Reviews
THE
GYPSY JAZZ MASTER CLASS - directed by The Robin Nolan Trio
October 6 and 7, 2001 - Whidbey Island Center for the Performing Arts
By Ted Gottsegen
originally printed in Just Jazz Guitar, 2002
The cacophonous
sound of 20+ guitarists sitting in a circle tuning up and noodling away
the nervous energy is enough to make any teacher stare on in disbelief
wondering, "How am I going to control this?" Robin Nolan treats
it like water down his back. He sits at the top of the circle, quietly
playing runs on a stunning 1964 Favino, looking up occasionally to greet
a passerby or respond to a gratuitous compliment. The soft-spoken guitarist,
along with bass player Paul Meader and rhythm guitarist Kevin Nolan
spend 5 months out of the year globe trotting to such diverse spots
as Iceland and Japan giving these workshops to players of all levels.
In general, Master Classes can either be useful with strong teacher/student
interaction, or a dull, classroom-like atmosphere where the teacher
spends the majority of the class spouting lessons in theory on the blackboard
that are neither interesting nor fun. Thankfully, Nolan is the former,
a hands-on teacher unafraid to get his hands wet and work hands on with
the students. At 3:00 sharp, Robin starts the workshop and as quickly
as it started, the noodling stops and all attention is directed to the
master of ceremonies.
The Nolan method
is quite effective. The workshop begins with the selection of one song,
which is dissected into three sections: rhythm, harmony and melody.
Robin illustrates the "A" and "B" sections of the
given tune and how it should be played all the while being careful to
ensure that all of the participants are comfortable with the chord shapes,
their voicings and the way in which they are played in relation to the
melody and harmony. Gypsy rhythm, better known as "La Pompe",
is quite different and a little more complex from the straight 4/4 rhythms
utilized by American swing stylists of the big band era. Nolan's careful
and articulate way of presenting the material makes it easy to grasp.
The importance of time and accents are all covered with equal attention
to detail. Bassist Meader also explains the role of the bassist in the
rhythm section as well. The circle is than divided in half, Nolan designates
on group responsible for the melody and the other the harmony. As with
rhythm, he articulates the melodic and harmonic statements for each
group, being careful to ensure complete understanding before moving
on. Then it comes together, 20 guitarists (and a mandolinist, violinist
and bass player) begin playing "Minor Swing". Almost without
question, this group of relatively novice players is playing music that
sounds good! Each player around the circle takes a turn playing a solo
and all are considerate to their neighbors in not taking more than one
chorus or even sitting out to ensure that everyone has a chance to play.
After the jam has completed the circle, the melodic and harmonic groups
switch their roles and begin again giving each player a lesson in the
construction of each song.
After one hour,
not only does each player have the basic understanding of playing Gypsy
Jazz, but each is given a road map to follow on how to learn a new song
in the future. With the first tune in the can, the group begins again
with a Gypsy Bossa, "Bossa Dorado". Nolan uses the same tried
and true methods for teaching the rather complex rhythmic patterns of
the bossa beat, carefully taking the time to walk to each player and
demonstrating it up close and working with them to nail it if they are
having trouble. This "hands on" approaching and direct attention
between instructor and student ensures success.
Nolan's patient
attention to details and relaxed demeanor puts the students at ease
thus creating an ideal learning environment. Essentially an "in-person"
demo of his immensely popular method books, the Gypsy Jazz Master Class
is designed for the novice to intermediate player, or advanced guitarist
looking to get into Gypsy Jazz. Nolan's teaching method ensures that
beginners are encouraged to use these methods (and method books) in
learning songs in the future. This was well attended and for good reason.
It's highly recommended for those players looking to take that first
step into learning the Gypsy Jazz. Bravo to the Nolan Trio for their
dedication to the art and music of Gypsy Jazz and for presenting the
material in such an easy to digest package. Next year promises to have
classes for both novice and more advanced players so keep checking the
Northwest DjangoFest website at http://www.djangofest.com and book you
spot early as they are guaranteed to fill up fast.
Ted
Gottsegen
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