Tal Wilkenfeld has been widely hailed as “the rising star of the bass guitar”. She achieved international acclaim as the bassist for Jeff Beck. She has also accompanied Herbie Hancock and toured with Chick Corea at the age of 21. Jeff Beck has described her as “an astonishing talent”.

Abe has chosen the Kala Mahogany acoustic-electric while Tal favors the California Series USA made solid body natural finish 4-string. The U-Bass is Kala’s revolutionary line of 21 inch scale bass instruments that include the California, S-U-B, and acoustic-electric series.

For further information please contact Rick Carlson at rick@kalaukulele.com

One word…WOW! Norm opened up the clinic with some very impressive playing. Cool grooves, awesome slap/tap technique, chording, and all while keeping the most important aspect in play…the GROOVE! Norm is currently recording and touring with Lincoln Brewster. Norm speaks of our God given talents and our responsibilities to bring them out and make the most of them, woodshedding in order to become a better player, and gives great advice on how to keep it fun and interesting.

The clinic covers the groove, rhythm, time, changing the feel on a song with note duration, technique, and the modes. If Norm is having a clinic in your area, it is well worth your effort and time to go to the clinic no matter how long you have been playing. If you can’t make the clinic, Norm has 4 DVD’s and book of transcriptions for the DVD appropriately titled Grooving for Heaven – the charts. The book is written in both notation and tab, and includes drum transcriptions.

Check out http://www.normstockton.com for CDs, DVDs, charts, events, and some REALLY cool T-shirts.

Ty Campbell started playing bass at age 13 in the high school jazz band and local bands in and around Columbus, Ohio. He attended Capital University majoring in Jazz Performance for 2 years. He attended the Recording Workshop in 1994 and was in the top ten for his class. Ty and his lovely wife Susan have lived in Nashville since 1997. Ty has done extensive touring with various groups throughout the US. When he is not rocking out with ‘Shareen and the Kings’ or running sound at the Ernest Tubb Midnite Jamboree, you can catch him sitting in at the Nashville Palace with the Larry Hamilton Group or subbing with other groups in and around Nashville.

Who is one of the busiest working bassists you’ll meet? That would be the versatile, dynamic, industrious and accomplished Ivan “Funkboy” Bodley. To wit, the bulk of this interview was conducted virtually; during “down time” at hotels and on buses between Japanese towns and during sound checks while Ivan was out touring. Subsequently, this interview journeyed along with Ivan back to New York City, where Funkboy lives.

Ivan’s latest recording projects are as the bassist on the CD portion of Bootsy Collins: Legendary Licks, Collins’ new instructional book / CD project, and in addition to that, his new release, “Look at That Cookie,” drops in September, 2011.

First off, thanks for agreeing to this interview! So tell me, how did it come about that you became a bass player? Story please.

I have a theory that your instrument chooses you. You don’t choose your instrument. I dabbled with things when I was quite young: viola, guitar, and piano. But nothing stuck or lasted more than 6 months. I didn’t play anything all through junior high and high school. Then when I was 17 the bass chose me. It made sense to me. It fit my personality, fit my hands. I haven’t looked back since.

How has social media changed the way you network business-wise? Has the speed of the rate information now travels made coordinating a busy career easier or more complicated?

Hugely! That’s how it’s affected my business. I can feel it palpably. Any time I go to a jam session or other gathering of musicians, people with whom I haven’t spoken in years are all up to date on what I’m doing because they read it on Facebook. It’s amazing. So I’m careful about the content I post, knowing full well that it’s getting read instantaneously by all of my contacts. It’s a powerful medium. I also try to post active content designed to inform and entertain.

You’re a busy, working musician. Do you ever take time off? What do you do in your down time?

Time off from what? Take a vacation from what? Down time? What’s that? I’m writing this to you from my hotel room in Tokyo, Japan. And even though travel is exhausting, and we work really hard while on the road, I don’t know too many people who would think that what I do isn’t fascinating work. We’ll go sightseeing on a morning off one day in Tokyo, for instance. But this is no 9 – 5 occupation by any stretch of the imagination. There are no paid vacation days, no sick days, no weekends, no holidays. I played half time at the Jets game last Thanksgiving. I played Christmas night on Broadway, in “Rock of Ages.” If I do have a day off, the last thing I want to do is get on another airplane and go anywhere. I just draw the blinds on the windows of my apartment and quiver in the dark..

Name the cities you’ve performed in in the past year. 3,2,1..GO!

I’ll have to go through my calendar to give you an accurate list. But I can give you a few off the top of my head: Tokyo, Japan; Sapporo, Japan; Miami, FL; Marksville, Louisiana (google that one!); Windsor, Ontario; NYC (Broadway, Carnegie Hall, etc); Virginia Beach, VA; Lima, Peru; Orlando, FL; Westbury, NY; Medford Lakes, NJ; Oh, I could go on. Upcoming gigs in Tulsa, OK; Chicago, IL; Phoenix, AZ; maybe Vegas, NV: and beyond.

How did the moniker “Funkboy” emerge?

Some friends at Tulane started calling me that because of the music I used to play on my radio shows, not because of my being a musician, oddly enough. The name just sort of stuck. And I liked it! It seemed to fit. Like all proper nicknames, they’re assigned by others rather than self-imposed.

You graduated Magna Cum Laude from Berklee College of Music. Do you teach music or mentor budding bassists? Have you written any instructional material?

I do teach privately. But only for folks who seek me out. I don’t advertise or seek students. If people want to know stuff, I have plenty to tell. But they’ve got to want it. I’m not out to sell anyone anything. I have taught in the past as part of rhythm section classes at the Drummer’s Collective and also out of Lennox Studios up in Stamford. There’s a new book of transcriptions of Bootsy Collins, part of the Legendary Licks series from Cherry Lane Music. I didn’t transcribe the music or write the excellent book, but they did hire me to be Bootsy’s stunt double and record all of the bass parts for the accompanying play-along CD. It was an epic endeavor! I’m also writing a book about deepening one’s pocket and groove. But I’m a little stalled on that project at present as summer is my busiest season.

What’s your vision for facilitating young bassists’ instruction and education? How would you like to see schools implement music programs, at a time where music programs are being cut from schools? How would you creatively use technology to enhance music instruction?

These are all fine questions. However, I have a very different approach to how I had to go about it as I was learning, because I went to a prep school in Chattanooga that had NO music program at the time! Forget public funding! So I had to seek out occasional private instruction and do most all of it on my own. I believe strongly in arts education. It’s crucial to cognitive development. But it’s hard for me to know what works since I saw none of it growing up! Now, that being said, once I decided that being a professional musician was what I really wanted to do, i.e., the thought of doing anything else at all just made me queasy, then I went back to school and got my Berklee degree. I already had a degree in Psychology from Tulane. So my later training was very regimented and taught by some of the baddest cats on the planet. Berklee was so important in my development. It’s allowed me to be a working musician for all of these years. I understand all the Berklee kids now have laptops with Pro Tools. But back in my day, Sonny, we had a pencil! You kids get off my lawn!

What’s it like to perform in Rock of Ages on Broadway? How would you compare the schedule of playing on Broadway to being out on tour? Was the audience and the “vibe” of being on Broadway different than that of other venues as diverse as large arenas, clubs or private events?

I sub in Rock of Ages about 2-3 times a month these days and have done for the past two years, subbing for the great Winston Roye. I’ve played 75 performances in the past two years. It’s changed my life. There’s no comparison to being on tour. I take the subway to work. And all I need to bring to the theatre is my eyeliner pencil, my in-ear monitors, and my brain. They have there my costume and the basses I’m to play. Rock of Ages is more than a little unique as far as the typical Broadway show goes. The band is on stage in costume for the whole show. We’re playing a rock concert every night! There just happens to be some dialog between songs.

What’s the largest venue you’ve played?

Meadowlands Stadium, Jets game, Thanksgiving Day, 2010, Half-Time show with the cast of Rock of Ages. 82,255 fans: Sold out!

A little bird told me you have an upcoming CD being released. Do tell! Details, please.

It’s called, Look at That Cookie. It’s my 4th release as a bandleader, and it’s my 2nd disc of music recorded with my dear pals, James Dower, on keyboards, and Joe Goretti, on drums. About 2-1/2 years ago, the three of us started recording each other’s material and eating sandwiches together on weekday afternoons. Having the sessions booked has forced me to write for them. I have 75 original tracks in the can now. I’ve never been this prolific or this happy with my writing, playing, or recordings. The new cd is going to be 11 songs of unadulterated fun! Image: The Meters and Lou Donaldson having a jam session. Echoes of Mardi Gras, Memphis & Motown, my main areas of expertise and experience. James is here in Tokyo with me right now as we’re on tour with the great Sam Moore. Joey is on the other side of our planet at this very moment on tour with Moby. Our sandwich dates will have to wait until the fall until we’re all back home in New York for more recordings. Look at That Cookie should be out this fall and available through CD Baby, iTunes, Amazon, and all the usual retailers.

Pigs Feet & Potted Meat. How did you arrive at the title? What inspired that groove?

The CD cover photo was taken on my camera/phone at my local supermarket. It just looked like a CD cover. So I had to write a tune to go with it. The groove is reminiscent of a Meters kind of vibe from New Orleans, my 2nd home.

Who are your favorite modern bassists and influences? Name names! Name songs.

The only newer guy I’ve seen semi-recently whom I really like is Doug Johns. Most cats are either about groove or chops, but not both. He’s one of those rare cats who has both. He grooves really hard. That being said, there are dozens of classic players who never cease to amaze.

Favorite Classical composer(s)? How has classical music influenced your style?

I’m into Bach, Vivaldi and the Baroque dudes for the real classics. But I’m also wildly into Philip Glass, Steve Reich, and Terry Riley for the modern minimalist stuff. That stuff really lights me up. I took a Bach and Beethoven class at Tulane. The midterm exam was all listening, just identifying which movement of which Beethoven symphony. That’s the only test in my entire educational career that I ever got 100% on. My dad is a classical music buff. So I was exposed to it growing up. That has all served me very well in playing with violinist Alexander Markov and his Rock Concerto. Alex sold out Carnegie Hall last fall. We had 150 musicians and choral singers on stage. I play electric bass on that because I’m the “rock” guy in the concerto. There isn’t a feeling in the world like seeing your name over the door at Carnegie and then taking a bass solo on that stage. Heavy!

You are pretty diverse in your experience within the music business. Safe to say you’re a bass player, first? How does being a musician aid you in seeing various aspects of the business itself through that lens?

I do other things to facilitate being a player that are all business related. I don’t have an agent or a manager or a tech or an engineer. It’s just little old me out here trying to do it all! Having business experience facilitates the playing and vice versa. Everything contributes to everyone else. The same can be said about performing in so many diverse genres and formats. Everything bolsters everything else.

How do you balance it all? Obviously, you do it very well. I’m being cheeky here: Does your psych degree from Tulane assist you as a professional musician and music business person?

See above, about everything contributing to everything else. I’m not a psychotherapist. But I’ve met a few people who I think would benefit from a couple of visits to one! There is no such thing as balance! That’s an illusion! My pal, Killer Joe, and I say this all the time. It’s either feast or famine. I’m either going 900 miles an hour or sitting home for the winter waiting for the phone to ring. Actually, I don’t often sit home. But last winter had the tail end of the recession slowing the music biz down for a bit.

You bring up a good point. What do you do when the music business is “slow?” How have you been creative in networking out there, when the business doesn’t necessarily flow and come to you?

It’s really never slow for me. Last winter was an anomaly. I typically do 250 dates a year.

How valuable is a sense of humor in what you do? Care to share a funny story as an example?

You have to laugh to keep from crying. I forget who said that. But I think about it all the time. I constantly say to my bandmates: “What, and quit show business!?” I just have to quote the punchline about the dude who cleans up after the elephants at the circus, when asked why he doesn’t find another job. We just dragged our carcasses off a Trans-Pacific 13-1/2 hour flight, barely alive, literally dragging our behinds to the domestic transfer area for our 5-hour layover and 2nd flight of the day up to Sapporo. I’m pretty sure I said that at baggage claim: “What, and quit show business!?”

Which professional organizations and groups are you a card-carrying member of?

Local 802 AFM, ASCAP, AAA…

Which online groups for bassists would you recommend as sources of information and support?

There is so much great information out there just one search engine away. Back in my day, Sonny, there weren’t no YouTube. I couldn’t see John Entwistle’s hands play that lick on Sister Disco until I went to The Who concert in Biloxi. Once I saw him do it, the veil was lifted! Nowadays you can just Google that stuff and learn volumes in a fraction of the time.

What brands do you endorse? What’s the process for achieving endorsements?

Warrior basses, DR strings, Hartke and Markbass amps, Digitech and Line 6 signal processors. And I eat only Little Debbie snack cakes. I choose only gear that I use. Endorsements are symbiotic relationships between artist and manufacturers. We give them exposure, they give us gear at wholesale. Everybody wins!

What haven’t you done that you want to do? What’s your dream?

There’s still a big stadium tour on a bus with a currently charting artist who plays all of the major late night talk shows that I haven’t yet done. I don’t have anyone specific in mind. But that seems like something that’s within my reach. Everything else I dreamed about growing up I’m living every day.

Keep up with Ivan at: http://www.funkboy.net

Barbara Wiesenberg is a bassist, pianist, organist, educator, librarian and writer. She holds a Masters Degree in Library and Information Studies from Queens College, City University of New York. Her background includes being an academic music librarian, researcher, an English teacher, a curriculum writer, a church organist, a professional development coordinator for librarians and teachers, a volunteer theaterologist, and she is a self-confessed computer geek. Barbara very much enjoyed writing this interview and learned much about Pigs’ Feet and Potted Meat in addition to the intrinsic value of Little Debbie Snack Cakes.

A certain dose of uneasiness might surface before meeting someone whose work you respect and admire. A couple of years ago, while driving the 660 odd miles that separate Orlando, Florida from Muscle Shoals, Alabama, I was wondering if the legendary studio bassist Bob Wray was as soulful as his funky bass lines were. Some of my earlier encounters with other idols had been a little awkward…to say the least. So, I really didn’t know what to expect, even though our previous exchanges were very nice.

A few months before that road trip across the very heart and soul of America, I got in touch with Bob Wray after visiting his MySpace page. After a couple of very friendly email exchanges, Bob invited me to attend the recording of Collin Raye’s album called “Never Going Back” in Muscle Shoals, Alabama. The timing was perfect; I could attend the sessions and my wife and kids could come along to visit the Muscle Shoals area.

Once we arrived in Muscle Shoals, the first encounter with Bob was like meeting a long lost friend; even my kids were immediately at ease in his company. This was promising…

But why did Bob Wray’s bass playing grab my ear while I was a teenager learning to play bass all the way up in Canada almost 3 decades ago? While not a virtuosic player like Jaco or Stanley, Bob’s bass lines had an immediate impact on me; they were really tight and yet melodic, played with a bass sound that was full, round and punchy. His “feel” oozed funk and soul and you could tell he could play a mean rock bass line if needed.

So, over the years, while learning more about bass and music in general, I got to really respect Bob’s remarkable track record. Playing countless sessions in both Muscle Shoals and Nashville including recordings with Ray Charles, Joe Cocker, Al Green, Etta James and Randy Crawford, Bob was FAME Studios’ third house bassist, replacing the legendary David Hood after he left to form Muscle Shoals Studios.

Over at FAME, Bob worked under the tutelage of producer Rick Hall for a few years, playing on countless sessions and being the bassist responsible for the funky groove on “One Bad Apple” by The Osmonds. He then started to moonlight in Nashville while keeping his main home in Muscle Shoals.

The Collin Raye sessions were just across the river in Florence, at a new recording studio called NoiseBlock. Bob drove us there and introduced me to the band. The session players included keyboardist John Hobbs, guitarists Michael Spriggs and James Mitchell, drummer Mark Beckett and, of course, Bob Wray on bass.

During the session, Bob made sure that producer Michael A. Curtis gave me a copy of the charts used by the musicians. The charts were written using the Nashville number system; I couldn’t quite figure out how this much music came out of those simple looking numbers.

The whole band was amazing; the rhythm section was rock solid and creative while the guitar players and the pianist were embellishing the tracks with all sorts of clever voicings and tasty licks, never getting in the way of each other. They were doing one or two takes of each song so in a few hours, 5 complete songs were recorded.

The recorded takes sounded “like a record” right away. I still remember hearing them running through Mid-Life Chrysler for the first time; they were grooving like crazy. After the session, Bob told me he felt they could have recorded some more songs that day…if you say so Bob!

When I asked producer Michael Curtis why he chooses to use Bob on bass for his session work, he replied the following: “As far as Bob, he is the best, most diverse unique bass player I’ve ever had the pleasure working with. Not to mention he is a great guy to hang out with.”

He’s quite a great guy to hang out with indeed…and he has also some great culinary “chops” (no pun intended), his ribs were delicious. We could even add “hero” to the list. Let me explain this “hero” thing to you a little bit better: during another trip to Muscle Shoals, we were at Bob’s house located on the Tennessee River and suddenly there were some kids jet skiing that fell down in the water and they couldn’t seem to get back on their machine. They tried and tried some more and they were getting rapidly tired…in a few minutes, Bob got his jet ski ready and went to get them of the water. Kudos to you, Bob!

Still active on the Muscle Shoals/Nashville music scene as a session and live player, Bob is also a bass teacher. He teaches at Counts Bros; a nice music store in Muscle Shoals located not too far from FAME studios. I had the pleasure of jamming with Bob over there a couple of times and I can assure you that the guy can really play.

The last time I was in Muscle Shoals, I was waiting for Bob over at Counts Bros. while he was giving a bass lesson; I was trying out basses and amps and a fellow bass player came up to me saying: “You sure sound like Bob Wray”. This was the highest compliment I ever received on my playing.

There are times when, like everybody, I have doubts about my playing; like not really knowing how to approach songs, lines or grooves, and I think to myself: How would Bob Wray do it? Usually, that helps me to solve the problem really fast.

Bob, thank you for being such a great friend! You are a very “funky” Gentleman!

I have to admit that I was a little reluctant to see this clinic. I’ve seen a LOT of Victor Wooten concerts and clinics. I grew up in Northeast Pennsylvania and did college in Boston (at Berklee). I became very much aware of Victor when my Mom purchased the VHS tape of the Bass Day 1998 event at the now defunct Manny’s Music in New York City when I was in my freshman year of high school (2001, I believe). From then on, thanks to my incredibly supportive family, I saw every Flecktones show, Victor Wooten Band show, and clinic within 2 1/2 hours from my home. When I was in Boston, I easily saw 4 or 5 clinics that Victor did at Berklee or in music stores in town. Especially because I’m not a staunch Victor disciple (although I go through phases for sure!), I got a little burnt out by all of that, eventually seeing each occasion as just a grab bag of his laundry list of skills/topics.

This night was an INCREDIBLY pleasant surprise.

The clinic started off with a 20-minute version of Vic’s signature loop jamming. I think the thing that struck me the most about this time was that he was pushing himself throughout the jam. One thing I absolutely admire about Victor is that while he could just maintain the level of skill he possessed in 1998 and still be the heavyweight champ, he’s not happy with that. He needs to keep practicing and developing in the same way each of us try to do to get somewhere to begin with.

When he was through with the jam, Victor opened the clinic part of the show by saying that it would be wrong of us to take everything he says as gospel and that if we only circumvent pieces of “the spice” he was providing back into our own playing and experiences, that it’s a win. I really, really enjoyed him actually coming out and saying this. We all know that Victor is a very introspective and humble guy (the first time I met him in 2002, I said “Hi, my name is Matt. I’m an aspiring bass player”. His reply was “So am I”.), but I felt like this was a very mature statement of his response to the view of him, which I’m sure has only been magnified a ton thanks to the extreme growth of media out there. Victor was even quick to point out that he recognizes holes in his playing and (at my request) shared a couple with us. I’ll keep those a secret!

So far, you can easily tell that I was already impressed, but what really struck me was how often he used the word “hire” in all its tenses last night. I think that the closest he’s ever come to really talking about delineating what will get you working and what won’t is when he’s said “All this stuff is icing on the cake” or “If you play all these things, you’ll probably get fired”. This clinic took a very big theme of what kinds of things to promote and what kinds of things to avoid to actually get gigs. I was really excited and struck by this because most people want the flash when they see a clinic put on by a master, this time he got really deep into the fundamentals of everything about music excluding what notes to play, and I think really helped reshape the thinking of a lot of those in attendance.

After taking a good number of questions, and doing a good deal of interacting with Adam’s incredibly talented students, Victor shared a few great secrets that are sure to help soloing; such as playing with the chromatic scale to make the “out” notes sound right, and a couple others I don’t want to share because I’m going to take advantage of them myself!

My favorite line of the whole night was when Vic said, in reference to not taking everything he said as absolute truth, “If we just sit here and all agree, we’ll only get so far.”

How do you not respect that?

Vasquez was presented with a Fodera NYC Deluxe electric bass guitar at the culmination of Inside the Jazz Note®, an all-day Jazz House Kids program of teaching, talking and performance led by special guest NEA Jazz Master and 16-time Grammy® winner Chick Corea. The event was hosted by Grammy-winning virtuoso of the electric and acoustic bass, Christian McBride at the South Orange Performing Arts Center on June 2.

The young Paterson resident was nominated for the Christian McBride-Fodera Guitars award by demonstrating superior leadership, musicianship, creativity and dedication to excellence. The new award is designed to assist serious-minded young jazz bass guitarists in the pursuit of their music. As a dedicated musician at his church, high school and Jazz House Kids evening classes, Vasquez has proven he is committed to making music a large part of his life.

“Music is the special part of my everyday living and what I want my whole life to be about,” Vasquez said. “Exploring and creating music is my essence and my joy.”

Vasquez’s primary teacher at the Rosa L. Parks School describes the young bassist as “someone who demonstrates the potential to achieve what we as musicians would all like to achieve, that ultimate connection with the spiritual force of music.” Vasquez is an extraordinary student holding a 4.22 GPA. He also studies acoustic bass as part of the Montclair State University Preparatory Orchestra.

In his role of artistic chair at Jazz House Kids, Christian McBride has mentored hundreds of students. “Jazz House Kids has always helped young musicians find their voice, and part of finding that voice is the basic tool of a working instrument,” said McBride. “With this award, we can literally change someone’s life. An already promising future for a young musician looks even better with a quality instrument.”

World-class Brooklyn-based Fodera has been making hand-built electric guitars and basses since 1983. Owning a Fodera is special – less than 200 are made each year and are played and revered by some of the best bass and guitar players in the world. Fodera’s highly skilled artisans collaborate with musicians to construct handmade bass guitars and solid body electric guitars that are works of art, responding and resonating like no other instruments available on the market today.

About Jazz House Kids

Jazz House Kids is a community-based inter-generational organization that provides year-round musical, educational and cultural programs to students in grades K-12, teachers, adults and families from diverse backgrounds. Internationally renowned jazz performers teach alongside the professional staff, offering students a wide range of creative programming that develops musical potential, leadership, and strengthens academic performance.  The “Jazz House” provides the framework inside which all students can learn the skills and principles required to play, sing, and appreciate America’s homegrown music. Through music, mentoring and education Jazz House Kids cultivates tomorrow’s global citizens so they may build vibrant communities where they live. For more information, contact 973-744-2273 or visit www.jazzhousekids.org.

Groove and Ebinho are both offering private lessons in the Boston area, and spots will fill up fast! We highly recommend that you call and get on their schedule while you can. They can both be reached at (774) 225 – 2851.

Sergio Groove is a musician with great prominence in Brazil. A versatile instrumentalist and musician, Sergio travels in various segments of music, playing from Jazz to Forro. He has released three studio albums, four performance DVDs, and and instructional DVD. Sergio is now working on a book with Grant Stinnett. He has played with Michael Manring, Raul de Souza, Dominguinhos, Rob Gourlay, Dom Moio, David diCenso, and Jim Stinnett.

Ebinho Cardoso is a well-known Brazilian musician. He has released 5 studio albums, 2 instructional DVDs, and a book (Harmony and Dictionary of Chords for Electric Bass). He is soon to release his second book, Studies about Samba. Ebinho has played with Joe Hunt, Dom Moio, Todd Johnson, Melson Faria, Arthur Maia, Toninho Horta, and others. He distinguishes himself through a unique way of playing, bringing together jazz elements with the peculiarities of Brazilian classical and popular music. He is considered one of the most talented musicians in the world, according to Celso Pixinga (EM&T, Brazil) and Jim Stinnett (Berklee College of Music Professor).

You can hear Sergio and Ebinho’s musical abilities at work on a new record from Stinnett Music, Backstage Bass, available now for download. This record, also featuring Grant Stinnett and Jim Stinnett, is a 43 minute collage of beautiful, intricate bass textures that are pleasing to the ear, yet created by very able minds and hands. You will never believe that a group of nothing but bass players created this wide swath of music!

Both of these virtuosos have been part of a campaign by Stinnett Music along with Celso Pixinga to help structure bass education more clearly throughout Brazil. The Stinnett Music team has now traveled to Brazil three times for educational and performance events, with two more to come in the fall. This all precedes the New Hampshire Bass Fest in Sao Paulo in Summer 2012.

Finnish Metalers Children of Bodom and Guvera.com (the leading proponent of legally downloadable music) – in partnership with ESP Guitars and Monster Energy – present an opportunity for the most aggressive social networkers to nab a Signature Henkka Seppälä ESP Bass Guitar and other prizes by simply signing up as many friends as possible at http://www.Guvera.com/childrenofbodom.

Registration and login required to participate in this competition, which is available only in the US andAustralia and concludes on July 14th, 2011.

The person with the most friends signed up wins the 1st Prize a Signature Henkka Seppälä ESP Bass Guitar

Second Prize Winner (United States Only): Will receive 2x tickets and 2x ‘Meet and Greet’ passes to Children of Bodom’s July 16th, 2011 show at New York City’s Best Buy Theatre.

Second Prize Winner (Australia Only): Will receive an exclusive Children of Bodom Merchandise Pack

Link: http://www.Guvera.com/childrenofbodom

Winners to be announced July 14th, 2011

Guvera.com, one of the leading proponents of legally downloadable music, has made the entire Children of Bodom catalog available for free download. Not only do they offer free music to its users, Guvera.com ensures that all of the artists working with their site get paid for their recordings.

Sponsored by KGNU. Tickets are $26, available here. Shows at 7 and 9 pm on 7/16 and 6 and 8 pm on 7/17. These shows should sell out, so get your tickets soon!!

“Success is not about money, it’s feeling good about what you do,” said Hartley Peavey, founder and CEO of Peavey Electronics Corporation, to Mississippi State University’s class of 2011 graduates.

“The truth about entrepreneurs is that we have to approach every day with enthusiasm, a willingness to learn from mistakes and the desire to innovate, and trust that those traits will guide us to success. My only advice to you is never quit.”

As the leaders of Peavey Electronics Corporation, Hartley and Mary Peavey head one of the world’s largest and most diversified manufacturers and suppliers of musical-equipment and professional-audio products, with distribution into more than 130 countries. Hartley founded the company after graduating from Mississippi State in 1965.

“Peavey is successful because we all have great passion for what we do,” said Mary Peavey, President of Peavey Electronics Corporation. “It is self defeating to live without passion for your work. I encourage all of you, if you can’t find the job you want right away—and in this economy you may not—consider taking another job in the same industry.

“When you do get that job,” she added, “I hope that you will give back by donating your time and leadership through mentoring young people.”

Peavey, a board member of the national Afterschool Alliance, stressed the importance of education, leadership and afterschool programs in the lives of the nation’s youth. “More than 15 million kids today go home to an empty house, and those hours between 3 and 6 p.m. are crucial.”

During the 46-year history of Peavey Electronics, the Meridian, Mississippi-based company has earned more than 180 patents around the world for innovations in how we hear and play music.

Two of Peavey’s most enduring innovations include pioneering the use of CNC manufacturing techniques in making guitars—a move that brought consistency and quality and ushered in the modern era of guitar production—and MediaMatrix®, which brought large-scale sound systems into the digital age by allowing users to configure and control them from a computer. Peavey MediaMatrix is the audio-system architecture in more than 5,000 airports, government and convention halls, theme parks, hotels, stadiums and other large venues around the world.

Gifted with a technical mind and a spirit for innovation, Hartley Peavey’s tenacity, ingenuity and self-determination are the roots of his success. Peavey is a member of the Rock Walk of Fame, Vintage Guitar Hall of Fame and Mississippi Musician’s Hall of Fame, and has received multiple Presidential “E” Star Awards for Exports, the Senatorial Medal of Freedom, the National Literacy Honors Award and the MIPA (Musikmesse International Press Association) Lifetime Achievement Award, the industry’s highest honor.