Contrabass Conversations

This week's Contrabass Conversations episode features an in-depth analysis of the double bass orchestral excerpts most commonly requested at auditions. Double bassist (and regular Contrabass Conversations guest and ho-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. I believe that this project will be a highly valuable resource for bassists worldwide, and I'd love your feedback on this project!

Check out all of John's previous Contrabass Conversations appearances here.

Excerpts covered:

• Beethoven Symphony No. 9
• Beethoven Symphony No. 5
• Brahms Symphony No. 1
• Brahms Symphony No. 2
• Shostakovich Symphony No. 5
• Mozart Symphony No. 35
• Mozart Symphony No. 39
• Mahler Symphony No. 2
• Schubert Symphony No. 9
• Strauss Ein Heldenleben
• Britten Young Person's Guide
• Verdi Otello

Lyric Opera of Chicago and Grant Park Symphony bassist Andrew Anderson teaches concepts, ideas, and techniques for this double bass in this multi-part series. Andy teaches at Roosevelt University\'s Chicago College of Performing Arts.

An active composer, Dr. Donovan Stokes is a specialist in the use of amplified and electronically manipulated double bass and has received recent commissions from the Young Bassist's Division of the International Society of Bassists, Musical Arts Society of Chicago and the Valdosta Symphony Orchestra. His recent Titanium Jr. for intermediate level bass and string orchestra was premiered in May of 2007 in Chicago, Il. His most recent concert work Caoineadh Mhná na Neachtlanna Mhaigdiléana (Lament for the Women of the Magdalene Laundries) for Solo Double Bass and Orchestra was premiered in October 2006 by the Valdosta Symphony Orchestra with the composer as soloist.

The author of several articles on double history and pedagogy, Stokes has given presentations and recitals for the International Society of Bassists on a wide range of subjects and is a regular clinician at the Golden Gate Bass Camp (Oakland, CA), and the Richard Davis Bass Conference (Madison, WI). Upcoming performances include the November 2007 Las Vegas "Bass Bash? and the December 2007 "Unity Through Diversity? festival sponsored by the Brian Deneke Memorial Committee. Stokes is currently Associate Professor of Bass at Shenandoah Conservatory in Winchester, VA and is married to fellow bassist, and International Society of Bassists Young Bass Ambassador for 2001, Inez Wyrick. Visit him on the web at: www.donovanstokes.com

Lyric Opera of Chicago and Grant Park Symphony bassist Andrew Anderson teaches concepts, ideas, and techniques for this double bass in this multi-part series. Andy teaches at Roosevelt University's Chicago College of Performing Arts.

This week's Contrabass Conversations episode features an interview with Chicago-based double bassist and electric bassist Scott Rosenthal. Scott is one of the major players for the Chicago theater scene, having performed in a huge number of productions such as The Producers, Ragtime, Les Miserables, Miss Saigon, Phantom of the Opera, Beauty and the Beast, and Showboat. We also feature Italian bassist Stefano Sciascia performing Adagio Melanconico e Appassionato by Bottesini. Enjoy!

A mainstay of the Chicago music scene for more than thirty years, Eric Hochberg has lent his bass work, both upright and electric, and an occasional trumpet, keyboard and vocal lick to a variety of projects across the realms of jazz, folk, rock and blues.

He has performed and/or recorded with the likes of Terry Callier, Pharoah Sanders, Bobby McFerrin, Pat Metheny, Lyle Mays, Steve Kuhn, Barbra Streisand, Cassandra Wilson, Von Freeman, Chico Freeman, Ken Nordine, David Baker, Cannonball Adderly, Charles McPherson, Jon Faddis, Joshua Redman, David Bromberg, Johnny Frigo, Joe Daley, Howard Levy, Kurt Elling, Trio New, Bill Carrothers, Eric Alexander, Tierny Sutton, Patricia Barber, Jackie Allen, Janice Siegal, Peter Erskine, Paul McCandless, Donny McCaslin, Claudio Roditi, Bob Mintzer, Dave Liebman, Sam Rivers, Jack DeJohnette, Joey Baron, Bobby Broom, Eric Marienthal, Bobby Shew, Tom Harrell, Larry Novak, Gary Novak, Rick Margitza, Sheila Jordan, Diane Reeves, Dee Alexander, Jay Clayton, Janice Siegel, Janice Borla, Ari Brown, Alan Pasqua, Bob Sheppard, Mark Murphy, Bob Dorough, Randy Brecker, Don Ellis, Larry Coryell, Rebecca Paris, Leni Andrade, Sonny Fortune, Willie Pickens, Bobby Lewis, Ari Brown, Jeremy Kahn, Ernie Adams, Mike Garson, Roger Rosenberg, Erma Thompson, Lew Tabackin, Brian Lynch, Lester Bowie, Don Moye, Earnest Dawkins, Henry Butler, Emily Remler, Herb Geller, Chevere de Chicago, Sonia Dada, Mark Colby, Orbert Davis, Ed Thigpen, Anthony Molinaro, Ben Sidran, Bonnie Koloc, Michal Urbaniak Quartet, Bill Holman, The Boston Brass, Bill Russo's Chicago Jazz Ensemble, The Chicago Jazz Orchestra, Rob Parton Orchestra, The Miami Saxophone Quartet, Jim Walker & Free Flight, The Grant Park Symphony with Luciana Souza and Patti Austin, The Joffrey Ballet, Luna Negra Dance Company, The Chicago Human Rhythm Project, and Chicago Tap Theater.

Eric has the distinction of having performed in the bands of three of the four members of the Pat Metheny Group - a tour in 1977 with Pat, a long association with drummer Paul Wertico and a Latin American tour with Lyle Mays in 1992.

He has toured nationally/internationally with the Lyle Mays Quartet, the Terry Callier Group, the Paul Wertico Trio, the Kurt Elling Quartet, Ken Nordine's Word Jazz, the Howard Levy Quartet and the Grazyna Auguscik Quintet.

He has performed at the Jazz Festivals of Chicago (21 times), Montreal, San Francisco, Detroit, Montreux, UK/London, Free Jazz/Rio & Sao Paolo Brazil, Leverkeusen/Germany, World Music Festival/Barcelona, Rome Jazz, Rotterdam Jazz, Karlsruhe Festival/GR, Frappe Festival/FR, Nice Jazz/FR, Gigon Festival/SP, Cully Jazz/Swiss, Blues and Roots Fest/Australia, The International Society of Jazz Educators/Atlanta, The Chicago Flute Club, The Percussive Arts Society/Columbus OH, Rockford Jazz/IL, Hyde Park Jazz Festival/Chicago, South Shore Jazz/Chicago, Elkhart Jazz/IN, Columbus Jazz Festival/OH, Milwaukee Summerfest, Louisville Festival of the Arts, Blue Note Tokyo, Yokohama and Milan, and concerts and clubs worldwide. He has also performed on the Oprah Winfrey Show three times with Barbra Streisand, Josh Groban and Johnny Mathis, and with Gloria Estefan.

He can also be heard in clubs and concert venues around the Chicago area, including Catch 35 Chicago with the Eric Hochberg Trio, The Green Mill, Andy's Jazz Club, Pops for Champagne, The Jazz Showcase, Fitzgerald's, Katarina's, Pete Miller's, The Checkerboard Lounge, Room 43, Mayne Stage, Morseland, Pick Staiger Hall, Pritzker Pavillion and many others.

The Eric Hochberg Orchestra has performed for countless events of all kinds over the past twenty-five years and Eric Hochberg Music contracts the finest musicians in the Chicago area for clients worldwide. The EHO was the band for the City of Chicago's 5000 guest "Chicago Welcomes the World" Millennium Celebration.

Eric produced Jackie Allen's 2006 debut Blue Note Records release, Tangled and her 2003 release The Men in My Life. Eric has also worked extensively with legendary singer-songwriter Terry Callier, producing his 2005 album, Lookin' Out, on Emarcy Records, the critically acclaimed TC in DC on Premonition, tracks on Verve Forecast's Timepeace, Novo Record's Chicago Rapid Transit and Acid Jazz Totally Re-wired Vol. 8. He co-produced Future Tense by Hochberg, Eisen & Potter, Reflections and Yesterday's Gardenias by saxophonist Mark Colby and New Bolero by Trio New, Kurt Elling's original band. His latest project with pianist Bradley Williams and drummer Jim Widlowski is entitled 3.

As a composer, Eric has made contributions to Kurt Elling's Close Your Eyes and The Messenger on Blue Note Records, Hochberg and Potter's World Thing on HoPo Records, Trio New New Bolero, Paul Wertico's Yin and the Yout and The Paul Wertico Trio's Live in Warsaw and Don't Be Scared Anymore. Five compositions are featured on Future Tense, the latest recording by Eric, Steve Eisen and Andrew Scott Potter. Two of his compositions are featured on the recently released album, The Rob Parton Quartet. New tunes are featured on the album 3, by Williams, Widlowski & Hochberg. He also composed the theme song for Contrabass Conversations, the weekly double bass interview show.

He can be heard on the recordings of:

Williams, Hochberg, Widlowski • 3

Hochberg, Eisen & Potter • Future Tense, World Thing

Chevere de Chicago • Secret Dream

Kurt Elling • Close Your Eyes, The Messenger

Paul Wertico Trio • Live in Warsaw, Don't Be Scared Anymore, Stereonucleosis

John Moulder • Through the Open Door, Trinity

Grazyna Auguscik • River

Terry Callier • Lookin' Out, TimePeace, Lifetime, TC in DC

Rich Corpolongo • Just Found Joy, Smiles

Howard Levy • Harmonica Jazz

Mark Colby • Yesterday's Gardenias, Reflections, Tenor Reference, Speaking of Stan

and many others.

Eric has also played on over 1000 jingle, television and movie soundtrack recording sessions and 100 album projects.

He maintains an active teaching studio where students of all levels learn the jazz language and apply it to their music. He also teaches at the Merit School of Music.

Eric has served on various Craft Committees for the National Academy of Recording Arts and Sciences (GRAMMY AWARDS) 2006-2008.

Eric endorses Lakland Basses and highly recommends Pirastro, Velvet, and Thomastik-Infield double bass strings.

This week's Contrabass Conversations episode features an interview with Chicago Symphony bassist Brad Opland. In addition to the interview, you'll get a chance to hear Brad perform on the double bass in his own arrangement of Ibert's Quatre Causons (four songs) de Don Quichotte for bassoon and bass and hear Brad perform on the electric bass in his south side Chicago church. Enjoy!

About Brad

Born in Minot, North Dakota, Bradley Opland began his musical studies at an early age and, by the time he was 10, knew that he wanted a career in a symphony orchestra. After graduating from high school a year early, he moved to Philadelphia to continue his music studies at the Curtis Institute of Music.

One year later, Stanislaw Skrowaczewski appointed Brad to the bass section of the Minnesota Orchestra at the age of 18, one of the youngest musicians ever hired. He remained in Minnesota through Sir Neville Marriner's tenure, coming to Chicago in 1984 after Sir Georg Solti offered him a position in the Chicago Symphony Orchestra.

- See more at: http://cso.org/about/performers/chicago-symphony-orchestra/bass/bradley-opland/#sthash.c5IOnq3y.dpuf

This episode of Contrabass Conversations features an interview with composer Bjorn Berkhout. Bjorn discusses his musical training, his various compositions for bass, and the challenges of writing for the double bass. Musical selections from his pieces Steamworks and Rise are also played on the show this week.

Greg Sarchet considers himself fortunate to have had an array of musical experiences and training, from studying with his first teacher, jazz luminary Rufus Reid, to receiving degrees from the Juilliard School (where he was a student of Michael Morgan), to hundreds of television/radio commercial recordings. His strong interest in researching the double bass and ongoing international exchange efforts were recognized by a 1996 Chicago Artists International Program award which sent him to the Czech Republic, Germany, and Austria for performances, masterclasses, and archival research. These and other exchange activities have allowed him to build an extensive library of unpublished, out-of-print, and contemporary double bass works, as well as a first-hand understanding of Europe's leading teaching methods.

Since 1986, he has been a member of the Lyric Opera of Chicago Orchestra. Additionally, he frequently serves as Principal Bass with Chicago Opera Theater and the Chicago Chamber Orchestra. He maintains a limited private studio for high school and adult pupils. Briefly, his musical foundation was laid by his first double bass teachers, Rufus Reid and Todd Coolman. The musical values and priorities they, among others, instilled in him have led him to a wide variety of professional opportunities ranging from recordings with the Chicago Symphony Orchestra, Mannheim Steamroller, Smashing Pumpkins, and hundreds of television and radio commercials.

Colin Corner was appointed Principal Bass of Atlanta Symphony in 2015, after playing in the same position with the Rochester Philharmonic for seven seasons. He previously played with the Minnesota Orchestra, the Vancouver Symphony and the Louisiana Philharmonic. He received first place in the 2003 ISB Orchestral Competition, which led to a one week internship with the Detroit Symphony, and he received third place in the same competition in 2001. Mr. Corner was also a recipient of the Interlochen Double Bass Class Studio award in 1997, which has since been renamed The Colin Corner Bass Award in his honor. Mr. Corner is a graduate of the Interlochen Arts Academy, and he received his bachelor's degree from Indiana University, where he studied with Lawrence Hurst. While in Rochester, he served on the faculty at The Hochstein School and played with Chamber Music Rochester, The Rochester Chamber Orchestra, and The Finger Lakes Opera Festival. He has also served as Guest Principal Bass with the NAC Orchestra. Mr. Corner also enjoys playing electric bass and many different styles of music, mainly jazz. In Rochester, he played with The Shuffling Madness, a Jethro Tull tribute band, The Debbie Kendrick Quartet, a soulful acoustic blues group, The Greener Grass Band, a funky jam band, and various other groups. Mr. Corner is passionate about teaching and has presented masterclasses/recitals at ISB Conventions, Ithaca College, Interlochen Center for the Arts, Shenandoah Conservatory, and Palm Beach Atlantic University. In 2015, he joined the faculty at the Golden Gate Bass Camp in San Francisco, where he was a founding faculty member in the NorCal Orchestra Studies Academy. Proud of his instruments, he plays a bass made by Joseph Hill, c. 1780, and a bass made in Atlanta by Luthier Albert Jakstadt.