Cameron Undy

Born in 1969, Undy graduated from the Sydney Conservatorium jazz course as a double and electric bassist in 1989. His history of playing over the last 15 years reads like a who's who of Australian jazz.

Artists of note that he has performed and/or recorded with include: James Morrison, Don Burrows, Mike Nock, Bernie McGann, Roger Frampton, Dale Barlow, Paul Grabowsky, Chris Abrahams, Dave Addes, Ian Chaplin and Scott Tinkler. In addition he has appeared on stage and/or on record with popular artists, Inga Liljestrom, Ian Moss, Bertie Blackman, Delta Goodrem, Deni Hines, and Ed Kuepper.

Undy's main tutelage came from legendary pianist Mike Nock at the Conservatorium and on stage in his quartet (1998-2000). He recorded two albums with Nock,'Dark and Curious' (ABC) and 'Oz Boppin' (Naxos) and a duets album of his own music, 'Temple' (Dancing Laughing). The quartet also appeared at every major jazz festival in Australia and made a documentary for SBS about the music of Mike Nock (1992).

Cameron has also gained invaluable experience performing with international touring artists Sam Rivers, Don Pullen, Vincent Herring, Eddie Marshall, Terumasa Hino, Pheeroan Aklaff, Michel Borstlop, Bobby Shew and Nikki isles.

Groove, funk and dance music has played a big part in Undy's career too. He was an integral part of the early success of acid jazz group D.I.G. and in the last 5 years has toured the world several times and recorded with European 'Nu Jazz' producers Mark de Clive-Lowe, Nathan Haines, Kaidi Tatham, Seiji, 4hero, Mainframe, Kabuki, Megashira, Alex Attias and Bugz in the Attik.

In 2005 he released two albums of his own music, 'Mad Stream' with 20th Century Dog and 'Telepathy' with Numerology. He also recently launched his career as dance music producer Kidzen with his first vinyl 12 inch single 'Superpeople' (Future Classic) and full length self-titled album 'Kidzen' (Future Classic) which was rated one of the best of 2006 in 3D World magazine. Cameron is also a Jazzgroove artist – www.jazzgroove.com

The balance, feel, touch and sound of the SLB200 leads me straight down the path to music. I can lay down a groove or cut a solo without hesitation.

The clarity and precision of the design comes into it's own when playing big venues at high volumes but is equal to the subtleties of a small club.

I get a lot of positive feedback from the band and the audience who don't seem to miss my 140 year old German upright.

It's reliable, stable and easy to transport and maintain, making it the ultimate touring upright bass. I highly recommend the SLB200 to anyone looking for an easy travel alternative.