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Double Bass Aebersold Summer Jazz Camp

#141
Last night was really special. Jamey brought in Jimmy Cobb for masterclasses and the evening concert. After regaling faculty and students alike in masterclass with no nonsense stories about how he came up and made his way in harder times than most of us will ever know, he played the last set of the evening concert with the top shelf camp faculty. The set consisted of many if not most tunes from Kind of Blue. At 87, he sounded great, and watching him play that music was chilling... obviously in a good way.

Life is good!
 
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#146
True,

true,

true,

true

jazz was made tonight in Louisville Kentucky.

Dan Hearle -

if you don't know him, look him up because he is an icon of jazz instruction and an "earned it" player in his own right, but I digress.

Dan led a combo with Steve Barnes from Dallas on percussion (you cannot call what Steve does "drums"), Corey Christiansen on guitar, Tom Walsh from IU on tenor, and, oh, yeah, that Chris-guy on bass. I think his last name is... oh wait, I'll remember it in a moment, oh yeah, @Chris Fitzgerald !

Three originals, two by Dan, one by Chris and the fourth tune, a wicked arrangement of Cantaloupe Island by Dan, was, IMO, brilliant, and what jazz is about. Chris ate his Wheaties. Really great technique in TP; pitches clear as a bell all the way to the end of the fingerboard.

Chris F 1.jpg
 
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#147
Thanks Tom. :) I knew when I saw that lineup that this was going to be an easy year on concert nights. There's just something about being surround by people who not only all can play, but who are also good friends who understand that the music is a cooperative endeavor.

The last set group with Rufus and the NY guys was also great! Rufus has definitely still got it as displayed by his walking at Quarter note=dragonflywing, and his rendition of If You Could See Me Now was just gorgeous. A special shout out to my old partner in time Jason Tiemann, who is playing his tail off these days. I think life in NY suits him
 
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#148
IMG_4916.JPG


Just saw Chris Potter playing with Carl Allen and faculty bass players Rufus Reid and John Goldsby, and faculty piano players Andy LaVerne and Phil DeGreg. Unbelievable. The man is on an entirely different plane of existence. If it's not god he's channeling, then it's some extremely powerful form of alien bliss. All the faculty said listening to him was like going to school, church, or both. Truly beautiful sound, and amazing concepts. I have no words.
 
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#150
The Aebersold Summer Jazz Camp was better, for me, this year, still yet. Each year, I feel that I get more out of the camp. Aside from 12 different brilliant bassists making suggestions to me for better technique, there are horn players, drummers, pianists and guitarists, and other students who try to tell me what they expect from a bassist. How cool IS that? This year, I made it my mission to play with as many players as I could, from monsters to beginners and everything in between... an additional 2 to 3 sessions a day, and, man, am I totally spent, but... it was... absolutely great!

The rumour is that next year is the last under Jamey's direction. There's a good chance that the camp will completely fold after Jamey retires so if you want to participate, next year will probably be your last opportunity. Registration usually begins in January at SummerJazzCamps.com. $700 a week - no one's getting rich off that tuition. They all do it for LOVE, baby!
 
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#152
Tom Lane said:
The Jamey Aebersold Summer Jazz Workshop registration is open. If you haven't been, I'd be willing to bet that more than 95% of the people who attend would say that they had a great time and heartily recommend it. Here's an official vid:

vid
Click to expand...

I just signed up. David Friesen talked me into it. It may be the last year. We will see. I think this will motivate me to work hard over the next five months.
 
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#154
shwashwa said:
the last year for the jazz camp or the last year for you going to the jazz camp?
Click to expand...

Any given year could be the last year, because Jamey is in his late 70's and won't be around forever, plus if booking the space becomes too complicated or expensive, he could just decide to retire. We all hope it will continue for a few more years, but 50 years is a pretty good run!
 
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#155
shwashwa said:
the last year for the jazz camp or the last year for you going to the jazz camp?
Click to expand...

Chris would know better than me. I got the impression from David that this could very well be the last year. Jamey Aebersold could decide to stop at any time, and it doesn't seem like anyone else is going to pick up the mantle.

Jamey sent me an email last night saying he had a bass for me to use at the camp. I'm excited!
 
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#156
There's GOOD news and GOOD news for those interested in the Aebersold summer jazz camp.

First, Jamey said he'll try to do another one next year. There are some logistical issues having to do with when he can move the equipment into the music school, but for now, he's planning on doing it. YEA!

Second, serendipitously, this week my combo instructor was that prevalent TB lurker, @Chris Fitzgerald . We had a averagely skilled group except for the drummer who was a local with great time and was a pure joy to play with. The time and groove rarely suffered all week. But, even on the first day, it was clear that everyone was listening, no egos needed massaging and I think we all learned a lot. Chris came in with a skill-to-be-addressed each session which we explored and practiced in depth. Two that come to mind were filling space as an accompanist and building and relaxing the energy of the piece and solos. That suggests that most of the basics were covered for the most part.

Chris commented that his motto is "What did the melody do?" A very zen perspective I'm completely on board with because it informs everything about a tune, the harmony, the rhythm, the groove, the solos, etc. After having the privilege of being in his class all week, I'm not sure if I think he's a better jazz artist or a teacher. He's a great, truly unique musician, and I find I can easily recognize his playing on either bass or piano with my back turned, but his teaching is also truly remarkable. I suspect that his motto for his teaching is something along the lines of "What does the student need?" Another very zen perspective.

Just one more reason to attend the camp, and, on your audition form, you can request an instructor and they'll do their best to accommodate you.
 
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#157
Thanks Tom. I am every bit as awkward at accepting praise as enduring harsh criticism, so I'll just say thanks on that count and answer some of the rest of your post. :)

Glad to hear Jamey is planning to do another year - you heard it before I did. Jamey sent an email at the end of the week to all faculty - it was headed "Thanks for a great week" but had no text in the body of the email. I was sleep deprived and the coffee hadn't kicked in yet at 6:04 AM when I read it, but somehow my reply seemed appropriate in spite of it so I'll copy it here:

Thanks for making all of this possible. Every year I both look forward to and simultaneously dread the camps: Look forward to because of all the great people I'll get to meet, interact with, and play with; dread, because as an introvert pretending to be an extravert for 12 hours a day for the sake of the students is necessary but exhausting.

Every year this happens, and every year I walk away with more faith in humanity and music than I came in with. This year, for reasons I'm sure I don't need to name, I really needed that more than ever.

The SJW has many flaws and warts, as any such huge undertaking must always have. But every year it remains an amazingly positive experience in the end, and the vibe of that many curious people hungry to improve at a thing they love all thrown together in one place is always an amazing and life affirming experience.

About our combo, Tom nailed it. Everyone had a great attitude and everyone listened, and in the end that's what it's all about because that's where progress begins. I was pleased as punch with the rhythm section because everyone was solid and there were no train wrecks all week and everyone was open.

About what you call my mottos - WDMD and the other one you quoted (which could be abbreviated "WDSN?") - that is what I always try to shoot for, with varying degrees of success. I came by them honestly as an offshoot of the many years of study and later personal association and friendship with the greatest musical mentor of my life, Doris Keyes. Her mantra, which I try to carry with me always, was:

What does the music want from you?

Seven little words that have inspired a lifetime of musical exploration!
 
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#158
Chris Fitzgerald said:
Thanks Tom. I am every bit as awkward at accepting praise as enduring harsh criticism, so I'll just say thanks on that count and answer some of the rest of your post. :)

Glad to hear Jamey is planning to do another year - you heard it before I did. Jamey sent an email at the end of the week to all faculty - it was headed "Thanks for a great week" but had no text in the body of the email. I was sleep deprived and the coffee hadn't kicked in yet at 6:04 AM when I read it, but somehow my reply seemed appropriate in spite of it so I'll copy it here:

Thanks for making all of this possible. Every year I both look forward to and simultaneously dread the camps: Look forward to because of all the great people I'll get to meet, interact with, and play with; dread, because as an introvert pretending to be an extravert for 12 hours a day for the sake of the students is necessary but exhausting.

Every year this happens, and every year I walk away with more faith in humanity and music than I came in with. This year, for reasons I'm sure I don't need to name, I really needed that more than ever.

The SJW has many flaws and warts, as any such huge undertaking must always have. But every year it remains an amazingly positive experience in the end, and the vibe of that many curious people hungry to improve at a thing they love all thrown together in one place is always an amazing and life affirming experience.

About our combo, Tom nailed it. Everyone had a great attitude and everyone listened, and in the end that's what it's all about because that's where progress begins. I was pleased as punch with the rhythm section because everyone was solid and there were no train wrecks all week and everyone was open.

About what you call my mottos - WDMD and the other one you quoted (which could be abbreviated "WDSN?") - that is what I always try to shoot for, with varying degrees of success. I came by them honestly as an offshoot of the many years of study and later personal association and friendship with the greatest musical mentor of my life, Doris Keyes. Her mantra, which I try to carry with me always, was:

What does the music want from you?

Seven little words that have inspired a lifetime of musical exploration!
Click to expand...

If you hadn't confessed that you're introvert, I'd never have known! You did a great job masking it and I can only imagine how much effort it takes. Even your jokes were groaners!

"WDtMWfY". I can see how that's the where it starts. Thanks for sharing it!
 
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