JazzTimes‘ Christopher Porter, amusingly, conducted his interview with bass legend, Keter Betts, at Silver Spring, Maryland‘s humble 9-hole Sligo Creek Golf Course due to its proximity to both Betts’ home and JazzTimes‘ editorial office. .From Porter’s 2002 JazzTimes piece, I learned that —
- Ray Brown, another jazz bass giant, was Betts’ frequent golfing buddy;
- Renowned bassist, Milt Hinton, had convinced Betts as a teen to switch from the drums to the upright bass;
- King recording artist, Earl Bostic, gave Betts his “first huge gig” when the bandleader hired him away from saxophonist Rick Henderson following a performance at Washington, DC’s Club Bali.
Photo: Discogs
Hinton initially met Betts in 1946 backstage in New York City after a Cab Calloway show, where the younger musician had hoped, unsuccessfully, to meet Calloway’s impressive new drummer (and future King session musician), David “Panama” Francis. .Years later, Betts recounted the humorous exchange for Christopher Porter: .“We were on a cruise one time, and I said, ‘Panama, it’s because I came to meet you, and I didn’t meet you, and I met [Hinton] that I switched to bass.’ .And he said, ‘I’m glad you didn’t meet me.’”
As I would learn from Edward Ordman in his piece for The Christian Science Monitor, “How a Famous Musician Learned a New Tune,” Betts was not only Ella Fitzgerald‘s longtime bassist and musician of choice for many top names in jazz but also a great music educator and humanitarian who shared his art with students in the DC area, doing as many as 100 performances in a year through various programs, including Washington Performing Arts Society’s Concerts in Schools and Prince George’s County Arts Alive. Betts also initiated a program with the Wolf Trap Foundation for the Performing Arts of special performances at Wolf Trap for preschool students in the Head Start program.
According to his Kennedy Center bio, Betts has served as the musical coordinator for jazz programming at Black Entertainment Television and also as a music lecturer at Howard University. A member of the Smithsonian Jazz Masterworks Big Band, Betts was inducted into the Washington Area Music Association Hall of Fame in 1994 and received the Living Legacy Jazz Award from the Mid-Atlantic Arts Foundation in 2003. A recipient of the Benny Golson Jazz Master Award, Betts was also a bandleader and composer, whose most notable composition – in the eyes of the National Visionary Leadership Project – was “Pinky’s Waltz,” in memory of his wife, Mildred Grady Betts.
Betts was also an avid photographer, whose images of musicians and figures in DC’s jazz scene of the 1950s and 60s were shown retrospectively at the Silver Spring Civic Building in 2015, thanks to help from Keter’s daughter, Jennifer Betts.
Zero to 180’s recording chronology of Betts (below) reveals that the beloved bassist had been an active artist until the very end, having recorded a golf-themed album with James Brown alumnus, Fred Wesley, just two months before his passing.
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Keter Betts
Recording Chronology
click on song titles for streaming audio
Photo: The Kennedy Center
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Earl Bostic & His Orchestra
May 28, 1949
Notes: Betts played bass with Earl Bostic’s large ensemble on this Henry Glover-produced NYC session for King Records — four songs that have to be among his earliest performances on record:
- “Nay! Nay! Go ‘Way!“
- “Filibuster” (unissued take)
- “Who Snuck the Wine in the Gravy“
- “Earl’s Blues“
10-inch single
A-side by Henry Glover
Earl Bostic & His Orchestra
August 2, 1949
Notes: Betts’ next recording session with Bostic – this time at King’s Cincinnati studio – yielded four songs:
- “Sugar Hill Blues“
- “Choppin’ It Down“
- “Filibuster“
- “No Name Blues“
“Henry Bernard“
pseudonym for Henry Glover
Earl Bostic & His Orchestra
March 23, 1950
Notes: This Henry Glover-supervised NYC session (with Al Casey on guitar) produced four songs:
10-inch single
Earl Bostic & His Orchestra
October 13, 1950
Notes: Another New York City session for Earl Bostic (with future King A&R producer, Gene Redd, on vibraphone) netted four tracks:
- “Way Down“
- “Don’t You Do It“
- “Merry Widow“
- “Wrap It Up“
Parlophone EP
Earl Bostic & His Orchestra
January 10 & January 23, 1951
Notes: Betts’ final sessions for Bostic (with Jimmy Cobb on drums & Rene Hall on guitar) included two big sellers for the bandleader, “Flamingo” (one of 1951’s top R&B hits) and “Sleep“:
- “Flamingo“
- “Sleep“
- “Rockin’ and Reelin’“
- “September Song“
- “I Can’t Give You Anything But Love“;
- “Always“
- “I’m Getting Sentimental Over You“
- “How Could It Have Been You and I“
10-inch single
Dinah Washington
Sept. 24, 1951
Notes: Both songs were recorded in New York City on September 24, 1951 and released as a 78. According to 78RPM contributor, xiphophilos, “the uncredited orchestra is Nook Shrier Orchestra: . Paul Quinichette (tenor saxophone); Wynton Kelly (piano); Freddie Green (guitar); Keter Betts (bass); Jimmy Cobb or Gus Johnson (drums); Dinah Washington (vocals); unidentified brass; Nook Shrier (conductor).”
10-inch single
Earl Bostic & His Orchestra
April 7, 1952
Caution: Vogue’s claim that Betts played bass on an Earl Bostic session that included a young John “Coltraine” directly conflicts with the King recording session information compiled by Michel Ruppli, who says that Ike Isaacs played bass on “Moonglow,” as well as “Velvet Sunset“; “Linger Awhile“; and “Ain’t Misbehavin’.” Note that the musician credits on some European 78s mistakenly assert bassist Ike Isaacs to be the drummer (!) rather than Charles “Specs” Wright — click here to review musician lineup for the “Moonglow” recording session.
10-inch single
Arnett Cobb And His Mob Featuring Dinah Washington
1952
Arnett Cobb And His Mob In Concert Featuring Dinah Washington
Notes: Betts is part of a trio — with Jimmy Cobb (drums) and Johnny Acea (piano) — who accompanies Dinah Washington on seven tracks that do not include Cobb, interestingly, or any of his mob. Recorded live in New York City, June 27, 1952 but only released in 2000:
- “It’s Too Soon to Know“
- “Only a Moment Ago“
- “Make Believe Dreams“
- “Journey’s End“
- “Dinah Speaks“
- “It’s Magic“
- “I Got It Bad“
2000 LP
Dinah Washington
1954
Notes: Four songs recorded June 15, 1954 in a single NYC session by vocalist, Washington, who enjoyed support from “Keeter Bettis” (per the rear cover, in a series of misspellings), along with “Julian” Mance (piano), Ed “Thippen” (drums), Candido (bongos), Clark Terry (trumpet), Gus Chappell (trombone), Rickie Henderson (alto sax), and Eddie ‘Lockjaw‘ Davis (tenor sax):
10-inch LP
Clifford Brown, Maynard Ferguson, Clark Terry, Max Roach, Keter Betts, Junior Mance & Co.
1954
Notes: LP consists of four tracks, with Dinah Washington giving the lone vocal performance on “Darn That Dream.” Two of the tracks – “What Is This Thing Called Love?‘ and “Move” – recorded live in Los Angeles on August 14, 1954 – were both released as “extended” 45s. Bass parts on this album are shared by Keter Betts and George Morrow, with support from Max Roach (drums), Herb Geller (alto sax), Harold Land (tenor sax), Junior Mance & Richie Powell (piano), and Clifford Brown, Maynard Ferguson & Clark Terry (all on trumpet).
1954 LP
45 picture sleeve
Dinah Washington
1955
Notes: Keter Betts and George Morrow (bass) team up with Max Roach (drums), Junior Mance & Richie Powell (piano), Clark Terry, Clifford Brown & Maynard Ferguson (trumpet), Harold Lund (tenor sax) & Herb Geller (alto sax) on a live performance album that was recorded [like the Jam Session LP above] August 14, 1954 in Los Angeles. Cash Box‘s January 29, 1955 album review was unqualified in its praise: “You just can’t beat Dinah Washington. She’s definitely one of jazzdom’s top songstresses and the queen of the blues. When Dinah sings, she sings from the toes”:
1955 LP
Dinah Washington
1955
Notes: Arranged by Quincy Jones (“the young ex-Hampton trumpeter”) with musical backing from Betts, along with Jimmy Cobb (drums), Wynton Kelly (piano), Barry Galbraith (guitar), Clark Terry (trumpet), Jimmy Cleveland (trombone), Paul Quinichette (tenor sax), and Cecil Payne (baritone sax). Notes on the rear sleeve indicate that “several of the sides were recorded at an all-night session that began at midnight ended at around 7:30 am”:
- “I Get a Kick Out of You“
- “Easy Living“
- “This Can’t Be Love“
- “My Old Flame“
- “I Could Write A Book“
- “Make the Man Love Me“
1955 LP
Dinah Washington
1956
Notes: Vocalist Dinah Washington is accompanied by bassist Betts, with support from Jimmy Cobb (drums), Wynton Kelly (piano), Herb Geller (alto sax), and George Auld (tenor sax) on a collection of songs arranged and conducted by Mercury A&R recording director, Harold Mooney:
- “Look to the Rainbow“
- “Cottage for Sale“
- “There’ll Be Some Changes Made“
- “Make Me a Present of You“
- “I Could Have Told You“
- “Accent On Youth“
1956 LP
J.J. Johnson, Howard McGhee, Oscar Pettiford, Keter Betts, Rudy Williams & Charlie Rice
1956
Notes: Recorded in concert on Guam — musical personnel includes “Ketter” Betts (LP cover, below) on guitar and Oscar Pettiford on bass, along with J.J. Johnson (trombone) and Howard McGhee (trumpet).
1956 LP
Julian ‘Cannonball’ Adderley
1956
Notes: Recorded June 8, 16 & 18, 1956 in New York City, with accompaniment by bassist Betts, along with Charlie “Specs” Wright (drums), Nat Adderley (cornet), Jerome Richardson (tenor sax & flute), Bobby Byrne & Jimmy Cleveland (trombone), Ernie Royal (trumpet) & Danny Bank (baritone sax):
- “Dog My Cats“
- “Blues for Bohemia“
- “Junior’s Tune“
- “Casa De Marcel“
- “Little Girl Blue“
- “I Don’t Care“
1956 LP
Charlie Byrd
1957
Notes: A trio of musicians — Charlie Byrd (guitar), Keter Betts (bass), Gus Johnson (drums) — recorded by Rudy Van Gelder at Van Gelder Studio in Hackensack, NJ:
1957 LP
Charlie Byrd
Nov. 1958
Notes: Recorded “in the Washington YMCA” by the Edgewood Recording Studio, with Byrd backed by bassist Betts on ten of the twelve tracks, with additional support from Bertell Knox & Eddie Phyfe (drums), Charlie Schneer & T. Carson (piano), Buck Hill (tenor sax), and Bobby Felder (valve trombone), plus liner notes by Paul Sampson, jazz columnist for The Washington Post and Times Herald newspapers — includes “Conversation Piece,” co-written by Betts, who plays cello:
1958 LP
Charlie Byrd
1959
Byrd in the Wind (Jazz at the Showboat Volume 2)
Notes: Billed as “Charlie Byrd, unamplified guitar, with his Showboat Trio and members of the National Symphony Winds” — includes support from Betts, along with Bertell Knox (drums), Charles Schneer (piano), Buck Hill (tenor sax), Wallace Mann (flute), Richard White (oboe) & Kenneth Pasmanick (bassoon), plus liner notes by WMAL’s Felix Grant:
1959 LP
Woody Herman Sextet
1959
Notes: Woody Herman (clarinet/alto sax) is backed by Betts, along with Charlie Byrd (guitar), Eddie Costa (piano), Nat Adderley (trumpet), and Jimmy Campbell (drums):
- “Black Nightgown“
- “Pea Soup“
- “Moten Swing“
- “The Swingin’ Shepherd Blues“
- “The Deacon And The Elder“
- “The Late Late Show“
1959 LP
US
Nat Adderley
1960
Notes: This album was recorded January 25 & 27, 1960 in New York City, with support from Betts, Percy Heath & Sam Jones (bass), along with Wes Montgomery (guitar), Bobby Timmons (piano) — Betts plays cello on “My Heart Stood Still” and also bass on three tracks:
- “Pretty Memory“
- “Fallout“
- “Work Song”
1960 LP
Sam Jones
1960
Notes: Jones and Betts share bass duties on this album, which was recorded March 8 & 10, 1960 in New York City, and kicks off with the Keter Betts composition, “Some Kinda Mean” (a song covered that same year by James Clay and David “Fathead” Newman on their Sounds of the Wide Open Spaces!!!! album) — excerpt from Down Beat‘s September 1, 1960 review: “Although the boss man is a bassist, Betts is unintimidated. He does not cut Jones anywhere, but he is more than an adequate performer, and his solo on ‘Mean’ really is.”
Betts also appears on these three tracks:
1960 LP
Dick Morgan
1960
Notes: Pianist Dick Morgan recorded a “live” trio album May 4, 1960 at The Showboat in Washington, DC, with backing from bassist Betts and drummer, Bertell Knox — LP produced by Julian “Cannonball” Adderley, with liner notes written by Riverside’s Orrin Keepnews:
1960 LP
Dick Morgan Trio
1960
Notes: Recorded October 31, 1960 at Plaza Sound Studios on the eighth floor of Radio City Music Hall (originally built by NBC as a rehearsal space for Arturo Toscanini and his NBC symphony orchestra in the 1930’s) — pianist Morgan is again backed by bassist Betts (who took photos used on the rear sleeve) and drummer, Bertell Knox, on an album produced by Orrin Keepnews:
1960 LP
Charlie Byrd Trio – with Keter Betts & Bertell Knox
1960
Notes: Tom Scanlan‘s liner notes characterize Betts as “a musician’s musician”:
1960 LP
Charlie Byrd Trio – with Keter Betts & Buddy Deppenschmidt
1960
Charlie’s Choice (Jazz at the Showboat Volume 4)
Notes: This album, according to Willis Conover (who wrote the liner notes and was once a guest on TV’s To Tell The Truth), was “programmed for the Voice of America” radio network — excerpt from Down Beat‘s April 27, 1961 review: “Betts plays extremely well in the Byrd context, whether soloing – he has a little solo on his own ‘Harmonics’ – or accompanying the guitarist. He does not merely back Byrd but becomes like another hand, or in this case, another finger”:
- “Taking A Chance On Love“
- “Speak Low“
- “Nice Work If You Can Get It“
- “Ring Them Harmonics” (Keter Betts composition)
1960 LP
Sam Jones Plus 10
1961
Notes: Cellist/bassist Jones is accompanied by Betts (bass), as well as Louis Hayes (drums), Blue Mitchell (trumpet), Nat Adderley (cornet), Melba Liston (trombone), Les Spann (guitar), Wynton Kelly (piano), Victor Feldman (piano/vibes), Jimmy Heath (tenor sax), and Tate Houston (baritone sax) on eight tracks that were recorded January 13 & 26, 1961 in New York City — Betts can be heard on these four tracks:
1961 LP
Charlie Byrd
1961
Notes: This live trio album (with Keter Betts on bass and Buddy Deppenschmidt on drums) was recorded January 15, 1961 in New York City, and released in the UK under the title, Whose Side Are You On? — liner notes by Village Vanguard founder, Max Gordon:
1961 LP
Charlie Byrd
1962
Notes: Byrd recorded this album October 23/24, 1961 in New York City, with bassist Betts, drummer, Buddy Deppenschmidt, and pianist, Barry Harris — side one is the “Blues Sonata” in three parts:
1962 LP
Stan Getz & Charlie Byrd
1962
Notes: Recorded February 13, 1962 in Pierce Hall, All Souls Unitarian Church, Washington DC, this album, set off an international bossa nova craze that was originally inspired by a US State Department tour stop in Brazil the previous year. Drummer Buddy Deppenschmidt asserts that it was he and bassist Betts who had to persuade Byrd of the Brazilian music’s viability, as noted by JazzTimes‘ David R. Adler in a 2021 piece published shortly after the drummer’s passing. A Brazilian-inspired “double drummer” approach is used (Deppenschmidt with Bill Reichenbach) on this Creed Taylor-produced album.
- “Desafinado“
- “O Pato“
- “Samba De Uma Nota So“
- “Bahia“
1962 LP
Charlie Byrd
1962
Notes: The Charlie Byrd Trio (i.e., Keter Betts and Bill Reichenbach) is supplemented by Willie Rodriguez (percussion), Charlie Hampton (flute & alto sax), Earl Swope (trombone) & the Walter Raim Strings — contains the hit “Meditation“:
- “Yvone“
- “Un Abraco Do Bonfa (Salute a (Salute to Bonfa)”
- “Hô-Bá-Lá-Lá“
- “O Passaro (The Bird)“
1962 LP
Herb Ellis & The Charlie Byrd Trio
c. early 1960s
Notes: A UK CD compilation of four radio programs that were used to promote US Navy recruiting between 1957 and 1970. The presence of several bossa nova songs and Toots Thielemans’ “Bluesette” suggests early 1960s recording dates.
2009 CD
Donal(d) Leace & Carol Hedin
1962
Notes: This live recording captures a Sunday afternoon performance – September 16, 1962 – at The Shadows restaurant (later, DC’s famed Cellar Door) in Georgetown. Donal Leace — “Washington’s favorite folk singer” (whose given name was either “Anglicized” as Donald or, as long-time Washington Post music writer, Richard Harrington, tells Zero to 180, “a Post typesetter left the ‘d‘ off a Cellar Door ad and he liked it”) — and Carol Hedin each get an entire album side, both backed by bassist Betts. Ten years later, Leace would record an album for Atlantic backed by Keith Jarrett, among others:
LP back cover
Allen Damron
1963
Notes: Damron is backed by Keter Betts and Lee Johnson on this 45 released by DC indie label, Franc.
Charlie Byrd Trio & Guests
1963
Notes: Live album recorded May 9 & 10, 1963 at New York’s Village Gate, with Bill Reichenbach (drums), Seldon Powell (tenor sax), and Clark Terry (trumpet):
1963 LP
Bobby Timmons
1964
Notes: “Chun-King,” the album’s title track, was co-written by Bobby Timmons and Keter Betts and released as a single in 1964 prior to the 1965 album’s release.
Bobby Timmons with Johnny Lytle
1965
Notes: These five tracks — voiced by Bobby Timmons (piano), Johnny Lytle (vibraphone), Keter Betts (bass), William “Peppy” Hinnant — were recorded October 21, 1964 by Rudy Van Gelder at Van Gelder Studio:
- “Lela“
- “Trick Hips“
- “Bags’ Groove“
1965 LP
Helen Merrill
1965
Notes: Keter Betts and Teddy Kotick share bass duties for vocalist, Helen Merrill, who also receives support from Dave Bailey & Osie Johnson (drums), Charlie Byrd & Jimmy Raney (guitar), Hal McKusick (flute), and Jimmy Giuffre (clarinet).
Ella Fitzgerald — Ella in Hamburg — 1965
Notes: Fitzgerald, with support from the Tommy Flanagan Trio (including Keter Betts), recorded this album March 26, 1965 at Hamburg’s Musikhalle:
1965 LP
Stan Getz & João Gilberto
1966
Notes: Betts plays on side two (the “João Gilberto side”) of this live album recorded October 9, 1964 at Carnegie Hall, along with drummer, Hélcio Milito:
1966 LP
Tommy Gwaltney, Steve Jordan, Keter Betts & John Philips
1966
Notes: Recorded in two sessions, one late 1965 and the other in early 1966 with Tommy Gwaltney (clarinet & vibes), Steve Jordan (guitar & vocal), Keter Betts (bass), and John Philips (piano). This album was recorded by Blues Alley owner, Gwaltney, around the launch of DC’s famous jazz and blues venue. A couple of tracks were done before a “live” audience, but most were done during the afternoon when the Georgetown club was closed:
- “King City Stomp“
- “Cuban Episode“
- “SHHHHhhhhhhhh!“
- “Keter’s Blues“
1966 LP
Jimmy McPartland & His All-Stars
c. 1966
Notes: According to Discogs, these tracks were probably recorded at the first Manassas Jazz Festival in 1966, though it is unclear in the liner notes when it was recorded. Betts is part of a backing ensemble that includes Tommy Gwaltney (reeds), Steve Jordan (guitar), “Slide” Harris (trombone), and Jake Hanna (drums) among others. Marian McPartland starts “When The Saints Go Marching In” and gives way to Bob Greene, who is then replaced by Cliff Jackson:
- “Muskrat Ramble“
- “Tin Roof Blues“
- “I’m Gonna Sit Right Down And Write Myself A Letter“
- “I Ain’t Gonna Give Nobody None Of My Jelly Roll“
c. 1966 LP
Will Bill Davison
1966
Notes: Recorded on Sunday afternoon in late September 1966 at Osbourne High School auditorium in Manassas, with musical backing from bassist Betts, along with Bertell Knox (drums), Tommy Gwaltney (clarinet), “Slide” Harris (trombone), John Eaton (piano), and Steve Jordan (guitar).
1966 LP
Mt. Holyoke College’s Dept. of Education
1966
Music for Synchronized Swimming
Notes: Music written by pianist Evelyn Lohoefer De Boeck, with support from Keter Betts (bass) and Bertell Knox (drums). Rhythmic swimming routines, creative swimming studies — each track is a locked groove.
1966 LP
Donna Drake
1968
Notes: Vocalist Drake is backed by bassist Betts, along with Wynton Kelly (piano) and Jimmy Cobb (drums):
1968 LP
Ella Fitzgerald – with the Fraser McPherson Big Band & Tee Carson Trio
1968
Live From the Cave Supper Club – Vancouver – May 19, 1968
Notes: Live performance that includes big band arrangements, as well as six selections with Ella backed by Tee Carson (pianist), Keter Betts (bass), and Joe Harris (drums):
1999 CD
Ella Fitzgerald
1968
Live at Chautauqua, Volume 1 [July 11, 1968]
Notes: Fitzgerald recorded live on July 11, 1968 at the Chautauqua Institution Amphitheater, NY backed by Keter Betts along with Tee Carson (piano) and Joe Harris (drums) — includes “For Once In My Life.”
2015 CD
Ella Fitzgerald
1972
Notes: This album, arranged and conducted by Nelson Riddle, was recorded at Hollywood’s MGM Recording Studios, with musical support from Keter Betts, along with Ed Thigpen (drums), Tommy Flanagan (piano), Victor Feldman (vibes), and Count Basey alumnus, Harry Edison (trumpet), plus liner notes by producer, Norman Granz:
1972 LP
Ella Fitzgerald
1973
Newport Jazz Festival Live at Carnegie Hall
Notes: Betts is part of The Jazz at Carnegie All-Stars (side 3), who back Ella on the medley “Can’t Get Started”/”The Young Man With the Horn”/”‘Round Midnight”; “Star Dust” & “C Jam Blues” — album produced by John Hammond and Teo Macero.
1973 LP
Ella Fitzgerald
1974
Notes: Album recorded April 11, 1974 at Ronnie Scott’s, with accompaniment by bassist Betts, along with Joe Pass (guitar), Tommy Flanagan (piano) and Bobby Durham (drums) — produced by Norman Granz, with liner notes by BBC2’s Benny Green.
LINK to BBC film:
“Ella Fitzgerald at Ronnie Scott’s“
Ella Fitzgerald
1975
Notes: Recorded July 17, 1975 with Fitzgerald backed by bassist Betts, along with Tommy Flanagan and Bobby Dunham — produced by Norman Granz, with liner notes by Benny Green.
- “Wave“
1975 LP
Keter Betts, Benny Carter, Zoot Sims, Roy Eldridge, Clark Terry, Joe Pass & Tommy Flanagan
1975
JATP (Jazz at the Philharmonic at the Montreux Jazz Festival)
Notes: Recorded at the Montreux Jazz Festival July 16th, 1975 — produced by Norman Granz, with liner notes by Benny Green.
1975 LP
Tommy Flanagan Trio
1975
The Tommy Flanagan Tokyo Recital
Notes: Recorded February 15 1975 in Tokyo — album produced by Norman Granz, with liner notes by Benny Green.
1975 LP
Eddie ‘Lockjaw’ Davis with The Tommy Flanagan Trio
1976
Notes: Tracks recorded May, 3, 1976 at RCA Studios in Los Angeles, with support from bassist Betts, along with Tommy Flanagan and Bobby Durham.
- “Wave“
1976 LP
Pug Horton
1976
Notes: Debut album from the Sheffield, England-born jazz/blues vocalist, who is backed by Keter Betts (bass), along with Jack Connor (drums), Don Ewell (piano), Jack Maheu (clarinet), Ernie Carson (cornet) & Mark Lamphier (trombone).
1976 LP
Tommy Flanagan 3 — Keter Betts & Bobby Durham
1977
Notes: Live performance recorded July 13, 1977 at the Montreux Jazz Festival — produced by Nomran Granz.
1977 LP
Ella Fitzgerald with the Tommy Flanagan 3
1977
Notes: Live performance recorded July 14, 1977 at Montreux — includes “Too Close For Comfort.”
1989 LP reissue
Tommy Flanagan
1978
Something Borrowed, Something Blue
Notes: Album recorded January 30, 1978 — all tracks recorded, mixed, and mastered at Fantasy Studios, with Flanagan joined by bassist Betts and Jimmie Smith on drums:
1978 LP
Waymon Reed
1979
Notes: Trumpeter Waymon Reed — who ten years earlier had co-written “You Got to Have a Job (If You Don’t Work, You Can’t Eat)” with James Brown as a duet for the bandleader and Marva Whitney — is backed by bassist Betts, along with Bobby Durham (drums), Tommy Flanagan (piano), and Jimmy Forest (sax) on an album recorded at NYC’s Sound Ideas Studios and mixed by Rudy Van Gelder. LP includes 8-page booklet that contains specially commissioned art/photography, transcribed solos, lead sheets, and discographies, along with notes from both the artist and critics.
1979 LP
The Super Jazz Trio
1979
Notes: Tommy Flanagan (piano), Reggie Workman (bass), and Joe Chambers (drums) comprise the Super Jazz Trio, whose first four albums were originally released in Japan. The 2009 European reissue* of their self-titled album (retitled Condado Beach), curiously, includes Keter Betts on five additional selections that were recorded November 3-5, 1977 in New York City:
- “Strictly Confidential“
- “Dance of the Infidels“
- “Bouncing With Bud“
- “I’ll Keep Loving You“
- “So Sorry, Please“
2009 CD reissue with bonus tracks
The Clayton Brothers
1979
Notes: Album includes the sole recording (possibly) of the Keter Betts composition, “Walkin’ Bass” (with its delightfully “drunken” passage around the 2:40 mark).
1979 LP
Ella Fitzgerald, Count Basie, Joe Pass & Niels-Henning Ørsted Pedersen
1979
Notes: Recorded July 12, 1979. Mountain Studios, Montreux, Switzerland — Betts plays on “(I Don’t Stand A) Ghost Of A Chance (With You)” and “Flying Home.”
1980 LP
Ella & Basie
1980
Notes: Recorded July 12, 1979 at Mountain Studio in Montreux, Switzerland, with bassist Betts accompanied by Mickey Roker (drums) and Freddie Green (guitar), along with a dozen or so horn players:
front & back covers
Count Basie & Orchestra
1980
Notes: Basie is accompanied by bassist Betts, along with Mickey Roker (drums) and Freddie Green (guitar), along with a dozen or so horn players — includes “Wind Machine.”
1980 LP
Ella Fitzgerald
1983
Notes: DVD (released in Europe in 2008) of a performance filmed live October 17, 1983 at Yoyogi National Stadium, Tokyo — bassist Betts is part of The Paul Smith Trio, who back Ella on the first eight selections.
2008 DVD
Pete Minger, Keter Betts, Bobby Durham, Dolph Castellano
1983
Notes: Album by the trumpeter/flugelhornist who played with Count Basie from 1970-1980.
1983 LP
Magpie – Terry Leonino & Greg Artzner
1986
Notes: Terry Leonino (vocals, dulcimer, mandolin, harmonica) and Greg Artzner (vocals, guitar) are backed by bassist Betts, along with Tim Eyermann (clarinet), Alan Sherwin (soprano sax), Dave Kane (piano), Ralph Gordon (cello), and Rico Petrucelli (electric bass).
1986 LP
Janice Harrington
1988
Yesterday Day Tomorrow – A Tribute to Dinah Washington
Notes: This album — recorded July 9, 1988 at Alantis Studio in Stockholm, Sweden, with bassist Betts and drummer Jimmy Cobb — was released 2009 in Germany. Album includes “Olé” – a recording dedicated posthumously to Keter Betts.
2009 CD
Louis Bellson – with Hank Jones, Keter Betts, Don Menza, Buddy Defranco & Conte Condoli
1990
Notes: Recorded April 30, 1989 at the 1989 International Jazz Festival, Berne, Switzerland — includes the Keter Betts composition “Head Start.”
1990 CD
Pete Minger Quartet
1991
Notes: Trumpeter/flugelhornist Minger recorded this album at Fort Lauderdale’s In-Roads Recording, with support from bassist Betts, along with Bobby Durham (drums) and Dolph Castellano (piano).
1991 CD
Sue Matthews
1991
Notes: Album jointly arranged by vocalist Sue Matthews, along with bassist, Keter Betts, and pianist, Stefan Scaggiari — audio link to the opening track, “Love Dance.”
1991 CD
Buddy DeFranco Quartet
1992
Notes: Clarinetist Buddy DeFranco is joined by bassist Betts, along with Jimmy Cobb (drums), Larry Novak (piano), and Joe Cohn (guitar) — album (liner notes by Ira Gitler) released and marketed only in Europe.
1992 CD
Chuck Brown & Eva Cassidy
1992
Notes: Album recorded at Chris Biondo‘s studio in Glendale, Maryland — Keter Betts plays on two tracks:
1992 CD
The Junior Mance Trio
1994
Notes: Recorded May 18, 1994 by Rudy Van Gelder at Van Gelder Studios in Englewood Cliffs, New Jersey, with Jackie Williams on drums — the album’s second selection, “Headstart,” was composed by Keter Betts.
1994 CD
Ron Holloway
1994
Notes: Betts is one of four bassists backing Holloway on this long-playing release that was distributed in the US and Europe.
1994 CD
The Louis Bellson Quintet
1995
Notes: These tracks were recorded in April of 1994 aboard The Sovereign of the Sea, with drummer/bandleader, Louis Bellson, backed by Keter Betts (bass), Bobby Shew (trumpet/flugelhorn), George Young (tenor sax), and Willie Pickens (piano) — album reissued/remastered 2018 in Japan.
1995 CD
Joey DeFrancesco
1995
Notes: Keter Betts plays on kick-off track “How Little We Know,” as well as “I Wish You Love.”
1995 CD
The Floating Jazz Festival Trio – Junior Mance, Keter Betts & Jackie Williams + Special Guest Benny Golson
1996
The Floating Jazz Festival Trio 1995
Notes: Recorded in November of 1995 aboard the S/S Norway in various parts of the Caribbean Sea:
1996 CD
The Floating Jazz Festival Trio – Junior Mance, Keter Betts & Jackie Williams with Joe Temperley
1996
Notes: Recorded October 26-29, 1996 aboard the S/S Norway during the 1996 Floating Jazz Festival.
1997 CD
King/Bluiett Trio
1997
Making’ Whoopee – Tribute to the Nat King Cole Trio
Notes: Hamiet Bluiett (baritone sax) backed by bassist Betts, along with Ed Cherry and Rodney Jones (guitar) — includes “Route 66.”
1997 CD
Monica Worth – with Larry Willis, Keter Betts, Jimmy Cobb & Rick Schmidt Strings
1997
Notes: Keter Bass contributed acoustic bass on this collection of songs recorded in April of 1997 at Mapleshade Studios in Upper Marlboro, Maryland.
2000 CD
Jay McShann Trio – with David “Fathead” Newman, Flip Phillips & Phil Woods
1997
Notes: The Jay McShann Trio (with bassist Betts and drummer Jackie Williams) is joined by David “Fathead” Newman & Flip Phillips (tenor sax), and Phil Woods (also sax) on a set that was recorded aboard the S/S Norway in the Caribbean Sea in late October of 1997:
2000 CD
Chuck Brown and the Second Chapter Band
1998
Notes: Keter Betts joins the Godfather of Go-Go on an album of standards, playing acoustic bass on five recordings, including opening track “Nature Boy” (where Chuck invites Betts to solo at the 2:30 mark):
1998 CD
Keter Betts
1998
Notes: On this first full-length recording as bandleader, Betts is accompanied by Dennis Mackrel (drums), Bill Charlap (piano), Steve Abshire (guitar), Jerry Weldon (tenor sax), and Pete Minger (trumpet) — recorded February 13, 1998 at Rockville, Maryland’s Omega Recording Studios:
1999 CD
Red Holloway Quintet with Special Guest, O.C. Smith
1998
Notes: Recorded live on the S/S Norway during the Floating Jazz Festival in late October of 1998, with tenor saxophonist, Red Holloway, enjoying the backing of bassist Betts, along with Paul Humphrey (drums), Junior Mance (piano), and Phil Upchurch (guitar):
- “Strike Up The Band“
- “Mr. Cleanhead’s Blues“
- “Bag’s Groove” (with O.C. Smith)
1999 CD
Sunny Sumter
1998
Notes: Mastered live to two-track analog tape at Mapleshade Studios in November & December of 1998 — no mixing board, filtering, compression, equalization, noise reduction, multitracking or overdubbing. Vocalist Sunny Sumter is backed by a rhythm section that includes Keter Betts and Jimmy Cobb.
1999 CD
Harold Ashby with Keter Betts, Jimmy Cobb & John Hicks
1998
Notes: The Duke Ellington alumnus recorded these tracks December 29/30, 1998 at Mapleshade Studios in Upper Marlboro, MD with backing from Keter Betts (bass), Jimmy Cobb (drums), and John Hicks (piano).
1999 CD
Keter Betts
1999
Bass, Buddies, Blues & Beauty Too
Notes: Album review by AllMusic‘s John Duffy —
Picking up where he left off with Bass, Buddies & Blues, Keter Betts offers his second solo date, Bass, Buddies, Blues & Beauty Too. The beauty in this case is Baltimore singer Ethel Ennis, who joins the band on two numbers; a curiously arranged, but fun ‘Summertime‘ and ‘He’s Funny That Way.’ There are only three band originals this time out (two by Betts and one from tenor sax man, Jerry Weldon), the standards are quite refreshing. ‘Sweet Georgia Brown‘ sports an arrangement that is pure funk and Milt Jacobson’s uptown tune, ‘The Rev,’ is one of Betts’ most concise and snappy solo numbers yet. Fans familiar with Betts’ many recordings and concerts with Ella Fitzgerald will no doubt get a kick out of hearing him work with another singer again and the relaxed atmosphere of this disc is made all the more appealing by the leader’s inspired, lyrical playing.
1999 CD
US
Claude “Fiddler” Williams
1999
Notes: The American jazz guitarist, violinist, singer, arranger and producer recorded this album direct to 2-track analog tape on April 26-27, 1999 at NYC’s Nola Recording Studio, with Keter Betts serving as the album’s director, as well as bassist — recorded for Rounder subsidiary, Bullseye Blues & Jazz, the CD kicks off with “The Preacher.”
2000 CD
US
Keter Betts & Friends
2000
Live at the East Coast Jazz Festival
Notes: Recorded live at the East Coast Jazz Festival – held in February of 2000 in Rockville, Maryland – with Dennis Mackrel (drums), Mike Jones (piano), Jerry Weldon (sax), Dave Steinmeyer (trombone), and Etta Jones (vocals on two numbers).
2000 CD
Benjie Porecki
2001
Notes: Keter Betts accompanies the keyboardist on five of the album’s tracks, including “Here’s to Life,” for which Chuck Brown contributes vocals — recorded at Rockville, MD’s Omega Recording Studios.
2001 CD
Keter Betts
2002
Pinky’s Waltz – Keter Betts Live at Montpelier!
Notes: Betts is recorded live at Montpelier Arts Center in Laurel, Maryland, accompanied by Bill Charlap (piano) and Dennis Mackrel (drums).
2002 CD
Bob Barnard & Jim Galloway
2003
Notes: Bob Barnard (cornet) and Jim Galloway (soprano, alto & baritone sax) are joined by Keter Betts (bass), Jackie Williams (drums), and Reg Schwager (guitar) in a live performance recorded at Toronto’s Montreal Bistro on September 27/28, 2002.
2003 CD
Patti Wicks
2003
Notes: Pianist/vocalist Patti Wicks is accompanied by bassist Betts and Joe LaBarbera on drums — audio link to the title track, “Love Locked Out.”
2003 CD
Maxine Sullivan, “Doc” Souchon, “Cliff” Jackson & Fat Cat
2003
Notes: Keter Betts backs Maxine Sullivan on “Surprise Party“; “If I Had a Ribbon Bow“; “I Thought About You“; “Loch Lomond“; and “I’m Comin’ Virginia.”
2003 CD
US
Fred Wesley & The Swing ‘n Jazz All-Stars
2006
It Don’t Mean a Thing If It Ain’t Got That Swing
Notes: Recorded live at the studios at Linden Oaks in Rochester, NY on June 6 & 7, 2005, just two months prior to Betts’ passing — album concludes with the Keter Betts composition, “Head Start.”
2006 CD
Keter Betts:
Live Performance Video
- Ella Fitzgerald & The Tommy Flanagan Trio — “Them There Eyes” — 1965
- Ella Fitzgerald & The Tee Carson Trio — In Concert = Berlin, Germany — 1968
- Ella Fitzgerald with Joe Pass, Tommy Flanagan, Keter Betts & Bobby Durham — Live at Ronnie Scott’s — 1974
Keter Betts:
Essential Reading
- “Byrd Lets Fly at Tour” — Down Beat — Aug. 3, 1961
Summary = Charlie Byrd, Ginny Byrd, Keter Betts, and Buddy Deppenschmidt debrief Down Beat fresh from their 12-week US Information Agency tour of South America that would sow the seeds for the following year’s world smash, Jazz Samba.
- “Keter Betts – Swinging Through Life and Nine” by Christopher Porter — JazzTimes — 2002 (updated Apr. 2019)
Excerpt = Before Betts hooked up with Washington, he had two important jobs. He played with saxophonist Carmen Leggio, often heading down to D.C. clubs for extended stays between 1947 and 1948. It was in D.C. that R&B saxophonist Earl Bostic first heard Betts, playing sideman to saxophonist Rick Henderson, and he hired the bassist in 1949. It was Betts’ first huge gig, and it allowed him to tour the United States several times, opening his eyes to the country.
- “How a Famous Musician Learned a New Tune” by Edward Ordman — Christian Science Monitor — Feb. 12, 2003
Excerpt = Keter went on playing for children in school systems throughout the Washington, D.C., area, doing as many as 100 performances a year in the schools. Then he worked with the Wolf Trap Foundation for the Performing Arts to start a program to bring preschool children in Head Start to special performances at Wolf Trap.
- “The Gospel According to Betts Was All About Joy” by Richard Harrington — Washington Post — Aug. 9, 2005
Excerpt = Bassist Keter Betts was elemental and essential, both to the sound of the city in which he had lived for more than fifty years and to those he played with — whether over several decades as Ella Fitzgerald’s most trusted and dependable accompanist or in the moments he graciously sat in with young talent at local jazz venues.
- “Landmark Album Recorded in a D.C. Church, Turns 50” by Chris Richards — Washington Post — Apr. 19, 2012
Summary = The only jazz album ever to reach number one on Billboard‘s pop charts – Charlie Byrd and Stan Getz’s Jazz Samba LP – was recorded at All Souls Church at the corner of 16th and Harvard Streets in Northwest DC.
ALSO = Listen to Keter Betts‘ own oral history –
8 tapes, all indexed & hyperlinked
@ The History Makers
Did You Know?
Keter Betts Trivia
- Keter Betts was part of the lineup for the fourth annual jazz festival at (former DC prison) Lorton Reformatory, as reported in the September 3, 1959 edition of Down Beat. The event, which also included Ella Fitzgerald, Oscar Peterson, Ray Brown, Ed Thigpen, Herb Ellis, Lou Levy, Wilfred Middlebrooks, Gus Johnson, Stuff Smith, Charlie Byrd, and Eddie Phyfe, was hosted by WMAL jazz disc jockey, Felix Grant (radio pioneer who “played a pivotal role in promoting Brazilian and Jamaican culture in the United States by introducing bossa nova and reggae music to American audiences”).
- Keter Betts was also part of an all-star lineup of DC talent who performed in support of Richard Harrington‘s twenty years service on the music beat for the Washington Post, as reported by Dave Nuttycombe in Washington City Paper‘s February 25, 2000 edition. Also appearing with Betts on the stage of Alexandria’s Birchmere at this benefit event were Ron Holloway, the original Rosslyn Mountain Boys, Mike Auldridge, John Jennings, Chuck Brown, the Billy Hancock Orchestra, Eddie & Earl Jones, Catfish Hodge, and the Orioles.
Washington Post
Aug. 15, 2005
Letters to the Editor:
“Lives Touched By the Bassman“
I appreciated Richard Harrington’s Aug. 9 Style tribute, which rightly observed that the late Keter Betts “elevated everyone fortunate enough to be around him.”
I was one of those fortunate enough to have had Mr. Betts touch my life. He warmly embraced me as an artist, although I was not of his stature, and was generous enough to play with me. He added me to his list of friends, and I shared his knowledge, his warmth and his kindness.
Mr. Betts not only made music in the most memorable way, he made life better for everyone with whom he came in contact. I am grateful for people such as Keter Betts who bring such personal beauty into the world.
Becky Dukes
Hyattsville, MD
When my husband and I decided to get married more than 26 years ago, I said we could not set the date until Keter Betts was available. My husband-to-be naturally wanted to know who Keter Betts was and why his schedule was so important to us. I promised him that Mr. Betts was a great jazz bass player and that our wedding celebration would be a night filled with the sounds of world-class jazz.
Starting at age 8, with the help of my older brothers, I had been sneaking into D.C. jazz bars to hear Mr. Betts play when he was in town and not playing with Ella Fitzgerald, Oscar Peterson or Stan Getz. From that time on, I wanted Mr. Betts to play at my wedding, and my dream came true. Our wedding reception featured some of the District’s finest local musicians, led by Mr. Betts.
Three years ago I called into WPFW during an interview with Mr. Betts and asked if he would compose a theme song for Washington. He remembered my wedding. Then he let out his booming laugh and said that the District was too political — that political players never agree on anything, so they wouldn’t agree on a city song either.
The District truly will miss this jazz giant.
Marie Drissel
Washington, DC*
Keter Betts:
In the Congressional Record
Congressional Record
Extensions of Remarks
K E T E R . B E T T S . I S . S E V E N T Y – F I V E
Hon. John Conyers, Jr. of Michigan
In the House of Representatives
Thursday, July 17, 2003
Mr. CONYERS: . Mr. Speaker, hard work, persistence, and passion are all trademarks of a great musician. Noted as one of the most accomplished bassists of our time, Keter Betts stands among the rare musicians who exude a very special aura. A native of Port Chester, New York, Betts possessed the drive and passion for music at an early age. Betts credits a local parade event as a major spark in his love for jazz music. After that event, Keter was certain that the drum would be his lifelong musical companion. Although Keter worked hard and mastered drumming, after a while, Betts grew tired of carrying his drums up many flights of stairs and found that the bass would serve as a more comparable instrument. He did not know that this decision would many years later bring him to the forefront of jazz music.
Keter Betts established himself in jazz music as an exemplar of excellence in musicianship. His extraordinary career spanning six decades, numerous recordings, and musical genius all stand as a monument to his contribution to jazz. Mr. Betts’ professional career began in Washington, DC, working with New York native and tenor saxophonist Carmen Leggio. Just fresh out of high school, Keter played his first gig with Leggio at the age of 19. This thirteen week gig in the heart of Washington, DC would set the stage for Betts to travel the world impressing listeners and musical scholars alike with his command of the acoustic bass.
Keter has performed with Jazz icons including Duke Ellington, Dinah Washington, Earl Bostic, Woody Herman, Cannonball Adderley, Charlie Byrd, and an impressive twenty-four year career with the legendary Ella Fitzgerald. Keter’s melodic thumping bass lines can be heard on many of her recordings. In addition, Mr. Betts has time and time again enhanced the musical recordings of numerous Jazz artists and has been a performer on over one hundred recordings, including those of Count Basie, Tommy Flanagan, Sam Jones, and Kenny Burrell, among several others. Moreover, Mr. Betts also recorded a solo CD on his own label entitled Bass Buddies & Blues (1998).
He and his wife Mildred made Washington, DC their home as newlyweds in 1953. Here they raised a family of five children. Throughout the years, Keter has committed himself to contributing to the greater Washington, DC metropolitan area. Within the academic community, Keter has worked with the Washington Performing Arts Society’s Concerts in Schools Program, the Wolf Trap Foundation for the Performing Arts and the Head Start program. In addition, Keter spends time imparting to future Jazz legends by serving as a music lecturer at Howard University.
Keter Betts’ numerous commendations for his excellence in jazz further demonstrate his positive relationship with the Washington, DC community. Keter has been inducted into the Washington Area Music Association Hall of Fame. Mr. Betts has also been honored with the Linowes Leadership Award from the Community Foundation for the National Capital Region, and most recently he was selected to receive the Mid-Atlantic Arts Foundation’s 2003 Living Legacy Jazz Award.
Keter has shared his musical gift with international audiences and has performed on stages in South America, Europe, the Middle East, and numerous stages across the United States. Through his musical genius, has and continues to continues to captivate, motivate, and inspire current and future generations. We are glad that his family and friends are sharing this special day with him, and we pause to remember his loving wife who passed away in 2000. On this day of celebration, we commemorate the contributions of Keter Betts and wish him all the best on his 75th birthday.
Keter Betts was also honored by United States congressional representative, Hon. Barbara Lee of California one month after the preeminent bassist and music educator’s passing:
Congressional Record
Extensions of Remarks
H O N O R I N G . W I L L I A M . T H O M A S
“K E T E R” . B E T T S
Hon. Barbara Lee of California
In the House of Representatives
Wednesday, September 7, 2005
Ms. Lee: Mr. Speaker, Mr. Conyers and I rise today to honor the extraordinary life and achievements of one of the great artistic voices of our time, William Thomas “Keter” Betts of Silver Spring, Maryland. A legend in the world of jazz for over 50 years, Keter was not only a bassist of incomparable talent, but an original artist, devoted teacher, and wonderful friend. He passed away in Maryland on August 6, 2005 at the age of 77.
Keter Betts was born in 1928 in Port Chester, New York. He discovered music as a child when one day, while running an errand for his mother, he encountered a parade and was so fascinated by the music that he followed it all over town. It was not long before he began practicing on a small drum, and eventually moved on to playing on a full set. However, in his late teens he tired of carrying his drum set up and down the stairs of his apartment building, so in 1946 he switched to bass.
When he was only 19, Keter landed his first professional gig, playing for thirteen weeks in Washington, DC with saxophonist Carmen Leggio. He toured the country from 1949 through 1956, working with jazz singer Dinah Washington during the latter five years of the tour. Keter than teamed up with Charlie Byrd and Woody Herman to tour Europe and South America, before joining Ella Fitzgerald for a short tour that was the beginning of the twenty-four-year working partnership the two would share.
Over the years Keter played with many more jazz greats, such as Count Basie, Cannonball Adderly, Nat Adderly, Stan Getz, Kenny Burrell and Louis Bellson, playing venues all over the world. He was a member of the Smithsonian Jazz Masterworks Big Band and was inducted into the Washington Area Music Association Hall of Fame. And after playing on more than 100 recordings, Keter finally released his first solo album, Bass, Buddies & Blues in 1998, and soon followed it up with Bass, Buddies, Blues Beauty Too.
In addition to performing, Keter was a longtime instructor of music at Howard University in Washington, DC beginning in 1963. He also impacted his community as an educator through his commitment to instructing young people through various programs such as the Washington Performing Arts Society’s Concerts in Schools and Prince George’s County’s Arts Alive. Keter Betts is widely considered to be the most accomplished and highly respected bassist in jazz history. Keter’s life and music impacted countless members of younger generations not only because of the excellence and originality he brought to his art, but because of his incredible wisdom, his insight, and his firm belief that every artist must strive to be unique and find his or her true voice.
Today Keter’s family and friends will come together to celebrate his impact not only on the world of jazz, but on the innumerable lives he touched and artistic journeys he inspired. On behalf of the 9th Congressional District of California and the 14th Congressional District of Michigan, we salute and thank Keter Betts for his invaluable contributions to jazz music, our country and our world.
