From Lionel Hampton, Art Blakey and Cassandra Wilson to Frank Sinatra, Joe Williams and Marilyn Horne, Dorsey talks with FBPO about his stellar career
Exclusive interview with FBPO’s Jon Liebman
November 14, 2011
Bassist/composer/arranger Leon Lee Dorsey made his solo recital debut at Lincoln Center in September 1999. In addition to having played bass for jazz icons Lionel Hampton, Art Blakey & the Jazz Messengers and GRAMMY-winning vocalist Cassandra Wilson, Dorsey has performed under the baton of conducting legends Lukas Foss and Robert Fountain.
He has also performed in big bands with the Smithsonian Jazz Masterworks Orchestra, Benny Carter, the Duke Ellington Orchestra and Charlie Persip’s Superband.
As a composer and arranger, Leon has collaborated with jazz luminaries Dizzy Gillespie, Wynton Marsalis, Freddie Hubbard, John Lewis, Kenny Clarke, Jon Hendricks, Gloria Lynn, Harry “Sweets” Edison, Dorothy Donegan, Stanley Turrentine, George Benson, Ellis Marsalis, Nnenna Freelon and Terumasa Hino. Other career highlights include performing with Frank Sinatra at Carnegie Hall, guest appearances at the White House under Presidents Reagan and Clinton and accompanying blues crooner Joe Williams and operatic diva Marilyn Horne.
Dorsey completed his doctorate in classical double bass under the distinguished Ron Carter at City University of New York. He also holds masters degrees from the University of Wisconsin and Manhattan School of Music and two bachelors degrees from Oberlin College.
FBPO: You’ve done so much in the music world, it’s hard to know where to begin. Why don’t we start from the beginning? What kind of musical upbringing did you have?
LLD: When I came along, the arts were very strong in the schools. I played cello in the Pittsburgh School’s All City Orchestras in elementary, junior and high school. There was also a Saturday program that provided private lessons from Pittsburgh Symphony players, which I also participated in. Also, my mother and father were great music lovers.
FBPO: How did you end up a bass player?
LLD: I began on piano in the third grade. I moved to the cello in 4th grade and continued with it through the end of high school. During 7th grade, I gravitated to the electric bass. In high school, my music teacher let me hold on to a double bass to practice.
FBPO: Did you start out with classical technique, using the bow, Simandl method, etc?
LLD: I did start with the traditional methods, like Simandl One and Two, but Diana Gannett, who taught at Oberlin Conservatory my first two years, introduced her students to the bass concepts of Gary Karr. So I had the advantage of both learning orchestra literature as well as solo literature.
FBPO: Did you have aspirations of being a classical double bassist, making your career in a symphony orchestra?
LLD: Absolutely! I played in the Madison Symphony Orchestra while in grad school and various chamber orchestras when I arrived in New York. One of the most difficult things is juggling your time and schedule between playing classical and being on the road playing jazz.
FBPO: You seem to be known primarily as an upright player. How much have you done with the electric bass?
LLD: I first played electric bass when I was in my teens. I feel very blessed to have studied classical on cello while simultaneously playing R&B, rock and pop on electric bass. I was into Motown, Mozart and Miles all at the same time! Like many bassists, I grew up on James Jamerson, Larry Graham and Chuck Rainey and, later, Stanley Clarke and Jaco Pastorius. Many jazz gigs require you to double, so most of the acoustic situations allowed for electric, too, particularly with artists like Cassandra Wilson.
FBPO: How did you discover jazz?
LLD: I grew up in Pittsburgh, PA, which has an amazing jazz tradition. Legends such as Earl “Fatha” Hines, Ray Brown, Art Blakey, Ahmad Jamal and George Benson were from Pittsburgh. Also, I grew up hearing Pittsburgh jazz greats like Joe Harris, formally with Dizzy Gillespie, and Roger Humphries, who played with Horace Silver and mentored many of the young players like me. There were also many jazz clubs throughout the city to hear live music.
FBPO: How do you modify your approach to music, having played in so many different scenarios? I mean, what was the mindset when playing with Frank Sinatra, as opposed to, say, Dizzy Gillespie or Lukas Foss?
LLD: As a bass player, it is important to understand the parameters and dynamics of any particular style. Your goal is to develop mastery on the instrument and become fluid in the requirements of any given genre. Former teachers and mentors Ron Carter and Richard Davis, teaching methodology, focused on becoming complete musicians without limits. As a bassist, you look forward to these different musical playing environments.
FBPO: What’s keeping you busy these days?
LLD: I just finished a three-year period at the University of Pittsburgh as Associate Professor, Coordinator of Jazz Studies. I taught Jazz History and Jazz Improv and ran the Jazz Ensemble. A variety of great artists also came through to perform at the University of Pittsburgh’s historic Jazz Seminar Concerts, including Patrice Rushen, Larry Coryell, Benny Golson, Randy Brecker and Jon Faddis.
FBPO: What lies ahead for you and your career?
LLD: I will be recording a trio CD with Larry Coryell and Leon “Ndugu” Chancler and another recording with musicians from my Song of Songs album, Bryan Carrott, Carlton Holmes and Vince Ector. I will also be starting my dissertation next year.
FBPO: What would you be if you weren’t a bass player?
LLD: Can’t imagine anything else! I’ve been blessed!
