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The Bottom Line
Jazz bassist Rufus Reid does some walking and talking.
By Rob Hochschild and Kevin Levesque
October 28, 2002
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Photo by Kevin Levesque |
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All bassists know that the key to their job is providing a bottom end that supports their band members. But according to bassist and educator Rufus Reid, one of the best ways for bassists to improve is by playing without having to support anyone but themselves.
"You are the band," Reid said about playing solo during a clinic he gave last week in the David Friend Recital Hall. "You can play whatever you damn well please."
Urging student bassists to play alone in practice or live settings as much as they can, Reid says doing so will help them develop their ears and grow in general as musicians. Any bassist who cannot perform a program of solo tunes before an audience will struggle to survive in the music world, Reid says.
Reid began his clinic by giving an example of what he meant, performing a seven-minute solo medley on upright bass. After the performance, he asked students what they heard in his playing. Responses included "flexibility," "space," and "melody."
The clinic was part of a daylong visit from Reid, who led a concert in the evening with faculty members Dave Clark, bass; Russ Hoffmann, piano; and Ron Savage, drums. Reid came to Berklee with more than 30 years of experience as a professional bassist and educator. His discography boasts 250 recordings and his long list of collaborators includes Eddie Harris, Nancy Wilson, Dexter Gordon, and Stan Getz. He has taught for decades at William Paterson University, in New Jersey, and is the author of "The Evolving Bassist," whose first edition appeared in 1974 and now ranks as one of the premier bass method books.
"All musicians have egos," Reid said later in his clinic, launching a short lecture on the importance of humility in musical growth. Remembering his own days as a "hot shot" who needed to be "put in his place," Reid acknowledged that criticism stings but advised students to always use it as a positive learning tool. He reminded students that their chief responsibility is to the music and to remain open to new ideas and approaches to playing. He also underscored the importance of being aware of the audience and their need to be entertained.
After his lecture, Reid listened to several student ensembles and critiqued their performances as individuals and groups, placing particular emphasis on dynamics. He repeatedly demonstrated how effective a master class can be when the teacher brings a background so well balanced between performance and education. He also showed how useful a good sense of humor can be when one is handing out large amounts of constructive criticism.
Berklee graphic designer Kevin Levesque is a bassist working in the North Shore area of Massachusetts.
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