--------------- Matthew Garrison is an American jazz bassist. Matthew Garrison was born June 2, 1970 in New York. Here he spent the first eight years of his life immersed in a community of musicians, dancers, visual artists and poets. After the death of his father Jimmy Garrison (John Coltrane’s bassist), his family relocated to Rome, Italy where he began to study piano and bass guitar. In 1988 Matthew returned to the United States and lived with his godfather Jack Dejohnette for two years. Here he studied intensively with both Dejohnette and bassist Dave Holland. In 1998 Matthew founded GarrisonJazz Productions through which he currently Produces, Promotes and Markets his music. The latest projects are “SHAPESHIFTER” and “MATT GARRISON LIVE”. Three new projects are slated for a 2008 release. --------------- Matt Garrison “This release represents a modern-day passing of the torch. Compelling that Garrison's father played acoustic bass on what are indisputably jazz's greatest recordings - now comes Matthew demonstrating nothing less than he's the world's greatest electric bass guitarist” --------------- MATT GARRISON: NO LIMITS, NO FEAR Source: http://pritchardschool.com/jazzrock/interviews-matt.html --------------- Matt Garrison Interview Source: http://pritchardschool.com/jazzrock/interviews-matt.html --------------- Matthew Garrison Signature Matthew Garrison was born June 2, 1970 in New York. Here he spent the first eight years of his life immersed in a community of musicians, dancers, visual artists and poets. After the death of his father Jimmy Garrison (John Coltrane’s bassist), his family relocated to Rome, Italy where he began to study piano and bass guitar. --------------- Discography Pat Metheny – Stone Free (1993
Matt's Bio
Matthew Garrison was born June 2, 1970 in New York. Here he spent the first eight years of his life immersed in a community of musicians, dancers, visual artists and poets. After the death of his father Jimmy Garrison (John Coltrane's bassist), his family relocated to Rome, Italy where he began to study piano and bass guitar. In 1988 Matthew returned to the United States and lived with his godfather Jack Dejohnette for two years. Here he studied intensively with both Dejohnette and bassist Dave Holland. In 1989 Matthew received a full scholarship to attend Berklee College of Music in Boston. Here he began his professional career with the likes of Gary Burton, Bob Moses, Betty Carter, Mike Gibbs and Lyle Mays to mention a few. Matthew moved to Brooklyn, New York in 1994 and has performed and recorded with artists such as Herbie Hancock, Joe Zawinul, Joni Mitchell, Steve Coleman, Pat Metheny, John Mclaughlin, The Gil Evans Orchestra, John Scofield, Chaka Khan and many others.
Garrison has worked with artists such as Herbie Hancock, John McLaughlin, Chaka Khan, Joe Zawinul, the Saturday Night Live Band, John Scofield, Paul Simon and Joni Mitchell. He is the son of Jimmy Garrison, John Coltrane's bass player, and he is noted for playing his signature series Fodera bass.
Garrison also recognized for having created and developed a pizzicato technique which uses four fingers. He founded his own recording label and production company in 2000 called GarrisonJazz Productions, through which he has released two CDs and a live performance DVD.
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Shapeshifter
GarrisonJazz Productions
2004
In Y2K, Bass Player Magazine pronounced Matthew Garrison's debut as having "raised the bar" for electric bass players (in an article by Chris Jisi, who recently wrote the book on modern electric bass). What next, then? Fitting in this Olympic year, Garrison steps back from the bar, raises it a foot, challenges himself to make it over and succeeds on every level, turning in the greatest solo record by an electric bassist in the post-Jaco era.
Not merely a great electric bass player, he actually plays the instrument at the margins of human capability. Having captured the imaginations of the world's electric bass players and enthusiasts, he's set his sights on the ears and minds of the global audience for adventurous music. Importantly, he does so without taking virtuoso technique and mind-boggling facility off the table. Compositionally, he's retained the far eastern Indian flavor of his debut, while adding a brave new dose of electronica to the mix. There's a new emphasis on consistently changing up the tone and texture of the bass, in both ensemble and solo functions. The numbers of supporting cast and their roles have been narrowed, with Garrison taking on more of the burden of soundscape creation via computer-aided studio expertise. Finally, he's perfected the art of creating hook-laden melodic snippets, and placing them in various spots in the mix relative to countermelodies, counter-rhythms and counter-bass lines, none of which function counter to any other components.
For example, "Symbiosis," opens the set with a melodic fragment of eastern origin, sung by Sabina Sciubba , meeting percussively strummed acoustic guitar (also by Garrison), before being supplanted by slamming, power-chord style, distorted bass, in an ascending four-part progression of three notes each. A melody line reemerges, this time sung by the bass, chiming, sitar-like, with notes in the high register. A deep bass synth break recontextualizes the opening, vocal melody, as new synth pads offset the complementary descending bass line. Unison guitar and bass then voice a different, equally hummable melodic fragment over a loping folk-fretless line. This sets up a distorted, backward-looped bass solo, gorgeously steeped in expressive psychedelia. As the backward effect is removed, Garrison's trademarked shards, pieces of chords drawn from the scale-of-the-moment's harmony, replace it, followed by effortless linear melodicism, building to a phenomenal ripping sequence of his own device, recalling Jimi more than Jaco.
"Three Tree" is a duet with Arto Tuncboyacian on percussion. Any bassist who throws down this fluidly and virtuosically in the company of a sole percussionist is bound to get comparison to "Donna Lee," Jaco's celebrated throwing of the gauntlet with Don Alias. This one's a bossa improv of epic proportion. It's all there, the gorgeous chord voicings, the harmonic outline, the flat-out speed and impossible articulation of the right hand, the matching up of the left with the complete knowledge and instantaneous availability of the jazz vocabulary. But this is not an instrumentalist playing some famous standard at a breakneck pace. It's a relaxed performance, a spontaneous improvisation that right away imparts the feeling that Garrison could toss off any number of takes on this vibe, each of them as great as the last, yet different - what jazz, and virtuosity, are all about.
"Life Burning" combines the love for all things Indian with all things Squarepusher-drill'n'bass meets drilling bass for some Punjabi takeout. Note the Indian Massive-that's the real , Indian, massive bass sound punctuated by some kind of Hindu chanting - or is that cheerleading? Slamming it all against a very straight snare and hi-hat beat somehow propels it to the energy quotient to the next level, as do the wordless vocals by Tuncboyacian. The electronica sequence returns before another monster solo blows it all up, crossing up "Flight of the Bumblebee" pyrotechnics with ragaisms aided by pull-offs and trills, stopping for a hit of funky blues. The linear excursions that follow are decidedly not of the bop vocabulary; rare is the player on any instrument that draws lines so clearly from harmonic point to point that sit so well on their axe of choice.
"I Can See You Now" slams enormous rock riffing up against Gnawan trance, with ankle-bracelet bells evoking Krishnas brandishing Strats. Big air moves under fretless skies, propelled forward by a Pastourian pump never executed so cleanly. Then screams, samples of massive human call 
and response added by Scott Kinsey , accelerate us into his scintillating Rhodes solo, which somehow injects a dose of funk into this electro-world groove. Note that Kinsey, perhaps in compensation for his inhuman chops quotient, has now established himself as an innovator for incorporating the human element, in the form of sampled vocals—pitched, unpitched, sung, spoken or screamed—into his custom-programmed sonic voice.
"Mirror Image" and "Changing Paths," both completely performed by Garrison, have a more epic, world flavor. The "Mirror" reflects West Africa or Algiers perhaps, a crossover incorporating incantations on high, with Matt on vocals. Like many cutting-edge instrumentalists, Garrison reveals he's a surprisingly gifted vocalist as well. No solos here, just pure melody and atmospherics combined in heartrending ways. "Changing Paths" shows the influence of Sting or Peter Gabriel in terms of mystically elegant soundscape, a somber frame drum march setting up haunting harmony, this one features his eerie, highly proficient steel-string guitar to supplement his tear-drenched bass sweep, supplemented by a distant scat vocal. More experiments in this direction, please.
"Exchange" builds fiercely in electronic fashion but soon adds beauty in the form of Icelandic vocalizing by Veronika Garrison over two-note chords voicing the melody on bass. A passage then ensues full of wondrous digitized glossolalia, a combination of backward bass triggering Veronika's sampled vocal, creating the effect of a sci-fi enchantress enticing explorers toward her embrace, abetted by some kind of otherworldly sound-producing device. As Kinsey enters the fray the song delves into the realm of Josef Zawinul, employing the familiar accordion and harmonica-like sounds, an ethnic, folk-like wordless vocal and a bouncy, rubbery bass line. Kinsey has seriously studied Zawinul's improvisational and compositional styles, as well as the finer elements of his sound architecture, and Garrison is a former employee, so this section is all you can imagine. The bass solo begins gently, drenched in linear lyricism, with a touch of distortion, interrupted by electronic stutters and stops. A simple backbeat is employed to support complexity as the digital stuttering effect continues, punctuating and puncturing the solo, a multitude of ideas and techniques colliding to create an ultra-modern, yet very musical spot. This type of diginoise effect is usually applied to breakbeats or other sections in the work of noted digital auteurs, but this sets the precedent for seamless incorporation into an instrumental solo, which helps makes "Exchange" another compositional and soloing tour-de-force.
"Turn Around," concludes with layer upon layer: Garrison's bass, Jim Beard 's synth, and Adam Rogers ' banjo and cavaquino, until a melody line is doubled on top by the vocals of Matt's singer-sister Joy and the harmonica of Gregoire Maret. Two minutes in, this shimmering cloud rains a liquid bass solo, a "rewind moment " that in 45 seconds, simply transcends the work of the generation of bassists that made Garrison possible-not only in the harmonic sense, standing as a mini-composition, but in that it exudes electrifying emotion, molten with the passion and joy radiating from its architect. Rogers, with clean electric tone and Beard, employing synth-sustained squeezebox, follow with equally prodigiously executed spots bursting with poignant content-rare does this muscular an instrumental display, by all the players, convey such ecstatic exhilaration.
This release represents a modern-day passing of the torch. Compelling that Garrison's father played acoustic bass on what are indisputably jazz's greatest recordings - now comes Matthew demonstrating nothing less than he's the world's greatest electric bass guitarist (reality check: if there are other guys capable of playing this stuff so absolutely freakishly, none are demonstrating it on recordings). The funny thing is, this is way not the intent here.
Sure, Garrison's debut, in spots, was attempting to show all he could do, but now it's all about the composition, the composite, the trip and the vibe. The fact that he's taken the record label out of the equation has surely aided him in feeling his way into his style in the most comfortable, organic way. Simply put, letting go has allowed him to craft one for the ages. It's a benchmark for the type of electronica that is separate from trend-jumping jazztronica hybrids and for music incorporating world influences that is separate from the "world music" bin. Most importantly, it should be held up as a shining example for the type of electric jazz-fusion of musics and styles that is separate from the technocratic, chops-driven excesses and exercises of "fusion" 's past. 
Recently, vocal jazz has been perceived to have returned to favor with artists like Norah and Jamie, the piano trio reworked by the Bad Plus and EST and the avant-garde invigorated by the talent stable locked in the Blue Series' electronica laboratory. But in terms of marketability, resonance and relevance, electric jazz remains at a crisis point—in need of a shot in the arm—a reinvention triggering a comeback of sorts. With a release of this magnitude, it's alluring to poetically posit that Garrison, a scion of jazz's fabled past, yet an outsider in the current state of the jazz business, should be the one fated to spearhead that transformation.
An up-to-the-moment interview can be found here .
Tracks: 1) Symbiosis, 2) Unity, 3) I Told Ya So, 4) Three Tree, 5) I Can See You Now, 6) ZZAJ 5.1, 7) Life Burning, 8) Mirror Image, 9) Exchange, 10) Changing Paths, 11)Turn Around
Personnel: Sabina Sciubba:vocals (1,2,3), Gregoire Maret:harmonica (1,2,11), Arto Tuncboyacian:percussion (1,2,4,7, 9), vocals (7), Jim Beard: keyboards (1,2,11), Jojo Mayer: drums (2,7), Elliot Mason: bass trumpet (5), Scott Kinsey: keyboards (5,9), Will Calhoun: Wusuli (5), Veronika Garrison: vocals (7,9), noise (5), Joy Garrison: vocals (11), Adam Rogers, guitar (11), Warren Brown:mixing, mastering, sound design (all), John Arnold: drums (11), Matthew Garrison: bass (all), programming (1-3, 5-11), guitar (1,3,10), keyboards (2,3,7,9,11), vocals (5,9,10,11)
By John Pritchard
I first heard Matt Garrison's amazing bass playing on Joe Zawinul's "My People" in 1996 and John McLaughlin's "The Heart of Things" in 1997. Tracing back Matt's roots to his legendary dad, the late Jimmy Garrison (bassist with John Coltrane), it is cool to see a son not only carrying the jazz bass torch of his father, but also blazing new musical trails with incredible five string chordal bass music of his own!!! Check out the video clips on the left to see what I mean.
In 1998 Matt took the bull by the horns and founded GarrisonJazz Productionsto record, produce and market his music. In 2001, his self titled solo debut CD "Matthew Garrison" received critical acclaim immediately and featured guitarists David Gilmore and Adam Rogers, keyboardist Scott Kinsey, drummers Gene Lake and Ben Perowsky, percussionist Arto Tuncboyacian, saxaphonist Dave Binney, along with Pete Rende on accordion and Amit Chaterjeeon on sitar. Many of the tracks are featured on Matt's Live DVD with much of the same lineup with additional talent such as Jim Beard on keyboards, JoJo Mayer on drums, and singer Sabina Sciubba.
In 2002, Matt toured with Herbie Hancock on the "Future 2 Future" tour and can be seen jammin on the "Future 2 Future" DVD Herbie produced from a gig at the Knitting Factory in LA.
In March of 2003, Matt began his most adventurous album, "Shapeshifter," which was released simultaneously with his Live DVD this past August 2004. The album features guitarist Adam Rogers, keyboardists Jim Beard and Scott Kinsey, vocalists Sabina Sciubba, Joy Garrison and Veronika Garrison, drummer JoJo Mayer, percussionist Arto Tuncboyacian, Elliot Mason on Bass Trumpet, Gregoire Maret on harmonica, and a special appearance by Will Calhoun on Wusuli.
What I love about this album is the fact that Matt has no fear of mixing in electronic programming with more familiar composition styles in the world fusion, instrumental, vein. He is so much more than "one of the world's best bass players." The 10th tune, "Changing Paths" blew me away and features Matt playing all the tracks with some phenomenal acoustic guitar to boot! While all the music showcases superb musicianship throughout, it is Matt's tasty computer-driven morsels that surprise and engage my curious ear (check out "I Told Ya So" and "Mirror Image" mp3's below). Matt is simply not afraid to explore the boundaries he 'shapeshifts' into with the wide range of musicians he plays with, and the original music he composes and performs. 
As yet further proof of his fearlessness, the 9th song, "Exchange," (an unquestionable "Bjork" tribute song) is an absolute delight in that it features his wife Veronica's magical singing. It is produced with a perfectly processed vocal effect. The end result creates an ethereal, almost spiritual dimension that is certainly better sounding than anything found on commercial radio! No smooth jazz, retro-Cher/top 40 vibe here... just simply great music, period. Check out this poetic excerpt from the "Exchange" lyrics (translated from Icelandic of course):
"The stars fall into my palms
I put them into me where you are
I rise up against the sky
Open and ready to receive the world."
This is what I mean by No Fear, No Limits...you don't expect it... it is about being an artist and going for it...and he does it with confidence and grace.
Matt is fluent in so many musical styles. He has no problem being both an excellent band leader and a soloist prominently showcasing his innovative bass playing up close and in your face (but not like Jaco on the ego end, or Marcus Miller on the "not quite enough bass soloing" side... just the right amount). While I suspect that feeling of musical "Unity" is what it is all about for Matt Garrison the band leader (listen below), his modern electronic ventures into new and forbidden worlds of jazz is what it's really about for his artistic spirit ...and, damn, what a soulful, together, tight, unified sound he delivers... so happy and so badass five string strummin free!
with Jazz-Rock.com - DECEMBER 9, 2004
1. Congratulations on your LIVE DVD/CD! It is quite excellent. How did it come about? the music? the video? the players?
Thanks. The DVD was an idea that I had floating around for a couple of years and it finally came to fruition when I met Pete Teresi and Carolina Saavedra from Pefaur Productions (www.pefaurproductions.com). I originally wanted to just make a live recording but of course once I had the option of filming the recording session it all just came in to place. The music is primarily from my first CD. We actually recorded even more material that didn't make it to the final output but that's for a reissue with bonus tracks later. All the musicians except for Jojo Mayer were on my first recording and that's who I wanted to feature on the live DVD. 
2. How about your ShapeShifter CD? How did it come together? What was the inspiration?
The title itself is kind of a self description. I feel I have become somewhat of a mutating character that takes on the shape that is necessary for the type of music work at hand. It's also a statement of independence of thought. Having started my own record label has given me a sense of hope, pride and strength when composing music in the sense that I have no one to answer to when I have an idea to layout. The project was constructed over a period of 2 years and just took on a life of it's own once I got to about the 4th composition. Everything just rolled on naturally and as new influences became available they appeared in the music immediately. Shapeshifter was really inspired by my first record, Squarepusher, Bjork and Sergei Prokofiev's music.
3. How do you approach composition and live improv with such original ideas?
I guess I just don't pay attention to what is traditionally or technically considered jazz. I just do what I like and dare to make my own decisions concerning sound, style, approach, concepts... I hate limitations and evaluations. That's not my field. The worst thing is that those limitations and fears usually come from other musicians in my same field. Really some sad shit....
4. What are some golden moments with all the great musicians you have played with?
The golden moments have been just knowing and feeling that while you're performing with these geniuses you share a common bond, even if it's just for a split second, that we're all moving in the same direction. I love it when I'm welcomed into a space to share the experience of music, and over the years I've been blessed to be welcomed into spaces of pure musical bliss. I'm very thankful to all of them...
5. What's going on with GJP and what is your vision for your future?
Well first I'd like to thank all of the incredible people that took the "plunge" and actually purchased my 2 latest projects "Shapeshifter" and "Matt Garrison Live". I posted a notice on my site prior to the release of them both stating that file swapping and CD ripping were only going to make my future productions impossible and that I needed folks to seriously consider supporting my label rather than opposing it. In the past 3 months I've sold more CD's and DVD's than ever before and I cannot possibly thank people enough for their support and respect. We are responsible for our actions and that's the most important reality to understand at the moment. Now that my production war chest is basically full again I'm going to take a breather and decide which project to develop next. Whichever it will be, I will begin that actual work early next year.
Thanks for having me as a guest on your site.
- Matt G.
In 1988 Matthew returned to the United States and lived with his godfather Jack Dejohnette for two years. Here he studied intensively with both Dejohnette and bassist Dave Holland.
In 1989 Matthew received a full scholarship to attend Berklee College of Music in Boston. Here he began his professional career with the likes of Gary Burton, Bob Moses, Betty Carter, Mike Gibbs and Lyle Mays to mention a few. Matthew moved to Brooklyn, New York in 1994 and has performed and recorded with artists such as Herbie Hancock, Joe Zawinul, Joni Mitchell, Steve Coleman, Pat Metheny, John Mclaughlin, The Gil Evans Orchestra, John Scofield, Chaka Khan, The Saturday Night Live Band and many others.
In 1998 Matthew founded GarrisonJazz Productions through which he currently Produces, Promotes and Markets his music. The latest projects are “SHAPESHIFTER” and “MATT GARRISON LIVE”. All information concerning these and other releases may be obtained through www.GarrisonJazz.com
In the mid 90's we were approached by Matt in his quest to find a bass to compliment his unique playing style. Initially Matt was attracted to the Imperial bass, however after numerous modifications were made at his request, the Imperial was transformed into a significantly new design. The Matt Garrison Signature model is distinguished by several important features including a 33" scale, ash neck, ebony fingerboard, 26 frets and a finger ramp between the pickups to better facilitate Matt's style of light-touch multi finger style playing. The body made of highly select walnut is light and diminutive providing this bass with an overall warm tone but with a pointed clarity to the notes. The shorter scale and quick respone makes this bass incredibly effortless to play.
Bob Moses – Time Stood Still (1994)
Nando Lauria – Points of View (1994)
Steve Coleman – The Tao of Mad Phat (1995)
Joe Zawinul – My People (1996)
Steve Coleman – Def Trance Beat (1997)
John McLaughlin – The Heart of Things (1997)
Rocco Zifarelli – Lyndon (1998)
Harry Sokal – Full Circle (1998)
Andy Milne – Forward to Get Back (1998)
Jim Beard – Advocate (1999)
John McLaughlin – The Heart of Things - "Live in Paris" (2000)
Matthew Garrison – Matthew Garrison (2001)
Dennis Chambers – Outbreak (2002)
Herbie Hancock – Future 2 Future Live (2002)
Anders Mogensen, Niclas Knudsen – Anders Mogensen & Niclas Knudsen feat. Matt Garrison (2002)
Revolution Void – Increase the Dosage (2004)
Matthew Garrison – Matt Garrison Live (2004)
Matthew Garrison – Shapeshifter (2004)
World Saxophone Quartet - Experience (2004)
Wallace Roney – Prototype (2004)
Me'shell Ndegeocello – The Spirit Music Jamia: Dance of the Infidel (2005)
Gary Husband – Force Majeure (2005)
Wallace Roney – Mystical (2005)
John McLaughlin – Industrial Zen (2006)
Alex Machacek, Jeff Sipe - "Improvision" (2007)
Wednesday, March 4, 2009
MATTHEW GARRISON
JIMMY GARRISON
Remembering Jimmy Garrison
Jimmy Garrison (March 3, 1933 – April 7, 1976) was an American jazz double bassist best known for his long association with John Coltrane from 1961 – 1967.
Biography
He formally joined Coltrane's quartet in 1962 as a replacement for Reggie Workman and appears on many Coltrane recordings, including A Love Supreme. During live performances of music by John Coltrane's group, the leader would often provide Garrison with time and space for an unaccompanied improvised solo (sometimes as the prelude to a song before the other musicians joined in).
Garrison also had a long association with Ornette Coleman, first recording with him on Art of the Improvisers. He and drummer Elvin Jones have been credited with eliciting more forceful playing than usual from Coleman on the albums New York is Now and Love Call.
Outside of the Coltrane and Coleman ensembles, Jimmy Garrison performed with jazz artists such as Kenny Dorham, Philly Joe Jones, Curtis Fuller, Benny Golson, Lennie Tristano, Lee Konitz, Jackie McLean, Pharoah Sanders, and Tony Scott, among others. After Coltrane's death, Garrison worked with Hampton Hawes, Archie Shepp, and groups led by Elvin Jones.[1]
Family
Jimmy Garrison's son Matthew Garrison is also a bass player, playing mainly bass guitar. Matthew has recorded with Joe Zawinul, Chaka Khan, The Saturday Night Live Band, John McLaughlin, Joni Mitchell, Herbie Hancock, Steve Coleman and others. [2] Garrison's daughter MaiaClaire Garrison is a dancer and choreographer who worked as a child acrobat with Big Apple Circus in New York.
Source: http://nightlight.typepad.com/nightlight/2005/10/remembering_jim.html
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Biography by Chris Kelsey
Garrison is best known as bassist for one of the most important jazz groups, John Coltrane's classic quartet with drummer Elvin Jones and pianist McCoy Tyner. But Garrison had a full career backing other prominent saxophonists, including Pharoah Sanders, Archie Shepp, and Ornette Coleman. Garrison's work with Coleman is especially noteworthy; his earthy, hard-swinging approach contrasted greatly with the work of the saxophonist's other, more finesse-oriented bassists like David Izenson or Scott LaFaro. The Garrison/Elvin Jones rhythm section transformed Coleman on two very underrated albums made for Blue Note, New York Is Now and Love Call. Nowhere else on record does Coleman sound so consistently forceful and passionate. The lithe tunefulness that marks the saxophonist's earlier playing is augmented by a more pronounced physicality that pushes the blues aspect to the fore; this due in no small part to Garrison and Jones' focused intensity, which drives Coleman harder than he's ever been driven. Of course, it's with Coltrane that Garrison did his most enduring work. Although Garrison could be a compelling soloist when the occasion presented itself (witness his work on A Love Supreme), he didn't need the spotlight to be effective. His propulsive sense of time never failed, and his empathy with those playing around him was complete. 
Garrison grew up in Philadelphia, where he learned to play bass. Garrison came of age in the midst of a thriving Philadelphia jazz scene that included Tyner, fellow bassists Reggie Workman and Henry Grimes, and trumpeter Lee Morgan. Between 1957 and 1960, Garrison played and recorded with trumpeter Kenny Dorham; clarinetist Tony Scott; drummer Philly Joe Jones; and saxophonists Bill Barron, Lee Konitz, and Jackie McLean, among others. His first record with Coleman was Art of the Improvisers (Atlantic, 1959). In 1960, he made My Favorite Things (Atlantic) with Coltrane. He continued to play with Coleman and others -- Cal Massey, Walter Bishop, Jr., and Dorham, to name a few -- but by 1962 his job with Coltrane had essentially become full-time. Garrison remained with Coltrane until the saxophonist's death in July 1967. The Olatunji Concert: The Last Live Recording (Impulse!, 2001), a live recording made by Coltrane just a couple of months before his death, includes Garrison with Pharoah Sanders, Alice Coltrane, Rashied Ali, and Jumma Santos. After Coltrane, Garrison worked with Ornette Coleman once again, and played on record dates led by Sanders, Jones, Shepp, Sonny Rollins, and Alice Coltrane. Garrison also taught occasionally; William Parker, one of the most highly regarded bassists of the late '90s and early 2000s, was his student.
Source: http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:gzfixqt5ldde~T1
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Jimmy Garrison was one of the most advanced bassists of the 1960s, a perfect candidate to play with John Coltrane and Ornette Coleman.
He grew up in Philadelphia and came to New York with Philly Joe Jones in 1958. He freelanced for a couple of years with the likes of Bill Evans, Benny Golson, Kenny Dorham and Lennie Tristano and then succeeded Charlie Haden in Ornette Coleman's Quartet (1961). However Garrison will always be associated with John Coltrane (1961-67), not only playing with the classic quartet (which included McCoy Tyner and Elvin Jones) but surviving the tumultuous changes and staying with 'Trane until the end.
Garrison's solos (which were thoughtful and slow to build) were not to everyone's taste but his ability to play coherent and inspiring lines in the raging ensembles behind Coltrane and Pharoah Sanders was quite impressive. After Coltrane's death, Garrison played in groups led by Alice Coltrane, Archie Shepp and Elvin Jones before lung cancer cut shorthis life.
Source: Scott Yanow, All Music Guide
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Biography by Richard Eskow
genius, teacher, good man
John at Crooks and Liars just made my day, by linking to this CNN story - John Coltrane has two of this week's three top jazz albums, 38 years after he passed away. I took lessons from his bass player, Jimmy Garrison, many years ago. It was an honor and privilege I didn't fully grasp at the time.
At every stage in my life there have been musicians or songs that triggered a near-mystical response in me: the first one I remember is "Stranger on the Shore" by Mr. Acker Bilk (I must have been four, maybe?), then Buddy Holly and the Chiffons at around the same time, Otis Redding at 12 -- for a while in my teens Trane was the guy elected to send me into an altered state. 
When I started taking lessons from Jimmy I was the least schooled and proficient of his students, but he said he liked my attitude and "philosophy" toward music. (We would have very theoretical conversations ...) When I ran out of money, he offered to keep teaching me for free.
I took him up on his offer for a while, but the fact is I didn't have the self-control to woodshed as much as would be appropriate and respectful to him as my teacher. I was seventeen years old and not at my best. I couldn't keep up with his lessons and pursue my bad habits, too. I was ashamed to tell him that, so I lied and said I couldn't make the bus fare to his apartment either. When he offered to give free lessons and pay my way, I just disappeared.
When he died I regretted having ended our relationship on a falsehood. He was a beautiful cat - and unusually tolerant of the fact that I sang in a country/western band on weekends. I even wrote country songs in the three- and four-chord structure Jimmy considered imprisoning and unimaginative, but elitism was not his thing. Today I can admit to him - and to you - that I've never been very disciplined, and that chops aren't my strong suit on guitar either.
Hanging out at Jimmy's apartment was a thrill all its own. You never knew which legend would stop by. A fellow student and I once went through the black book by his telephone while we were waiting for him, just to see the names of the greats ...
His family now maintains a website in his memory. I'm glad. "Genius" is an overused word, but he was one. He was also kind, sensitive, warm, and generous. I wish I could talk to him. I'm not greedy - one time would be enough. I'd like to say "thank you" once more, with feeling.
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Garrison is best known as bassist for one of the most important jazz groups, John Coltrane's classic quartet with drummer Elvin Jones and pianist McCoy Tyner. But Garrison had a full career backing other prominent saxophonists, including Pharoah Sanders, Archie Shepp, and Ornette Coleman. Garrison's work with Coleman is especially noteworthy; his earthy, hard-swinging approach contrasted greatly with the work of the saxophonist's other, more finesse-oriented bassists like David Izenson or Scott LaFaro. The Garrison/Elvin Jones rhythm section transformed Coleman on two very underrated albums made for Blue Note, New York Is Now and Love Call. Garrison grew up in Philadelphia, where he learned to play bass. Garrison came of age in the midst of a thriving Philadelphia jazz scene that included Tyner, fellow bassists Reggie Workman and Henry Grimes, and trumpeter Lee Morgan. Between 1957 and 1960, Garrison played and recorded with trumpeter Kenny Dorham; clarinetist Tony Scott; drummer Philly Joe Jones; and saxophonists Bill Barron, Lee Konitz, and Jackie McLean, among others. His first record with Coleman was Art of the Improvisers (Atlantic, 1959). In 1960, he made My Favorite Things (Atlantic) with Coltrane. He continued to play with Coleman and others -- Cal Massey, Walter Bishop Jr., and Dorham, but by 1962 his job with Coltrane had become full-time. Garrison remained with Coltrane until the saxophonist's death in July 1967. Garrison worked with Ornette Coleman once again, and played on record dates led by Sanders, Jones, Shepp, Sonny Rollins, and Alice Coltrane.
Source: http://www.jayhungerford.com/bassplayers-garrison.html
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Bassist Jimmy Garrison was the anchor in the classic John Coltrane Quartet, from 1961-'66, which recorded all of its well-known albums on Impulse. Garrison's big, blunt sound, steady time and inventive counter lines were an elemental ingredient in the sound of that famous group. He actually fitted into the group with great insight, supplying a traditional role on the more straight ahead material and exploratory counter melodies and responses as the music grew more progressive.
Garrison was born on March 3, 1934, in Miami, but grew up in Philadelphia, where he first played briefly with Coltrane and McCoy Tyner, in 1957. Garrison moved to New York the following year, where he worked with Curtis Fuller, Philly Joe Jones, Benny Golson, Bill Evans, Kenny Dorham and Lennie Tristano.
Garrison’s early work with Ornette Coleman earned him respect and recognition in the New York jazz circle, and his joint effort with Elvin Jones in that period is thought to be some of Coleman’s best outings.
His first record with Coleman was “Art of the Improvisers,” (Atlantic, 1959). In 1960, he made “My Favorite Things” (Atlantic) with Coltrane. He continued to play with Coleman and others, but by 1962 his job with Coltrane had essentially become full-time. Garrison remained with Coltrane until the saxophonist's death in July 1967. “The Olatunji Concert: The Last Live Recording” (Impulse!, 2001), a live recording made by Coltrane just a couple of months before his death, includes Garrison with Pharoah Sanders, Alice Coltrane, Rashied Ali, and Jumma Santos. After Coltrane, Garrison worked with Ornette Coleman once again, and played on record dates led by Sanders, Jones, Shepp, Sonny Rollins, and Alice Coltrane. He was featured on quite an extensive number of sessions as bassist. He also taught at Bennington and Wesleyan colleges
Jimmy Garrison died on April 7, 1976, in New York.
Source: http://www.allaboutjazz.com/php/musician.php?id=6964
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Discography
As leader
1963: Illumination! (Impulse! Records) - co-leader with Elvin Jones
As sideman
Jazz Contrasts (Kenny Dorham , 1957)
Blues For Dracula (Philly Joe Jones, 1958)
Swing, Swang, Swinging (Jackie McLean, 1959)
Live at the Half Note (Lee Konitz, 1959)
Images of Curtis Fuller (Curtis Fuller, 1960)
Ballads (John Coltrane, 1962)
Coltrane (John Coltrane, 1962)
Duke Ellington & John Coltrane (John Coltrane, 1962)
John Coltrane and Johnny Hartman ((John Coltrane, 1962)
Live at birdland (John Coltrane, 1963)
Crescent (John Coltrane, 1964)
A Love Supreme (John Coltrane, 1964)
Ascension (John Coltrane, 1965)
First Meditations (John Coltrane, 1965)
The John Coltrane Quartet Plays (John Coltrane, 1965)
Kulu Sé Mama (John Coltrane, 1965)
Live at the Half Note: One Up, One Down (John Coltrane, 1965)
Live in Seattle (John Coltrane, 1965)
The Major Works of John Coltrane (John Coltrane, 1965)
Meditations (John Coltrane, 1965)
Transition (John Coltrane, 1965)
Sun Ship (John Coltrane, 1965)
Live in Japan (4 discs) (John Coltrane, 1966)
Live at the Village Vanguard Again! (John Coltrane, 1966)
Expression (John Coltrane, 1967)
The Olatunji Concert: The Last Live Recording (John Coltrane, 1967)
East Broadway Run Down (Sonny Rollins,1966)
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