10 bassists who made prog history

If there is a genre in which the Bass is particularly valued, that is the prog. Progressive rock, metal, psychedelic, Canterbury, space and so on: we are talking about a genre which, in all its forms, requires skill and versatility out of the ordinary for any musician who wants to delve into this universe. And this applies, of course, to bass players too.

Now. The rankings are ruthless and someone (equally) important and talented is always inevitably left out. It is a very arbitrary game and should be interpreted as such. Therefore, trying to draw up a list of bass players who have left a mark on prog – not only in terms of pure technical virtuosity, but also of influence and historical significance – the first ten names to mention could be these.

10) Pete Trewavas

A band that profoundly influenced the course of prog in the 1980s? THE Marillion. Since “Script for a jester’s tear” in 1983, they have revitalized the genre also thanks to the foundations and precision of Trewavas. Not to mention what he did, more recently, with the supergroup Transatlantic (i.e. with Neal Morse, Mike Portnoy and Roine Stolt, so to speak). He totally deserves a place in the rankings.

9) Richard Sinclair

Ah, how wonderful Canterbury jazz-prog is. That fluid and melodic, almost “singable” bass. Sinclair’s lines do not accompany: they walk. On tiptoe. As in “Golf girl” with i Caravan or in “Spirit of the water” with i Camels. A dreamy mix between jazz and folk: gorgeous.

8) John Myung

It is with this gentleman here that the bass in prog metal reached very high levels of complexity (and speed). Monstrous technique, neoclassical phrasing and virtuosic tapping. It really set new standards. And i Dream Theater they thank.

7) Colin Edwin

When it comes to Porcupine TreeSteven Wilson’s genius tends to eclipse the other members of the band. Unfairly, because the contribution of Edwin on bass – but also Gavin Harrison on drums, Richard Barbieri on piano etc. – was fundamental in the group’s golden years. “Russia on ice” is a good example of his evolution as a musician; “Sever”, “Mesmer I” and “Tinto Brass” express his jazz soul; “Strip the soul”, “Nil recurring” and “Circle of manias” his ability to disturb. Porcupine’s secret weapon.

6) Ray Shulman

THE Gentle Giant they are known for their creative madness. Vocal counterpoints and instruments that intertwine, instruments that are changed throughout the performance to build even more complex and unpredictable compositions… Well: without Ray Shulman, very little of the ensemble’s excellent work would have been possible. Shulman knew how to calibrate the extremes, between imaginative exuberance and discreet elegance. It’s no surprise that so many new prog pillars – Haken, Echolyn, Cardiacs, Wobbler – drew inspiration from him and Gentle Giant in general.

5) Mike Rutherford

If the sound of Genesis it is so recognisable, solid and eternal, the credit also goes to Mike Rutherford. He alternated bass with 12-string guitar and Moog Taurus pedal lines in a more orchestral than solo approach. Then, however, there are pieces like “The return of the giant hogweed” and “Watcher of the skies” where his contribution is not only architectural, but alive and breathing. If, despite the various lineup changes, Genesis have never done without him, there must be a reason.

4) Greg Lake

A pioneer. Capable of transitioning from the most aggressive and distorted lines of King Crimson (what timeless masterpiece is “21st century schizoid man”?) to the more symphonic and melodic approach in the trio Emerson, Lake & Palmeroften in dialogue with Emerson’s Moog. No virtuosity: just emotion. And authority. A mosaic of rock, baroque and romanticism not to be forgotten.

3) Geddy Lee

A good example of a “student” who was able to emulate the master (who would then be the next name on our list). The multi-instrumentalist of Rush he is a force of nature: bassist, singer and keyboard player. His lines are full of melodic outbursts and syncopations, often in odd time signatures. His touch, a mixture of firm pizzicato and plectrum, has a very specific identity. Fundamental glue in the band’s music.

2) Chris Squire

The prog bassist par excellence. With them Yes he played the bass as if it were a lead guitar, intertwining with Jon Anderson’s voice and Rick Wakeman’s keyboards. He used a lot of counterpoint, arpeggios and harmonics, creating independent lines to expand the harmonic texture of the group. Without him, probably others on this list (and beyond) would not have developed their style in the same way.

1) Tony Levin

Who does David Gilmour call into the studio to record “A momentary lapse of reason”, Pink Floyd’s new album in the post-Waters era? He who he redefined the role of the bass in the program In his arsenal you can find an infinite range of tools, starting with the Chapman Stick, of which he was one of the pioneers. He played with everyone (literally): James Taylor, Peter Gabriel, King Crimson, Liquid Tension Experiment, John Lennon, Dire Straits, Alice Cooper, David Bowie. Also Ivano Fossati and Claudio Baglioni. Anyone who has never seen him at work with the Stick Men doesn’t know what they’re missing.

Honorable Mention: Roger Waters. Limiting Pink Floyd to the “prog” label is a cardinal sin. And Waters “isn’t even Pink Floyd’s best bassist,” some would say. But not even mentioning him would mean doing a disservice to a genius who, with his bass in his arms, wrote so many masterpieces.