Bio:
Memphis-bred, Grammy-nominated, Echo Award-winning bassist/composer Stephan Crump is an active bandleader with twelve critically-acclaimed album releases in addition to numerous film scoring contributions. Known for transforming his instrument into a speaking entity of magnetic pull, his focus on creative instrumental music has led to collaborations with many of the leading lights of his generation.
Transcending barriers of genre, Crump has performed and recorded with a diverse range of musicians, from Portishead's Dave McDonald, The Violent Femmes' Gordon Gano, to Patti Austin, Jim Campilongo, Jorma Kaukonen, Lucy Kaplansky, Big Ass Truck, Sonny Fortune, and late blues legend Johnny Clyde Copeland. Currently, he can be heard as a long-standing member of Vijay Iyer Trio and Sextet, Jen Chapin Band, Ches Smith Trio, Rez Abbasi Acoustic Quartet, Liberty Ellman Sextet, Secret Keeper (with Mary Halvorson), his own Rosetta Trio, as well as groups with Kris Davis, Ingrid Laubrock, Cory Smythe, Eric McPherson, Mat Maneri, and Okkyung Lee.
Stephan comes from a family of architects, sculptors, painters, storytellers, musicians, civic leaders, and craftsmen. He was raised in music and the arts by his Parisian mother, an amateur pianist, and his Memphian father, an architect, painter, and jazz drummer. After six years of classical piano study and two years with the alto saxophone, he got his first bass guitar at age thirteen and spent his high school years playing in rock and funk bands around Memphis. During the summers, he worked in the studio of his uncle, Stephen, a wood sculptor.
Crump received his Bachelor of Music degree from Amherst College, where he studied under Pulitzer Prize-winning composer Lewis Spratlin and was awarded the Sundquist Prize for performance and composition. It was at Amherst that he began his acoustic bass journey, with a focus on classical training that culminated in a year of study in Paris with Gary Karr-protégé Patrick Hardouineau. His jazz studies at Amherst included work with Max Roach, Frank Foster, and Ray Drummond.
Over the last decade, Stephan has made teaching a growing part of his mission. In addition to offering lessons in his Brooklyn home, he regularly visits conservatories and universities to coach ensembles, teach bassists, and offer to all musicians his “On Magnetism” masterclass, originally developed for a residency at the Banff Jazz and Creative Music workshop.
Crump launched his solo performance career as an invited artist at the 2009 International Society of Bassists conference and has since released several recordings documenting his duo collaborations with alto saxophonist Steve Lehman, pianist James Carney, and guitarist Mary Halvorson. His all-string Rosetta Trio, with Jamie Fox and Liberty Ellman, just completed their fourth album, and his Rhombal quartet, with Tyshawn Sorey, Ellery Eskelin, and Adam O’Farrill, recently released its eponymous debut.
He lives in Brooklyn with his wife and two boys.
Stephan is an enthusiastic endorser of Velvet strings, Aguilar bass amplifiers, AMT acoustic bass microphones, and David Gage Czech Ease travel bass.
Quotes, Notes & Etc.
I strongly believe in and am increasingly dedicated to teaching, whether in a private lessons, group workshops, master classes, or ensemble coaching. From dealing with specific issues particular to the bass and its roles in various musical realms, to larger concepts on improvisation, composition, group interaction and development, and just music in general, I relish the the opportunity to share with the next generation of musicians some of the ideas and concepts I’ve learned and developed over the years. Whether in and around NYC or on the road at various conservatories and universities, it’s been enormously gratifying to make teaching a greater part of my mission, and a blessing to discover that what I have to offer can be illuminating and inspiring to others. Do get in touch if you’d like details on what I might bring to your program or to you as an individual.
Here are some of the places I’ve taught:
Indiana University, Penn State University, Kunst Uni Graz, International Society of Bassists Convention, Amherst College, Franklin & Marshall College, Banff International Workshop in Jazz & Creative Music, Harvard University, California Jazz Conservatory, Humboldt State University, University of Wisconsin, Carl Maria von Weber College of Music Dresden, Sibelius Academy Helsinki, University of Memphis, Norwegian Academy of Music Oslo, University of Northern Iowa...
The Recôncavo is an almost invisible center-of-gravity. Circumscribing the Bay of All Saints, this region was landing for more enslaved human beings than any other such throughout all of human history. Not unrelated, it is also birthplace of some of the most physically & spiritually uplifting music ever made. —Sparrow
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers: Personal recording engineer for Prince, inc. "Purple Rain", "Sign o' the Times", "Around the World in a Day"... Director of the Berklee Music Perception and Cognition Laboratory
I'm Pardal here in Brazil (that's "Sparrow" in English). The deep roots of this project are in Manhattan, where Allen Klein (managed the Beatles and The Rolling Stones) called me about royalties for the estate of Sam Cooke... where Jerry Ragovoy (co-wrote Time is On My Side, sung by the Stones; Piece of My Heart, Janis Joplin of course; and Pata Pata, sung by the great Miriam Makeba) called me looking for unpaid royalties... where I did contract and licensing for Carlinhos Brown's participation on Bahia Black with Wayne Shorter and Herbie Hancock...
...where I rescued unpaid royalties for Aretha Franklin (from Atlantic Records), Barbra Streisand (from CBS Records), Led Zeppelin, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Wah Wah Watson (Melvin Ragin), Ray Barretto, Philip Glass, Clement "Sir Coxsone" Dodd for his interest in Bob Marley compositions, Cat Stevens/Yusuf Islam and others...
...where I worked with Earl "Speedo" Carroll of the Cadillacs (who went from doo-wopping as a kid on Harlem streetcorners to top of the charts to working as a janitor at P.S. 87 in Manhattan without ever losing what it was that made him special in the first place), and with Jake and Zeke Carey of The Flamingos (I Only Have Eyes for You)... stuff like that.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay. They paid.
MATRIX MUSICAL
The Matrix was built below among some of the world's most powerfully moving music, some of it made by people barely known beyond village borders. Or in the case of Sodré, his anthem A MASSA — a paean to Brazil's poor ("our pain is the pain of a timid boy, a calf stepped on...") — having blasted from every radio between the Amazon and Brazil's industrial south, before he was silenced. (that's me left, with David Dye & Kim Junod for U.S. National Public Radio) ... The Matrix started with Sodré, with João do Boi, with Roberto Mendes, with Bule Bule, with Roque Ferreira... music rooted in the sugarcane plantations of Bahia. Hence our logo (a cane cutter).