Alec Dankworth

Alexander William Tamba Dankworth[1] (born 14 May 1960) is an English jazz bassist and composer.

Alec Dankworth
Background information
Birth nameAlexander William Tamba Dankworth
Born (1960-05-14) 14 May 1960
Marylebone, London, England
InstrumentsDouble bass
Years active1980s–present
Websitealecdankworth.com

Biography

Born in London, the son of John Dankworth and Cleo Laine, Alec Dankworth grew up in the villages of Aspley Guise and Wavendon, living at the Old Rectory, Wavendon, where his parents established the Wavendon All-Music Plan (WAP) that includes the Stables Theatre. After attending Bedford School, he studied at the Berklee College of Music in Boston, Massachusetts, in 1978, and then joined his parents' quintet. Between 1980 and 1983 he toured the United States, Australia, and Europe with them, going on to work with Tommy Chase, the BBC Big Band, and Clark Tracey, with whom he recorded two albums.

Dankworth recorded an arrangement of Duke Ellington's Black, Brown, and Beige with violinist Nigel Kennedy in 1986, with whom he also performed Antonio Vivaldi's The Four Seasons. He also played in the 1980s with Dick Morrissey, Spike Robinson, Jean Toussaint, Michael Garrick, Tommy Smith, Julian Joseph, and Andy Hamilton, as well as leading his own quartet.

In 1990 he was invited to join and tour with Dave Brubeck's band, and in 1993 he worked with Abdullah Ibrahim, touring Europe and South Africa. He has played with Mose Allison, Clark Terry, Mel Tormé, Anita O'Day, Peter King, Alan Barnes, David-Jean Baptiste, Van Morrison and Martin Taylor, among others. He also co-led a 14-piece band with his father, John Dankworth: the Alec and John Dankworth Generation Band (or "Generation Band"), with which he has recorded two albums.

In 2013 Dankworth toured with the Ginger Baker Jazz Confusion, a quartet comprising Dankworth on bass, drummer Ginger Baker, saxophonist Pee Wee Ellis and percussionist Abass Dodoo. Dankworth is also a tutor for the National Youth Jazz Collective.

Discography

As co-leader
  • 1994: Nebuchadnezzar (Jazz House)
  • 1996: Rhythm Changes (Jazz House)

As sideman

With Dave Brubeck

gollark: I don't think you can *in general*, but you'll probably know in some cases what the content might be. Lots of network protocols and such include checksums and headers and defined formats, which can be validated, and English text could be detected.
gollark: But having access to several orders of magnitude of computing power than exists on Earth, and quantum computers (which can break the hard problems involved in all widely used asymmetric stuff) would.
gollark: Like how in theory on arbitrarily big numbers the fastest way to do multiplication is with some insane thing involving lots of Fourier transforms, but on averagely sized numbers it isn't very helpful.
gollark: It's entirely possible that the P = NP thing could be entirely irrelevant to breaking encryption, actually, as it might not provide a faster/more computationally efficient algorithm for key sizes which are in use.
gollark: Well, that would be inconvenient.

References
  1. Company Data rex.
  • Ian Carr, Digby Fairweather, & Brian Priestley. Jazz: The Rough Guide. ISBN 1-85828-528-3
  • Richard Cook & Brian Morton. The Penguin Guide to Jazz on CD 6th edition. ISBN 0-14-051521-6
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