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Richard Ford: Bio

Emmy winner Richard Ford is a bass player, a music editor and executive music producer for film, he has worked with many Oscar winning film makers on such films as Sideways, Argo and Hidden Figures, formerly he was bass player with Joe Jackson and guitarist Bill Nelson.

Born in London, Richard grew up in a musical family, immersed in the classics from an early age. He began performing as a boy, in Andrew Lloyd Webber and Tim Rice's choir. His love of music eventually led to the bass, and he developed into an accomplished player. He has toured and recorded with many artists, including the revered guitarist Bill Nelson (in his band Red Noise) and upon moving to the US, singer-songwriter Joe Jackson.

In New York, Richard discovered and embraced an ever-expanding world of music and culture - perhaps most significantly through his study of African and Afro-Caribbean music and dance. The rhythms he found there grew to become part of his musical DNA.   

Richard moved to Los Angeles to work in film and film music. In that role, he has been an important member of director Alexander Payne's creative team since 1998, earning credit as Executive Music Producer on their last three projects together (The Descendants, Nebraska and Downsizing). As an Emmy winning music editor for film, he's played a role in many successful productions, among them American History X, Training Day, Sideways, Argo, and Hidden Figures.

Richard Ford's Basso Profondissimo EP was recorded in Venice, California in the spring and summer of 2018. 

The collection was conceived and played on bass, creating a unique and surprising melding of sounds and adding some rough edges to the genres of  jazz, ambient, bossa nova and neoclassical. This is not a collection concerned with virtuosity, it's about evoking moods and character, not about flash.

Sharing some of the same musical landscape as Sigur Rós, Lyle Mays, Bebel Gilberto, ECM Records and Bill Frisell, Basso Profondissimo employs a cinematic language, often minimal and evocative. 

All of the tracks were executed on bass, multi-tracked and treated. As Richard started to experiment with vocals (specifically the addition of the amazing Costa Rican vocalist Michelle Gonzalez) and new possibilities emerged - including a full-blown, fresh cover of George Duke's Brazilian-influenced 'Malibu', which features a handful of world-class jazz musicians, among them renowned keyboardists Kait Dunton and Peter Gabriel alumnus Simon Clark.

The seeds of his EP Basso Profondissimo were sown in late-80s New York, where Richard had begun recording demos, and performing, exclusively with basses. The project was put on hold when Richard moved to Los Angeles to work in film music. Much of his work as a music editor involved reconstructing and remixing the work of others. While this has been creatively challenging, Richard felt "the itch to get the basses out of the closet and create something that truly came from me." Basso Profondissimo began to unfold.

These vast and varied influences have informed Richard's work and shaped the rich diversity evident in Basso Profondissimo. This signature collection is the culmination of Richard Ford's extensive musical journey to date.

1 Calango Reco
2 Dusty-Theatre
3 Palhaco
4 Malibu
5 Sinking Up
6 Westbeth
Malibu

The musical world of Basso Profondissimo springs from the imagination of English bassist and producer Richard Ford. The collection was conceived and played on bass, creating a unique and surprising melding of sounds and adding some rough edges to the genres of jazz, ambient, bossa nova and neoclassical.

Sharing some of the same musical landscape as Sigur Rós, Lyle Mays, Bebel Gilberto, ECM Records, and Bill Frisell, Basso Profondissimo employs a cinematic language, often minimal and evocative. There are surprising moments, as when softer passages burst into something rougher and edgier. In the neoclassical-leaning pieces, unexpected elements surface, like floating transparencies revealed from somewhere back in the scenery. Elsewhere, bubbling rhythms emerge, cracking pieces open into exotic meters. This is not a work concerned with virtuosity (though references to seminal bassists like Jaco Pastorius can be heard in places). This collection is about evoking moods and character, not about flash.

Crossover Media Projects with: Richard Ford