I recently spoke with Danton Boller, who has worked with trumpeter Roy Hargrove and others, for a short piece published in Bass Player. It’s now available online.
Click here to check out the story in Bass Player, or see the text of the feature below.
INDIANA NATIVE DANTON BOLLER played electric bass in teenage rock bands in Southern California, but a switch to upright under the tutelage of Dave Brubeck Quartet bassist Eugene Wright sent him in entirely new directions. Boller has since applied lessons from Wright and California State University Long Beach instructor Chris Kollgaard to high-profile gigs with Roy Hargrove, Seamus Blake, Robert Glasper, and Anthony Wilson. A New Yorker since 1997, Boller has focused lately on his own recordings, a forthcoming duo release with Wright, and a new piano trio project. He also works with drummer Ari Hoenig and singer Kat Edmondson.
Is there a particular New York jazz bass sound you’ve gravitated toward?
When I first moved here, a lot of the guys I was watching were heavily influenced by Paul Chambers. I was too … and still am. But then I started checking out guys like Richard Davis, Doug Watkins, Jimmy Merritt, Eddie Jones, Buster Williams—styles that I wasn’t hearing so much from younger guys.
What lessons did you learn from Eugene Wright?
He wouldn’t necessarily say, “play these lines,” or “play these notes,” but there’s one thing that has stuck with me: I asked him why he played what he did on Dave Brubeck’s “Take Five.” He said, “I just picked something that would be easy for everyone to latch onto.” That’s kind of the way I approach playing. I try to think of what’s going to enable everyone to play their best.
What was it like recording duos with Wright?
Playing in the correct range so the melody would sit well over another bass is something I never had to think about before in a recording situation. It was incredibly fun to shift gears, and to get the opportunity to play over Eugene’s undeniable groove. “Theme For My Ladies” [a three-movement composition by Wright] captures a lot of different moods. We got into trading solo phrases where I was playing arco and he was playing pizz. That is one of my personal highlights, because it sounds so conversational.
How do you approach soloing?
I try to tell a story with a good melody, and let it develop naturally. I’ve never considered myself to be a great soloist—I want to be a really good rhythm-section player first. Soloing is the icing on the cake.