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Jazz bass is the use of the double bass or bass guitar, to improvise accompaniment ("comping") and solos in a jazz or jazz fusion style. Players began using the double bass in jazz in the 1890s, to supply the low-pitched walking basslines that outlined the harmony of the music. From the 1920s and 1930s Swing and big band era, through Bebop and Hard Bop, to the 1960s-era "free jazz" movement, the resonant, woody sound of the double bass anchored everything from small jazz combos to large jazz groups. Beginning in the early 1950s,〔http://www.musicradar.com/news/bass/the-history-of-the-electric-bass-part-1-early-days-507234〕 some jazz bass players began to use the electric bass guitar in place of the double bass. The electric bass gained particular prominence in the late 1960s and early 1970s type of jazz known as ''jazz fusion''. Most jazz bassists specialize in either the double bass or the electric bass. Some players, such as Stanley Clarke and John Patitucci, achieve virtuosity on both instruments. Whether a jazz bassist is comping (accompanying) or soloing, or playing on a double bass or an electric bass, they usually aim to create a rhythmic drive and "timefeel" that creates a sense of ''swing'' and ''groove''. == Double bass == Beginning around 1890, the early New Orleans jazz ensemble (which played a mixture of marches, ragtime, and dixieland music) was initially a marching band with sousaphone (or occasionally bass saxophone) supplying the bass line. As the music moved into bars and brothels, the double bass gradually replaced these wind instruments. Many early bassists doubled on both the "brass bass" and "string bass," as the instruments were then often referred to. Bassists played "walking" basslines—scale-based lines that outline the harmony. Because an unamplified double bass is generally the quietest instrument in a jazz band, many players of the 1920s and 1930s used the ''slap style'', slapping and pulling the strings to make a rhythmic "slap" sound against the fingerboard. The slap style cuts through the sound of a band better than simply plucking the strings, and make the bass more easily heard on early sound recordings, as the recording equipment of that time did not capture low frequencies well.〔(Historic Jazz Fotos )〕 For more about the slap style, see "Playing styles," below. Double bass players who have contributed to the evolution of jazz include swing era players such as Jimmy Blanton, who played with Duke Ellington, and Oscar Pettiford, who pioneered the instrument's use in bebop. The "cool" style of jazz was influenced by players such as Scott LaFaro and Percy Heath, whose solos were melodic. Paul Chambers (who worked with Miles Davis on the famous ''Kind of Blue'' album) achieved renown for being one of the first jazz bassists to play bebop solos in arco (bowed) style. The first player known to do that was Slam Stewart, who would scat in octaves with his bowed bass in his solos, good examples of which can be found on the trio recordings he made with Art Tatum and Tiny Grimes. Ron Carter(another bassist that worked with Miles Davis in his second great quintet), is credited as the father of the modern school of jazz bass playing. Free jazz was influenced by the composer/bassist Charles Mingus (who also contributed to hard bop) and Charlie Haden, best known for his work with Ornette Coleman. Beginning in the 1970s, some jazz bandleaders such as saxophonist Sonny Rollins and fusion bassist Jaco Pastorius began to substitute the electric bass guitar for the double bass. Apart from jazz fusion and Latin-influenced jazz, the double bass is still widely used in jazz. The sound and tone of the plucked double bass is distinct from the fretted bass guitar. The bass guitar produces a different sound than the double bass, because its strings are usually stopped with the aid of metal frets. As well, bass guitars usually have a solid wood body, which means that the sound is produced by electronic amplification of the vibration of the strings. The upright bass, normally in the solid "stick" variation (enabling much higher volume without feedback), is still widely favored by bass players in salsa and timba bands, because its sound is so well suited to those musical styles. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「jazz bass」の詳細全文を読む スポンサード リンク
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