Don’t Shop at Jack’s Music

There are great shops out there, but there are ones at the opposite end of the spectrum. Some businesses are so bad at what they do, I’d hate for others to experience the same thing. Jack’s Music Store (also known as River Rock Music) at is one of those that you should avoid.

I was in need of a new cello endpin socket for a custom Laborie project that I was putting together. Fortunately I received a $20 VISA gift card from AT&T to pay for that part, so I did a search on Google to see if I could find an endpin socket for that price. I stumbled across Jack’s Music’s website which had the part advertised within the balance that I have on that card.

I placed the order on Jan 25th and they charged me the money immediately. A week goes by and I hadn’t seen any updates to the order status so I email them to see what’s going on. I receive a email stating:

“Customer inquired about status; will contact Engelhardt for shipping information.”

Okay, that’s fair, sounds like a problem with the distributor. Okay you didn’t actually carry the part that you advertise, perhaps you should state that the item is a special order item, and perhaps shouldn’t charge me until the item ships. Perhaps you should inform a customer to expect delays and that it could take weeks to get the part in.

So I wait a week and hear nothing. I email again and hear nothing for a week. Then several days later I receive the message

“Have not received status from Engelhardt. Refunding order and canceling. Have discontinued selling Engelhardt parts.”

Even ATM machines are more polite these days. Say what you will about call centers in India, but at least they’re more polite than a music shop in Michigan.

Several days later, I still have not receive the credit and the Visa gift card is now expiring. I called up the credit card company and they said credits take up to 7 business days at most. It’s been 9 business days and no credit. Since the card now has expired, there’s nothing that Visa can do for me.

Just out of curiosity, I called up Engelhardt to see if they have the endpin sockets in stock. There was no difficulty in reaching Engelhardt and getting an answer and they were polite and helpful. They said that they did, and that I would have to order through a music store. I asked them how long it would take to get one to the store, they said it takes a few days to process, but they can definitely get it out since it is in stock.

So looks like now I’m paying out of pocket for the endpin socket.


In all fairness, I emailed them a copy of my post and they once again got back to me only after I emailed them. I guess I didn’t get the credit after all, they once again didn’t inform me of what’s going on:

Lawrence – thank you for your input.
Your frustration is a mirror of ours and we apologize for your experience with us. We had not credited your card yet – because we were awaiting the confirmation of the cancellation from Engelhardt. It appears that they have now, indeed, sent your part as we have received notification via regular mail from Engelhardt.
We have discontinued selling parts as of this time, due to this type of lack of response time. It was requested by the manufacturer that we offer them, and as a convenience to our customer we agreed. But, as you can see, it is decidedly an inconvenience if we cannot fulfill the orders in a timely manner.
Again, your parts have been shipped – we have been billed by Engelhardt.
Thank you for your time in forwarding this to our Customer Service Department.

Grammy Winner: Esperanza Spalding!

Wow. Wow. This took me by surprise too. Jazz Artist, Upright Bassist, and phenom Esperanza Spalding took the award for best new artist. Great recognition of talent, promotion of jazz, women bassists and awareness of our type of bass.

Very heart warming. I’m less cynical of the Grammies which has actually recognized talent over popularity….this time. I’ll be straightforward and admit that I didn’t watch most of the Grammies; getting some sleep was needed, but none the less, what I did see was entertaining and made me a bit more open-minded about The Industry.

Interestingly enough as a side note, I saw a spike in page visits in the last 24 hour period. I’m speculating that between Esperanza and the appearance of our beloved bass even among performing acts, interest was generated and people Googled to find out more about the upright bass.

On a side note, a bunch of (presumably female, teenage) fans had edited Esperanza Spalding’s Wikipedia page in their hormone driven, pubescent angst filled disappointment that Justin Bieber didn’t clinch this award. It’s actually really funny after you’re done shaking your head. Some of the vandals wrote such comments as: “SHE IS F****** REATARD,”(SIC) and “JUSTIN BIEBER DESERVED IT GO DIE IN A HOLE.” (lack of punctuation is correctly quoted). After which the vandals slammed their bedroom doors a few times, texted their friends with morbid thoughts about how to exit this cruel world(OMG), and cried their eyes all night about about how life’s not fair and that Esperanza ruined their lives (accompanied with flying objects). Okay, I added that last part.

Reader’s comments, overwhelmingly siding with Esperanza, are entertaining too.

Marc Johnson

Not a household name (how many bassists are?), but a highly respected bassist.

Bassist with Eliane Elias (wife), Lyle Mays as well as recorded with Stan Getz, Joe Lovano, Michael Brecker, Gary Burton

“The Upright Sound” Intro

What is “The Upright Bass Sound”? The sound that we associate with and expect to hear from instrument has changed over the years. In actuality, a bass has changed some in terms of sound through the centuries, but little. A bass, for the most part, sounds the same to the naked ear now as it did 100 years ago. What has changed is the amplification of the bass, which influences the live sound and live recordings. Some pillars of the bass world who have been prolific in live performances and in recordings such as Ray Brown,  Christian McBride and Dave Holland sound very different live than they do in recordings.  Listening to recordings that span several decades, the sound of the bass hasn’t changed much, because studios still incorporate the same methods when recording in a controlled environment. In live situations and live recordings, the sound has changed over the years with changes in technology

So what is “The Upright Bass Sound”? Is it the sound that we associate with the recordings of Paul Chambers, Scott LaFaro and Charles Mingus when there were only gut strings, no amplification, and recordings were through vintage microphones shared among band members? Is the “upright bass sound” Ray Brown and Ron Carter on steel strings in the early days of bass pickups and amplification? What about the newer, more accurate sound because of advances in bass amplification and reproduction or growing popularity in other types of strings; where do those fit into the picture?

I can’t emphasize this point enough: This discussion isn’t about talent, it’s about timbre and sound. It’s also not about who or what sound is better, just how things have changed over the years. High caliber players sound fantastic regardless of what they use and the limitations of what they are faced with. What we are discussing is the actual sound of the instrument itself. No matter what the tone, I could listen to these guys for hours and they are largely the reason why a lot of us fell in love with the instrument.

To simplify the categories for the purpose of discussion, I’ve divided them up to three eras

  • Pre-1970’s: Mic on a Stick era
  • 1970’s-1990: Basic piezo and multipurpose amp era
  • Post 1990: “Designed to sound like the bass only louder” systems

Here are some clips for reference that I will be discussing.

Paul Chambers

Scott LaFaro

Charles Mingus

Ray Brown

Ron Carter

Dave Holland

Eric Revis

Carlos Henriquez

Less Bass(es) is More

Decluttering is liberating. I’m down to my main bass, travel bass, Coda bow, and compact amp; and I am as content in life with what basses and accessories that I have, as I have ever been in my life. I’ve come full circle.

Like most bassists, I love trying “better” (i.e. more expensive) basses and products. There has to be a reason why something costs more right. If it costs more, it must be because most people want it, therefore supply and demand say that it’s worth more. If it costs more, it must be better. Even when I had a good bass, it wasn’t too long before I’d start eying more expensive basses. I went from an old plywood bass, to a French bass, and it perpetuated to the point that I had a nice 19th century Italian bass, unlabeled, but still a beautiful instrument.

My first good bass was an unlabeled 19th century French bass. There were some “appraisals” about who the luthier was, but it’s all just an educated guess. I had it later in college and it was a fine bass, but it needed work to get it to its potential. Unfortunately work=money. When it finally was where I wanted it to be I was pretty much broke (being broke is synonymous with being a young musician anyhow). When one of life’s big tragedy hit, the family came first and ultimately I had to give up the bass. It’s not all altruistic, I made some regretful decisions to trying to keep the bass, but to the point the bass was the only thing I had of monetary value. I was sad to see it go, but that’s part of life; back to a plywood bass.

Years later, when things improved, I had my appetite for an Italian bass. I fell in love with an unlabeled early 19th century Italian bass. Having the Italian Bass was nice for the first few years, but having one can actually be a burden. It was temperamental; sometimes it would sound nice, other times it woke up on the wrong side of the bed. It felt delicate, which can be a good thing, but also a bad thing. I loved how it sounded, it wasn’t the most playable bass because it was both temperamental and its violin corners were beautiful but not the most ideal. This is not representative of all old Italian basses, but it’s not unusual that each have their own character for the better or worse. As the orchestral auditions and low paying orchestral gigs lost priority, so the Italian bass started seeing the outside world less. No way was I going to take it to any of the tight “stages” for the club and restaurant gigs; basses that have endured that circuit have their share of battle scars, so instead, it gradually became a museum piece than a instrument.

When I was fully committed to other genres of music, I decided to get a nice German Bass that I could take anywhere. The bass is a workhorse; a circa 1920’s German bass with no history associated with it. No label, no heritage. Plays well but probably need a new fingerboard soon, but it can wait. It looks lovely and has a beautiful grain, but it won’t stand out in a bass shop. It sounds very nice, but nothing spectacular; not much different than any other good quality German bass out there. I’m sure that other people tried this bass before moving onto purchase other basses which they preferred. I had intentions of buying a different bass that sounding good on paper, but didn’t make the cut. When I tried the bass, I didn’t immediately think “I’ve got to have this bass”. I set it aside and moved on to try other basses. At decision time, I was wrestling between this one and another for a couple of hours. I finally decided upon this bass, and was giddy about having another bass to get acquainted with.

When another of life’s difficult situations arose (which usually coincides with bills and payments) I decided to sell the Italian bass. To my surprise, I didn’t miss it nearly as much as I thought I would. Yes, it’s hard parting with any bass, but nothing feels amiss. The German bass actually pairs with me nicely. I try to take care of it as well as possible, but I don’t feel like a historic preservationist as I did with an Italian bass; I can go out an be a musician. It can go wherever I need to be, whether that is a small corner of a cafe or a nice concert stage. I don’t doubt that this is a keeper for many decades to come, maybe until it’s time to lay down a bass for the last time and I would have no wants of another bass. Even though I’ve owned “better” basses, this is my favorite. The reason isn’t quantifiable, it just is so. Sometimes you have to go full circle to figure out what you want in life, but it would have been far cheaper had I figured it out at the beginning.

Brandi Disterheft

I was out and about, and curious to if anyone else uses Velvet Garbos on their Czech Ease. Sometimes in my Internet searches, I inadvertently find videos of bassists with incredible talent, yet don’t get much exposure.

Maybe some of you have heard of her, but if you haven’t, she’s a talented young bassists to keep an eye on.

Life as a Musician

Interesting article in the LA Times with some insight about being a musician. No matter what genre you specialize in, the lifestyle is similar. Unless you get into the top paying Los Angeles Philharmonic or the other 9 orchestras in the U.S. where you can make over $100,000, making ends meet is a juggling act. No one really goes into music for the money right? There are many easier ways to make money, but are there really many better ways to make money? You make the call.

BTW, statistics say that it’s easier for an athlete to get into the NBA than a musician to get into the top ten U.S. Orchestras. If you’ve got the talent, then kudos to you.

LA Phil = $127,140
Typical non-major symphony = $32,775
LA Opera =  $28,000

An LA Opera musician humbly thinks that she has it good compared to “a lot of musicians”. That is an eye opener.,0,5967344.story?page=2

Outside the orchestra pit

For three L.A.-area classical players, life offstage illustrates the luxuries and complexities of making a living in music. Teaching, film work, even poker-playing all help pay the bills.

When the conductor’s baton comes to a halt and the instruments are tucked away, the lives of professional classical musicians continue past the clef notes of that night’s repertoire. For three L.A.-area musicians, life offstage illustrates the luxuries and complexities of making a living as an orchestra musician.

FOR THE RECORD: Classical musicians: In the Dec. 26 Arts & Books section, an article about making a living as a professional classical musician gave an incorrect last name for one of the subjects. She is Tina Chang Qu, not Tina Nguyen.

For Dana Hansen, 31, days off from playing are usually spent in a children’s gymnasium or a park, where she totes around her cherub-faced daughter, Phoebe — an entirely different kind of instrument.

As a full-time busy violist with the Los Angeles Philharmonic, it’s a luxury when Hansen find herself in a room full of toddlers, shuffling barefoot on a carpet as she sings “Ring Around the Rosy” or enjoying a moment of laughter with her 18-month-old daughter in the park.

With the birth of her first child, Hansen is still learning how to navigate her time between mastering notes of Beethoven’s Symphony No. 9 and swing sets.

“It’s a hard career to go into,” she said. “A bunch of people my age in this field are struggling. I’m not complaining with where I’m at.”

Her full-time spot with a major orchestra allows her to lead a comfortable lifestyle in Pacific Palisades, where she and her husband, Noble Hansen, who works in finance, moved last year. The annual income for an L.A. Phil musician in 2008-09 was $127,140, according to the International Conference of Symphony and Opera Musicians.

Hansen’s route to becoming a professional musician began with a degree in modern European history from Harvard College.

“I’m not naïve,” she said recently at her home. “Music was what I wanted to do. But it’s not exactly a sure thing. I wanted something else to fall back on just in case.”

She began violin studies at age 5 and viola at 15.

“I definitely want Phoebe to learn how to play an instrument,” she said. “I think it’s important. Look at her — she’s already formed a connection with music. Whenever she hears a tune she likes, she’s dancing.”

Paul Zibits, bass

Now bassist and personnel manager for the Pacific Symphony, Chicago native Paul Zibits, 59, has been an active studio musician since moving to California in 1979.

“I learned early on that music was what I was good at,” Zibits said. “I was lucky to be good enough to make a living with it.”

A father of two boys and husband to Kimiyo Takeya (a violinist in the Pacific Symphony), Zibits has seen his musical abilities extend beyond the stage and onto the big screen: He has performed on the scores of more than 500 motion pictures, including “Titanic,” “Spider-Man,” “Jurassic Park” and the first”Pirates of the Caribbean” film.

When he’s not performing onstage or in a movie theater (or tweeting as @pzibits) Zibits can be found at the Bob Cole Conservatory of Music at Cal State Long Beach, where he teaches double bass.

For the few minutes (or hours) outside of that, he’s mastering his poker face.

The hands of professional bass player Paul Zibits are in a tight grip.

Tap, click, tap, click.

There are no music sheets around and that humming isn’t the sound of fingers plucking strings. The chorus comes courtesy of tapping chips at work during a game at one of the monthly poker nights Zibits hosts at his home in Long Beach.

Mastering music and mastering poker go hand in hand, he said.

“It’s all about technique. In music, you learn an instrument’s scales and positions. With poker, you become skilled at learning when to bet certain hands, when to raise hands, and your position at the table.”

In 1999, he outplayed 233 others to finish seventh in the World Series of Poker’s $2,500 buy-in, hold-’em tournament held at Binion’s Horseshoe in Las Vegas — pocketing nearly $15,000 for two days’ work. At this year’s tournament, he pocketed just over $3,000. Not bad, considering that section musicians with the Pacific Symphony would earn about $32,775 if they were to play every concert and rehearsal offered for a year, according to the orchestra’s site.

During off hours, Zibits often can be found among the herd at Commerce Casino — the “mecca of poker” as he refers to it — or Hawaiian Gardens Casino. In 2006, he became a published author and editor of the book “Poker Face 2.”

“Poker is fun … and it can be a great stress reliever,” Zibits said. “But it can be exhausting at times. Your mind is racing, constantly analyzing everything. It’s like playing a Mahler symphony. Sometimes you need a vacation from it.”

Tina Nguyen, violin

Juggling separate jobs is not unusual for some musicians. Many teach privately in their homes or perform with several orchestras and other ensembles. Others record for the motion picture industry.

It’s the kind of hectic lifestyle that Tina Nguyen, 35, is all too familiar with.

For Nguyen, playing violin for the Los Angeles Opera is not a full-time gig, so additional jobs are needed to supplement her income — especially as the opera seasons get shorter; she gets paid per performance. The approximate salary for a musician for L.A. Opera’s 2010-11 season is $28,000.

“This season has been rather difficult,” she said. “We reduced our season because of the economy. Most of us have to work on something else. Next year, it’s going to be pretty tough. Normally, we have about nine shows; now we’re down to five or six.”

Nguyen currently gives private violin lessons to three students.

“A lot of my colleagues teach more,” she said. “They might have like 10 or 15 students. For me, my goal is to have six. I don’t have much time to devote to it; I often have concerts on the weekends.”

And she does recording for film and TV series — the latest being ABC’s “No Ordinary Family” — and performs for other outlets, including the New West Symphony, where she’s an assistant concert master.

“A season like this, with tremendous reductions … it’s worrisome,” Nguyen said. “In this town, unless you’re in the L.A. Phil, you have to do other jobs to make it.”

Qu estimates that 70% of her income comes from her L.A. Opera performances.

“There are a lot of musicians in a much worse position,” she said. “Of course, I would like to have a more reliable full-time job. But this is where I’m at right now.”