#buster williams

[jazz-improvisation]

Herbie Hancock Mwandishi - Toys (Live on "Jazz Harmonie" - France 1972)

bassist Buster Williams (born April 17, 1942)

Personnel: Herbie Hancock - piano, Ed Henderson - trumpet, Julien Priester - trombone, Bennie Maupin - flute, Buster Williams - double bass, Billy Hart - drums. …@YouTube

[jt1674]

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[jazzplusplus]

June 20, 1981 - A Song of Love for Mary Lou Williams - Town Hall - New York

Melba Liston (dir), Hazel Scott, Rose Murphy (p), Buddy Tate, Budd Johnson, Charlie Rouse (saxes), Al Grey, Britt Woodman, Jack Jeffers (tb), Ernie Royal, Jon Faddis (tp), Jaki Byard (p), Buster Williams (b), Mickey Roker (dr), ...

Tribute to Mary Lou Williams (May 8, 1910 - May 28, 1981)

[peninsularian]

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Classy ballad usually associated with Shirley Horn - this version by bassist Buster Williams was released 2023

[doomandgloomfromthetomb]

Herbie Hancock Trio - Live at Munich Philharmonie (1987)

The great drummer Al Foster passed away last week — the last of the Agharta crew! Together with bassist Michael Henderson, Foster was the bedrock of that earth-shattering Electric Miles band. Prairiewolf was playing Agharta while traveling around last month and Foster was consistently amazing, always able to hold things together even as chaos reigned around him.

"[Miles] told me to buy Sly Stone, Jimi Hendrix, and Buddy Miles records," Foster recalled of joining Davis' group. "Buddy Miles was a drummer who was already famous. Miles used to say, 'Buddy Miles has one beat, but Al, he plays the shit out of that beat!' So I had to learn that beat."

Of course, Foster knew many other beats — even though his 1970s days with Miles didn't require it of him, Al could swing like nobody's business. For example, this magnificent 1987 trio performance with Buster Williams and Herbie Hancock. At the time, Herbie, too, had been spending a lot of time in the fusion end of the pool, but this under-recorded band revels in the acoustic realm. Nothing regressive about it, though — this is forward-thinking (well-nigh futuristic) post-bop, driven along perfectly by Foster's sensitive, imaginative playing. RIP!

[jazzdailyblog]

Buster Williams: The Legendary Bassist Who Set the Groove

Introduction: Buster Williams is a name synonymous with excellence in jazz bass playing. Born eighty-two years ago today on April 17, 1942, in Camden, New Jersey, Williams has established himself as one of the most versatile and sought-after bassists in the world of jazz. With a career spanning over five decades, Williams has collaborated with some of the biggest names in jazz and continues to…

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[mywifeleftme]

151: Black Renaissance // Body, Mind & Spirit

Body, Mind & Spirit Black Renaissance 1977, Baystate (Bandcamp)

At one time a laughably rare record (see: skullduggery surrounding master tapes being sent by the band to Japan, simultaneously bootlegged and lost by the label) with the one original 1977 pressing currently on Discogs going for a cool $2,800 USD, Black Renaissance’s Body, Mind & Spirit has thankfully been reissued a number of times since it was rediscovered around 2002 by SoCal label Luv N' Haight. Black Renaissance was the solo project of pianist Harry Whitaker, known for his work with Roy Ayers’ Ubiquity and Roberta Flack, but the term “solo project” seems inadequate to describe the work of 18 musicians: legend Woody Shaw on trumpet; former Jazz Messenger David Schnitter and Azar Lawrence (an alumnus of McCoy Tyner and Miles Davis’s early ‘70s bands) on sax; bassist Buster Williams (Herbie Hancock Sextet); James Mtume on percussion; a female choir, spoken word poets, and more. Though Whitaker is the primary composer and bandleader, he mostly plays the sideman, allowing Williams’ deep bass grooves to till the black soil while his three brass players simulate the birth cries of a new universe above.

Both side-long jams lock into grooves that could go on forever and nearly do, but side 2’s “Magic Ritual” is the more eventful number. It constantly builds, but not towards any frenzied crescendo—a better word might be that the composition thickens. Incantatory spoken word in the Last Poets-style gradually transitions from English back into an African tongue; drums and percussion work their way in from the margins until their insistent, ticking rhythms become a central concern; bassist Williams finally decides to wander off and take a solo with the looping cadence of an inflatable mascot drifting away in the wind. Like Sun Ra’s big band recordings, Black Renaissance has a cosmic sensibility, even as it consciously evokes the African roots of Black music (and therefore music itself). It’s a way of saying, “We have always been here, and always will be.” And also, of saying a few things that come through feel alone.

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[the-garrincha-universe]

1993 - Amsterdam, american bass player Buster Williams