From The Bottom Up: The Bass
by Dean Sorenson

In the last issue of Kjos Band News we looked at some general ideas concerning the rhythm section. In this and subsequent articles, I would like to take a look at each instrument individually and discuss their roles in more detail. As noted earlier, a good rhythm section is absolutely critical to a good jazz ensemble. Unfortunately, most directors (myself included!) are not rhythm section players. This is a major contributor to the unease many directors feel about working with the rhythm section. As we go through each of the instruments one by one over the course of the next few articles, I hope that you will gain a better understanding of how the rhythm section works, and how you can help your rhythm section sound better.
     We will start with the bass. The bass line, no matter what style of jazz you are playing, is the most critical element of the ensemble. Not just the most critical element of the rhythm section; the most critical part of the ensemble. This holds true whether you are using an electric bass, an upright bass, or a keyboard bass. Your bassist should ideally be someone with a strong sense of rhythm. When it comes to providing the band with a strong time feel the bass and the drums really work together. The drums, however, are often playing band figures or fills while the bass continues to lay down the basic pulse. If a bassist does not have a strong sense of rhythm the time of the entire ensemble will be in constant flux and it will be difficult, if not impossible, for the band to sound “tight.”
     It is important to understand that the bass has a dual role in the rhythm section. The bass provides both the harmonic and rhythmic foundation for the ensemble. Just how the bass line provides these differs slightly depending upon the style of music. In swing styles, the bass plays what is called a walking bass line. A walking line consists of repeated quarter notes that outline the chords of the chord progression. Harmonically, the bass is responsible for the fundamental notes of the harmony; mostly roots, fifths, and thirds with some sevenths. If a walking line is too difficult for a young player, having them play only roots — in the walking quarter note style — will be sufficient support for an ensemble. The bass lines on many early jazz recordings, especially those at very fast tempos, consist of nothing but roots played four to the bar. This leads us to the rhythmic element. Playing repeated quarter notes may seem quite easy, but to play them in solid time over the course of an entire tune, especially at fast tempos, is more of a challenge.
     In rock and Latin styles the bass line is often more rhythmically complex, but often simpler harmonically. Some rhythms, especially in funk and Afro-Cuban styles, can be very complex. The upside for less advanced bassists is that these complex patterns are often very repetitive, and it is common for a bass line to consist of a two or four bar vamp, repeated over and over for the majority of a tune. Recognize patterns when they occur and focus on getting a solid groove going with the pattern by itself. Learning two bars, and repeating them 8 times is easier than learning 16 bars. Be careful when choosing literature in these styles. Be sure to check the bass part, and make certain you have a player that is equal to the task.
     Spend time in rehearsal listening to the rhythm section play alone, and pay close attention to the bass. Make sure that the bass line — no matter what the style — is played with very consistent rhythm. If you hear problems, do not hesitate to ask the bassist to play alone in rehearsal. Slowing the tempo until the passage or the groove can be played solidly is also very helpful. It is very common for the wind players to be able to play a passage at a faster tempo than the rhythm section can. Give your rhythm section a chance to catch up, and start with the bass player. Always remember that if the bassist cannot play it, the band cannot play it.
     There are many different kinds of basses. Even though certain basses are often better suited for certain styles, most directors do not have the luxury of having a choice. Even so, it is helpful to have an understanding of the differences in order to get the best possible sound from your bassist. The most common bass is the electric bass. These come in both fretted and fretless varieties and tend to have heavier, boomier sounds with a very direct attack. They also feature a very drawn out decay. They are ideal for rock and funk styles, but can be used in swing also. When using electric bass on swing charts, try to EQ the amp with less low end. Adding some highs and mid-ranges gives the sound a little more body and less boom. Upright basses are ideal for swing playing, but are very expensive and are more difficult to play. Upright basses (sometimes called stand up basses) have a broader attack and a much faster decay. Getting a good sound with an upright bass through an amp starts with getting a good sound on the bass. Many young players approach the upright bass with the same technique used with electric bass, expecting the amp to create the sound. A good upright bass sound, however, has to be good acoustically as well as amplified. Many schools have little choice but to use a keyboard bass. When using a keyboard bass or synthesizer use an electric bass patch. Acoustic bass patches, for the most part, sound very artificial. Electric bass patches, on the other hand, sound more like what they are supposed to be: an electronic instrument.
     No matter what kind of bass your jazz ensemble uses, any and all can play an artistic and musical role in your ensemble if you and your bassist understand the role of the instrument..

About Dean Sorenson

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