How does one approach jazz education for young students?

JW: start by listening to easy combo material—things they can relate too easily.

WV: start ear training—play simple melodies by ear and learn to play simple tunes by ear. Using the ear is very important. Having students listen to recordings is also a great help to teaching students.

JW: teachers often put barriers on the student that shouldn't ever be there. The approach taken by the teacher is crucial to the outcome of the student's success. The student needs to have a good warm-up and focus time; similarly, one needs to get past the notes and start making music.

Is there is a minimal level of technical proficiency needed to start playing jazz (especially in young players)?

WV: The basics of trumpet playing need to come first. Improvisation isn't any different than other aspects of playing. The student must still play the instrument well. Set up the student well and he'll be on the right track.

Roy Eldridge, as an example, didn't have a good foundation and was always nervous about his performance, which was probably due to a lack of good fundamentals and warm-up, etc. Resorting to alcohol to calm his nerves was one way he dealt with this problem. He also showed up an hour and a half early to each gig in order to go over the music. But his playing, generally later at night, really blossomed as the night went on. He was a fabulous player with a great sound!

Have you spent time playing piano?
JW: I haven't, but I encourage everyone to do so.

WV: The piano is an important tool, it's necessary, in fact.

Students should also listen to other instrumentalists, you can learn a lot from them.

JW: Listening to other instruments will help expand our stylistic, technical, and rhythmic possibilities.

WV: Listening to pianists offers different skills than guitarists. The piano can play clusters that guitars can't.

Joe Wilder and Warren Vaché then played a duet. Vaché needed a bit of coaxing since his right arm was in a sling forcing him to play with his left hand They collaborated on "I Want to be happy" which was totally improvised. The spontaneity of the moment was special with two great soloists playing off each other, both together and trading fours.

Various comments from these two on jazz playing:

The idea of improvisation is to get multiples of people to think alike for three to four minutes.

One needs to stay in the style of what was played before.

An inherent feel of time is critical.

What about changing styles in the middle of solos, as in going to a bebop feel from swing?
WV: This isn't a conscious choice for me, it just flows from the mind/heart.

JW: We have a storehouse (the brain) of ideas and various styles that are triggered into action by our ear and mind.

WV: Bebop was a great shock to the people of the days when it came out; today we accept it easily and are accustomed to its harmonies and style.

JW: I thought the Beatles were terrible at first, but since then I have assimilated their tunes and what they stood for—it makes sense now.

WV: Things that affect our economic base aren't always greeted warmly, as well. (Lots of guitar players were being hired then… laughter)

They then played a ballad, Sleepy Time Down South, again showing a marvellous flair for improvising off the cuff.

WV: We live in a diatonic world and have a limited number of notes to use, How we use them is what makes jazz so interesting. One can also change meter, mode, or style to increase the repertoire of our solos.

JW: Players need to glide smoothly into one's solo from the previous solo—and always in character. These transitions make it more interesting for the listener and for our selves.

WV: I remember bands that played four-hour sets without a note of music; there were even 25-minute medleys! What a great way to learn tunes. Oftentimes, we had five-to-six part harmony as well.

JW: I played the Kennedy Center (Washington, DC) recently and we did the entire concert without music. One needs to learn a lot of songs.

WV: Some of the songs have very difficult bridges.

Some stories ensued about players who didn't have some tunes "under control." There were many other funny tales about famous trumpet players.

Who were some of your favorite musicians with whom to work?
JW:

Jimmy Maxwell, great lead player

Doc Severinsen, a great studio player, very consistent

Billy Butterfield, great talent

Ray Crisara, with whom JW played in a quintet, was a great inspiration from whom to learn and pick up tips on playing.

The list is very long with lots of tremendous players.