Footloose & Fancy Free

Earlier this month I made several presentations at the Connecticut Music Educator's Association Conference in Hartford.  One of these presentations was entitled "Footloose & Fancy Free" and dealt with using structured games and graphically notated scores as an entry point for teaching beginner improvisers.  I have posted a recording of the above piece, more of my aleatoric / graphic scores, as well as the PowerPoint slides from my other presentations ("Makin' the Changes" and "Overcoming the Rhythm Section Blues") on my web site.

Museum Music

I am a musician and not a reviewer, but all week long I have been mulling over my response to the “One For All” concert I attended last Friday night at the Wadsworth Atheneum in Hartford.

The guys in “One For All” certainly play well.  Their solos were very impressive.  It just seems strange to me that they have collectively decided to rigidly imitate Art Blakey’s Jazz Messengers (specifically from the 1961 – 64 era).  One of their song titles, “Our Father, Who Art Blakey” states this point clearer than I could articulate in several paragraphs.  As much as I love that music, it happened almost 50 years ago.  Isn’t it time to move on? 

In an educational setting I think it is imperative that students study the music from past generations.  I wholeheartedly subscribe to Clark Terry’s catchphrase “Imitate, Assimilate, Innovate”.   In fact, I insist that all my undergraduate students thoroughly study the music played by Blakey’s bands (among many others) --- but it doesn’t end there.  The members of “One for All” are all over the age of 40.  At this point shouldn’t they be past the “imitate” and “assimilate” phases and be onto innovation?

Historically, hasn’t jazz always been synonymous with innovation, experimentation and “pushing the envelope”?  Has jazz really become “museum music” like its classical counterpart?  Have we reached a point where jazz must adhere to strict performance practice guidelines so that there is no stylistic deviation from the designated era a band is copying?

Philosophically, I see no difference between “One For All” playing in the style of the Jazz Messengers and the Jazz at Lincoln Center Orchestra playing Ellington and Fletcher Henderson charts.  It’s bass ackwards.  Sure, “One For All” plays original compositions, but it is apparent that the composers are pretending Art is still with us and it is still 1962.  It would perhaps be less confusing to me if they would fully embrace their identity as an Art Blakey “ghost band” and simply play the music of Freddie Hubbard, Wayne Shorter and Curtis Fuller.

Jazz is art music.  Artistic imitations don’t interest me.   If I want to see cubist paintings, I’ll seek out work by Picasso or Georges Braque, not some present-day mimic.  As well as they play; I’d almost rather stay home and listen to my “Buhaina’s Delight”, “Caravan” and “Free For All” albums.  I think we need originals in an era where jazz is struggling to find and maintain an audience.

Does anyone else agree or am I over-reacting?  Do ghost bands and rigid performance practice guidelines have a place in today’s jazz scene?

Hartford Courant Review: 04/09/10 UConn Jazz 10tet Performance

By Chuck Obuchowski, Special To The Courant

(Page 2 of 2)

The UConn Jazz 10tet, directed by Earl MacDonald, began the evening with an exciting, all-too-brief "sneak preview" of material that will be officially premiered August 2 in Hartford's Bushnell Park.

That occasion will mark the debut of the HJS New Directions Ensemble, with MacDonald as pianist and composer in residence. Friday's performance succeeded on its own terms, however, displaying the ample talents of ten University of Connecticut student improvisers.

[Photo courtesy of Maurice Robertson. Click to enlarge.]

Most of the material was written or arranged by MacDonald, but the students executed the scores brilliantly, offering a sophisticated update of "Birth of the Cool" instrumentation and concepts. Also included was a fascinating arrangement of Thelonious Monk's "Nutty" by Jon Shelly, the group's trombonist.

The UConn Jazz 10tet, under Earl MacDonald's direction, will perform Tuesday, April 13, 8 p.m. at the University of Connecticut's Von Der Mehden Recital Hall, 875 Coventry Rd., Storrs. Details at www.sfa.uconn.edu/vdm and 860-486-4226.

re:Visions, Works for Jazz Orchestra

Liner notes, production credits and reviews for my newly released CD, “re:Visions” are now posted on my web site: www.earlmacdonald.com

The disc is available for purchase at CDBaby.com and iTunes.

Some Things Never Change

I was in Toronto last week, playing at The Rex Jazz & Blues Bar with my old friends Kelly Jefferson, Brian O'Kane, Jules Estrin, Mike Downes and Joel Haynes.  The six of us all attended McGill University's jazz program together in the early '90s.  Some of them I hadn't seen in almost 20 years.  Needless to say we had a blast, catching up and making music together again!  Below are 2 photos; one from the evening of 3/26/10, and the other was taken circa 1990.  We've come a long way since then, but fortunately, some things never change!

The Earl MacDonald (Canadian) 6 - 3/26/10, Toronto

live at "The Alley", McGill University, Montreal (circa 1990)

Personal Reflections on Teaching

In my preparations for the upcoming semester I did some reflecting and updated my personal teaching statement.  Here it is:

As a life-long learner, my basic philosophy of teaching has evolved over the years‚ and will continue to do so.  I have come to believe that teaching is more than the mere transfer of information from teacher to student.  As a teacher, I aim to instill the mindset of ongoing learning in my students to assist them in reaching their full potential.

Conceptually, my style of teaching is based upon authority, but not authoritarianism.  I take great pride in properly training the next generation in the specific skills of my craft. I treat my students as up-and-coming professionals, making my expectations known, and upholding high standards.  I aim to equip my protégés with knowledge of the fundamental principles and concepts that guide our work, while modifying my teaching strategies to meet the needs of each student. Students are encouraged to identify specific, manageable goals, and then determine the necessary incremental steps required to accomplish each goal.     

As an active and current practitioner, I am able to bring real-world, holistic scenarios and experiences to the classroom.  For example:

1.     Drawing student ensembles into the creative process by having them sight-read and rehearse first drafts of my new composition and arrangements before they are presented to professional ensembles.

2.     Enticing famous jazz artists to come to campus, rehearse their music, and perform with my students (Rob McConnell, Jim McNeely, Rufus Reid, among others).

3.     Assigning jazz arranging projects using the instrumentations of the professional ensembles I lead, with the understanding that if their work is completed at a professional level, it will be performed by the ensemble.

4.     Organizing an annual concert series, featuring selected students with faculty members, as well as facilitating performances by student-led ensembles.

My frequent engagement in cross-disciplinary collaboration illustrates my conviction that pooling creative and fiscal resources is worthwhile and beneficial.  In addition to my own collaborations with colleagues in art, drama, dance and music, I have instigated numerous projects directly involving students.  Jazz arranging students wrote the music for a children’s choir CD, ensembles prepared performance pieces with dance students, and orchestral string players were united with the jazz ensemble to form a studio orchestra for which new music was commissioned.  In the near future, I aim to broaden the scope of my collaborations, by integrating music with the liberal arts.

I have found that my ongoing professional development as a musician (lessons, courses, etc.) has a direct correlation to my effectiveness as a teacher.  In addition to expanding my cache of skills and resources, I am reminded of the challenges and obstacles in learning, thereby making me a more insightful, patient and thoughtful teacher.  My resolve to coherently explain and break down how and what I do is intensified.

Allowing my students to learn from the real-world scenarios I create is fundamental to my teaching philosophy.  My goal is to equip my students to meet their full potential.  It is fulfilling to see my current students meeting their musical goals. It brings me joy to see my former students working successfully in a variety of musical capacities. 

Charlie Banacos - farewell to an extraordinary teacher

Charlie Banacos’ passing this week is an immense loss to the jazz community.   He was a valued teacher of many fine players.  Here is a link to his obituary which appeared in the Boston Globe.

Two years ago, I took correspondence lessons with Charlie, for a full year, via cassette tape. Our relationship was unique in that I never met Charlie face to face.  Perhaps because of this, we could be very honest and frank with one another in our taped dialogues.  His candidness was valued and refreshing in both his assessments of my improvisations and in his responses to my stated opinions, questions and challenges.  His initial summary of my playing changed my thinking forever.  He said “You already sound great, BUT when I hear you play it sounds like something that happened 40 years ago.”  Wow! …talk about a wake up call!  He nailed it.  As someone who had spent the past two decades checking out the recorded traditions of bebop and hard bop piano playing, I needed someone to tell me the truth: that it was time to move on, and open my mind and improvisational approach to new possibilities.

Another memorable moment was our exchange regarding Eric Dophy.  I expressed some hesitation when Charlie suggested that I thoroughly examine Eric Dolphy’s linear approach.  His response was again frank: “I realize that you have trouble right now hearing the stuff that Eric Dolphy is doing.  That’s obvious based on the lines that you already play.”  His persistence led me down a very interesting path of discovery.

I grew tremendously through these lessons and had intended to resume study with him this summer.  Unfortunately, that won’t happen.  I hope that at some point his lessons are compiled and published.  He was one of the few teachers under who I have studied that had exhaustive, tested methods.

I am grateful to have had the opportunity to learn from him.