Jan.s Miro, as both a player and composer
you've remained a seminal figure in Australian Jazz now for several decades.
Would you share with us is your ethos & inspiration behind your playing and
writing....
Miro: I never think of myself as a composer really.True composers are a rare breed. They have an original musical imagination, developed sense of form, architecture, drama, texture and great skills of orchestration.
Miro: I never think of myself as a composer really.True composers are a rare breed. They have an original musical imagination, developed sense of form, architecture, drama, texture and great skills of orchestration.
I think I am more of a faciltator of musical
expression where my written ideas can be just a skeleton which invites the
players to create their own version of the parts.That way the pieces will never
sound the same and each performance is unique and no one really knows what is
going to happen through the piece. I find that sense of adventure very
satisfying. That varies to some degree depending on the band I’m writing
for. I’d have to orchestrate much more accurately when I write for TPI.
But I don’t like imitation. Only inspiration
and then hopefully I can come up something that I feel is a part of my
imagination.
Jan.s: In 1980 I had the great good fortune of doing some study with the much revered trumpet teacher Carmine Caruoso in NY. I'd been attending workshops with Jamie Aebersold in Sydney and US trumpet player John McNeil suggested I do some work with Carmine to help me with my breathing! Naturally I was somewhat daunted at the idea ...but John assured me that working with Carmine would be of great benefit. It was! Carmine showed the greatest respect for the individuality of the student whilst at the same time guiding one to direct that 'wayward breath' (my quote)...with the utmost focus....! Miro, you're a teacher...can you share some aspects of your approach...
Miro: I had about 7 lessons with Carmine back in 1981 in his studio in west 46th st. Very inspiring teacher who understood the coordination, breath flow and steadiness and timing in developing something reliable on such an unreliable instrument as trumpet.
Another fantastic teacher I spent 8 months with was
William Adam at Indiana University. (Randy Brecker’s old teacher) He’s still playing in his 90’s now!
He
had the most beautiful sound and he played with you in every lesson and you
couldn’t avoid absorbing THAT sound.Playing became much easier,more
relaxed through resonant sound with less effort and steady accelerated breath
He would make you sing and hear everything you played.So
I use this in my teaching all the time. Bill Adam also had a great respect for
the individual in each musician, the unique talent, and helped you to recognise
it foster it.Total focus.
Miro & student Alex Rapauch
Miroslav Bukovsky, and students Alex Raupach,Pina Luzzi and Stephanie Badman
All photos copyright (C) & courtesy of Mirsolav Bukovsky unless otherwise stated.
http://www.rufusrecords.com.au/artists/wanderlust.html
http://www.wanderlust.com.au/
http://soundcloud.com/miroslav-bukovsky
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