One of jazz's most valuable sidemen,
Buster Williams has been able to flourish through many periods of changing fashions in jazz. Best known since the 1980s for his solid, dark tone and highly refined technique on the acoustic bass, the jazz-rock generation knew him as the mobile anchor of
Herbie Hancock's exploratory "Mwandishi" Sextet from 1969 to 1973, doubling on acoustic and electric basses sometimes attached to electronic effects devices.
Williams learned both the double bass and the drums from his father, but having been enormously impressed by
Oscar Pettiford's recordings, he ultimately decided to concentrate on the bass. After studying theory and composition at Philadelphia's Combs College of Music in 1959,
Williams joined
Jimmy Heath's unit the following year and played with
Gene Ammons and
Sonny Stitt in 1960 and 1961, as well as behind singers
Dakota Staton (1961-62),
Betty Carter (1962-63),
Sarah Vaughan (1963) and
Nancy Wilson (1964-68). The gig with
Wilson prompted a move to Los Angeles, where
the Jazz Crusaders used him on concert dates and recordings from 1967 to 1969, and he also played briefly with
Miles Davis in 1967 and the
Bobby Hutcherson/
Harold Land quintet. Moving to New York in 1969,
Williams joined
Hancock's sextet, appearing on all of his Warner Bros. albums, as well as
The Prisoner (Blue Note),
Sextant (Columbia) and with trumpeter
Eddie Henderson's spinoff group on Capricorn and Blue Note. Over a five-year period (1976-1981),
Williams led numerous recording sessions for Muse, Denon and Buddah while continuing to freelance before, during and after that span. In the 1980s, he was a member of both
the Timeless All-Stars and
Sphere, writing a number of compositions for the latter. Among the musicians for whom he has played from the 1980s onward are
Kenny Barron,
Frank Morgan,
Stanley Cowell, Steve Turre,
Emily Remler and
Larry Coryell. ~ Richard S. Ginell, All Music Guide