Curly Russell's Bass Restored
Posted: July 2nd, 2014, 6:22 pm
Institute of Jazz Studies | Rutgers University Libraries
The Institute of Jazz Studies is the largest and most comprehensive library
and archive of jazz and jazz-related materials in the world.
The Curly Russell Bass:
Restoration of a Musical Instrument
In 2002, the Institute of Jazz Studies acquired the bass of the late Curly Russell, one of the most active participants in the modern jazz scene of the 1940s and 1950s. The instrument was donated to IJS by the bassist’s daughter, Donna Lee Fields. Since that time, it resided among the Institute’s other priceless instruments and artifacts, including the trumpets of Roy Eldridge and Miles Davis; the saxophones of Lester Young, Ben Webster, and Don Byas; and the trombones of Jack Teagarden and Dicky Wells. In a sense, the bass was reunited with some of the instruments it had undoubtedly encountered decades earlier on the bandstand or recording studios during Mr. Russell’s prolific career.
The impetus for the restoration began when drummer Steve Johns toured the Institute in February 2014. Steve is a jazz historian himself, and allowed IJS to digitize rare photos of his uncle, saxophonist Jimmy Tyler, as well some never published images of Charlie Parker taken by another uncle, Clifford Erickson. He is also the father of Daryl Johns, eighteen-year-old bass phenomenon and a rising star in the jazz world, so he has more than a passing interest in the bass. Shortly after Steve saw the Curly Russell bass in the IJS archival instrument room, he suggested that we have it evaluated at the legendary David Gage’s shop in Manhattan with a view toward restoring it to playable condition. Steve even transported the bass in his van.
At David Gage’s shop, master restorer Mike Weatherly evaluated the instrument and outlined several approaches to repairing it. We took the path of maintaining the instrument as closely as possible in appearance and function as when Curly Russell played it, while preventing any further damage from occurring. Mike did a masterful job, and in light of the instrument’s historic value and the educational and archival mission of the Institute, David generously agreed to donate his company’s services, for which we are most grateful!
Steve Johns again graciously provided his van to pick up the instrument and brought along his son, Daryl, as a representative of the future of the bass. Daryl accompanied us to the Institute and allowed us to video him playing and giving his impressions of the historic instrument. Since then, several noted bassists have stopped by and have played the newly restored instrument, which now resides in the Special Collections room of the Dana Library, across the hall from IJS, where, fittingly, it stands next to an imposing vintage bass case donated by Milt Hinton. Bass players who are interested in trying out the Curly Russell instrument are invited to contact the Institute to schedule a time.
__________________________________________________
About Curly Russell
Dillon “Curly” Russell was born in Trinidad on March 19, 1920, but moved to New York with his parents at a very early age. He learned to play bass in a Depression-era program sponsored by the Civilian Conservation Corps (CCC). In the early 1940s, he gained his first professional experience in the orchestras of Don Redman and Benny Carter. He made his first recordings with Carter on the West Coast in 1943, and also played with Carter on the soundtrack of the film Stormy Weather. In 1945, back in New York, he joined the legendary quintet of Dizzy Gillespie and Charlie Parker, thus beginning an extremely productive period which found the bassist on some of the most important recordings of the “new music.” Among the seminal recordings sessions in which Russell participated were Gillespie’s 1945 Guild date (“Salt Peanuts”); Parker’s 1945 Savoy session (“Koko,” “Billie’s Bounce”); the 1946 Stan Getz Savoy date (“Opus de Bop”); Coleman Hawkins Sonora session in 1946 (“Bean and the Boys”); and the 1947 Bud Powell trio session for Roost that yielded “Buds Bubble.” During the same period, the bassist played a key role in sessions led by Tadd Dameron, Dexter Gordon, George Shearing, Lester Young, Fats Navarro, Sarah Vaughan, Sonny Stitt, and many others. These artists appreciated Russell’s musicality, fine tone, and sense of swing, as well as his ability to enhance any musical situation with his sensitivity as an accompanist. The ultimate team player, his priority was always making the group sound better, not calling attention to himself. Russell continued to work throughout the 1950s and the 1960s, but health problems curtailed his playing activities during his final years. He died on July 3, 1986.
___________________________________________________________________
Bassist Daryl Johns with the bass at David Gage's repair shop.
Mike Weatherly, bass restorer, demonstrates the instrument in the shop.
The Curly Russell bass at IJS
Photos by Ed Berger
More info and photos <<
The Institute of Jazz Studies is the largest and most comprehensive library
and archive of jazz and jazz-related materials in the world.
The Curly Russell Bass:
Restoration of a Musical Instrument
In 2002, the Institute of Jazz Studies acquired the bass of the late Curly Russell, one of the most active participants in the modern jazz scene of the 1940s and 1950s. The instrument was donated to IJS by the bassist’s daughter, Donna Lee Fields. Since that time, it resided among the Institute’s other priceless instruments and artifacts, including the trumpets of Roy Eldridge and Miles Davis; the saxophones of Lester Young, Ben Webster, and Don Byas; and the trombones of Jack Teagarden and Dicky Wells. In a sense, the bass was reunited with some of the instruments it had undoubtedly encountered decades earlier on the bandstand or recording studios during Mr. Russell’s prolific career.
The impetus for the restoration began when drummer Steve Johns toured the Institute in February 2014. Steve is a jazz historian himself, and allowed IJS to digitize rare photos of his uncle, saxophonist Jimmy Tyler, as well some never published images of Charlie Parker taken by another uncle, Clifford Erickson. He is also the father of Daryl Johns, eighteen-year-old bass phenomenon and a rising star in the jazz world, so he has more than a passing interest in the bass. Shortly after Steve saw the Curly Russell bass in the IJS archival instrument room, he suggested that we have it evaluated at the legendary David Gage’s shop in Manhattan with a view toward restoring it to playable condition. Steve even transported the bass in his van.
At David Gage’s shop, master restorer Mike Weatherly evaluated the instrument and outlined several approaches to repairing it. We took the path of maintaining the instrument as closely as possible in appearance and function as when Curly Russell played it, while preventing any further damage from occurring. Mike did a masterful job, and in light of the instrument’s historic value and the educational and archival mission of the Institute, David generously agreed to donate his company’s services, for which we are most grateful!
Steve Johns again graciously provided his van to pick up the instrument and brought along his son, Daryl, as a representative of the future of the bass. Daryl accompanied us to the Institute and allowed us to video him playing and giving his impressions of the historic instrument. Since then, several noted bassists have stopped by and have played the newly restored instrument, which now resides in the Special Collections room of the Dana Library, across the hall from IJS, where, fittingly, it stands next to an imposing vintage bass case donated by Milt Hinton. Bass players who are interested in trying out the Curly Russell instrument are invited to contact the Institute to schedule a time.
__________________________________________________
About Curly Russell
Dillon “Curly” Russell was born in Trinidad on March 19, 1920, but moved to New York with his parents at a very early age. He learned to play bass in a Depression-era program sponsored by the Civilian Conservation Corps (CCC). In the early 1940s, he gained his first professional experience in the orchestras of Don Redman and Benny Carter. He made his first recordings with Carter on the West Coast in 1943, and also played with Carter on the soundtrack of the film Stormy Weather. In 1945, back in New York, he joined the legendary quintet of Dizzy Gillespie and Charlie Parker, thus beginning an extremely productive period which found the bassist on some of the most important recordings of the “new music.” Among the seminal recordings sessions in which Russell participated were Gillespie’s 1945 Guild date (“Salt Peanuts”); Parker’s 1945 Savoy session (“Koko,” “Billie’s Bounce”); the 1946 Stan Getz Savoy date (“Opus de Bop”); Coleman Hawkins Sonora session in 1946 (“Bean and the Boys”); and the 1947 Bud Powell trio session for Roost that yielded “Buds Bubble.” During the same period, the bassist played a key role in sessions led by Tadd Dameron, Dexter Gordon, George Shearing, Lester Young, Fats Navarro, Sarah Vaughan, Sonny Stitt, and many others. These artists appreciated Russell’s musicality, fine tone, and sense of swing, as well as his ability to enhance any musical situation with his sensitivity as an accompanist. The ultimate team player, his priority was always making the group sound better, not calling attention to himself. Russell continued to work throughout the 1950s and the 1960s, but health problems curtailed his playing activities during his final years. He died on July 3, 1986.
___________________________________________________________________
Bassist Daryl Johns with the bass at David Gage's repair shop.
Mike Weatherly, bass restorer, demonstrates the instrument in the shop.
The Curly Russell bass at IJS
Photos by Ed Berger
More info and photos <<