Lynn Seaton, Bassist/Jazz Educator

Lynn Seaton is a Professor in the Jazz Studies Division of the College of Music at the University of North Texas.  An active working musician in the Dallas/Fort Worth area, he has recorded and toured with many jazz greats including Kenny Drew, Jr., John Fedchock, George Shearing, Frank Wess, and the big bands of Woody Herman and Count Basie. 

Seaton played on seven Aebersold Play-A-Longs, including Billy Strayhorn “Lush Life”, “Giant Steps Jazz Standards in All Keys,” and Horace Silver “Shoutin’ Out.”

What stands out to you in recalling your recording sessions for the Aebersold Play-A-Longs?

One of them was the music of Billy Strayhorn that I did with Hal Galper (piano) and Steve Davis was on drums on that one.  Jamey asked Hal and me to research chord changes for the tunes, and one of the coolest things, aside from getting to listen to a lot of recordings, and talking with Hal Galper about what the good changes should be for this book and for our recorded Play-A-Long, that was really exciting to get that in depth about a series of tunes.

Jamey gave us access to some literal mimeographs, which predated photocopies.  He gave us copies of these mimeographs from the Ellington estate.  We also got an old Ellington songbook. We had parts from the book of the Duke Ellington Orchestra to look at. I was amazed at how thoroughly he researched those (chord) changes.

Speaking of chord changes, I also did a Horace Silver album. And I remember talking about chord changes, and Jamey said, ‘Well, just a minute.’ And he called Horace Silver on his speakerphone.  I was just like, ‘Wow.  That’s Horace Silver on the phone, and we’re talking about his music!’  How cool that was to hear them talking about that.  So I know that the changes on that record are right!

Did you find it challenging to record the Play-A-Longs without a soloist?

I imagined a soloist in my head.  And I went for the gusto. 

I was very flattered that (legendary jazz educator) David Baker said something to me about the Play-A-Longs I was on. That he really appreciated how I was going for it as though there were a soloist and that I wasn’t just laying it down with safe quarter notes. I was taking chances and that I was really building it as though as a soloist was building it.   I also tried to acknowledge the melody in the choruses.  Part of good comping is to acknowledge the melody when you’re comping anyway for the soloist, too.  Some combination thereof.

Have you been using the Aebersold Play-A-Longs a lot in your teaching?

Yes. Forever. And I require the purchase of a couple of them and the transcription books in my Jazz Bass Performance Fundamentals class.

What impressed you about the Play-A-Longs for practice and improvisation?

You get to play with so many great players, you know. I (also) like the fact that you can dial out the bass or you can dial out the keyboards or the guitar and configure it that way.

What should the general public understand about Aebersold’s legacy and accomplishments?

I think how tirelessly he has worked, meaning how energetic he is—I mean non-stop, man.  Unbelievable.  With extreme dedication to knowledge and learning. 

It’s an honor to meet and work with someone that dedicated to the arts, and, specifically to the art of jazz.  Jamey’s a treasure.