Jerry Jemmott

Jerry Jemmott was among the preeminent program bassists from the past due ’60s and early ’70s, dealing with an extraordinary cross-section from the era’s finest spirit, jazz, and blues performers. Gerald Joseph Stenhouse Jemmott was raised in NEW YORK and started playing the bass when he uncovered Paul Chambers at age group ten; by age group 12, he had been skilled enough to execute in public areas, and examined Charles Mingus intensely. He got his big break when he was uncovered by R&B/jazz saxophonist Ruler Curtis, and performed on his initial recording periods in 1966, including Nina Simone’s The Blues record. Because of his Atlantic Information connection through Curtis, Jemmott shortly found work support other Atlantic spirit superstars, like Aretha Franklin, Wilson Pickett, the Rascals, Clarence Carter, Don Covay, and Roberta Flack. But which was just the end from the iceberg; Jemmott also documented with blues legends like B.B. Ruler, Freddie Ruler, Otis Hurry, and Champion Jack port Dupree on the following decade, and supported jazz superstars like Herbie Hancock, Freddie Hubbard, Les McCann, Eddie Harris, Shirley Scott, Houston Person, George Benson, Archie Shepp, Lionel Hampton, Herbie Mann, Eddie Palmieri, and Richard “Groove” Holmes. Around 1975, Jemmott’s program activity began to tail away; within the years that implemented, he worked both in film and movie theater as an arranger and conductor, and created many instructional books and movies on the artwork of bass playing (including one in tandem with Jaco Pastorius). In newer years, Jemmott documented two albums for japan P-Vine label, Captured in the reduced Beam (a tribute to his preferred affects) and THE BRAND NEW York Look at, while carrying on his actions as an educator.