. 

More at www.stanleyclarke.com