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 Translated Interview from So What Magazine |
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Art Davis - Calm
Strength
SW: You began to study music while very young, first the piano, then the tuba. Why the tuba? Art Davis: I began piano lessons at the tender age of five. My family did not own a piano, so all of my preparation was by visualization: I practiced by seeing the keyboard in my mind for a year and one-half. In the sixth grade, I took up the tuba simply because it was the only instrument available. Nevertheless, I was eager to learn, I worked very hard. In high school I participated in competitions. I carried off first prize for tuba for the State of Pennsylvania. The following year I placed first in the competition that included the best tubists for all of the United States high schools. In 1951, I decided to make a career in music. Early on, I realized that I would not be able to make a living with the tuba; thus, the double bass became the natural selection. During my junior year, I discovered I had perfect pitch and a gift for timing. At the time, I was auditioning for the top jazz band in Harrisburg. The pianist was amazed that I could hear all of the chord changes: Whatever he would play, I could play. I started giving classical bass recitals in the surrounding towns of Pennsylvania with my classmate, a very bright piano accompanist. No one in that area had previously heard the bass palyed as a solo instrument. The response was overwhelming. My pianist revealed that she had perfect pitch and assured me that I had perfect pitch as well. SW: You are known for your sense of harmony and your complete utilization of the instrument, in particular, the harmonics in the violin register. Art Davis: As Dizzy Gillespie said, "The bass is the backbone of the band." A bassist must inspire the group by proposing harmonic informatin with a cetain sound quality and thythimic impulses to propel the soloist and the rhythm section. You let the bass do the talking. A bassist cannot be satisfied with playing straight. For example, in regards to 4/4 time, it is not necessary to paly only the required four notes to the measure on the same rhythm. It is necessary to experiment. That is hwo to advance music. Therefore, it is valid to bow where the harmonics are close and play in uncharted regions. In concern to the instrument, in order to utilize all of the possible sounds is enormous work. The bass demands a great deal of focus, strength and precision. The intervals are streched out and hence, the usual cause of playing out of tune. SW: Your career as a bassist is impressive, if only scanning the lengthy list of prominent musicians with whom you have played. You have created long-lasting relationships with many of them, including Max Roach and Booker Little. Would you tell us about these musicians? Art Davis: I had taken a train from Pennsylvania to New York, because Max Roach had sent for me. I went ot his apartment, but no one was there. Was I too early? At first I believed that I had the wrong address. Then, I thought, Perhaps he had changed his mind? I was frustrated. Nobody answered the door. I could hear a radio playing. I went to the restaurant on the corner. I had my bass and a suitcase with me. Nobody anwered the telephone. I returned to the apartment three times, and it was all for nothing! As I trudged back to the restaurant, I noticed people were beginning to stare. If this was a missed cue, I would have to go back home in shame and humiliation, because I had so proudly told all of my friends that I was going to play with Max Roach! I decided to check one last time. Naturally, I was nervous. Again, I knocked at this door, and, finally, somebody answered. It was Booker Little. He simply said to me: "I am Booker, Max Roach is not here." This was our first encounter. Later, I discovered that it was the custom of New Yorkers not to answer their doors until the appointed moment of arrival for their guests. Coming soon... |
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After having recalled for "So What" his
friendship with John Coltrane (CF. SW No. 18), Art Davis, en route to La
Cite de la Musique to join the other members of the David Murray Tribute to Duke
Elington, responded to our questions. More than forty years passed in review as
we drove down teh boulevards and streets of Paris. Davis recollected some of the many
highlights of his incredible life, his engagements, some anecdotes, and a lot of music.