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UID:20120517T011801CEST-1311EjBSHP@www.yoshis.com/oakland
DTSTAMP:20120516T230501Z
DESCRIPTION:Bassist Stanley Clarke was barely out of his teens when he expl
 oded into the jazz world in 1971. Fresh out of the Philadelphia Academy of
  Music\, he arrived in New York City and immediately landed jobs with famo
 us bandleaders such as Horace Silver\, Art Blakey\, Dexter Gordon\, Joe He
 nderson\, Pharaoh Saunders\, Gil Evans\, Stan Getz and a budding young pia
 nist-composer named Chick Corea.\n\nAll of these musicians immediately rec
 ognized Clarke&rsquo\;s ferocious dexterity and complete musicality on the
  acoustic bass. Not only was he an expert at crafting bass lines and funct
 ioning as a timekeeper &ndash\; in keeping with his instrument&rsquo\;s tr
 aditional role &ndash\; but the young prodigy also possessed a sense of ly
 ricism and melody distilled from his bass heroes Charles Mingus\, Scott La
 Faro and others\, as well as non-bass players like John Coltrane. Clarke e
 nvisioned the bass as a viable\, melodic solo instrument positioned at the
  front of the stage rather than in a background role\, and he was uniquely
  qualified to take it there.\n\nThe vision became a reality when Clarke an
 d Corea formed the seminal electric jazz/fusion band Return To Forever. RT
 F was a showcase for each of the quartet&rsquo\;s strong musical personali
 ties\, composing prowess and instrumental voices. &ldquo\;We really didn&r
 squo\;t realize how much of an impact we were having on people at the time
 \,&rdquo\; Clarke recalls. &ldquo\;We were touring so much then\, we would
  just make a record and then go back on the road.&rdquo\; The band recorde
 d eight albums\, two of which were certified gold (Return To Forever and t
 he classic Romantic Warrior). They also won a GRAMMY (No Mystery) and rece
 ived numerous nominations while touring incessantly.\n\nThen Clarke fired 
 the &ldquo\;shot heard round the world\,&rdquo\; the one that started the 
 &lsquo\;70s bass revolution and paved the way for all bassists/soloists/ba
 ndleaders to follow. In 1974\, he released his eponymous Stanley Clarke al
 bum\, which featured the hit single\, &ldquo\;Lopsy Lu.&rdquo\; Two years 
 later\, he released School Days\, an album whose title track is now a bona
  fide bass anthem.\n\n&ldquo\;School Days&rdquo\; has since become a must-
 learn for nearly every up-and-coming bassist\, regardless of genre. Aspiri
 ng bassists must also master the percussive slap funk technique that Clark
 e pioneered as well. While Sly and the Family Stone&rsquo\;s Larry Graham 
 had already developed a rudimentary slap technique\, Clarke took the idea 
 and ran with it\, adapting the technique to complex jazz harmonies. &ldquo
 \;Larry started it\, but he had only one lick\,&rdquo\; says Clarke. &ldqu
 o\;I took it from there. A lot of guys could jam all day in E\, but couldn
 &rsquo\;t play it over changes.&rdquo\;\n\nClarke became the first bassist
  in history to headline tours\, sell out shows worldwide\, and craft album
 s that achieved gold status. At 25\, he was already regarded as a pioneer 
 in the jazz fusion movement. He was also the first bassist in history to d
 ouble on acoustic and electric bass with equal virtuosity\, power and fire
 . In his ongoing efforts to push the bass to new limits\, he invented two 
 new instruments\, the piccolo bass and the tenor bass. The piccolo bass is
  tuned one octave higher than the traditional electric bass. The tenor bas
 s is tuned one fourth higher than standard. Both of these instruments have
  enabled Clarke to extend his melodic range to higher and more expressive 
 registers.
DTSTART:20090306T000000
DTEND:20090308T000000
DURATION:PT3H
LOCATION:Oakland
SUMMARY:Stanley Clarke Acoustic
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