History of the American Bass

[David Powell]

I think this thread and the other one like it over at TB are why I really admire Ken Smith. He is not satisfied with blurred details and easy approximate answers that are "convenient". And I think the points made here are very well made. There is a tendency to want a definitive answer about every bass that is made while in many cases the most honest answer is that we really don't know who made some of these basses. I am convinced as Ken is that there are too many basses that don't fit the Prescott details enough but are conveniently ascribed to him due to incomplete, hopeful, or just downright sloppy research. It makes me thoroughly question the "origins" of antiques that are not well documented.

Certainly there were other American makers in Prescott's time and some of their work survives even if their name and reputation did not. That these basses are valued higher or lower because of the recognition of only one name is a bit ironic, and genuinely ignorant in terms of real value. It is quite possible that Prescott was not the best builder of that place and time, just the most prolific and best known. What I really appreciate is the time and diligence that Ken has put into this subject.

Compiling as much accurate information in one place is also a great idea. It is fantastic to have Don Carrigan's input here as well and the publications that he has supplied online about Prescott's life and career. I would encourage Ken to compile his research, notes, photos, other contributor's information etc. into something more durable than just a web forum, but I'll take it anyway he wishes to publish it.

In all of my life I have seen only one great Yankee made double bass in performance (other than one Prescott that pops up in the Atlanta Symphony). It belonged to a fellow who used to play in a local bluegrass outfit, Blue Steel, and it was attributed to Dearborn. It had the same general American or "Prescott" appearance in that it was very large. I tried very hard recently to locate the player, but it appears he no longer plays with that act and I could not find any information about him. So the only reference I can add is that somewhere in the Southeast wanders a really good blue grass bassist who has an old Dearborn bass. I'll be on the look out for him.

Very informative and educational thread here, Ken. Not that I'm bored with the English bass thread, that one has some great story lines as well. It might not have ever occurred to you that you could teach this kind of stuff at some university, but given what you have to share in direct first-hand observation, I'm certainly glad that you post it in a forum.

[Anselm Hauke]

ken,
what do think is this:
http://cgi.ebay.it/Antico-Contrabbas...QQcmdZViewItem
?

[Ken Smith]

Originally Posted by Anselm Hauke

ken,
what do think is this:
http://cgi.ebay.it/Antico-Contrabbas...QQcmdZViewItem
?

It's... a Bass!

You would think that with a claim of being an American Bass and from Pa. no doubt they would at least say why or refer to a label or some markings for an explanation. To me, it passes for a Germanic type Bass without much question in my mind.

Hey, maybe it's an Italian bass but they are too embarrassed to admit it. Blame it on the Yanks..

[Ken Smith]

Has anyone here ever seen a Bass by Calvin Baker? There is one pictured in the Elgar book and looks like a German Gamba design.

C.Baker trained and/or worked with Asa White. I have seen a Bass that was by Asa White the same day I dropped off my Mystery Bass at Biase's almost 4 years ago and only vaguely remember the Bass. It was a small 3/4 or 5/8 and had a dark varnish and a Flatback.

I have mentioned before that the Scroll on the 'White Bass although smaller to match the Bass was nearly identical to my Scroll which is on a full sized Bass.

Although my Bass has some English features as well as an early French style outline, American has also been guessed on it several times but with no match other than the White Scroll and by the way, the FFs on the C.Baker Bass which look close.

One of the reasons I never considered New England as a real possibility was became I have never seen an American Bass as European looking as mine. The thing to know here is that the Boston and NY school of Violin makers were mainly European immigrants that trained in Violin making before coming to USA. Both Asa and Jay White though were trained by their father John who made about 12 or so violins and is noted as the first Violin Maker in Boston but an amateur. Jay and Asa are I think credited as being the first professional makers in that area. The Gemunder Bros. George and August came later. George from France and August from German. Both initially trained by their father in Germany. George also worked for Vuillaume before coming to USA.

One thing that concerns me is that many of the Basses in the Elgar book are falsely listed. He accepted pictures in the mail with any named attribution and published it as fact. The 5-String Gagliano Bass is actually an English Bass and has been sold at least twice since as an English Panormo by one of the sons. One of the large d'Salo Basses listed that's in a Canadian Museum is old Brescian but not d'Salo.

Can anyone here post a good scanned pic of the Elgar Calvin Baker Bass? (not the William Baker, that's English and it's the real deal as well)

[Maury Clubb]

A. Gemunder 1846, Springfield MA

[Ken Smith]

Originally Posted by Maury Clubb

A. Gemunder 1846, Springfield MA

Beautiful Bass. Thanks for posting. If you can, show us the Back, Ribs and Scroll as well.

[Maury Clubb]

Note the trap door (decommissioned) for sound post adjustment.