The preliminary bass exam is designed to give beginner and young students the
... Ray Brown's Bass Method and Simandl New Method for String Bass (Part 1).
Preliminary The preliminary bass exam is designed to give beginner and young students the opportunity to experience an exam situation without the pressure associated with most exams. It has been written for students who have been playing for 6-18 months.
Part 1 – Technical and Reading This section is to demonstrate the student’s technical ability. Students will be required to demonstrate the following technical exercises from memory. The tempo markings listed are the minimum expected (quarter notes unless otherwise noted). Students are expected to demonstrate standard fingering techniques for their respective instrument (electric or double bass). Double bass students may choose to bow technical requirements. Technical (20 marks) a)
Scales – In the keys of C, F and G, one octave, ascending and descending, mm=60. Scales in the key of F to start on the E string. i) Major scale ii) Blues scale iii) Minor pentatonic
b)
Arpeggios – Chord tones 1,3,5,7 ascending and descending in the keys of C, F and G major, mm=60.
c)
Intervals – students will be given a starting note by the examiner and asked to play the following intervals. For further examples of interval practice refer to Ray Brown’s Bass Method and Simandl New Method for String Bass (Part 1). i) One octave above given note. ii) Major third above given note. iii) Perfect fifth above given note.
Reading (10 marks) Students will be asked to play 4 bars of sight-reading in 4/4. There will be no key signature or accidentals and will use rhythms involving whole notes, half notes, quarter notes and their equivalent rests.
Part 2 – Styles/Bass Functions (25 marks) Students will be asked to perform grooves in the following styles. All examples should be played at a stylistically appropriate tempo. Students should give a count-in (one or two bars) for each example and play each groove for a minimum of 8 bars, up to 24 bars, as instructed by the examiner. i)
Shuffle-style 12 bar blues (ie. basic 3 chord progression) utilising repetitive bass figure.
ii)
Basic rock groove (quaver based) on one or two chord vamp.
iii)
Basic funk groove on one chord vamp, demonstrating ability to maintain a repetitive pattern.
Part 3 – Performance (25 marks) For the Preliminary exam, only one piece is required, duration 1-4 minutes. Students are to perform a bass line of their choice, from any style. It may be in the form of a solo, play-along or accompanied piece. Students may, at the examiner’s discretion, play two short, contrasting pieces. Students are to count-in all pieces with a one or two bar count, with the exception of play-alongs. A copy of the music must be provided for the examiner (ie. chart, lead sheet, copy of transcription).
Part 4 – Programme notes/research (10 marks) At the Preliminary level students are asked to answer simple questions relating to the performance pieces, ie. time signatures, repeats/codas, key signatures, style/genre, etc.
Certificate 1 Part 1 – Technical and Reading This section is to demonstrate the student’s technical ability. Students will be required to demonstrate the following technical exercises from memory. The tempo markings listed are the minimum expected (quarter notes unless otherwise noted). Students are expected to demonstrate standard fingering techniques for their respective instrument (electric or double bass). Double bass students may choose to bow technical requirements.
Technical (20 marks) a)
Scales – Scales in the key of F to start on the E string, mm=69. i) C, F, G and D Major scale, two octaves, ascending and descending. ii) C, F, G and D Mixolydian scale, one octave, ascending and descending. iii) C, F, G and D Aeolian (natural minor), one octave ascending and descending.
b)
Arpeggios – Chord tones 1,3,5,7 of C, F, G and D mixolydian and C, F, G and D aeolian, both ascending and descending, mm=69.
c)
Play through the Cycle of Fourths from C to C, ie. C, F, Bb, Eb, Ab, Db, Gb, B, E, A, D, G, C.
Reading (10 marks) Students will be asked to play 8 bars of sight-reading in 4/4. It may contain a key signature of one sharp or flat, but no accidentals. It will use rhythms involving whole notes, half notes, quarter notes, eighth notes and their equivalent rests.
Part 2 – Styles/Bass Functions (25 marks) Students will be asked to perform grooves in the following styles. All examples should be played at a stylistically appropriate tempo. Students should give a count-in (one or two bars) for each example and play each groove for a minimum of 8 bars, up to 24 bars as directed by the examiner. i)
Basic rock groove, demonstrating a basic level of syncopation, over a minimum of two chords.
ii)
Basic bossa nova groove (ie. half-notes) or basic Cha-Cha utilising tonics and 5ths over a chord progression of at least four chords.
iii)
Pop/funk groove, demonstrating a basic use of 16th notes and a basic level of syncopation, over a minimum of two chords.
iv)
Basic R&B style 12/8 groove over a minimum of two chords.
Part 3 – Performance (25 marks) For the Certificate 1 exam a minimum of two pieces is required, total duration 5-8 minutes. The pieces performed should be of contrasting style and tempo and should demonstrate the function of the bass. Students are encouraged to play melodies but it is not compulsory at this level. Students will also be assessed on their ability to make smooth position changes through simple chord progressions and are to use a basic level of syncopation. At least one piece should be presented with accompaniment, a play along or an ensemble. All pieces should be counted-in, with the exception of play-alongs. A copy of the music must be provided for the examiner (ie. chart, leadsheet, copy of transcription).
Part 4 – Programme notes/research (10 marks) Students are asked to answer simple questions relating to performance pieces, ie. time signatures, repeats/codas, style/genre, key signatures, composer/s, etc.
Certificate 2 The requirements of Certificate 2 pave the way for the choices available in Certificates 3 and 4, bringing a wider range of styles to the student’s attention. There is also a continuation of the technical and reading work of the Preliminary level and Certificate 1.
Part 1 – Technical and Reading This section is to demonstrate the student’s technical ability. Students will be required to demonstrate the following technical exercises from memory. The tempo markings listed are the minimum expected (quarter notes unless otherwise noted). Students are expected to demonstrate standard fingering techniques for their respective instrument (electric or double bass). Double bass students may choose to bow technical requirements. Technical (20 marks) a)
Scales (mm=76) i) ii) iii) iv)
Bb, Eb, A and D Mixolydian scale, 2 octaves, ascending and descending. Bb, Eb, A and D Aeolian (natural minor) scale, 2 octaves, ascending and descending. Bb, Eb, A and D Jazz minor (ie ascending melodic minor) scale, one octave, ascending and descending. Bb, Eb, A and D Harmonic minor, one octave, ascending and descending.
b)
Arpeggios – Chord tones 1,3,5 of Bb, Eb, A and D Major, two octaves, ascending and descending, mm=69.
c)
Chromatic exercise: In the keys of Bb, Eb, A and D arpeggiate (1,3,5,8), over one octave, ascending only, playing a chromatic leading-note for each chord tone, ie. in the key of Bb, A-Bb, C#-D, E-F, A-Bb, mm=76.
Reading (10 marks) Students will be asked to play 8 bars of sight-reading in 4/4. It may include a key signature of no more than two sharps or flats and may include accidentals. Rhythmically it may consist of whole notes, half notes, quarter notes, eighth notes and their equivalent rests. It may use a basic level of syncopation through use of tied and dotted notes and/or rests.
Part 2 – Styles/Bass Functions (25 marks) Students will be asked to perform grooves in the following styles. All examples should be played at a stylistically appropriate tempo. Students should give a count-in (one or two bars) for each example and play each groove for a minimum of 8 bars, up to 32 bars, as instructed by the examiner. i)
Jazz “two feel”, in 4/4, over a standard of choice (not a blues).
ii)
Slow to medium blues in 12/8, standard 3 chord progression but with turnaround in bars 11&12 (ie. I-vi-ii-V), one chorus only.
iii)
Bossa Nova groove with rhythmic variations (ie. dotted quarter note/eighth note pattern), showing smooth leading through chord progressions, eg. through use of passing notes or non-chord tones. Minimum of four chords.
iv)
Pop-funk or funk/rock groove, 16th note based feel, minimum of two chords.
Part 3 – Performance (25 marks) For the Certificate 2 exam a minimum of two pieces is required, total duration 8-10 minutes. The pieces performed should be of contrasting style and tempo and demonstrate the function of the bass. Students are to perform at least one melody in their programme. Students will also be assessed on their ability to make smooth position changes through basic chord progressions and are to demonstrate a basic use of syncopation. At least one piece should be presented with either accompaniment, a play along or an ensemble. All pieces should be counted in, with the exception of play alongs. A copy of the music must be provided for the examiner (ie. chart, lead sheet, copy of transcription).
Part 4 – Programme notes/research (10 marks) At this level students are asked to answer questions relating to the performance pieces, ie. time signatures, key signatures, repeats/codas, style/genre, form, composer/s, etc.
Certificate 3 Certificate 3 offers students considerable choice in their area of study and performance without limiting students to one area. Students are advised to undertake some work in all areas so as to be able to make an informed choice for the exams.
Part 1 – Technical and Reading This section is to demonstrate the student’s technical ability. Students will be required to demonstrate the following technical exercises from memory. The tempo markings listed are the minimum expected. Students are expected to demonstrate standard fingering techniques for their respective instrument (electric or double bass), and should be able to identify the location of notes on the fret board/finger board. Double bass students may choose to bow technical requirements. Technical (20 marks) a)
Scales – Scales in the key of E may be played starting on the A string, mm=88. i)
ii) iii)
Major modes - ionian, dorian. phrygian and lydian, in the keys of Ab, Db, E and A, one octave ascending and descending, to be played consecutively with 2-4 beats rest between each mode. Ab, Db, E and A chromatic scale, one octave ascending and descending. Ab, Db, E and A whole-tone scale, one octave ascending and descending.
For further reference and examples of scales and chord/scale relationships refer to The Jazz Sound (Dan Haerle). b) Chromatic exercise, in the keys of Ab, Db, E and A, approaching chord tones 1 and 5 with two chromatic leading notes, and following chord tones 3 and 8 with two descending chromatic notes, ie. in the key of C, Bb-B-C, E-Eb-D, F-F#-G, C-B-Bb, played as continuous eighth note triplets, mm=44. Reading (10 marks) Students will be asked to sight-read two bass lines of contrasting styles in 4/4. i) ii)
One chorus of basic walking bass line over a blues progression in the key of F. A two bar repetitive funk groove, with a basic level of syncopation, using 16th notes and 16th note rests.
Part 2 – Styles/Bass Functions (25 marks) Students will be asked to perform two compulsory grooves and two of their own choice from the lists provided (jazz, latin and studio styles). All examples should be played at a stylistically appropriate tempo. Where this is not applicable a minimum tempo has been given. Students should give a one or two bar count-in for each example and play each groove for a minimum of 8 bars, up to 32 bars as instructed by the examiner. Compulsory i)
Walking bass line over a 12 bar jazz blues in 4/4. The chord progression is to contain at least one ii-V movement other than the turnaround, and it should also contain a I-vi-ii-V turnaround (bars 11&12), one chorus only.
ii)
A pop/funk groove (16th note based groove), over a minimum of three chords, utilising skips/ghost notes.
Choose two grooves from any of the following lists: Jazz i) ii)
New Orleans 2nd Line groove, minimum of two chords. “One feel” in 3/4 over a jazz standard of choice.
Latin a) Brazilian Styles: i) ii) iii)
Baiao groove, minimum of two chords. Samba do Partido Alto groove, minimum of two chords. Basic Samba, minimum of four chords.
For further examples refer to The Essence of Brazilian Percussion and Drum Set (Ed Uribe). b) Cuban Styles – All to be played over a minimum of two chords. i) ii) iii)
Son Montuno or Mambo groove. Basic Mozambique. Songo groove.
For further examples refer to Afro-Cuban Grooves for Bass and Drums – Funkifying the Clave (Lincoln Goines and Robby Ameen).
Studio Styles All grooves to be played over a minimum of three chords. i) ii) iii) iv) v)
Soca groove. Basic hip-hop groove (ie. swung 16th funk groove). Basic reggae groove. R&B style 12/8 groove, utilising rhythmic embellishments and chord/scale variations. Up-tempo rock or funk groove (8th or 16th note based), mm=108.
For an example of a Soca groove refer to Essential Styles for the Drummer and Bassist (Book 2)(Steve Houghton and Tom Warrington).
Part 3 – Performance (25 marks) For the Certificate 3 exam a minimum of two pieces is required, total duration 11-15 minutes. The pieces performed should be of contrasting style and tempo and demonstrate the function of the bass. At least one melody is to be performed by the student. Students will also be assessed on their ability to make smooth position changes through chord progressions. The student must perform at least one improvised solo in the programme. At least one piece should be presented with accompaniment, a play along or ensemble. Students should demonstrate an awareness of syncopation and display use of dynamics. A copy of the music must be provided for the examiner (ie. chart, lead-sheet, copy of transcription).
Part 4 – Programme notes/research (10 marks) At this level students are asked to answer questions relating to the performance pieces, ie. time signatures, repeats/codas, key signatures, technical devices, style/genre, form, composer/s, etc.
Certificate 4 Certificate 4 has been designed to aid students seeking admission to tertiary music courses as well as being the final step before SCSM Associate Diploma and Diploma study. Part 1 – Technical and Reading This section is to demonstrate the student’s technical ability. Students will be required to demonstrate the following technical exercises from memory. The tempo markings listed are the minimum expected. Students are expected to demonstrate standard fingering techniques for their respective instrument (electric or double bass), and should be able to identify the location of notes on the fret board/finger board. Double bass students may choose to bow technical requirements. Technical (20 marks) a)
Scales - Scales in the key of E are to start on open E string, mm=96. i)
ii)
iii) iv)
b)
All Major modes – ionian, dorian, phrygian, lydian, mixolydian, aeolian and locrian – in the keys of Db, Gb, E and B, one octave, ascending and descending, played consecutively, with 2-4 beats rest between each mode. Db, Gb, E and B Mixolydian b9 b13 scale (5th mode harmonic minor), one octave, ascending and descending. Db, Gb, E and B diminished (whole-half diminished) scale, one octave ascending and descending. Db, Gb, E and B diminished dominant (half-whole diminished) scale, one octave, ascending and descending.
Arpeggios – chord tones 1,3,5,7 from all Major modes in the keys of Db, Gb, E and B, ascending only, played consecutively, mm=84.
For further reference and examples of scales and chord/scale relationships refer to The Jazz Sound (Dan Haerle). Reading (10 marks) Students will be asked to create a bass line over a set of sight-read chord changes. The chord progression will be 8 bars long and the style of bass line is to be chosen from the following list: i) ii) iii)
Jazz – walking bass line. Latin – tumbao or bossa nova. Studio Styles – funk or hip-hop style groove.
Part 2 – Styles/Bass Functions (25 marks) Students will be asked to perform: a) 3 grooves of their own choice from the lists provided (jazz, latin and studio styles); and b) a transcribed bass line of one of the listed musicians. For part a) students must perform examples from at least two of the style groups. The transcription may be from any group. All examples should be played at a stylistically appropriate tempo. Where this is not applicable a minimum tempo has been given. Students should give a one or two bar count-in for each example and play each groove from part a) for a minimum of 8 bars, up to 32 bars, as instructed by the examiner. A copy of the transcription must be provided for the examiner.
Jazz – Maximum of one chorus each. i)
Walking bass line in 4/4 over a jazz standard of choice (not a blues), mm=88.
ii)
Walking bass line in 3/4 over a jazz standard of choice, mm=84.
iii)
A ballad feel in 4/4 or 3/4 over a jazz standard of choice.
For some lead sheets and further recordings of walking line ideas, refer to the Jamie Aebersold play-along series and for further lead sheets the New Real Book (vol 1-3) and the Standards Real Book. For further ideas on walking bass line construction refer to The Evolving Bassist (Rufus Reid). Transcription: 24-32 bars of walking bass line from Ron Carter, Paul Chambers, Gary Peacock, Eddie Gomez, Steve Swallow or Dave Holland. Latin a) Brazilian Styles – All to be played over a chord progression of at least four chords. i) ii) iii) iv) v)
Fast Samba. Jazz-Fusion style Samba groove. 3/4 Samba. Samba do Partido Alto. Baiao.
For further examples of i), ii), and iii) please refer to Essential Styles for the Drummer and Bassist (Books 1&2)(Steve Houghton and Tom Warrington). Transcription: 16 bars of bass line from Ringo Thielman, Sebastiao Neto, Luizao Maia, Stanley Clarke (with Return to Forever), or Ron Carter (with Antonio Carlos Jobim and Airto Moreira)
b) Cuban Styles - All to be played over a chord progression of at least two chords. i) ii) iii)
Afro-Cuban 6/8 groove. Mozambique groove. Mozambique with funk or slap variations.
iv) v)
Songo groove. Slap Songo groove.
For further examples and exercises refer to Afro-Cuban Grooves for Bass and Drums – Funkifying the Clave (Lincoln Goines and Robby Ameen). Transcription: 16 bars of bass line from Lincoln Goines, Orlando “Cachaito” Lopez, Andy Gonzalez, Israel “Cachao” Lopez or Juan Formell. Studio Styles Parts i) to v) are to be played over a progression of at least three chords and vi) is to be played over a minimum of two chords. i) ii) iii) iv) v) vi)
Motown style groove. Hip-hop groove (ie. swung 16th funk groove). Up-tempo pop/funk groove (16th based, slapping optional), mm=116. Reggae or Reggae-funk groove. Calypso groove. Odd-time groove (eg. 5/4, 7/8, 9/4 etc.)
For some examples of i) refer to Standing in the Shadows of Motown (Dr Licks). For further examples of ii), iv) and vi) refer to Essential Styles for the Drummer and Bassist (Books 1&2)(Steve Houghton and Tom Warrington). Transcription: 16 bars of bass line from James Jamerson, Willie Weeks, Jaco Pastorius, Chuck Rainey, Marcus Miller, Anthony Jackson or Francis Rocco Prestia. Part 3 – Performance (25 marks) For the Certificate 4 exam the performance section is in two parts, total duration 1620 minutes. A copy of all music must be provided for the examiner (ie. chart, leadsheet, copy of transcription). a)
Students are to perform a transcribed solo of their own choice, from any instrument. The solo may be in any style and can be presented solo or with accompaniment of choice. If playing a guitar or piano transcription with chordal parts, where these appear students may play just the top part of the voicing. The transcription should be a minimum of 16 bars, up to 32 bars (students may play an excerpt from a solo).
b) Part b) is similar to earlier performance sections. Students are to play a minimum of two pieces of their own choice. The pieces should be of contrasting style and tempo, and demonstrate the function of the bass. Students are asked to perform at least one melody and at least one improvised solo. Students will also be assessed on their ability to make smooth position changes through chord progressions and are to demonstrate an understanding of syncopation. At least one piece should be presented with accompaniment, a play along or an ensemble. Students should be aware of arrangement possibilities and song structures. A high level of musicality is expected and students should demonstrate dynamic control, ensemble awareness, rhythmic variety and use of the instrument’s range.
Part 4 – Programme notes/research (10 marks) Students are to present, in written or oral form, information on the musician they presented transcriptions of in the Styles/Bass Functions section or Performance section a).
Associate Diploma Exam Duration 35-40 minutes (lecture 10-15 mins, performance 20-25 mins). Associate Diploma candidates are to present a sizeable portion of research as well as a high level of performance. Candidates are expected to present a 10-15 minute lecture, of high standard, on their chosen topic and follow that with a 20-25 performance relating to the lecture. Candidates are to submit their research proposals for approval at least 6 months in advance, and any changes are to be approved by the examiner in advance. Part 1 – Research Candidates are to select their own research topic and present a lecture of high standard to the examiners. Where time constraints prevent the candidate from presenting all of their research it is important that the information used for the lecture is presented in a coherent and logical manner. Candidates may use recordings, demonstrations, handouts and other such devices to aid their presentation. Unless otherwise noted, candidates are responsible for the set-up of any equipment. Following is a list of some possible topic areas: a) Transcription and analysis of a particular musician’s selected works. b) Transcription and analysis of a composer’s selected works. c) Study of the development of a genre or sub-genre. Part 2 - Performance For the performance part of the exam, candidates are to select works that support and further demonstrate material presented in the lecture. Where time constraints have limited the candidate’s lecture (as mentioned above), lee-way will be given with regards to the programming, ie. the performance programme may support the overall research unit, not just the information presented in the lecture. Candidates may perform their own compositions. Copies of music are to be provided for the examiners. During the performance section students will be assessed on the following areas: 1) 2) 3) 4) 5)
Technical ability, tone production, dynamic control, intonation. Ensemble playing and interaction. Improvisation/Solos. Time-keeping. Programming.
Diploma Exam Duration 45-50 minutes (lecture 15-20 mins, performance 25-30 mins). As with the Associate Diploma, Diploma candidates are to present a sizeable portion of research as well as a high standard of performance. Candidates are expected to present a 15-20 minute lecture, of high standard, on their chosen topic and follow that with a 25-30 minute performance relating to the lecture. Candidates are to submit their research proposals for approval at least 6 months in advance, and changes are to be approved by the examiner in advance. Part 1 – Research Candidates are to select their own research topic and present a lecture of high standard to the examiners. Candidates may use recordings, demonstrations, handouts and other such devices to aid their presentation. Unless otherwise noted, candidates are responsible for the set-up of any equipment. Following is a list of some possible topic areas: a) Transcription and analysis of a particular musician’s selected works. b) Transcription and analysis of a composer’s selected works. c) Study of the development of a genre or sub-genre. Part 2 - Performance For the performance part of the exam candidates are to select works that support and further demonstrate material presented in the lecture. Candidates may play their own compositions. Copies of music are to be provided for the examiner. During the performance section students will be assessed on the following areas: 6) Technical ability, tone production, dynamic control, intonation. 7) Ensemble playing and interaction. 8) Improvisation/Solos. 9) Time-keeping. 10) Programming and presentation.
Appendix References – Books, Recordings, Videos. The lists given here are by no means exhaustive and may be updated form time-totime as new works become available. SCSM holds no responsibility for the availability of items listed. The instructional books have been placed in two categories – Electric and Double Bass Books, and Other Selected Books. The first category contains books intended for use of bass players, and most are appropriate for electric and double bassists. The second category contains more generalised instructional books covering sight reading, jazz lead sheets, play-alongs, latin methods and improvising techniques. The recordings listed have been done so for one of three reasons: they demonstrate material required in exams or suggested as free choice material; they are highly recommended listening for all bass players; or the artist was considered to be of enough significance to otherwise warrant a place. The categories are just a rough guide to the styles of the albums – obviously many albums straddle idioms. The “Jazz” section is the largest, as there are not only examples of jazz playing in 4/4 and 3/4, but also examples of odd-time, New Orleans, Afro-Cuban, Brazilian, funk and rock beats, as well as a broad range of solos. A number of Australian recordings have also been included. Electric and Double Bass Books Ray Brown’s Bass Method, Ray Brown. The Evolving Bassist, Rufus Reid. The Improviser’s Bass Method, Chuck Sher. Concepts for Bass Soloing, Chuck Sher and Marc Johnson. Funkifying the Clave, Robby Ameen and Lincoln Goines. Standing in the Shadows of Mowtown, Dr Licks. Essential Styles for the Drummer and Bassist (Books 1&2), Steve Houghton and Tom Warrington. The Bass Bible, Paul Westwood. Ron Carter Bass Lines, transcribed by Fred Boaden. Ron Carter Bass Lines, transcribed by Sonny Stephens. Elecrtic Bass Lines vol 1-6, Carol Kaye. Jazz Bass, Carol Kaye. Rock/Funk Bass, Carol Kaye. Rock Bass Lines, Joe Santerre. Slap Bass Lines, Joe Santerre. The Groove Book – A Study in Musical Styles for Bass, Marc Ensign. The Latin Bass Book – A Practical Guide, Oscar Stagnaro and Chuck Sher. Blues and R&B Bass Techniques, Jerry Jemmott. Simandl New Method for String Bass, pt 1, Stuart Sankey. Yorke Studies for Double Bass vol 1. Bottesini – 24 Exercises for Double Bass, ed. by H. Samuel Sterling. JS Bach – 2 Part inventions, ed. by Keith Snell. 13 Etudes for Contrabass, Franz Simandl.
Other Selected Books The Jazz Sound, Dan Haerle. Jazz Etudes (bass clef available), David Baker. Modern Jazz Duets (bass clef available), David Baker. Improvisational Patterns, David Baker. Improvisation – Bridging the Gap (bass clef available), Ron Nairn 14 Jazz and Funk Etudes, Bob Mintzer. Charlie Parker Omnibook (bass clef available). Jamey Aebersold Play-along series. The New Real Book, Vol. 1,2&3. The Latin Real Book. The Standards Real Book. Rhythm Section Drumming, Frank Corniola. The Essence of Brazilian Percussion and Drumset, Ed Uribe. Brazilian Music Workshop, Antonio Adolfo. Inside the Brazilian Rhythm Section, Nelson Faria and Cliff Korman. Samba Session. The Essence of Afro-Cuban Percussion and Drumset, Ed Uribe. Muy Caliente (Afro-cuban play-along). Modern Reading Text in 4/4, Louis Bellson with Gil Breines. Modern Reading Text in Odd-Time, Louis Bellson. Sight Reading – The Rhythm Book, Alex Pertout. Instructional/Performance Videos (including other videos featuring bassists) Funkifying the Clave, Robby Ameen and Lincoln Goines. Groove Master, Bernard Purdie. In Session, Steve Gadd (with Eddie Gomez and Will Lee). Up Close, Steve Gadd. Latin-American Percussion, Birger Sulsbruck. In the Pocket, Dennis Chambers. General Books The Rough Guide to Jazz, Carr/Fairweather/Priestly. Miles - The Autobiography, Miles Davis with Quincy Troupe. Miles Davis, Ian Carr. Rhythm Planet, Tom Schnabel. Reelin’ in the Years – the Steely Dan Biography, Brian Sweet. Notes and Tones, Art Taylor. Meet Me at Jim and Andy’s, Gene Lees. Reading Jazz, various, ed. Robert Gottlieb. BeBop, Scott DeVeaux. Stevie Wonder, John Swenson. Waking Up in Cuba, Stephen Foehr. Music, Maestro Please - The Tommy Tycho Story, Tommy Tycho. Jazz – The Ultimate Guide, ed. Ronald Atkins. Jazz, Mervyn Cooke. Cookin’ – Hard Bop and Soul Jazz, Kenny Mathieson.
The History of Jazz, Ted Gioia. Self-Portrait of a Jazz Musician, Dave Liebman. Standing In The Shadows of Motown, D. Slutsky. The Rough Guide to World Music. The Latin Music Handbook, Andrew A. Aros. The Latin Tinge: The Impact of Latin American Music on the United States, John Storm Roberts. Salsa: The Rhythm of Latin Music, Charley Gerard with Marty Sheller. Cuban Fire: The Story of Salsa and Latin Jazz, Isabelle Leymarie. To Be or Not to Bop, Dizzy Gillespie and Al Frazer. The Music of Brazil, P. David Appleby. Rio Carnaval Fantastic, Draeger Alan. Music of Latin America, Nickolas Slonimsky. Hot Sauces: Latin and Caribbean Pop, Billy Bergman, et al. The African Religions of Brazil, Roger Bastide. Masters of Contemporary Brazilian Song, Charles A. Perrone. The Extraordinary and Tragic Life of Jaco Pastorius, Bill Milkowski. Arts and Ideas, William Fleming. Bodgie Dada & the Cult of Cool, John Clare and Gail Brennan. Films/Documentaries/TV Buena Vista Social Club Calle 54 Fond Memories of Cuba Standing in the Shadows of Motown Jazz (Ken Burns) Classic Albums (TV series) The Music of Brazil (TV series) Recordings Where an album has various artists the title and label are given.
Jazz Armstrong, Louis
Louis Armstrong and the All-stars With Ella Fitzgerald The Complete Hot 5’s & 7’s
Adderley, Cannonball
Mercy, Mercy, Mercy (Live at the Club) Live in San Francisco
And the Bossa Rio Bailey, Victor
Low Blow
Count Basie
Live at the Sands (before Frank) The Best of Count Basie
Blakey, Art (Jazz Messengers) Moanin’ Live at Birdland The Jazz Messenger Brecker, Michael
Two Blocks from the Edge
Brown, Clifford (Brown/Roach quintet) A Study in Brown At Basin Street Brown, Ray
Live at Scullers
Camillo, Michel
Rendezvous
Clarke, Stanley
Journey to Love
Coleman, Ornette
Something Else The Shape of Jazz to Come
Coleman, Steve
Steve Coleman and the Five Elements
Coltrane, John
Blue Trane Giant Steps
My Favourite Things A Love Supreme Corea, Chick
Light as a Feather Friends The Leprechaun Akoustic Band
Crossfire
East of Where
Davis, Miles
Birth of the Cool Relaxin’ Kind of Blue Seven Steps to Heaven Live in Antibes My Funny Valentine Four and More Nefertiti Live-Evil Bitches Brew Live Around the World
Dewhurst, Carl
Put, Put, Put
Elling, Kurt
The Messenger Close your eyes
Ellington, Duke
Jazz Party Complete Columbia and RCA Victor Sessions New Orleans Suite Black and Tan Fantasy Far East Suite
Evans, Bill
Live at the Montreux Jazz Festival Turn Out the Stars Live at the Village Vanguard Trio ’65
FATS
FATS
Gillespie, Dizzy
Birks’ Works (big band) The Giant Dizzy Gillespie at Newport
Goodman, Benny
Live at Carnegie Hall
Gordon, Dexter
Go! Our Man in Paris
Hall, Jim
Live at the Village Vanguard
Hancock, Herbie
Takin’ Off Empyrean Isles Headhunters Fat Albert Rotunda
Henderson, Joe
Black Narcissus Our Thing Inner Urge
Holland, Dave
Not for Nothin’ Prime Directive Conference of the Birds What Goes ‘Round Razor’s Edge
Points of View Extensions Hunter, Steve
Night People
Jamal, Ahmad
Live at the Pershing, Vol. 1&2 Cross Country Tour ‘58-‘61
In Search Of Jarrett, Keith
Standards, Vol. 1&2 Live at the Deerhead Inn Always Let Me Go The Cure
Johnson, Marc
Bass Desires
Jones, Elvin
Heavy Sounds Dear John C.
Khan, Steve
The Blue Man
Krantz, Wayne
Two Drink Minimum
Lloyd, Charles
Forest Flower Hyperion with Higgins
Marsalis, Branford
Trio Jeepy Renaissance
Marsalis, Wynton
Standard Time Vol. 1 Big Train (Lincoln Centre Jazz Orchestra) Complete Live at the Village Vanguard Black Codes from the Underground
McBride, Christian
A Family Affair
McBride, Nick
Bandika
McLaughlin, John
Que Alegria
Metheny, Pat
Bright Size Life Letter From Home Still Life Talking
Mingus, Charles
Ah-um Changes 2 The Black Saint and the Sinner Lady Mingus Dynasty Oh Yeah!
Monk, Thelonious
Criss Cross
Monk’s Dream Live at the It Club The Composer Montgomery, Wes
Full House
Morgan, Lee
The Gigolo The Sidewinder Live at the Lighthouse
Muller, James
Thrum
New Birth Brass Band
D-Boy
Parker, Charlie
The Savoy Recordings Now’s the Time Complete Verve Sessions
Pastorius, Jaco
Jaco Pastorius
Word of Mouth Pepper, Art
Art Pepper Meets the Rhythm Section Art Pepper + 11
Peterson, Oscar
Night Train
Powell, Bud
The Invisible Cage
Red Fish Blue
Deep
Remler, Emily
Catwalk
Roach, Max
Jazz in ¾ Time Freedom Suite
Rollins, Sonny
Newk’s Time Rollins ‘Round Midnight The Bridge A Night at the Village Vanguard Vol. 1&2
Rosenwinkel, Kurt
The Next Step
Schneider, Maria
Allegresse
Scofield, John
Hand Jive Grace Under Pressure Quiet Blue Matter
Shorter, Wayne
Speak No Evil Ju-ju Night Dreamer Footprints Live
Silver, Horace
Six Pieces of Silver Blowin’ Away the Blues Song for my Father
Stern, Leni
Bubbles
Stern, Mike
Play Time and Place Upside Downside
Swallow, Steve
Always Pack Your Uniform on Top
Terrason, Jacky
Alive
Tinkler, Scott
Sofa King
Tree
Love and Logic
Treme Brass Band
Gimme my money back
Trio Toykeat
Jazzlantis
Wanderlust
The Full Bronte
Watts, Jeff “Tain”
Citizen Tain Bar Talk
Weather Report
Heavy Weather 8:30 Black Market Mysterious Traveller Night Passage
Williams, Tony
Emergency
Willis, Gary
No Sweat
Young, Lester
Prez at His Very Best Pres and Teddy The President Plays with the Oscar Peterson Trio
Brazilian Airto Moreira
Fingers Free Deodato/Airto in Concert
Bandolim, Jacob do
Valsas Brasilieras
Bosco, Joao
Banda Lhismo Comissao de Frente
Brackeen, JoAnne
Breath of Brazil
Buarque, Chico
Chico Buarque Almanaque
Costa, Gal
Cantar Fantasia
Djavan
Alumbramento
Seduzir Dominguinhos
Apos tu Certo
Dom Um Romao
Dom Um Romao Spirit of the Times Hotmosphere
Getz, Stan/Joao Gilberto
Getz/Gilberto
Gilberto, Gil
Ficha Tecnica Realce
Gilberto, Joao
Joao Gilberto
Gonzaga, Luis
O Rei Volta Pra Casa
Jobim, Antonio Carlos
Stoneflower The Composer of Desafinado Plays Tide Passarim
Lins, Ivan
Ivan Lins, A Noite Daquilo que eu sei
Lobo, Edu
Sergio Mendes presents Lobo
Maria, Tania
Come with me
Mendes, Sergio
Equinox Brazil ‘66 Brasiliera Primal Roots
Mooro, Paulo
Mistura e Mandla
Nascimento, Milton
Milton
Clube da Asquina A Barca dos Amantes Nunes, Clara
Com Vida
Origens
Batucada Brasileira
Pacoal, Hermeto
Lagoa da Canoa Municipio de Arapiraca
Regina, Elis
Elis, Essa Mulher Elis e Tom
Salvador, Dom
Minha Familia
Trio Da Paz
Brasil from the Inside
Various (Rounder)
Brazil Roots: Samba
Afro-Cuban Afro-Cuban All-Stars
Distinto, Diferente El Toda Le Gusta Cuba
Barretto, Ray
Aqui Se Puede The Other Road The Message Handprints
Batacumbele
Con Un Poco de Songo Afro-Caribbean Jazz
Blades, Ruben
Buscando America Caminando
Buena Vista Social Club
Soundtrack
Colon, Willie
El Malo Lo Mato
Cardona, Milton
Bembe
Cubanismo
Cubanismo Malembe Mardi Gras Mambo
Gonzalez, Jerry (and the Fort Apache Band) The River is Deep Irakere
Chekere Son Tierra en Trance
Lopez, Israel “Cachao”
Cuban Jam Sessions in Miniature Dos
Los Van Van
Songo Al Son del Caribe
Machito
Afro-Cuban Jazz Flute to Boot Kenya
Machito and His Afro-Cubans Dance Date with Machito Machito Plays Mambo and Cha-Cha-Cha Mongo Santamaria
Drums and Chants Watermelon Man
More, Beny
Asi es Beny
El Inigualable Orquesta Aragon
Danzones Charangas y Pachangas
Palmieri, Charlie
Impulsos
Palmieri, Eddie
Molasses Sentido Azucar Mambo con Conga is Mozambique The Sun of Latin Music
Puente, Tito
Dance Mania Top Percussion
Puntillita
Homenaje
Rubalcaba, Gonzalo
Grupo Proyecto de Gonzalo Rubalcaba Live at Montreux
Septeto National de Ignacio Piniero Bienvenido Granda con el Septeto National Sexteto Habanero
Roots of Salsa Vol. 2
Valdes, Chucho
Briyumba Palo Congo
Valdez, Patato, and Totico
Patato y Totico
Various (Rough Guide series) Cuban Son Pop/Rock/Funk/R&B/Soul Ben Folds Five
Whatever and ever Amen
Brand New Heavies
Trunk Funk – the Best of…
Brown, James
Sex Machine Live at the Appollo Star Time
Buckley, Jeff
Grace
Connick, Harry jnr.
She
Earth, Wind and Fire
That’s the Way of the World
Extreme
Waiting for the Punchline
Franklin, Aretha
Live at the Filmore East
Franks, Michael
The Art of Tea
Gaye, Marvin
United You’re All I Need In the Groove What’s Going On
Hathaway, Donny
Everything is Everything Extension of a Man Live In Performance
Hendrix, Jimi
Electric Lady Land Live on the Isle of Mann
Jackson Five
Soulsation Triumph Destiny
Jackson, Michael
Off the Wall
Thriller Jamiroquai
Emergency on Planet Earth Travelling Without Moving
Jones, Quincy
The Dude
Jones, Vince
Here’s to the Miracles Live
Keaggy, Phil
Crimson and Blue
King, Carole
Tapestry
Kool and the Gang
Greatest Hits
Marley, Bob
The Best of Bob Marley and the Wailers
Mayfield, Curtis
Curtis Curtis Live Roots
Medeski, Martin and Wood Shackman Friday Afternoon in the Universe The Meters
The Meters
Cabbage Alley Miller, Marcus
The Sun Don’t Lie M2
Radiohead
Pablo Honey
Red Hot Chilli Peppers
Blood Sugar Sex Magic
Sam and Dave
Greatest Hits
Santana
Abraxas Black Magic Woman
Scaggs, Boz
Silk Degrees
Simon, Paul
Graceland The Rhythms of the Saints One Trick Pony
Steely Dan
Aja Gaucho Can’t Buy a Thrill Everything Must Go
Sting
Mercury Falling Ten Summoner’s Tales
Toto
Greatest Hits
Tower of Power
In the Slot
Vinx
Rooms in my fatha’s house
Wonder, Stevie
Innervisions Talking Book Songs in the Key of Life Hotter than July
