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During the fall semester at WSU I took a class in Jazz History were I had to interview a Jazz musician. Who better to interview than former WSU graduate Michael Jeup.
The following is the interview he granted me.
Enjoy: Todd Richardson
1) First of all tell me something about yourself. What lead you to study music seriously in the first place?
Well, I'm now 43 years old and have been in Switzerland now for the past 18 years teaching and playing music. I married and have two children ages 12 and 11. I knew I would be playing for a long time. Sometime after the first year I began playing when I was 13. I didn't know exactly "what" I'd be playing when I was older but I knew at the time that playing and music gave me alot spiritually as well as physically. I knew would be at it for awhile.
2)Most classical guitar players that I've come across have a hard time improvising to jazz, blues or even rock. Did you have a hard time at improvisation when you first started out?
When I started out playing I was very much into popular music like the Beatles and the newest rock bands of the time (Led Zepplin, David Bowie, Santana, Pink Floyd ect.) so I started to improvise very early in my study of the guitar. My teacher showed me alot of tunes and then how to transcribe stuff from records. From then on I could learn what I liked from the records I listened to. It was a very big change during my second year of college that I discovered the classic repertoire and the classic guitar itself and dove fully into it with a passion.
3)I've been told that at one time there was a rich tradition of improvisation within classical music. Is this true ? If so why aren't people doing this today?
There still is a rich tradition with alot of it happening in Baroque and Renaissance music. The figured bass in both styles command a high degree of knowledge of the period in which this music was played. Ornamentation in Baroque music was a very high art and is still practiced and studied to this day. Of course, the way we "improvise" the music of the Classic and Romantic periods is in how we "interprete" the music. In our Modern music improvisation is abound. Just check out a score of Leo Brouwer; there is alot that a performer must decide that's not exactly on the written page. (examples include: length of a phrases, density, color, weight, mood to name just afew). It all comes down to checking out the music. Once one studies a certain style there comes an "awakening" as to how much music is not on the written page! Improvisation can take on many meanings.
4)Why do you think people have a greater respect for jazz overseas rather than in America were it was created?
Because the Europeans have a very long tradition in the arts. You can see it in a church in any city in Europe, in the museums, the concert halls and in their schools. There is a respect for the arts and it is ingrained culturally as well as politically. As for jazz overseas - Europeans see it as an "art form" and it is treated as such. It is an original American Import. All the big name concerts are subsidised by the state governments. Musicians are paid very well. They make their living by touring Europe. The concerts are well attended and are quiet, like a classical concert. It's quite amazing to experience this because jazz is so often performed in bars and restaurants.
5)I've heard guitar players say that they tend to listen to sax players and horn players when they solo rather than guitar players. They say that they do this so they can get away from sounding like other guitar players. They do this in order to capture a more authentic Jazz sound.
What are your ideas on this? Do you do the same?
Well there is something to that. If you ONLY listen to guitar players then you most likely will sound like one of them" but there is an invaluable lesson to learn from players from instruments other than your chosen instrument. Each instrument has it own unique sound, timbre, nuance, as well as role in the music. Listening to the way Vernel Fournier plays brushes with Ahmad Jamal is great for "groove" feel for guitarist or any musician. The feel a melody on a tenor sax is also an example. Encountering different instruments and incorporating them into your own "language" - musically, technicallly and srpiritually - is bound to give your music more depth. As for myself I listen to many different musicians and music. Piano is my favorite at the moment. I've had long phases of studying horn players, singers, drummers ect" Discovery and inspiration is the goal which can lead to a purer understanding of the music.
6)I've always been a great fan of Wes Montgomery. What led you to doing an arrangement of one of his songs?
Actually they aren't arrangements but rather a documentation of Wes' performance of the tunes. Every note is Wes' and all I did was listen to the recordings and wrote down the notes and fingerings as I heard them. I also did the computer notation and the lay-out for the book as well. (It is published by Advance Music in Germany (check out advancemusic.com). I originally did the work to learn more about arranging tunes myself and only later realized that is would be great to make them available for students and jazz guitar fans. I've done many others from jazz guitarists such as Pat Metheny, Kenny Burrell, Jim Hall, Pat Martino, and Django Reinhardt and others.
7)How has your classical training helped your approach to Jazz?
I took a long break from jazz playing wenh I came to Europe. I spent a good 8 years playing only classic guitar. Duriong that time I learned alot of guitar repertoire, technique, the guitars' history and fundamental musicality. It helped me overcome alot ot timidness in my earlier jazz playing because of the lack of music principles which weren't "in place" at the time. After returning to my electric guitar after so many years, I felt relaxed and prepared to dive into the music I really held close to me from the beginning of my college days. It became easy to "find things" on the guitar. I'd hear somehting on a record or in a concert and I kinda "knew" where to look for it on the fretboard. It put more confidence as well as musicality into my improvising because I could work out more quickly any technical passage more logically than before- I heard the passages better. There's also the use of the right hand fingers too. That opens up a whole new door to playing the guitar. I still use a pick - but the R.H. fingers and their independent use to separate voices in chordal plaing is indispensable.
8)What do you think of the trend toward smooth jazz that's been promoted so heavily by American radio?
I think it's a shame that there isn't any "real" jazz on the radio. During my stay this past October I couldn't find one station that played jazz music! The trend of "smooth" jazz may fill that commercial mood that public needs - but tell me - how are we to help the state of jazz when all that's available is "canned jazz"?
9)Being a music teacher yourself do you find a genuine interest toward Jazz within and outside of the class room?
Outside the classroomä here in Basel there is a genuine interest in jazz music and it can be found in many styles from bop to mainstream to even "gypsy jazz". What one doesn't hear much of is the "smooth jazz" found in America. I really don't know why. There is alot of music from classic to rock, hip hop, funk ectä but a smooth drivin' commercial style jazz group just can't be found. Most likely because the "night club" atmospere is different. For example, most dancing places have DJs, and Rappers. In the classroom - they are all ears - they are attending a Conservatory of Music and it's the Jazz Dept. and there here to "get it together"!
10)I've noticed that a lot of the big Universities don't have a Jazz program like the one we have at WSU. Shouldn't these major universities support something that is such a major part of American history and culture?
It must be in their interest to support a program like the one at WSU. This interest must be awakened and nurtured by us: musicians and jazz lovers. Our success will in turn create more opportunities in other communities. When I started college WSU didn't have the first jazz program, it was all classical. Oakland University had just started a program and I attended it for one year. Michigan and Michigan State didn't have opportunities in Jazz Studies. I've learned recently this has changed and after seeing how much has been accomplished at WSU it wonderful that things are growing in the higher institutions in our country.
11)What do you think of some of the fusion guitar players like John McLaughlin, Alan Holdsworth, Al De Meolia? Did these guitar players influence or inspire you in any way?
They are great guitarists and have enormous technique. They have been in
the seen for years and deserve high marks for their efforts. I've heard all of live and enjoy what they do. It's not my style of playing but I am interested in what they are doing. They are progressive and are always searching for new ways to communicate. Yea!
12)Being a guitar player at a major University do you ever get the opportunity to write any original compositions? Also do you ever get a chance to play at any clubs within the school year or during the summer months?
I haven't got any offers or commissions to write anything here at the Conservatory but I do compose for my band and for solo guitar. I'm playing as much as possible. I regularly gig and play steadily throughout the year. I play solo gigs, and have the chance to play in duo, trio and larger formats as well. I couldn't teach if I wasn't playing live. I need to work on my own projects in order to fill my needs as a player as well as a teacher.
13)Now that your no longer living here in America what do you miss the most about American music?
Probably my friends! No reallyä I wish they could come to my gigs and hear how I sound "today". I send CDs ect., but it's not the same as having them right there with you. As far as music goes, I hear American music everyday and you can buy everything here that is available back in the States. So from that stand point there isn't much to miss - it's right next door. After thinking about it, there is something I miss: the American musician or maybe the "North American" musician. The temperament and spirit of the Americans is definitely different than the European mentality and I do feel that on stage. It's not a matter of it being "better" - it's just my familiarity with things "American" and being away from it for so long.
14)Have you ever considered making a living as just a Jazz musician outside of the University.
By your question you mean making a living on just "playing" and not
teaching?
Actually I do make a living "outside" the University by gigging and publishing music. I record and write too. I would love to tour more often and really go reach deeper into my own musical interests- but life has dealt me other musical opportunities which I take seriously and wish to develop. I have a family that I feel responsible to and their needs are my needs. Also, I have been teaching guitar seen I was fifteen years old (almost 30 years now!) and I keep growing with each year as it brings new musical responsibilities and well as new musical challenges. Teaching guitar has always been a part of my week, I really thrive on it.
15)What advice would you give someone who is thinking of pursuing a career in Jazz in America and overseas?
Think it over carefully! Music is like a "calling". Like being called to
the "priesthood in a way. One must have a strong desire, and have the talent and discipline to accomplish those goals. If the desire is there- do it!
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