Author, Educator, and Touring Bassist Danny Ziemann presents…

THE

FIRST CALL BASSIST: 

SOLO EDITION

A Brand New, 10 Week Transformation Program 

 March 22nd to June 1st

Author, Educator, and Touring Bassist Danny Ziemann presents…

THE

FIRST CALL BASSIST: 

SOLO EDITION

A Brand New, 10 Week Transformation Program 

 March 22nd to June 1st

For jazz bassists who want to finally create exciting, melodic solos by ear 

(that are way beyond just “good enough for a bass solo”)

and feel like the total package on the bandstand … not just a 75% bassist!


Unlock the mystery and remove the barriers to your soloing genius.

Take me there!

"Transformative"

I really felt that even though I was a beginner, I could grasp what he was saying and apply it to my own playing. The quality of the teaching and presentation is really off the charts. Danny is a terrific bass player and just an amazing educator.

Edith K

“I’ve learned the scales, memorized patterns, and even transcribed —
but my solos still aren’t quite there … and I don’t know how to tie it all together!
I don’t want to sound bad!

If that feels familiar ⤴

Then this is for you! ⤵

  • Whether you’re a beginning or experienced musician looking to contribute more to the musical conversation ...
  • Or you’re a teacher, getting the same (underwhelming!) results out of students no matter what you try ...
  • Or you’re purely in this for the love, curiosity, and joy of making music — ready to throw caution to the wind to unlock your solo capabilities ...


No matter where you are on your journey, the fact that you’re here tells me you’re already taking big steps towards advancing your musicianship — and you’re serious about your growth. Big kudos to you!

Hey, I don’t need to tell you — 

Bass soloing is the elephant in the room.

And sometimes just mentioning bass soloing gets you funny looks from other bassists.

Because soloing isn’t our job, right? “If I’d wanted to solo, I’d have learned to play guitar!”

Plus, if we’re focused on stepping into the spotlight, how can we be great accompanyists?

OK wait. Let’s just set the record straight: 

You CAN be a great bass soloist AND a great accompanist.

Despite what we’ve all been taught … they’re not mutually exclusive. And you CAN work on both at the same time!


In fact (truthbomb incoming!) → 

Being a good soloist can make you BETTER at accompanying! 

Because the better you are at hearing and recognizing what EVERY role in the band is about — including the soloist — the better you can support, serve, and elevate the music for everyone, in every moment, right?

Maybe the truth is you’ve tried to work on your soloing skills. You’ve memorized patterns and scales, transcribed a few solos … but could never quite stitch your efforts together.

Or maybe, you’ve been solo-curious … but didn’t know where to start. Hey, I get it — there’s a lot of clutter to cut through!

But no matter what you feel about soloing, or what you’ve tried before ... when you’re on a gig, you know your bandmates expect you to take solos. 

[Trust me — my bandleaders don’t lower their expectations for me just because I’m a bassist. They DEFINITELY want me to solo!]

And you can’t keep saying ‘no’ forever!

Hey, wouldn’t it be amazing to feel the freedom and confidence to step up and play melodic solos without hesitation ...?

To carry into the solo spot the same energy and groove you exude when walking bass lines …?

And to KNOW without a doubt that you sound KILLER?!

Hey, wouldn’t it be amazing to feel the freedom and confidence to step up and play melodic solos without hesitation ...?

To carry into the solo spot the same energy and groove you exude when walking bass lines …?

And to KNOW without a doubt that you sound KILLER?!

Ok, I know what you’re thinking …

“Danny, that’s great but it’s just not for me.
My bandmates already set the bar so high
— and I don't think I can use my ears this way!


Listen, I know first hand the frustration of taking a crummy solo on a gig …


Where all you can hear is your inner critic telling you “I told you so! Solos are NOT your job!!”


Leaving you back where you started, saying "no" to the next solo that comes your way ...

But here’s what I’ve learned you CAN break that cycle of frustration.


So tell me, if you had the chance to ...

Discover powerful ear-driven techniques that help you become your ideal soloist

while

Finally tying together and contextualizing all your previous learning experiences

and

Carrying your progress effortlessly from practice room to gig, to play melodic solos that blow your bandmates away!

Would you give yourself that chance? 


Or would you keep on…


  • Memorizing scales, only to find no practical application for them in a solo. [Have you ever heard a great solo that’s all scales? I haven’t.]


  • Transcribing entire solos measure by measure, without really understanding why — or how to use them in your own solos. [This pathway doesn’t grow your ear in the way you think it does!]

  • Waving your head ‘no’ to that solo opportunity yet again, because the tempo is too fast/you’re not ready/you don’t need to solo/[insert your reason]...


When you have the right routine that puts your ear at the center of the learning experience... 

the positives are yours to claim

ENTER FIRST CALL BASSIST
SOLO EDITION NOW

But here’s what I’ve learned you CAN break that cycle of frustration.


So tell me, if you had the chance to ...

  • Discover powerful ear-driven techniques that help you become your ideal soloist

while

  • Finally tying together and contextualizing all your previous learning experiences

and

  • Carrying your progress effortlessly from practice room to gig, to play melodic solos that blow your bandmates away!

Would you give yourself that chance? 


Or would you keep on…


  • Memorizing scales, only to find no practical application for them in a solo. [Have you ever heard a great solo that’s all scales? I haven’t.]
  • Transcribing entire solos measure by measure, without really understanding why — or how to use them in your own solos. [This pathway doesn’t grow your ear in the way you think it does!]
  • Waving your head ‘no’ to that solo opportunity yet again, because the tempo is too fast/you’re not ready/you don’t need to solo/[insert your reason]...


When you have the right routine that puts your ear at the center of the learning experience... 

the positives are yours to claim

"My playing has improved exponentially"

No one has a better grasp on how to organize and deliver the material that is essential to becoming a first call bassist.

Cooke Harvey

Bassist, New York City

Before we dig into the juicy details of the

FIRST CALL BASSIST:

SOLO EDITION
program…

Let’s look at what’s been standing in the way of unlocking your solo voice

→ 5 Struggles Holding You Back ←

#1 I can walk good bass lines, but soloing is so different!

Let’s sidestep for a moment. I want you to imagine a really amazing bass line. What does it contain?

There are clear note choices, a rich and full sound, an infectious rhythm, and a sense of relatedness to the rest of the group, right?

Now, Imagine a great solo. 

What’s the difference between a great bass line and a solo?


Very little!

You need a way to connect walking to creating great solos.

Learning to solo well is a natural continuation of what we do when we walk bass lines, period.

A melodic bass line will always command the attention of your band, just like a melodic solo will. So instead of getting hung up on the differences between the two, it’s way more effective to focus on the similarities and build upon that.

#2 I’ve memorized all the theory, but it’s so difficult to use!

I get it — believe me! There’s so much to know about chords, scales, extensions, substitutions ...

And we all know what happens when you ask a musician for theory advice — you get hit with a firehose of information. 

I’ve been on the theory path … and using it as a vehicle for soloing is like taking the express lane to frustration!

Think about learning to solo like learning a new language.

Primarily relying on theory to learn soloing is like only using a dictionary to learn a language.

A dictionary tells you “what” can be said, but it doesn’t tell you when to say it, why it sounds good, or the above all … the best context in which to use it. 

Even worse, it makes us turn off our ears to the conversation right in front of us.

I mean, really — how enjoyable are conversations where no one is listening?

What’s the best way to learn a language? By listening (a LOT!), imitating, and being around people who speak the way you want to speak.

Theory, like a dictionary, is a tool to help fill in the gaps of what you can already hear.

You need a way to break past the theory barrier, and learn useful tools to unlock how to hear vocabulary. 


Theory can’t substitute the work you need to do on your ears. While it can be helpful, you’ll never create the great solos you want by focusing only on theory and bypassing your ears.You need a set of tools that teaches you how to listen, how to hear harmony, and how to let the intellectual side support your ear.

#3 I don’t have enough technique to play great solos.


I have two words: Technique Envy.

This means that we become dazzled by other instruments who have seemingly more technical possibilities …

And convinced that we need to do that in order to create great solos.

But how much technique do we really need?

Just enough to convey our ideas.

For every rapid-fire technique-wizz, there’s a Chet Baker … a Stan Getz … a Count Basie … who were masters of melodic playing within their zone of comfort.

Now, let me be very clear — if you have aspirations to play solos with a high level of technique, I fully support you. Go for it!


And if you don’t hear ideas that way, then there are ways to play that serve the ideas you hear.

You need a way to convey your ideas compellingly within your zone of comfort.

What makes a great idea compelling? It’s what we convey in our playing — great phrasing, emphasis on sound, and strong listening abilities really boost the success of our idea. Learning to play what’s in your ear is the focus, and your technique is just the delivery system that serves that idea.

#4 I transcribe all the time, but now what? The work doesn’t show up in my playing. 


You’ve spent 90 hours working on a killer Scott Lafaro solo ... only to come away thinking “OK, what do I do next? How do I absorb this?”

Well, how did you transcribe it? Note by note, measure by measure?

Let’s compare it to language again.

When we hear someone speak, we don’t focus on what they say letter by letter … or even word-by-word … 

we hear the entire sentence at once!

[See a pattern? The problem is, you’re not engaging with the music like a language!]

You need to learn how to bring deeper listening into your transcribing process.

If you focus on learning a transcription note-by-note, you’re robbing your ear of the chance to absorb phrasing and language. Transcribing is just another type of listening — and you want to transcribe in a way that supports your ability to listen in the moment.

#5 I don’t need to solo, I play the bass!


Why do bassists need to solo?

After all, you didn’t learn the bass to sound like a guitarist, right?

Think of it this way.

A bassist who avoids soloing is like a baker who refuses to frost their cakes. 

Sure, frosting is decoration, and too much is dangerous! But your bass playing is meant to be more than just a dry foundation.

If you’re expecting yourself to be a great accompanist, but you push against learning to solo … 

how will you truly understand what your peers are playing? 


Being a soloist is not just about putting yourself in the spotlight — it’s about having the skills to elevate the musicians around you.


And most importantly, learning to solo does NOT come at the expense of being a great accompanist.

You need to learn to solo to truly serve your bandmates — and stop being a “75% bassist”!


There’s nothing shameful about learning to solo well — nor must you first “pay your dues.” 

After all, bass lines and solos all come from the same language. 


Remember when we used to make bass players delay thumb position until they’d mastered the lower positions first?! Let’s not wait another 100 years to leave behind our outdated ways of thinking about bass soloingtoo!

Now, just imagine if you could say goodbye to ALL these struggles, and finally ...

  • learn to really step into YOUR solo voice 
  • break through the “thinking barrier” and learn to truly hear your solos
  • get consistent, expert support every step of the way, as you work toward solo-playing confidence like you’ve never known!

Okay, stop imagining! 

because

FIRST CALL BASSIST: 

SOLO EDITION

is gonna to take you there!

March 22nd — June 1st



"Get where you want to be"

You're going to have your mind opened up to to choose your path, and to follow your path to get to where you want to be.


Unlike a lot of these other courses where they just try to teach you things or promise you the world, the only world that you're going to be promised here is YOU — you are that world.

Chris Northington

Bassist, Rochester NY

But hold up for a hot second! If we’ve not met before, maybe right about now you’re wondering … 


“Who exactly Danny Z? And why should I trust him with my musical future?!

Hey! I'm Danny Ziemann

I've built my professional career playing with some of the top jazz musicians, including Jorge Rossy, Sheila Jordan, Wycliffe Gordon, Bobby Militello, Gordon Webster, Bill Dobbins, Nancy Kelly, Harry Allen, and the Focusyear Band.

I've also spent an equal amount of time practicing and researching the art of teaching... in order to make music learning possible for everybody.

>Why should you be a great soloist? <

Because it makes us better listeners, accompanists, and because improvising is embedded in the human experience.

And being good at it leads to better, more fulfilling gigs.

Why should you trust me to help you?

Truthfully, there aren't as many people who are as active in the teaching space as they are performing space. You know my playing credentials, but we know that not every great player is a great teacher. Here's a shortlist of my teaching qualifications...

  • I've written four books about jazz bass playing.
  • I produced three video courses for Discover Double Bass.
  • I've taught at major institutions including the prestigious Eastman School of Music, SUNY Oswego, and Eastman Community Music School, and guest lectured all over the world.
  • I studied music pedagogy, curriculum design, and research through multiple degrees at the Eastman School of Music.
  • I designed one of the most innovative online bass teaching programs called the First Call Bassist, where bassists completely transform their playing and supercharge their ears. [Imagine being able to know *all* of the chords in a jazz standard after only hearing it once... and never needing the real book again!]
  • I have tirelessly researched the heck out of jazz bass pedagogy. [Think long nights reading dissertations and articles, analyzing method books and videos, designing research studies, you name it...]

Most importantly, I know what jazz bassists need to become successful, independently musical people...

And I've helped TONS of them do it.

And that's why I developed the FRIST CALL BASSIST: SOLO EDITION program, to help bass players embrace their solo potential - and elevate their entire musical experience!

So what exactly happens inside 

FIRST CALL BASSIST: 

SOLO EDITION

The 10 weeks of fun happens

from March 22nd — June 1st.

We’ll kick off with a “Plan-Your-Practice” workshop, where I take you through setting practice objectives that actually work, in your Bass Player’s Practice Journal … setting your GPS before the program starts. 


Every Monday, we’ll dive deep into the topic of the week — shared in a way that truly sticks with you.


Each Thursday is our SHED day — where we’ll have a live Q&A about the topic of the week, followed by practice rooms where you can shed live with different members of the group.


Plus I want to share with you my entire publication series, in PDF or paperback format – whichever you choose!


And did I mention the personal attention you’ll be getting?! You’ll be a VIP member of our exclusive Facebook Group, where you’ll get inspiration and encouragement from your peers, and I dive in daily to give you extra support! 

Oh, and if you can't make it to the live workshops? No worries — I record everything for you!


This is SO much more than just one-on-one teaching. This is a fully-immersive 3D experience, with the flexibility to fit your schedule.

10 FULL Weeks of Daily Mentorship & accountability

>> Weekly live, topic-based workshops from my detailed bass curriculum

>> Weekly live Q&A and SHED sessions, to help engrain everything

>> Bonus trainings and daily check-ins through our exclusive Facebook Group

>> Expert guided session on goal-setting and practice planning 

>> Bass Player’s Practice Journal

>> Guest Experts

>> PDF copies of my entire publication series

>> 6-month access to all the recordings of the workshops

Option 1: $997

[payment options available]

>> Weekly live topic-based workshops

>> Weekly Q&A and SHED sessions

>> Access to my proprietary tune database of 500+ tunes

>> Private FB group with daily accountability

>> Expert-guided goal-setting sessions

>> Guest artists and bonus training sessions

>> Bass Player’s practice journal

>> PDFs access to my books

Option 2: $1997

[Application required, limited availability]

>> Weekly live topic-based workshops

>> Weekly Q&A and SHED sessions

>> Access to my proprietary tune database of 500+ tunes

>> Private FB group with daily check-ins

>> Expert-guide sessions on goal-setting

>> Bass Player’s practice journal

>> Guest artists and bonus training sessions

>> PDF’s of all my books

>> 2 Private Lessons

>> End-of-program performance

>> Group Mastermind monthly Special Topic

Apply for Option 2

Option 1: $997

[payment options available]

>> Weekly live topic-based workshops

>> Weekly Q&A and SHED sessions

>> Access to my proprietary tune database of 500+ tunes

>> Private FB group with daily accountability

>> Expert-guided goal-setting sessions

>> Guest artists and bonus training sessions

>> Bass Player’s practice journal

>> PDFs access to my books

Option 2: $1997

[Application required, limited availability]

>> Weekly live topic-based workshops

>> Weekly Q&A and SHED sessions

>> Access to my proprietary tune database of 500+ tunes

>> Private FB group with daily check-ins

>> Expert-guide sessions on goal-setting

>> Bass Player’s practice journal

>> Guest artists and bonus training sessions

>> PDF’s of all my books

>> 2 Private Lessons

>> End-of-program performance

>> Group Mastermind monthly Special Topic

14-Day Money back guarantee 


If for whatever reason you don’t feel blown away by the amazing experience inside First Call Bassist: Solo Edition, or just don’t feel like the program is the right vibe for you …

 

all you have to do is email me personally within 14 days of the start date, 

and I’ll make sure you get a FULL refund — no questions asked!


So you see, there really is NO RISK in taking a bet on yourself. 

(Why not jump in, just to check it out?)

So in case you're thinking

“Sounds awesome — but is this really for me?” 

Let me help you decide →

If you relate to any of these, then Solo Edition is definitely NOT for you:


  • You still don’t believe the bass’s role is to solo in the band. [Just promise me if you do have to take a solo, you won’t use the blues scale!]
  • You’re looking for a quick fix and expect results instantly (This program will show you how to make rapid progress, but growth is the result of dedication made daily. It requires patience)
  • You’re a superstar virtuoso and are happy with your solo choices. (Great!)

On the other hand if you’re ready to …


→ break the cycle of frustration  

→ quit saying ‘no’ to soloing 

→ and start saying ‘YES!’ to more musical opportunities


… then
First Call Bassist: Solo Edition is the PERFECT experience to take you from frustrated “75% bassist” to being the “full package” you were born to be!

Objections/FAQ

Still have questions? Great! I have answers.

1. I’m not as experienced as other people. Is this right for me?

Yes, absolutely! The strategies I teach are powerful because they work for everyone, no matter what stage of the game you’re at. 

Even if you’re relatively new to the bass, returning after a break, or for any reason you feel like you’ll never play like the pros — this program is perfect for you! What we’re dealing with is working on our core musicianship.


2. I’m a professional with experience. Is this right for me?

Yes! Even if you already play at a high level, if you want to banish the negative thinking from your playing …

or stop reusing the same old ii-V-I lick in the key of F Major, every single time …


or better connect your lines, so your solos don’t feel so disjointed to you …


or end the heartache of sacrificing hours in the practice room for so little reliable result on the bandstand …


Then the First Call Bassist: Solo Edition program is for you!


3. Is it even possible to improve online? Can you really help me even though I’m not in the same room with you?


Absolutely! I’ve been helping musicians online for years, including in my most recent program the First Call Bassist (and the many courses I've created through Discover Double Bass).


In fact, I even offer seminars for other music teachers on how they can adapt their teaching styles for the online format. I really believe online teaching offers some of the best possibilities for learning.


And actually, I’ve found that my teaching is even better, because I can’t rely on what I see right in front of me … a habit that most teachers get trapped by. Instead, I have to use my ear!


4. Do I need to be there live?


For our Monday topic-of-the-week session, no! You can stream after the fact according to your own schedule. All classes are recorded and hosted to a Vimeo account that you’ll have access to.


Thursdays are also flexible. If you can’t make the Q&A session, you’ll have an opportunity to submit questions ahead of time. The only thing you’d miss out on is the optional SHED session with your peers. 


There is also a SHED Section II, which caters to time zones in Asia and Australia.


5. What equipment do I need?


Just a computer with a reliable internet connection, a webcam (either built in or external), and headphones/speakers. If you decide to take lessons, we can also talk about the possibility of an external microphone.


An iPad will totally suffice, as will a laptop of any desktop. I’ve even had students tune in via iPhone!


6. I play electric bass — is that okay?


Absolutely! You’ll be in good company :)


7. Do I have to join the Facebook group?


No, definitely not. While it’s a great way to get extra accountability and personal feedback, you’ll still get amazing value from the workshops held live.


8. How will I get the training?


You’ll receive access to a welcome portal with more information, links to everything, etc. We’ll tune in live via Zoom each week for all of our classes.

It’s time to choose


You know, most people will take a look at this page … bookmark it and think about it …


And then carry on, hoping their playing will somehow change.


10 weeks from now, they’ll still be


>> Wondering what to practice

>> Wondering what to do with transcriptions, and

>> Wondering how to stitch everything together  


Instead of playing with joy, authentic self-expression, and a sense of total ease.


Let me ask you this.


If you’ve been doing the same thing for the last five, ten, twenty years — and nothing’s changed … 


How can you expect the next five, ten, twenty years to be any different?


I’m not trying to make you feel bad, I promise!


I just know that change comes to those who really want it.


So it may feel risky … but the real risk is doing nothing and expecting different results.


Trust me, this is your moment! 


And with your 14-day money-back Guarantee, 


you’ve really got nothing to lose.