Product Description The first anthology ever of the string bass; a 3 CD box set in a cardboard box; 96 page book. Original recordings from 1925-1941, from the legendary archival label Dust To Digital (that previously brought the world the beyond elaborate Goodbye, Babylon and Fonotone Records boxsets). 'Not so long ago, the string bass stood tall and proud roughly the length and breadth of a poor man's pine coffin in every musical aggregation throughout the land from Bangor to Buenos Aires, from the highest high life to the lowest lowdown: From tuxedoed symphony ensembles to tipsy Calypso bands to honky-tonkers in oil field dives, from elegantly gelled tango orchestras to Jazz combos in unspeakable speak easys to methed out rockabilly trios right off some flatbed: you can be damned sure Johnny Cash wouldn't have been able to walk the line without bassist Marshall Grant keeping him honest. But somewhere along the line, the upright acoustic bass was snatched from it's hallowed place atop the sedans (special carriage) and show stages and relegated to the trash heap of history in favor of Leo Fender's sleek electric cousin, plugged in to compete with amplified guitar and drums. Now the stand up bass makes it's appearance mostly in limousine liberal Lincoln Center Jazz benefits and hardcore Bluegrass bands or as a comical Hayseed Prop in retro Hillbilly outfits. And yet in that span between the turn of the century tuba blaring from an Edison cylinder and today's synthesized bass loops heaving from every SUV on the pike, the hypnotic pull of the old school string bass remains. A musical craft handed down by calloused, bandaged fingers, it wrought a mighty saga of bottom heavy rhythms that rattled the walls of many a venue and anchored many an historic recording session. Without it, the revolutionary sound of American mongrel music of the last century would have been thin gruel indeed.' Review "Few releases are as special and fun as this new 3 CD set, which uncovers the origins of recorded upright bass." -- Greg Olwell, Bass Player Magazine, February 2007The first collection devoted solely to the giant, awkward string bass, How Low Can You Go? is a mind-blowing assemblage of bass-centric (and mostly jazz) tracks from 1925-1941. With three discs (the first two were recorded predominantly in New York City, the third in Chicago) and an impressive book of liner notes (sections are subtitled with phrases like "Basses vs. Tubas, Tubas Lose"), How Low Can You Go? is both impossibly informative and stupidly fun. -- Amanda Petrusich, Pitchfork Media, January 16, 2007"Few releases are as special and fun as this new 3 CD set, which uncovers the origins of recorded upright bass." -- Greg Olwell, Bass Player Magazine, February 2007The first collection devoted solely to the giant, awkward string bass, How Low Can You Go? is a mind-blowing assemblage of bass-centric (and mostly jazz) tracks from 1925-1941. With three discs (the first two were recorded predominantly in New York City, the third in Chicago) and an impressive book of liner notes (sections are subtitled with phrases like "Basses vs. Tubas, Tubas Lose"), How Low Can You Go? is both impossibly informative and stupidly fun. -- Amanda Petrusich, Pitchfork Media, January 16, 2007Variety and a sense of fun make 'How Low Can You Go?' a painless history lesson. -- Kevin Whitehead, Fresh Air, December 18, 2006You get no shake or quake in blues, jazz or R&B without someone swinging hard and sharp below. This delightful three-disc set salutes the mostly unknown soldiers of the bottom on 78s by Tampa Red, Jelly Roll Morton, and Bob Willis, among others. -- David Fricke, Rolling Stone, February 8, 2007 - Four Stars P.when('A').execute(function(A) { A.on('a:expander:toggle_description:toggle:collapse', function(data) { window.scroll(0, data.expander.$expander[0].offsetTop-100); }); }); From the Artist Not so long ago, the string bass stood tall and proud -- roughly the length and breadth of a poor man's pine coffin -- in every musical aggregation throughout the land from Bangor to Buenos Aires, from the highest high life to the lowest lowdown: From tuxedoed symphony ensembles to tipsy calypso bands to honkytonkers in oil-field dives, from elegantly gelled tango orchestras to jazz combos in unspeakable speak-easys to methed-out rockabilly trios right off some flatbed. About the Artist The first collection devoted solely to the giant, awkward string bass, How Low Can You Go? is a mind-blowing assemblage of bass-centric (and mostly jazz) tracks from 1925-1941. With three discs (the first two were recorded predominantly in New York City, the third in Chicago) and an impressive book of liner notes (sections are subtitled with phrases like "Basses vs. Tubas, Tubas Lose"), How Low Can You Go? is both impossibly informative and stupidly fun. See more
D**N
Reasons this collection doesn't get a full five stars
It's a fine collection with many rare items that fill in the picture of the rise of string bass in recorded jazz and other styles. There are a few inaccuracies in the booklet: A photo of Moses Allen, Jimmie Lunceford's bass player, which is a still out Lunceford's one and only movie short subject, is misidentified as Al Morgan. Allen has no records in the collection, as well. Also, the notes to "Who's Sorry Now" state that piano and drums are inaudible. In fact, Zutty Singleton's cymbals are heard clearly in parts of this record. Missing artists that would have filled in the picture even more: Hayes Alvis (particularly with Mill's Blue Rhythm Band), Billy Taylor Sr., Harry Goodman, Bob Haggart, Chick Webb's "Don't Be That Way" and Teddy Wilson/Billie Holiday's "What a Little Moonlight Can Do" with major contributions from John Kirby, the 16-year old(!) Israel Crosby on records with Jess Stacy, Gene Krupa, Albert Ammons, Teddy Wilson and Fletcher Henderson, Bob Will's "Osage Stomp", several of the Dec. 1932 Bennie Moten sides with Walter Page and many early Count Basie records with Page, that influenced bass players around the country to move higher up the neck. Just sayin"...
B**A
bull fiddle in its hay day!!
my favorite instrument is the upright bass or as i call it bull fiddle. i have been collecting music from the 20-s through 40s for many years. only other good collection of bass cds that i knowof from this era, brother he sure can pull sum bow(mostly blues and one disc) but this one is much better, covers more ground, from jug bands to bob wills, jack teagarden, duke ellington, cab calloway, jelly roll mortan, roy accuff, tampa red, , 3 disc and all the songs are good. many players on here ive never heard who play in ways ive never heard. comes with a very well made 96 page book with information on the the history of the the upright double bull fiddle. lots of information about the bands, and lots and lots of really cool pictures of basses throughout time. higly recommend.
P**I
A historic document for bull fiddle fans.
Great anthology for any slap double bass fans. Well done!
G**R
good
good
T**N
Five Stars
wonderful compililation. highly recommended.
J**I
A Bass Player's Dream
Wow! What an excellent historical overview of the string bass-an instrument that doesn't always get the attention it deserves. This anthology is a wonderful resource for my course about the jazz masters of the bass. Bravo!!
B**A
AN ECLECTIC COMPILATION OF BULL FIDDLES
Where else, I wonder, would you find Bobbie Leecan's Need-More Band on the same CD as Thelma Terry & her Playboys and Frenchy's String Band? That's just three little-known bands on the first CD, which covers 1925 to 1930. The second CD goes from 1931 to 1941, and includes Lionel Belasco, Milton Brown, Eva Taylor, and Bob Wills. The third CD concentrates on the output of bass player Bill Johnson, which takes in jazz, gospel, blues, and jug bands.There's a total of 79 tracks in this eclectic compilation, and each gets a page to itself, with photo, line-up, and commentary, in the accompanying 96-page book. All that's missing is details of the original 78 issue. It's a fascinating collection, beautifully remastered, which should be more widely-known.
J**A
A must have for upright bass players!
Pretty essential stuff here. Amazing how many bass players used the slap technique, and how good they were at it!
X**U
Une mine d'or de l'histoire de la contrebasse
Cette compilation sur les 1ers enregistrements et l'évolution de la contrebasse est indispensable tout simplement pour tout féru de musiques "oldschool": jazz(s),ragtime, bluegrass, country,chansons hawaïennes et autres curiosités parsèment cette anthologie très bien renseignée, avec un livret(en anglais) généreux et passionnant. Chaque chanson des 3 volumes fait l'objet d'une notice avec illustration photo; l'écoute se savoure avec l'écrit pour un voyage dans la musique nord-américaine des 20's aux 40's. Les 2 premiers volumes sont consacrés respectivement aux 1ers pas de la "String Bass" en Amérique du Nord et à son émancipation, le troisième volume est lui spécifiquement consacré au contrebassiste Bill Johnson (1872-1972), pionnier du ragtime et du jazz.Tout un menu à 4 cordes....
L**R
Five Stars
perfect
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