Listening to bass players through the years has provided a heightened appreciation of harmonics and countermelodies, rhythmic and chord changes. Bass lines in balance or contrast to keyboards and horns have always supplied a richness, a fullness, a rounding out to the music that I very much miss when it is, well, missing. There are groups that make excellent music without a bass, but when listening to them I often feel there could be more.
It’s long been a practice of mine to bring the bass forward
in my hearing when listening to musical groups of different sizes and types,
but especially philharmonic orchestras. The highlighting of their sound is more
of a challenge with such large orchestras but it is an exercise with its own
special payoff in instruction and inspiration for my singing and song writing. It’s a thrill to be surrounded by the sound of
a symphony orchestra; multiple brass and string, woodwind and percussion
instruments together in a wonderful musical whole. And, it’s also exciting to
allow my ears to emphasize the basses somewhat within that whole.
Along with listening,
it’s enjoyable watching the music being made; each musician firmly placing each
note and nuance exactly where it belongs. They are so precise that my
imagination always goes to what they would look like whipping off bow ties,
kicking off heels and jamming to their hearts’ content at the local clubs. Because,
you see, I have worked with some first-class jazz players, especially a number
of bassists, who do exactly that kind of doubling up on the double bass.
It’s easy to understand since the journey from the classics
to jazz is made by many great musicians. Some of them do it for the love of
playing both genres of music, while some have mentioned the need to make a
living at music that is often not doable from jazz alone. Of course, there are limited places in the
ever-shrinking number of symphonies but for those who hold them, they seem to
provide the best of both worlds.
Yet, that’s not how it always was. In the early decades of
the 20th century it was actually the other way around, as the story
of Thelma Terry tells it. Thelma was a classically trained bassist who
performed in various of the celebrated Chautauqua assemblies and earned first
chair in the Chicago Women’s Symphony Orchestra. Unfortunately, it didn’t
provide enough for her to make a living so she played and sang jazz in
nightclubs of the notorious 1920s Chicago, including one owned by Al Capone.
There was gold in them thar clubs and also a lot of talent. Thelma, who is
credited as being the first American woman to lead a notable jazz orchestra as
an instrumentalist, worked with the likes of Eddie Condon, Bud Freeman, and
Gene Krupa.
Thelma Terry and Her Playboys was a band organized by MCA
(Music Corporation of America) in 1927. As the female leader/bassist for this
otherwise all-male group, Thelma toured internationally, was featured on live
radio broadcasts, and even made a few records.
Here you can hear her on one of those rare recordings. She
stands out for sure and it makes me long to hear how she must have sounded in a
symphony orchestra. I tend to think she would have progressed with the changing role of bassists in jazz and that her playing would have been easy to focus
on in the midst of any sized orchestra.
I only knew her as my Aunt Thelma and as a little girl I loved to see her and my Granny. It is nice to know about her life as a young woman and as an accomplished artist.
ReplyDeleteVicki, how wonderful to hear from you! Your Aunt Thelma was a joy to research and listen to and know that we have lots to thank her for in forging a leadership position in music for the rest of us to be able to follow. Thank you for sharing your relationship and getting in touch! Sincerely, Diane
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