If This Bass Could Only Talk

Performer: Stanley Clarke (Double Bass)
Artist: George Howard; Paulinho Da Costa; Stewart Copeland; Wayne Shorter; Allan Holdsworth; Gregory Hines; Freddie Hubbard; George Duke
Engineer: Steve Sykes; Csaba Petocz
Producer: Stanley Clarke; Byron Miller
Distributor: Sony Music Distribution (

Notes: Personnel: Stanley Clarke (various instruments, synthesizer, acoustic & electric basses); Wayne Shorter, George Howard (soprano saxophone); Freddie Hubbard (trumpet); Vance Taylor, George Duke (piano); Steve Hunt, Edward Arkin, Byron Miller (synthesizer); Alan Holdsworth (guitar); James Earl (bass); Gerry Brown, John Robinson, Stewart Copeland, Ndugu Leon Chancellor (drums); Paulinho Da Costa (percussion); Gregory Hines (taps). Includes liner notes by Ivan Bodley. This was bassist Stanley Clarke's twelfth solo set, and one of his very few that would be recommended to jazz (as opposed to funk and R&B) listeners. On the instrumental set, Clarke's bass is featured in a wide variety of settings, including duets with tap dancer Gregory Hines and drummer John Robinson, a quartet with Wayne Shorter ("Goodbye Pork Pie Hat"), in a power trio with guitarist Allan Holdsworth and drummer Stewart Copeland, a piece with George Duke (on acoustic piano for a change) and soprano saxophonist George Howard, a quartet with the synthesizers of Steve Hunt, and "Funny How Time Flies," which has a colorful Freddie Hubbard trumpet solo. Throughout, Clarke's bass has plenty of solo space, and he shows how strong a player he can be when given decent material. ~ Scott Yanow

Philadelphia-born bassist Stanley Clarke got his start playing with straight-up jazzers (Horace Silver, Joe Henderson), but became known as one of the prime movers in the jazz-rock fusion movement of the 1970s. His virtuosic technique on both the electric and the acoustic bass made him a superstar of the instrument. Clarke skillfully blended rock, jazz, and funk, on solo recordings, as a member of fusion supergroup Return To Forever, and in collaborations with keyboardist George Duke and others. Clarke's distinctive slapping technique has influenced numerous technically stunning players, from Bela Fleck accompanist Victor Wooten to Miles Davis cohort Marcus Miller.

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