Double Bass Aebersold Summer Jazz Camp

[Treyzer]

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.

Great report Tom, mahalo (Thanks) In the islands we like to say in order to get aloha, you have to give aloha. I suspect anyone who comes to a great workshop with such great players and instructors would have to come as prepared as possible with an open mind and heart, and with no feeling of entitlement.

 

[Huy Nguyen]

One day I'm going to make it to Jamey's camp...

So far I'm deep into JazzCampWest community and spent the week playing in a combo with some killer players facilitated by Patrick Wolff and another NEA Jazz Master, Tootie Heath. Got my ass kicked several times over and man was it an amazing experience.

Anyhoo with these camps, I think the idea is what you give of yourself (and give up to others) is what you get in return. In several cases, I found I got more in return TBH. Selfish folks will likely weed themselves out of the experience pretty quick. I think the same goes with the teachers. If a teacher is one who isn't open to learning and being part of the community, they weed themselves out as well.

That was what was so impressive about Tootie, even more than his playing. He was at JCW in 2007 and he said he came back this year with stuff he worked on from the previous visit. And I saw first hand that he was still learning at 80 years young from students not even half his age. That was more than inspiring. Awesome is the right word.

 

[Tom Lane]

So chalk another one to one of Chris' teaching methods. One of the many things he's taught me in the brief time I've spent with him, and I really envy his full-time students, was
1) sing the melody and play the bass line
2) play the melody and sing the bass line and
3) play the melody and accompany yourself.

I use this regularly and it's been very good to me. This afternoon I heard that my combo leader is going to call Stanley Turrentine's Sugar tomorrow. I'm vaguely familiar with the tune but I've never spent much time on it. I've played it a handful of times on gigs and muster my way through it but no one, including me, would say I nailed it. More in the realm of "faked it kinda okay". My combo leader tomorrow will NOT be so forgiving. I KNOW he'll sing the bass line to me, and if I'm having trouble, he'll do it 2 or 3 times before he moves on, which is probably appropriate because he's got 9 other students and needs to keep things moving - but he'll be disappointed if I don't get it, and worse than that, the rhythm section will suck if I'm feeling my way through it rather than solid on what I hear in my ear, so... tonight, I spent some time listening to the recording, hoping that I could transcribe the bass line. No such luck. None of the electronic devices I have with me have enough bass to hear the bass over the melody, but... following Chris' recommendation, I sang the melody and played the bass line on my phone's piano a few times and now I feel confident that I have a faithful and appropriate bass line. Never underestimate the Super DURLL!

 

[Don Kasper]

Tom,
How are you and the piano/guitar learning the chord changes? Is there a written lead sheet?
Or, are each of you learning your part off of a recording by ear?
Is this the version that you're referencing?:

Thanks.
don kasper

 

[Tom Lane]

Tom,
How are you and the piano/guitar learning the chord changes? Is there a written lead sheet?
Or, are each of you learning your part off of a recording by ear?
Is this the version that you're referencing?:

Thanks.
don kasper

That's the version. I've listened to the recording before and picked up parts of the bass line here and there, but on small speakers I can't hear the bass when the melody is playing. I sang the melody off the recording and haven't looked at a chart for the melody. The changes in the 5th Ed RB seem a reasonable recommendation. Basically, I'm hearing Cm with an emphasis on the 5th in 2 bar phrases until the 8th bar which lands on Dmin and then another 3 bars to the Fm (the pattern is a bit different between the 1st and 2nd phrases but like a motif) and then Eb to D half-dim to G7 to Ab7 to G7, a measure each, as the RB indicates. The beat is half-notes with quarter-note pickups, if that makes sense. The last 4 bars are oriented around whole notes with quarter note pickups and then Ron starts walking after the head. I don't have any notation software with me or I'd jot it out for you so I'm stuck with a description for now. How'd I do?

 

[Chris Fitzgerald]

Hi Tom. Glad some of this info is working for you. I don't usually sing a whole bass line while playing the melody, but if you're playing the melody and hearing/ singing the root motion, you're making great progress in learning the tune. I love to hear all the talk about the importance of the melody - it can be reharmonized a lot of different ways ( did you catch the piano set tonight?) but the melody is the foundation the rest of the tune is built around. Sounds like you'll do fine tomorrow.

 

[Don Kasper]

Tom,
Here's a sketch of the YT version above - note the F#7 in bar10 (my RB Fifth doesn't have that chord change).
Also, note how bars 15 & 16 stay on Ab7 (no G7 for the most part).
Finally, the chords in parenthesis are used (sometimes) during the solos.
I'm curious to hear the pregame conversation between you and the chording instruments.
Such a great tune.

 

[Tom Lane]

One day I'm going to make it to Jamey's camp...

So far I'm deep into JazzCampWest community and spent the week playing in a combo with some killer players facilitated by Patrick Wolff and another NEA Jazz Master, Tootie Heath. Got my ass kicked several times over and man was it an amazing experience.

Anyhoo with these camps, I think the idea is what you give of yourself (and give up to others) is what you get in return. In several cases, I found I got more in return TBH. Selfish folks will likely weed themselves out of the experience pretty quick. I think the same goes with the teachers. If a teacher is one who isn't open to learning and being part of the community, they weed themselves out as well.

That was what was so impressive about Tootie, even more than his playing. He was at JCW in 2007 and he said he came back this year with stuff he worked on from the previous visit. And I saw first hand that he was still learning at 80 years young from students not even half his age. That was more than inspiring. Awesome is the right word.

If you really want to experience the Aebersold camp I think you should make it quick because Jamey's an extremely spray 75-year-old, but when he retires... it may cease to exist. I think that'd be a real shame but I don't think he has a serious continuation plan in place and staging the camp can't be cheap. The good news is this week enrollment was up to about 390 from about 320 last year, so that's a good sign. Many people I've spoken with attribute the difference to having Chris Potter and Eric Alexander on stage together and that will likely be one of the wonders of the world.

Certainly, one of the great things about these camps is spending time with folks who love music as much as we do, but beside that, 98% of the folks are really happy to be here, including the faculty, and so are atypically in a very good mood, unusually kind, generous, and giving. Yes, I've experienced the occasional faculty and fellow student ego, but I can count them with a couple of fingers, and I've only run into 3 students out of countless others who professed to NOT having a good time. Some folks just cannot be happy, and I know that at least in one case, it's not the camp's fault because they've bent over backwards several times to make that camper happy. I think he's literally crazy. And, I mean literally. Just chatting with him gives me the creeps.

But part of the camp's attraction, and I'm sure it's true for any of the camps, is the fellowship and friends you make with the faculty and fellow students, and that camaraderie is very valuable, IME. I've met campers who've been here for 25 years, 17 years, two 12 year-olds, and many, many 3, 4, and 5 year olds. Now the in-clique is if you've been here for both weeks. Clearly, they're doing something right. Although, full-disclosure, it isn't the food.

 

[Tom Lane]

Tom,
Here's a sketch of the YT version above - note the F#7 in bar10 (my RB Fifth doesn't have that chord change).
Also, note how bars 15 & 16 stay on Ab7 (no G7 for the most part).
Finally, the chords in parenthesis are used (sometimes) during the solos.
I'm curious to hear the pregame conversation between you and the chording instruments.
Such a great tune.
View attachment 644114

Thanks Don! That's great! That's the same as the RB except for the F#7#11 and the 2nd bar of the Ab7 at the end. I couldn't hear either in the recording with my speakers but that's good to know. I'll sus out what the guitarist is playing in the 1st chorus; I expect the RB changes, but once I hear it, I'll know. There won't be any interest in agreeing on the changes before hand because we'll either be given a chart or not and expected to follow the chart verbatim (which I don't always do of course) or negotiate it during the 1st chorus. Your suggestion would be too time consuming I suspect. In this case, I don't think listening well is too high on the guitarist, pianist, or drummer's agenda. The drummer is 14 and extremely talented but has a ways to go and the guitarist is similar. The pianist is 61 and... a lost cause. Them's the breaks. The good news is I find I learn a lot and have a lot of fun regardless. And, I'm far from blameless, making my share of mistakes. Today, I'd swear I was right where I should be and the leader told me I should have been on the 3rd A when I was on the 2nd, but, he's got decades more experience and much better ears than me, so I was probably at fault. And, if I wasn't, it doesn't matter because that's where he wanted the band to be and then that's where we should be. And, actually, despite our deficiencies, it's not a terrible band. The sad thing for me is that the groove kind of comes and goes. When it's there, it's very very good, but that's maybe a third of the time. I really miss the groove. Where did you want me to send that check again?

 

[Tom Lane]

Hi Tom. Glad some of this info is working for you. I don't usually sing a whole bass line while playing the melody, but if you're playing the melody and hearing/ singing the root motion, you're making great progress in learning the tune. I love to hear all the talk about the importance of the melody - it can be reharmonized a lot of different ways ( did you catch the piano set tonight?) but the melody is the foundation the rest of the tune is built around. Sounds like you'll do fine tomorrow.

Sorry Chris, I shouldn't have put words in your mouth - my interpretation of a very brief conversation a year or more ago. And thanks for the confidence; I think it'll go fine. Dave has high standards, but I think all of the camper's appreciate that because he has the respect for us to push us to behave as the pros do. And, if we're not here to grow and shine a light on our weaknesses... what's the point?

 

[Don Kasper]

Thanks Don! That's great! So, that's the same as the RB except for the F#7#11 and the 2nd bar of the Ab7 at the end. I couldn't here either in the recording with my speakers but that's good to know. I'll sus out with the guitarist is playing in the 1st chorus, I expect the RB changes, but once I hear it, I'll know. Where did you want me to send that check again?

Please send the check directly to my Shrink...(He claims my outstanding Unpaid Balance is another manifestation of my Passive Aggressive tendencies).

 

[Tom Lane]

Please send the check directly to my Shrink...(He claims my outstanding Unpaid Balance is another manifestation of my Passive Aggressive tendencies).

Can I get some of the same meds he's giving you? Might help! Couldn't hurt!

 

[Huy Nguyen]

If you really want to experience the Aebersold camp I think you should make it quick because Jamey's an extremely spray 75-year-old, but when he retires... it may cease to exist. I think that'd be a real shame but I don't think he has a serious continuation plan in place and staging the camp can't be cheap.

That's unfortunate about no succession plan for Jamey. They have something in place for JCW and it's been going on for 30+ years with no sign of slowing down.

It's hard for me to choose camps when I have such an amazing one at my doorstep, where I can network for local gigs. No matter where you go, you're going to find colleagues - it's just more useful if they live in your neck of the woods. I would think those that live in the PacNW feel the same way about Port Townsend.

I might have to do two camps in one year so I don't miss anything.

 

[Huy Nguyen]

Hi Tom. Glad some of this info is working for you. I don't usually sing a whole bass line while playing the melody, but if you're playing the melody and hearing/ singing the root motion, you're making great progress in learning the tune. I love to hear all the talk about the importance of the melody - it can be reharmonized a lot of different ways ( did you catch the piano set tonight?) but the melody is the foundation the rest of the tune is built around. Sounds like you'll do fine tomorrow.

* Play the roots, sing the melody
* walk a line, sing the melody
* Play a broken 2 feel, sing the melody
To which I added:
* Play the roots and sing the 3rds.
* Do the above in other keys
Chris' advice is really killer for me. I've been doing this for a couple years now and I'm starting to gain that instinct and be able to guess the changes without looking at any sort of lead sheets. Learning new tunes takes little time. Just did Up Jumped Spring tonight in about an hour.

 

[Chris Fitzgerald]

Chris Potter was amazing yesterday, both in his masterclass (first saxophone masterclass I've been to in all my years at the camp if memory serves), and on the evening concert. After the masterclass, as I returned to my combo and saw my three dazed sax players stagger in, I told them "you just met Mozart. Remember this day, because you may not meet another for quite a while". Chris is a very quiet and humble person who shared his knowledge freely and seemed (to me, anyway) to always give the kind of answers that I like to hear in a masterclass: big picture conceptual stuff that is then followed up on and exemplified by smaller playing examples. His playing on the evening concert was beautiful in every way that music can be, and it was great to see the hall packed with faces wearing expressions of wonder and joyful surprise (true for students and students and faculty alike) as he told story after story in sound. I don't think I've ever seen anyone exhibit such total mastery over and instrument as that, and his lines are so creative yet still logical that every note is a joy to listen to. Wow.

 

[Tom Lane]

Chris Potter was amazing yesterday, both in his masterclass (first saxophone masterclass I've been to in all my years at the camp if memory serves), and on the evening concert. After the masterclass, as I returned to my combo and saw my three dazed sax players stagger in, I told them "you just met Mozart. Remember this day, because you may not meet another for quite a while". Chris is a very quiet and humble person who shared his knowledge freely and seemed (to me, anyway) to always give the kind of answers that I like to hear in a masterclass: big picture conceptual stuff that is then followed up on and exemplified by smaller playing examples. His playing on the evening concert was beautiful in every way that music can be, and it was great to see the hall packed with faces wearing expressions of wonder and joyful surprise (true for students and students and faculty alike) as he told story after story in sound. I don't think I've ever seen anyone exhibit such total mastery over and instrument as that, and his lines are so creative yet still logical that every note is a joy to listen to. Wow.

Wow indeed. A once in a lifetime experience. Chris Potter, Eric Alexander, Rufus Reid, Andy Laverne and Adam Nussbaum. Jazz at its highest. Standing ovation, well deserved.

 

[Chris Fitzgerald]

Yes - the physical choreography of Nussbaum's playing was a thing of beauty. I was taking mental notes and will file away for future experimentation.

 

[Tom Lane]

And I had to pleasure of playing a few choruses of Song for My Father with Adam and Dave Stryker. That was a lot of fun!

Dave did call Sugar yesterday. He sung the intro to me which was close to the intro on the recording and then he told me to walk once the head began... so, no problems, and I learned something about learning tunes so that's cool.

Chris, what did you think of Harry's lecture last night? I thought it was pretty cool, but the people who've attended it previously said it was worthwhile but none of them indicated that it transformed their playing. In that 45 minutes, I thought he did a good job transforming my singing. I could hear Lynn doing his zoom-zoom-scat in my head with that kind of Louis Armstrong growl he gets. I'm going to try it this morning before combo.

 

[Chris Fitzgerald]

Harry's thing is about trying to help people get in an appropriate headspace to play - a new perspective for those who may be coming at the thing too intellectually. I think it's a great exercise that creates a much healthier starting point to approach the music from, but I don't know of anything that can transform anyone's playing in 45 minutes!

 

[Tom Lane]

So, today, two things Harry said helped me at the combo. The first is that jazz is dance music. I know this already but... I forget when I get involved with following unfamiliar changes or god forbid, hits! Dots! Oh no! Not DOTS! Which clef? That's not an A, this is bass clef, that's a C, no it's treble clef and it is a C! On the and of 2 and 4 then the and of 1... but... downbeats are your friend! Why don't jazz composers seem to know that? So, the reference to dance music reminded me that I like to "sway" with the bass when I play to help keep time. Anything to get the beat in my body. Obviously, I still don't read rhythm well and I tend to confuse which clef I'm reading. In LA, I never get dots. The most I get is a phrase sung at me before the gig by the BL.

The second one was the quote about "Just sharing the music", as in, "Come here, take a listen to this really cool music I hear". I found that helpful because it helps me forgive my lack of skills, put away my self-criticism, and get back into the music. Both of those things helped me relax, put the music first and get into "the zone". I've been to "the zone" many times, but it's not consistent, and rarely when I summon it, so, I'm glad I went to Harry's lecture and I'll keep exploring it. The real test will be the audition this Saturday. Will I choke again or be able to demonstrate my current relationship to jazz on my instrument? But, today, I reached "the zone". Today, I think I (mostly) sounded like a pro, and when I didn't I thought, "big deal" and got right back into "the zone". I think Harry's lecture got me there.

The thing that was really convincing to me about Harry's lecture is how I sounded scatting the blues when I first walked in and how I sounded 40 minutes later. No one, including me, would have wanted to listen to the first me, the 2nd me, not half bad. Better clarity of pitch, better ideas, more sophisticated lines, delivered with much more conviction. Maybe good enough to enjoy the effort anyway.