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Jazz bass is the use of the double bass or electric bass guitar to improvise accompaniment ("comping") basslines 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 chord progressions of the songs .
Sometimes, especially in blues music, musicians will take chords which are normally minor chords and make them major. The most popular example is the I–VI–ii–V–I progression; normally, the vi chord would be a minor chord (or m 7, m 6, m ♭ 6 etc.) but here the major third makes it a secondary dominant leading to ii, i.e. V/ii.
Guitar solos likewise became less prominent in many pop and popular rock music styles; either being trimmed down to a short four-bar transition or omitted entirely, in a vast departure from the heavy usage of solos in classic rock music from the 1960s, 1970s, 1980s, and early 1990s. Classic rock revival music heavily features soloing, along ...
Jazz critic Nat Hentoff recalled that during rehearsals Holiday and Young kept to opposite sides of the room. Young was very weak, and Hentoff told him to skip the big band section of the show and that he could sit while performing in the group with Holiday. During the performance of "Fine and Mellow", Webster played the first solo.
The song has a characteristic bass line and is set to a funk beat. For the most part, it is built entirely on a two-chord vamp : a i-IV in B ♭ Dorian (B ♭ m7 and E ♭ 7). [ 5 ] The piece's signature 12-note bass line was played by Hancock on an ARP Odyssey , [ 6 ] [ 7 ] as was one of the keyboard solos.
In jazz, when one instrumentalist or singer is doing a solo, the other ensemble members play accompaniment parts. While fully written-out accompaniment parts are used in large jazz ensembles, such as big bands, in small groups (e.g., jazz quartet, piano trio, organ trio, etc.), the rhythm section members typically improvise their accompaniment parts, an activity called comping.
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The song was famously performed by Billie Holiday in 1957 in a television special, The Sound of Jazz. [3] The line-up included several jazz legends (the first six are listed in the order of their solos): Ben Webster – tenor saxophone; Lester Young – tenor saxophone; Vic Dickenson – trombone; Gerry Mulligan – baritone saxophone