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!"#$%&'()*%+ ,*-*.%$#"(/ George Benson • Pat Metheny • Mike Stern • Kevin Eubanks Dan Adler • Jonathan Kreisberg Chuckuck AndersonAnderson • Bob Devos Tomas Janzon • Michelle Nestor 0-*/#1&(2&& ,3&4*)"*5+ 6%$& "#-*%7+&& 899-*&,:(%!+

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Like U s facebook.com/JazzInsideMed ia Fo llow U s twitter.com/JazzInsideMag Wa tch Us youtube.com/JazzInsideMedia GUITAR LOVERS’ CELEBRATION Dan Adler By Eric Nemeyer

“...playing jazz is one of the most emotionally and intellectually demanding activities a human being can ever perform. e level of preparation and concentration required to play a great jazz solo is no less than required, for example, to give a graduate-level lecture in physics. In both cases, you have to know the material through and through so that it’s automatic, and at every step you have to apply your creativity and rational thinking to present each idea clearly and make it €ow from the previous idea.”

JI: You were lucky to have a teacher, early in your life member that experience as being magical, and I always in Israel, who taught you about the beauty of physics, knew I would someday record an album in this format. math, art, philosophy, connecting the dots as to how Joey DeFrancesco was my number one choice simply they are all related. Could you share some of those because he has always been one of my idols. He is one N O I T A R B E L E C ’ S R E V O L R A T I U G understandings with us? of my favorite soloists on any instrument. I could listen to his solo on “On !e Street Where You Live” a mil- DA: Indeed, my physics teacher in high-school in Tel lion more times and never get tired of it. I was both goal. For my rst album, All ings Familiar , I wrote Aviv was Dr. Mario Livio, a renowned astrophysicist thrilled and terried when he agreed enthusiastically songs for each of my girls, and it turned out to be a and author of best-selling popular science books. As to do the recording. I met Joey and Byron Landham at double blessing. !ey each learned to identify their he introduced us to concepts of symmetry in phys- the recording studio, and they immediately melted all song and compared it to the others. !ey enjoy com- ics, like Newton’s third law of action and reaction, he my fears away. !ey were both warm, encouraging and ing to my gigs to hear their songs and that personal also taught us about symmetry in art (as in Escher’s full of compliments, and within a few hours we had connection has drawn them closer to the music. work), in music (as in Bach’s Cannons, 20th century laid down all the tracks, mostly in rst takes. It was a music, etc.), in mathematics (group theory) and how real “old fashioned” session. I had charts, but I mostly JI: As a teenager growing up in Israel, with an interest just played them my arrangement ideas once and then they all relate. !is led me to further reading and ex- in guitar, you began to study, and went to hear more we just counted it o$. I was a bit concerned about an ploration on my own. I swallowed books like “Godel, experienced players on what would have been a more Israeli ballad that I had chosen, but Joey loved it im- Escher, Bach”, which also introduced me to concepts limited community than the New York scene in which mediately and played so beautifully on it that it’s one in computer science (eventually, my main profes- you now participate. What were the advantages and of my favorite tracks on the album. It was great hang- sion), as well as logical positivism, philosophy of challenges in maintaining your inspiration and gain- ing out with him and Byron, listening to the tracks science, and many theoretical aspects of music. !e ing the guidance you needed to develop in Israel? boundaries between disciplines blurred in my mind and discussing ideas about music. It was a wonderful experience, and one that I hope to repeat again soon. I to the point where I view all intellectual and emo- DA: !e recent bestseller, Startup Nation , attempts am very proud of this album, and I believe it includes tional activities as equally engaging. I believe that to analyze the un-proportionally large number of Is- playing jazz is one of the most emotionally and in- some of Joey’s best work. It’s also thrilling to see what raeli successes in science, high-tech and business, but tellectually demanding activities a human being can a great response the album has gotten, especially since as you know, the jazz scene in New York is also #ooded ever perform. !e level of preparation and concentra- it was self-produced. It was in the top 40 jazz radio with a huge number of great Israeli players. !is was tion required to play a great jazz solo is no less than chart for several months, and has received dozens of not the case two decades ago. !e jazz community in required, for example, to give a graduate-level lecture great reviews. Israel was small and consisted mostly of players who in physics. In both cases, you have to know the mate- came from Europe and Russia. I was lucky enough to rial through and through so that it’s automatic, and JI: What words of encouragement, support, quota- stumble upon the one guitar teacher who had studied at every step you have to apply your creativity and ra- tion, or fragment of wisdom have you received from a in NY with Jim Hall and Chuck Wayne, and he had a tional thinking to present each idea clearly and make mentor or associate that provided inspiration or huge record collection that immediately captured my it #ow from the previous idea. Of course, in jazz im- guidance in your life? interest. Most players of my generation ended up going provisation there is no “right answer”, but it still has to Berklee and other schools in the US, and then went to sound “right” within a set of stylistic parameters. DA: For me, inspiration is all about family. My par- back to Israel to form the excellent educational system ents spent their teenage years in Siberia, escaping JI: Talk about the development of your new organ from the Nazis who invaded their native Poland. that exists there now. Although I never got a degree trio recording featuring Joey DeFrancesco and the !ey became homeless, hungry and sick, but they in music I had excellent private teachers for ear train- association that developed? each survived by staying together with their respec- ing, improvisation, harmony and counterpoint, and I tive families. !ey had to start over in Israel, with did a lot of learning and transcribing on my own. Two DA: As a teenager in Tel Aviv in 1974, the rst live missed years of education, in an unfamiliar land with books that really helped me with jazz guitar were Joe organ trio concert I ever saw happened to be Jimmy no knowledge of the language or culture. !ey both Pass Guitar Style, which I still refer to as “the bible”, Smith with Ray Crawford and Donald Dean. !e re- went on to earn Ph.D. degrees, and reach the top of and a book by Peter Sprague which really laid out a cording of that concert was issued as Live their chosen professions. !at always serves to re- logical foundation for modern jazz guitar. When I in Israe l, and later reissued under a di$erent name. I re- mind me not to make excuses for not accomplishing came to live in New York, I was nally able to study my goals. !e other great inspirations for me are my with all my idols, and the most in#uential of them has www.danadler.com wife and 3 daughters. !ey are supportive and under- been Jack Wilkins. standing and always encourage me to pursue my next Continued on Page 32

To Advertise CALL: 215.887.8880 March 2011 • Jazz Inside ™ Monthly • www.jazzinsidemagazine.com 41 Cohen Continued !om Page 12 three week course, I would enroll you in a morning ing and developing the curriculum taught in. !ey which takes you to Penn Station or the other way – class and an afternoon class. !at means that in a educate music educators on how to use electronic out toward Montauk Point. Our housing is modern three week period, you can only take two courses. music. !ere are different levels – 1a, 1b, 2a, 2b. 2b – five years old. Each room has its own air condition- By having a series of one-week classes, you can take for example goes into Sibelius and digital media – ing unit and private bathrooms, internet, cable TV. three courses in the same three weeks. So you can and how different forms of music notation can be take nine credits of work instead of six credits of adopted and used in music education. !ere are 16 JI: What inspired your creation of this graduate de- work. With the one week courses, you’re able to fo- students in a class. gree program in music that is designed for summer cus and concentrate on one topic. We are doing that to keep the numbers rea- access? sonable for personalized attention. We have an JI: Talk about the faculty. electronic music composition – recording original JC: One thing is that for teachers who do not want compositions. !ere are a lot of music technol- to hang around for an extended period of time dur- JC: !e faculty consists of the regular college fac- ogy courses available, taught by experts in their ing the summer, this is a convenient program. With ulty and instructors from the TIME Program – respective fields. Faculty members in general, for a one-week intensified course, they can accomplish Technological Institute of Music Education. TIME the Graduate Program, are working professionals their work and get in and get out – and achieve is a certification program. !ey go into music no- – Dean Karahalis, Peter Rogine, Tony Romano for their results and goals. If someone wanted to do a tation using the midi labs. !ey go into sequenc- example, and others.

Adler Continued !om Page 41 DA: Steve Grossman came to Israel in the 80’s and around us. Everything is changing rapidly. Technol- JI: You have an incredibly deep and diverse back- spent a year or two there. I had known of him from ogies are changing, the music business is changing, ground in computers and electronics - in the develop- Elvin Jones’ famous Lighthouse album where he economies are changing, world political systems are ment of chips and some key so%ware - which lead to played with Dave Liebman. !at one album pretty changing and our environment is changing. Musical work with leading Wall Street companies involving much encapsulated the entire post-Coltrane vocabu- styles are also changing. Within the microcosm of hedge funds. We know that mathematics and music lary that I and all my friends were trying to learn at jazz, and especially in New York, a new style of music are integrally entwined. How has your involvement the time. !e big shock was that one day he showed and a new standard of musicianship are emerging. It in those aforementioned areas provided inspiration up at a gig I was playing, and he sounded nothing is important to identify all of that and then try to de- and understanding and or challenges to/for your mu- like he did on that album. By then, he had almost cide how you want to adapt. It’s also important to be sical development and creative pursuits? completely abandoned that style, and was playing realistic about your expectations and your goals. !e straight ahead bebop with a sound that was some- economics of jazz in New York today just don’t make DA: Well, the main challenge is time. Having a de- where between Sonny Rollins and Dexter Gordon. any sense. People are expected to be super-human manding full-time career and a family requires me to Seeing him play chorus a%er chorus of inventive be- musicians and play for almost no money, and there is set aside time every evening and weekend for practice, bop lines from close up was an experience I will never no income from CD sales. You are le% with a hand- writing new material as well as promotion of my CD’s forget, and it completely restored my faith in bebop ful of musicians who can tour for a living and most and gigs. I try to be very focused some of the time, but as an endless vehicle of creativity rather than a sty- others end up teaching. Nothing wrong with that, I also view music as my reward for everything else that listic dead-end. I took some lessons with him, which as long as you understand the tradeo$s, especially I do, so I don’t try to go overboard. It has taken me consisted mostly of writing out choruses of impro- as you grow older. People who want “!e American many more years to get to a high level than it would if visation away from the instrument. !at was a very Dream” have to make a di$erent set of choices. I were doing it full-time, and I am painfully aware of painful process for me in the beginning, as I realized that, but I am also grateful that I have found a balance how much I relied on the instrument rather than the JI: Could you share your ideas on what John Wooden in my life and a recognizable musical sound and style. I purity of the music. He would take one glance and said: “Be more concerned with your character than am happy to develop myself incrementally within that tell me what worked and what didn’t, and gradually I your reputation, because your character is what you space. I think that every artist needs to have many un- learned to play what my musical mind dictated, and really are, while your reputation is merely what oth- related interests for inspiration. It has become way too I realized that I can upgrade what my mind dictates ers think you are.” easy to waste time these days. A little bit of Facebook by transcribing other people’s solos. Seeing Steve last and Google can eat up your whole evening, and if you year at the Jazz Standard was a wonderful experience DA: I think most jazz players who consider them- add some reality TV and random YouTube browsing - he still plays as great as ever and has remained faith- selves artists feel an internal need to play - a need to you can easily eat up the rest of your time. I try to ac- ful to his bebop style. excel, a need to master their instrument and the mu- tively control what I consume. I try to eat right, exer- sic, and a need to express something individualistic cise, pick and choose which books to read, which lms JI: What are your thoughts on the following per- and authentic. I think the discipline and dedication to watch and what music to listen to. I also try to make spective of philosopher Eric Ho$er and how it relates emerge out of that, and not from a desire to be recog- it out to as many live gigs as I can. Nothing beats the to the world of jazz on the creative and business sides? nized. Of course, the reality is that in order to keep experience of live jazz in NYC. “In a world of change, the learners shall inherit the being heard and to keep developing you have to also earth, while the learned shall nd themselves per- be recognized by others, and so you have to do what- JI: Talk about your association, experiences and ob- fectly suited for a world that no longer exists.” ever it takes to build your reputation and recognition servations about saxophonist Steve Grossman, whom as well. It’s a delicate balance and certainly not as cut you met when he came to Israel. DA: Well, obviously we are in a state of #ux all and dry as in that quote.

Janzon Continued !om Page 42 TJ: Funny, I was just reading something by Hazrat TJ: I know, you have to watch it. Ego will always JI: What are your thoughts on the following per- Inayat Khan where he talks about the greatness in come in your way. If you have self awareness you can spective of philosopher Eric Ho$er and how it relates being a pupil. Yes, learning and nding out is what handle it, but it can always trip you. Humility is a to the world of jazz on the creative and business sides? makes life interesting. !ere is always a ingredient of good word for the right approach. My experiences “In a world of change, the learners shall inherit the this in the great jazz solos we listen back to. in the jazz communty has always shown me that this earth, while the learned shall nd themselves per- music is coming from a spiritual approach. !at is fectly suited for a world that no longer exists.” JI: Could you share your ideas on what John Wooden how you connect, it goes through your heart. Continued on Page 33

32 March 2011 • Jazz Inside ™ Monthly • www.jazzinsidemagazine.com To Advertise CALL: 215.887.8880