The Legacy of Chuck Connors: Defining the Jazz Bass Trombone
Chuck Connors, Duke's 'Bones: Ellington's Great Trombonists, 1995. Read "Duke's 'bones" with your Library card, opens a new window.
As 2024 draws to a close, I find myself reflecting on the stories that shape our musical heritage. As a musician and scholar, I've often found that the stories behind the music are as powerful as the notes themselves. One of the most resonant stories in jazz history is the legacy of Chuck Connors, bass trombonist with Duke Ellington from 1961. Chuck's contributions to Ellington's orchestra helped shape the sound of jazz bass trombone and left a lasting imprint on how we think about the instrument. Despite its crucial role in providing depth and richness to the trombone section, the bass trombone is often overshadowed by its tenor counterpart, making Connors' work even more significant.[1]
Through David Brubeck's The Jazz Bass Trombone series, an oral history featuring Chuck's wife Betty Connors,[2] and his interview with me, I will provide rare insights into this remarkable musician's life and work as we honor his memory at year's end.
By Marc T. Gaspard Bolin
Tuesday, December 31, 2024
What made Connors' contribution revolutionary was his ability to combine the technical facility of a tenor trombonist with the robust, foundational sound of the bass trombone. He showed that the instrument could handle both intricate melodic lines and powerful bottom notes, expanding its role beyond mere support to become an integral voice in the ensemble.
The Jazz Bass Trombone Before Chuck Connors
The evolution of the bass trombone in jazz before Chuck Connors reflects the instrument's journey from a supporting voice to an expressive force in its own right. The tuba typically handled the lower brass function in early jazz, particularly in New Orleans-style bands. Even as the trombone section evolved, most early jazz orchestras, including Duke Ellington's, favored three tenor trombones rather than dedicated bass trombone parts.[3]
The transformation began in the late 1940s when George Roberts, known as "Mr. Bass Trombone," pioneered the instrument's use in commercial and studio music. Roberts demonstrated the bass trombone's potential for power and lyricism, though primarily in West Coast jazz and commercial settings. Meanwhile, in big band jazz, arrangers like Billy May and Bill Holman were beginning to write specifically for bass trombone, but the instrument's role remained largely supportive.[4]
Ellington's approach before Connors was unique—he treated his three-trombone section as equal voices, with players like Lawrence Brown and Juan Tizol providing rich, warm tones that sometimes fulfilled the bass trombone function without actually using the instrument.[5] This changed fundamentally with Connors' arrival in 1961, as Ellington began writing specifically for the bass trombone's unique characteristics and capabilities.
A Pivotal Figure in Ellington's Sound
Chuck's arrival in 1961 marked a significant shift in Ellington's sound. As documented in Brubeck's research, before Connors, Duke's trombone section operated as three equal voices, each bringing their unique character to the ensemble. Chuck's addition introduced the typical configuration of two tenors and a bass trombone, bringing new depth and dimension to Ellington's rich orchestrations.[6]
His technical prowess was remarkable. In pieces like "Moonbow" and "Absinthe" from the 1963 album "Afro-Bossa," Chuck ventured into challenging low register territory, pushing the boundaries of what was expected from a bass trombonist. By 1971's "Afrique," he was reaching unprecedented depths, down to a low 'B.' Eventually settling on a Bach 50B double-valve, his equipment choice allowed him to achieve both the power needed for big band work and the flexibility for more nuanced passages.[7]
Connors' contributions to Ellington's Sacred Concerts deserve special mention. In these groundbreaking works that merged jazz with sacred music, his bass trombone provided crucial foundational support while taking on solo roles showcasing the instrument's expressive capabilities. The First Sacred Concert (1965), in particular, features passages where Connors' bass trombone serves as both a solemn anchor and a voice of jubilation.[8]
I'll never forget my first visit to Chuck's home in Cincinnati around 1991. I was a young musician who had pawned my bass trombone, and through a mutual friend at Pavilion Music Company, Marcus Ware, I reached out to Chuck. His immediate response? "Come by and pick out a horn. You can borrow it as long as you need."
Personal Memories
I'll never forget my first visit to Chuck's home in Cincinnati around 1991. I was a young musician who had pawned my bass trombone, and through a mutual friend at Pavilion Music Company, Marcus Ware, I reached out to Chuck. His immediate response? "Come by and pick out a horn. You can borrow it as long as you need." [9]
His wife, Betty, welcomed me into their modest home while Chuck was at a doctor's appointment. The walls told the story of a life fully lived – photographs of Chuck with "Diz," Ellington, Sammy Davis Jr., and countless moments with the Ellington orchestra. Each photo seemed to capture a different facet of jazz history, with Chuck playing his role not just as a musician but as a witness to an extraordinary era.[10]
In their basement, among roughly twenty trombone cases, Chuck offered me my choice of several instruments, including a Conn single-valve, a Bach 50B single-valve, and a Reynolds Contempora single-valve. The various instruments reflected his deep understanding of the bass trombone's various voices—each horn had its own character and story to tell.
The Reynolds Contempora I chose became more than just a borrowed instrument—it became a symbol of Chuck's generosity and the jazz community's spirit of mentorship. During subsequent visits, Chuck would share insights about breathing techniques, slide positions for the trickiest passages, and stories about life on the road with Duke. His approach to teaching was as generous as his playing - always focused on helping others find their voice rather than imposing his own style.
My career was shaped, in no small part, by Chuck Connors' generosity. His sound, his role in the Ellington Orchestra, and his kindness and warmth as both a person and musician all played crucial roles in my musical journey. When I hear his sound, I'm transported back to my youth in Cincinnati, where this remarkable man made an indelible impression on me as both a musician and human being.
A Lasting Impact
My career was shaped, in part, by Chuck Connors' generosity. His sound, his role in the Ellington Orchestra, and his kindness and warmth as a person and musician all played crucial roles in my musical journey. When I hear his sound, I'm transported back to my youth in Cincinnati, where this remarkable man made an indelible impression on me as a musician and human being.[11]
His influence extends far beyond my personal experience. Contemporary bass trombonists like John Fedchock and Bill Reichenbach have acknowledged Connors' impact on their approach to the instrument. His work with Ellington helped establish the modern concept of section playing with a dedicated bass trombone, an approach that became standard in jazz orchestration.[12]
The Role of Documentation
David Brubeck's dedication to preserving jazz history, mainly through his The Jazz Bass Trombone series, has ensured that stories like Chuck's continue to inspire future generations. His detailed documentation of the evolution of jazz trombone, from early New Orleans style through the big band era and beyond, provides crucial context for understanding Connors' contributions.[13]
Closing Thoughts
As we approach 2025, Chuck Connors' legacy resonates more powerfully than ever. He represented the best of jazz—not just in his masterful playing, but in his generosity of spirit. His understanding that music transcends individual achievement shaped his playing and teaching. Through his work with Ellington, he elevated the role of the bass trombone in jazz orchestration, while through his mentorship, he nurtured the next generation of musicians.
Connors' contributions to jazz went far beyond his technical innovations. He understood that music wasn't just about the notes but about community, mentorship, and lifting others up. This philosophy manifested in everything from his approach to section playing with Ellington to his willingness to share his instruments and knowledge with young musicians. His influence continues through the countless musicians he inspired and helped, myself included.
Reflecting on his impact today, I see that what stands out is how Connors' musical excellence was matched by his human qualities. From his groundbreaking work with Ellington to his quiet acts of kindness, Chuck Connors showed us that greatness in jazz isn't measured solely by what you play, but also by how you contribute to the music's future through the lives you touch.
Notes
1. David William Brubeck, "The Jazz Bass Trombone, No. 2: An Interview with Marc T. Bolin," davidbrubeck.com (blog), December 30, 2013.
2. Keloni Parks, "'Everyone Looked Out for You': Betty Connors Shares her West End Story," Cincinnati & Hamilton County Public Library (blog), March 30, 2022.
3. David William Brubeck, "Dedicated to Chuck Connors, Bass Trombonist with Duke Ellington from 1961, Stereogram (Yet Un-Numbered)," davidbrubeck.com (blog), December 27, 2024.
4. David William Brubeck, "Don't Get Around Much Anymore: Prelude," davidbrubeck.com (blog), December 30, 2013.
5. Brubeck, "The Jazz Bass Trombone, No. 2."
6. Brubeck, "Dedicated to Chuck Connors."
7. David William Brubeck, "Sacred Music in the Ellington Band," davidbrubeck.com (blog), December 30, 2013.
8. Parks, "'Everyone Looked Out for You.'"
9. Brubeck, "The Jazz Bass Trombone, No. 2."
10. Parks, "'Everyone Looked Out for You.'"
11. Brubeck, "The Jazz Bass Trombone, No. 2."
12. Brubeck, "Dedicated to Chuck Connors."
13. Brubeck, "The Jazz Bass Trombone, No. 2."
The full text of Dr. David Brubeck's interview "The Jazz Bass Trombone, No. 2: An Interview with Marc T. Bolin" (davidbrubeck.com, December 30, 2013) is reprinted below with permission from the author. The original can be found at: https://davidbrubeck.com/2013/12/the-jazz-bass-trombone-features-dont-get-around-much-anymore-arranged-by-tom-kubis-for-demetri-pagalidus/
An Interview with Marc T. Bolin, by David William Brubeck
1. How would you describe the use of the bass trombone in Duke Ellington’s orchestra? (Jazz bass trombone being defined as having a .547 bore or larger with at least one valve).
Ellington didn’t begin to utilize a large-bore trombone until 1961 with the addition of Chuck Connors. Duke always used the three trombones prior to 1963 as unique and individual voices that would blend to create a particular sound—the sound unique for each tune that matched the sound in his mind’s ear—and that would be determined in part by who was playing which part as this would depend on each tune. I would describe Ellington’s trombone section up until then as trombone 1, 2, and 3, not tenor 1, 2, and bass trombone. Dig? It wasn’t until the addition of Connors that Ellington would utilize a more stereotypical sound of two tenors and a bass section sound.
2. Why did Duke seem to favor three trombones? When did he switch to four?
Moon Mist recorded in Chicago late January 1957 (track 8) utilizes six trombones: Lawrence Brown (tracks 1-3 & 8-17), Buster Cooper (tracks 1-3 & 8-17), Quentin Jackson (track 8), Britt Woodman (track 8) – trombone, John Sanders – valve trombone (track 8), Chuck Connors – bass trombone (tracks 1-3 & 8-17).
Ellington was back to using three bones on the Symphomaniac (Symphonic or Bust) [recorded and released on the Reprise label in 1963], which is certainly a huge sound. But that’s Ellington. Ellington was able to get a sound out of three trombones that most jazz arrangers could only get using four.
Swinging Suites by Edward E. & Edward G. (also known as Peer Gynt Suite/Suite Thursday or “Zweet Zurzday”) was recorded for the Columbia label in 1960. Ellington made use of the four-trombone sound here, too. But, curiously, he only used four on the Grieg material: Lawrence Brown, Mathew Gee, Booty Wood, and Britt Woodman—all tenors, of course.
A Concert of Sacred Music Live from Grace Cathedral and on DVD as Love You Madly/A Concert of Sacred Music at Grace Cathedral. The official album on RCA, A Concert of Sacred Music, was recorded at two concerts at Fifth Avenue Presbyterian Church in New York on December 26, 1965. The concert premiered on September 16, 1965 (First Sacred Concert): Lawrence Brown, Buster Cooper, Quentin Jackson, Britt Woodman – trombone, John Sanders – valve trombone, Chuck Connors – bass trombone.
January 19, 1968, Ellington’s Second Sacred Concert: Lawrence Brown, Buster Cooper, Bennie Green – tenor trombone, Chuck Connors – bass trombone.
Third Sacred Concert, October 24, 1973, Ellington was back to writing for three trombones: Art Baron, Vince Prudente – trombone, Chuck Connors – bass trombone.
3. Which is the first trombone part you are aware of that goes below low ‘E’, and would require a trigger?
I believe Ellington’s first use of the bass trombone (as BASS trombone—below low ‘E’) to be on the album Afro-Bossa recorded and released for Reprise in 1963:
Low ‘D’ in “Moonbow”
Low ‘C’ in “Absinthe”
“Pyramid” has an interesting quasi-ostinato figure; Low ‘C’
Low ‘C’ Jam with Sam 1966 (Live 7/27/66 – Côte d’Azur). The Ella Fitzgerald & Duke Ellington Côte d’Azur Concerts on Verve. He keeps getting lower: Low ‘B’ in “Afrique” from The Afro-Eurasian Eclipse, recorded in 1971 and released on the Fantasy label in 1975.
4. Do you think that Harry Carney’s incredible tenure with Duke Ellington predisposed Duke’s thinking of the baritone sax as the bottom of the winds, and as his first consideration for a bass voice solo instrument?
I’m not sure Carney’s sound has a direct correlation to the “bass” sound in Ellington’s head, at least one that would relate to Ellington’s use of the bass trombone. “Agra” from the Far East Suite, Carney walks all the way down the instrument (baritone here), in a loud, gruff manner. Ellington never really uses Chuck (or Taylor) in that way.
5. When did Duke perform with tuba as opposed to string bass?
It seems that 1927 is the pivotal year that Ellington switches from tuba to bass. “East St. Louis Toodle-Oo”: Wellman Braud plays tuba. In the very next recording, “Black and Tan Fantasy”, Braud is heard playing string bass. It is interesting to note that Duke is still using banjo here. While, in the minds of many, there is a link between banjo and tuba, Ellington and Braud can be credited with the innovation of using the double bass rather than the tuba in jazz rhythm sections.
Braud’s initial recording sessions with Duke were in October 26, 1927. In “Washington Wobble”, Braud takes a short pizzicato solo. Braud’s brief solos are important, because some historians maintain Bill Johnson’s solo on Johnny Dodds’ July 1928 “Bull Fiddle Blues” is the first recorded pizzicato jazz bass solo. Also, Braud has been characterized as a two-beat player, but he often played four-beat pizzicato walking style, such as the November 1928 Okeh recording of “Misty Mornin’”, which is both arco and four-beat style. On a November 3, 1927 recording of “Black and Tan Fantasy”, Braud switches from arco to pizzicato and back. For the March 1928 Victor session of “Black Beauty”, Braud utilizes double-time. On a November 1928 session, “I Can’t Give You Anything but Love”, Braud recreates the tuba intro he played on an earlier version, but this time on bass.
6. Did you know Chuck Connors?
Chuck Connors was a friend of mine. Sometime, (I think it was 1991) I was in need of a bass trombone as I had hocked mine. I was put in touch with Chuck through a mutual friend who ran a big band in town (Pavilion Music Company), Marcus Ware. I called Chuck and he said to come on by and pick out a horn. He said I could borrow one as long as I needed! I drove to his house, then rang the bell. His wife (Betty, I believe) answered the door. She told me that Chuck was at a doctor’s appointment and would return shortly. She showed me around their modest home. Hundreds of pictures hung on the wall: some family pictures and artwork, but mostly pictures of Chuck with members of the Ellington band, playing in the Ellington band, of him with celebrities, etc. Occasionally she would point and reminisce at pictures of Chuck with “Diz”, Ellington, and Sammy Davis, Jr. I was star-struck.
Chuck returned. We continued to peruse the pictures on the wall and worked our way down some stairs to the basement. There were maybe twenty trombone cases strewn around the basement. He brought several closer to me and opened the cases: a Conn single-valve, a Bach 50B single-valve, a Remington Contempora single-valve, and one I can’t recall. He mentioned that he was playing a 50B double-valve lately and that any of these were mine for the choosing. I played on them all and opted for the Reynolds Contempora. I fell in love with this horn. I’ve seen several pictures of Chuck playing, or posing with this horn. It makes me smile every time. We stayed in touch. By the time I returned the horn, Chuck had passed. I returned the horn to Betty. I don’t know what happened to that horn, but my memories of Chuck reside permanently in the recesses of my mind. When I hear his sound, I am taken back to my youth in Cincinnati, Ohio, where a man made an indelible impression on me as a musician and human being.
I believe my career was in part shaped by the generosity of Chuck Connors. His sound, the Ellington Orchestra, his kindness and warmth as a person and musician—Ellington—all played a role in shaping my career choices.
About Dr. David Brubeck
Dr. David Brubeck is an acclaimed bass trombonist, composer, and educator whose groundbreaking contributions to music have left an indelible mark on the world of brass performance. Best known for his innovative Stereograms—a collection of solo works for bass clef instruments published internationally—Brubeck has performed and recorded with legendary artists such as Stevie Wonder, Ray Charles, and Joni Mitchell. His scholarly work, including The Pedagogy of Arnold Jacobs, is frequently cited and reflects his dedication to advancing brass pedagogy.
A third cousin of jazz pianist Dave Brubeck, Dr. Brubeck has performed at prestigious festivals and venues around the globe, showcasing his artistry in solo and duo formats, including his celebrated group, Duo Brubeck. As a professor of music and conductor, he has shaped generations of musicians, leading ensembles to national acclaim and developing innovative teaching methods. Dr. Brubeck's passion for performance and education continues to inspire audiences and students alike.
Visit davidbrubeck.com to explore his music, writings, and more.