Information/Write-up
Guido Basso was one of the most important and distinctive brass voices in Canadian music, whose career spanned jazz, television, studio recording, big band leadership, and popular orchestral work. Born in Montréal, Québec, he began playing trumpet at the age of nine and studied at the Conservatoire de musique du Québec à Montréal. By his early teens he was already working professionally, performing under the nickname “Stubby” Basso in dance bands and show orchestras led by figures such as Al Nichols and Maury Kaye.
While appearing with Kaye at El Morocco in Montréal, Basso was heard by American singer Vic Damone, who hired the young trumpeter and took him on tour in 1957–58. This marked the beginning of several years of steady work in the United States. From 1958 to 1960, Basso toured extensively across North America with Pearl Bailey and the orchestra led by her husband, drummer Louis Bellson, gaining first-hand experience in major concert halls, theatres, and television productions while still in his teens.
In 1960, Basso relocated to Toronto, where he quickly became one of the city’s most in-demand studio trumpeters. He was a first-call musician for recording sessions, radio broadcasts, film and television work, and commercial jingles, and his playing soon became embedded across a wide cross-section of Canadian popular recording beyond strictly jazz contexts. He was also noted for his versatility, occasionally taking on harmonica assignments alongside his brass work. Toronto would remain his professional base for the remainder of his career.
Basso became a familiar national presence through his long association with the CBC. From 1963 to 1967 he served as musical director for the CBC-TV program Nightcap, followed by similar duties for Barris and Company from 1968 to 1969. He co-starred with vibraphonist Peter Appleyard on the CBC-TV series Mallets and Brass in 1969, was musical director for CBC Radio’s After Noon from 1969 to 1971, and later led orchestras for two major CBC-TV series devoted to big band music, In the Mood (1971–72) and Bandwagon (1972–73). In 1975, he organized and led large ensembles for high-profile concerts at the Canadian National Exhibition featuring Dizzy Gillespie and Benny Goodman.
Alongside his broadcasting work, Basso remained active as a performer in Toronto nightclubs and hotel lounges, leading small groups that often blended jazz and Latin rhythms. He was also a central soloist with many of Canada’s leading jazz ensembles, including the Boss Brass, the Rob McConnell Tentet, Nimmons ’N’ Nine Plus Six, and the big bands of Ron Collier and others. His flugelhorn playing, in particular, became widely admired for its warmth, lyricism, and expressive control, qualities that were heard to great effect on numerous Boss Brass recordings.
At the same time, Basso’s studio career extended deeply into Canadian pop, rock, soul, reggae, and television recording. His trumpet appears on a remarkably broad range of sessions, including recordings by artists as stylistically distant as Jackie Mittoo and Teenage Head, illustrating his role as a trusted first-call professional whose sound moved effortlessly between jazz ensembles, pop productions, reggae sessions, and punk-era rock recordings. That same adaptability placed his playing firmly within the wider soundscape of Canadian broadcast culture, including appearances on hockey-related recordings such as Lafleur! and the Hockey Night in Canada theme.
Despite his stature within Canadian jazz, Basso was often reluctant to present himself strictly as a jazz artist, preferring to work across stylistic boundaries. He was nonetheless capable of incisive bebop trumpet work when required and became well known for his oft-quoted observation that “you attack a trumpet, and you make love to a flugelhorn,” a phrase that neatly summarized his approach to tone and phrasing.
As studio work declined in the late 1970s, Basso shifted much of his professional focus toward leading what became one of Toronto’s most successful society orchestras, maintaining a high level of performance activity well into later decades. His contributions to Canadian music were formally recognized in 1994, when he was appointed a Member of the Order of Canada. Guido Basso passed away on February 13, 2023, at the age of 85.
-Robert Williston
A lazy afternoon is a very appropriate title for this CD because that is what the performers, Guido Basso on his French Besson flugelhorn and Doug Riley, playing the Hammond C3 organ, have created. They want you to spend a lazy afternoon listening to this exquisitely performed music. All the tunes were hand-picked by people with impeccable taste.
The journey through the lazy afternoon starts and ends with the title tune and it's a bundle of joy from beginning to end. It takes approximately 56 minutes, but I promise you, you will not look at your watch once.
From the start, Doug Riley gives us the impression there are more than two people involved with the music on this CD. Interestingly enough, neither performer wanted to perform it using the concept which prevails in the finished product. They were wondering who was going to be on bass and drums.
The far-sighted Phil Sheridan wanted this CD to be wrapped in a blanket of impressionism. I, for one am glad he did. Listen to the way these two masterful players exchange solos and nver get in each other's way.
Sometimes I think it is grea to be lazy....especially in the afternoon.
-George Shearing (liner notes)
Musicians
Guido Basso: flugelhorn (french Besson Flugelhorn)
Doug Riley: organ (Hammond C3 Organ)
Production
Recorded by Phil Sheridan at The Studio at Puck’s Farm
Mixed by Phil Sheridan
Mastered by Ed Marshall at Marshall Arts Productions
Glass mastered at EMI MFG
Artwork
Design by Jonathan Eby Inc.
Notes
Manufactured by Page Music Distribution Inc.
Distributed by Page Music Distribution Inc.
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