Davis continued to release albums regularly through the new millennium. Hill’s seminal “Point of Departure” the drummer Tony Williams’s first album, “Life Time” and the saxophonist Booker Ervin’s “The Song Book.” Dolphy’s last studio recording, “Out to Lunch!” Mr. The year 1964 was an especially significant one he played on Mr. Davis’s reputation began to grow rapidly, as did his discography. Therefore, when you start to study books of bass methods, you start out with the bow no matter what your intentions are, so there must be some intertwining of what I heard as a kid, what I heard working with Sarah Vaughan, wanting to imitate those vocal sounds.”Īfter his time with Ms. And I heard all of that coming up as a kid. “Some of the first bass players used the bow to play the walking bass line. Vaughan to create his particular bowing technique: Davis spoke of how he used aspects of his classical study and his time with Ms. In a 2005 interview for The New York City Jazz Record, Mr.
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He then went on the road with another pianist, Don Shirley (whose story was told in the movie “Green Book” ) this led to his initial recordings and eventually to his move, in 1954, to New York, where he worked with the singer Sarah Vaughan from 1957 to 1962. His first major gig was with the pianist Ahmad Jamal in 1952. While still in college, he performed with the pianist and bandleader Sun Ra, who at the time was still billed as Sonny Blount. Davis was mentored by local bassists like Wilbur Ware and Eddie Calhoun. He would go on to receive a bachelor’s degree in music education from the VanderCook College of Music in Chicago in 1952.Īs a young player in Chicago, Mr. Dyett with pushing him to play across styles, and during high school he also studied with Rudolf Fahsbender of the Chicago Symphony Orchestra. His adaptability resulted in sessions with Van Morrison, Bruce Springsteen, Paul Simon and Bonnie Raitt. His advanced technique, especially with the bow, led to work with classical orchestras under Igor Stravinsky and Leonard Bernstein. He was a member of the Thad Jones-Mel Lewis Orchestra, which performed every Monday night at the Village Vanguard in New York, from the ensemble’s debut in 1966 until 1972. A first-call player for some of the most important figures in jazz history, he had fruitful collaborations with the reed player Eric Dolphy (whose composition “Iron Man” was named for him) and the pianist Andrew Hill. Davis, who was named a National Endowment for the Arts Jazz Master in 2014, appeared on more than 600 albums.
Davis had taught music at the University of Wisconsin-Madison. His death was announced by Persia Davis, his daughter, who said he had been in hospice care for the last two years. Richard Davis, an esteemed bassist who played not just with some of the biggest names in jazz but also with major figures in the classical, pop and rock worlds, died on Wednesday in Madison, Wis.
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