Well i have been viewing Art of the Bow this past week and it inspired me to get out my old Eggpin and see if I could make it work on my present set up (I jery rigged it) but, damn I forgot how much I liked getting the weight off my thumb. It is like sitting only without the crummy back problems and carrying a stool. In addition I carefully adjusted it as Rabbath suggests (although my tyrol has larger upper bouts then Rabbath's dropped shoulder bass) I have been really gettig nto the crab thing: if you start playing diatonic triads down two strings from thumb position and keep moving your thumb back, it becomes very easy to make lyrical lines that are possible otherwise (traditional) but involve a lot of shifting and are awkward. (if you then add some chromatic passing notes to connect them you get a very comfortable way to express bebop type lines. It took me most of the week to get my thumb callous up to a point where I can use it like a finger, but the extended range and ease of play from having your thumb on the board and using the arm weight instead of squeezing or holding the instrumenbt up is very freeing. I had given up the bent endpin years ago cause I didn't like the way my pizz hand was oriented on the board. But trying to use Rabbaths bowing technique ( arm weight, elbow out, loose wrist) has opened the whole thing up in a new way. I love learning new ways of getting around...I remember reading this interview with Keith J and he was talking about applying all sorts of different classical and post modern techniques to his style and then just letting them come up as they need to musically. I'm really going to delve into this and see if it is practical. I think its going to open up a lot of possibilities. Mostly I am curious to see if after playing 40 chorus' fo someone elses solos I can then jump into this and keep it musical. Anyone else using Rabbath for jazz?