JazzEd interview with Jamey

The main body of the LCC and its practical application, including all 4 published versions of Book 1 with their inserts: the 1959 tan cover; the 1959 light green cover Japanese edition; the 1970‘s white cover, which adds an illustrated River Trip to the 1959 edition, and the currently available Fourth Edition, 2001.

The authorization code is the first word on Page 198 of the Fourth Edition of the LCCTO.

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An open letter from Alice Russell. June 21, 2011, Brookline, Massachusetts. 1. DO NOT make insulting, mean spirited remarks about anyone or their work; there are a plethora of sites where you can rant unfettered. If you attack someone personally, your comments will be removed. You can post it, but I'm not paying for it. Go elsewhere, and let those artists who are actually interested in discussion and learning have the floor. 2. There will be NO posting of or links to copyrighted material without permission of the copyright owner. That's the law. And if you respect the work of people who make meaningful contributions, you should have no problem following this policy. 3. I appreciate many of the postings from so many of you. Please don't feel you have to spend your time "defending" the LCC to those who come here with the express purpose of disproving it. George worked for decades to disprove it himself; if you know his music, there's no question that it has gravity. And a final word: George was famous for his refusal to lower his standards in all areas of his life, no matter the cost. He twice refused concerts of his music at Lincoln Center Jazz because of their early position on what was authentically jazz. So save any speculation about the level of him as an artist and a man. The quotes on our websites were not written by George; they were written by critics/writers/scholars/fans over many years. Sincerely, Alice

JazzEd interview with Jamey

Postby guitarjazz » Fri Oct 05, 2012 3:05 pm

I don't think it's a mystery that George Russell's work is the fountain from which much of current jazz pedagogy springs from. Personally I feel that every time the story gets retold it loses some of the magic of the original voice. I also don't think the jazz education has to come from George's work, by any means, but if one is to explore 'vertical' and 'horizontal' playing I can't say I've seen it explained better.
Anyway, in this Jamey Aebersold interview he pretty much lays out the path from George to David Baker to Jamey:
http://www.jazzedmagazine.com/2837/arti ... ld-to-jam/
Last edited by guitarjazz on Sun Oct 14, 2012 6:20 pm, edited 2 times in total.
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Re: JazzEd interview with Jamey

Postby bobappleton » Sat Oct 06, 2012 6:37 am

teaching is making music with knowledge.

here's a great post on the subject by dogbite: http://forums.allaboutjazz.com/showthre ... post605224

b

;))
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Re: JazzEd interview with Jamey

Postby bobappleton » Sun Oct 21, 2012 9:13 am

guitarjazz wrote:in this Jamey Aebersold interview he pretty much lays out the path from George to David Baker to Jamey:
http://www.jazzedmagazine.com/2837/arti ... ld-to-jam/


Nice post Sandy. It's great how Jamey Aebersold began as a musician and became a teacher, and then a publisher of jazz theory and practice (early editions of the LCC were always available through him).
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