While the number of double bass pickups has been growing continuously since the 1980s, the number of double bass amplifiers has remained very small for a long time. Polytone, Gallien-Krueger, or a handmade Walter Woods – but that was almost it with the choice of double bass suitable amps. This changed at the end of the 1990s, when the American engineer Rick Jones came onto the market with a radical new idea: a combo amp designed specifically for double bass, with the speaker pointing downwards rather than forwards.
The first experience reports from the USA were promising, and so I quite soon ordered one of these amps from Rick Jones, who converted it to the European 220 V for me as a one-off. And so I soon had the first Acoustic Image Contra in Europe. On stage, the actually inconspicuous black ton quickly attracted the eyes and ears: a round amp? And the speaker points downwards? The concept was well received worldwide, the bassy-soft sound did well after years of being used to mid-range amplifier sounds. But I also had to get used to the omni-directional sound radiation. In some rooms it worked fantastically – in others not so well. And at an open-air gig, the amp bravely blew the sound into the lawn, but couldn’t compete with the sound-absorbing properties of the vegetation …
Over the past 20 years, Rick Jones has continued to develop his amps. And the success of the AI amps encouraged other manufacturers to take the needs of double bass players more into account in their designs. From the beginning, AI amps had a piezo-friendly high input impedance – this unobtrusive feature was actually the amp’s most important feature. Early on, a model with a second (microphone) channel with phantom power was added. However, the downward speaker orientation, originally the “trademark” of AI amps, was abandoned by Rick Jones a few years ago. The Doubleshot has two speakers mounted “back to back”, the current Upshot finally has one speaker facing upwards – an idea Ampeg tried with the “Fountain of sound” back in the 1950s.
A few weeks ago, Rick Jones fell in the shower and suffered a bleed in his brain. After treatment and surgery, his family initially thought he was doing better, but in mid-April he woke up in the middle of the night, went to the emergency room and collapsed, hitting his head again. Despite the efforts of the ER team, he could not be revived and died.

Wow. I am so honored and grateful for Gary Karr’s sympathetic review in the current issue of the ISB Magazine:

“With regard to my enthusiasm for this comprehensive historic reference book about the double bass, covering 400 years of its development from its classical roots to jazz and amplification, I am very much in agreement with Rufus Reid, who wrote in the forward: ‘Mr. Lohse’s The Double Bass Book is a fantastic and most impressive labor of love with articulate precision. It will be a beautiful addition to any library.‘ The book is sweeping in scope and includes brilliant photos and illustrations as well as stories about great bassists and luthiers. Jonas Lohse did a masterful job in writing about instrument makers, design, the latest technology and important innovations. The book has helpful information regarded setup and sound optimization, information and history about strings and rosin, and even recommendations to contemplate when purchasing an instrument. This reference book is an absolute must for the serious or casual bassist. Originally published in German in 2018, the book was translated in English by bass virtuoso and teacher, Martin Wind.“ Gary Karr

“[Peter] Elias sees a bright future for modern instruments, although he still encounters musicians who don’t agree. “A player will come to me and have the audacity to say: ‘This sounds OK for a new instrument. but I prefer old ones.‘ I have got to the point where I’ve told them: ‘Listen. I prefer dead musicians too. I’d much rather have Paganini here than you today!’ As a musician you’re allowed to live in your time. Why shouldn’t an instrument maker? Is he only there to patch up your old instruments? Or is he allowed to create something in his time – is he allowed to have ideas in the same way that Stradivari did – to try things, different projects?“

(found at The Strand, Nov. 2000)

Bassist Derrick Hodge and band, living jazz legends John Scofield & Dave Holland, Queen of bass guitar Kinga Głyk, the bassists of The Netherlands Philharmonic Orchestra and Božo Paradžik and festival founder James Oesi with the Dudok Quartet will be performing exclusively at Dutch Double Bass Festival. The only festival in the world with the bass at its centre will be taking place this October 29th and 30th in Rotterdam’s brand new Theater Zuidplein. A total of 18 acts – from pop bands to classical chamber music – with the double bass and bass guitar in the lead role, will be presented.

www.ddbf.nl

This is the prototype of my new double bass wall mount. It is made of solid maple wood and varnished with traditional violin varnish. It not only holds the bass securely, but also serves as a bow holder and storage for rosin, metronome, pencil and eraser, or whatever else you need to practice. The bass is fixed by means of elastic band. The endpin can remain extended in the playing position. Available at www.kontrabass-atelier.de

In 1947 Oscar Peterson formed his first trio. On bass at that time was not yet Ray Brown, but Bert Brown, and Frank Gariepy played drums. The trio performed regularly at the Alberta Lounge in Montreal, which was also broadcast by a local radio station. In 1949, Norman Granz discovered him there, and introduced him as a surprise guest at New York’s Carnegie Hall as part of his Jazz-at-the-Philharmonic tour. After that, they toured together for two years through in American concert halls. Finally, in 1952, Peterson formed a new trio with bassist Ray Brown. Initially, Barney Kessel joined on guitar, who was replaced a year later by Herb Ellis – in this line-up the trio became world famous.
In 1949, Evelyn Lambart and Norman McLaren created a remarkable animated film for which the Oscar Peterson Trio (called old-fashioned “Terzett” in the German translation) with Bert Brown and Frank Gariepy contributed the music. Technically interesting, Lambart and McLaren painted and drew directly onto the film stock for this color film, rather than photographing it. The film was produced by the National Film Board of Canada; at the first Berlinale in 1951 it was awarded a silver medal in the Culture Films and Documentaries category.