Biography
Slam Stewart earned widespread recognition in jazz circles as an exceptional swing bassist, distinguished by his singular technique of bowing the instrument while simultaneously humming an octave higher. He first conceived this approach during his studies at the Boston Conservatory after observing Ray Perry vocalizing in tandem with his violin. In 1936 he performed with Peanuts Holland’s ensemble, and the next year he began a regular collaboration with guitarist, singer, and comedian Slim Gaillard in the duo billed as Slim and Slam. Their recording “Flat Foot Floogie” achieved major success and sustained the partnership well into the early 1940s.
Once the association with Gaillard ended, Stewart found himself constantly sought after. He joined Art Tatum’s trio, appeared on sessions with the Benny Goodman Sextet and with Red Norvo—including a notable date that also featured Charlie Parker and Dizzy Gillespie—and contributed to Lester Young’s classic interpretation of “Sometimes I’m Happy.” He also led his own band, which at one point spotlighted the rising pianist Erroll Garner. At a 1945 Town Hall concert he delivered striking duo performances with tenor saxophonist Don Byas, and in subsequent years he worked alongside Billy Taylor, Roy Eldridge, Bucky Pizzarelli, the Newport All-Stars, and numerous other leading jazz figures. He even made two albums with bassist Major Holley, who likewise bowed and hummed yet did so in unison rather than an octave apart. Until the close of his career, Slam Stewart maintained a wholly distinctive place in the music.
Once the association with Gaillard ended, Stewart found himself constantly sought after. He joined Art Tatum’s trio, appeared on sessions with the Benny Goodman Sextet and with Red Norvo—including a notable date that also featured Charlie Parker and Dizzy Gillespie—and contributed to Lester Young’s classic interpretation of “Sometimes I’m Happy.” He also led his own band, which at one point spotlighted the rising pianist Erroll Garner. At a 1945 Town Hall concert he delivered striking duo performances with tenor saxophonist Don Byas, and in subsequent years he worked alongside Billy Taylor, Roy Eldridge, Bucky Pizzarelli, the Newport All-Stars, and numerous other leading jazz figures. He even made two albums with bassist Major Holley, who likewise bowed and hummed yet did so in unison rather than an octave apart. Until the close of his career, Slam Stewart maintained a wholly distinctive place in the music.
Albums
