During this stressful time of year when the students might not all be quite as motivated as they ought to be (Heck, you yourself may not be quite as motivated as you want to be!), I send you the reminder that you are making a difference! The way you care for - and speak to - your students daily is impacting their life. With that in mind, I have a quick story that I think may resonate with you. At the end, I've included an excellent resource for those of you who lead jazz programs. Regardless of what you teach, however, this story is for all of you!

At the Missouri Music Educators Association Annual Conference & Clinics a few weeks ago, I ran into a man who had quite an impact on me as a student. Dr. Michael (Mike) Parkinson certainly left his mark on my journey. Each year, Mike worked with our high school jazz band as we prepared for competitions. He also hosted the jazz camp I attended each summer at University of Missouri - Kansas City. So, while he wasn't my band director nor my private teacher, he was someone I saw regularly who later became a trusted resource for me as a young teacher.

During Jazz History classes at those UMKC camps, he taught us about Billie Holiday's tragic life and how she created amazing works of art in spite of her pain. We learned to listen for Charles Mingus' multi-cultural roots in his music, which was rich with unique textures and grooves that challenged our ears and our minds. There were all sorts of details shared about musicians, but one thing he said still resonates with me to this day. While talking about genres of music, he looked out at our class one day and simply said, "Ya know, there are only two types of music - Good and Bad." We all sat quietly, looked at one another, then chuckled. "It's as simple as that," he said. "There are examples of good and bad in every genre." That statement blew my 14-year old mind, and I have yet to find any evidence to contradict it.

Twenty five years later, I have repeated that lesson to countless students, family members, friends, fellow educators - anyone who I ever hear claim "I don't like (insert genre) music!" It catches them off guard, makes them laugh, and makes them think. Try it the next time you hear a student say "rap sucks" or "country is lame" or "classical music is boring". You may open their mind in a way that it will never be closed again!

So, think about it. An educator I respected, but only saw a few days each year, taught me a lesson that changed my entire frame of reference. How much more, then, are you impacting the students you see on a daily basis? What an awesome opportunity that is!

You can find a bio for Dr. Parkinson here. He is moving back to the KC area soon! Reach out to Mike and bring him out for a clinic. You will love him!

For years, Dr. Parkinson has produced a meticulously curated list of pieces for all levels of jazz bands to perform. He has graciously allowed Palen Music to publish a PDF at the link below. This document is not for sale. It is only available to be distributed AT NO CHARGE, so please feel free to share it with colleagues with that information. Enjoy it!

Among the most formative musical experiences of my undergraduate university years were the summer workshops that my cello teacher encouraged me to attend. These opportunities required travel, so I was able to visit other music programs and to work along with different groups of aspiring, and often inspiring, peers. Studying under new leadership, even for only a matter of weeks or days, brought fresh perspectives and insights, and broadened my understanding of music-making.

One such summer workshop was a chamber music program led by an eminent violinist with a long list of European credentials. Coaching sessions lasted 45 minutes during which time we got no further than three printed lines of music. The teaching was rigorous, repetitive, microscopic and, yes, micro-managed. Every note from every player in the string quartet was examined and addressed: intonation, tone quality, vibrato, fingerings, shifting, bow speed, and bow placement. The extent of technical matters being raised was at that time astonishing to me and a bit overwhelming. I was struck by how much more there was to the process of music preparation than I had ever considered.

This violinist served as a living model of concentration and detailed focus unlike anyone I had ever encountered. The intensity of expectation and scope of those coaching sessions began to enter into my own practice room work back home. The experience was what the novelist Henry James encouraged: "Try to be one of those on whom nothing is lost." That summer strengthened the way I practiced and awakened a greater sense of responsibility that we have as musicians.

A few summers later, under the leadership of an internationally recognized pianist, the experience was much different but no less impactful. Coaching sessions were mainly focused on musical expression. There was not a word about the technical "how to play" but, rather, about the character and emotion one seeks to hear. Intuition and one's ear guided our music-making. This we found inspirational and liberating.

This pianist was a model of teaching of another kind in that we focused in those few days on why we play, why we have chosen music as a professional goal and why there can be such joy in music-making. It was as much an examination of our inner lives as the music we played.

Taken together, these two experiences reveal two different pedagogical points of views. One view is to focus on foundational technical skills as a means of communicating musical results. The other is to let the music inspire, if not shape, the technique. I don't see this necessarily as an irreconcilable dichotomy between rigor and indulgence. Both views require skills that can be learned, exercised and, indeed, blended to shape one's individuality in musical performance.

As we move toward summer. I encourage teachers to talk to students about summer learning opportunities. The experiences may be short term, but the outcomes can last a lifetime.