The creation of Van Morrison’s seminal album, Astral Weeks, was a fluid, improvisational process for jazz bassist Richard Davis, who recently shared his perspective on the landmark 1968 recording. Davis described the studio sessions as a dynamic collaboration, driven by the musicians’ immediate musical instincts rather than extensive pre-planning.
A Jazz Foundation for a Folk-Rock Classic
Producer Lewis Merenstein, tasked with assembling a studio ensemble for Morrison’s debut on Warner Bros., sought out Davis due to his deep jazz background. “He asked me if I could get a group together to record with this guy coming over from Ireland,” Davis recounted. “I got drummer Connie Kay, who I always called the ‘Security Officer’ because he gave me that secure feeling whenever he played. Jay Berliner was on guitar and Warren Smith was on vibes.”
Upon arriving at the studio, the musicians began working from lead sheets. “Then the singer showed up. Van Morrison didn’t speak to us, and we didn’t speak to him. We just started playing through the charts. That’s how the album came together,” Davis explained.
The Life of a Session Musician
At the time of the Astral Weeks sessions, Davis was actively engaged in a wide range of musical work, balancing his creative projects with frequent studio engagements. “I was in the studios every day, doing jingles, recording sessions, broadcasts – you name it,” he stated. His schedule also included a regular Monday night performance at the renowned Village Vanguard with the Thad Jones/Mel Lewis Orchestra.
Mel Lewis, in his biography, The View From the Back of the Band, reflected on the diverse styles studio musicians of that era were expected to master. He recalled shared experiences with Davis: “Richard and I spent days together. We’d start with a Dixieland jingle, go on to a Jimmy Dean country date, and wind up playing something far out – from one extreme to the other.”
Davis’s Improvised Brilliance on Display
Davis brought his jazz sensibilities to Morrison’s material, transforming simpler folk melodies into inventive jazz explorations. The track “The Way Young Lovers Do” serves as a notable example. The song opens with a guitar and vibes introduction in a distinctive 6/4 meter. Davis’s entry eschews a conventional waltz bassline, immediately introducing a complex 4-against-3 rhythmic pattern. His playing throughout bars 5-8 features a variety of rhythmic nuances and harmonic subtleties.
Analysis of the recording reveals Davis’s sophisticated approach. For instance, at approximately 00:25, he employs a high F note to create harmonic tension, suggesting an E79 chord. Later, around 01:16, he utilizes the A harmonic minor scale over an E7 chord, building anticipation before resolving back to A minor at 01:19. During the trombone solo at 01:44, Davis initially provides a restrained bassline, but by 01:52, he ascends to higher registers, contributing to the solo section’s dramatic climax. Morrison’s vocals re-enter at 02:08, and Davis and the band conclude the track with a smooth final chorus.
Legacy of an Influential Album
Despite its eventual acclaim, Astral Weeks did not initially chart upon its release in 1968. Decades later, the album’s tracks have attained iconic status among folk-rock enthusiasts.
Davis offered valuable counsel to aspiring bassists: “I suggest they learn everything – what they’re comfortable playing and what they’re not. Learn everything to the note. Everything becomes part of your musical makeup.”
Richard Davis passed away on September 6, 2023, at the age of 93.
