Cello in grades 5 through 7, then upright bass for another 6 or 7 years or so. All of that was pretty much me just struggling to keep up with the rest of the orchestra (with tips from my older brother) until college when I took weekly lessons on upright. Also some Baritone and a little Saxophone in high school.
Starting at around 8th grade (I think) I started playing my brother's Hofner and trying my hardest to duplicate everything he did (and never ever succeeding!). No lessons on electric, but lots of listening to ELP, YES and Rush, then ultimately playing lots of that wonderful music with musicians of like age and mind.
By my senior year in high school, I was subbing on bass with the jazz and pep bands of a *competing* school (one that had an awesome music program), and was being introduced to jazz as something that wasn't just for old farts. Walt Anslinger at Terre Haute South High School was very good at opening closed little minds to new old things. Judy Grimes at the Indiana State University Laboratory School (another opportunity I weasled my way into) was good at goading us to do things that we knew were impossible, and then doing even more. She actually had a 3rd grade band that played college charts well, but I digress..
When I briefly attended college, I serendipitously played in a small combo that was run by Robert Chappell, a percussionist who had worked with Gary Burton and who embraced all things new and different. I would have to credit him with opening my mind to true informed-experimentation and gave me some of the tools to begin to appreciate the genius of works by groups from King Crimson to Chick Corea to Weather Report and others of the electric-jazz genre(s). What I did not get from him or that period was much of an appreciation for acoustic jazz, and that is something I continue to wrestle with.
I lived in Nashville for awhile, and pretty much didn't have anything to learn from the bass players to which I was exposed, but I did share an apartment (and some musical commitments) with guitarist J.T. Corenflos. We spent most evenings (when we weren't gigging) sitting at his kitchen table, just jamming into my boom-box for literally hours. He would try new ideas and changes, and I would try in particularly abysmal fashion to keep up. He was hard-core into Be-Bop, we just didn't realize that's what it was!
I lived in Los Angeles for about a year, and in between the light load of session work and heavier load of rent-paying courier work I would take my bass into Musician's Institute on Hollywood Boulevard and sit-in on classes. That lasted months until during one master class Tim Bogert asked about our recital dates or something similarly mundane and I told him I wasn't even enrolled...
I think that could be considered the last hurrah for my formal schooling. Now I'm enrolled with Olie and take my classes mostly on the Indiana/Illinois/Ohio campus..
My younger brother, Pete, and his wife, Shannon, are music educators and pro-players in the Toledo/Detroit area. Visits to them for gigging and pleasure also carry an element of instruction. They know more than I could ever hope to fit in my fat head, but have a gift of sharing just the right amount at the right time to get some of it to sink in..
John
Edited to add: I have gigged on Chapman Stick, guitar and organ (no solos!)..
(Message edited by 811952 on August 24, 2007)