Virtuoso double-bassist François Rabbath tells of a moment with an airline agent on the way home from performing in Australia. Could he check his instrument? The agent phoned her manager and Rabbath overheard him say, "One bass is OK, but not two."
Unfamiliarity is one problem plaguing the instrument Rabbath fell in love with 70 years ago. Others include ungainliness (some have called it a "pachyderm"), a fingerboard that stretches from here to eternity, the physical strength it takes to play, and the fact that few composers have written for it. ("We hate Bottesini," says Sylvain Rabbath, François' son and accompanist on piano, of the 19th-century exception to the general rule.)
Yet in Rabbath's embrace, the double bass sings as it never has in its 500-year history. Entirely self-taught, without ever learning the "right" way to play, he set it free. His importance to the double bass has been compared to Paganini's to the violin.
The Rabbaths, pére et fils, will give a concert Thursday at the History Theatre in St. Paul. If you go, notice the end pin on his instrument — the pointy thing it stands on. On most basses, the end pin is straight up and down. Rabbath's slants backward.
"It changes the center of gravity of the bass," explained esteemed jazz bassist Rufus Reid, who considers Rabbath one of his greatest teachers. "Your body is more relaxed, and pretty much in the same position whether you're playing way up in the upper register or down low. The playground — the fingerboard — is much more accessible. François plays all over the bass effortlessly."
Learning to 'pull the string'
Born in Aleppo, Syria, in 1931, Rabbath moved to Beirut with his family when his father lost his job. He took up the bass at age 13 so he could join a band with his brothers that brought in money. His sole instruction: "Pull the string in time."
He saw a bass method book in a shop window, stole it, and toiled his way through it. The book was written in French, which he didn't yet speak. Nor could he yet read music.
At 24, Rabbath, by then a highly accomplished if wholly unorthodox artist of the double bass, went to France with plans to attend the Paris Conservatory. He got in, but he couldn't afford the lessons (which he paid for in tobacco), and he found the professor's fingerings old-fashioned. So he went to work for people like Charles Aznavour, Jacques Brel, Édith Piaf and Michel Legrand.