Lynn,

It seems like there are so many jazz books out there about conception, theory, bass lines, transcriptions, and history (amongst other things) that it makes me wonder how you choose exactly what to have your students work on. I understand that much of it is based on an individual student's weaknesses, but I'd be interested to know your teaching philosophy and what you consider when presenting material to a student or a group.

We all can become better individual bass players, but I'd like to know if you have any advice for jazz bass educators? Is there anything you've learned over the years from a mentor, that stuck with you and has helped you connect with, diagnose, and lead students in the right direction?

Any comments would be warmly welcomed, thanks...

Matt

Yes, it is important to tailor to the specific needs of students while at the same time exposing them to the history of jazz music. Some things that I consider when presenting to a student or group are: time feel, technical ability, transcription and historical players knowledge, reading, bassline conception, solo conception, and chord/scale relations. This list is flexible and may be added to at any time.
I have had several great mentors on the bass and music in general. A lot of what I have learned about teaching is from observation of others. Watching the private teachers I have had and taking single lessons from some great players has shown me a variety of teaching styles. For many years I would go to the jazz educator conferences and attend clinics covering many topics and various instruments (not just bass). Observing many clinicians showed me a lot about how to teach with clarity of ideas and focused concepts. Rufus Reid has personally been a great mentor and role model for teaching and life for me.

Regarding my teaching philosophy, we at UNT have to submit an update of activities for administrative review. One of the things they ask for is our teaching philosophy. Here is mine:

Lynn Seaton's statement of teaching philosophy and goals.
"In the field of jazz performance, I encourage students to become a sponge for knowledge and experience. My goal as a teacher is to be an interactive mirror through which students will be able to see their own accomplishments, the areas in which they need practice, and how to achieve their highest potential. Fundamental development occurs through transcription. By listening to, studying, and emulating performances of the historical masters’ vast range of styles and the roots of the music through to its modern development, students gain a comprehensive knowledge of jazz. By analyzing how the masterful musical phrases relate to the chord changes, students will incorporate these into their own improvisations. As the students’ enlightenment expands on how jazz solos are constructed, they will begin to develop unique ways to express themselves with their own improvisations."-Lynn Seaton

Lynn,
...very cool. Thanks for the reply and food for thought. I particularly dig the "interactive mirror" concept. Reminds me of something deep one of my other teachers used to talk about, only you've related it to bass.

Matt