Jazz Concepts: The Big World Of Richard Davis (2024)

The jazz world lost a giant in 2023. The Chicago-bred bassist Richard Davis played on over 3,000 recordings from the 1950s into the 2000s, spanning all styles of music: straight-ahead jazz, classical, avant-garde, and pop. Davis won the Downbeat International Critics Poll in the category Best Bassist for eight years in a row from 1967 through 1974. After 23 years living in New York City, Davis relocated in 1977 to teach at the University of Wisconsin Madison — a position he held until his retirement in 2016. William Parker, Hans Sturm, and Josh Werner are among the hundreds of students whom Davis mentored and taught through the years.

Davis’ legacy as a player is captured on the countless albums he underpinned with his impeccable technique and wild imagination. He lifted every band he played with, inspiring and creating good trouble and controlled chaos, underpinned by the blues and his creative flame. Throughout his career, Davis shared the stage and recording studio with the top echelon of players and artists in all fields of music: Sarah Vaughan, Eric Dolphy, Andrew Hill, Elvin Jones. He appears on seminal recordings with the Thad Jones–Mel Lewis Orchestra (1966–72). He played in classical settings under the baton of the greatest conductors of the 20th century: Igor Stravinsky, Leonard Bernstein, Pierre Boulez, Leopold Stokowski, and Gunther Schuller.

Richard Davis was busy in the New York studio scene in the ’60s and ’70s, often playing with his favorite drummers, Mel Lewis, or Connie Kay. I had the good fortune to hear and see Richard Davis live in New York during the ’80s and ’90s when he would sojourn back to the jazz capital from his home in Madison. What I loved about Davis was his reckless abandon in the ensemble. He challenged his players, the audience, and himself to go on a deep musical journey — every gig, recording, and every tune. In this reflection on Davis’ career, we will look at a unique performance with rock legend Van Morrison.

Astral Weeks seemed like another day in the studio for bassist Richard Davis. “I was having fun, trying to put my stamp on it,” says Davis.Van Morrison’s debut recording on the Warner Bros. label failed to even make the charts when it was first released in 1968. Now, six decades later, the tracks have achieved mythical status among folk-rock fans, and a 2015 reissue celebrates the outta-sight, righteous ’60s, when jazzers, hippies and beatniks converged to make beautiful music.

Astral Weeks — The Studio Date

Producer Lewis Merenstein was charged with hiring a studio band for Morrison. Being a jazz fan, Merenstein asked Davis to find the musicians. “He asked me if I could get a group together to record with this guy coming from Ireland,” said Davis. “I got Connie Kay, who I always called the ‘Security Officer’ because he gave me that secure feeling when he played. Jay Berliner was on guitar and Warren Smith on vibes.

“We went into the studio, and we just started jamming on the lead sheets. Then the singer shows up. He didn’t speak to us, and we didn’t speak to him. So, we just started playing through the charts, and that’s how the album came together.” Davis, the consummate studio professional, could play all styles of music, from classic to jazz to pop.

The New York Scene

Davis recorded with practically everyone on the New York jazz scene of the ’60s and ’70s: Eric Dolphy, Elvin Jones, Thad Jones, Gil Evans, Freddie Hubbard, and Joe Henderson. The rhythm section team of drummer Mel Lewis and Davis were at the top of their game, playing every Monday night at the fabled Village Vanguard with the Thad Jones/Mel Lewis Orchestra. “Mel Lewis is one of my favorite drummers of all time,” said Davis. “We were made for each other.”

The pair supplemented their creative music projects with a heavy rotation of studio work, playing commercial jingles and backing up pop, rock and folk acts.“I was in the studios everyday, doing jingles, recording sessions, broadcasts—you name it,” said Davis.

In his biography, Lewis recalls the mix of styles that were covered by the studio musicians of the day. Said Lewis, “Richard and I have spent days together, where we start with a Dixieland jingle on ‘Tiger Rag,’ go on to a Jimmy Dean country-and-western date, and wind up playing something really far out—from one extreme to the other.” [The View From The Back Of The Band,Chris Smith, University of North Texas Press, 2014]

The Transcription

Davis brought his jazz sensibility to the Morrison date, and he turned some of the singer’s simple folk tunes into freewheeling jazz jams. “The Way Young Lovers Do” begins with a four-bar guitar and vibes intro in a waltz-like 6/4 meter. When Davis enters, he avoids a typical waltz bass line, and immediately develops a 4 against 3 rhythm. Davis uses the idea of 4 over 3 throughout the song, playing malleably and freely under the steady waltz beat supplied by Connie Kay. Notice how Davis plays several variations of the 4 over 3 rhythm in bars 1 – 4. The heavyweight jazz rhythm section probably shocked the young singer with their rhythmic chutzpah.

Davis focuses on rhythm in this bass line, but he also adds some nice harmonic twists. Check the line in bars 9 – 11 and hear how he uses the highFto create harmonic variation and imply anE7b9chord. The bridge (letter C, bar 27) finds Davis continuing the 4 over 3 rhythm, but in a less aggressive way, lower on the bass. In bars 37 – 38, he uses theAharmonic minor scale over theE7to add tension and return to theAminor chord in bar 39.

Davis begins his line under the trombone solo (letter E, bar 52) conservatively, but then he can’t resist reaching into the stratosphere in bars 56 – 64 to bring the solo section to its thrilling climax. Morrison enters again at bar 65, and Davis and the band coast out through the last chorus of the tune. 3 minutes and 18 seconds of flower power—meets—jazz.

The Teacher and Bassist

Richard Davis joined the faculty of the University of Wisconsin in 1977, passing on his knowledge of music and life to students and fellow teachers alike. In my 2015 interview with Davis, he recalled, “I’m still doing the same teaching as when I first joined the faculty: jazz history,ensembles, and bass lessons.”

Davis’s advice for young players is wise: “I suggest they learn everything—what they’re comfortable playing and what they’re not. Learn everything to the note. Everything becomes part of your musical makeup.” Davis continued to perform well into his 80s. He will always be remembered for his consummate musicianship and dedication to imparting his knowledge to younger musicians.

Check out this heavyweight lineup onBooker Ervin’s version of “A Lunar Tune” from his albumThe Freedom Book[1963, Prestige] —Booker Ervin (tenor saxophone), Jaki Byard (piano), Richard Davis (bass), and Alan Dawson (drums).This is groovy, inventive, straight-ahead jazz from the ’60s — pushing the boundaries of the art form.

Listen to another legendary recording featuring top players on the jazz scene. Andrew Hill, the influential pianist from Chicago, made his own unique statements onBlack Fire[1963, Blue Note]. This stellar album — a bit “outside,” but very melodic and swinging — featuresAndrew Hill(piano),Joe Henderson(tenor saxophone),Roy Haynes(drums), and Richard Davis (bass).

The albumHeavy Sounds, and especially the duo track “Summertime,” are often cited by bassists and jazz fans as the definitive Richard Davis recording. Listen to how Davis and drummer Elvin Jones slink through 11 minutes and 34 seconds of jazz exploration on the Gershwin standard. Davis takes the melody with the bow. with Jones’ mallet work creating the mysterious vibe. The two masters spar and dance their way through the simple song to create a lasting document of jazz in the ’60s.

An interview with NEA Jazz Master Richard Davis from 2014.

TrombonistJ.J. JohnsonandRichard Davisplay“Bud’s Blues,” an intimate live duo performance fromMay 1, 1987,at theKursaal, Bern.

Richard Davis flexes his improvisational and classical chops on this Third-Stream orchestral recording from 1965.Sonoritiesfeatures theJohn Lewis Orchestra U.S.A.with arranger/composerHall Overton. “Sonorities For Orchestra” finds Davis improvising over the sounds of an orchestra — a true fusion of jazz and classical.

Aiden Plank Remembers Richard Davis

Aiden Plank maintains a busy performance and teaching schedule in the Cleveland area. Here he shares a memory about Richard Davis contacting him when he was just beginning to play bass.

Check out Aiden HERE

Says Plank, “I had the good fortune to talk to Richard Davis once. He had met my grandfather when I was in the 6th grade. My grandfather told him that I was playing the bass,and on a Saturday morning around 10am the phone rang at my house. My parents told me there was a call for me and I picked up the phone and a voice said:

‘Hello Aidan. My name is Richard Davis and I’m a bass player. I met your grandfather and he told me you’re playing the bass. I’d like to send you one of my CDs.’

I remember being amazed. Before I even knew the changes to “All the Things You Are,” I had a conversation with one of the greatest bassists and jazz musicians of all time—andhecalledme!I think this was the kind of person Richard Davis was—encouraging and enthused about the bass. I can also say that in general that’s been my experience with the bass community at large of which Richard was an elder and such an important voice.

My favorite recording of Richard is Tony Williams’ Blue Note album “Lifetime” where both he and Gary Peacock play—at the same time!Rest in peace Richard Davis and thank you.”

Josh Werner remembers his mentor and teacher Richard Davis, and offers an overview of some great recordings: https://bassmagazine.com/remembering-richard-davis/

Over the next year, John Goldsby will release a series of duo EPs with Billy Test. Listen toI’ll Be Aroundhere. Check out John’s new video lesson series on bass soloing,Tell Your Story,atDiscoverDoubleBass.comandjohngoldsby.com.