Haig Stephens

There are many obvious methods to rack up recording session credits as much simply because bassist Haig Stephens. You might be to carry onto a posture as a residence bassist for the prolific documenting label, as Stephens do with Decca back your day when that imprint was documenting performers such asLouis Armstrong and Billie Vacation. Discographer Tom Lord areas Stephens at a little less than 100 documenting sessions between your middle-’30s and 1950, occasionally doubling on baritone saxophone. This statistic omits participation in any sort of documenting Lord didn’t consider jazz. It really is in the framework of the last mentioned genre that a lot of listeners should come across this bassist, however his focus on studio room activity makes his history a little different than many jazzmen. A lot of what Decca documented with Stephens ultimately evolved into area of the Verve catalog, like the big-band task Armstrong made in the ’30s. Discographical proof locations Stephens in those dark, stuffy locations where in fact the tape can be rolling from the first times of his profession. Working with market leaders such the talented multi-instrumentalist Adrian Rollini, Stephens heated up for the Decca times ahead, documenting “matcher” dance-band edges predicated on whatever music and dances had been currently popular, several edges released under fictitious music group names. Alternatively, sometimes he’d be substituting for the group’s regular bassist, which points out his existence on information by Bob Crosby & His Orchestra, a dynamic touring outfit. Hardly any from the music released offering this bassist was documented live. His studio room activities inevitably signify a broad bottom of musical passions, which he either sincerely possessed or, such as a great studio room player, could fabricate to match whoever was in control. Those people included not merely these jazz giants but interesting minimal figures such as for example vocalist Leo Watson, whose innovative early recordings highlighted Stephens. Stephens can be the bass participant on the united states & traditional western recordings of Jimmie Davis, the Louisiana governor whose music such as for example “You Are My Sunlight” and “Nobody’s Darlin’ But Mine” produced a mint for Decca. Another facet of Stephens’ profession that is similar to a studio room player when compared to a jazzman is merely how anonymous he has been, not turning up in the biographical recollections from the people he caused rather than seeming to inspire personal tributes from motivated enthusiasts. A lot of the links along with his name on the net involve the recordings he performed on, as may be expected. Regardless of the reference to Jimmie Davis, the bassist shouldn’t be confused using the Haig Stephens who’s offering a tractor on the web.