ABSTRACT
In some quarters the need to re-establish the sovereignty of the traditional jazz aesthetic, and the unamplified string bass within it, was seen as essential to the music's survival. This chapter examines the conflict this reactionism generated and the part the bass played in the reconciliation of the opposing viewpoints. The 'Young Lions', as its musicians collectively came to be known, were thought to be engaged in a struggle over what Scott DeVeaux described as 'the possession of [jazz] history, and the legitimacy that it confers'. In opposition to the notions held by Marsalis were those of bass players who felt that in order for jazz to continue evolving, it was essential that it reflect contemporary times, including those technological and musical developments that had transpired since the bebop era. The presence of a bona fide jazz titan such as Miles Davis on a recording produced in this manner set a precedent for less organic approaches to jazz music recording.
