Our Take: It’s All About the Bass

Marcus Miller famously claims that “every great song begins with a great bass line.” True or not, certainly every song Marcus has written can make that claim. The bass has many different roles and purposes. The bass can lay back in the rhythm section, provide the connection between the rhythm and harmony or it can be out front leading the tune.

The significance of the bass is solidified in my mind by the types of individuals who play the instrument. Besides Marcus, there are John Clayton, Christian McBride, Ray Brown, Ron Carter, Paul Chambers, Jaco Pastorius, Stanley Clarke and so many more. They say catchers make the best managers because they have spent their careers seeing the whole field. Perhaps that is true for bassists. For the most part, they are in the back or hovering on the side controlling the flow of the music.

Certainly, on our cruise programs, Marcus, Christian and John have assumed significant leadership roles year after year. No one has hosted more cruises for Signature Cruise Experiences than Marcus. His amazing combination of expertise and versatility makes him the “perfect” host for almost any program. Christian leads a robust number of first-class bands, each with a different style and emphasis, but all sharing excellence in musicianship and appeal to our guests. Watching John conduct the Big Band on The Jazz Cruise may be my favorite experience on the cruises year after year. His energy, authenticity and commitment to the music is fabulous.

Having praised and recognized these men, did you know that if they had the same role in the band a century ago, they would not be plucking the strings of a stand-up bass? Instead, they would be blowing hard into the mouthpiece of a tuba.

In the early 1900s jazz and ragtime (in New Orleans), the tuba naturally served as the primary bass instrument, primarily because early bands played outdoors and marched. Portable brass instruments as opposed to a stationary bass were essential. Though not directly on point, we can view Marcus’ interest in playing the bass clarinet in a different light.

The tuba survived through the 1920s when jazz moved into indoor recording studios. Its loud, punchy projection made it ideal for early, low-fidelity microphones. As the music became more sophisticated, the tuba gave way to the upright bass we see on bandstands today, particularly in the jazz clubs of the big cities.

The tuba continues to be the source of the sound of the strong beat in New Orleans when a band hits the streets. Other than in a full orchestra or midfield of a college football halftime show, New Orleans may be the only place where tubas live these days.

We will be presenting several opportunities to enjoy that music when Journey of Jazz ’27 has its overnight in New Orleans in a few months. Besides the Rebirth Brass Band, we have engaged smaller groups of New Orleans musicians to take us back to the era when the tuba was the thumper of the group. Cannot wait to spend time in the Big Easy.

My admiration for bassists has many facets. I believe that playing it well requires great skill and years of practice. When it is time to solo, an average drummer can construct a solo that includes flamboyant elements that will excite an audience. As a former drummer, I have long fought the notion that you judge a drummer by his solo performances. To me, that is like judging a basketball player by his free throws. The quality of a drummer can only be discerned when you hear them play with others. That is the test.

Back to bassists, creating a “wow” bass solo seems to be difficult. The number of acrobatic elements that can be present with a bass in both your hands is very limited. Having said that, when a bassist pulls out a bow and begins to produce those amazing tones and sounds, I melt. Digressing a bit, the bow on the strings is particularly appealing to me when a cello is involved, too. I spend a lot of time streaming “cello music.”

When asked recently how I fit my love of cello music into my schedule and other music interests, I declare, as everyone knows, “there is always room for cello!” And to think how cerebral most of this note has been. Therein lies the problem. The ability to stay focused and on point for more than 630 words has always been a challenge. 

One final thought about the bass. Hauling that instrument from gig to gig must be very difficult. Some airlines now will not let you check them on the plane. The charge for checking the bass, when allowed, is one of the great crapshoots. Our musicians turn in their receipts for reimbursement and, seldom, if ever, are there two charges for the same amount of money. It is likely that in the back of the luggage room, there is a wheel that is spun for each bass checked. Whatever amount shows up is the amount charged. 

Storing them on the ship is also difficult. They take up a lot of space, but our musicians need access to their cases. Working that out is fun to watch. Yes, basses on the ship are a challenge, but it could be worse…they could be tubas!

By Michael Lazaroff, Executive Director of The Jazz Cruise, The Smooth Jazz Cruise, Chris Botti at Sea, Journey of Jazz, David Foster: The Hitman Cruise, Top Shelf Country Cruise and The Yacht Rock Cruise. Feel free to express your views or pose questions to him at michael@scecruises.com.

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Celebration of Sonny Rollins

On Saturday, September 19, the Jazz Foundation of America is presenting, in partnership with the Rollins family, “Saxophone Colossus: A Celebration of the Life and Music of Sonny Rollins” at the Cathedral of St. John the Divine in New York City. Rollins, who died on May 25 at the age of 95, was generally considered our greatest living jazz musician and he left an indelible mark on the sound and shape of the music. Performers and speakers for the event have not been announced yet.

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Signature Cruise Experiences Upcoming Programs

SCE Sailings in ’26

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