Dan Dean

Dan Dean is a truly multitalented artist. Dan has achieved national and international recognition as a Bassist, Producer, Composer, and as an audio and recording Engineer.

Dan has performed with the some of the finest musicians and musical organizations of our time, including: Shelly Manne, Howard Roberts, The Great Guitars (Herb Ellis, Charlie Byrd, Barney Kessell), Eddie “Cleanhead” Vinson, B.B. King, Eddie Harris, Blue Mitchell and Harold Land, Buddy DeFranco, Donny Hathaway, Tom Scott, Dave Grusin, Don Grusin, Ernestine Anderson, Bill (William O.) Smith, Ernie Watts, the Seattle Symphony, Walt Wagner, Seattle Opera, Freddie Hubbard, Bill Mays, Della Reese, Emil Richards/Joe Porcaro and many others.

Dan has received numerous broadcast and film awards including the Cannes Golden Lion, Addy Awards, Telly Awards, Best of the West Awards, Clio Awards, IBA Awards, IBA “Spike” Award, NEA Composition Award recipient in Jazz Composition, One Show Silver Pencil, a Seattle Symphony Orchestra commission to compose “Piece for Electric Bass and Vibraphone”, National Jazz Educators Award of Excellence, Rosie Awards and others. The Dan Dean Sample Libraries have thus far won 3 Keyboard Magazine’s “Key Buy” awards, Electronic Musician Magazine’s “Best Buy”, and over the past year an a half have earned a total of 35 stars in Sound On Sound Magazine

Tags

Dan Dean bass, electric

Album Review

Songs Without Words by Dan McClenaghan
2 5 1 by Bruce Lindsay
2 5 1 by Dan McClenaghan

”...a phenomenal player.” - Jonathan Hererra/Bass Player Magazine

”Man, how I am I supposed to write something with this CD being ALMOST perfect?” - Bruce Bernardini/JazzReview.com

”For all you beginner, intermediate and pro bass players, Dean will put you to shame. His playing is the utmost impeccable, perfect playing I have ever heard.” - Bruce Bernardini/JazzReview.com

Dean is an exceptionally articulate and resourceful electric bassist and throughout 251 he proves to be both a supportive role model as well as a soloist who deserves better recognition. - Doug Simpson/Audiophile

2, 5, 1, Dan Dean, bass. ”Hey now, when was the last time you read a real good review from me on a recording which includes Hammond B-3 organ on four tunes and accordion (!!!) on two? Maybe never

”...a phenomenal player.” - Jonathan Hererra/Bass Player Magazine

”Man, how I am I supposed to write something with this CD being ALMOST perfect?” - Bruce Bernardini/JazzReview.com

”For all you beginner, intermediate and pro bass players, Dean will put you to shame. His playing is the utmost impeccable, perfect playing I have ever heard.” - Bruce Bernardini/JazzReview.com

2, 5, 1, Dan Dean, bass. ”Hey now, when was the last time you read a real good review from me on a recording which includes Hammond B-3 organ on four tunes and accordion (!!!) on two? Maybe never. Well, hold your horses, ‘cause this one’s darn good!” - George Fendel - Jazz Society of Oregon - Feb, 2010

Electric bassists aren't all that common leading jazz record dates, but Dan Dean found a very unusual approach, which is playing duets with four separate keyboardists. Kenny Werner is a first-call sideman, leader, and soloist. His meeting with Dean in a superb take of the old warhorse “'S Wonderful” is full of twists, turns, and outright surprises, and while their interpretation of “Body and Soul” is considerably more subdued, it nonetheless shimmers. George Duke usually plays electric keyboards (though he did stick to acoustic piano for his Muir Woods Suite), so it is a treat to hear him on grand piano. His funky “It's On” is a catchy riff tune, while their dreamy setting of the standard “Stella by Starlight” reminds straight-ahead fans that Duke's chops are still very potent. It's particularly odd to hear an organ-electric bass duo, since the keyboardist usually handles the bassline by himself. Yet Larry Goldings and Dean work in tandem for an infectious take of “One Note Samba,” a soulful “Georgia on My Mind” (with a nod to Ray Charles), and a hip “In Walked Bud.” Dean and pianist Gil Goldstein meander into “All the Things You Are” via a side route before incorporating Dizzy Gillespie's famous added introduction, then take it down a more familiar path. Goldstein switches to accordion for “Lover Man” with Dean carrying the melody, possibly one of the most striking interpretations of this jazz standard. While the veteran bassist is better known regionally than nationally, this top-drawer effort should open a few doors for him. - All Music Guide/Ken Dryden

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Primary Instrument

Bass, electric

Willing to teach

Beginner to advanced

Credentials/Background

Author "Hal Leonard Electric Bass Method" Books 1, 2, 3. Author "Hal Leonard Studio Series for Electric Bass" Books 1, 2, 3. Author"Bass Trax" Hal Leonard Publishing Previously Electric Bass Instructor @ Olympic College Shoreline College Western Washington University