evanston

the wife and i just finished teaching at the MAT Camp out in southwest wyoming this week.  it is a unique experience, one that we embrace annually.  i feel loved here, but i fear that after this week's ego stroking i won't be able to squeeze my big head into the hats i own.

they silent auctioned this stuff at the camp.  seriously.

*  having the opportunity to teach a myriad of subjects in a short turnaround time really makes me focus on efficient teaching and achievable goals.  i missed the first day of camp on monday (due to a circus-like 48 hours which included breaking down in b.f.wyoming, holing up in a crappy hotel with the kids, driving a 14 ft. u-haul across the state on my birthday, fielding a phone call telling me that my grandma died) and had an abbreviated teaching day on friday, leaving me with essentially 3 rehearsals.  my vocal jazz group did two easy tunes  (phil's more i cannot wish you and audio radiance's something special with beatbox and r&b solos).  the jazz band played two easy tunes with a plethora of soloists (toshiko akiyoshi's tuning up and bob washut's arrangement of the sonny rollins jam tell me you love me), a blues & a soul calypso.  the saxophone ensemble did a group version of ryo noda's improvisation I.  the beginner guitar class (i know, what business do i have teaching a guitar class... good question) worked up a simple version of we are the champions by queen, a tune that most in the class had flash mobbed at the local wal-mart on thursday.  

*  the definition of a beginner is certainly in the eye of the beholder.  most classes have a cross section of non-traditional students (you know, folks whose age ranges from 25-55) and public school kids.  they are stuck with the burden of self-assessing their abilities and putting themselves in the appropriate class level.  we inevitably get students that should not be in the class because they either are overqualified for the material or in way over their heads. there are exceptions to the rule too, of course, including a girl in the saxophone ensemble who had never played the instrument before and a flutist in jazz band who was pissed throughout each rehearsal that he didn't play nonstop on both tunes.  most students, however, are open-eyed and ready to be fed whatever i'm cookin'.  and you occasionally meet super cool people, like sarah clark.

*  working alongside tremendous musicians and educators is the secret perk to working here (right behind getting a fat paycheck).  i have the pleasure of meeting inspiring artists with interesting back stories and refreshing new looks at music.  i was kinda the only jazz guy at this thing, so i got to swap stories and share ideas with classical musicians of the highest sort.  freelance musicians, public school journeymen, and higher ed suckers alike.  i am truly blessed to teach with folks from utah, north carolina, california, kentucky, nevada, wyoming, new york, and kansas.  plus, i get to play with mi esposa and our good friend david kirby, clarinetist who teaches at (mekhi) pfeiffer.   

*  i approach this camp with apprehension (the unknown + my famously poor preparation = indigestion and sleepless nights) and leave with gratitude and a sense of accomplishment.  i dig working with lots of familiar faces, teachers and students alike.  the hospitality (especially this year!!!) is bar none. my kids get to attend the camp for free, and have both really come into their own this time.  they are energized about art which, to me as a parent, is worth its weight in gold. plus... we get to roll a two week road trip into our journey way out west.  let's hear it for mixtapes!!!

kale working it out at our host home

simon stage managed FIVE shows