Danny Thompson, a true innovator whose bass playing transcended genres and made him a central figure in the eclectic British folk scene, passed away on September 23rd at his home in Rickmansworth, England. He was 86. Thompson, a highly sought-after collaborator, worked with an impressive roster of artists including Nick Drake, Kate Bush, Tim Buckley, and Eric Clapton.
His passing was announced via his official Instagram account, though no specific cause was provided.
Thompson’s unique, free-form approach to the standup bass allowed him to craft intricate lines that were as captivating and imaginative as any lead guitar solo. Kate Bush, in a heartfelt tribute following his death, beautifully captured his essence: “You never just worked with Danny. You also worked with his double bass he called Victoria. The two of them were joined at the hip, and together they were the most fascinating storytellers — earthy and of the wild.”
His distinctive touch added dramatic depth to Bush’s compositions, notably on “Pull Out the Pin” from her 1982 album, “The Dreaming,” and “Watching You Without Me,” a standout track from her 1985 release, “Hounds of Love.”
Thompson’s career took off in the mid-1960s as a member of Alexis Korner’s Blues Incorporated, a legendary incubator for talent that saw future star drummers like Ginger Baker (Cream, Blind Faith) and Charlie Watts (the Rolling Stones) pass through its ranks. He also led a trio that featured guitarist John McLaughlin, who would later achieve fame as a jazz fusion pioneer.
Pentangle, originally known simply as The Pentangle, emerged in London in 1967 as a kind of folk supergroup. It brought together the rising star bassist with guitar virtuosos John Renbourn and Bert Jansch, along with Alexis Korner alumnus Terry Cox on drums and the soulful vocalist Jacqui McShee.
Much like Fairport Convention, which formed in the same year and included the brilliant guitarist and singer Richard Thompson (no relation to Danny, though they would collaborate extensively later), Pentangle pushed beyond the traditional boundaries of British folk music with a distinctly eclectic, and at times electric, sound.
Critics often struggled to categorize the group’s unique blend of jazz, blues, country, classical, and rock elements, which frequently appeared within a single song. The band members themselves seemed unconcerned with labels.
“None of us are into one thing,” Thompson once told New Musical Express in a 1971 interview. “If someone asked me, ‘What’s your kind of music?,’ I’d say, ‘I have no idea.’”
Despite their unconventional style, Pentangle achieved significant success, selling out London’s Royal Festival Hall in May 1967 and landing two Top 50 singles on the British charts: “Once I Had a Sweetheart” (No. 46 in 1969) and “Light Flight” (No. 43 the following year). Their 1968 debut album, simply titled “The Pentangle,” reached No. 21, followed by “Basket of Light” hitting No. 5 in 1969.
The original lineup disbanded in 1973, though they would reunite for various performances and recordings over the years. Thompson reflected on the intense demands placed on the group, noting in a 1991 interview with Q magazine that they “didn’t tell the business, ‘Hold on, you’re destroying the thing that brings in the money.’ It all became very tired, and I still had a raging enthusiasm to play.”
Daniel Henry Edward Thompson was born on April 4, 1939, in Teignmouth, on England’s southwestern coast. His father tragically died in submarine action during World War II, leading his mother to relocate the family to London when Danny was six.
Raised in Battersea, a working-class district along the River Thames, Thompson initially excelled at soccer, even playing as a junior for Chelsea Football Club. However, music soon captured his heart. At 13, he fashioned his first bass from a tea chest, marking the beginning of a lifelong dedication.
“I always wanted to be the best at whatever I did,” he shared in an interview with the music site Louder last year. “When I was a kid, I wanted to be the best footballer. When I first got my bass when I was 16, I was living on my own, and I put up a sign above my door which said ‘PRACTICE.’”
His unwavering dedication paid dividends. He quickly found himself playing gigs in Soho clubs, and after completing two years of national service, he embarked on a tour with Roy Orbison, a rare venture into electric bass for the usually upright-bass-focused musician.
Beyond his pivotal role in Pentangle, Thompson’s remarkable talent shone on Donovan’s 1968 album “In Concert” and Tim Buckley’s “Dream Letter: Live in London 1968.”
Thompson’s enduring collaboration with folk-jazz singer and guitarist John Martyn began with Martyn’s 1971 album, “Bless the Weather.” He also made invaluable contributions to Nick Drake’s haunting 1969 debut, “Five Leaves Left,” including the perfectly flowing bass line on the unforgettable track “River Man.”
His extensive session work with prominent artists also included contributions to Rod Stewart’s chart-topping 1971 album “Every Picture Tells a Story” and Eric Clapton’s 1974 release, “461 Ocean Boulevard.” In the 1990s, Thompson explored pop music, recording with groups like Everything but the Girl and Johnny Hates Jazz.
He is survived by his wife, Sylvia, and his son, Dan Jr.
In 1978, Thompson successfully confronted a long-standing battle with substance abuse, a challenge he approached with his characteristic competitive spirit.
“When I drank, I was going to be the best drinker in the bar, or take the most drugs or whatever,” he recounted to Louder last year. “When I did give up the drink I was going to be the best at that.”