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Double Bass Aebersold Summer Jazz Camp

Great evening concerts at the Aebersold camp thus far. I had no idea there were so many fantastic jazz artists at the UofL, but their set tonight was a highpoint in my life. Great tunes, 2 originals, genius playing and communication. Words fail me how awesome it was. On par with Mile's quintets? I think so.
As a bass student I find it really interesting how the masters of the instrument and brilliant jazz artists like Lynn Seaton, John Goldsby, Chris Fitzgerald and many others have such completely different techniques and approach and yet all sound so absolutely brilliant. Chris is so lyrical in everything he plays. His sense of phrasing is absolutely beautiful to me. I think I've died and am now in heaven. Oh wait, I'm an athiest. Still, it's like being in heaven.
Jamey's done a fantastic job assembling many of the greatest living jazz musicians into one place, IMO. The concerts are worth the price of the camp alone, but we get so much more. I can't imagine anyone more deserving of the NEA Master's award than Jamey. The guy is a saint. Blasted atheism thing again, but you know what I mean.
And, the food's a bit better this year. Still not gourmet but it doesn't cost gourmet either. IMO, this year it's a bit better than a fair value in the camper's favor. If they could handle the logistics, they could add a more expensive meal plan and I think a few more campers would appear, but they'd need more staff. Still, it's really kind of them to do what they can to make the experience better.
I've also been having a good time getting to know some of the staff who are serious jazz students themselves and are supper hospitable folks. I only remember Jason's name, of course, and Brett, but they are all super positive folk even while they're functioning on only 2 hours of sleep. They truly work like dogs to try to give the campers the absolutely best experience possible.
What a completely amazing camp! This is my 3rd year in a row and I'm getting more each time.
I play more than once a month in LA, but I have to say that while my combo was less than perfect, including my clams, the energy was better than the LA groups, and that's saying a lot. All of my LA groups have killer time with some well known players, well developed and experienced players.
I did have dinner with one guy who was pretty much non - stop complaining, but as near as I could tell, it was because he expected the camp to come to him rather than meeting it in the middle. One of my favorite sayings is that you only get out what you put in. It's been consistently true for me thus far, at half a century plus, and YMMVBPN - your mileage might vary but probably not, IMO.
 
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I'm just curious. Does the Aebersold camp purely focus on jazz stylings? Waltz, Odd Meters, Swing, etc. Does anybody focus on latin and brazilian styles? Other types of music?

I expect that it's also heavily focused on western theory, given Jamey's primer on jazz and what not.
 
Tom - thanks for the nice review, and thanks for not mentioning all those clams I baked on the last tune last night - make it through a bunch of really challenging charts relatively unscathed, and then forget how to solo in tune on a Bb blues....ain't it the way? That group is really fun to play with, and the rhythm section has played together a lot for years, which helps. I'm glad you're picking up on the different techniques and sounds from all of the bass faculty. It's one of the first things I noticed when I started doing the camps: there is not just "one way" to do it. Lynn and John and Rufus have all been great role models for me over the years, and they all sound completely different with each of them having something about their playing that I want to add to my repertoire. After watching John play my bass on the last set last night, I was struck by the way he goes back and forth between the "parallel to the board" and "vertical to the board" right hand techniques depending on what kind of rhythmic activity he's going for. When we took the bass back to the my office after the set, he showed me a few things about that technique, and now I know one more thing I want to practice for the next couple of years.

The staff is wonderful, and go completely out of their way to make everyone as happy as they can be. Glad the food is better this year!
 
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Huy, I don't know if any of the faculty focus exclusively on Latin or Brazilian styles but I do know that Corey Christiansen and Rich Armandi are very knowledgeable about those styles because both of them have given me tips to help me sound more authentic. Chris probably knows the answer.
Chris, yes I noticed John doing that too. It seemed to serve him very well, I thought.
 
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tcl: Thanks for the kind comments. That reminds me of something that lead trumpeter Bob Millikan used to say: "Those guys in LA aren't half as good as we think we are!"

I always learn a lot from the students as well as my fellow teachers - it's a rich learning environment.

hdiddy: The camp is extremely bebop oriented, although there are a lot of knowledgeable teachers who've played a lot of Latin and world music styles . . . I've had the honor to play and record with several of the great Latin and world music musicians over the years.

However, this camp is rooted in the bebop language and styles of American jazz from the '40s, '50s' and '60s.
 
So speaking of right hand technique, Lynn was a literal encyclopedia tonight. Vertical, horizontal, rolling fingers, thumb strumming, bent at the 2nd knuckle, plectrum wrist/forearm, E-string pull through, what did I miss? And his playing on Aquarius, what was the tempo? At least 250 bpm if not 300 and still perfect time, great lines, and always musical. I'm awestruck yet again I think I am learning to absolutely dispose his left hand because, as a player who has the bad habit of lifting my index finger, I feel embarrassed when I watch Lynn do exactly as he preaches with such unwavering consistency. And he gets such a great tone from so little physical effort. Very intimidating.
 
hdiddy: The camp is extremely bebop oriented, although there are a lot of knowledgeable teachers who've played a lot of Latin and world music styles . . . I've had the honor to play and record with several of the great Latin and world music musicians over the years.

However, this camp is rooted in the bebop language and styles of American jazz from the '40s, '50s' and '60s.
Thanks for the clarification guys. That was my guess but it's good to have someone confirm.
 
I just got home today and don't have time yet for a complete recap, although it was a great experience. I did want to share one moment, though. In the Bass Master Class on the last day, we had a special guest join us...
 

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Okay, I think I’ve recovered from the Aebersold camp. This year, I attended both weeks and the rhythm section workshop over the weekend in between.

Summary: Well worth the time and money. I got more out of the camp by attending both weeks than just one week and developed a deeper appreciation and, comprehension?, of great players and teachers. Different combos each week with vastly different experiences and abilities, but I learned a lot from both. The weekend rhythm workshop was very good for me again this year as last. Very different, but very educational. More exposure to different great bassists was very educational. Switching my sleep schedule to East Coast time before I went was effort well spent. Plus, a lot a fun, much, much of the time. Faculty concerts were worth the price of admission, IMO.

I’ve learned to manage my energy and the camp better – isolated - without a car and don't do everything. I could give you more details, but think I should probably stop here. If you want more details, ask away and I’ll try to answer meaningfully as much as I can.
 
Yeah, I think we met at the recital the 2nd week at Bird Hall. I figured it was you. Your badge kind of gave you away, and yes, I had the Eminence with me in that hall way away from the crowd while we were waiting our turn. I hate crowds. Based on what I saw you do to that rental, I'll keep the travel bass. :)