Rufus Reid Evolving Bassist Ebook Readers
Iconic bassist Rufus Reid Reid will perform two shows at the March 12 Jazz Standard, at 7:30 and 9:30 PM. Tickets are $30 and are available via.Reid’s new Motema Music CD, Quiet Pride: The Elizabeth Catlett Project was released on February 11, and is garnering critical praise.Jazz Inside Magazine says, “ it is Reid’s writing that gives this suite and the band in general its own musical personality. With the release of Quiet Pride, it is time to start thinking of Rufus Reid not just as a bassist but as an important writer.” Critical Jazz lauded the album as “a stunning work embracing the somewhat conceptualized notion of what happens when art influences art.An auspicious release.”. For the upcoming show at the Jazz Standard, Reid reunited much of the same twenty piece ensemble featured on Quiet Pride.
In-demand drummer Jonathan Blake replaces the great Herlin Riley in Reid’s core ensemble, along with Steve Allee on piano and Vic Juris on guitar. Trumpet players Greg Gilbert and Mike Rodriguez ably take on the parts performed by Ingrid Jensen and Tanya Darby on the album, and Luis Bonilla fills Jason Jackson’s trombone chair. The remaining line-up is stellar, with Tim Hagans and Freddie Hendrix on trumpets; Michael Dease, Ryan Keberle and Dave Taylor on trombones; John Clark and Vincent Chancey on French horns; Steve Wilson on lead alto/soprano sax, flute and clarinet; Tom Christensen and Scott Robinson on tenor sax and clarinets; Carl Maraghi on baritone sax and bass clarinet; Erica von Kleist on alto sax, flute and clarinet, and Charenee Wade on vocalese.
The widely respected drummer, composer and conductor Dennis Mackrel, who conducted the orchestra on Quiet Pride, will also conduct at the Jazz Standard show.The inspiration for this epic, large ensemble work was Reid’s fascination with the sculptural work of Elizabeth Catlett, the great African American artist and civil rights activist, whose works can be found in the collections of the White House, the Museum of Modern Art, and of private collectors such as Bill Cosby, Oprah Winfrey, and jazz impresario George Wein. “You know how you can spend hours in a gallery, just letting the images sink in? I found myself responding to the shapes and lines in Elizabeth’s work.
.TheEvolvi ng BassistbyRufus ReidA Comprehesive Method ln Developing ATotal Musical Concept For The Aspiring Jazz Bass PlayerMillennlum Edition 2000lsBN 0-9676015-0-9O Copyright 1974 by MYRIAD LIMITEDP.0. BOX 757, Teaneck, New Jersey 07666http://www.tana reid. Comlnternational Copyright Secured. Made in U.S.A. All Rights Reserved.U'FzIJJ=IJJoouJJ=ozYC)I thank Mr. Eddie Harrls or encouraging and giv-lng me the initial force in the writing of this bookMany thanks to al!
Who helped me compile someof the ideas for the bookThank you to Adam Linz or his great help intranscribing some o my solos from recordingsThank you to Rick Sigler for creating The JazzFont SetCover Design & Photography: Howard SimmonsPhotos By: Joann Krivin and Howard SimmonsPreace Photo By: John AbbottTo my wife Doris, for her dedication and supportBook design by Ruus Reid usingFinale 2000 & QuarkXPress.ulotlJJ,o-This EVOLVING BASSIST is the editionentering into the new millennium, the year2000. This edition will mark twenty-six yearsin publication, establishing 'the standard' inbass method books. This new edition willinclude more transcriptions, original composi-tions, new etudes and additional ways to con-cive better bass lines. Additional helpulinformation dealing with practical, 'real lie'situations or traveling as a professional play-er is given to assist the aspiring bassist.
Listso ampliication equipment, electronic pick-ups, microphones are also included.As I continue to travel over the United States andother parts o the world, more and more people,especially young people are being introduced tojazz music. The study of this music, informally andin schools, is excelling at a rapid rate all over theworld. The bass has progressed technically morethan any other instrument in the last sixty yearsbecause of technological advances with string man-uacturing and electronic pickups. These advance-ments have allowed the bass players technique andmusic to excel and really be heard more clearly,particularly in the live setting. Virtuoso playing hasadvanced incredibly in all forms of music. The con-temporary jazz bassist has been very instrumentalin maniesting many of these advances.
HoWeVer,with all of the advances and inormation available tous because o the age We now live in' the task is stillon the individual to crate the music'The challenge has always been on the player tomake the music. You, the improvising player mustbe able to THINK and PLAY at the same time.Consistent hard work is needed to develop the skillsand vocabulary to improvise well.There is still a need or a bass book; one that reallyexplains how to physically play the bass, one lhatteaches in a simple and concise manner how toconstruct good sounding bass lines from chord pro-gressions, one that explains how to get a smoothsound, one that discusses how to listen, what tolisten for, and who to listen to. Without being toostylized, this method book will stimulate the playerto learn how to play what is expected rom him/heras a bass player. When you say you are a 'jazzbass player,' you must be able to show by doingwhat that truly means. People in the know havehigh expectations because o their listening to thegreat Masters, i.e., Jimmy Blanton, Slam Stewart,lsrael Crosby, Milt Hinton, George Duvivier, RayBrown, Oscar Pettiford, Paul Chambers, CharlesMingus, Sam Jones, Ron Carter, Scott LaFaro,Charlie Haden, Richard Davis, Red Mitchell, EddieGomez, Dave Holland, George Mraz, GaryPeacock, Buster Williams, Cecil McBee, RayDrummond, Niels-Henning Orsted Pederson, JohnClayton, John Patitucci, Christian McBride, andJaco Pastorius, to name only a few.
The standardhas been set. L one Wishes to be included in thelineage that the Masters have set, one must beserious and work diligently.A great jazz improvisor does not really 'need' any-one to help clariy what they are playing' Their f unctional knowledge o the jazz vocabulary, harmony,and rhythm which has become 'one' in theirthought process is all that is needed. Bass playersare the foundation of any group. Bass players areexpected to have a big 'swinging sound,' know the'blues,'hythm changes,' 'standard repertoire,'jazz standards,' play in 'any key,' and always be'consistent.' Ln a real creative sense, we arethought of as 'someone home always minding thestore.' Lt is quite a task, but it is part of our jobdescription.
Bass players also have the unique abil-ity to sabotage any and all ensembles if their con-centration o rhythm or harmony ails to be whereand what it should be. As a bassist, one shoulddevelop the 'mind set' that you are the only har-monic and rhythmic substance there is. Whendoing so, one does not lean on anyone else to claiy what you are attempting to play' lf you learn toalways be clear in your playing, your confidence willgrow and so will your reputation.THE EVOLVING BASSIST is designed to take youthrough a process to help you reach these goals tobecome that consummate bass player. Lt is alsodedicated to the student who has difficulty findingand/or being able to afford a regular teacher. Youwill have this tool to help you help yourself along theway. I use all of lhese concepts with my studentsand it has proven extremely successul.
As you andyour playing mature through the years, you will dis-cover that there is always something more to learnabout being a better bass player in this music wecall jazz.Musically Yours,kP-/.,oI!F3IJJI!FF3omPotn February 10, 1944, in Atlanta, GA, RufuslJReid was raised in Sacramento, Californiawhere he played the trumpet through junior andsenior high school. Upon graduation fromSacrarfiento High School, Mr. Reid entered theUnited States Air Force as a musician. Along withthe trumpet he began to take an interest in thebass. By the time he had been discharged from themilitary Rufus had decided the bass was the direc-tion his career was going to take. He moved toSeattle, Washington, where he began serious studywith James Harnett of the Seattle Symphony.
RufusReid received his Associate Arts Degree fromOlympic College in Bremerton, Washington, in1969. He continued his education at NorthwesternUniversity in Evanston, lllinois, where he studiedwith Warren Benield and Joseph Guastefeste, bothof the Chicago Symphony.
He graduated in 1971with a Bachelor of Music Degree as a PerformanceMajor on the Double Bass.is major professional career began in Chicagoand continues since 1976 in New York City. Hehas traveled, performed and recorded with many ofthe great Jazz Masters. He was privileged to sharemany musical moments with some that havepassed on: Gene Ammons, Kenny Dorham, EddieHarris, Sonny Stitt, Don Byas, Philly Joe Jones,Kenny Dorham, Thad Jones, Mel Lewis, DexterGordon, Bill Evans, Stan Getz, Dizzy Gillespie, andArt Farmer.Concerto for Solo Double Bass and Jazz Trio, com-posed by Benny Golson for Rufus with the WayneChamber Orchestra.
Lt's debut was at WilliamPaterson University and it's New York premiere wasat Alice Tully Hall at Lincoln Center.flufus Reid has made over two hundred and fiftyI lrecordings. Under his own leadership he hasthree recordings: PERPETUAL STROLL, SEVENMINDS, and CORRIDOR TO THE LlMlTS. Rufusis also co-leading the group, TANAREID, withdrummer, Akira Tana since 1990.
The group has sixrecordings; YOURS AND MINE, RUMOUR, PASS-ING THOUGHTS, BLUE MOTION, LOOKINGFORWARD and BACK TO FRONT. TANAREIDcontinues to travel, performing and teaching aroundthe world. Rufus also has two unique duo record-ings with master bassist Michael Moore, the criti-cally acclaimed DOUBLE BASS DELIGHTS, andTHE INTIMACY OF THE BASS on Double-TimeRecords. Publications collaboratedwith the BASS COLLECTIVE and BASS PLAYERMAGAZINE to produce BASS DAY '97 NEWYORK. A live perormance video of Rufus Reidand Michael Moore is now available from that day.flufus Reid's extensive jazz background andI ldiscography reads literally like the Who's Whoin jazz.
Parallelling his performing reputation ishis exceptional teaching reputation. His book,THE EVOLVING BASSIST, published in 1974 isrecognized in the industry as the definitive bassmethod publication. He has been doing clinics since197'l associated with the Jamey AebersoldSummer Jazz Workshops, the Stanford UniversityJazz Workshop, and the Lake Placid lnstitute, toname a few. This year concludes twenty years onthe aculty of William Paterson University in Wayne,New Jersey, as Professor and Director of the JazzStudies and Performance Program. All of Mr.Reid's presentations around the world, whether inthe nightclub, on the concert stage, or in the class-room, are cherished, memorable events.! N January, 1997, The lnternatlonal Association oflJazz Educators awarded Rufus with theHumanitarian Award. DOWN BEAT magazine, Mayissue, awards Rufus the 1998 Jazz EducatorAchievement Award.
BASS PLAYER magazine,March, 1999, has a feature story on Rufus Reidas a legendary thirty year veteran who is trulycontinuing to be THE EVOLVING BASSIST.pufus performed and recorded with AndreI lPrevin, Kathleen Battle and the St. LukesChamber Orchestra in 1992.
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Also in 1992 Rufusgave two performances of 'Two Faces', a.U'FzIJJFzoolroIJJJoGLOSSARY OF TERMSFREOUENTLY ASKED OUESTIONS.6-78-1213-17CHAPTER 1 PHYSICAL POSITIONS.CHAPTER 2 DEVELOPING A GREAT SOUND. 18 - 23ETUDE 1 Open String Exercises. 24 ' 38CHAPTER 3 GETTING TO KNOW THE FINGERBOARO. 39.65ETUDE 2 Know Your Fingerboard. 43 - 45ETUDE 3 Basic Scales You Must Know.
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46 - 57ETUDE 4 More Scales Belated To Altered Chords. 58ETUDE 5 Approachin.