Contrabass Conversations

We're chatting with Metropolitan Opera Orchestra Assistant Principal Bass Jeremy McCoy on this week's Contrabass Conversations episode. Jeremy attended the Curtis Institute and was a member of the National Arts Centre Orchestra of Canada prior to his appointment with the Metropolitan Opera Orchestra. Jeremy and I discuss a wide variety of topics, including his early experiences on the instrument, life in the Met, thoughts on teaching, recording a solo album, and much more. We'll conclude this two-part interview in the coming weeks. Enjoy! link to Jeremy's website link to Jeremy's Manhattan School of Music page link to Jeremy's album Dialogues with Double Bass

It is a real pleasure to be able to put out this interview with University of North Texas and Cleveland Institute of Music faculty member Jeff Bradetich. Jeff was a huge influence on my early development, and I continue to use the principles he taught me in my own teaching and performing each and every day. We get really "inside baseball" on some technical considerations for the bass in this interview, which I'm sure you'll enjoy, and we also feature a track of Jeff performing the Czardas by Vittorio Monti from his excellent album Portraits. We'll conclude this interview in the next few weeks and really get into Jeff's exciting new double bass foundation, which you can learn more about atwww.bradetichfoundation.org. Enjoy!

We've finally reached 100 episodes of Contrabass Conversations! In this special episode, we hear how many of our guests from our first two years of podcasting began playing the bass. Today, you'll be hearing excerpts from the following guests. Complete episodes featuring all of these guests (and many more!) can be found at the Contrabass Conversations website, along with complete biographies and links to guest websites: 1. Andy Anderson – Lyric Opera of Chicago 2. Phillip Serna – teacher and early music specialist 3. John Grillo – former New World Symphony, co-host of CBC 4. Bjorn Berkhout – composer 5. Kate Nettleman – principal bass of Hong Kong Philharmonic, newest member of Minnesota Orchestra 6. Weldon Anderson – freelance bassist and composer 7. Ira Gold – National Symphony 8. Francois Rabbath – soloist 9. Greg Sarchet – Lyric Opera of Chicago 10. Lawrence Hurst – Indiana University bass professor 11. Eric Hochberg – jazz bassist 12. Michael Hovnanian – Chicago Symphony 13. Rob Kassinger – Chicago Symphony 14. Jeff Turner – Pittsburgh Symphony 15. Ranaan Meyer – Time for Three 16. Guy Tuneh – soloist and chamber musician 17. Peter Tambroni – teacher and author 18. Colin Corner – former member Minnesota Orchestra 19. Brad Opland – Chicago Symphony 20. Scott Rosenthal – Theater/Broadway musician 21. Donovan Stokes – soloist and professor 22. Virginia Dixon – Suzuki bass 23. Peter Seymour – Project bassist, former New World Symphony and Cleveland Orchestra 24. Steve Reinfranck – luthier and teacher 25. Owen Lee – Cincinnati Symphony 26. Lynn Seaton – jazz bassist, UNT jazz bass professor 27. Anthony Stoops – soloist and professor 28. Chris Threlkeld-Weigand – luthier 29. Barrie Kolstein – luthier 30. Dave Anderson – Louisiana Philharmonic, composer 31. Kristin Korb – jazz bassist and vocalist 32. Barry Lieberman – University of Washington, former L.A. Philharmonic

We're featuring an interview with San Diego Symphony Principal Bass Jeremy Kurtz on this week's episode. Jeremy was a student of Hal Robinson at Curtis and Tim Pitts at Rice University, and he also spent two years in the New World Symphony prior to his appointment with the San Diego Symphony. His solo album Sonatas and Meditations, which will be will be available by the time you hear this episode, can be purchased through the new International Society of Bassists store at www.ISBstore.com. Tracks from Sonatas and Meditations featured: David Anderson Sonata for Double Bass and Piano Luis Prado Meditation 1

This fascinating bass sonata clocks in at almost 40 minutes (!) and was written by Marshall Fine for double bassist John Chiego. John Chiego, bass Deborah Heath, piano recorded live at the University of Memphis 2/14/98 1. Homage to A.T. (13:06) 2. Scherzo: La Vendetta (5:12) 3. Warrington-Variations (20:55) About Marshall Fine: Currently Assistant Principal Violist of the Memphis Symphony Orchestra, Marshall Fine is a versatile composer/performer who plays both violin and viola with equal facility. His output includes three symphonies, an oratorio, La Dolorosa, a violin concerto, and many sonatas (six for viola, three for violin). He received his DMA in 1990 from the University of Memphis. In addition to his orchestra position, he also arranges for his string quartet, the Bluff City String Quartet, and for other ensembles. This sonata was written for John Chiego, former principal bass of the Memphis Symphony, who is currently professor of double bass at the University of Memphis. About John Chiego: Mr. John Chiego, is Professor of Double Bass and the Associate Director for Curriculum and Instruction in the Rudi E. Scheidt School of Music at the University of Memphis. Mr. Chiego currently serves as the Principal Bass of the Nashville Chamber Orchestra and is the bassist for the Orpheum Theatre Orchestra in Memphis, playing for touring Broadway shows. He was the long time Principal Bass of the Memphis Symphony Orchestra and served on the faculties of the Hot Springs Music Festival, Brevard Music Center, the Allegheny Summer Music Festival, the Blue Lake Fine Arts Camp, and the Tennessee Governor's School for the Arts. He has also been an Artist-in-Residence at the Bay View Chamber Music Festival. As a recitalist and clinician, Mr. Chiego has traveled extensively throughout the United States, Canada, and Europe, with featured solo recitals at the Edinburgh International Double Bass Festival and The International Society of Bassists' worldwide convention in Houston, Texas. A champion of modern instruments, Mr. Chiego recorded his first CD, It's a Bass Thing, featuring a double bass built by Thomas Kelischek. Mr. Chiego currently plays instruments made by American bass maker Rumano Solano exclusively. Mr. Chiego has been a member of the editorial board for The American String Teacher magazine, a journal for which he has written articles on double bass pedagogy and technique, and has served as Tennessee Chapter President of the American String Teachers Association. Mr. Chiego is the author of The Musical Experience, a popular textbook for introductory music courses currently being used by colleges and universities across the United States.

This week, we're featuring another all-music episode. I'm pleased to bring you some tracks from The Bass Gang, one of the most virtuosic, astounding, and entertaining bass quarters of all time. 1. Jump (Van Halen) 2. Whiter Shade of… Bach (Procol Harum) 3. Pulp Bass 4. Black Cat White Cat Be sure to visit them online at thebassgang.org, where you can check out even more tunes from them on their site.

We're concluding our interview with double bass soloist and University of Texas-Austin bass professor DaXun Zhang today, as well as featuring more tracks from this stellar musician. Check out episode 92 for the first part of this interview. Along with the conclusion of our interview, we'll be featuring DaXun performing a very cool Chinese piece for bass called Sun SHines on Taxkorgan. It's available on his self-titled solo album, which you can learn more about at his website. DaXun is also professor of double bass at the University of Texas-Austin, so check out their website if you'd like to learn more about studying with him, and be sure to visit daxunzhang.com for more about this great artist. Enjoy! About DaXun: "If the bass is finally to produce a headliner, the instrument can have no better champion," wrote The Washington Post of double bassist DAXUN ZHANG, who has indeed made his mark as a soloist on this unusual instrument. In April 2007, Mr. Zhang won an Avery Fisher Career Grant, only the second double bassist in the history of this prestigious award. This summer he was invited by cellist David Finckel and pianist Wu Han to participate in the chamber music festival Music@Menlo in California and performs Schubert's "Trout" Quintet at the Indiana University Summer Chamber Music Series. During the 2007-2008 season he continues his residency with Lincoln Center's Chamber Music Society Two, and performs with Yo-Yo Ma's Silk Road Project in a series of concerts and cultural exchanges in China. He performs as soloist with the University of Northern Colorado Symphony and gives recitals at Indiana University, Rodef Shalom Congregation (PA), and McCain Performances (KS). Mr. Zhang has performed extensively with the Silk Road Project, including concerts with the Chicago Symphony Orchestra, at Carnegie Hall, and in Japan and California. With Mr. Ma he recorded the soundtrack to a 10-part documentary series on the Silk Road, which aired in Japan on NHK Television. The CD was released as "Silk Road Journeys: Beyond the Horizon" on Sony Classical. He has also joined with fellow Silk Road musician and pipa player Yang Wei and pianist Tomoko Kashiwagi to form the innovative chamber ensemble Qi Lin. As concerto soloist, Mr. Zhang has appeared with orchestras including Orange County's Pacific Symphony, the Monroe Symphony Orchestra, the Grand Rapids Symphony, the Chamber Orchestra of the Triangle and the Cedar Rapids Symphony Orchestra. He has given recitals at the Isabella Stewart Gardner Museum in Boston, the Kravis Center for the Performing Arts, the University of Georgia, Missouri State University, and at the Chinese Embassy in the Embassy Series in Washington, DC. He has also performed chamber music at the La Jolla Music Society's Summerfest, the Linton Chamber Music Series in Cincinnati, the Strings in the Mountains Music Festival and the Vancouver Chamber Music Festival. DaXun Zhang is the first double bass player to win the Young Concert Artists International Auditions and start a career under the auspices of Young Concert Artists. He made his New York debut sponsored by the Claire Tow Prize and his Washington, DC debut as a co-presentation with Washington Performing Arts Society. He also won the La Jolla Music Society Prize, the Orchestra New England Soloist Prize, and The Fergus Prize. In April 2006, Mr. Zhang performed Bizet's Carmen Fantasy in at Jazz at Lincoln Center's Rose Hall with Keith Lockhart conducting the Orchestra of St. Luke's. DaXun Zhang comes from a family of bassists in Harbin, China. He has been playing the instrument since the age of nine, and studied at the Central Conservatory of Music in Beijing beginning at the age of eleven. He continued his studies in the U.S. at the Interlochen Arts Academy and received his Bachelor of Music at the Indiana University School of Music, where he worked with Lawrence Hurst. He has served on the faculty of Northwestern University and was recently appointed Assistant Professor of Double Bass at the University of Texas at Austin. Mr. Zhang was the first double bassist ever to win First Prize in the 2003 WAMSO (Women's Auxiliary of the Minnesota Symphony Orchestra) competition, leading to a performance with the Minnesota Symphony Orchestra with Osmo Vanska, conducting. In 2001, Mr. Zhang was the youngest artist ever to win the International Society of Bassists Solo Competition. He has also received the Grand Prize of the American String Teachers Association National Solo Competition. DaXun's Website: www.daxunzhang.com

We're featuring an interview with double bass soloist and University of Texas-Austin bass professor DaXun Zhang today, as well as featuring more tracks from this stellar musician. Along with the conclusion of our interview, we'll be featuring DaXun performing a very cool Chinese piece for bass called Sun SHines on Taxkorgan. It's available on his self-titled solo album, which you can learn more about at his website. DaXun is also professor of double bass at the University of Texas-Austin, so check out their website if you'd like to learn more about studying with him, and be sure to visit daxunzhang.com for more about this great artist. Enjoy! About DaXun: "If the bass is finally to produce a headliner, the instrument can have no better champion," wrote The Washington Post of double bassist DAXUN ZHANG, who has indeed made his mark as a soloist on this unusual instrument. In April 2007, Mr. Zhang won an Avery Fisher Career Grant, only the second double bassist in the history of this prestigious award. This summer he was invited by cellist David Finckel and pianist Wu Han to participate in the chamber music festival Music@Menlo in California and performs Schubert's "Trout" Quintet at the Indiana University Summer Chamber Music Series. During the 2007-2008 season he continues his residency with Lincoln Center's Chamber Music Society Two, and performs with Yo-Yo Ma's Silk Road Project in a series of concerts and cultural exchanges in China. He performs as soloist with the University of Northern Colorado Symphony and gives recitals at Indiana University, Rodef Shalom Congregation (PA), and McCain Performances (KS). Mr. Zhang has performed extensively with the Silk Road Project, including concerts with the Chicago Symphony Orchestra, at Carnegie Hall, and in Japan and California. With Mr. Ma he recorded the soundtrack to a 10-part documentary series on the Silk Road, which aired in Japan on NHK Television. The CD was released as "Silk Road Journeys: Beyond the Horizon" on Sony Classical. He has also joined with fellow Silk Road musician and pipa player Yang Wei and pianist Tomoko Kashiwagi to form the innovative chamber ensemble Qi Lin. As concerto soloist, Mr. Zhang has appeared with orchestras including Orange County's Pacific Symphony, the Monroe Symphony Orchestra, the Grand Rapids Symphony, the Chamber Orchestra of the Triangle and the Cedar Rapids Symphony Orchestra. He has given recitals at the Isabella Stewart Gardner Museum in Boston, the Kravis Center for the Performing Arts, the University of Georgia, Missouri State University, and at the Chinese Embassy in the Embassy Series in Washington, DC. He has also performed chamber music at the La Jolla Music Society's Summerfest, the Linton Chamber Music Series in Cincinnati, the Strings in the Mountains Music Festival and the Vancouver Chamber Music Festival. DaXun Zhang is the first double bass player to win the Young Concert Artists International Auditions and start a career under the auspices of Young Concert Artists. He made his New York debut sponsored by the Claire Tow Prize and his Washington, DC debut as a co-presentation with Washington Performing Arts Society. He also won the La Jolla Music Society Prize, the Orchestra New England Soloist Prize, and The Fergus Prize. In April 2006, Mr. Zhang performed Bizet's Carmen Fantasy in at Jazz at Lincoln Center's Rose Hall with Keith Lockhart conducting the Orchestra of St. Luke's. DaXun Zhang comes from a family of bassists in Harbin, China. He has been playing the instrument since the age of nine, and studied at the Central Conservatory of Music in Beijing beginning at the age of eleven. He continued his studies in the U.S. at the Interlochen Arts Academy and received his Bachelor of Music at the Indiana University School of Music, where he worked with Lawrence Hurst. He has served on the faculty of Northwestern University and was recently appointed Assistant Professor of Double Bass at the University of Texas at Austin. Mr. Zhang was the first double bassist ever to win First Prize in the 2003 WAMSO (Women's Auxiliary of the Minnesota Symphony Orchestra) competition, leading to a performance with the Minnesota Symphony Orchestra with Osmo Vanska, conducting. In 2001, Mr. Zhang was the youngest artist ever to win the International Society of Bassists Solo Competition. He has also received the Grand Prize of the American String Teachers Association National Solo Competition. DaXun's Website: www.daxunzhang.com

We're concluding our interview with double bassist Barry Lieberman. The former Assistant Principal Bass of the Los Angeles Philharmonic and Principal Bass of the Winnipeg Symphony, Barry now serves as co-director of The American String Project, an innovative string ensemble which features arrangements of string quartets for small string ensemble with double bass. On today's episode, Barry (pictured here with his John Lott double bass) discusses the arranging process that he goes through for the American String Project, his recording of the Vivaldi Cello Sonatas, and his beautiful Maggini bass. About Barry: Barry Lieberman is now in his sixteenth year as double bass faculty at the University of Washington. He began his career at age 21 as principal bass of the Winnipeg Symphony. In 1976 Zubin Mehta appointed him associate principal bass of the Los Angeles Philharmonic, a post he held for sixteen years. Lieberman has been a regular performer with Chamber Music Northwest, Music From Angel Fire, the International Festival in Seattle, Bravo Colorado, Bargemusic, the Seattle Chamber Music Festival, and Mostly Mozart, and served as Principal Bass of the Colorado Music Festival in Boulder, Colorado. Most recently Lieberman performed with the Orpheus Chamber Orchestra, both in New York City and on tour in Europe. He has also performed with and toured the Far East, Europe, and the U.S. with the Mostly Mozart chamber orchestra. Lieberman has performed with many of the world's greatest conductors, including Pierre Boulez and Sir Simon Rattle (in both orchestral and chamber music settings), Erich Leinsdorf, Leonard Bernstein, Daniel Barenboim, Georg Solti, Eugene Ormandy, Claudio Abbado, Carlo Maria Giulini, and Kurt Sanderling, among many others. He has performed chamber music with artists including Emmanuel Ax, James Galway, Lynn Harrell, Pinchas Zuckerman, Glenn Dicterow, and David Shifrin. A former member of the New European Strings for several years, he has toured both the US and Europe with the ensemble's leader, Dimirtri Sitkovetsky. Lieberman has also served as Principal Bass of the Seattle Symphony on many occasions. In l994, Lieberman created the series "Barry Lieberman and Friends" at the University of Washington. The series combines the talents of School of Music faculty, members of the Seattle Symphony (including his wife, Maria Larionoff, Concertmaster of the Seattle Symphony), guest artists, and most importantly, students from both the UW and from preparatory schools and high schools. The series has met with great success and critical acclaim, and has incorporated Lieberman`s project of arranging standard chamber music literature to include the double bass. Featured artists on this series include Gary Karr, Thomas Martin (Principal Bass, London Symphony), Hal Robinson (Principal Bass, Philadelphia Orchestra,), Joel Quarrington (Principal Bass, Toronto Symphony,) and many other prominent double bassists from around the world. The series continues and has become one of the most popular concert series in Seattle.

We're concluding our interview with double bassist Barry Lieberman. The former Assistant Principal Bass of the Los Angeles Philharmonic and Principal Bass of the Winnipeg Symphony, Barry now serves as co-director of The American String Project, an innovative string ensemble which features arrangements of string quartets for small string ensemble with double bass. On today's episode, Barry (pictured here with his John Lott double bass) discusses the arranging process that he goes through for the American String Project, his recording of the Vivaldi Cello Sonatas, and his beautiful Maggini bass. About Barry: Barry Lieberman is now in his sixteenth year as double bass faculty at the University of Washington. He began his career at age 21 as principal bass of the Winnipeg Symphony. In 1976 Zubin Mehta appointed him associate principal bass of the Los Angeles Philharmonic, a post he held for sixteen years. Lieberman has been a regular performer with Chamber Music Northwest, Music From Angel Fire, the International Festival in Seattle, Bravo Colorado, Bargemusic, the Seattle Chamber Music Festival, and Mostly Mozart, and served as Principal Bass of the Colorado Music Festival in Boulder, Colorado. Most recently Lieberman performed with the Orpheus Chamber Orchestra, both in New York City and on tour in Europe. He has also performed with and toured the Far East, Europe, and the U.S. with the Mostly Mozart chamber orchestra. Lieberman has performed with many of the world's greatest conductors, including Pierre Boulez and Sir Simon Rattle (in both orchestral and chamber music settings), Erich Leinsdorf, Leonard Bernstein, Daniel Barenboim, Georg Solti, Eugene Ormandy, Claudio Abbado, Carlo Maria Giulini, and Kurt Sanderling, among many others. He has performed chamber music with artists including Emmanuel Ax, James Galway, Lynn Harrell, Pinchas Zuckerman, Glenn Dicterow, and David Shifrin. A former member of the New European Strings for several years, he has toured both the US and Europe with the ensemble's leader, Dimirtri Sitkovetsky. Lieberman has also served as Principal Bass of the Seattle Symphony on many occasions. In l994, Lieberman created the series "Barry Lieberman and Friends" at the University of Washington. The series combines the talents of School of Music faculty, members of the Seattle Symphony (including his wife, Maria Larionoff, Concertmaster of the Seattle Symphony), guest artists, and most importantly, students from both the UW and from preparatory schools and high schools. The series has met with great success and critical acclaim, and has incorporated Lieberman`s project of arranging standard chamber music literature to include the double bass. Featured artists on this series include Gary Karr, Thomas Martin (Principal Bass, London Symphony), Hal Robinson (Principal Bass, Philadelphia Orchestra,), Joel Quarrington (Principal Bass, Toronto Symphony,) and many other prominent double bassists from around the world. The series continues and has become one of the most popular concert series in Seattle.

We're featuring Gary Karr, one of the all-time most influential double bassists, on Contrabass Conversations today. Hearing Gary Karr on record was a defining experience for me in my youth (as was the case for bassists worldwide), and hearing him live remains one of my most memorable double bass performances of all time. This video is a magnificent tribute to Gary Karr. University of Washington bass professor Barry Lieberman interviews Gary as they listen (along with an enthusiastic audience) to recordings from various stages of Barry's career. The video concludes with a performance from Gary and pianist Harmon Lewis, a rare treat from this retired duo. Lear more about Gary Karr at his website garykarr.com, and learn more about Barry Lieberman and his project featuring arrangements of great chamber music that include the double bass at theamericanstringproject.com. We'll also be releasing this complete video in segments on YouTube, so feel free to search for it there as well. Enjoy, and stay tuned next week for the first segment of our interview with Barry Lieberman, which will feature performances from The American String Project. Find the video version on YouTube here.

We're featuring an interview with jazz bassist Rufus Reid on this week's episode ofContrabass Conversations. This interview was conducted by guest host Win Hinkle, a former member of the Florida Symphony Orchestra (this orchestra dissolved in 1993) who also worked in Florida as a trombonist, electric bassist, and double bassist, including a lot of time at Walt Disney World. Rufus Reid is, without a doubt, one of the most influential bassists working in jazz today, and he has had a significant impact on double bass performance and pedagogy throughout his career. His book The Evolving Bassist was one of the earliest of the contemporary generation of double bass method books, and it continues to be a foundational text for double bass students. I recommend it to all of my students who are interested in jazz, and I use many of his exercises for arco study and sight reading practice even with students who only study classical music. We're also featuring Rufus Reid and bassist Michael Moore performing All Blues from their album Double Bass Delights, as well as some listener feedback, bass news, a link of the week, and much more. Check out more recordings of Rufus in various settings on his website's recordings page. Enjoy! About Rufus Reid: Born on February 10, 1944 in Atlanta, GA., Rufus Reid was raised in Sacramento, California where he played the trumpet through junior high and high school. Upon graduation from Sacramento High School, he entered the United States Air Force as a trumpet player. During that period he began to be seriously interested in the bass. After fulfilling his duties in the military, Rufus had decided he wanted to pursue a career as a professional bassist. He moved to Seattle, Washington, where he began serious study with James Harnett of the Seattle Symphony. He continued his education at Northwestern University in Evanston, Illinois, where he studied with Warren Benfield and principal bassist, Joseph Guastefeste, both of the Chicago Symphony. He graduated in 1971 with a Bachelor of Music Degree as a Performance Major on the Double Bass. The MidAtlantic Arts Foundation awarded Rufus The 2005 Mellon Jazz Living Legacy Award for his dedication to America's National Cultural Treasure: Jazz, for his personal and professional commitment to Jazz Education in the Mid-Atlantic Region. The International Society of Bassists presented Rufus with their highest honor, The Distinguished Achievement Award, in 2001. The New Jersey Chapter of the IAJE named him OUTSTANDING EDUCATOR of 1999. The International Association of Jazz Educators awarded Rufus the Humanitarian Award in 1997 BASS PLAYER magazine, awarded Rufus the 1998 Jazz Educator Achievement Award. About Win Hinkle: Win Hinkle is dedicated double bassist and a former trombonist spending 17 seasons with the Florida Symphony Orchestra in Orlando, until its demise in April of 1993. He worked as a double bassist, bass guitarist, and trombonist for many years in Florida including a lot of time at Walt Disney World. He recently sold his last bass guitar and only plays the double bass. He currently lives in Boston but still tries to spend time in time in Florida, especially in the Winter months. Learn more about Rufus at rufusreid.com

We're featuring something a bit unusual for this week's Contrabass Conversations episode. Ball State University bass professor and International Society of Bassists president Hans Sturm has been featured several times on the podcast in video episodes, and this week we're featuring Hans discussing the fundamentals of the Rabbath technique left hand positioning system.This dialogue was featured in some of our previous video episodes, but it was broken up into bite-sized chunks, so I think you'll enjoy the opportunity to hear the entire segment uninterrupted!After the segment, we feature some bass news and listener feedback. Enjoy! About Hans: Double bassist Hans Sturm has performed as soloist, chamber, orchestral, jazz and improvisational musician throughout Europe, Asia, South America, Africa and the United States. Sturm received his doctorate from Northwestern University and is currently a Professor and Chair of the String Department at Ball State University.Sturm has appeared with a variety of artists across the spectrum of jazz music including Eddie Daniels, Phil Woods, Randy Brecker, Dick Hyman, Roscoe Mitchell, Joseph Jarman, Eddie Higgins, David Baker, Stanley Jordan, Peter Erskine, Joe LaBarbera, Alan Dawson, Bela Fleck, Howard Levy and many others. A frequent performer of chamber music, Sturm has toured with 'Fireflight' (soprano, Japanese koto and bass koto, double bass, and percussion) and 'Trinkle, Burkett, and Sturm' (trumpet, marimba and double bass) for more than fifteen years. He has worked in the electronic medium with composers such as Cleveland Scott and Joan Wildman. As an orchestral bassist, he has served as principal bassist of numerous regional orchestras including the Muncie Symphony, Quad Cities Symphony, Wisconsin Chamber Orchestra, Madison Symphony, Dubuque Symphony, Dorian Opera, Rockford Symphony, and Racine Symphony and toured Europe as a member of the American Sinfonietta Chamber Orchestra.Recently Hans Sturm has appeared at the Beijing Music Festival; the Association of Brazilian Contrabassists International Conventions in Goiania and Pirenopolus, Brazil; the Scottish Bass Trust's International Convention and the Fringe Festival in Edinburgh Scotland; the College Music Society International Conference in Kyoto, Japan; Encontro de instrumentistas in Joao Pessoa and Belo Horizonte, Brazil; the Biennial International Symposium on Arts and Technology in New London, Connecticut; a State Department tour of Morocco; various International Society of Bassists Conventions in Bloomington, Houston, Indianapolis, Iowa City and Richmond; and jazz fest ivals in Chicago, New York, Detroit, Madison, Milwaukee, and Minneapolis. Sturm has contributed performances and compositions to more than thirty recordings with artists including the Pro Arte String Quartet, soprano Mimmi Fulmer, vocalist Jackie Allen, synthesist/composer Joan Wildman, guitarists Scott Fields, Rolf Sturm, Dave Baney, Jeff Parker, and Jack Grassel, trumpeters Bob Levy and David Young, and pianists Jane Reynolds, and Marilyn Crispell. He has recorded for A440, Innova, Red Mark, Music and Arts, CRI, Big Chicago, and Cadence labels among others.Hans Sturm is currently the President-Elect of the International Society of Bassists and served as the New Music Editor for the organization's journal 'Bass World' for six years. He is on the summer faculty of the National High School Music Institute at Northwestern University and his works for bass are published by Liben Music (U.S.) and Klaus Schruff (Europe). His major teachers have included Northwestern University Professor Jeff Bradetich, Pittsburgh Symphony Principal Bass Emeritus Anthony Bianco, Philadelphia Orchestra bassist Ferdinand Maresh, and international soloist and pedagogue François Rabbath.

We're concluding our chat with Michigan State University and Interlochen Arts Academy double bass instructor Jack Budrow this week on Contrabass Conversations. In addition to helping place students in major orchestras across the globe, Jack has had a very distinguished performance career as a former member of the Houston Symphony, Santa Fe Opera Orchestra, and as Principal Bass of the North Carolina Symphony. About Jack Budrow: Jack Budrow is professor of music and co-chair of the string area at the Michigan State University College of Music. He has enjoyed a long and varied career in double bass performance and teaching. Budrow has been a member of the Houston Symphony, and principal bass of the North Carolina Symphony, Santa Fe Opera, and the American National Opera orchestras. A well-known teacher, Budrow's students play in many of America's symphony orchestras, including Cincinnati, San Francisco, Atlanta, Houston, Charleston, San Antonio, the Michigan Opera, and the Army Band. Internationally, he has placed students in the Oslo Philharmonic, Israel Philharmonic, Munich Radio Orchestra, and the Caracas Symphony.Each summer, Budrow teaches at Interlochen Center for the Arts and Indiana University. He serves on the board of directors of the International Society of Double Bassists, and was a judge for their most recent International Solo Bass Competition. Budrow has presented master classes throughout the United States, including the Cleveland Institute, Florida State University, University of Houston, Indiana University, University of Michigan, Peabody Conservatory, and University of Texas. In addition, he served as the bass section coach at the National Orchestral Institute and New World Symphony. Budrow received his B.M. from Bowling Green State University.

We're concluding our chat with double bassist Anthony Stoops today on Contrabass Conversations, which we began on episode 67 of the podcast. Anthony is the Artist/Teacher of Bass and String Area Chair at the University of Oklahoma School of Music. He also won first prize in the International Society of Bassists international solo competition and is the past recipient of a Karr Foundation double bass. Learn more about Anthony by visiting his website atanthonystoops.com.We're also featuring Anthony performing his rock medley with the Bad Boyz of Bass, plus some listener feedback, bass news, and shout-outs to some of our Facebook group members. Enjoy! About Anthony: Anthony Stoops is Artist/Teacher of Bass and String Area Chair at the University of Oklahoma School of Music. Since winning first prize in the International Society of Bassists international solo competition, he has performed throughout the United States and internationally as a soloist and chamber musician. Dr. Stoops has presented masterclasses in Poland, Brazil and throughout the U.S. at venues such as the Cleveland Institute of Music, the University of Michigan, the University of Iowa, Interlochen Arts Academy, Penn State University, and many others. The past recipient of a Karr Foundation Doublebass, Stoops is widely regarded as one of the top bass soloists in the world today. As an orchestral musician, Stoops has performed regularly in over a dozen orchestras including the Detroit, Columbus (OH) and Toledo Symphony orchestras, and the Michigan Opera Theater among many others, under many of the world's great conductors such as Sir Georg Solti, Neeme Järvi, Daniel Barenboim, Zubin Mehta, Pierre Boulez and Charles Dutoit.He studied with Diana Gannett at Iowa (and later at Michigan), Stuart Sankey at Michigan, Jeff Bradetich at Northwestern, and Eugene Levinson at Aspen. Other influential teachers include Max Dimoff, Principal Bass of the Cleveland Orchestra, Stephen Molina, Assistant Principal Bass of the Detroit Symphony. In high school, he studie with Dr. Mark Morton, Principal Bass of the Columbus Symphony.As a devotee of new music, Stoops' wide-ranging repertoire has included premieres of several works, including his own. Prior to his appointment at OU, he taught at Bowling Green State University, the Ann Arbor School for Performing Arts and the renowned Preucil School of Music.He lives in Norman, OK with his wife, cellist Emily Gosma Stoops and their son, Henry. In his spare time, Anthony enjoys fishing, cooking, swimming and Yoga.

We're changing up the podcast format for today's show and featuring a group of present and former members of the Midwest Young Artists program located on the North Shore of Lake Michigan in metro Chicago. As an educator, I find it very interesting to hear the perspective of younger bassists–what they enjoy about performing, if they're planning on majoring in music during college, and how they ended up deciding on a particular school for college.Several of these young bassists are my students, and I've worked with them all in the Midwest Young Artists program for several years, so it's a personal pleasure to be a part of their musical education.

We're featuring double bassist, composer, and conductor Peter Askim on today's episode of Contrabass Conversations. A former member of the Honolulu Symphony and an internationally acclaimed composer, Peter currently serves as music director and composer-in-residence for the Idyllwild Arts Academy. His Eight Solitudes for Double Bass won the 2002 International Society of Bassists Composition Competition. Learn more about Peter at his website peteraskim.com. There are some excellent opportunities for high school bassists at the Idyllwild Arts Academy. Bassists study with Chris Hanulik (Los Angeles Philharmonic Principal Bass) and Jeremy Kurtz (San Doego Symphony Principal Bass) and recieve a great deal of attention from Peter as well. Learn more about this program atidyllwildarts.org. Enjoy! About Peter: Active as a composer, conductor and bassist, Peter Askim is the Music Director and Composer-in-Residence of the Idyllwild Arts Academy. He has been a member of the Honolulu Symphony Orchestra and served on the faculty of the University of Hawaii-Manoa, where he directed the Contemporary Music Ensemble and taught theory and composition. As a composer, he has had commissions and performances from such groups as the Tokyo Symphony Orchestra, the Honolulu Symphony, the International Society of Bassists, the Yale Symphony Orchestra, the Idyllwild Arts Orchestra, the Portland Chamber Music Festival, and Serenata Santa Fe, as well as by performers such as flutist/ conductor Ransom Wilson, Metropolitan Opera soprano Lauren Flanigan, Grammy-nominated soprano Judith Kellock and violinist Timothy Fain. His compositions are published by Liben Music Publishers and the International Society of Bassists, and his music is recorded on the Gasparo and Albany labels. His compositions have been performed at the Aspen, Bowdoin, Music At the Anthology, June in Buffalo and Bang On A Can festivals, among others, and have frequently been broadcast on WNYC and Hawaii Public Radio. Mr. Askim won the 2002 International Society of Bassists Composition Competition for Eight Solitudes and is a frequent recitalist for the International Society of Bassists, the Hawaii Contrabass Festival and the World Bass Festival in Wroclaw, Poland. He performed and recorded his bass concerto Islands at the International Society of Bassists convention under the direction of flutist/ conductor Ransom Wilson. As a conductor, Mr. Askim has served as Music Director of the Branford Chamber Orchestra and makes frequent guest conducting appearances, including the Sewanee Philharmonia, the Oregon Festival of American Music, the Wroclaw (Poland) Chamber Orchestra Sotto Voce and the Honolulu Symphony Orchestra. He has premiered numerous works, including by composers Richard Danielpour and Christopher Theofanidis and has collaborated with such artists as the Miró String Quartet, 'cellist Matt Haimovitz, violinists Ian Swensen and Todor Pelev and 'cellist John Walz. He has also received critical praise as a jazz artist in such publications as Jazztimes, the New York Post and New York Newsday. He studied at the Hochschule für Musik und darstellende Kunst in Vienna and holds bachelors, masters and doctoral degrees from Yale University, where he graduated with Distinction in Music. He holds a Doctor of Musical Arts degree in Composition from the University of Texas at Austin. He studied composition with Dan Welcher, Donald Grantham, Anthony Davis, Jan Radzynski, Syd Hodkinson and David Finko, and double bass with George Rubino, Diana Gannett, Donald Palma, Wolfgang Harrer and Ludwig Streicher. Music Performed: Islands (double bass concerto) from "Moving, Still" About Moving, Still: Moving, Still – CD New CD features compositions of Peter Askim and such artists as Chamber Music Society of Lincoln Center flutist/conductor Ransom Wilson, conductor Naoto Otomo and the Tokyo Symphony, members of Orchestra Asia-Japan, pianist Douglas Aschcraft and Peter Askim as conductor and bassist. Links: http://www.idyllwildarts.org/ http://peteraskim.com

We're featuring the multi-talented and extremely engaging double bassist and vocalist Kristin Korb on this week's Contrabass Conversations episode. Kristin and Jason chat about her early years as a bassist and vocalist, life growing up in Montana, her studies on the bass, and how she established herself as a jazz performing artist. We also feature a recording of Kristin performing her own unique take on the Ellington classic "Don't Get Around Much Anymore." Learn more about Kristin on her website at www.kristinkorb.com. Enjoy! About Kristin: Born and raised in Montana, Kristin grew up in a musical family and often presented concerts with her three younger brothers. Her passion for music eventually led to a bachelor's degree in music education from Eastern Montana College. In 1992, she moved to San Diego to hone her bass skills with bass professor Bertram Turetzky, earned a master's degree from the University of California (San Diego), and became one of the busiest bassists in San Diego. Kristin had a brief stint as director of jazz studies at Central Washington University in Ellensburg, Washington. After two years of teaching, she decided to follow her dreams and relocated to focus on her performing career based out of Los Angeles. She hasn't looked back since. Her debut CD, Introducing Kristin Korb, was on the Telarc label and featured bassist Ray Brown (Kristin's main musical influence), pianist Benny Green and drummer Gregory Hutchinson. Guest artists included Conte Candoli, Plas Johnson and Oscar Castro-Neves. Kristin tours internationally as both an artist and educator. Recent performances include concerts at the International Association of Jazz Educators (IAJE) Conference (2004), the 2005 Playboy Jazz Festival at the Rose Bowl, the West Coast Jazz Party and Bass Encounters conference in Vienna, Austria. She was a featured performer and clinician at the International Society of Bassists Conference (2005) and is a member of their Board of Directors. In addition to Ray Brown and Benny Green, Kristin has appeared with such artists as Bill Mays, John Clayton, Jeff Hamilton, Alan Pasqua, Carl Allen, Joe LaBarbera, Tamir Hendelman and Mike Wofford. Her own trio features Llew Matthews (former musical director for Nancy Wilson and Lena Horne) on piano.

We're concluding our interview with the multi-talented bassist Dave Anderson on this week's episode of Contrabass Conversations. In addition to serving as Principal Bass of the Louisiana Philharmonic, Dave is a prolific composer, active teacher, and electric bassist. He serves as Principal Bass of the Britt Festival Orchestra in southern Oregon, and he plays in metropolitan New Orleans and beyond in a variety of bands. We began this interview on episode 75 of the podcast, and we also featured Dave's music on Eclectic Bass episode 2. Dave's compositions span the gamut from solo double bass to full symphony orchestra, and his Concerto for Double Bass was commissioned and premiered by Hal Robinson and the Philadelphia Orchestra. He is a former board member of the International Society of Bassists, and his Capriccio No. 2 served as the required solo competition piece at the 1997 ISB convention. Check out Dave online atwww.myspace.com/symphonyboy. Scores to Dave's compositions have been recently re-released, and you can now purchase copies online. Visit the following link to check out many of these compositions: http://www.reallygoodmusic.com/rgm.jsp?page=composers2&compid=128028 Also, my co-host John Grillo has a recording of the complete Double Bass Duets by Dave with Pittsburgh Symphony bassist Peter Guild. You can check them out here (there are links to each individual duet through the following link): http://contrabassconversations.com/2007/02/12/john-grillo-recital-showcase/ Topics discussed: meeting and taking lessons with Jaco Pastorius Hurricane Katrina New Orleans after the disaster impact of Katrina on the Louisiana Philharmonic reassembling Dave's music after the hurricane Dave's compositions and performance activities About Dave: Dave Anderson is a professional double bassist, joined the Louisiana Philharmonic in New Orleans in September of 1996 after winning their Principal Bass audition. Prior to that appointment, he performed and recorded regularly with the Louisville Orchestra and the Atlanta Symphony Orchestra, among others. Since 1994, he has served as Principal Bassist in the Britt Festival Orchestra in Oregon. He has performed extensively with many diverse ensembles including, the Aspen Festival, Chautauqua (NY) Festival, Colorado Philharmonic (NRO), Colorado Music Festival, the LaSalle Quartet, and as a soloist with Richard Stoltzman, Gene Bertoncini, Nigel Kennedy, Bobby McFerrin, Doc Severinsen and many others. He has served as Bass Instructor for the Music School at Loyola University and also on the Board of Directors of the International Society of Bassists (ISB) as bassist/composer. Mr. Anderson began his pursuits in composition in 1984, recognizing that the solo repertoire for his instrument was limited. The influence of Frank Proto, one of his finest teachers, also led him to turn to involved composition. Since then, his published work has expanded to other solo instruments, as well as for chamber orchestras and small ensembles. He has published bass duets and quartets, including a bass quartet that was performed to acclaim at the Chamber Music Festival at Indiana University in 1993. Anderson won first prize in the 1995 Allen Ostrander International Trombone Composition Competition, sponsored by Ithaca college, for Elegy for Van, a work for solo bass trombone and brass choir, which he composed as a tribute to the late Lewis Van Haney, former trombonist with the New York Philharmonic. Several years ago, Anderson completed a concerto for Bass Trombone, commissioned by his father, Edwin Anderson, former bass trombonist with the Cleveland Orchestra. His Concerto for Double Bass, Strings & Harp, commissioned by Philadelphia Orchestra Principal Bassist Hal Robinson was premiered at the ISB Convention in June of 1997 and performed on the 1997-98 subscription series of the Philadelphia Orchestra season, Wolfgang Sawallisch conducting. His current work includes a second symphony, as well as several commissions. Also a prolific electric bassist, Anderson loves playing with pedal steel guitarist, David Easley. The group known as the Anderson/Easley Project perform original music of many genres including free jazz, funk, bop, minimalist and many wonderfully unique approaches to dynamics and expression. Anderson also plays with Algorhythm Method, and SOFA KING BIG SOUL, bands that fuse many different styles including hard rock, funk, blues, jazz, and New Orleans R & B. Anderson has jammed with The Radiators, Walter "Wolfman" Washington, Roy Pope, Darryl Brown, and many other great New Orleans musicians including a killer performance with guitarist Brian Stoltz of the Funky Meters as a main highlight of the French Quarter Festival 2002. In 1984-85, Anderson played for and took lessons with the legendary bassist Jaco Pastorius in New York, who firmly encouraged the idea of being able to cross over between classical and jazz. Here is some of what the Press has said in Anderson's past: Review of Ande

We're continuing our chat (check out part one on episode 73) with Michigan State University and Interlochen Arts Academy double bass instructor Jack Budrow this week on Contrabass Conversations. In addition to helping place students in major orchestras across the globe, Jack has had a very distinguished performance career as a former member of the Houston Symphony, Santa Fe Opera Orchestra, and as Principal Bass of the North Carolina Symphony. Jack discussed several topics of great interest to double bass students and performers with co-host John Grillo and me, including: musical leadership and qualities of good principal bassists qualities found in good conductors how music students are seeing fewer and fewer concerts emotion in music – country music's got it limitations of rock music in conveying emotion body maintenance and how to stay healthy as a bassist We also feature music from double bass performer and composer Peter Askim. Learn more about Peter at his websitewww.peteraskim.com. Enjoy! About Jack Budrow:Jack Budrow is professor of music and co-chair of the string area at the Michigan State University College of Music.He has enjoyed a long and varied career in double bass performance and teaching. Budrow has been a member of the Houston Symphony, and principal bass of the North Carolina Symphony, Santa Fe Opera, and the American National Opera orchestras. A well-known teacher, Budrow's students play in many of America's symphony orchestras, including Cincinnati, San Francisco, Atlanta, Houston, Charleston, San Antonio, the Michigan Opera, and the Army Band. Internationally, he has placed students in the Oslo Philharmonic, Israel Philharmonic, Munich Radio Orchestra, and the Caracas Symphony.Each summer, Budrow teaches at Interlochen Center for the Arts and Indiana University. He serves on the board of directors of the International Society of Double Bassists, and was a judge for their most recent International Solo Bass Competition. Budrow has presented master classes throughout the United States, including the Cleveland Institute, Florida State University, University of Houston, Indiana University, University of Michigan, Peabody Conservatory, and University of Texas. In addition, he served as the bass section coach at the National Orchestral Institute and New World Symphony. Budrow received his B.M. from Bowling Green State University. About Peter Askim: Active as a composer, conductor and double bassist, Peter Askim is the Music Director and Composer-in-Residence of the Idyllwild Arts Academy. He has been a member of the Honolulu Symphony Orchestra and served on the faculty of the University of Hawaii-Manoa, where he directed the Contemporary Music Ensemble and taught bass, theory and composition. He has had commissions and performances from such groups as the Tokyo Symphony Orchestra, the Honolulu Symphony, Orchestra Asia-Japan, the International Society of Bassists, the Yale Symphony Orchestra, the Idyllwild Arts Orchestra, the Portland Chamber Music Festival, and Serenata Santa Fe, as well as by performers such as flutist/ conductor Ransom Wilson, Metropolitan Opera soprano Lauren Flanigan and Grammy-nominated soprano Judith Kellock. His compositions are published by Liben Music Publishers, Discordia Music and the International Society of Bassists, and his music is recorded on the Gasparo and Albany labels. Musical Selection: Edge for Solo Double Bass – written and performed by Peter Askim

We're featuring music from Louisiana Philharmonic Principal Bass Dave Anderson on this week's Eclectic Bass episode. Learn more about Dave on his MySpace page, order Dave's compositions here, and check out our interview with Dave here. Tracks played: "Teen Town" by Jaco Pastorius "Surf Ride" from Yule Logs by Dave "Schweik Fahrt" featuring Dave and Hal Robinson Quintet Mvt. 4 by Dave featuring Sid King and the Kentucky Center Chamber Players "Blew Cheeze" featuring Dave and pedal steel guitarist Dave Easley "12-Tone Hip Bop" by Dave

We're featuring the multi-talented bassist Dave Anderson on this week's episode of Contrabass Conversations. In addition to serving as Principal Bass of the Louisiana Philharmonic, Dave is a prolific composer, active teacher, and electric bassist. He serves as Principal Bass of the Britt Festival Orchestra in southern Oregon, and he plays in metropolitan New Orleans and beyond in a variety of bands. Dave's compositions span the gamut from solo double bass to full symphony orchestra, and his Concerto for Double Bass was commissioned and premiered by Hal Robinson and the Philadelphia Orchestra. He is a former board member of the International Society of Bassists, and his Capriccio No. 2 served as the required solo competition piece at the 1997 ISB convention. Check out Dave online atwww.myspace.com/symphonyboy. Scores to Dave's compositions have been recently re-released, and you can now purchase copies online. Visit the following link to check out many of these compositions: http://www.reallygoodmusic.com/rgm.jsp?page=composers2&compid=128028 Also, my co-host John Grillo has a recording of the complete Double Bass Duets by Dave with Pittsburgh Symphony bassist Peter Guild. You can check them out here (there are links to each individual duet through the following link): http://contrabassconversations.com/2007/02/12/john-grillo-recital-showcase/ Topics discussed: Dave's early years studying with Frank Proto, Barry Green, Stuart Sankey, and Warren Benfield his compositional style and how he got into composing talking about composing with Maxim Shostakovich meeting and taking lessons with Jaco Pastorius About Dave: Dave Anderson is a professional double bassist, joined the Louisiana Philharmonic in New Orleans in September of 1996 after winning their Principal Bass audition. Prior to that appointment, he performed and recorded regularly with the Louisville Orchestra and the Atlanta Symphony Orchestra, among others. Since 1994, he has served as Principal Bassist in the Britt Festival Orchestra in Oregon. He has performed extensively with many diverse ensembles including, the Aspen Festival, Chautauqua (NY) Festival, Colorado Philharmonic (NRO), Colorado Music Festival, the LaSalle Quartet, and as a soloist with Richard Stoltzman, Gene Bertoncini, Nigel Kennedy, Bobby McFerrin, Doc Severinsen and many others. He has served as Bass Instructor for the Music School at Loyola University and also on the Board of Directors of the International Society of Bassists (ISB) as bassist/composer. Mr. Anderson began his pursuits in composition in 1984, recognizing that the solo repertoire for his instrument was limited. The influence of Frank Proto, one of his finest teachers, also led him to turn to involved composition. Since then, his published work has expanded to other solo instruments, as well as for chamber orchestras and small ensembles. He has published bass duets and quartets, including a bass quartet that was performed to acclaim at the Chamber Music Festival at Indiana University in 1993. Anderson won first prize in the 1995 Allen Ostrander International Trombone Composition Competition, sponsored by Ithaca college, for Elegy for Van, a work for solo bass trombone and brass choir, which he composed as a tribute to the late Lewis Van Haney, former trombonist with the New York Philharmonic. Several years ago, Anderson completed a concerto for Bass Trombone, commissioned by his father, Edwin Anderson, former bass trombonist with the Cleveland Orchestra. His Concerto for Double Bass, Strings & Harp, commissioned by Philadelphia Orchestra Principal Bassist Hal Robinson was premiered at the ISB Convention in June of 1997 and performed on the 1997-98 subscription series of the Philadelphia Orchestra season, Wolfgang Sawallisch conducting. His current work includes a second symphony, as well as several commissions. Also a prolific electric bassist, Anderson loves playing with pedal steel guitarist, David Easley. The group known as the Anderson/Easley Project perform original music of many genres including free jazz, funk, bop, minimalist and many wonderfully unique approaches to dynamics and expression. Anderson also plays with Algorhythm Method, and SOFA KING BIG SOUL, bands that fuse many different styles including hard rock, funk, blues, jazz, and New Orleans R & B. Anderson has jammed with The Radiators, Walter "Wolfman" Washington, Roy Pope, Darryl Brown, and many other great New Orleans musicians including a killer performance with guitarist Brian Stoltz of the Funky Meters as a main highlight of the French Quarter Festival 2002. In 1984-85, Anderson played for and took lessons with the legendary bassist Jaco Pastorius in New York, who firmly encouraged the idea of being able to cross over between classical and jazz. Here is some of what the Press has said in Anderson's past: Review of Anderson's Quintet for Oboe, Clarinet, Violin, Viola & Bass, Louisville Courier Journal music critic Andrew Adler wrote: "Anderson's n

I'm pleased to be able to share this interview with Robert Meyer, one of our most experienced and interesting members of the double bass community. Robert has had a long and illustrious career on the double bass, working for over 50 years in most of the major orchestras in London (including the London Symphony, London Philharmonic, and BBC Symphony), as Principal Bass of the Vancouver Symphony, and has taught at the Universities of British Columbia and Victoria. Robert writes a blog called Musical Reminiscences, and it is a must-read for any bassist… or any musician, for that matter! About Robert Meyer Robert Meyer's accomplishments as a double bass player and concert artist could fill several pages, as Benjamin Britten was quoted as saying: "He has proved himself to be a considerable musician and a fine player." His career, however, extends beyond his notable achievements as a performer and includes distinctions as both an artist (he is a Chinese Watercolourist of repute) and an educator (He currently assists the Victoria Youth Orchestra, freelances in the Pacific Northwest and frequently gives solo lectures "All you ever wanted to know about the Double Bass but were afraid to ask"). However, here is a brief synopsis of his career: Graduated as a double bass soloist from the Royal College of Music, London, England. Respectively a member of the London Philharmonic, London Symphony, Philharmonia and BBC Symphony Orchestras. (Conductors include Furtwangler, de Sabata, von Karajan, Klemperer, Giulini, Bruno Walter, Koussevitsky, Stokowski, Rhozdesdensvky, Stravinsky, Khatchaturian, etc.) Principal Bass, Sadlers Wells Opera, Principal Bass, San Carlo Opera, Naples, Covent Garden Ballet Orchestra, Principal/co Principal Bass English Chamber Orchestra, Moscow Chamber Orchestra (Barshoi), Principal Bass, Bolshoi Ballet. Commanded by HRH Queen Elizabeth II to perform at her Coronation. Founding Member, Solo Bass and librarian to Benjamin Britten's English Opera Group and Aldeburgh Festival. Invited to come to Canada as Principal Bass, Vancouver Symphony, Principal Bass CBC Vancouver Chamber Orchestra and Principal Bass Vancouver Opera. Robert Meyer has taught at the Universities of British Columbia and Victoria and played at most major festivals and concert halls in the world. Learn more at Robert's blog Musical Reminiscences.

We're chatting with Michigan State University and Interlochen Arts Academy double bass instructor Jack Budrow this week on Contrabass Conversations. In addition to helping place students in major orchestras across the globe, Jack has had a very distinguished performance career as a former member of the Houston Symphony, Santa Fe Opera Orchestra, and as Principal Bass of the North Carolina Symphony. Jack discussed several topics of great interest to double bass students and performers with co-hostJohn Grillo and me, including repertoire he uses in his teaching, essential skills for auditioning, and how the educational orientation has changed for music performance students over the past few decades. We chatted at great length with Jack for this interview, and we'll be wrapping up the remainder of this interview in the coming weeks, so stay tuned for more great content with this influential and engaging music educator and performer in the coming weeks. Enjoy! About Jack Budrow: Jack Budrow is professor of music and co-chair of the string area at the Michigan State University College of Music. He has enjoyed a long and varied career in double bass performance and teaching. Budrow has been a member of the Houston Symphony, and principal bass of the North Carolina Symphony, Santa Fe Opera, and the American National Opera orchestras. A well-known teacher, Budrow's students play in many of America's symphony orchestras, including Cincinnati, San Francisco, Atlanta, Houston, Charleston, San Antonio, the Michigan Opera, and the Army Band. Internationally, he has placed students in the Oslo Philharmonic, Israel Philharmonic, Munich Radio Orchestra, and the Caracas Symphony. Each summer, Budrow teaches at Interlochen Center for the Arts and Indiana University. He serves on the board of directors of the International Society of Double Bassists, and was a judge for their most recent International Solo Bass Competition. Budrow has presented master classes throughout the United States, including the Cleveland Institute, Florida State University, University of Houston, Indiana University, University of Michigan, Peabody Conservatory, and University of Texas. In addition, he served as the bass section coach at the National Orchestral Institute and New World Symphony. Budrow received his B.M. from Bowling Green State University.

The first episode of our new all-music series Eclectic Bass is now available! Listen to it with the player above (click the play button, or click 'play in popup' to keep browsing while you listen), download the episode (right click and choose 'save as…'), or subscribe to Contrabass Conversations to get all these episodes downloaded directly. Enjoy! Featured Artists: Frederick Charlton Sarabande and Double from the Partita No. 1 from Bach on Fire website order album Lila Horovitz La Casa Nueva by Lila Horovitz and Contrebajeando by Piazolla from Preludio Del Primer Dia website order album Bill Koehler The Mirror from Journey2gether website order album Theme song: 'Don't Break It' by Antonin Bastian

We're wrapping up our chat with Barrie Kolstein this week on the Contrabass Conversations show. We began this interview on episode 70 of the program, and in it we discussed Barrie's father Samuel Kolstein and how he got into the bow making business, the progression into the bass making business, and the development of the Kolstein line of products (including rosin, stings, and cases) that bassists worldwide use today. Barrie discusses Kolstein rosin, challenges facing modern double bass retailers and luthiers, advice on buying a double bass, and how the business has changed in the past few decades. Visit the Kolstein shop online at www.kolstein.com, and check out our co-host John online atwww.classicalmusicnews.tv. Enjoy! About Barrie Kolstein: 1967-1971 State University of New York at Albany Obtained a Bachelors of Science Degree in Business Administration and Marketing. 1967-1973 Formally studied the Double Bass under the pedagogues: Frederick Zimmermann, Assistant Principal of the New York Philharmonic; Orin O'Brien, New York Philharmonic; Georges Andre, Metropolitan Opera; Robert Gladstone, Principal Bassist Detroit Symphony; Samuel Hollingsworth, Principal Bassist Pittsburgh Symphony Orchestra; David Holland, renowned Jazz artist. 1971-1974 Served in formal apprenticeship for instrument and bow restoration, construction and appraisals, under the expert auspices of renowned violin and bow maker, restorer, and appraiser, Samuel Kolstein. 1974-1978 Served as staff instrument and bow restorer as well as making numerous new violin and celli with Samuel Kolstein. 1979 Promoted to head violin master in the shop of Samuel Kolstein. 1981 Assumed full business responsibilities for operating all aspects of Samuel Kolstein & Son, Ltd. and Kolstein Music, Inc. 1981 to present Head violin maker, restorer, and appraiser with a staff of nine violin makers working under his supervision. Published numerous technical articles on restoration and appraisals in the International Society of Bassists with feature article published in the Strad, February 1991; presently editor of the "Luthier Corner" in the International Society of Bassistsmagazine restoration and repair forum; published regularly in the Double Bassist magazine and the Strad magazine, both of London, England, since 1996. These articles have ranged form interviews with makers and performers, technical articles on repair/making, and expert appraisal articles on historic master makers; featured in the violinmaking segment of Robin Lehman's documentary, Young Peoples Guide to the Orchestra; contacted to appear in the upcoming educational video on "Careers in Music". On the expert appraisers staff of Art Conservation fine arts adjusters as a String Instrument and Bow Expert. Barrie Kolstein has completed well over one hundred instruments (Violin, Viola, Cello and Bass Violins) utilized by renowned players including Jeffrey Turner, Pittsburgh Symphony; Robert Gladstone, Detroit Symphony; James Van Demark, Professor of Double Bass Eastman School of Music and world famous soloist; Charles Urbont, Metropolitan Opera; James Clute, Minnesota Symphony Orchestra; David Sheets, Baltimore Symphony Orchestra; Lou Norton, New York Philharmonic; Caitlyn Kamanga, Hong Kong Philharmonic;, Scott Haig, Assistant Principal Bassist, Cleveland Orchestra; Hienrich Joachim, renowned soloist and former member of the New York Philharmonic; Lew Norton, New York Philharmonic; Barbara Yendell, Hong Kong Philharmonic, to name a few! Mr. Kolstein is a member of: Appraisers Association of America, 1994 to present International Society of Bassists, 1979 – present Violin Society of America, 1980 – present Viola Congress, 1983 – present Cello Congress, 1982 – present Listed in The Violin Makers of the United States, by Thomas J. Wenberg, Mount Hood Publishing Company, 1986. Learn more about the Kolstein shop at www.kolstein.com

We're chatting with Volkan Orhon, David Murray, Anthony Stoops, and Paul Sharpe on this week's episode ofContrabass Conversations. Anthony Stoops was featured recently as an interview guest on the podcast, and we also featured Volkan playing one of Chris Threlkeld-Wiegand's basses on our interview with this fine luthier. In this interview, we chat about the formation of the ensemble, the rehearsal process, their arrangements and musical selections, and the challenges of being in a quartet when all four members live in different cities. We're also featuring the quartet's live performances of a rock medley (arranged by Anthony) and 'Baby Got Bass' (arranged by Paul) after the interview. Learn more about these four bassists through the following links: Anthony Stoops: anthonystoops.com David Murray: butler.edu…..murray Volkan Orhon: volkanbass.com Paul Sharpe: ncarts.edu……sharpe Video of the Bad Boyz: bad-boyz-of-bass Enjoy! About Anthony: Anthony Stoops is Artist/Teacher of Bass and String Area Chair at the University of Oklahoma School of Music. Since winning first prize in the International Society of Bassists international solo competition, he has performed throughout the United States and internationally as a soloist and chamber musician. Dr. Stoops has presented masterclasses in Poland, Brazil and throughout the U.S. at venues such as the Cleveland Institute of Music, the University of Michigan, the University of Iowa, Interlochen Arts Academy, Penn State University, and many others. About David: David Murray was born in Canada and began studies on the double bass at age 12. He worked in high school with Gary Karr and continued with Mr. Karr at the Hartt School of Music in Hartford, CT. During summers, Mr. Murray attended the National Youth Orchestra of Canada, A F of M String Congress, and both Tanglewood and Aspen as a fellowship recipient. Upon graduation he received the Outstanding Performer Award from the Hartt School, and later that year was a top prize winner in the Canada Music Competition. Mr. Murray was winner of the Aspen Bass Concerto Competition in 1981, and in 1988 won the International Society of Bassists Competition (for which he is now secretary) in Los Angeles and was presented by the Society in a Carnegie Hall debut in 1990. About Paul: Paul Sharpe maintains an international profile and career in a variety of roles as a soloist, chamber, and orchestral double bassist. As a student of Jeff Bradetich he received the B.M. degree in Performance from Northwestern University, and he obtained an M.A. degree in Music from the University of Iowa studying with Diana Gannett. Recent performances and engagements include recitals and masterclasses at the University of Iowa, Cleveland Institute of Music, World Bass Convention (Wroclaw, Poland), University of North Texas, University of Michigan, Interlochen Arts Academy, and Brazil's Sixth International Double Bass Encounter in Pirenopolis, Brazil. About Volkan: Acclaimed for his musicality and virtuosity, Volkan Orhon has established himself as one of the top double bassists in the world today. He was a finalist and prizewinner in the Concert Artists Guild Solo Competition in New York City, and was the co-first place winner of the International Society of Bassists Solo Competition. Additionally, he distinguished himself as the first double bass player ever to win the grand prize overall and first prize for double bass at the American String Teacher's Association Solo Competition. Musical Selections: Rock Medley – arranged by Anthony Stoops Baby Got Bass – arranged by Paul Sharpe

This week, we're featuring Barrie Kolstein on the Contrabass Conversations show. Barrie discusses his father Samuel Kolstein and how he got into the bow making business, the progression into the bass making business, and the development of the Kolstein line of products (including rosin, stings, and cases) that bassists worldwide use today. Barrie is a perceptive and extremely knowledgeable figure in the double bass community, and it was a real pleasure to do this interview. John, Barrie, and I actually chatted for a couple of hours, and it is all excellent content, so I'll be breaking this interview into two hour-long segments, and you'll be hearing the first half today. Visit the Kolstein shop online at www.kolstein.com. Enjoy! About Barrie Kolstein: 1967-1971 State University of New York at Albany Obtained a Bachelors of Science Degree in Business Administration and Marketing. 1967-1973 Formally studied the Double Bass under the pedagogues: Frederick Zimmermann, Assistant Principal of the New York Philharmonic; Orin O'Brien, New York Philharmonic; Georges Andre, Metropolitan Opera; Robert Gladstone, Principal Bassist Detroit Symphony; Samuel Hollingsworth, Principal Bassist Pittsburgh Symphony Orchestra; David Holland, renowned Jazz artist. 1971-1974 Served in formal apprenticeship for instrument and bow restoration, construction and appraisals, under the expert auspices of renowned violin and bow maker, restorer, and appraiser, Samuel Kolstein. 1974-1978 Served as staff instrument and bow restorer as well as making numerous new violin and celli with Samuel Kolstein. 1979 Promoted to head violin master in the shop of Samuel Kolstein. 1981 Assumed full business responsibilities for operating all aspects of Samuel Kolstein & Son, Ltd. and Kolstein Music, Inc. 1981 to present Head violin maker, restorer, and appraiser with a staff of nine violin makers working under his supervision. Published numerous technical articles on restoration and appraisals in the International Society of Bassists with feature article published in the Strad, February 1991; presently editor of the "Luthier Corner" in the International Society of Bassistsmagazine restoration and repair forum; published regularly in the Double Bassist magazine and the Strad magazine, both of London, England, since 1996. These articles have ranged form interviews with makers and performers, technical articles on repair/making, and expert appraisal articles on historic master makers; featured in the violinmaking segment of Robin Lehman's documentary, Young Peoples Guide to the Orchestra; contacted to appear in the upcoming educational video on "Careers in Music". On the expert appraisers staff of Art Conservation fine arts adjusters as a String Instrument and Bow Expert. Barrie Kolstein has completed well over one hundred instruments (Violin, Viola, Cello and Bass Violins) utilized by renowned players including Jeffrey Turner, Pittsburgh Symphony; Robert Gladstone, Detroit Symphony; James Van Demark, Professor of Double Bass Eastman School of Music and world famous soloist; Charles Urbont, Metropolitan Opera; James Clute, Minnesota Symphony Orchestra; David Sheets, Baltimore Symphony Orchestra; Lou Norton, New York Philharmonic; Caitlyn Kamanga, Hong Kong Philharmonic;, Scott Haig, Assistant Principal Bassist, Cleveland Orchestra; Hienrich Joachim, renowned soloist and former member of the New York Philharmonic; Lew Norton, New York Philharmonic; Barbara Yendell, Hong Kong Philharmonic, to name a few! Mr. Kolstein is a member of: Appraisers Association of America, 1994 to present International Society of Bassists, 1979 – present Violin Society of America, 1980 – present Viola Congress, 1983 – present Cello Congress, 1982 – present Listed in The Violin Makers of the United States, by Thomas J. Wenberg, Mount Hood Publishing Company, 1986. Learn more about the Kolstein shop at www.kolstein.com

We are exploring chamber music with Brad Opland and the Chicago Chamber Musicians. This Contrabass Conversations special series highlights chamber music that includes the double bass. Learn more about the Chicago Chamber Musicians by visiting www.chicagochambermusic.org. We'd like to extend special thanks to both Brad Opland and the Chicago Chamber Musicians for making this series possible. Listen to all Exploring Chamber Music episodes here, and hear Brad Opland in a Contrabass Conversations interview here. We will be featuring the Brahms Serenade No. 1 in D Major on today's program. This work was recorded on March 26, 2006 at Northwestern University's Pick-Staiger Concert Hall. A performer roster and biographical information about the musicians is available here.

We're chatting with double bass luthier and Heartland String Bass Shop owner Chris Threlkeld-Wiegand today on the Contrabass Conversations podcast. Chris formerly worked at Robertson and Sons Violins before starting his own shop, and he makes extensions and does repair work in addition to crafting his own unique instruments. It was a real pleasure to sit down and chat with Chris. I own a low B extension on my Jakstadt bass that Chris crafted, and it is a really excellent piece of hardware. I've also enjoyed playing on his various double basses, and I'll be excited to see how he continues to push the boundaries of instrument making and come up with new and innovative ways of crafting double basses. We're also featuring a track from University of Iowa bass professor Volkan Orhonperformed on one of Chris' instruments. Check out the photos below for samples of Chris' work. More photos, plus detailed information about the Heartland String Bass Shop and contact information for Chris can be found at www.heartlandsbs.com. Enjoy! About Chris: Chris Threlkeld-Wiegand started playing bass at age nine. He earned a full scholarship to the University of Iowa where he studied under Eldon Obrecht and earned a Bachelor of Music in String Bass Performance. Chris has played with the Quad Cities Youth Symphony, the Cedar Rapids (Iowa) Symphony Orchestra, and the Quad Cities Symphony. He has also performed with many bands during his career, ranging from jazz to blues to folk in communities as far ranging as Nagoya, Japan and Austin, Texas. Chris has had a life-long interest in the sound and responsiveness of basses. As a player, Chris knows that having a finely tuned instrument is critical, and he recognizes the remarkable difference a slight sound post adjustment or bridge arching can make. His interest in sound and the influence of craftsmanship and ingenious problem solving led him to world famous Collings Guitars. While working at Collings and living in Austin, his cat (a black one!) knocked over and broke the neck on his bass. At the time, Chris was taking private lessons from Professor David Neubert at the University of Texas. Frustrated with the quality of the repair work on his bass, Chris asked Professor Neubert to recommend a good repair shop. "Albuquerque" was the guiding answer. Robertson & sons Violin shop is one of the world's finest string instrument repair shops & is located in Albuquerque, NM. For five years at Robertson & Sons, Chris had the opportunity to learn the craft of bass repair and construction under the tutelage of an acknowledged master, and work on some of the finest basses in the world. From neck grafts to cracks, Chris's skills were applied to a full range of challenges. But he also developed many original techniques, including installation of custom low C & B extensions that integrate into the scroll rather than cutting the scroll and gluing the extension to the modified scroll. In 2003 it was time to set up shop in his home state of Iowa, and bring his remarkable set of skills and experiences to musicians in the Midwest. Heartland String Bass Shop is the complete manifestation of a musical life, a commitment to sound, and skills honed under the watchful eye of the finest instrument makers and repairers in the world. Learn more about Chris at www.heartlandsbs.com.

This is an interview-only Contrabass Conversations episode concluding our chat with Cincinnati Symphony Principal Bassist Owen Lee. We chat about practicing, summer festivals, recording yourself when preparing for auditions, and much more. To hear the first two segments of this interview plus several musical selections featuring Owen, check out episodes 55 and 66 of the show. Enjoy!

We're chatting with double bassist Anthony Stoops today on Contrabass Conversations. Anthony is the Artist/Teacher of Bass and String Area Chair at the University of Oklahoma School of Music. He also won first prize in the International Society of Bassists international solo competition and is the past recipient of a Karr Foundation double bass. Learn more about Anthony by visiting his website at anthonystoops.com. We're also featuring Anthony performing the Pieces en Concert by Couperin, plus some listener feedback, bass news, and shout-outs to some of our Facebook group members. Enjoy! About Anthony: Anthony Stoops is Artist/Teacher of Bass and String Area Chair at the University of Oklahoma School of Music. Since winning first prize in the International Society of Bassists international solo competition, he has performed throughout the United States and internationally as a soloist and chamber musician. Dr. Stoops has presented masterclasses in Poland, Brazil and throughout the U.S. at venues such as the Cleveland Institute of Music, the University of Michigan, the University of Iowa, Interlochen Arts Academy, Penn State University, and many others. The past recipient of a Karr Foundation Doublebass, Stoops is widely regarded as one of the top bass soloists in the world today. As an orchestral musician, Stoops has performed regularly in over a dozen orchestras including the Detroit, Columbus (OH) and Toledo Symphony orchestras, and the Michigan Opera Theater among many others, under many of the world's great conductors such as Sir Georg Solti, Neeme Järvi, Daniel Barenboim, Zubin Mehta, Pierre Boulez and Charles Dutoit. He studied with Diana Gannett at Iowa (and later at Michigan), Stuart Sankey at Michigan, Jeff Bradetich at Northwestern, and Eugene Levinson at Aspen. Other influential teachers include Max Dimoff, Principal Bass of the Cleveland Orchestra, Stephen Molina, Assistant Principal Bass of the Detroit Symphony. In high school, he studie with Dr. Mark Morton, Principal Bass of the Columbus Symphony. As a devotee of new music, Stoops' wide–ranging repertoire has included premieres of several works, including his own. Prior to his appointment at OU, he taught at Bowling Green State University, the Ann Arbor School for Performing Arts and the renowned Preucil School of Music. He lives in Norman, OK with his wife, cellist Emily Gosma Stoops and their son, Henry. In his spare time, Anthony enjoys fishing, cooking, swimming and Yoga.

We're continuing our chat with Cincinnati Symphony principal bassist Owen Lee today on Contrabass Conversations. Check out the first segment of this conversation on episode 55 of the program. Owen played for the New World Symphony and the Houston Symphony prior to his appointment with the Cincinnati Symphony, and it was a real pleasure to do this interview along with Contrabass Conversations regular collaborator John Grillo. John, Owen, and I chat about Owen's experiences recording his solo CD, key selection for the Bach Suites and his use of solo tuning for the recording, his performances of the less popular but extremely engaging Bottesini Concerto No. 1, performing the Tubin Concerto with orchestra, the Harbison Bass Concerto project (which Owen performed with the Cincinnati Symphony), and his practicing habits and exercises. We also feature the first movement from the Cello Suite No. 5 by Johann Sebastian Bach from Owen's Boston Records CD, plus listener feedback, bass news, and a link of the week. Find Owen Lee on Twitter here. Enjoy! About Owen: Described as "a true virtuoso" by legendary pianist Gary Graffman and praised by The New York Times for his "deft and virtuosic solo performance" at his New York debut at Alice Tully Hall, double bassist Owen Lee has earned acclaim as a soloist, chamber musician and since 1996, at the age of 26, as Principal Bass of the Cincinnati Symphony Orchestra. Mr. Lee is heard regularly as a soloist with orchestras including the Cincinnati Symphony Orchestra under the direction of Paavo Järvi and Jesús López-Cobos, the Scottish Chamber Orchestra under John Harbison, and the New World Symphony under Michael Tilson-Thomas in Miami and on tour to New York's Lincoln Center. During the 2006-07 season, Mr. Lee and the Cincinnati Symphony Orchestra, along with a consortium of other soloists and orchestras, will present the world premiere of John Harbison's Concerto for Bass Viol and Orchestra. Mr. Lee's prizes in competitions include First Prize at the 1995 International Society of Bassists Competition and Fourth Prize at the 1992 Irving M. Klein International String Competition in San Francisco. He has been presented in recitals throughout the United States, and in Geneva. For the Boston Records label, he has recorded the Misek Sonata No. 2 and Bach Unaccompanied Suites No. 3 and No. 5. American Record Guide praised this disc for its "tasteful phrasing, polish and verve" while The Strad wrote "Owen Lee is a fine player with strong musical ideas. A dark and austere sound is produced for Suite No. 5 and the architecture of each suite is carefully considered and shaped. I look forward to his next recording." Mr. Lee's extensive international chamber music experience includes three summers as the bassist of the Marlboro Festival. While there, he performed extensively with such artists as Richard Stoltzman, Midori, Nobuko Imai, Bruno Canino, Pierre-Laurent Aimard, and members of the Beaux Arts Trio, Guarneri Quartet and Juilliard Quartet. He also collaborated with composers Gyorgy Kurtag, Leon Kirchner and Richard Danielpour preparing performances of those composers' works. Mr. Lee has also performed with the Tokyo String Quartet on tour to Mexico, John Browning, Anne-Marie McDermott, Jaime Laredo, Ida Kavafian, Steven Tenenbom, Peter Wiley, Eugenia Zukerman, the Bravo! Vail Valley Music Festival, San Diego's Mainly Mozart Festival, Ojai California Festival, Chamber Music L.A. Festival, Tanglewood Festival, Texas Music Festival, and on tour throughout China. With the Rossetti String Quartet he performed the world premiere of Melinda Wagner's Concertino at the 2005 Bravo! Vail Festival. Mr. Lee was born in Berkeley, California in 1969 to Chinese parents. He began playing bass at age 15 after previous study of the piano. A graduate of the University of Southern California, Mr. Lee's principal teachers were Dennis Trembly, Edwin Barker and Paul Ellison. Prior to his appointment in Cincinnati, Mr. Lee was a member of the Houston Symphony under Christoph Eschenbach. In addition to his position with the Cincinnati Symphony Orchestra, Mr. Lee serves as Principal Bass of the Shanghai Festival Orchestra. Owen is married to CiCi Lee. He enjoys bicycling, snowboarding, cigars, auto repair and playing drums and writing songs with his rock band Toe (Eric Bates, CSO 2nd Assistant Concertmaster is Toe's guitarist and lead singer, and Ted Nelson, CSO cellist is Toe's bassist).

We're wrapping up our interview with double bassist Peter Seymour this week on Contrabass Conversations. We began this interview on episode 53, so be sure to check this episode out if you missed it! Peter has performed for the New World Symphony and spent a season playing with the Cleveland Orchestra, and he is now involved with an exciting new trio called Project. This group is made up of Peter on bass, Eric Stephenson on cello, and Greg Patillo on flute. Learn more about Project at projecttrio.com. This episode, we discuss: how Project (which is both a group and a nonprofit organization) came to be playing in the style of today their upcoming Brooklyn Philharmonic presentation how although classical musicians are some of the most creative people out there, we can be very passive professionally how Project for Peter is a full-on business how the wide network of contacts he's made over the years in professional orchestras across the country are paying off now with Project similarities between the orchestral path and what Peter's doing with Project in terms of outlook and work ethic balancing the administration of Project with practicing and finding time to continue to grow musically Although Peter has focused on obtaining a position in a major orchestra for many years, he is now focused on creating new creative outlets with Project, and his decision to strike out on his own with this great trio is an example of musical entrepreneurship at its finest. Be sure to pick up a copy of Winter in June, the new release from this killer trio. Enjoy! Videos from Project: http://www.youtube.com/watch?v=Cf6tuisazQA http://www.youtube.com/watch?v=MDYPuwZcfdk About Peter: Dallas native Peter Seymour has performed with a multitude of highly acclaimed artists and ensembles. As a member of the Cleveland Orchestra he performed under the baton of Franz Welser-Möst and in the New World Symphony under the direction of Michael Tilson Thomas. He was the recipient of the Downbeat Magazine Award for Best Jazz Soloist in 1996 and has appeared with Wynton Marsalis, Roy Hargrove, and Bobby McFerrin. The son of an educator, Peter has been very active in planning and performing community outreach activities throughout the country and served as events coordinator for the New World Symphony Orchestra from 2001-2004. He received a Bachelor of Music degree from the Cleveland Institute of Music and a Master's Degree in Bass Performance from Rice University where he was a student of Paul Ellison. Peter is active composing and performing with PROJECT, the ensemble he co-founded with cellist Eric Stephenson. He presently resides in New York City. About Project: PROJECT is a dynamic young group that is exciting audiences with their energy and innovative style. Their sound can only be described as a fusion of jazz, hip-hop, and world music – balanced out by a sincere allegiance to their classical roots. By combining the classical repertoire with original compositions, PROJECT reaches out to new audiences. Through performance and outreach/education concerts, we can provide access for the next generation of music lovers. Tracks played: From 'Winter in June' by Project – available at http://cdbaby.com/cd/projectmusic

This week we feature an interview with and music from the Chicago Bass Ensemble. Group founder Jacque Harper joins former Contrabass Conversations guests Michael Hovnanian and Doug Johnson plus double bass blogger John Floeter to create the core quartet of this ensemble. The Chicago Bass Ensemble will be performing at Northern Illinois University on February 14. Click here for more details, and learn more about this great ensemble at www.chicagobassensemble.com. Ever hear an entire bass quartet interviewed at the same time? We sure haven't, and getting a chance to sit down with these four good-natured fellows was a lot of fun. After the interview, we feature performances of 'Prologue' from Prophetiae Sibyllarum by Orlando di Lassus and the first movement of the Quartet No. 2 by Jan Alm. Learn more about these four musicians through the following links: Jacque Harper – www.chicagobassensemble.com Michael Hovnanian – www.csobassblog.blogspot.com John Floeter – www.johnfloeterbassstudio.blogspot.com Douglas Johnson – www.myspace.com/douglasjohnson Gunnelpumpers (featuring Michael and Doug) – www.myspace.com/gunnelpumpers Gunnelpumpers on Contrabass Conversations Michael on Contrabass Conversations Enjoy!

Contrabass Conversations regular contributor John Grillo and I recorded a follow-up episode to our recent Opera Excerpt Breakdown episode. In this episode we chat a little more generally about opera bass playing and how it differs from orchestral bass playing. John has played for numerous opera companies in the past, including the Pittsburgh Opera and Spoleto Festival die Due Mondi in Italy. He recently performed Wagner's Ring Cycle as the only bass player (!). Learn more about John on his Contrabass Conversations page, check out his virtual recital, listen to the Opera Excerpt and Orchestra Excerpt breakdowns

his week's Contrabass Conversations episode features an in-depth analysis of the double bass opera excerpts most commonly requested at auditions. Double bassist (and regular Contrabass Conversations guest and co-host) John Grillo discusses each of these excerpts–stylistic considerations, differences in articulation and bow strokes, and suggestions for effectively learning them–and then performs them. We believe that this project will be a highly valuable resource for bassists worldwide, and we'd love your feedback on this project! John and I created an excerpt breakdown for the most commonly requested orchestra excerpts back on CBC 41, and this has proven to be a highly popular and extremely useful resource to double bassists worldwide. Our hope is that this opera excerpt episode will do the same for the less familiar but wonderfully challenging double bass operatic literature. Opera excerpts covered on this episode: Strauss Salome Rosenkavalier Wagner Die Meistersinger von Nürnberg Die Walküre Britten Peter Grimes Verdi Otello Rigoletto Falstaff Weber Euryanthe Mozart Magic Flute Marriage of Figaro Beethoven Fidelo Humperdinck Hansel and Gretel

We're wrapping up our interview with author, corporate speaker, and double bassist Justin Locke today. Justin is the author of Real Men Don't Rehearse, a book filled with wonderful anecdotes about his life in the music business. Justin was a freelance double bassist in the Boston area for nearly two decades, working regularly during that time with the Boston Pops and other area ensembles. We began this interview on CBC 50 back in December 2007, so check out this episode for tales from Justin's early years playing the bass and getting started on the Boston freelance scene. Justin shares some absolutely delicious stories from his book on this episode, and we also chat about how Justin came to develop his family concerts Peter VS the Wolf and The Phantom of the Orchestra. The Missoula Symphony recently performed Peter VS the Wolf, which was reviewed here in the Missoulian. Missoula arts critic Rob Chaney writes: The Missoula Symphony Orchestra unanimously convicted a canine predator of duckicide Friday, despite strong indications from the community that the suspect was innocent. Two packed theater-fulls of area fourth-graders were deeply divided in their verdict at the end of "Peter Versus The Wolf," although they generally professed amusement at what was essentially a show trial. Symphony conductor Darko Butorac confessed afterward that the whole presentation was a ploy to entice local youth into greater interest in music. According to court records compiled by composer Sergei Prokofiev, David "Wolf" Mills-Low was accused of duckicide for allegedly devouring a semi-domesticated mallard "in a single gulp." A farm boy named Peter (aka Eric Wills) was the chief witness. He testified that he was preventing a cat from eating a bird when Wolf made his unprovoked attack on the duck. Check out a video of the Missoula Symphony performing Justin's concert program here. Justin also shares some really excellent advice for performing musicians on how they can better market themselves to contractors and the general public. Enjoy!

This week's episode features an interview with and music from jazz bassist Lynn Seaton. Lynn teaches at theUniversity of North Texas, and he maintains an active performing career. He was a member of the Woody Herman Band and Count Basie Orchestra, and he played extended tours with Tony Bennett and George Shearing, as well a wide array of many other jazz luminaries. We also feature music from the Lynn Seaton Trio with Bill Mays on piano and Tim Froncek on drums. Learn more about Lynn at his website lynnseaton.com, and learn more about the UNT jazz program at jazz.unt.edu. You can also find Lynn's Facebook fan page here. About Lynn Seaton: Lynn Seaton has had a stellar career as a jazz bassist. Born in Oklahoma in 1957, he started playing the bass at age 9. By the late 70's he was performing around the state. From 1980 until 1984 he was the house bassist at the Blue Wisp Jazz Club in Cincinnati, accompanying big name guest soloists every week. In 1984, he joined Woody Herman and in 1985 he played with the Count Basie Orchestra. After a two-year engagement with the Basie Band, he did extended tours with Tony Bennett and George Shearing. Most of 1991 and 1992 was spent touring with Monty Alexander. Lynn spent a lot of time on the road as a member of the Jeff Hamilton Trio from 1995-1999. Since 1993, Lynn has also had a busy career free-lancing with many of the great jazz musicians from many generations, including: Toshiko Akiyoshi, Monty Alexander, Ernestine Anderson, Buck Clayton, Al Cohn, Kenny Drew Jr., Blossom Dearie, Bob Dorough, Harry "Sweets" Edison, Herb Ellis, John Fedchock, Frank Foster, Freddy Green, Tim Hagans, Jeff Hamilton, Scott Hamilton, Wynard Harper, Thad Jones, Mel Lewis, Marian McPartland, Jay McShann, Mark Murphy, Ken Peplowski, Bucky Pizzarelli, Jimmy Raney, Emily Remler, Diane Schuur, Maria Schneider, Bud Shank, Carol Sloane, Marvin "Smitty" Smith, Maxine Sullivan, Mel Torme, Frank Wess, Joe Williams, Nancy Wilson, Steve Wilson, Mark Vinci, and Teddy Wilson. He lived in NY from 1986 until 1998. That year, he accepted an offer to teach at the world famous University of North Texas, home to one of the largest jazz programs in the world. He has performed at festivals world wide including Bern, Concord, JVC, Kool, Kyoto, Newport, North Sea, Perugia and Pori. Lynn has performed in 49 of the 50 United States and 35 foreign countries. He has performed on over 100 recordings, including the Grammy winning "Diane Schuur and the Count Basie Orchestra", and two Grammy nominees, John Fedchock "No Nonsense" and Woody Herman "50th Anniversary". He has three recordings as a leader, "Bassman's Basement", "Solo Flights", and "Puttin' on the Ritz". Musical Selections: Strike Up the Band The Patrician Commission

We're wrapping up the interview with Pittsburgh Symphony Principal Bassist Jeff Turner that we began on episode 26 of the podcast, plus featuring music from U.K.-based bassist Leon Bosch's new album titled The British Double Bass on this week's episode of the podcast. About Jeff Turner: Principal Bass Jeffrey Turner joined the Pittsburgh Symphony Orchestra in 1987. He served as Principal Bass of the New American Chamber Orchestra from 1984 to 1986 and became a member of the Detroit Symphony Orchestra in 1986. Mr. Turner, a native of South Carolina, holds a Bachelor of Music degree from the Eastman School of Music of the University of Rochester. His teachers include James VanDemark, Lawrence Hurst and Robert Gladstone. Mr. Turner serves on the faculties of Duquesne University and Carnegie Mellon University. He is the Artistic Director of the City Music Center's Young Bassist Program, and gives annual seminars and master classes at universities and conservatories throughout the world. He has also served as Visiting Professor at the Eastman School of Music and Lecturer at the University of Maryland. Mr. Turner has been a resident artist for many annual festivals including the Pacific Music Festival in Japan and the Korsholm Festival in Finland. He has been featured as a presenter at the conventions of The International Society of Bassists, and has served on the faculty of The Asian Youth Orchestra (Hong Kong) under the direction of Lord Yehudi Menuhin. Mr. Turner is a faculty member of the National Orchestral Institute. As winner of the Y Music Society's Passamaneck Award, Jeffrey Turner appeared in a critically acclaimed recital at Carnegie Music Hall in 1989. He was also a winner of the 1990 Pittsburgh Concert Society's Artist Award. About Leon Bosch: Leon had to overcome many difficult circumstances in the early years of his career. He was arrested by members of the Cape Town special branch when he was just 15 years old for demonstrating against the Apartheid government outside of parliament. He faced a month's detention and torture, only to be found not guilty on all charges. This experience fired up his ambition to become a lawyer, but this field of study was forbidden to him by the regime at the time. He then chose to study a subject that would be the least likely to mark him out as subversive – music. Had Bosch been able to pursue his prime aspiration to become a lawyer, the cello/double bass debate might never have occurred. Born in Cape Town, South Africa in 1961, Bosch was forbidden by the repressive regime of the time to study law, so applied to the University's music faculty instead `as a light-hearted prank.' The `prank' soon turned more serious. Once enrolled at the University, Bosch studied with Zoltan Kovats, principal double bassist of the Cape Town Symphony Orchestra at that time. A single year into his studies, the young student was invited to play in the Symphony Orchestra's bass section alongside his mentor. Only another 12 months passed before he was giving his first solo performance of Dittersdorf 's concerto in E major. Completing his Batchelor of Music Performance degree at the University, he received the highest mark ever awarded there in a performance examination. Post-university, Bosch quickly realised that he would have to study abroad if he really wanted to further his performance career, but was thwarted once again by the apartheid laws which decreed that overseas scholarships could only be given to white performers. However, Bosch was undeterred. `I had a passionate commitment to the double bass and never enter- tained the idea that I would fail in my pursuit', he asserts. Fortunately, a number of private individuals came forward to sponsor his travel to England where he was heard playing by Rodney Slatford, the former Head of School of Strings at the Royal Northern College of Music (RNCM), who offered to teach him. Bosch enrolled at the RNCM following a successful interview with Eleanor Warren to study with Slatford and Duncan McTier. He describes his time at RNCM as `extremely fruitful'. Bosch's prestigious record of achievements also continued there, as he received the College's PPRNCM (Professional Performer of the RNCM) with distinction, the first such award to a double bassist in the College's history. Studies completed, Bosch embarked on the varied professional orchestral and chamber career that continues to this day. His first assignment was with the Royal Scottish National Orchestra, moving onto The Manchester Camerata as principal in 1985. His playing career has also taken in the BBC Philharmonic, Hall, Royal Liverpool Philharmonic, Opera North and Scottish Chamber orchestras, plus the Moscow Virtuosi Chamber Orchestra, Brodsky Quartet and Goldberg Ensemble as a freelance performer, a career path that he chose to `give me greater variety in my playing.' A decade after his first principal appointment, Bosch began his current association with the Academy of St Martin in

This Contrabass Conversations special series highlights chamber music that includes the double bass. We'd like to extend special thanks to both Brad Opland and the Chicago Chamber Musicians for making this series possible. Listen to all Exploring Chamber Music episodes here, and hear Brad Opland in a Contrabass Conversations interview here. We will be featuring two pieces on the program today. The first is the Wind Serenade in D minor by Antonin Dvorak. This piece is scored for 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 3 horns, cello, and bass. It was recorded live on April 23rd, 2007 by the Chicago Chamber Musicians for their 20th Anniversary Season Finale and features: Michael Henoch and Alex Klein – oboe Larry Combs and Julie DeRoche – clarinet Dennis Michael and Lewis Kirk – bassoon Gail Williams, Jeremiah Frederick, Gabrielle Webster – horn Katinka Kleijn, cello Brad Opland, bass The second piece on our program today is the String Quintet in C Major by Franz Schubert. This piece was recorded live in 2004.

Jason chats about the state of affairs for Contrabass Conversations after one year of podcasting and future goals.

Double bassist and early music specialist Jerry Fuller turns the tables and interviews Jason Heath in this brief and fun episode.

We're speaking with Cincinnati Symphony principal bassist Owen Lee today on Contrabass Conversations. Owen played for the New World Symphony and the Houston Symphony prior to his appointment with the Cincinnati Symphony, and it was a real pleasure to do this interview along with Contrabass Conversations regular collaborator John Grillo. Find Owen Lee on Twitter here. Enjoy! About Owen: Described as "a true virtuoso" by legendary pianist Gary Graffman and praised by The New York Times for his "deft and virtuosic solo performance" at his New York debut at Alice Tully Hall, double bassist Owen Lee has earned acclaim as a soloist, chamber musician and since 1996, at the age of 26, as Principal Bass of the Cincinnati Symphony Orchestra. Mr. Lee is heard regularly as a soloist with orchestras including the Cincinnati Symphony Orchestra under the direction of Paavo Järvi and Jesús López-Cobos, the Scottish Chamber Orchestra under John Harbison, and the New World Symphony under Michael Tilson-Thomas in Miami and on tour to New York's Lincoln Center. During the 2006-07 season, Mr. Lee and the Cincinnati Symphony Orchestra, along with a consortium of other soloists and orchestras, will present the world premiere of John Harbison's Concerto for Bass Viol and Orchestra. Mr. Lee's prizes in competitions include First Prize at the 1995 International Society of Bassists Competition and Fourth Prize at the 1992 Irving M. Klein International String Competition in San Francisco. He has been presented in recitals throughout the United States, and in Geneva. For the Boston Records label, he has recorded the Misek Sonata No. 2 and Bach Unaccompanied Suites No. 3 and No. 5. American Record Guide praised this disc for its "tasteful phrasing, polish and verve" while The Strad wrote "Owen Lee is a fine player with strong musical ideas. A dark and austere sound is produced for Suite No. 5 and the architecture of each suite is carefully considered and shaped. I look forward to his next recording." Mr. Lee's extensive international chamber music experience includes three summers as the bassist of the Marlboro Festival. While there, he performed extensively with such artists as Richard Stoltzman, Midori, Nobuko Imai, Bruno Canino, Pierre-Laurent Aimard, and members of the Beaux Arts Trio, Guarneri Quartet and Juilliard Quartet. He also collaborated with composers Gyorgy Kurtag, Leon Kirchner and Richard Danielpour preparing performances of those composers' works. Mr. Lee has also performed with the Tokyo String Quartet on tour to Mexico, John Browning, Anne-Marie McDermott, Jaime Laredo, Ida Kavafian, Steven Tenenbom, Peter Wiley, Eugenia Zukerman, the Bravo! Vail Valley Music Festival, San Diego's Mainly Mozart Festival, Ojai California Festival, Chamber Music L.A. Festival, Tanglewood Festival, Texas Music Festival, and on tour throughout China. With the Rossetti String Quartet he performed the world premiere of Melinda Wagner's Concertino at the 2005 Bravo! Vail Festival. Mr. Lee was born in Berkeley, California in 1969 to Chinese parents. He began playing bass at age 15 after previous study of the piano. A graduate of the University of Southern California, Mr. Lee's principal teachers were Dennis Trembly, Edwin Barker and Paul Ellison. Prior to his appointment in Cincinnati, Mr. Lee was a member of the Houston Symphony under Christoph Eschenbach. In addition to his position with the Cincinnati Symphony Orchestra, Mr. Lee serves as Principal Bass of the Shanghai Festival Orchestra. Owen is married to CiCi Lee. He enjoys bicycling, snowboarding, cigars, auto repair and playing drums and writing songs with his rock band Toe (Eric Bates, CSO 2nd Assistant Concertmaster is Toe's guitarist and lead singer, and Ted Nelson, CSO cellist is Toe's bassist).

This week we bring you a conversation with Chicagoland double bass luthier, teacher, and performer Steve Reinfranck. Steve runs SMR Double Basses in Evanston, Illinois, writes regularly for Bass World (the publication of the International Society of Bassists), and operates a double bass teaching studio. We also listen to a track from the Redd Holt Unlimited Quartet featuring Steve on bass, plus listener feedback, news and notes, a very fun holiday track from Jonathan Coulton, and much more. Enjoy! About Steve: Steve has performed and taught on the Double Bass for over twenty-five years, principally in the Chicago Area, but in places as far away as New Zealand, Japan, Kenya, and Germany. He plays section bass with a variety of area symphonies, and plays jazz with Isaac "Redd" Holt, original drummer with the Ramsey Lewis Trio. Steve is also involved in Klezmer, Bluegrass, and other folk styles. Steve has presented at Midwest Band & Orchestra Clinic, Illinois Music Educators convention, the Kentucky Music Educators convention, and at many of the conventions of the International Society of Bassists. He was awarded a three-week study tour of Japan under the aegis of the Fulbright Memorial Fund, and was voted Outstanding Studio Teacher by the Illinois Chapter of ASTA, the American String Teachers Association. Steve runs the largest shop in the Chicago Area dedicated strictly to the needs of the Double Bassist. He maintains a private teaching studio of about 50 students, and edits the "Young Bassists' Page" for BASS WORLD, journal of the International Society of Bassists. Steve teaches most Summers at ISYM, Illinois Summer Youth Music, held at the University of Illinois in Champaign/Urbana. Steve enjoys playing hockey, ice skating, reading, cooking, and politics when he isn't making music. About SMR Double Basses: We are a Chicago-Area shop catering to the largest member of the String Family, the Double Bass. We sell basses from the least expensive [that meet our minimum quality requirements] to several select instruments that are valued at over $20,000.00. All of our instruments have new professional-level strings and almost all have an upgraded endpin – except in cases where a good one comes from the factory. Our "Special Niche" is to provide reasonably priced instruments and bows for professionals and the serious student, perhaps bound for conservatory studies in college. Over twenty instruments in the $4,000.00 - $12,000.00 range are presently available. Link of the week: Hundreds of free, Creative Commons holiday songs-lots of great stuff with a lot of humor thrown in: http://www.hermann-uwe.de/blog/10-100-creative-commons-christmas-songs Tracks played: From 'Right Together' by the Redd Holt Unlimited Quartet Tenor Madness (Sonny Rollins) Music Provided by: Steve Reinfranck - www.smrdoublebasses.com Eric Hochberg - www.erichochberg.com Fonkmasters Jonathan Coulton - www.jonathancoulton.com Show Notes: Release Date: 12/22/07 Length: 1:08:40 listen by phone: +1 (360) 227-5632 call our comment line (24 hour voice mail): +1 (206) 666-6509 Website: www.contrabassconversations.com E-mail: [email protected] Blog: www.doublebassblog.org Theme song by Eric Hochberg: www.erichochberg.com This show is brought to you by TalkBass.com, the largest community of bassists on the Internet. Join in the conversation at talkbass.com/cbc. Check out our jazz forums at JazzDoubleBass.com. Join our Facebook group and share videos, chat on discussion boards, leave ideas for the show, and interact with other bassists! To get Contrabass Conversations downloaded automatically to your computer (for free!), you can subscribe in iTunes: Click here to subscribe through e-mail or through another program besides iTunes

This week we feature the first half of an interview with double bassist Peter Seymour. Peter has performed for the New World Symphony and spent a season playing with the Cleveland Orchestra, and he is now involved with an exciting new trio called Project. This group is made up of Peter on bass, Eric Stephenson on cello, and Greg Patillo on flute. Learn more about Project at www.whatisproject.org and stay tuned for the conclusion of this interview in the next few weeks.

This week's Contrabass Conversations episode features an interview with Suzuki Bass School pioneer, pedagogue, and teacher trainer Virginia Dixon. Virginia shares her years of experience performing and teaching the double bass, highlights unique aspects of the Suzuki bass method, and offers advice for those interested in pursuing a career as a double bass teacher. We also feature music from electric bassist Ben Torrey on this episode. Ben specializes in performing classical music on the electric bass. Check out his video tutorials, downloadable tracks, and more at www.bentorrey.com:2112/blog. Enjoy!

This Contrabass Conversations special series is made possible by the Chicago Chamber Musicians and Brad Opland. This episode features music for cello and bass by Haydn and Rossini performed by Chicago Symphony Orchestra musicians Brad Opland and Gary Stucka. They perform the Haydn Divertimento in D Major and the Rossini Duetto on this installment. This performance was recorded live in 2004. Exploring Chamber Music is a multi-part series highlighting world class performances of chamber music featuring the double bass.

This interview-only Contrabass Conversations episode features the conclusion of our interview with Indiana University double bass professor Lawrence Hurst, whom we interviewed on episodes 20 and 23 of the podcast. About Lawrence Hurst Lawrence Hurst is the former principal double bass for the Dallas Symphony. He is a former faculty member of Southern Methodist and Eastern Michigan Universities and former faculty member, associate dean, and chair of the string department at University of Michigan School of Music. He was honored with the Alumni Award from the University of Michigan School of Music in 1998. Professor Hurst is former director of the University Division of the National Music Camp and is a summer faculty member of the Interlochen Arts Camp. He is past chair of the American String Teachers Association National Solo Competition, and past president of the International Society of Bassists. His former students can be found in many prestigious orchestras, including Chicago, Philadelphia, San Francisco, Indianapolis, and Atlanta. He has chaired the Indiana University Strings Department for the past 19 years and has been on faculty at Interlochen for the past 40 years.

This week, we bring listeners a very entertaining and interesting interview with Justin Locke, author of Real Men Don't Rehearse, a book filled with wonderful anecdotes about his life in the music business. Justin was a freelance double bassist in the Boston area for nearly two decades, working regularly during that time with the Boston Pops and other area ensembles. Learn more about Justin at www.justinlocke.com. We also bring you a track from Italian bassist and composer Alessandro Ceccangeli titled In Ludere. Learn more about this excellent bassist at www.myspace.com/alessandroceccangeli. Enjoy!