These are the Greatest Bassists of All Time considering impact on music, includes virtuosos as Jaco Pastorius and others not so virtuoso but great musicians as Paul McCartney.

Top Bassists of the history and their importance

The world of music has been shaped and transformed by the contributions of countless musicians across various genres. While guitarists and vocalists often claim the spotlight, it’s essential to recognize the foundational role of bassists in creating the rhythmic and harmonic backbone of songs. As the legendary session musician Carol Kaye aptly put it, the Bass is the foundation, working in tandem with the drummer to establish the beat and providing a framework for the rest of the musical elements.

A remarkable bass line possesses a unique quality; it feels like a mantra that could continue indefinitely, growing more profound with each listen. While guitarists, vocalists, and horn players may seize the flashiest moments in a composition, it is the bassist who contributes something elemental—a part that remains etched in the listener’s mind long after the music fades.

You may be interested in our selection of the Best Easy Songs to Play on Bass for Beginners.

The underrated role of the bass

However, it’s a lamentable reality that bassists are often overlooked and undervalued, even within their own bands. As Paul McCartney once reflected on his transition to bass in the Beatles, It wasn’t the number-one job; nobody wanted to play bass, they wanted to be up front. Nevertheless, the bass has its rich and proud tradition in popular music, encompassing a wide spectrum of styles and genres. From the upright virtuosity of Jimmy Blanton in Duke Ellington’s orchestra to the bebop innovations of Oscar Pettiford, and from the jazz brilliance of Charles Mingus and Ron Carter to the studio wizardry of Carol Kaye and James Jamerson, the bass has left an indelible mark on music.

In this exploration, we will pay tribute to the greatest bassists of all time, individuals who have not only mastered their instruments but have also pushed the boundaries of what a bassist can achieve. While this list is not an attempt to rank based on objective skill, it serves as an acknowledgment of those bassists who have had the most direct and visible impact on shaping the very foundation of popular music over the past half-century.

The Greatest Bass Players of All Time

• James Jamerson
• Charles Mingus
• John Entwistle
• Bootsy Collins
• Carol Kaye
• Les Claypool
• Jack Bruce
• Jaco Pastorius
• Larry Graham
• Verdine White
• Ron Carter
• Geddy Lee
• Flea
• Phil Lesh
• Paul McCartney
• Willie Dixon
• John Paul Jones
• Stanley Clarke
• Charlie Haden
• Donald “Duck” Dunn
• Robbie Shakespeare
• Chris Squire

James Jamerson

James Jamerson stands as an iconic figure in the world of bass playing. Anchoring the Motown rhythm section, he expanded the possibilities for bassists while remaining relatively anonymous, as session players were seldom credited on Motown recordings in the 1960s. James Jamerson became my hero, Paul McCartney remarked, although I didn’t actually know his name until quite recently.

In a time when the bass was often viewed as a utilitarian support instrument, Jamerson dared to push the boundaries. He injected his bass lines with syncopation, added intricate chords that introduced melodic depth and complexity, and made tonal choices that evoked the harmonies of gospel music. His contributions to iconic Motown records are too numerous to catalog comprehensively, but a few standout examples include The Temptations’ My Girl, which features one of the most recognizable and instantly gratifying bass parts in pop history. In Gladys Knight’s I Heard It Through the Grapevine, Jamerson’s bass playing provides a suave and bubbly counterpoint to the jittery piano.

Perhaps his crowning achievement was on Marvin Gaye’s What’s Going On, where Jamerson’s bass line reached a level of hyper-melodic brilliance. Bob Babbitt, another notable bassist who contributed to some of the tracks on this album, remarked, James went a step beyond what bassists normally do. At first, he took chances and let himself go, and then it just became natural for him, and in the process, he changed the course of bass playing.

James Jamerson’s legacy is immeasurable, and his influence has resonated across generations of bassists. He transformed the role of the bass guitar, elevating it from a supporting instrument to a lead voice in the Motown sound.

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Charles Mingus

Charles Mingus, a multifaceted musician known for his prowess as a bassist, transcended traditional boundaries. He was not merely a bass player; he was a composer, conceptualist, classically trained cellist, and social critic. Sometimes, his versatility in other areas of music overshadows his remarkable contributions to the bass.

At the core of Mingus’s musical creations lay an unwavering rhythmic drive that flowed through his fingers, resonated through the strings, and propelled his bands forward. Listening to him play on compositions like II B.S. and Better Get Hit in Your Soul, alongside his musical soulmate, drummer Dannie Richmond, reveals the strength and grace of his bass playing. He had the unique ability to infuse his walking bass lines with both immense power and nimble agility.

Mingus’s career spanned multiple eras of jazz, and he refused to be confined by stylistic boundaries. Whether he was swinging with Lionel Hampton’s big band in the late 1940s, jamming with fellow bebop luminaries in the 1950s, or engaging in lively, percussive dialogues with his musical idol, Duke Ellington, in the 1960s, Mingus consistently pushed the envelope of what the bass could achieve.

His influence extended beyond jazz, as evidenced by his collaboration with Joni Mitchell and his impact on rock legends like Jack Bruce and Charlie Watts. Throughout his life, Mingus vehemently protested attempts to limit or underestimate his artistry, famously declaring, I don’t want none of them damn polls. I know what kind of bass player I am.

Charles Mingus’s legacy as a bassist and composer endures, and his innovative approach to the bass continues to inspire musicians from all walks of life.

John Entwistle

John Entwistle, the bassist for The Who, earned the apt nickname Thunderfingers due to the extraordinary sound he coaxed from his bass guitar. Playing alongside flamboyant showmen like Keith Moon and Pete Townshend, Entwistle faced the challenge of being heard on the same stage. However, he rose to the occasion with remarkable fluidity and grace, creating a bass style that was truly one of a kind.

Entwistle approached the bass as if it were a lead instrument, making it stand out as prominently as any guitar in The Who’s sonic landscape. His chunky bass solo on My Generation served as a source of inspiration for countless aspiring bassists, although emulating his technique proved to be an almost insurmountable task.

Rush’s Geddy Lee aptly summed up Entwistle’s impact by stating, Entwistle was arguably the greatest rock bassist of them all, daring to take the role and sound of the bass guitar and push it out of the murky depths while strutting those amazing chops.

John Entwistle’s legacy as a rock bassist is undeniable, and his groundbreaking approach to the instrument has left an indelible mark on the world of music.

Bootsy Collins

Bootsy Collins, known by various colorful aliases like Bootzilla, Casper the Friendly Ghost, and The World’s Only Rhinestone Rock Star Doll, Baba, redefined soul and funk bass playing in the 1970s, subsequently influencing the realms of rap and pop in the 1980s and 1990s.

Collins made his mark when he joined James Brown’s backing band, the J.B.’s, in 1970. He immediately embraced Brown’s concept of The One, hitting the first beat of each musical measure with maximum force and infusing the rest with infectious funkiness. Later, Collins expanded this concept into a surreal wonderland when he joined George Clinton’s musical collective. His wah-wah-infused, mushy bass lines added a distinctive dimension to Parliament and Funkadelic’s sound.

As a solo artist leading Bootsy’s Rubber Band, Collins donned star-shaped sunglasses, played a star-shaped bass, and delivered cartoonish love songs with boundless enthusiasm. His influence resonates in the playing of countless bassists, from Flea of the Red Hot Chili Peppers to the records sampled by Dr. Dre to create the G-Funk sound.

George Clinton summed it up best when he said, Bootsy came along and all he added … was the emphasis on the one. You could add that to ‘The ABC’s,’ and it would be funk in two seconds. And from then on, everything we did was funky for real, no matter how pop we tried to be.

Bootsy Collins’s legacy is one of funkadelic innovation, a testament to how a bassist can redefine genres and bring the groove to the forefront of music.

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Carol Kaye

Carol Kaye, a prolific bassist who initially honed her skills in the Fifties jazz clubs, emerged as a prominent studio guitarist, contributing to the hits of artists like Sam Cooke. Kaye holds the remarkable distinction of being the most recorded bassist of all time, with her name attached to over 10,000 tracks. Her influence spans a wide range of musical styles, from the sunny swing of the Beach Boys’ 1965 track Help Me, Rhonda to Richie Valens’ now-classic 1958 rendition of La Bamba to Frank and Nancy Sinatra’s romantic 1967 performance of Somethin’ Stupid.

But Kaye’s impact doesn’t stop there. She left an indelible mark on the world of movie and TV show themes, providing the groovy backbone for title songs of iconic shows like Batman and Mission Impossible. Her unique intuition guided her bass playing, allowing her to envision a more dynamic role for the instrument. As she once said, I was a guitar player, and I thought, ‘God, that’s kind of a simple bass line.’ I thought the bass could be moving around more and the music would sound better.

Her star collaborators, including Brian Wilson, recognized the magic of her sound and fretboard expertise, elevating her bass sound in their mixes. In songs like California Girls, her bass takes center stage, a testament to her unique sonic contributions.

Les Claypool

Les Claypool is a bass virtuoso who emerged as a standout figure in the late Eighties Bay Area music scene, dominated by thrash-funk bassists. What sets Claypool apart is his innovative approach to the bass guitar, treating it not merely as a rhythm instrument but as a lead instrument that propels the music forward.

Claypool’s unique style incorporates a wide range of techniques, from hyperactive left-hand fretboard tapping to lightning-quick strumming. He adopted a three-finger plucking technique, differentiating himself from the two-finger norm to achieve greater speed and precision. His bass playing draws inspiration from diverse sources, blending influences from Captain Beefheart to Bootsy Collins. His eclectic sound complements his eccentric and storytelling lyrics, often delving into themes like alpha-male felines, mythic fishermen, and murderous hillbillies.

Claypool’s versatility knows no bounds. He seamlessly incorporates elements from metal riffs to Middle Eastern ragas into his bass lines. His involvement in jam-band supergroups like Oysterhead and Colonel Claypool’s Bucket of Bernie Brains has honed his improvisational skills. His current collaboration with Sean Lennon allows for adventurous prog-psychedelic explorations.

Above all, Les Claypool has transformed the role of the bass guitar, elevating it from a mere anchor to a dynamic force driving the music. His innovative spirit has earned him admiration from fellow bassists like Rush’s Geddy Lee, who acknowledges Claypool’s unique rhythmic sensibility and distinct style.

Jack Bruce

Jack Bruce, often overshadowed by Eric Clapton and Ginger Baker in the legendary rock band Cream, played an indispensable role in making them a true power trio. While Clapton delivered soaring blues licks and Baker explored new jazz territories behind his drum kit, Bruce, also serving as the group’s lead vocalist, anchored the band with his robust bass lines.

What set Jack Bruce apart was his ability to make the bass an assertive and dynamic instrument. Black Sabbath bassist Geezer Butler once attested to Bruce’s influence, saying, Jack Bruce definitely opened my eyes as to what a bass player could do live. I went to see Cream mainly because of Clapton… and I was mesmerized at Jack Bruce’s playing. I didn’t know a bass player could do those things, filling in where the rhythm guitar would normally be.

Whether he was crafting jittery, tumbling lines under group vocals on I Feel Free, harmonizing brilliantly on Sunshine of Your Love, or adding his distinctive riff under Clapton’s guitar work on Strange Brew, Jack Bruce’s bass playing was nothing short of mesmerizing. Despite his stature, Bruce possessed a monstrous playing style, making his bass sing with melody and power.

Also, you might be interested in how to practice without electric bass.

Jaco Pastorius

“My name is John Francis Pastorius III, and I’m the greatest bass player in the world.” That was Jaco Pastorius’ opening line to Joe Zawinul when he met the Weather Report keyboardist backstage at a 1974 Miami show. Zawinul scoffed at the time, but he wasn’t laughing a few years later, once Pastorius had joined the group and helped turn them into bona fide fusion superstars. Jaco’s 1976 self-titled debut, where he played high-speed bebop with ease and dazzled with chiming harmonics, set a new standard for electric-bass virtuosity; joining Weather Report the same year, he thrilled audiences with his signature fretless sound and cocky flair, and forever banished the notion that bass was a background instrument.

As flashy a player as he was, he was also a stellar collaborator: From the mid-Seventies through the Eighties — preceding his tragic death at age 35 — Pastorius’ revolutionary four-string approach was a perfect match for everyone from Pat Metheny to Jimmy Cliff, and especially Joni Mitchell’s increasingly adventurous songwriting on albums like Hejira. “[I]t was as if I dreamed him, because I didn’t have to give him any instruction,” Mitchell once said of Jaco. “I could just kind of cut him loose and stand back and celebrate his choices.”

Larry Graham

As a member of Sly and the Family Stone, Larry Graham helped popularize the slap-bass technique with hits like “Thank You (Falettinme Be Mice Elf Agin)” and “Dance to the Music”. He developed the unmissable, percussive approach — Graham calls it “thumpin’ and pluckin’” — while playing in a trio with his mother in San Francisco.

When the drummer quit, “I would thump the strings with my thumb to make up for the bass drum, and pluck the strings with my fingers to make up for the backbeat snare drum”, Graham remembered. These lines erupted in Sly and the Family Stone songs, inverting the traditional roles of instruments in popular music and making an indelible impression on future icons like Prince, a friend and frequent collaborator of Graham’s who once called Graham “my teacher”.

“If you listen to records from the Fifties, you’ll find that all the melodic information is mixed very loud … and the rhythmic information is mixed rather quietly”, Brian Eno explained in 1983. “From the time of Sly and the Family Stone’s Fresh album, there’s a flip over, where the rhythm instruments, particularly the bass drum and bass, suddenly become the important instruments in the mix.” Graham had a simple explanation for it all: Playing with that much force ensures that “the dancers just won’t hide”.

Verdine White

Bass guitarist Verdine White became an integral part of the American multi-genre band Earth, Wind & Fire when his brother, Maurice White, invited him to join the group in 1970. Verdine’s bass skills were honed under the tutelage of Louis Satterfield, often described as “the James Jamerson of Chicago,” and he drew inspiration from jazz greats like Ron Carter and Richard Davis.

Verdine White’s contributions to Earth, Wind & Fire’s million-selling albums were nothing short of spectacular. While the group was known for its speedy dance cuts, Verdine’s playing truly shone on the ballads. His bass work on songs like the opening rumble of “Can’t Hide Love,” the attacking runs in “Love’s Holiday,” and the nimble riffs in “After the Love Has Gone” showcased his versatility and musicality.

Even on uptempo tracks, Verdine White left a lasting impression with his dynamic bass lines. Listen to his electrifying performance in “Beijo (Interlude),” where he made the notes shiver and whine, adding a unique dimension to the music. Despite his extraordinary skills, White remained modest in interviews, attributing much of his success to complementing the singer and ensuring that his bass playing enhanced the overall musical experience.

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Ron Carter

“On the bass, that’s my man, Ron Carter,” Q-Tip says proudly on the outro to A Tribe Called Quest’s super-funky Low End Theory track “Verses From the Abstract.” A milestone for the intersection of jazz and hip-hop, the track was just another day at the office for the great Ron Carter, who’s been turning up on history-making sessions for 60 years and counting. With more than 2,200 credits to his name as of fall 2015, he earned a Guinness World Record a year later for the most recorded bassist in jazz history.

Beyond the raw numbers, the range of Carter’s CV is astounding, from anchoring the Sixties Miles Davis quintet that reshaped jazz on a molecular level to bringing an unshakable drive to classic Roberta Flack and Aretha Franklin sides, providing a plush rhythmic bed for bossa nova pioneer Antônio Carlos Jobim, and finding the swing in Bach. Whether in a low-key duo or buoyant big band, Carter always adds a touch of pure class. “I think Mr. Carter is one of the consummate listening musicians ever,” said collaborator and lifelong fan Pat Metheny in 2016. “He has played in literally thousands of unique settings and is always able to find something that brings out the best in his associates, while always remaining true to his own very strong sense of identity.”

Geddy Lee

Onstage with Rush, Geddy Lee was always a master multitasker, playing keyboards and foot-controlled synths while nailing daredevil vocal parts. But his bass playing, tough and sinewy yet beautifully nimble and accented with just the right amount of daredevil flash, is what’s made him a legend to fans of forward-thinking rock, and one of the key links between Sixties pioneers like Jack Bruce and John Entwistle and Nineties innovators like Les Claypool and Rage Against the Machine’s Tim Commerford.

Lee’s playing added grit, flair, and surprising funkiness to every era of the band, from high-prog Seventies landmarks like A Farewell to Kings to New Wave–informed Eighties gems like Grace Under Pressure and streamlined, hard-hitting Nineties efforts like Counterparts. And his imaginative parts — the off-kilter strut that leads off “Cygnus X-1 Book I: The Voyage”; the wiry 7/4 bridge riff in “Tom Sawyer”; the lean dance-pop vamp of “Scars” — often acted as hooks in and of themselves. “He was the one that when I was a 14-year-old fellow I thought, ‘Boy, I’d sure like to make those sounds,’” Claypool once said of Lee. “I’m still trying to do that.”

Flea

Flea, born Michael Balzary, is the irreplaceable bassist of the Red Hot Chili Peppers, a band that has seen a revolving door of drummers and guitarists since their inception in 1983. His bass guitar wizardry is the bedrock of the Chili Peppers’ distinctive sound, an intoxicating blend of punk, funk, and psychedelia.

Influenced by his jazz musician stepfather during his formative years, Flea initially aspired to be a jazz trumpet player. However, his rebellious teenage spirit led him down the path of punk rock, where he found his true calling as a bassist. His iconic style, characterized by Bootsy Collins-inspired slapping and poignant melodies, has left an indelible mark on the band’s repertoire.

Beyond the Chili Peppers, Flea’s musical journey has been diverse. He contributed his talents to the Mars Volta’s debut album, “De-Loused in the Comatorium,” and collaborated with Thom Yorke in the formation of Atoms for Peace, showcasing his remarkable versatility.

Anthony Kiedis, the Chili Peppers’ frontman, once declared, “The Red Hot Chili Peppers are Flea.” This statement encapsulates the truth that Flea’s presence and artistry are integral to the band’s existence. His earthy, wildly charismatic sound remains a cornerstone of the Chili Peppers’ enduring appeal, ensuring that his legacy as one of rock’s most iconic bassists endures.

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Phil Lesh

In the same way that the Grateful Dead reconfigured how a rock band should sound — looser and jammier, incorporating equal parts jazz and country — Phil Lesh made us hear the bass in a new way. The Dead’s founding and longtime bassist grew up on experimental and classical music and played trumpet and violin in high school.

He only took up his signature instrument when he was asked to join the Warlocks, the first version of the Dead. As a result, Lesh ignored standard walking-bass clichés: “I didn’t think that would be suitable for the music I would make with Jerry, just to do something somebody else had done,” he said in 2014. His idea — “play bass and lead at the same time,” his notes darting in and around the melody — became as recognizable a part of the Dead’s sound as Garcia’s guitar. His unconventional sound can be heard in studio recordings like “Truckin’,” “Shakedown Street,” and “Cumberland Blues,” the live version of “Scarlet Begonias” from the legendary Cornell 1977 show, and many live versions of “Eyes of the World” (start with 1975’s One From the Vault).

Paul McCartney

It’s hard to think of Paul McCartney as being underrated in any category. But for all the praise he’s earned as a singer, songwriter, and live performer, it’s quite possible he hasn’t gotten enough for his low-key low-end verve. He first took up the bass as a matter of necessity, after Stu Sutcliffe quit the Beatles in Hamburg in 1961. “There’s a theory that I maliciously worked Stu out of the group in order to get the prize chair of bass,” McCartney told biographer Barry Miles. “Forget it! Nobody wants to play bass, or nobody did in those days.” But he made the instrument his own, particularly as the Beatles’ studio adventures took off in the second half of the Sixties and he switched out his Hofner for a Rickenbacker.

McCartney’s bass could be a cool, steady support, as on “Lucy in the Sky With Diamonds” and “Dear Prudence,” or a colorful lead character in its own right — see “Paperback Writer,” “Rain,” and “A Day in the Life,” all songs where his playing conveys the yearning for a freer or more exciting life behind everyday lyrics. His playful, melodic style in that era owed much to Motown’s James Jamerson, whom he’s often credited as his biggest influence on the instrument; after 1970, McCartney kept up with the times, grooving regally into the disco era with “Silly Love Songs” and “Goodnight Tonight.” And while his interest in the four-string has waned and waxed over the years, he’s never stopped inspiring generations of kids to see the expressive potential of a great bass line.

Willie Dixon

Although Willie Dixon is best remembered as one of history’s most influential bluesmen, whose songs were sung by Howlin’ Wolf and Muddy Waters, that’s just a portion of his legacy. He played bass on early rock recordings by Chuck Berry and Bo Diddley, and tunes he wrote like “I Can’t Quit You Baby” and “I Ain’t Superstitious” have been covered by everyone from Led Zeppelin to Megadeth. Dixon’s first bass was a “tin-can bass,” and eventually he was able to save up $200 or so to buy an upright. Around 1939, he was “boxin’, workin’, and playin’, trying’ to learn how to play the bass,” by his own account, learning from locals Baby Doo Caston and Hog Mason, until he developed his own undulating, genre-defining style.

“After two or three weeks, why, heck, I could play just about as good as I can now,” he said in 1980. When Berry first played him the song that would become “Maybellene,” Dixon thought it was too country & western, so “I felt that some kind of bluesy idea or feeling that wasn’t in there would make it a better song,” giving the tune a bit of rock & roll attitude. “Willie Dixon is the principal [influence on me]” the Rolling Stones’ Bill Wyman once said. “I always idolized Willie Dixon, particularly, because he was on [records] with Chuck Berry and Little Walter, Howlin’ Wolf, and many others at Chess”.

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John Paul Jones

Although Led Zeppelin seemed to come out of nowhere, fully formed, in the late Sixties, both guitarist Jimmy Page and bassist-keyboardist John Paul Jones had years of session playing behind them. Drawing inspiration from Motown records and jazz bassists like Charles Mingus, Jones played on recordings by Donovan, Jeff Beck, and Dusty Springfield, among others, and he arranged the strings for the Rolling Stones’ “She’s a Rainbow”.

So when the time came for him to play the slow-stepping lead lines on “Dazed and Confused” and “What Is and What Should Never Be” or the charging rhythms of “Immigrant Song” and “The Song Remains the Same” — in harmony with Page — it was a cinch. His sense of musicality would guide him well past his time in Led Zeppelin, too. “John silently challenges everyone”, Dave Grohl said around the time he was playing with Jones in Them Crooked Vultures. “His presence makes you play the best you can possibly play, because you don’t want to let him down. And if you can keep up, you’re doing OK.”

Stanley Clarke

A whole generation of bassists — from Dave Holland with Miles Davis to Miroslav Vitous and Jaco Pastorius with Weather Report and Rick Laird with the Mahavishnu Orchestra — helped to wed the sophistication of Sixties postbop with the power of arena-scale rock. But it was Stanley Clarke who truly defined the role of the fusion bass god. Clarke started on double bass and wanted to pursue a life in classical music; meeting Chick Corea on a gig set him on a different path. The two formed Return to Forever, one of the Seventies’ premier plugged-in jazz groups, and a band in which Clarke could both hold down the low end and have his say as a star soloist. Early solo LPs — and future bass-repertoire staples — like School Days found him moving further into funk, and showcasing his astonishing technique while always minding the groove.

More recently, he’s moved into film and TV scoring, turned up on Beck’s understated Grammy winner Morning Phase, and inspired new-school luminaries like Thundercat (who recently said, “I thank God that there was a Stanley Clarke as a frame of reference to what is possible with the bass”). “Before I came along a lot of bass players stood in the back,” Clarke once said. “They were very quiet kind of guys who didn’t appear to write music. But many of those bass players were serious musicians. All that I did was just take the step and create my own band.”

Charlie Haden

The first thing you hear in the opening seconds of “Lonely Woman” — Ornette Coleman’s 1959 out-jazz masterwork that captivated a young Lou Reed along with an entire generation of open-minded listeners — is Charlie Haden strumming a yearning, pulsing bass melody over Billy Higgins’ double-time ride cymbal. His intro makes the tune feel ancient and sturdily grounded, like it’s growing up out of the earth. That was Haden’s great gift as a bassist, to give even the most contemporary of styles — from Coleman’s joyously unfettered excursions to the outsider folk of Beck — a feeling of the eternal. Haden grew up in Iowa, yodeling country songs on his family’s radio show.

Seeing Charlie Parker play sparked a love of jazz, and after moving to L.A. for college in the late Fifties, he met Coleman, the saxophonist who would spearhead the genre’s next radical breakthrough. Haden was an integral part of Ornette’s core concept, adding muscle and lift to live and studio bands for decades to come (including at a 1968 gig where they backed Yoko Ono) and carrying the Coleman torch in satellite projects like Old and New Dreams.

Elsewhere, he could be found just about anywhere forward-thinking, openhearted jazz was being made, whether with Pat Metheny, Keith Jarrett, or Alice Coltrane, in his own politically driven Liberation Music Orchestra, or in a warm, empathic trio with Ginger Baker and Bill Frisell. He also fit in seamlessly working alongside Ringo Starr, K.D. Lang, or his son and triplet daughters. “Charlie Haden plays for the existence of the listener”, Coleman once wrote. “This reason alone makes him a musical guru”.

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Donald “Duck” Dunn

Memphis native Donald Dunn — whose father gave him his lifelong nickname “Duck” while the two watched Disney cartoons together — wasn’t an original member of the influential Stax house band Booker T. and the M.G.’s. But when he took over bass duties from Lewie Steinberg in 1964, the group hit its stride. Dunn’s tenure with the band coincided with their creation of foundational Southern soul records by Otis Redding, Wilson Pickett, and Sam and Dave. “When it got more aggressive and syncopated … my style was more appropriate,” Dunn would later say.

He anchored a dextrous, versatile rhythm section alongside drummer Al Jackson, mastering urbane pop balladry, country-soul shuffles, and uptempo gospel-infused soul all the same. Listen to his quietly descending bass line on the M.G.’s’ instrumental rendering of Sam and Dave’s “When Something Is Wrong With My Baby,” or the loping strut that opens Redding’s “(Sittin’ on) the Dock of the Bay.” Dunn, who Bootsy Collins once called a “brick in our musical foundation,” would go on to play with a who’s who of rock and pop legends — Eric Clapton, Stevie Nicks, Bill Withers, Neil Young — but it was his influential work with Booker T., Steve Cropper, and Al Jackson that redefined popular music. As Peter Frampton once said, Dunn “wrote the book on R&B bass playing.”

Robbie Shakespeare

Robbie Shakespeare and his rhythm and production partner drummer Sly Dunbar have implanted their immediately recognizable imprint on decades of reggae. “It was the whole body of the bass, the sound and the way it flowed against the drummer,” Dunbar said of first hearing Shakespeare’s playing in the early Seventies. “At a certain part of a tune he’d play like three different lines, change the line on the bridge and the verses after that, and get four different lines”.

The two went on to record with every major artist of reggae’s golden era, lending fluidly melodic yet implacably solid underpinning to classics like Culture’s Two Sevens Clash and Peter Tosh’s Equal Rights; they excelled in the rubbery negative space of dub, found a unique way to create an organic feel in a digital context as dancehall emerged in the Eighties, and brightened the grooves on rock and pop albums by Grace Jones, Talking Heads, Bob Dylan, Mick Jagger, and others. No other musical entity in the post-Marley era has been so omnipresent in shaping the sound of Jamaica and bringing it to the world.

Chris Squire

Many musicians came and went from Yes over the decades, but the only constant (at least until his death in 2015) was bassist Chris Squire. The prog-rock giants could survive without titans like keyboardist Rick Wakeman and guitarist Steve Howe, but Squire’s work was the bedrock of their sound. Drawing inspiration from the likes of Jack Bruce, John Entwistle, and Paul McCartney, Squire had a thick, melodic tone that powered everything from Seventies prog classics like “Close to the Edge” and “Awaken” to Eighties pop hits like “Owner of a Lonely Heart.”

“Chris took the art of making a bass guitar into a lead instrument to another stratosphere,” Wakeman wrote at the time of his former bandmate’s death, “and coupled with his showmanship and concern for every single note he played, made him something special.… We have now lost who, for me, are the two greatest bass players classic rock has ever known. John Entwistle and now Chris.”

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Other great bassists

In the pantheon of legendary bassists, the list extends far and wide, showcasing the remarkable diversity of talent within this essential musical role. Among these illustrious names, Rick Danko of The Band stands as a soulful and versatile figure, known for his melodic and emotive bass lines that helped define the Americana genre.

Geezer Butler, the powerhouse behind Black Sabbath’s iconic sound, brought a dark and thunderous dimension to heavy metal with his thunderous bass riffs. Bill Wyman’s impeccable groove contributed significantly to The Rolling Stones’ enduring legacy, and Cliff Burton’s virtuosity and innovative style revolutionized metal with Metallica.

Jazz virtuoso Richard Davis, the Latin maestro Israel Cachao López, and the deeply groovy Aston “Family Man” Barrett of Bob Marley’s Wailers, along with a host of other luminaries on this list, have each left an indelible mark on the world of music, demonstrating the boundless creativity that can be achieved through the bass guitar.

Final Thoughts about the Best Bassists of All Time

These bassists represent a diverse tapestry of talent and innovation in the world of bass playing. Their contributions have not only elevated the role of the bass guitar but have also left an enduring mark on the history of music. Each of these bassists, in their unique way, has expanded the possibilities of what can be achieved on the four strings, reshaping genres and inspiring generations of musicians. Their legacies continue to resonate, reminding us of the profound impact that bassists have had on the evolution of popular music.

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