In a recent newsletter published on janekgwizdala.substack.com, Janek Gwizdala details how revisiting recordings by Michael Brecker and John Patitucci reignites his creative focus, alongside technical preparations for upcoming live performances and a forthcoming pedagogical book.
The Bottom Line
- Gwizdala credits listening to records from thirty years ago with providing the inspiration to keep finding out what’s possible in his own playing.
- A gear malfunction during the recording of Night Watch in Argentina forced a shift to direct in-ear monitoring, altering his approach to recording and working with stereo effects.
- A new instructional volume containing thirty-plus unpublished exercises is scheduled to launch as a Black Friday bonus.
Revisiting Transcriptions and Musical Roots
Before recording a recent episode, Gwizdala found himself experimenting with a harmonizer sound that immediately transported him back to the music that first made him want to become a musician. Hearing specific intervals and phrases by Michael Brecker and John Patitucci reminded him of records he was listening to thirty years ago. Gwizdala writes that this connection remains essential, noting that having heroes is not something he has outgrown. Revisiting those recordings provides the energy to keep finding out what’s possible in his own playing.
That investigative spirit extends to his personal archive of written materials. Gwizdala explains that he still writes down pretty much everything he transcribes. When time constraints prevent him from fully integrating an idea immediately, he documents it for future review. Returning to transcriptions made years prior often yields entirely different creative possibilities, as those older ideas are filtered through increased experience, expanded vocabulary, and a deeper grasp of surrounding harmony.
Adapting to Direct Monitoring and Live Gear
Technical constraints in the studio have influenced Gwizdala’s artistic evolution. During the recording sessions for Night Watch in Argentina, a broken amplifier forced him into a monitoring configuration he had spent years avoiding. Tracking directly with in-ear monitors felt uncomfortably exposed at first. However, the direct setup allowed him to hear his sound more accurately, ultimately changing how he approaches recording and working with stereo effects.
Those pedalboard configurations are currently undergoing further refinement. Gwizdala reports that he is actively working through harmonizer, reverb, and texture concepts to prepare his gear for Minnesota. These sound design explorations coincide with travel preparations for Minnesota, where he plans to spend a day making videos with Ian Martin Allison.
| Project / Milestone | Context / Application | Medium / Format |
|---|---|---|
| Night Watch Recording | Forced transition to in-ear monitoring due to amplifier failure | Studio Production |
| Upcoming Minnesota Sessions | Collaborative video creation | Digital Video Production |
| Black Friday Book Release | Compilation of 30+ unpublished exercises and four-string concepts | Instructional Print / Bonus Offer |
Collaborative Video Planning and Pedagogical Releases
Ahead of his trip to Minnesota to spend a day making videos with Ian Martin Allison, Gwizdala has opened the floor for audience participation. He is soliciting questions, demonstration topics, and prompt suggestions from listeners to shape the collaborative discussion between the two. This direct engagement forms a core component of his ongoing solo podcast updates.
In addition to video production, Gwizdala is assembling a new instructional book timed for release around Black Friday. The publication centers on the specific exercises and technical concepts that have helped him make progress over the couple of years. Designed primarily around standard four-string bass tuning, the volume will feature thirty-plus previously unpublished exercises. Gwizdala plans to offer it as a free bonus with a qualifying book purchase for Black Friday, which includes works such as Chordal Harmony, How to Transcribe, and The Bass Player’s Guide to Pentatonics.
