Matthew Wengerd's Weblog

I am working on the Southeastern University bass lesson syllabus presently. Please check back for forthcoming updates.

Last night, I had my first gig with Dave from the Center. We played the Starbucks at Waters and Anderson in Tampa. It was nice to play in a drummerless trio (bass, guitar, ‘bone) and I had an excellent time. There are definitely unique challenges to playing without that stady boom-chick in your ear.

no decent pictures of the trio – so it’s just me:

Things are going quite well at the Center for Jazz Comp. My first major project is a complete update of the website, which is nigh half-way done. We aren’t too happy with the design/layout, feeling it needs some kick, but there is a lot going on this year and not enough time for a complete re-design. We are finalising artists for the Jazz MasterWorks Series and cannot add that content (most, at least) until that is done.

I cannot emphasize how much I love doing this. I really feel like I belong here, unlike the way I felt teaching. Too bad I know it will only last two years.

The bass world lost a bright star yesterday with the passing of the Cleveland Orchestra’s Charles Barr. Charles was a friend of my teacher, Mike Hill, and was just really beginning to reach his stride, some say.

Barr was struck by a truck while riding his bicycle yesterday after rehearsal.

My first day at the CJC went rather quickly (well, it was only 4.5 hours). It involved proofing the CJC website for a list of updating needs, clearing out some parts that were left at the CJC and placing them with their scores in the music library, and some light cleaning/arranging of the facilities.

I don’t have to go every day this week, which is nice, but I really enjoy it. I can tell (I don’t know if I’m good at this sort of thing) that Dave and I will get along famously. I really enjoy the environment already and am looking forward to the tough stuff.

Even if I didn’t like it, it would be worth it because I’ll be heading with Dave and Chuck to the IAJE National Conference in NYC in January! Additionally, it looks like there’s a good chance of a European trip (my first) next summer.

To top it all off, I picked up Southeastern University’s double bass to continue practicing while Rumano performs surgery on mine.

The USF School of Music

The CJC

Tomorrow starts my Assistantship and my first day without my bass. The bass is out being repaired all the way in MD. Rumano Solano is dealing with some cracks/structural issues, keeping it in excellent health. I will be working with Dave in the morning to get the CJC facilities in shape for the year. I’m more than a bit exhausted and missing my bass already.

Hopefully, there will be more tomorrow.

Todd Johnson is definitely one of my heroes. Todd has done what I’ve always thought the electric bass should do: be able to walk, solo, and comp like piano and guitar. He was set to come to Lakeland for a masterclass, but the schedule just did not work out for this fall. I really hope to work with him.

He has two excellent DVDs and several CDs out.

Todd Johnson

There is an excellent post here about the validity of the Real Book and its use for non-beginners. It turns a bit rought for a while (ah, the anonymity of the internet!), but is well worth the read for anyone who has ever been embarrassed holding the band up while you find “Misty” in the RB.

Additionally, I’m meeting with Chuck and Dave tomorrow over lunch to discuss the details of my Assistantship and really get this thing cracking.

Presently on my stand:

Isaiah Billè: Nuovo Metodo Per Contrabbasso
—This is the first of seven (!) books in the method. I bought these when Mars was going out of business in Tampa for less than $35 for the first six books. ‘ve never really worked through them and am now to determine their viability as a teaching method. Plus, they’re helping me develop a good, long practice routine.

Ron Carter Basslines: All Bird
—Trying to build my four-on-the-floor reading and swing chops. my goal is to get through the whole book in one session by the end of the week.

Max Dimoff’s Warmups
—This is the Cleveland Orchestra warmup set about which I’ve already posted. Excellent, but tough!

Excertps for the USF Orchestra Seating Audition
—Two mvts from Mozart’s Haffner and two from Brahms Two. The Mozart (especially the Presto) is all about dexterity and speed and the Brahms, for me, is challenging in nuance.

Yardbird Suite
—From Aebersold’s “All Bird,” I have to have the head and changes down cold for the Jazz seating audition.

As a Cleveland Orchestra junkie and former student of Kevin Switalski, Assistant Principal at the CO, I was quite excited when Farin Hoover posted these warmups on Talkbass.

They are extremely time consuming and difficult, but well worth the effort. In the beginning, I recommend you take one warmup per day, until you’ve conditioned yourself to play the whole thing. I’m not there yet and they sure don’t sound musical or delicate under my fingers, but they’re a great conditioning exercise leading up to school.