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THE NEW YORK AMSTERDAM NEWS & E N T E R T A I N
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February 10, 2022 - February 16, 2022 • 17
(Ron Scott photo)
MICKEY BASS, RENAISSANCE BASSIST/COMPOSER, DIES AT 78
Mickey Bass, the consummate bassist, composer, arranger and educator, who played with everyone from Art Blakey to Lee Morgan and taught four generations of aspiring jazz musicians, died at his Harlem apartment on February 3. He was 78. His death was confirmed by his long-time companion. A cause of death was not given. Right through his last days of life, Bass was actively working on various projects including looking for a venue in Harlem where he could offer music classes and live concerts. He continued his private music and bass instructions on a weekly basis in his apartment. He taught his students theory based on his experience and his authored book “The Diminished Whole Tone Concept: An Advanced Approach to Jazz Improvisation” (2006). In the book’s sleeve he wrote, “This is a book, written by a working musician for musicians…who want to work.” The book’s concept came about in 1975, when Bass was invited to teach at the then-newly formed Ellington School of the Arts, in Washington, D.C. (1975-’78). As a result, he formed Ellington Jazz Ensemble with soon-tobe jazz stars Wallace Roney, Antoine Roney, Clarence Seary, and Eric Allen. As director of the Ensemble, Bass composed, arranged and orchestrated all the music. In 1977, the Ensemble along with Bass were invited to perform at the White House as part of the inaugural festivities for President Jimmy Carter. Bass was the curriculum coordinator and music instructor for the education program at Jazzmobile in 1965 and remained an active instructor at the community-based non-profit jazz organization until his transition. Bass also taught at two elementary schools in East Harlem. As a result he co-authored another book with Dr. Billy Taylor, “An Arts Enrichment Educational Program,” a teaching primer for elementary education, published through Jazzmobile, Inc. As a prominent composer and arranger Bass was awarded two grants: National Endowment for the Arts, Composer’s Grant, in 1980, for which he wrote for string quartet with jazz rhythm section and percussion. In 2017 he received a composer’s grant from Chamber Music America. Bass, who played piano, bass and flute proficiently, made it clear he was greatly influenced by Charlie Parker, Miles Davis and John Coltrane. During 2016-’18 Bass was busy leading his popular hard bop quartet the New York Powerhouse. He played
from a bebop perspective, a sound which he felt wasn’t being played enough. He felt a personal obligation to keep the bebop tradition alive. In the early 1990s, he hosted a Manhattan cable TV series entitled “New York Art Exclusive,” where he discussed the arts with a jazz focus. A few years ago, he founded bebop tv.com, a jazz-oriented series that he wrote. He also hosted a radio show “Adventures in Jazz,” interviewing guests such as Mary Lou Williams, Randy Weston, and jazz critic and author Leonard Feather. “Mickey was well respected in the music community, I played with him a few times,” said saxophon- Mickey Bass (on the left) was a consummate bassist, composer, arranger and educator ist Richard Clay. “Knowing Mickey was a badge of honor.” played in Bass’ bands, before moving ilton. Saxophonist Jackie McLean, his In 1966 Downbeat declared him to play with Art Blakey. Mickey’s Com- former bandleader, asked him to join to be “A first rate soloist!” While per- positions are amongst the tunes they his staff (he was founder and chairforming with the organist Jimmy Mc- cut their chops on, during their tenure man) as an adjunct professor at the Griff, Essence Magazine cited him to with Art Blakey’s Jazz Messengers. Jackie McLean Institute at the Hartt be “The Heartbeat of the Group.” His Compositions have been record- School of Music at University of HartBass recorded three albums with ed by Hank Mobley, Reuben Wilson, ford, in Connecticut, where Bass taught Art Blakey & The Jazz Messengers; Ramon Morris, George Cables, and on from 1982 to 1985. As a committed jazz “Child’s Dance” (Prestige, 1972), “Bu- John Hicks’ album “Piece for My Peace.” advocate Bass became chairperson for haina” (Prestige, 1973) and “AnthenaLee Odiss Bass III was born on May the National Association of Jazz Educagin” (Prestige, 1973). Blakey liked his 2, 1943, in Pittsburgh, Pennsylvania. tors from 1984-’86. “Mickey had stories sense of rhythm (deep melodic flow)— He learned music at an early age, about music and every single jazz muhe knew when to come in and what his mother was a singer and dancer sician on the planet,” says author notes to hit. Bass noted it was a great and his maternal grandmother, who and writer Angela Dews. “Only a musilearning experience for him, “Playing performed in minstrel shows and cian and a romantic would remember with Art was like being in jazz boot- played piano, gave him lessons. In all that with such a great love.” camp.” He recorded Lee Morgan’s hard junior high school he took bass lesDuring his illustrious career Bass bop swinging “Sixth Sense” (Blue Note, sons from William Lewis and became toured around the world. In his ad1968). Bass enjoyed being in the bebop a member of his high school band opted city of NYC and particularly in Harlem, Bass’ live performances were hot tickets. His quartet in 1987 featured tenor saxophonist Carter Jefferson, pianist John Hickes, and drummer Michael Carvin. In 1995, he led the Burn Unit. He later led the New York Powerhouse Ensemble that was a NYC favorite which featured vibraphonist Steve Nelson; alto saxophonist Brent Birkhead; tenor saxophonist Charles Davis Jr.; and drummer Mark Johnson. The New York Times stated, “It is doubtmode with Philly Joe Jones on his album where he participated in the All-City ful if there is a jazz group in town “Mean What You Say” (Sonet, 1977). High School Orchestra. Following that swings as hard as this one.” As a leader Bass recorded “Senti- graduation, Bass attended Howard Bass will be remembered for his mental Mood” (Chiaroscuro, 1982), University, majoring in music edu- humorous wit, his encyclopedic “The Co-operation” (Early Bird, 1991) cation. “Mickey and I started play- jazz memory, and of course for his and “Another Way Out” (Early Bird, ing music together while attending music that allowed him to groove 1991). Early Bird Records was his inde- Howard, he was a dear friend and in a trio with Carmen McRae or get pendent label founded in 1990. During colleague,” said trumpeter Charles into a deep bebop swing with Blakey. his prominent career, oftentimes un- Tolliver. “I will miss him terribly.” He had a strong love for Harlem and derrated, he was a first call bassist and His first gig following Howard U. was wanted nothing more than to “keep highly respected by his peers, having in New York City at Harlem’s Theresa our music in the community.” played with Freddie Hubbard, Sonny Hotel with saxophonist Hank Mobley Bass’ family have made funeral Rollins, Jackie McLean, and Gloria in 1964. He went on to play with Bobby arrangements in his hometown of Lynne (music director for 17 years). Timmons, Miriam Makeba, Carmen Pittsburgh. There will be a memorial Both Wynton and Branford Marsalis McRae, Bennie Green and Chico Ham- held at a later date in New York City.
“Mickey Bass had stories about music and every single jazz musician on the planet,” says author and writer Angela Dews. “Only a musician and a romantic would remember all that with such a great love."
