Greetings! Amongst the excitement of launching with our new schools and programs, one of our big initiatives this year is with the Arts Schools Network, the South Carolina-based network for k-12 and higher ed Arts programs.
Our latest development with ASN is the On Your Way Student Talent Recognition, a program where students from ASN-member high schools (map) can apply for a full-ride trip to Walt Disney World, and perform at the 2012 ASN Conference Orlando, FL.
Technical Sgt. Tyler Kuebler, a member of the Airmen of Note’s saxophone section, performs during the 3rd annual Joint Service Jazz Festival in Washington, DC. The concert, which took place at the Carter Barron Amphitheatre on August 16th, also featured the Army Blues and the Navy Commodores. (photo by SFC Mark Wood, U.S. Army Band)
A while back I interviewed Airmen of Note Lead Alto Technical Sergeant Tyler Kuebler (http://tylerkuebler.com/). The Airmen of Note is a killer band, and having the opportunity to talk with Tyler (University of North Texas Undergrad and MM, University of Miami DMA) was fantastic, definitely worth the 8AM trek to their rehearsal. You can hear the band warming up the the background.
Tyler Kuebler’s Bio:
Tyler Kuebler is originally from Agoura Hills, CA, and currently performs as Lead Alto with the world-renowned USAF Airmen of Note. After serving with the USAF Band’s Airmen of Note from 1998-2002 as Lead Tenor, Dr. Kuebler is thrilled to be back with the band after a six-year hiatus, this time leading the section.
Prior to rejoining the USAF Band, Dr. Kuebler was an Assistant Professor of Saxophone, Jazz Studies, and Music Theory and Director of the Studio Jazz Orchestra at Southern Illinois University Carbondale. During his tenure at SIUC, Tyler was also a member of the New Arts Jazztet, a faculty jazz quintet in residence at the university. In addition to his educational commitments at SIUC, he taught at various music summer camps, including the prestigious Blue Lake Fine Arts Camp in Michigan and the Governor’s Honors Program in Georgia.
Throughout his career, Dr. Kuebler has had the opportunity to perform and record with some of the biggest names in jazz and popular music, including the Maria Schneider Orchestra, Maynard Ferguson, Sammy Figueroa, Julio Iglesias, David Liebman, Jack Sheldon, Randy Brecker, Paul Anka, Jerry Bergonzi, Clark Terry, Bobby Caldwell, James Moody, Dick Oats, Joe Lovano, Louie Bellson, Slide Hampton, Rosemary Clooney, Kenny Werner, Bob Mintzer, Gerry Mulligan, Conrad Herwig, Ernie Watts, John Fedchock, Jon Hendricks, Pete Christlieb, Peabo Bryson, Steve Allen, the Temptations, and the Four Tops, to name a few.
Dr. Kuebler earned his B.M. and M.M. degrees from the University of North Texas, where he was a member of the world-renowned One O’Clock Lab Band for four years. The University of Miami conferred his Doctor of Musical Arts degree. Throughout his education, Tyler has studied with such influential teachers as Jim Riggs, Neil Slater, Gary Keller, Whit Sidener, Dan Haerle, Mike Steinel, Ronnie Miller, Yusef Lateef, Dr. Billy Taylor, John Mosley and Shuichi Komiyama.
Since the Airforce Band is active duty, I had to go through basic training…but that prepares you for the military side of it. Once you’ve through with that, then you’re full active duty.
(How do band members push each other) You can never relax because everyone is playing at such a high level all the time…Healthy competition keeps you on your toes.
Start Studying the Masters, internalize what you’ve learned, and take that as a starting point.
There’s not many people that can just be players these days…unless your only goal is to play and you’re willing to accept the sacrifice in all levels of your life.
No matter what you play, always play piano. You got to have piano chops for general musicianship.
Like what you see? Want to hear from a certain artist? Let us know your thoughts by commenting below.
Fresh off an opening weekend at the opera, I have been scouring the local media for coverage and reviews of our performance. While I myself am pleased and proud of the show that went up on Friday, I cannot help but feel the need for that validation given out by the oracles of art: the critics. But this is all wrong! Critics don’t write for the artists or administrators; they write for the public who seek the advice and opinions of a learned taste-maker. Or do they? The role of the art critic has become so vague that many are left to question not only who reads the reviews, but why they read them?
Let’s begin by thinking about who used to read the reviews. The answer is simple: everyone, with the exception of the proud few who “don’t read the reviews”. The critic as cultural aficionado was respected for their informed opinion, and received nearly endless buy-in from their readers. A good review spurred ticket sales; a bad review meant a catastrophe at the box office. There’s no telling when this golden age ended, but it surely has.
Fast forward to present day. Do any of us form our opinions or tastes based on the recommendations of some distant and allegedly qualified expert? That very notion flies in the face of the predominant individualist movement. We all prefer to make up our own minds, or at most, consult a trusted friend or colleague. Perhaps this is the result of generations of over-parenting, or the notion that anyone’s opinion can be bought. Whatever the case, arts criticism, at least in the formalized, printed version, finds itself in the previously foreign land of obscurity. More and more media outlets are firing their arts commentators or relegating them to a 3-in column above the funnies. So what, if anything, is to be done? I feel like I do too much pontificating on this blog, so rather than suggesting another ‘best practice’, I say this: Critics of art and music provide vital feedback for artists, they engage the audience in a dialogue about the art, and most importantly and counter-intuitively, they help us to form our own opinions.
Sean Combs (aka P. Diddy, Diddy, Puffy, Puff Daddy) has recently launched his latest reality show, “Making HIS Band,” featuring instrumentalists and singers competing for a spot as a touring live band for Comb’s forthcoming album, Last Train to Paris.
Normally I don’t follow reality shows or believe in the ‘musicianship’ displayed in 90% of MTV, but after the first two episode I can see the HUGE long-term potential in this series. Young artists can benefit by seeing non-traditional avenues to performance careers. Showcasing the discipline and musicality of aspiring band members also shows viewers that practice, routine, listening, and supporting each other are integral parts of being a performing artist. I was especially surprised to see the keyboard coach hand out a book of Hanon Studies to the keyboard players. Hanon Studies on MTV?!?
With the help of his judges (Laurie Ann Gibson, world renowned choreographer, Om’Mas Keith, producer and lyricist, Rob Lewis, songwriter to the the stars, Nisan Stewart, musical director/unofficial peacemaker, and Romeo, former vocal coach to Michael Jackson himself), Diddy will put his would-be collaborators through rounds of grueling auditions designed to weed out the wannabes from the future music legends and turn this talented team of rookies into the Bad Boy backup band of his dreams.
Those who do make it through the early do-or-die rounds will still have endure scathing reviews, endless trials and constant critique in order to prove they’ve got the talent, drive and ambition to succeed.
The series is pretty legitimate, and the auditions very critical. The first episode showed panel members holding auditions in LA, Chicago, Detroit and New York. This is no Big Brother, if you don’t perform to the judge’s standards, you’re out of the house. Eight of the show’s forty were sent home after their first challenge – Play the first 9 Hanon studies on command in any key.
Some of my favorite quotes so far:
Strength, speed, agility, all are indispensable qualities for fine execution of music.
None of you played the Hanon Exercises with Swag.
This is a proficiency test, you all divided yourself.
(On Hanon and basic piano technique) You all can play [Diddy's] songs, but we’re going to see who has the discipline to get through the boring sh*!
We’ll see the long-term effects of show like this making it to mainstream television.
I just read an article about mezzo-soprano Joyce DiDonato fracturing her leg during a performance of Rossini’s “Barbiere di Siviglia,”at the Royal Opera House. Read the article from the New York Times Here.
Ms. DiDanto finished the Saturday night performance on crutches, and spent 4 hours in an emergency room thereafter. For the performance following (a Tuesday), she performed in a wheelchair.
I must say, this is a great representation of dedication to one’s craft. Be passionate in everything that you do.
