Category Archives: From Jamey

Jamey Aebersold Endowed Scholarship Fund

Jamey Aebersold Endowed Scholarship Fund

The Jazz Education Network (JEN) has announced the establishment of the Jamey Aebersold Endowed Scholarship, which will be awarded annually at the JEN Conference to a college student exhibiting genuine passion and dedication to jazz education. The scholarship is named after respected and acclaimed jazz educator Jamey Aebersold, whose more than fifty years of pioneering jazz education have impacted an immeasurable number of aspiring jazz players, students and teachers worldwide.

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Jamey Aebersold

You Never Know

During one of the Jam Sessions at my Carnegie Center exhibit, we had about 45 or so people at the jam and about 12 people sat in. One adult sax guy, probably in his sixties from Cookeville, TN drove up with his saxes to jam with us. He then spent time upstairs at the exhibit

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Art Blakey and The Jazz Messengers - Jamey Aebersold

“The Jazz Messengers” 1956

“The Jazz Messengers” by Art Blakey & The Jazz Messengers from 1956

I grew up with this LP. Recently, I listened to this CD with the added tracks and realized how influential these tunes, the writing and the solos were in my teens and early twenties. In listening, I was transformed to being nineteen and sitting at a piano at IU showing Dick Washburn these fantastic chords and harmony. How exciting to be able to figure out a little of what was going on by the pros 62 years ago.

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Jamey Aebersold with Pat Harbison

Jamey’s Interview with The Instrumentalist

This is my 50th year of putting out Play-A-Long records. I started in 1967 with Chuck Suber, who was the editor of Downbeat magazine. He said if you make an LP and a booklet, I will buy 100. So, I decided to give it a try. Fifty years later there are millions of people who have
played with them, and it has helped them. I never intended to put out more than one; I didn’t think there would be any need for more than one. We have 133 now.

I didn’t dream when I started that some of the Play-A-Longs would teach scales and chords. I learned along the way that students did not know their scales and chords. That was why when they played the blues, they had no idea what the were doing. We released a number of pedagogical ones, and I think these changed the way musicians practice. I think people realized that if I thought it was important then they should practice it. I hope the idea of playing whatever you want and letting your fingers go during an improvised solo has been reduced a bit. If the chord is a C chord, that is the basic scale students should play off of.

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