He had an approach that contrasted sharply with the somewhat monotonic,
immobile bass parts of today. His lines were important; counter-melodic
structural components that you were as likely to go away humming as the
top line melody; little stand-alone works of art in themselves.
Whenever I think of him, which is not infrequently, I think of the
over-driven fuzz of the sinewy staccato hits in Close to the Edge (6’04”
and on) or a couple of minutes later where he sounds like a tuba
(8’.00”). While he may have taken a while to arrive at the finished
article, it was always worth waiting for. And then he would sing a
different part on top.
An individualist in an age when it was
possible to establish individuality, Chris fearlessly staked out a whole
protectorate of bass playing in which he was lord and master. I suspect
he knew not only that he gave millions of people pleasure with his
music, but also that he was fortunate to be able to do so. I offer
sincere condolences to his family.
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