Here’s the third and final instalment of Janek Gwizdala’s bass clinic at ACM Guildford in 2007. For those who missed the first two episodes, you can find them here: –…
Here’s the third and final instalment of Janek Gwizdala’s bass clinic at ACM Guildford in 2007. For those who missed the first two episodes, you can find them here:
– Part 1 focuses on transcription, including things he stole from George Benson and Allan Holdsworth
– Part 2 deals with Janek’s early days playing the bass and how he developed his prodigious technique
Part 3 covers a range of topics, including:
Janek’s philosophy on equipment
Regular viewers of his ‘coffee with Janek’ blog might find it interesting to hear how his views on being a gear head have shifted over the last decade – this masterclass happened before he started hanging out with Juan Alderete and stockpiling Meatboxes and OC-2 pedals.
The value of understanding tradition
While talking about his time playing with the late Hiram Bullock, Janek reveals that he didn’t begin his journey with jazz and started on a solid diet of pop music before moving on to the likes of Miles Davis and Herbie Hancock.
One of the most important points that Janek makes on this topic is that it’s essential to have a comprehensive knowledge of your chosen musical genre(s) before you can forge your own musical path – if you don’t know what has come before you, then how can know when you’re being original?
(and yes, I was that guy who knew everything about Anthony Jackson. I’m pretty handy at a pub quiz…)
finding your ‘voice’ on your instrument
Closely linked to the idea of understanding your ‘place’ in musical history is the importance of not simply regurgitating things that have happened before – but how do you work out which direction you should go in? Janek discusses some of his own ‘self talk’ that he uses in musical decision making.