Category Archives: jazz education

NDUGU CHANCLER

Anne Farnsworth session

I came home from a Saturday night gig to hear that my beloved friend, Ndugu Chancler, had passed away from the illness he had been battling for several years. An immeasurable loss, not only for the industry, but for all the friends, loved ones, students and everyone he touched with his kindness, joy and positive outlook.

When people asked me about Ndugu’s work, my answer by way of description was, ‘He’s played with everyone from Miles to Michael Jackson.’ And pretty much everyone in between, to be honest. That’s Ndugu playing that iconic intro on Jackson’s “Billie Jean” on the Thriller album, the biggest selling pop album in history. For a deeper, yet still incomplete, outline of some of the people he recorded and toured with, see his obituary in the New York Times. Speaking of which, how many drummers get obituaries in the New York Times?

I went to NAMM with him once and it was like being with the President, we couldn’t walk more than five feet without being stopped by someone – colleagues, fans and swarms of pic-snapping Japanese who surrounded him at every turn. At a pre-JEN Jazz Educator’s Convention held during a frigid January in Manhattan, we’d be strolling to dinner with Ndugu wearing a full length white mink coat. Yes, he was fly.

I was his little buddy and he was my big, cool friend. We met when he came to the University of Southern California to advocate for the admission of one of his private students. I was finishing my masters degree and running the Jazz Studies office. We had a nice chat and I asked him if he would ever consider teaching in our department. He said yes and after he left I ran to my Chair’s office to give him the news.

Our chair at that time, Thom Mason, followed up with an official offer. There was a lot of excitement about this big of a get for the department and several of the male faculty were slapping each other on the back in celebration while I watched from my desk. To this day, I think they think they were the ones who thought of asking Ndugu to join us.

Ndugu never stopped giving his gifts to his students. Even toward the end, he traveled the world to meet with them in workshops, clinics and one-on-one. He was a towering industry figure who still got together for weekly lunches with friends from his youth. As well as I knew him, I never learned about his accomplishments from him, only from other people. He was a beautiful soul who will be sorely missed and never forgotten.

(228)

Notes From The Sixth Grade

Confidence

6 Replies

Artists often struggle with confidence. We create from the deepest region of our souls, laying bare thoughts and emotions that most people are never forced to expose. Not only do we expose our inner selves, but we then present that exposure as a commodity on the open market where others are free to pan, pick apart or simply ignore. Is it any wonder that our confidence, our belief in ourselves waxes and wanes? Where do we get confidence in the first place? Is it formed or destroyed in childhood by our parents? Our peers? And how does the psychic pain that drives many artists to create in the first place affect our confidence? Does it strengthen it or tear it down?

Over the course of my teaching career, I’ve seen students whose confidence levels bear little relationship to their artistry and achievement. Most of them err on the side of too little, needing support and coaxing to bring out their innate talent. Stop whispering, I urge. You’re hiding your voice; let it out. Don’t be afraid.

Then there are the others. People who have an inflated, yet rock-solid sense of themselves and their gifts, despite all evidence to the contrary. Where did they get that unwavering self-assurance? Is it born or made?

I envy these people.

Years ago, one such person walked into my teaching studio. In her late 20’s and completely untrained, she was convinced that a career on the stage was her birthright. Instead of asking for my feedback, she told me what her future held. Frumpy and unattractive, with a high-pitched nasally speaking voice and a strong Brooklyn accent, I found her confidence breathtaking. Perhaps she did indeed have a unique talent, a once in a lifetime gift. A diamond in the rough who just needed some training and direction to realize her dreams.

And then she sang. And it was bad. It was stupendously, awe-inspiringly bad. So bad that, for a moment, I wondered if it was performance art or I was being punked. She sang with no inflection, no resonance, no vibrato and rarely in tune. But she was loud and proud. Confident. And boy, did I envy her.

I record my lessons to give my vocal students something to practice with and the chance to hear themselves as others do. I never keep the recordings but this one I did. Not to mock her at parties but as a reminder – confidence is mutable and self-directed. No one can give us confidence but ourselves.

So, here she is, in all her self-assured, imperturbable glory. And if you think she sounds a little bit like Miss Piggy (another example of self-possessed aplomb), well, she kind of looked like her too.

(55)

Jazz History As Students Remember It…

17 Replies

Some memorable test answers from college Jazz History exams and Concert Reports I’ve received:

Jazz was affected by the economy in WWII – people didn’t go out very often because there was a shortage of rubbers. (Actually, the demise of the Big Band era was hastened by a wartime shortage of rubber … for tires … for the buses.)

Q. What’s the difference between a big band and a combo?
A. A big band performs with a male singer and a combo uses a female singer.

The instrument in Free Jazz most likely to be omitted is the drums, because with everybody doing their own thing there’s no use trying to keep the beat.

A stride pianist is a person who sits astride on the piano bench. Also, when the music is strident, it’s probably a stride pianist.

The difference between a rural Blues singer and a Classic Blues singer is the Rural Blues singer is shorter. (ED: The songs are shorter – not the singers.)
Not only did Bessie Smith record for Columbia, she also made videos for them. (Ah, MTV circa 1932.)
Louise Armstrong was the first great Jazz musician. No, it was Lois Armstrong. (Armstrong’s wife had no idea!)

A ‘hot Jazz’ band is on fire. A ‘Mickey Mouse’ band plays at Disney World.

From Concert Reports:

“The pianist used crescendos and archipelagos in his solo.”

“The trumpeter put a muzzle on his horn to keep it quiet while the bassist played with his hands around its neck.”

More brilliant concert reportage:

“The bass player didn’t do any walking because there wasn’t enough room on the stage.”

“The two soloists competed like an old fashioned carving contest.” (He means ‘cutting contest’)

And finally, my favorite:

“The piano and the bass started the tune silently.”

(83)

Farnsworth Ave

Skipping Down Easy Street

Category Archives: jazz education

NDUGU CHANCLER

Notes From The Sixth Grade

Confidence

Jazz History As Students Remember It…