This one time, at band camp...

First things first:  I had every intention of blogging from Jamey-land but as far as "madness" goes IJAE had nothing on Jamey's camp!  

I first went to this workshop about 20 years ago - give or take - when I was a high school student and the experience I had this time was very different.  I got to work with David Baker very closely for the week and the man is a bona-fide National Treasure.  His depth of knowledge, sense of history, and commitment to pedagogy is like no one I have ever worked with before.  The man is a walking history, harmony, composition and improvisation textbook. It is safe to say that I had a very meaningful experience and got a huge dose of inspiration.

Some other high points for me were:

Tim Armacost...Very deep player with a refreshingly organic approach to practicing and vocabulary development.

Ralph Bowen...Some very tangible processes for development of technique and amazing harmonic language

Marty Nau...Marty wasn't a faculty member (he should be!!).  He and I were in the same combo. If there is someone in the US with a deeper knowledge and command of  Phil Woods' conception I have never heard him/her.

I was really inspired by the range of ages and abilities here.  There was no vibe at all, everyone was very open and giving with their time and knowledge.  If you have ever considered this workshop...go!  It is worth EVERY penny.

Rob Wilkerson and Sage Advice

Rob gave a very nice clinic where I teach today.

I have heard his name around for the past year or so but I had never heard him play, other than on MySpace.  Happy to say I was not disappointed; great sound, deep harmonic sense and a time feel to die for.  He gave our students a great class and when he fielded questions, I got some insight into one of my own weaknesses.  I asked him if he could share any strategies for becoming fluid in odd meters.  This is something I really have a problem with and I know with the circles he runs in he has had some experience with this.  His explanation hit home with me.  He said basically he had a breakthrough in his comfort level with odd meters when he got his playing in three together.  My jaw dropped a bit because upon reflection, my three is not together.  Whenever I do a tune in three my playing feels very stilted and tight.  I really should focus on three and see if it helps me deal with meters.  I have to say that I am encouraged that he could isolate something as "simple" as "get your three together" and that it resonated so deeply with me.

There is never a "magic key".

I just finished writing a waltz to use as a tool to work on this...