The guest on Blindfold *Körleme* is double bassist Misha Pashkov. Born in Yaroslavl, Russia, the musician graduated from the Jazz Department of the M.P. Mussorgsky Musical School in St. Petersburg. After arriving in Turkey in 2022, he performed at festivals, concerts, and clubs alongside numerous jazz musicians. As of 2025, Pashkov continues his studies in the jazz department at the HMT “Felix Mendelssohn Bartholdy” University in Leipzig, Germany, while frequently returning to Turkey to perform. Pashkov evaluates double bassists based on their execution regarding tone, timing, and rhythm. We presented him with four selections.
Roy Haynes Trio — The Roy Haynes Trio Featuring Danilo Pérez and John Patitucci
Roy Haynes Trio
2000 — Verve
Green Chimneys –Thelonious Monk
Danilo Pérez (p)
John Patitucci (b)
Roy Haynes (d)
When I heard the drum solo, I thought it might be Brian Blade. It was very melodic. Ari Hoenig sometimes plays with that kind of melody, too—though this drummer sounds quite different from him. From a technical standpoint, it wasn’t the sort of thing that instantly blows your mind, but it was incredibly musical. There are some African accents, too. Much of the music lies in the nuances—in playing slightly behind or ahead of the rhythmic pattern to create tension against it. The bass tone is very distinctive. At first, I thought it might be Christian McBride. But the ideas in the bass solo don’t resemble McBride’s at all. McBride attacks the instrument differently and would likely play a different kind of phrasing. I don’t know… Could it be John Patitucci?
What do you think about the pianist?
I have no idea.
And the composition?
I don’t know that either. Something about the piece reminded me of a George Duke composition, but the performance itself doesn’t sound like George Duke.
The drummer is Roy Haynes. Danilo Pérez is on piano, and John Patitucci is on bass. You mentioned Patitucci’s name. What led you to that guess?
It is primarily about the sound—the tone of the double bass. He possesses a massive, refined double bass tone; a powerful, almost roaring sound. Christian McBride may also have a powerful tone, but he tends to lean into the instrument a bit harder; his articulation and musical ideas would differ as well. Patitucci’s sound has that distinctive roar. Classical double bassists sometimes call this the “Italian timbre”—particularly when there is that specific growl in the low register. I believe the term originally stems from the character of old Italian instruments. In this case, it fits beautifully, given Patitucci’s Italian heritage!
Buster Williams — Something More
Something More
Buster Williams
1989 — IN+OUT Records
Sophisticated Lady — D. Ellington, I. Mills, M. Parish
Buster Williams (b, piccolo b)
Herbie Hancock (p, keyb)
Wayne Shorter (ts, ss)
Shunzo Ohno (t)
Al Foster (d)
I really love this track, “Sophisticated Lady.” The bassist has a very characteristic sound typical of the 1970s and 1980s: that piezo pickup timbre. George Mraz had a sound like that, too. There were a few bassists back then who sounded that way. I’m not a huge fan of that timbre.
Why?
The goal was likely to make every bass note sound very clear and distinct. But to me, it sounds far removed from the instrument’s natural tone. A double bass never sounds like that when heard acoustically in a room. Also, I think that when you set up the bass to produce that kind of amplified sound, it loses some of its natural acoustic character. It sounds as if there are both a synthesizer and an acoustic piano. Do you think it’s one musician playing, or two? Could it be Herbie Hancock? If so, the bassist might be Buster Williams.
Exactly.
Oh! I love Buster Williams!
Were you able to recognize the drummer?
Tony Williams and Lenny White came to mind. I’m not entirely sure…
Al Foster. Wayne Shorter and Shunzo Ohno are on the album, too.
I’ve never heard a saxophone. Maybe Wayne Shorter isn’t playing on this track. But at one point, it sounded like there were two bassists. There are two bass channels. Buster Williams might have overdubbed his own part. Coincidentally, I saw him live in Berlin about two weeks ago! He was playing with Jeremy Pelt, Orrin Evans, and Lenny White. It sounds completely different now. The bass tone is much more natural. It sounded largely like a direct signal—perhaps there was some microphone involved, too—but it sounded excellent. His timing was incredible—truly incredible. He was extremely relaxed yet rock-solid throughout. I don’t know how he does it.
Kris Davis Trio — Run the Gauntlet
Run the Gauntlet
Kris Davis Trio
2024 — Pyroclastic Records
Run the Gauntlet — Kris Davis
Kris Davis (p)
Robert Hurst (b)
Johnathan Blake (d)
I have no idea who they are, but listening to this is really fun. It sounds like progressive rock played by a piano trio. It’s very mathematical.
Mathematical, you say!?
Yes, mathematical in a good way. At first, I thought it might be Matt Brewer, because he plays very complex things too. But the sound isn’t like Matt Brewer’s. The music reminded me of the trio Gonzalo Rubalcaba brought here with Matt Brewer; they played very complex material as well. But no, I don’t think it’s him… I really don’t know who these musicians are.
Pianist Kris Davis.
All right!
Bassist Robert Hurst.
Robert Hurst? That’s wild!
Johnathan Blake is on drums, too.
Robert Hurst sounds completely different here. I know him, of course; he played with Wynton Marsalis and also worked with Kenny Kirkland. This is a really great recording!
Vicente Archer — Short Stories
Short Stories
Vicente Archer
2023 — Cellar Music
Round Comes Round — Gerald Clayton
Vicente Archer (b)
Gerald Clayton (p)
Bill Stewart (d)
Does this recording strike you as old or new?
At first, I wasn’t sure. It could have been either. But now I think it’s modern—very modern. The pianist sounds a bit like Brad Mehldau at times, though I don’t think it’s him.
I really like the bassist, but I don’t know who it is. The tone reminds me of a young Danish bassist who plays with Brad, but I can’t recall his name. Still, I love the sound; there’s something about it that evokes the character of gut strings. It sounds both very modern and traditional at the same time. The drummer sounds familiar. Marcus Gilmore? They all sound familiar!
Vicente Archer is on bass, Gerald Clayton on piano, and Bill Stewart on drums.
I recognize Archer’s name, but I had no idea this was him. I really liked the bassist. Gerald Clayton—yes. I love Bill Stewart, too.
Vicente Archer also appeared on Robert Glasper’s recordings.
That’s meaningful. I really liked that. I’m glad I found out who he is.
And so, we’ve reached the end of the blind listening session. Thank you!
The music was fantastic—thank you!
I didn’t manage to guess many of the musicians, but at least I listened to a lot of new music I’d never heard before!
