Jo-B – Bill Hardman

Our audio excerpt starts with the A section melody played by the horns. The eight-measure rhythm section line that accompanies the A section melody is also used as the intro for the recorded arrangement. First, the rhythm section plays the line alone. On the repeat, the horns are added in a new rhythm pattern. The recorded arrangement ends in with the sections in reverse order: horns, then rhythm section alone.

This was Bill Hardman's first recording as a leader. Hardman had been in demand as a recording sideman since his first date with Jackie McLean in August of 1956. Both then became the front line for Art Blakey and the Jazz Messengers, making several recordings. Tenor saxophonist Johnny Griffin was added to the front line and he stayed with Bill in the Messengers when Jackie McLean left in May 1957.

Bill returned to the trumpet/alto sax front line format in 1960, when he started a long relationship working and recording with Lou Donaldson. Bill obviously liked the trumpet/alto sax combination and invited Sonny Red to join him for this session. Bill had recorded previously with bassist Doug Watkins on "Jackie McLean & Co.," February 8, 1957, but hadn't recorded with any of the other members of this ensemble prior to this date.

Because he died so young, Doug Watkins is one of the most important but often overlooked bassists in the history of the instrument (read his bio). He always brought his best performance to the music regardless of how difficult, and he was regarded as being extremely dependable because of this. Playing along with recordings of Doug Watkins will keep all bassists on their toes. The bass line on Jo-B will have you focusing on a syncopated bass part over this Latin groove for the A sections. The B section, however, is eight bars of walking swing feel, so the tune has a little bit of everything.

Essential Bass (Doug Watkins) [LEVEL 2]
This piece starts with an eight-measure bass line. On the recording, the bass line is reinforced with left hand piano (Ronnie Mathews) playing the line with bassist Doug Watkins. On the repeat of the Intro, the horns interject a repeating one-measure rhythmic line that syncs up with the bass line in every other measure. For the A sections of the melody, the bass line remains constant, while the horn melody creates a new rhythmic pattern against the bass line. Make sure the bass line is locked in so the horns can interpret the melody against it. The intro and A sections are Latin, but the bridge is 4-feel swing, so the bassist has to make sure to hold the same tempo when the bass walks the bridge, then keeps the same tempo going back into Latin for C (the last A section). Our bass part has Doug Watkins' bass line cued into the bridge.