Daily Dose Of Jazz…

Don Thompson: The Triple-Threat Canadian Who Could Do It All
What if you could sit down at the piano, pick up a bass, or grab the vibes and master all three at the highest professional level? That’s not a hypothetical. That’s Don Thompson’s reality.

A Vancouver Beginning
Born Donald Winston Thompson on January 18, 1940, in Powell River, British Columbia, he was already gigging around Vancouver by age 20, freelancing primarily on bass but always ready to switch instruments as the music demanded. He led his own groups, played with the city’s top jazz ensembles, and became a familiar face and sound on Canadian radio and television. The kid from Powell River was going places.

The Call to San Francisco
Then came 1965 and the opportunity that changed everything: saxophonist John Handy’s acclaimed quintet needed a bassist, which meant relocating to San Francisco. Thompson toured extensively across the United States, recorded two Columbia Records albums with Handy, and suddenly found himself crossing paths with heavyweight players like trombonist Frank Rosolino, trumpeter Maynard Ferguson, pianist Denny Zeitlin, and keyboardist George Duke. The West Coast jazz scene was thriving, and Thompson was right in the middle of it.

Toronto and the Boss Brass
By 1967, Thompson had relocated to Toronto, and in 1969 he joined Rob McConnell’s legendary Boss Brass, first as percussionist, then bassist, then pianist over the course of six years. Talk about job security through sheer versatility! The 1970s also brought him into saxophonist Moe Koffman’s orbit, where he contributed not just bass and piano but also sophisticated arrangements and original compositions. Thompson wasn’t just a hired gun; he was a complete musician.

A Passport Full of Jazz History
Thompson’s travel documents tell their own story: European and Japanese tours with the elegant guitarist Jim Hall, countless nights as part of Toronto’s famed Bourbon Street Jazz Club “house rhythm section” (backing whoever came through town), and collaborations with an almost absurd roster of legends Paul Desmond, Art Farmer, James Moody, Zoot Sims, Clark Terry, Harry “Sweets” Edison, Slide Hampton, Abbey Lincoln, Sarah Vaughan, Sheila Jordan, Joe Henderson, Dewey Redman… and the list keeps going.

Each collaboration revealed a different side of Thompson’s musical personality. Need a supportive, swinging bassist? He’s got you. Want intricate harmonic accompaniment at the piano? No problem. Looking for shimmering vibraphone colors? Done. The man could do it all, and do it with taste, intelligence, and deep listening.

Recognition and Continuation
Awards have piled up over the decades, albums as both leader and sideman fill the discography, and Thompson has earned recognition as one of Canada’s most important jazz musicians. But accolades haven’t slowed him down, today he continues doing what he’s always done: freelancing, teaching the next generation, playing with the band JMOG, and leading his own quartet when the mood strikes.

The Ultimate Team Player
Three instruments. Countless collaborations across six decades. One remarkable career that proves sometimes the best musicians are the ones who refuse to be limited by a single chair on the bandstand.

Don Thompson never became a household name, and he probably wouldn’t want to be one. But ask any serious jazz musician who’s played in Canada or toured through Toronto, and they’ll tell you: when Don Thompson walks into the room, whether he’s heading for the piano, the bass, or the vibes, you know you’re about to make some beautiful music.

That’s a legacy worth celebrating.

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