Eddie Safranski was best known for his gig as the bass anchor of the most popular of Stan Kenton's big bands (1945-1948). The owner of a solid, clear, precisely articulated tone and a sure command of the swing and bop idioms, Safranski was also lucky enough to have been the beneficiary of terrific recording quality from Kenton's engineers at Capitol Records; his bass registered far more cleanly and powerfully than many of those who recorded for rival companies. Having studied violin as a child, Safranski took up the double bass in high school, playing with Hal McIntyre from 1941 to 1945, and Miff Mole in 1945, before joining Kenton. His success with Stan Kenton enabled him to make some records as a leader for Savoy and Atlantic; after leaving Kenton, he worked with Charlie Barnet's bop big band in 1948-1949, and moved to New York to seek work in radio and television studios. While there, he also played with Benny Goodman in 1951-1952, and caught on as a staff musician with NBC. From the late '60s until his death, he ran workshops and master classes for a double bass manufacturer, and played swing and bop with various combos in the Los Angeles area. Among his many Kenton records, some of the best examples of Safranski can be savored on "Artistry in Bolero," "Painted Rhythm," "Concerto to End All Concertos," and a showcase written for him by Pete Rugolo, "Safranski (Artistry in Bass)." ~ Richard S. Ginell