When I was fifteen years old playing in the Catskill Mountain resorts near New York City, I approached my favorite player asking for lessons and the guy laughed at me. Outside of a year study with Lennie Tristano and “hanging out” with Charles Lloyd, I never had any formal jazz lessons although I did study saxophone with the great Joe Allard. And yet as I write in 1995, with several books (translated in four languages) and videos published, giving numerous lessons and clinics all over the world and as founder of the International Association of Schools of Jazz, it still baffles me as to the question of teaching jazz, or for that matter any art form. Is it possible to teach creativity and individuality?

            I think there are some common reasons that we all teach. There is certainly satisfaction in helping truly interested people, which is my privilege to have as students. Also, in trying to explain the art and craft I better understand my relation to it. I’m not sure that makes one a better player, but it instills self confidence. Then there is the very real aspect of making a living. Jazz is now in its “understanding” stage, meaning people want to know what it is, so increasingly jazz education is in demand. For me in the early ‘80s when I began, it was a much preferred alternate to playing the studio scene, etc. This felt more honest and useful.

             Teaching is like playing in that you are performing. That’s why you can say the same thing over and over in essence, but still sound fresh doing it. If an actor does Hamlet, he doesn’t change the lines to be convincing every time—that’s the real challenge and not unlike playing the same tune night after night. It’s all about timing, clarity, warmth, humor and communicating information with personality.

            Finally, teaching in the end is not about the material which can all be obtained more objectively from books. It is about inspiring and guiding the student towards finding him or herself.  The teacher is a real, living example, who cannot be denied. The task is to raise the student’s consciousness and bring his spiritual essence into reality through he music. That’s more important than playing Giant Steps in twelve keys!!