schools.shtml | Updated: 07-May-2009 - 13:12
The rec.music.makers.guitar.jazz FAQ newsgroup's FAQ answers lots of questions on selecting a guitar suitable for playing jazz.
National Association of Schools of Music, 11250 Roger Bacon Drive, Suite 21, Reston, VA, 20190
Tel: (703) 437-0700
Fax: (703) 437-6312
www.arts-accredit.org/nasm/nasm.htm
Yahoo: http://www.yahoo.com/Entertainment/Music/Education/Schools/
JAZZWORKSHOP PRODUCTIONS
As recently as 10 years ago, the legendary teachings of bebop's greatest thinker, Barry Harris, still remained an oral tradition. At that time a partnership was formed with Barry's active participation, to ensure that his invaluable 'mapping' of the music would survive and be available to future generations of jazz students. Tommy Flanagan called our first work, The Barry Harris Workshop Video , "the bebop bible". More information on this video set and other new, soon to be released items can be found on their web site.
Jim Kroger has posted his page of links to online jazz guitar lessons.
Here are sites that I have visited and found to be very useful.
(From the freddiegreen.org site) Devoted to jazz rhythm guitar and the man who epitomized the big band guitar style.
This site is dedicated to the master of the rhythm guitar - Freddie Green, and was created for the purpose of collecting and sharing information that will aid the big band jazz guitarist in keeping this style alive and well. This is strictly a not-for-profit endeavor carried out by volunteers.
Remember that the guitar is just your instrument of expression. We can and should learn from other instruments.
[from the Charlie's Banacos Site] - originator of the now classic exercises on such tunes as Autumn Leaves ,Giant Steps ,Anthropology (I Got Rhythm changes), Moment's Notice ,Countdown , major and minor blues, etc. using chord tones, tensions, passing tones, approaches, tonal paralypsis, bitonal pendulums (double mambos), hemiola substratum elisions, modal sequences, 23rd chords, intervallics, pivots, facets, agogics, number permutation systems, voicings in clusters, fourths, fifths, reverse tensions, interconnecting scales, entatonics, tetratonics, hexatonics, chord-on-chord, upper structure triads, pandiatonics, uperimpositions, harps, overlaps, etc. and 9-Basic Rhythm Systems and Sprays for sight-reading, etc.) is, in addition to his private in-person teaching in the Boston area, teaching by mail to people not in close proximity to Charlie's studio. The lessons are personalized using a cassette tape which is sent back and forth.
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The Touring Musician: A Small Business Approach
to Booking Your Band on the Road Great book on organizing a jazz tour.
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With no real certification for the private music instructor it would be more useful to list some guidelines for selecting a private music instructor than attempt to provide a listing of actual teachers.
A good starting point is to ask your local professional and semi professional musicians who they study with. Ask around. If you don't have access to these pros check with your local music store. See who has been teaching there the longest and has the lowest student turnover. If your just beginning they can be a valuable resource.
Some points to remember when selecting a teacher is that the old adage "Those that can, can. And, those that can't teach." is so far off-base it isn't funny. Just because someone is a good player. That will not make one a good teacher. However most great teachers are also great players. Teaching is communicating, guiding, evaluating and adjusting to a students goals and needs NOT simply showing what they know.
If it is possible ask other players who they study with and how long they have been studying with a particular teacher. That is a good indication of a teacher. You don't keep students year in and year out unless they are progressing and getting their money's worth. It is the long-term relationship with a teacher that you are looking for.
Here are some well respected teachers.
This is not a CD that attempts to assault the listener with ego or insistent playing. Rather, it is an album that clearly realizes the beauty of the melodies of each tune played. Tunes like “There Will Never be Another You”, “Black Orpheus”, “My Favorite Things”, “Milestones”, “Autumn Leaves”, “So What”, “Cute” and other standards, are performed with deference to the musical statements that can be found within the harmonic and melodic content of each tune, as are the two original tunes written by Sheller: “Kelle Belle” and “Midnight Café”. In other words, there is some nice playing going on here.
Sheller’s single line playing is smooth and straightforward with an effortless quality that can only be portrayed by someone who has been playing and listening for some time. And his chordal work is skillful with fat sounding voicings that work very well in this trio setting. Just check out the gorgeous chordal arrangement Sheller comes up with on the original tune “Woman Child” (written by producer Chuck Anderson). Very nice indeed.
The remaining members, Daoud Shaw on drums and Steve Beskrone on electric bass, complement Sheller’s playing by providing a strong rhythmic foundation for Sheller to play off of. However, Beskrone gets off some nice solos on a few tunes showing that he can grab the spotlight when need be.
Overall, this is a very nice CD to have in your collection and I look forward to hopefully more Midnight visits to the Jazz Cafe. ( review from JazzGuitarLife.com )
CD: $7.95 - Buy Now