Blindfold Test: Buster Williams

Interview, From the Magazine, Buster Williams

By Ashley Kahn I Aug. 26, 2025

“What I got from Percy was the dignity of playing the bass,” Buster Williams said of Percy Heath.
(Photo: Jimmy and Deana Katz)

Buster Williams, who at the age of 83 has been on the scene for 65 years, had never done a Blindfold Test. The first for the legendary Camden, New Jersey-born bassist was hosted by the jazz studies program at New York University. More than 30 students attended, as did a few faculty members, including drummer Lenny White. At the close of the session, he saluted the young musicians on their career choice. “People in your family that love you, like your grandmother and your mother, will ask you, ‘What are you going to do if it doesn’t work out? What’s your back door?’ My father told me, ‘There ain’t no back door!’ There’s only one door, and when you’re in, you’re in. When I chose music, I was trapped. What a great entrapment. So, congratulations to all of you. You could have chosen to work for the federal government.”

Oscar Pettiford

“Trictatism” (Oscar Pettiford, Bethlehem, 1954) Pettiford, bass; Julius Watkins, French horn; Charlie Rouse, tenor saxophone; Duke Jordan, piano; Ron Jefferson, drums.

Oscar Pettiford. It’s his tune. One day my father, who was a bass player and my teacher, played for me a record by Oscar Pettiford playing “Stardust.” The thing that captured me was I could hear the squeak as his hand moved up and down the neck coupled with the beautiful notes that he was playing, and that just drew me in.

esperanza spalding

“The Peacocks” (Junjo, Ayva Music, 2006) Spalding, bass; Aruán Ortiz, piano; Francisco Mela, drums.

That’s a beautiful arrangement on that song. I associate it with Jimmy Rowles — “The Peacocks,” yeah. We recorded that with Stan Getz, Elvin Jones and Jimmy. Jimmy called me “‘Ster.” It was too much for him to say “Buster.” [laughs] I loved this version. [afterwards] Oh, esperanza. That was her singing. She’s a great talent. I love her stuff. We were playing in Blues Alley, and I hadn’t met her yet, but as I’m getting ready to walk up on the bandstand she ran up to me and had this big smile and said, “Buster!” I said, “esperanza!” I knew who she was.

Ray Brown Trio

“Things Ain’t What They Used To Be” (At The Bern Jazz Festival, YouTube video, 2002) Brown, bass; Larry Fuller, piano; Karriem Riggins, drums.

Is that Ray Brown? When I first heard him what was so outstanding was his sound. A lot of times it has to do with the way you’re recorded. But with Ray, it was always clear to me that his sound was his sound. His sound and his choice of notes, that really drew me in, and the fact that I never heard a throwaway note when it came to Ray. He played as though every note mattered. When a band doesn’t sound amazing, it’s usually because the bass player sucks. Ain’t nothing worse than a sucking bass player. My objective is to do this so well that the band sounds amazing. I take that very seriously.

Stanley Clarke

“Bass Folk Song” (Children Of Forever, Polydor, 1972) Clarke, electric bass, vocals; Arthur Webb, flute; Chick Corea, electric piano, clavinet; Pat Martino, 12-string guitar; Lenny White, drums.

It’s that drowning sound [imitates sound of electric bass played through a wah-wah pedal]. Was that Stanley Clarke? Were you on that, Lenny? Lenny, Stanley. Children Of Forever. I was playing electric and acoustic at that time with Herbie — the Herbie Hancock Sextet, later it was called Mwandishi. Anyway, Stanley came on the scene, and he was playing his ass off. I really didn’t want Herbie to hear Stanley because as far as I was concerned, I was the man. “Herbie, you don’t need to hear nobody else.” Stanley and I became friends, and recently we became a little closer than we were before. I cherish that.

Red Norvo/Tal Farlow/Charles Mingus

“Godchild” (The Red Norvo Trio With Tal Farlow And Charles Mingus, Savoy, 1952) Norvo, vibraphone; Farlow, guitar, Mingus, bass.

I liked it as far as each person’s proficiency. They gelled very well. It’s interesting — a drummer-less and piano-less trio. I could hear and feel anxiety moments going through the bass player. [afterwards] Oh, I thought that was Mingus. Mingus was too mean to get nervous. I remember me and Kenny Barron were doing a duo at Bradley’s, and in walks Charlie Mingus with some lady beside him. He’s coming straight towards me because that’s the way you gotta go, and he walks to the back. Then in a few minutes I heard someone say, loudly: “That’s right! That’s what I’m talking about!” That was him complimenting me. He wanted the world to hear that compliment. Later he came around and motioned to me to sit down at his table, and we talked. That was my Mingus encounter.

Percy Heath

“Django” (A Love Song, Daddy Jazz, 2003) Heath, bass; Jeb Patton, piano; Albert Heath, drums.

Percy Heath? What I got from Percy was the dignity of playing the bass. The simple approach that he had. He never played anything that was unnecessary, and everything that he played was necessary. Percy and I became very good friends. We were on a jazz cruise once and there was this room where we would keep all of our basses and when the Heath Brothers played, I’d go to the room and take Percy’s bass out of the case and carry it for him to where they were going to play.

Billy Drummond

“The Bat” (Dubai, Criss Cross Jazz, 1995) Drummond, drums; Peter Washington, bass; Chris Potter, Walt Weiskopf, tenor saxophones.

I liked it. The performance. The song. Who was it? [afterwards] Billy Drummond used to be in my band. I always have the drummer on my left side. But Billy, when he plays he always looks to his left, and I’m always to his right. Peter is an excellent bass player. Peter used to always ask me questions about Paul Chambers. Like I knew answers. He loves Paul as I did. I can hear things from Peter that are akin to Paul, but his approach is distinctly different, which is great. Also, Peter puts his middle finger over his first finger. There was a guy in Philly that used to do that, Spanky DeBrest, one of the original Jazz Messengers. Spanky had that beat. We always called him The Hump because of that. DB

The “Blindfold Test” is a listening test that challenges the featured artist to discuss and identify the music and musicians who performed on selected recordings. The artist is then asked to rate each tune using a 5-star system. No information is given to the artist prior to the test.