Quinn Wilson

This article has multiple issues. Please help improve it or discuss these issues on the talk page. (Learn how and when to remove these messages) This article includes a list of references, related reading, or external links, but its sources remain unclear because it lacks inline citations. Please help improve this article by introducing more precise citations. (October 2011) (Learn how and when to remove this message) This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Find sources: "Quinn Wilson" – news · newspapers · books · scholar · JSTOR (September 2015) (Learn how and when to remove this message) (Learn how and when to remove this message)

Quinn Brown Wilson (December 26, 1908 – June 14, 1978) was an American jazz bassist and tubist.

Wilson played violin as a child, and studied composition and arrangement in his youth. He had his first professional experience in the mid-1920s, playing with Tiny Parham, Walter Barnes, Jelly Roll Morton (1927), Erskine Tate (1928-1931), and Richard M. Jones (1929). In the 1930s he arranged and played bass with Earl Hines from 1931 to 1939, in addition to playing bass on record with Jimmie Noone.

In the 1940s he began playing electric bass and started recording with R&B and blues musicians, including Lefty Bates and John Lee Hooker, with whom he played on several albums. He continued to play jazz as well, working with Bill Reinhardt in the 1960s and Joe Kelly in the 1970s.

With John Lee Hooker

• I'm John Lee Hooker (Vee-Jay, 1959)
• The Folk Lore of John Lee Hooker (Vee-Jay, 1961)
• Rhythm 'n' Blues (Disques Vogue, 1969)

With others

• Earl Hines, Swinging in Chicago (Ace of Hearts, 1967)
• Ella Jenkins with Franz Jackson and His Original Jass All-Stars, Play Your Instrument and Make a Pretty Sound (Folkways, 1968)
• Jelly Roll Morton, The King of New Orleans Jazz (RCA, 1959)

• Quinn Wilson at Allmusic