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Description
Tom Fowler
June 10, 1951

The Fowler family produced many great and accomplished musicians, and among them is the tremendous Tom Fowler. As the bassist for greats such as Frank Zappa and The Mothers Of Invention, Jean-Luc Ponty, and Ray Charles among others, Tom has deftly walked a tightrope through many musical realms throughout his career, and all while casually enjoying a cigar.

Born and raised in Salt Lake City, Utah to William and Beatrice Fowler, Tom was born into an accomplished family. His father a pioneer in jazz education and music theory, his grandfather an internationally known botanist, and his great grandfather an accomplished painter. As the third of five sons, Tom also had to find a way to stand out. So at the age of six, he began studying classical violin before taking up upright bass and finally electric bass. I would make a crack about the middle child being a bass player, but I don’t have middle child privileges.

While raised on jazz and classical, he’d naturally discover rock and roll, particularly the likes of Hendrix and Zappa before running away to join the circus at 17. Tom would play in San Fransisco with various groups, most notably It’s A Beautiful Day. Fronted by violinist David LaFlamme, Its A Beautiful Day made its name on a psychedelic sound with jazz and classical influences, with which Tom naturally fit right into. Playing with the band for two years, he’d end up appearing with them on Choice Quality Stuff/Anytime and their live album at Carnegie Hall and demonstrate himself to be quite at home in this eclectic mix of styles. Not too long, though, before brother Bruce would give him a call.

At this time, Frank Zappa was putting together a third incarnation of the Mothers Of Invention after touring with a big band styled ensemble. With this band, he hoped to bring all of his music together into one setting, and he’d find just the bass player in Tom. Frank had worked with some great rock bassists, some great jazz bassists, but Tom was able to bring it all together into one package. He could play right in the pocket, could lay down some real funk, could play some tasty walking lines, and could totally shred on the bass. All while stoically chomping down on a stogie. He was like a Swiss Army knife on the four stringer, could do it all and with deadly precision. He has such tremendous taste as a bassist, his work just feels so good even as he goes into all the weird time changes and arrangements. Ultimately, he provides that perfect balance of flash and restraint.

This being Zappa, the winds of change would come and Tom’s time reached its end. And how does he follow a stint with Frank? How about a stint with Jean-Luc Ponty. Giving their time together in the Mothers, it made perfect sense. Appearing on Aurora and Imaginary Voyage, Tom delivered impeccable bass work as always as Ponty reached for the sky and beyond. Unfortunately for Tom, the volume also reached for the sky and beyond, leaving his ears ringing for a long time to come. He’d then reunite with another Mother, Chester Thompson, to play on Steve Hackett’s Look, Don’t Touch! Though a few years removed the Mothers, Tom and Chester’s chemistry was so strong that it felt as though no time had passed.

Every once in a while, the Fowler Brothers have joined forces to form a band, either as Air Pocket or as...The Fowler Brothers. A strong jazz fusion sound with hints of their old boss’ strangeness creeping through, the brothers end up being a rather enjoyable entity in their own right. Breakfast for Dinosaurs, even with the slick eighties production value, still ends up being a strong an engaging album. Tom, in particular, reveals himself to be not only a talented bassist but also a solid writer and occasionally reaching back into his roots as a violinist. Tom would then follow this with a solo record in Heartscapes, featuring the other brothers as well as several former Zappa bandmates.

Other than the Zappa connection, Tom would likely be best known for his work with Ray Charles. Serving as Ray’s principal bassist from 1993 until his death in 2004, Tom was there for Ray’s final album Genius Loves Company as well as the soundtrack for the movie Ray. But his real shining moment with Ray has to be the Olympia show in 2000. The weather caused problems with air travel, so no horns, no Raelettes, Ray only has Tom on acoustic bass, guitarist Brad Rabuchin, and drummer Peter Turre. But Ray Charles is called the Genius for a reason. Take away the big fancy bells and whistles, keep just the core, and he’s still so brilliant. And Tom is so in his element here, playing so brilliantly as always and working so beautifully with Ray and the others. I really can’t recommend that show or album enough, it’s a true gem.

What can I say? Tom Fowler is a masterful musician who’s given us some of the finest music of all time, music that will outlive us all. It’s easy to take for granted how good he really is, yet every once in a while, I will hear him and just be amazed once again. Happy birthday Tom, may you enjoy many years of health and happiness to come.

Description
Tom Fowler
June 10, 1951

The Fowler family produced many great and accomplished musicians, and among them is the tremendous Tom Fowler. As the bassist for greats such as Frank Zappa and The Mothers Of Invention, Jean-Luc Ponty, and Ray Charles among others, Tom has deftly walked a tightrope through many musical realms throughout his career, and all while casually enjoying a cigar.

Born and raised in Salt Lake City, Utah to William and Beatrice Fowler, Tom was born into an accomplished family. His father a pioneer in jazz education and music theory, his grandfather an internationally known botanist, and his great grandfather an accomplished painter. As the third of five sons, Tom also had to find a way to stand out. So at the age of six, he began studying classical violin before taking up upright bass and finally electric bass. I would make a crack about the middle child being a bass player, but I don’t have middle child privileges.

While raised on jazz and classical, he’d naturally discover rock and roll, particularly the likes of Hendrix and Zappa before running away to join the circus at 17. Tom would play in San Fransisco with various groups, most notably It’s A Beautiful Day. Fronted by violinist David LaFlamme, Its A Beautiful Day made its name on a psychedelic sound with jazz and classical influences, with which Tom naturally fit right into. Playing with the band for two years, he’d end up appearing with them on Choice Quality Stuff/Anytime and their live album at Carnegie Hall and demonstrate himself to be quite at home in this eclectic mix of styles. Not too long, though, before brother Bruce would give him a call.

At this time, Frank Zappa was putting together a third incarnation of the Mothers Of Invention after touring with a big band styled ensemble. With this band, he hoped to bring all of his music together into one setting, and he’d find just the bass player in Tom. Frank had worked with some great rock bassists, some great jazz bassists, but Tom was able to bring it all together into one package. He could play right in the pocket, could lay down some real funk, could play some tasty walking lines, and could totally shred on the bass. All while stoically chomping down on a stogie. He was like a Swiss Army knife on the four stringer, could do it all and with deadly precision. He has such tremendous taste as a bassist, his work just feels so good even as he goes into all the weird time changes and arrangements. Ultimately, he provides that perfect balance of flash and restraint.

This being Zappa, the winds of change would come and Tom’s time reached its end. And how does he follow a stint with Frank? How about a stint with Jean-Luc Ponty. Giving their time together in the Mothers, it made perfect sense. Appearing on Aurora and Imaginary Voyage, Tom delivered impeccable bass work as always as Ponty reached for the sky and beyond. Unfortunately for Tom, the volume also reached for the sky and beyond, leaving his ears ringing for a long time to come. He’d then reunite with another Mother, Chester Thompson, to play on Steve Hackett’s Look, Don’t Touch! Though a few years removed the Mothers, Tom and Chester’s chemistry was so strong that it felt as though no time had passed.

Every once in a while, the Fowler Brothers have joined forces to form a band, either as Air Pocket or as...The Fowler Brothers. A strong jazz fusion sound with hints of their old boss’ strangeness creeping through, the brothers end up being a rather enjoyable entity in their own right. Breakfast for Dinosaurs, even with the slick eighties production value, still ends up being a strong an engaging album. Tom, in particular, reveals himself to be not only a talented bassist but also a solid writer and occasionally reaching back into his roots as a violinist. Tom would then follow this with a solo record in Heartscapes, featuring the other brothers as well as several former Zappa bandmates.

Other than the Zappa connection, Tom would likely be best known for his work with Ray Charles. Serving as Ray’s principal bassist from 1993 until his death in 2004, Tom was there for Ray’s final album Genius Loves Company as well as the soundtrack for the movie Ray. But his real shining moment with Ray has to be the Olympia show in 2000. The weather caused problems with air travel, so no horns, no Raelettes, Ray only has Tom on acoustic bass, guitarist Brad Rabuchin, and drummer Peter Turre. But Ray Charles is called the Genius for a reason. Take away the big fancy bells and whistles, keep just the core, and he’s still so brilliant. And Tom is so in his element here, playing so brilliantly as always and working so beautifully with Ray and the others. I really can’t recommend that show or album enough, it’s a true gem.

What can I say? Tom Fowler is a masterful musician who’s given us some of the finest music of all time, music that will outlive us all. It’s easy to take for granted how good he really is, yet every once in a while, I will hear him and just be amazed once again. Happy birthday Tom, may you enjoy many years of health and happiness to come.