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Double Bass Aebersold Jazz camp?

The weekend camp is more freewheeling than the week-long camp. For the Bass/Drum/Guitar workshops (weekend camp) we (1) do a quick audition (very low pressure audition, in case you're wondering); (2) Have a demonstration of some basic rhythm section techniques/styles; (3) divide everyone into 4 groups, and then we split up into different rooms. You'd be in a room with a couple or few other bassists, drummers, guitarists who all play at about your level. There is one bass instructor, one guitar instructor, one drum instructor, plus a faculty horn player (who floats in and out) in each room. Then we just play through lots of tunes in various styles. We talk about how to make each style work, and what's expected of each instrument. Day 1 is long — about 8 hours. Day 2 is somewhat shorter, because the main jazz camp starts on that day.

The great thing about the weekend workshop is that you get to see and hear other player/student/participants, plus the teachers up close. The bassists constantly switch off, so I play some, you play some, the next bass player plays some. The same switch-off is happening with the drummers & guitarists. There is usually at least one faculty horn player who comes and plays with the rhythm sections. It's a huge weekend jam, with a lot of practical information constantly being offered.

In contrast, the weeklong workshop is very structured. You have ensemble 2x a day, master class (all bassists) 1x per day. Theory, listening in the morning. faculty concerts at night. There are extra classes offered if you have the energy— piano for non-pianists (taught by mr Fitzgerald), how to handle stage fright (taught by pianist Harry Pickens), Dave Friesen's "open door" policy (yes, you just walk in and ask him anything).

A lot of players find the weekend sessions really give them a head start for the week-long camp.
 
In some ways I think I get more out of the weekend workshop because the teachers are so focused on providing tips and I find swapping players very instructional. For instance, two drummers are playing the same tune but both have a different feel and I enjoyed learning to negotiate the groove with them and noticing how I prefer some drummers over others. And I find I always learn something watching another bassist play. In this case, maybe more so because you're playing the same tune and can hear how they work their lines and watch their technique. Maybe you guys should do a week-long week-end workshop.
 
There's no bias against electric players, and a lot of us double on both instruments (Bob Sinicrope, Tyrone Wheeler, myself). As Tom points out, J.B. Dyas plays exclusively electric. That said, a lot of the music played at the camp is rooted in the bebop era, so there is an emphasis on walking bass styles and bebop role models who mainly played double bass. So, even if you play electric, you'll be playing a lot of swing and bop, rather than "electric styles" like fusion, funk, and world music.

When I first attended the camps as a student in the '70s, I played electric. I can speak for the faculty when I say that we're all concerned about the music, and not the instrument one happens to play. I'd say that in recent years the ratio of electric players to acoustic players has been usually about 50/50.
John speaks the truth. I felt totally welcome with just my electric bass, with a huge thanks to John and the other instructors. They really make it about the music, not the instrument.

Don't be hesitant to go based on instrument.

And don't be hesitant based on your current level, either. They make a place for players of all levels.
 
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Not to move this thread in another direction but have you considered the litchfield jazz camp? Its the camp that I went to when I first started playing and I've been going every summer since. I learn a ton every time I'm there and the things I learn from the combos, privet lessens and just hanging out with the faculty is invaluable. You should look at it. Feel free to message me if you have any questions about it.