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Basses Loaded! is the suggestive name of this 1955 album featuring three jazz bass specialists in four numbers each.

Milt Hinton needs no introduction: having started with Cab Calloway’s great band of the 1930s, Milt added his personal touch to a wide variety of musical units, both large and small, and recorded with just about every name in the field. Here he has the first four tracks, all arrangements (plus one original) by Al Cohn.

The next four feature Wendell Marshall, who was Duke Ellington’s bassist for quite some time, but also enjoyed a long and successful career afterwards. His technique is amazingly varied, his tone firm and flexible; he was, in short, one of the versatile players who helped the instrument reach its current, exalted position. The arrangements are by Billy Byers, while Marshall penned the original.

The last four tracks are by Wyatt “Bull” Ruther, with arrangements and the one original by Manny Albam. Ruther debuted with the Dave Brubeck quartet, then joined the Erroll Garner trio, and then the Chico Hamilton and George Shearing groups, among many others. No matter what musical thought, he always kept a clear head and a straight course —he is, like both Hinton and Marshall, in there to stay, plucking a fantastic variety of notes from what is often seemingly thin air, offering the most vital proof of the instrument’s place in the jazz family.

 

MILT HINTON /WENDELL MARSHALL /WYATT "BULL" RUTHER
BASSES LOADED!

Basses Loaded! is the suggestive name of this 1955 album featuring three jazz bass specialists in four numbers each.

Milt Hinton needs no introduction: having started with Cab Calloway’s great band of the 1930s, Milt added his personal touch to a wide variety of musical units, both large and small, and recorded with just about every name in the field. Here he has the first four tracks, all arrangements (plus one original) by Al Cohn.

The next four feature Wendell Marshall, who was Duke Ellington’s bassist for quite some time, but also enjoyed a long and successful career afterwards. His technique is amazingly varied, his tone firm and flexible; he was, in short, one of the versatile players who helped the instrument reach its current, exalted position. The arrangements are by Billy Byers, while Marshall penned the original.

The last four tracks are by Wyatt “Bull” Ruther, with arrangements and the one original by Manny Albam. Ruther debuted with the Dave Brubeck quartet, then joined the Erroll Garner trio, and then the Chico Hamilton and George Shearing groups, among many others. No matter what musical thought, he always kept a clear head and a straight course —he is, like both Hinton and Marshall, in there to stay, plucking a fantastic variety of notes from what is often seemingly thin air, offering the most vital proof of the instrument’s place in the jazz family.

 

THE RUB AND SPARE CHANGE
THE OZELL TAPES
TAMING THE DRAGON
THE NEW THING & THE BLUE THING
SINGS AND PLAYS THE STANDARTS
THE TURN
THE ENDLESS MYSTERIES
THE ROOTS OF THE BLUES
THE GOOD AND EVIL SESSIONS
RAY BROWN WITH THE ALL-STAR BIG BAND
THE DEALERS - THE COMPLETE SESSIONS
FOLLOW THE SUN
LOCKED & LOADED : LIVE AT THE BLUE NOTE
THE ITCH
THE EDGE OF THE FOREST
JIMMY AND WES THE DYNAMIC DUO
THE RELATIVES
THE RETURN OF THE PRODIGAL SON
SINGS THE RODGERS AND HART SONGBOOK
THE SMILE OF THE SNAKE