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**Nfvzjvcl** · 11-10-2005, 02:38 AM

The river is one of the finest metaphors for tradition that I know.
Many provocative and profitable images spring forth.
I like it.

I'm one of those people whom John knows who didn't do formal music training. And I think it is clearly to my detriment. Jeez, I left school officially at 15, having been virtually absent for a whole year before while pathetically trying to gain status by pushing speed in Soho. In the tradition, this eventually qualified me to earn a Sociology BA at age 27. I would have liked to have benefited from the regular jazz education a lot of others got, but neither resources nor infrastructure were available to me. But I did do a shit-load of listening and repertoire development and visualisation practice in my head.

When I finally found folk here in Vancouver who, against their better judgement, I'm sure, were willing to give me performance opportunities, that's when I started learning fast. I guess I took the mentor route. I was lucky, that's all. Significant mentors included Dick Smith, Pat Coleman, Jerry Inman, Al Wold, Blaine Wikjord, Roy Reynolds, PJ Perry, Peter Sprague, Bert Seager, Linton, Bosco D'Oliviera, Tim Whitehad... and later, Michael Garrick, Jamie Aebersold, David Baker, Michel Camilo and Norma Winstone helped steer me right. Sorry if I've left anyone out. The most valuable lessons I learned - apart from ideas about theory and harmony that enabled me to communicate a little better - were all about approach and commitment.

My position is that you can't teach anybody anything - but it is possible to help people learn. Hence, whether it is formally institutionalised or not, it's up to the individual to take advantage of the opportunities available. Schools and colleges do just this. They not only (hopefully) put you in an environment where you can share your enthusiasms with a lot of like-minded people and do a lot of playing (which I sorely missed out on) but it can also put you close to those you have picked out as particular mentors. I think choice of mentors should guide choice of institution.

I ultimately favour the apprenticeship system in any craft or art.

When I had opportunities to make my own contribution through setting up workshops and courses (others more qualified delivered the content), we concentrated most on hearing and doing and developed loads of exercises to further that end. I was informed by what I thought I had missed out on.

I'm still learning. Every chance I get. It never stops.

11-10-2005, 02:38 AM	#8
Nfvzjvcl Join Date Oct 2005 Posts 470 Senior Member	The river is one of the finest metaphors for tradition that I know. Many provocative and profitable images spring forth. I like it. I'm one of those people whom John knows who didn't do formal music training. And I think it is clearly to my detriment. Jeez, I left school officially at 15, having been virtually absent for a whole year before while pathetically trying to gain status by pushing speed in Soho. In the tradition, this eventually qualified me to earn a Sociology BA at age 27. I would have liked to have benefited from the regular jazz education a lot of others got, but neither resources nor infrastructure were available to me. But I did do a shit-load of listening and repertoire development and visualisation practice in my head. When I finally found folk here in Vancouver who, against their better judgement, I'm sure, were willing to give me performance opportunities, that's when I started learning fast. I guess I took the mentor route. I was lucky, that's all. Significant mentors included Dick Smith, Pat Coleman, Jerry Inman, Al Wold, Blaine Wikjord, Roy Reynolds, PJ Perry, Peter Sprague, Bert Seager, Linton, Bosco D'Oliviera, Tim Whitehad... and later, Michael Garrick, Jamie Aebersold, David Baker, Michel Camilo and Norma Winstone helped steer me right. Sorry if I've left anyone out. The most valuable lessons I learned - apart from ideas about theory and harmony that enabled me to communicate a little better - were all about approach and commitment. My position is that you can't teach anybody anything - but it is possible to help people learn. Hence, whether it is formally institutionalised or not, it's up to the individual to take advantage of the opportunities available. Schools and colleges do just this. They not only (hopefully) put you in an environment where you can share your enthusiasms with a lot of like-minded people and do a lot of playing (which I sorely missed out on) but it can also put you close to those you have picked out as particular mentors. I think choice of mentors should guide choice of institution. I ultimately favour the apprenticeship system in any craft or art. When I had opportunities to make my own contribution through setting up workshops and courses (others more qualified delivered the content), we concentrated most on hearing and doing and developed loads of exercises to further that end. I was informed by what I thought I had missed out on. I'm still learning. Every chance I get. It never stops.
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