In “String Theory: The Richard Davis Method,” the storied jazz bassist takes the lead

Michael Neelsen’s new documentary on the late musician and UW-Madison professor premieres at the Wisconsin Film Festival on April 7.

Music aficionados and casual listeners alike living in the Madison area will be well familiar with legendary bassist Richard Davis. He taught music at UW-Madison for nearly 40 years before retiring in 2016. In September 2023, he died, leaving behind a long legacy as a master of his instrument (collaborating with artists ranging from Eric Dolphy to Igor Stravinsky to Bruce Springsteen), but also a profound impact on bass players who were fortunate enough to take his classes and participate in the Richard Davis Foundation for Young Bassists (RDFYB). Davis’ presence as a teacher looms every bit as large as his stature as an internationally renowned bassist.

Michael Neelsen’s documentary String Theory: The Richard Davis Method (2024)—premiering locally at UW Music Hall as part of the 2024 Wisconsin Film Festival on Sunday, April 7, at 4:45 p.m. (advance tickets are sold out, but some “rush” tickets may be available at the door)—gets up close and personal with the clinicians and students alike to examine the origins of the foundation and its growing influence on the development of modern bass players. (String Theory will be screening together with A Room Alive!, a short documentary about comics artist Lynda Barry, who has left her own sizable imprint as a UW-Madison professor. Barry is scheduled to be in attendance at the screening, which celebrates the Wisconsin Idea and marks UW-Madison’s 175th anniversary.)

The RDFYB is dedicated to breaking down some crucial barriers for those interested in the bass—and continues to serve that mission. As the documentary points out, while guitar players and piano players typically get a start in their early years, bass players may not start until well into their teens, because the instrument is heavier and not well-suited for smaller bodies. Fractional-size double basses are now made for younger children so they can begin to learn the instrument at a more receptive age. 

Richard Davis describes himself as having a chip on his shoulder, as the bass was never seen as a lead instrument, but rather one that should accompany the melody. Davis, being the innovator that he was, did not want to settle for that and demonstrated not only in his arrangements for Van Morrison’s canorous Astral Weeks (1968), but also in his work with drummer Elvin Jones on Heavy Sounds (1968). He aspired to forge a new path and elevate the bass to a bold role as a guiding instrument.

Ahead of String Theory‘s April 7 premiere screening in Madison, Tone Madison corresponded via email with Neelsen (who also directed the true-crime documentary Beyond Human Nature, which screened at the 2023 Wisconsin Film Festival) as well as RDFYB Executive Director Catherine Harris and Artistic Director Peter Dominguez. We talked about how the film evolved from a commercial assignment, Davis’ star student Dan Chmielinski, filming locations and footage used in the film, how the RDFYB is bridging the age gap for young bassists, why Davis settled in Madison, and how making this film inspired Neelsen to produce more films with music as a subject.

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Tone Madison: While Richard Davis is well-known within bass player communities, many outside of those groups are unfamiliar with him. How did you decide that you wanted to approach Davis as a subject?

Michael Neelsen: The journey to telling the story of Richard Davis began with a commercial assignment for my production company, StoryFirst Media. We were approached by the Richard Davis Foundation for Young Bassists to create promotional videos highlighting their annual spring bass conference. During the 2018 conference, we captured interviews with notable musicians from across the nation, such as Christian McBride, John Clayton, Diana Gannett, David Murray, and Dan Chmielinski, and of course, Richard Davis himself. Richard’s profound insights during his interview left an indelible mark on us.

Initially funded for production, the project faced uncertainties in post-production. However, the onset of the COVID-19 pandemic in 2020, which halted many video production activities, prompted us to reevaluate the footage. This reassessment revealed the potential for a project far beyond mere promotional content (although we still delivered that content for them). We proposed creating a feature-length documentary to Catherine Harris and Peter Dominguez at the Foundation, offering our editing services pro bono in return for creative freedom. This collaboration resulted in the creation of an hour-long film that showcases the depth and wisdom of Richard Davis and his impact on the bass playing community.

Tone Madison: There are a wide variety of age groups in the Richard Davis Foundation for Young Bassists. How are students selected to join the program?

Catherine Harris: Students are not selected through a conventional process; instead, the Richard Davis Foundation for Young Bassists warmly welcomes all young bass players aged 3 to 18 to join. The only requirement is for interested participants to coordinate with their parents, guardians, or teachers to register in advance, ensuring we are prepared for their arrival.

Tone Madison: As someone who also plays music, it was interesting to hear how Richard said most people see the bass as an accompanying instrument. He wanted to turn it into an instrument that could carry a melody. Did that resonate with you at all?

Michael Neelsen: Very much. As a filmmaker, I’m always searching for whatever is driving the main character. In the film, Richard himself declares he has “a chip” on his shoulder about the idea that the bass is merely for accompaniment. This sentiment, both literal and metaphorical, sets a clear thematic direction early in the film. It not only frames his journey but also challenges and expands the audience’s understanding of the bass’ role in music, guiding the narrative and enriching the story we aimed to tell.

Tone Madison: Many of your most engaging shots in this documentary were taken in the Memorial Union. Where else did you gather footage?

Michael Neelsen: Beyond the footage captured of the 2018 conference, we expanded our visual narrative with a rich collection of archival materials. This includes footage of Richard Davis teaching in the Madison Metropolitan School District during the 1990s, his speech at the National Endowment for the Arts Jazz Masters award ceremony [in 2014], and clips showcasing his incredible performances throughout his recording career. These pieces were carefully selected to provide audiences with a fuller appreciation of Richard’s exceptional talent as a performer, setting the stage before we delve into his impactful contributions to music education.

Having directed two other feature documentaries in Green Bay prior to String Theory, I was thrilled to finally have a chance to feature Madison a bit!

Tone Madison: Were there students that stuck out or had an impact on you? Dan Chmielinski really stuck out to me.

Michael Neelsen: Dan’s story is certainly the most fully-realized example of what Richard sought to accomplish by starting the Foundation: “to train the young bassists.” Dan’s musical path, beginning at the age of three and progressing under Richard’s mentorship (with Virginia Dixon also playing a crucial role in his early development, as featured in the film), exemplifies a success story that resonates deeply with anyone who watches it. His evolution into a professional bass player, now performing globally from his base in New York City, represents not just the fulfillment of a dream for any young musician but also a testament to the foundation’s impact and legacy. And we get to hear him perform in the film with [local bassist and Davis’ student] Ben Ferris, which is an extra treat!

Tone Madison: I didn’t think about how bassists start much later in life than other musicians simply because of the size of the instrument. Do you see the RDFYB as a way to bridge this age gap?

Catherine Harris: Absolutely, bridging the age gap for aspiring bassists is at the heart of the RDFYB mission. This principle has been central since Richard Davis established the nonprofit in 1994. Beyond our annual conference, a significant part of our initiative includes providing a variety of fractional-size basses to accommodate the rapid growth of children. Our collection ranges from the more common 3/4 and 5/8 sizes to the notably rare 1/4, 1/16, and even a 1/32 size, affectionately termed as the “mini bass.” Acquiring quality, small-sized basses can be a significant challenge and financial burden for families.

Through the foundation’s efforts, we alleviate these concerns by ensuring that as children grow, they have access to appropriately sized instruments without the financial strain. Moreover, we have collaborated with schools to supplement their music programs with these smaller-sized basses, particularly beneficial for students beginning string instruments in the fourth to sixth grades, who often require the less common 1/8 and 1/4 size basses. Our contributions have included helping schools acquire these sizes and refurbishing basses to be more child-friendly, further bridging the age and size gap for young bassists.

Tone Madison: Did Professor Davis share with you more about how he decided that Madison would be a good landing spot for him after touring for all those years? He touched on it some, but I wanted to hear a bit more about that.

Peter Dominguez: Richard’s decision to settle in Madison was influenced by several pivotal moments and considerations. His initial exposure to the University of Wisconsin-Madison (UW) occurred in the early ’70s when he performed on campus alongside Gary Karr. Dale Gilbert, who was the chair of the Music Department at UW at the time, was impressed by Davis and began pursuing him years before he eventually decided to move. Despite initially declining UW’s offer, the turning point came when the university offered him tenure the following year. Richard sought advice from respected peers in New York City, with notable figures like Milt Hinton guiding him through the decision-making process.

The endorsements for Davis were nothing short of extraordinary; leading figures from the jazz, studio, and classical music scenes, as well as esteemed conductors, vouched for his talent and character. Richard shared with me that, despite his success and busy schedule in New York City—which included recording sessions, concerts, and club performances—he felt a growing disconnect and weariness towards the relentless pace and social dynamics of the city.

The opportunity to move to Madison represented a chance not just for professional growth but for personal rejuvenation. It was a place where he and his wife, Pat, could envision starting a family. Additionally, Madison offered the possibility of indulging in his passion for dressage, given the space for a house and stable in Barneveld—a stark contrast to the urban confines of NYC.

When Richard arrived in Madison in 1977, he was at the zenith of his career, consistently topping jazz polls. Remarkably, he managed to maintain his active performing career in NYC, LA, and Japan, while also dedicating himself to teaching in Madison through the early 1980s. I recall the surreal experience of having lessons with him, only to see him perform on television with the Grammy Awards orchestra in NYC or the Academy Awards Orchestra in LA days later.

Tone Madison: What inspired you the most about this experience?

Michael Neelsen: The entire journey of working on this project has been a profound source of inspiration for me, particularly as an artist and filmmaker. There’s something incredibly enriching about being in the presence of other artists, engaging in discussions about their craft and witnessing their creative processes firsthand. Professionally, the unexpected chance to record live multi-camera performances of celebrated musicians was exhilarating and has sparked a deeper interest in producing more music-related films.

Coincidentally, alongside my work on String Theory, I’ve also been involved as a producer for an upcoming documentary about drummer Clyde Stubblefield titled Give The Drummer Some, directed by Trevor Banks—a fellow former Madison resident now based in Brooklyn. So I’m far from done with music films.