Zur Stilistik des Baß-Spiels im traditionellen Jazz
Ein analytischer Vergleich
The transcribed bass lines analysis has shown that the double bass, along with its function as a fundamental instrument in the European sense (=ground tone playing), also fulfills a clearly percussive role, which above all is evident in the articulation and rhythm of the pizz-playing, as surveyed in the traditional jazz formations. During the arco-playing, all three bassists imitate another bass instrument, namely the tuba. The character of the bowed double bass tone is so "altered" that the impression heard is that of a blown tone. In pizz-playing, the percussive possibilities of the instrument are revealed, which cannot be realized on a tuba. Here then, only the double bass is intended, and its dual function clearly appears through the execution of the technique used by the player. Each of the three bassists thereby establishes other points of emphasis in the melodic and percussive area.
Sidney Brown uses a rhythmical, even, four-four quarter note movement with even articulation, as the basis for richness in melodic variation, while using a relatively large tone volume.
Bill Johnson sees his role as bassist primarily more in the rhythmic-percussive area. He uses primarily melodic forms, such as chromatic and octave jumps very infrequently, and confines himself to a lesser volume of tone. His rhythm, in comparison so rich in variation, can hardly be matched by another bassist of his time.
Pops Foster likewise places the heavy weight of his activity more in a percussive direction, however not so much with rhythmical means. His bass is at times a purely percussive instrument, through the extreme string slapping technique, which melts with the drum sounds. In these cases, the tone plays a subordinate role, the slap noise dominates. During these passages, Foster also uses only simple melodic forms, such as quarter jumps in fourths and tonal repetitions. In other places, he again plays with melodic emphasis, with broken chords and large tone intervals. He always places more emphasis on a string slapping rather than on a hand slapping technique. Nowadays, they are only used by musicians who play in the previously described styles as well as in stylistically related direction.
The further development of double bass playing in traditional jazz took place more in melodic and rhythmic respects, as the recordings from the thirties and forties show. The articulation techniques were reduced to plucking, while string slapping and hand slapping almost entirely disappeared. Nowadays, they are only used by the subjects of this study, who carry on in the previously described styles as well as in stylistically related directions. Only further scientific work can provide a more exact and complete picture of the double basses developmental history in traditional jazz.