Bassist Harry Babasin

How many bassists were even attempting to lead their own
groups in the '40's and '50's? Not only did Harry do this,
he did it on an instrument he introduced to the artform.
The reissued CD, "Up in Dodo's Room", on Jazz Classics
Records CD-JZCL-6008 has Harry playing the first re-
corded pizzicato jazz cello in 1947. He later formed his
own group, Harry Babasin and the Jazzpickers, where he
continued to help set the standard for quality and
excellence, both on the bass and the cello.

(This is Harry fronting his own group, Harry Babasin
and the Jazzpickers, in 1955)

During Harry's illustrious career, he played with the
finest of jazz musicians; Joe Pass, Herb Ellis, Jimmy
Wyble, Lionel Hampton, Louis Armstrong, Skinney
Ennis, Charlie Barnet, Louis Bellson, Gene Krupa, etc.;
and he recorded with such players as Charlie "Bird"
Parker, Benny Goodman, Boyd Raeburn, Bud Shank,
Chet Baker, Buddy Rich, Oscar Pettiford, Red Norvo,
Roy Harte, Laurindo Almeida, Bob Gordon, Art Pepper,
Herbie Harper, Bob Enevoldson, Dodo Marmarosa, etc.
These are just a few of the more notable names
he performed with at one time or another.

(At the Haig in 1953, from left to right, Bud Shank, Laurindo Almeida, Harry
Babasin, and Roy Harte - this group originated the style of the Bossa Nova)

Being one of the top bassists in a supporting role was
not enough for Harry's need to innovate and create.
He was recognized as the brainchild of the style later
known as the Bossa Nova in 1952. There is a partial disco-
graphy at the website at University of California, Irvine
which will be expanded in the future with a concise
career history. From 1944 through the rest of his life,
he created a musical partnership with drummer Roy
Harte, that still exists today, even beyond Harry's
passing in 1988. Together they formed Nocturne
Records, a small but successful record label, that rel-
eased ten 10" discs in it's short history. Each release
was reviewed extremely well, both for production quality
and excellent musicianship. Harry was well known for
his talents as well as his honor and respectability.
He was truely a "musician's musician".

(Harry with Shorty Rogers, Shelley Manne, and
Marty Paich at the Tradewinds in 1952)

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