jazzView Newsletter

Become a part of the Visual Jazz Community - it's easy and it's FREE!

Subscribe to jazzView, the monthly online Visual Jazz newsletter. Get insightful tips on improvisation, reading, jazz education and more, delivered to your home each month - absolutely free.

See a sample of the newsletter below!

Advertising

Put your business in plain view, with jazzView. The jazzView newsletter has a limited number of advertising spots available. For details, send an e-mail to: ads@visual-jazz.com. To advertise, you must be a subscriber to jazzView.

Policies

Visual Jazz does not share, sell, or otherwise distribute subscriber e-mail addresses. The editor reserves all rights to keep ads, postings, in good taste and non-offensive.

Here's a sample jazzView newsletter, from May 2006 ...

• Interview with Bob Curnow, Past President IAJE
• Jazz Articles
• The Art of Improvisation - BRIDJJ Transcribed Solo
• Happenings
• Spotlights: Joey Stuckey; Radio Carleton
• Newsletter/Contact Info

Editor's Note: I taught jazz studies with Bob at California State University Los Angeles for several years and, needless to say, it was a landmark experience for me ...

The first article in this two-part interview focuses on jazz education and the IAJE; the second article (appearing in a later issue of jazzView) will focus on Bob's well-known publishing company, Sierra Music.

jazzView: Where have you taught jazz studies in your career? What aspects did you most enjoy?

Bob: I've taught at Michigan State University (1964-67) where I was a graduate assistant working on my advanced degrees. I taught arranging and improvisation, and I conducted the top Jazz Ensemble. Mark Gridley, Gary Barone and Greg Hopkins were just a few of the people who played in that band. This was a wonderful time in my life; I enjoyed a respite (?) from a year on the road with the Stan Kenton Orchestra. I also got into some serious study of early music, especially 15th and 16th century polyphonic vocal music. This is still my favorite music to listen to.

After completing two Masters degrees and all of my doctoral coursework, I moved our new family (first-born son Rob) and Darlene to Cleveland to take the job of Instrumental Music Director at Case Western Reserve University (1967-73). I taught there for 6 years, conducting all of the instrumental groups (marching band, concert band, jazz band(s), brass choir, etc.) and some courses such as percussion class, history of jazz, improvisation, and so on.

In that sixth year, I was asked by Stan Kenton to move to California to take on the duties of managing his fledgling record company, Creative World Records. After fours years with that assignment, I returned to teaching at Cal State Los Angeles (1976-87) where I conducted the Wind Ensemble, Symphonic Band, two or three jazz ensembles (depending on the year), brass choir, jazz history, and various other things. It was a busy time. We had a lot of success, particularly in the jazz area, and I'm proud to say that a number of graduates of that program went on to very successful careers.

Editor's Note: In 1979, Bob directed the Cal State Los Angeles Jazz Ensemble to top honors at the Pacific Collegiate Jazz Festival, with his jazz trumpet player, Bob Taylor, winning outstanding soloist honors.

Another "teaching" job was that of conducting the McDonald's All-American Jazz Band (1981-89). I auditioned everyone for that band, recorded with it, played many times on television (most notably the Jerry Lewis Telethon - 24 appearances) and toured extensively in the summer. Some of the "graduates" of those bands are Geoff Keezer, John Medeski, Jim White, John Hollenbeck, Drew Gress, Christopher Holladay, Pat Zimmerli, Wycliffe Gordon, Delfaeyo Marsalis, Harry Allen, Greg Gisbert, Tony Kadlick, Kenny Rampton, Dave Gibson, Javon Jackson, Don Braden, Herb Harrison and many other now-prominent jazz heavy-weights.

We moved to the Northwest in 1987 (Liberty Lake, WA) where I taught part-time (for a year or so) at Spokane Falls Community College. I taught jazz arranging.

jazzView:You served as President of IAJE from 1999 to 2000 - what were some of your memorable experiences there?
Bob: My most "memorable" experiences usually revolved around the opportunities that office gave me to meet and get to know the many jazz masters that we presented at the yearly conferences or invited to our board meetings for one reason or another.

Editor's Note: Bob Curnow was inducted into the IAJE Hall of Fame in 1999. Other Hall of Fame members include Dave Brubeck, Dizzy Gillespie, Sammy Nestico, Lee Berk, etc.

jazzView: What challenges did you face as IAJE president? Are those challenges the same today?

Bob: The challenge was then - and is now - raising money to support the on-going work of the association. The NAJE (National Association of Jazz Educators) also went to international status during my term in office, becoming the IAJE (International Association of Jazz Educators). I also like to think that it was during those two years that we brought the association into a more modern era. We purchased, for the first time, computers and other equipment necessary to our growing staff to help support our membership worldwide.

jazzView: What's the "state of the union" of jazz education today?

Bob: I have not been a salaried teacher for almost 20 years now, so my perspective comes from being a music publisher. Perhaps this gives me a more objective point of view. My contact with our many education customers indicates to me that jazz education is in a good place right now. The association is playing a huge role in keeping things going, here and abroad.

The only "rap" I and others might have, has to do with the qualifications of some of those teaching jazz, and the resultant lack of real innovation within the ranks of academia. Frankly, my concern is that this often leads to those seeking a professional career spending most of their time trying to "re-create" rather than create. This certainly is not true across the board, but there is too much of it, I believe.

jazzView: What areas do jazz educators typically need to improve in?

Bob: I can't presume to know that - everyone has their own strengths and weaknesses. I do wish more folks took more time to listen to music from the past and today's music. I know that educators, in general, have very little "extra" time.

In academia, the best example of "create" rather than "re-create" would be the jazz educator who encourages, above all things, original work from the student - in his/her improvisations or in the form of written arrangements/compositions. It is also essential that these things be an integral part of the performances.

jazzView: What are the most important lessons you've learned in your many years in jazz education?

Bob: How much talent, or latent talent, there is to be nurtured. I do miss that part of teaching a lot.

top

Article 10: MR ED, CPA

Who ever heard of a talking horse as a Certified Public Accountant? At least the acronym of MR ED CPA is easy to remember. And as luck (or fate) would have it, this acronym goes far beyond horses and calculators - it's actually the key for studying jazz improvisation in a logical and sequential way.
    (READ MORE >>>)

Article 11: Feeling Displaced

When we perform music, we want to be secure that we're on the right beat, that the time is steady, and that we know where we are in the chord progression. And that's all good.

But what if we wanted step into a different neighborhood sometime, just for fun? We can do that in our solos, by creatively using rhythmic displacement.
    (READ MORE >>>)

Article 12: Teaching Students to Swing, Part 1

It seems like some people were "born swinging" ... and I wasn't one of them.



    (READ MORE >>>)

The Monty Alexander trio performed at the Sheraton in Salt Lake City on May 8, sponsored by the GAM Foundation. The music was outstanding, and the packed house gave the group several standing ovations. At one point in the concert Monty remarked, "Gee - guess I should move to Salt Lake!"

Impressive as the music was, the precision and execution of ideas in the group was breathtaking, given that the group had only rehearsed together for a short time. Especially moving was Monty's tribute to Bob Marley, followed by the band's rousing signature tune "Battle Hymn of the Republic."

John Clayton and Jeff Hamilton were in the zone, supporting and leading as the occasion required. And Monty's humor and brilliant musicianship shone through each tune.


    Monty Alexander                    John Clayton

    Jeff Hamilton                      The Trio

For more info on Monty Alexander, see:
http://montyalexander.com/

For more info on the GAM Foundation, see:
http://jazzslc.com/gamfoundation.cfm



The MENC National Conference April 20-22 was a great success. Featured performers at the convention were The Dirty Dozen Brass Band and The Mormon Tabernacle Choir (... now there's some variety for you!)

There was lots of activity at the Visual Jazz booth, with educators and performers around the country getting a glimpse of the Visual Jazz products in action.

For photos and more on the MENC convention, visit:
http://www.menc.org/connect/meetings.html

top

Spotlight on Joey Stuckey (www.joeystuckey.com)

Visual Jazz Publications does not sell or redistribute e-mail or personal information. Your subscription to jazzView is free and confidential.

©2006 Visual Jazz Publications – All Rights Reserved.