THE INTERVIEW
DR. MATT WARNOCK: Did any of your teachers have an influence on your teaching approach?
JACK GRASSEL: My college theory instructor, Ted Ashford, wrote on the board the 1st day of class,"You don't have to learn this stuff, but you will have to compete with someone who did." He would ask "What do you want to do today?" putting responsibility on students for the outcome. We were required to compose 1 piece per week and perform it in class. Years later, I got to play with and observe fellow teacher, saxophone virtuoso and master instructor Berkeley Fudge. A fine role model. He initiated learning by playing something that you needed to hear to teach yourself what you needed to know. He could say one perfect direct sentence that would aim you in a better direction. I based my approach on what I learned from these two great musicians.
M: How has technology changed the landscape of music education?
J: With the current availability of instruction, it's difficult to create a unique sound. When Frank Zappa auditioned players, he would ask "What do you do that's fantastic?" or "What can you do that no one else can do?" When I interviewed teachers at Milwaukee Area Technical College, only a few could answer those questions. We hired a fully-functioning faculty that created extraordinary musicians. Most of the music legends were self-taught: Charlie Parker, Stevie Ray Vaughn, Tal Farlow, George Van Eps, Lenny Breau, Johnny Winter, Eddie Van Halen, McCoy Tyner, Elvin Jones, Roy Haynes, Jimmy Garrison, Jaco Pastorius, Tony Williams and Wes Montgomery could play one note and you knew who it was. As chairman of the MATC music department, my goal was to create unique musicians within a school environment. The graduates don't sound like each other or their teachers.
M: How did you get your start as a teacher?
J: To supplement my 14 year old gig income, I started teaching bass guitar in a music store. I made more money teaching than having a paper route which was the only other employment available. The store owner said if I taught guitar, I would recruit more students. I bought an old warped Harmony archtop for 4 dollars that had been painted orange with a paint brush. I wore out Mel Bay's 8 instruction books.
M: What is the connection between your publications and how you approach a private lesson?
J: My books were written as things for me to practice. At that time there wasn't advanced material in print to help me play what I heard in my head. John Coltrane, Eric Dolphy, Thelonius Monk, Jackie McLean and Joe Henderson didn't have guitarists in thier bands for a reason. I've worn out copies of 158 EXERCISES FOR SAXOPHONE. Coltrane practiced it daily. There aren't many books for advanced guitarists because there is more money in selling beginner books. Clarinet etude books are great because the clarinet is 3 octaves like the guitar. I created teaching methods to help guitarists develop an modern sound. Much availalable material cements common weaknesses of guitar technique instead of transcending them. I wrote MONSTER CHOPS without a guitar in my hands so cliches common to guitarists were not re-enforced. My teaching is unique to each student so they sound like themselves.
M: How has your teaching experience influenced your performing and vice-versa?
J: In 1994, I told Tal Farlow how frustrated I was with my playing. I hadn't improved in a long time. He asked what I did. I replied that I taught 60 students per week. He said, "Jack, you're hearing music played poorly all week. You are the product of your environment". Instead, I taught Music Appreciation with recordings by the masters. I played only my 70 compositions on most gigs. (Wayne Shorter, Jackie McLean and Horace Silver did that.) It didn't take long for me to sound like myself. I was working with Melvin Rhyne, who had played with Wes Montgomery. He said "Music is everything you do." I learned to make better choices that were aligned with my goals.
M: What advice do you have for people who are just starting to teach guitar?
J: You need have a vision of what you want to do with your life. Do you want to be "a musician who teaches" or "a teacher who plays music" or "a teacher who sort of plays a bunch of instruments". I vigilantly maintained my identity as a player who teaches. It resulted in choices which supported my playing goals, but also made me a better teacher.
M: What advice do you have for students who are looking for a teacher?
J: FIRST, you need to know what you want to do. SECOND, locate those who have done what want to do. Study with them regardless of the cost, location and sacrifice. THIRD, assimilate that information and take it further than where you received it. I drove 32 hours for each lesson from Tal Farlow for 4 years. I flew to Los Angeles for George Van Eps and Jimmy Wyble lessons. Great teachers may not always be available for you. Everyone is a student and should put in the necessary time to become a fine musician and a constructive positive force.
Joe Leonard & Jack at the NATIONAL GUITAR WORKSHOP 1996
DR. MATT WARNOCK: Did any of your teachers have an influence on your teaching approach?
JACK GRASSEL: My college theory instructor, Ted Ashford, wrote on the board the 1st day of class,"You don't have to learn this stuff, but you will have to compete with someone who did." He would ask "What do you want to do today?" putting responsibility on students for the outcome. We were required to compose 1 piece per week and perform it in class. Years later, I got to play with and observe fellow teacher, saxophone virtuoso and master instructor Berkeley Fudge. A fine role model. He initiated learning by playing something that you needed to hear to teach yourself what you needed to know. He could say one perfect direct sentence that would aim you in a better direction. I based my approach on what I learned from these two great musicians.
M: How has technology changed the landscape of music education?
J: With the current availability of instruction, it's difficult to create a unique sound. When Frank Zappa auditioned players, he would ask "What do you do that's fantastic?" or "What can you do that no one else can do?" When I interviewed teachers at Milwaukee Area Technical College, only a few could answer those questions. We hired a fully-functioning faculty that created extraordinary musicians. Most of the music legends were self-taught: Charlie Parker, Stevie Ray Vaughn, Tal Farlow, George Van Eps, Lenny Breau, Johnny Winter, Eddie Van Halen, McCoy Tyner, Elvin Jones, Roy Haynes, Jimmy Garrison, Jaco Pastorius, Tony Williams and Wes Montgomery could play one note and you knew who it was. As chairman of the MATC music department, my goal was to create unique musicians within a school environment. The graduates don't sound like each other or their teachers.
M: How did you get your start as a teacher?
J: To supplement my 14 year old gig income, I started teaching bass guitar in a music store. I made more money teaching than having a paper route which was the only other employment available. The store owner said if I taught guitar, I would recruit more students. I bought an old warped Harmony archtop for 4 dollars that had been painted orange with a paint brush. I wore out Mel Bay's 8 instruction books.
M: What is the connection between your publications and how you approach a private lesson?
J: My books were written as things for me to practice. At that time there wasn't advanced material in print to help me play what I heard in my head. John Coltrane, Eric Dolphy, Thelonius Monk, Jackie McLean and Joe Henderson didn't have guitarists in thier bands for a reason. I've worn out copies of 158 EXERCISES FOR SAXOPHONE. Coltrane practiced it daily. There aren't many books for advanced guitarists because there is more money in selling beginner books. Clarinet etude books are great because the clarinet is 3 octaves like the guitar. I created teaching methods to help guitarists develop an modern sound. Much availalable material cements common weaknesses of guitar technique instead of transcending them. I wrote MONSTER CHOPS without a guitar in my hands so cliches common to guitarists were not re-enforced. My teaching is unique to each student so they sound like themselves.
M: How has your teaching experience influenced your performing and vice-versa?
J: In 1994, I told Tal Farlow how frustrated I was with my playing. I hadn't improved in a long time. He asked what I did. I replied that I taught 60 students per week. He said, "Jack, you're hearing music played poorly all week. You are the product of your environment". Instead, I taught Music Appreciation with recordings by the masters. I played only my 70 compositions on most gigs. (Wayne Shorter, Jackie McLean and Horace Silver did that.) It didn't take long for me to sound like myself. I was working with Melvin Rhyne, who had played with Wes Montgomery. He said "Music is everything you do." I learned to make better choices that were aligned with my goals.
M: What advice do you have for people who are just starting to teach guitar?
J: You need have a vision of what you want to do with your life. Do you want to be "a musician who teaches" or "a teacher who plays music" or "a teacher who sort of plays a bunch of instruments". I vigilantly maintained my identity as a player who teaches. It resulted in choices which supported my playing goals, but also made me a better teacher.
M: What advice do you have for students who are looking for a teacher?
J: FIRST, you need to know what you want to do. SECOND, locate those who have done what want to do. Study with them regardless of the cost, location and sacrifice. THIRD, assimilate that information and take it further than where you received it. I drove 32 hours for each lesson from Tal Farlow for 4 years. I flew to Los Angeles for George Van Eps and Jimmy Wyble lessons. Great teachers may not always be available for you. Everyone is a student and should put in the necessary time to become a fine musician and a constructive positive force.
Joe Leonard & Jack at the NATIONAL GUITAR WORKSHOP 1996
