Darryl Jones has laid down the groove for the Rolling Stones since 1993, a tenure mirroring that of original bassist Bill Wyman. Yet, in his own words, he “plays with the Rolling Stones,” not in them. This distinction, while perhaps nuanced legally, doesn’t diminish his monumental contribution to one of rock’s greatest acts and a career that has seen him collaborate with an astonishing array of music icons. Beyond the Stones, Jones’ basslines have graced recordings and stages with Miles Davis, Madonna, Sting, and Peter Gabriel, cementing his status as a first-call bassist for the legends. Now, a new documentary, Darryl Jones: In The Blood, is set to bring his remarkable story to a broader audience, revealing the man behind the Bass Guitar Rolling Stones fans have come to know and admire.
From Chicago to Center Stage: The Early Days
Growing up in Chicago, Darryl Jones’ musical journey began with the electrifying performances of James Brown, a childhood passion ignited by his mother. “My body was moved by the music, but my eyes were moved by him dancing,” Jones recalls, reminiscing about mimicking Brown’s moves on socked feet at James Brown shows. His father’s gift of a practice drum pad at age six was a starting point, but the bass guitar soon beckoned after witnessing a school talent show performance. His formative years were heavily influenced by Motown legend James Jamerson, later expanding to include bass luminaries like Stanley Clarke, Anthony Jackson, Alphonso Johnson, and Jaco Pastorius during his time at Chicago Vocational High School.
Chicago Vocational’s robust music program immersed Jones in a diverse musical landscape, from Beethoven to Duke Ellington, and from Lee Morgan’s jazz to R&B hits. A brief flirtation with basketball was quickly sidelined by the realization of height disparities on the court, solidifying his path in music. Local gigs across Chicago soon followed, and a short stint at Southern Illinois University Carbondale further honed his skills before his career truly took flight in the early 80s. A pivotal connection with Miles Davis was the catalyst, propelling him onto a trajectory that would eventually lead him to the grand stages of the world with the Rolling Stones.
Miles Davis: A Dream Audition and Musical Fatherhood
The connection to Miles Davis was serendipitous, stemming from a childhood friendship with Davis’ nephew, Vince Wilburn Jr., a drummer in the Chicago scene. Dreams of playing with the jazz icon were childhood aspirations that unexpectedly materialized. When Davis sought a new bassist, Wilburn recommended Jones, and a phone call led to an immediate audition in New York.
The audition itself was a masterclass in pressure and understated mentorship. Davis, before Jones even played a note, set a disarming tone, “Listen, if this doesn’t work out, it doesn’t mean you can’t play. It just means I’m looking for something else.” The request was for a slow B-flat blues, played progressively slower at Davis’s command. Following this, Jones played along to a board tape of a recent Davis gig. The verdict was swift: “You got the gig,” announced Wilburn. But Jones wanted to hear it directly from Miles, a wish granted immediately.
Despite the intimidating aura of Miles Davis, Jones found him to be charming and humorous, immediately putting him at ease. A limousine pickup and Davis’s playful comment, “[husky Miles Davis impression] Vince, it’s a weird-looking dude,” broke the ice. Jones’s quick wit and reference to Jaco Pastorius further cemented their rapport. This initial encounter blossomed into a close relationship, with Jones spending considerable time with Davis, absorbing musical wisdom and even sharing meals. Jones reflects on Davis’s profound influence, echoing his father’s sentiment that Miles became a “musical father” figure.
Navigating the Soundscapes with Miles: From Stage to Studio
Jones’s tenure with Miles Davis began immediately with live performances. His first gig was just days after their initial meeting, preceded by a single rehearsal. He immersed himself in Davis’s recent records to prepare, a period of intense learning and self-assessment in his parents’ basement in Chicago. Walking onto the stage for the first time with Davis was a moment of realization and aspiration. He aimed to create bass lines that were not just technically proficient but also deeply inspiring, a goal he achieved that very first night, earning immediate praise from Davis himself.
The improvisational nature of Davis’s live shows at the time was a perfect training ground for Jones. Sets were semi-scripted, with room for extensive improvisation, pushing Jones to rely on his instincts and musicality. Transitioning to the studio for the Decoy album presented a different challenge – reading music and imbuing it with feeling. Davis’s spontaneous decision to alter arrangements just before recording pushed Jones to adapt and elevate his performance, contributing to the album’s unique 80s-infused sound. While Decoy hinted at a new direction, Davis was already evolving, a testament to his restless creative spirit.
Reflecting on Davis’s musical approach, Jones highlights his ability to transform pop songs into vehicles for his improvisational genius. Davis’s covers of “Human Nature” and “Time After Time” initially surprised Jones, but he came to understand Davis’s knack for selecting songs ripe for reinterpretation. This period with Davis was a profound apprenticeship, shaping Jones’s adaptability and his understanding of musical innovation, skills that would serve him well throughout his career, including his role as the bass guitar rolling stones relies on.
Stepping into the Limelight: Sting, Peter Gabriel, and Madonna
Following his transformative period with Miles Davis, Darryl Jones’s career trajectory took him through a series of collaborations with other iconic artists. His connection with Sting came through Branford Marsalis, whom Jones had met early in his time with Miles Davis. Marsalis, aware of Sting’s search for a bassist for his new band, recommended Jones. Despite Sting’s own prowess on the bass, he enlisted Jones, recognizing his exceptional talent.
Auditioning for Sting was a unique experience, almost feeling like he was helping Sting audition other musicians rather than being the sole focus of evaluation. The chemistry between Jones, Marsalis, Kenny Kirkland, and Omar Hakim was immediate, forming the core of Sting’s band. Touring with Sting was a significant shift from the jazz world of Miles Davis to the rock and pop arena. The energy of the band, the scale of the audiences, and the fusion of intricate musicianship with mainstream appeal were exhilarating. Jones played on iconic tracks like “If You Love Somebody Set Them Free,” contributing his bass guitar artistry to Sting’s distinctive sound.
In 1988, Jones joined Peter Gabriel’s Amnesty International tour, a collaboration that arose through connections made during his time in Paris with Miles Davis. Replacing Tony Levin, Jones found himself in another stellar lineup, including keyboardist David Sancious and drummer Manu Katche. The tour was memorable for its camaraderie and the shared commitment to the Amnesty International cause, further broadening Jones’s musical network and experience.
The invitation to join Madonna’s Blond Ambition tour in 1990 marked another stylistic pivot. Madonna, reportedly impressed by Jones’s work with Peter Gabriel and on Sting’s Bring on the Night film, sought him out. This tour was a departure from the improvisational freedom of jazz and rock, demanding precise replication of synth bass lines and a highly choreographed stage show. Initially, Jones found the rigidity challenging, but he grew to appreciate the artistry in delivering consistent, high-energy performances night after night. He observed Madonna’s meticulous approach to show production, recognizing her influence on subsequent generations of pop performers. The Truth or Dare documentary captured the essence of this tour, showcasing the blend of theatricality and genuine camaraderie among the performers.
The Rolling Stones Calling: A Lifelong Dream Realized
Despite a career already studded with legendary collaborations, a new chapter began when Darryl Jones received a call regarding the Rolling Stones. Though not an avid Stones fan in his youth, certain songs like “Satisfaction” and “Angie” had resonated with him. It was during a visit to Italy in 1989, while listening to the Steel Wheels album repeatedly, that he first considered the possibility of playing with the band. Years before Bill Wyman’s departure, Jones felt his playing style could be a fit.
The opportunity arose through a friend, Sandy Torano, who knew of Wyman’s exit. Jones contacted Mick Jagger’s manager, expressing his interest. Having previously met Jagger and Keith Richards through mutual acquaintances, Jones was already on their radar. The audition in New York began with an impromptu jam on James Brown’s “Licking Stick,” evolving into a setlist of classic Stones tracks. Jones felt a strong connection during the audition, a feeling that was reciprocated by the band.
A few months later, an invitation to Ronnie Wood’s place in Ireland followed, where Jones played through new material for Voodoo Lounge. It was during these sessions that he learned he had secured the touring gig. Joining the Rolling Stones was the culmination of a childhood ambition – to play with the very best bands. Stepping onto the stage with the Stones for the first time, in a small Toronto club, was an overwhelming experience, marked by the sheer volume and the weight of the band’s legacy. The subsequent stadium shows solidified the unique fervor of Rolling Stones fans, a level of dedication Jones had not quite encountered before.
Life as a Stone: Inside the Rolling Stones Machine
Life within the Rolling Stones organization is a world of unparalleled scale and professionalism. From five-star hotels and private jets to police escorts, the logistics are immense. Jones recounts a moment during rehearsals when he asked for water and, within minutes, a custom-made drink holder was fabricated for his bass rig – a small example illustrating the vast support system behind the band.
Despite the grandeur, Jones remains grounded, emphasizing his role as playing with the Rolling Stones, not in them. This distinction manifests in subtle ways, from transportation arrangements to organizational dynamics. However, on stage, Jones’s commitment is absolute. “When I’m onstage with you, I play like I’m in the Stones. I don’t know how to play any other way,” he told Keith Richards.
Albums like Bridges to Babylon, on which Jones played, are highlights of his studio work with the band. He appreciates the underrated quality of the album and recalls the creative energy of that period. While Meshell Ndegeocello played bass on “Saint of Me,” Jones contributed to tracks like “Out of Control,” showcasing his versatility within the Stones’ evolving sound.
Joining the Rolling Stones brought a paradox to Jones’s career. While it elevated his profile, it also created a perception of inaccessibility, leading to fewer calls for other projects. The long periods between Stones tours further amplified this effect. However, Jones has learned to balance his role with the Stones with other musical pursuits, including acting and film scoring, ensuring a diverse and fulfilling career.
Remembering Charlie Watts and Looking Ahead
The passing of Charlie Watts deeply impacted Darryl Jones and the Rolling Stones. Having played together for decades, a strong musical and personal bond had formed. Jones reflects on Watts’s unique drumming style, characterized by a subtle “chaos” that was integral to the Stones’ sound. He recounts initially trying to “fix” Watts’s timing, only to realize that the slight imperfections were deliberate and essential.
The 2016 Cuba concert stands out as a particularly poignant moment in Jones’s Stones journey. Standing on stage in Havana, he felt an overwhelming sense of gratitude, realizing the magnitude of the experience. The Rolling Stones’ enduring appeal and Mick Jagger’s seemingly superhuman energy continue to amaze Jones. He attributes Jagger’s longevity to a lifelong commitment to fitness, instilled by his father.
Looking to the future, Jones remains hopeful for more Rolling Stones dates and is also focused on his own project, the Darryl Jones Project. Driven by a desire to create and express his own musical vision, this project represents a new chapter where he is the bandleader, songwriter, and singer. Embracing the vulnerability of singing and songwriting, Jones aims to connect with a dedicated audience who appreciate his personal musical journey. Inspired by artists like Tom Waits and his own diverse musical background, Jones is charting a course for continued growth and exploration, both with the Rolling Stones and in his solo endeavors. His story, now further illuminated by the documentary Darryl Jones: In The Blood, is a testament to a remarkable career built on talent, versatility, and an unwavering dedication to the groove of the bass guitar rolling stones fans around the world have come to love.
