An investigation of the electric bass guitar in Twentieth Century popular music and jazz. A thesis presented by David Stratton in partial fulfillment of the requirement for the degree, Master of Arts (Honours). School of Contemporary Arts College of Arts, Education, and Social Sciences University of Western Sydney April 2005 i Abstract The acoustic bass played mostly an accompanying role in popular music during the first half of the Twentieth Century, whereas the arrival of the electric bass guitar in the early 1950s presented new opportunities for acoustic bassists and musicians, composers, producers, engineers, the recording industry and the listening public. The distinctive sound of the electric bass guitar encouraged musicians to explore new timbres. The musicians who embraced the electric bass guitar developed its language, discovering and employing different techniques. The instrument became a catalyst for change and took on a more prominent role, forever changing the sonic landscape of popular music and jazz in the Twentieth Century. ii Acknowledgements I am indebted to the following people for their assistance during the period of my candidature: For technical support I thank Karl Lindbom, Paul Tilley, Clive Lendich, Benjamin Huie, Gary Fredericks and Brendan Read. The musicians who performed with me - Michael Bartolomei, Graham Jesse, Andrew Gander, Craig Naughton, Gordon Rytmeister, Nicholas McBride, Paul Panichi and Matthew Doyle. Kerrie Lester and Nikki Mortimer for granting permission to reproduce the paintings and etching. The musicians with whom I discussed my project, including Herbie Flowers, Carol Kaye, Max Bennett, Steve Hunter, Cameron Undy, Bruce Cale and Sandy Evans who have willingly encouraged me to quote. University of Western Sydney staff, especially Mitchell Hart (music technical officer), Cheryl Harris (librarian) and Leonie Palermo (administrative assistant). And in particular, my supervisors, Dr. Diana Blom and especially my principal supervisor, Professor Michael Atherton, whose enthusiasm for my research idea in 1999 in turn inspired me and kept me focused. I am indebted to him for his patience and encouragement to explore an area of music that is my life’s passion. iii Declaration I, David Stratton, declare that this thesis, submitted in fulfillment of the requirements for the award of Master of Arts (Honours) at the University of Western Sydney, is wholly my own work unless otherwise referenced or acknowledged. The document has not been submitted for qualification at any other academic institution. Signed: Date: iv Titles of CD & DVD recordings CD Tracks 1. The Last Song Of The Blackbird (David Stratton, 1999) 2. Madeleine (David Stratton, 1987) 3. Blues For Oscar (David Stratton, 1999) 4. The Descent Of Nebuchadnezzar (David Stratton, 2000) 5. The Fisher Of Men (David Stratton, 2000) 6. Beachwalk (David Stratton, 2000) 7. Dumped by a Wave (David Stratton, 2000) 8. Tribeca (David Stratton, 2004) 9. Conversations with Myself (medley: David Stratton, Horace Silver, Alfred Ellis & Charles Calhoun, arranged by David Stratton, 2004) 10. Misty (Errol Garner & Johnny Burke, 1954) 11. Two Part Intervention (David Stratton, 2004) 12. Darkness & Light (Matthew Doyle & David Stratton, 2004) 13. Frederick St. (David Stratton, 2004) 14. 6/4 Blues (Matthew Doyle & David Stratton, 2004) 15. ‘Prelude’ Cello Suite No. 1 (J.S. Bach) v Recital 2 (DVD 1) 9 October 2001 1. Nebuchadnezzar - Caught in the Forest (Graham Jesse, 2000) 2. The Descent of Nebuchadnezzar (David Stratton, 2000) 3. The Fisher Of Men (David Stratton, 2000) 4. Seeing Stars (Michael Bartolomei, 2000) 5. Beachwalk (David Stratton, 2000) 6. Dumped by a Wave (David Stratton, 2000) Filmed by Mitchell Hart in the Performance Space, Building O, Kingswood Campus UWS Nepean Recital 3 (DVD 2) 16 August 2004 1. Tribeca (David Stratton, 2004) 2. Conversations with Myself (medley: David Stratton, Horace Silver, Alfred Ellis & Charles Calhoun, arranged by David Stratton, 2004) 3. Misty (Errol Garner & Johnny Burke, 1954) 4. Two Part Intervention (David Stratton, 2004) 5. Darkness & Light (Matthew Doyle & David Stratton, 2004) 6. Frederick St. (David Stratton, 2004) 7. 6/4 Blues (Matthew Doyle & David Stratton, 2004) 8. ‘Prelude’ Cello Suite No. 1 (J.S. Bach) Filmed by Mitchell Hart in the Performance Space, Building O, Kingswood Campus UWS Nepean DVD and CD items are pocketed in the back cover vi Contents - Exegesis Abstract ii Acknowledgements iii Declaration iv Titles of CD and DVD recordings v Contents - Exegesis vii Dedication ix Chapter 1 - Introduction 1.1 The research process 3 1.2 Background and historical context 7 1.3 Personal ecology 9 1.4 Project aim 10 Chapter 2 - Historical Performance Practice 2.1 What is bass? 13 2.2 Cultural stereotyping 16 2.3 Inspiration and motivation 23 2.4 Guitarist-as-bassist 25 2.5 Conventional roles of playing: expectations and limitations 28 2.6 Techniques 31 2.7 Innovators: from tradition to transition 36 Chapter 3 - Instrument development, technology and the future 3.1 The impact of electricity 47 3.2 Order and noise 53 3.3 Bass construction 57 3.4 Amplification 62 vii 3.5 Innovations 64 3.6 Future of bass 65 3.7 Bassist-as-composer 74 Chapter 4 - Analysis of composition and performance 4.1 Introduction to composition and performance 78 4.2 Recital One, 18 November 1999 79 4.3 Recital Two, 9 October 2001 85 4.4 Recital Three, 16 August 2004 96 Chapter 5 - Summary 112 Bibliography 119 Appendices Appendix 1 - Scores and lead sheets 124 Appendix 2 - Recital programme notes 151 Appendix 3 - Compact Disc (CD) details 165 Appendix 4 - Digital Video Disc (DVD) details 167 viii Dedication I dedicate this work to my mentors, Ron Arthur, Eric Bryce AM, George Golla, and Don Burrows AO, MBE, who each have taken the time to share their love of music with me, given me the guidance and encouragement to pursue that love, and taught me the importance of a good bass line. And to my wife Chantelle and children, Madeleine, Jemima, Adelaide, Freddie and Alfie for their patience, support and love. ix Chapter 1 Introduction 1 1. Introduction The bass, in both electric and acoustic forms, has a critical dual role to play in popular music and jazz. It is responsible for providing integral rhythmic support alongside the drum kit and is the foundation for harmony and melody, yet rarely draws the listener’s focus. Given these responsibilities, the paradox remains that the bass is considered a “quintessentially inside instrument that remains a mystery to most listeners and, perhaps, to many critics” (McDonough, 2003:47). This exegesis focuses on de-mystifying the role and function, and exploring the potential of, the electric bass guitar. I examine the part the instrument has played as an “agent of change” (Waksman, 1999:13) in the culture of popular music and jazz. As Waksman was concerned with the electric guitar, similarly I am concerned with how the electric bass guitar has been integrated into a broad range of existing musics and how as a result of this integration, the music has been affected. For Waksman, instruments are crucial to this search for knowledge through sound because they are the nexus at which the abstract codes of music-making meet the material acts through which music is produced (Waksman, 1999:10-11). My intention is not to write a comprehensive report on the history of the instrument, but rather to draw on significant events in that history relating to my investigation. These events include aspects of playing technique, the role played by technology and innovation in instrument construction, bass culture, and the bassists who are innovators on the instrument. This thesis has three parts, two of which are creative components: (1) compositions for bass; (2) performance and recording of these works, including musical direction; and (3) an exegesis in which I describe the context for my composition, performance, recording and musical direction. I have situated each of these elements both historically and in contemporary practice. To achieve my aims I have employed mixed methods in order to collect relevant information and engage with the topic. This includes evaluation of bass instrument performances; listening to and analysis of recordings significant to the development 2 of the instrument; compositions with, and for, the electric bass guitar; recording and analysis of my own compositions and performances; conversations and correspondence with leading professionals; and a review of relevant literature and websites. There is disproportionate representation of the electric bass guitar in the literature, relative to the amount of information available for other essential instruments of popular music and jazz (in particular, guitar, drums and keyboards). I contend this mirrors the disproportionate number of musicians who are engaged in playing an instrument that is an essential part of popular music and jazz. There are less bass players than there are guitarists, drummers and keyboard players. Guitars, drum kits and keyboards continue to be the popular instruments of choice, ahead of bass. This was the motivation to undertake my research, for in my role as a professional bassist and educator for over 24 years, I occupy a fortunate position in that the knowledge and experiences I have accumulated can also inform the discussion. 1.1 The research process Performance and self-evaluation The process of listening to, and understanding bass function began long before my period of candidature with early musical training and performances on euphonium and tuba in the brass band movement. The process of self-evaluation continues to be part of my daily performance practice as a professional bassist (acoustic bass, electric bass guitar and tuba). In this survey I have mostly used the ‘jazz’ model (theme/ improvisation/ theme) in my composition and performance. Improvisation allows for flexibility of melodic, harmonic and rhythmic development. During the period of candidature I have explored the use of a variety of instruments including fretted 6- string and 4-string and fretless 5-string electric bass guitars, as well as acoustic bass and tuba.