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Take Five With Eric Hofbauer

Take Five With Eric Hofbauer
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Meet Eric Hofbauer:
Known as "a crucial instigator in Boston's DIY avant-jazz scene" (Jon Garelick, Boston Phoenix), Eric Hofbauer has been one of the city's most active musicians and organizers for the past decade. When not documenting his own distinctive approach as a solo guitarist, or leading his working quartet, The Infrared Band, he is performing and recording with such ensembles as the Garrison Fewell
Garrison Fewell
Garrison Fewell
b.1953
guitar
/Eric Hofbauer Duo, BOLT (featuring Jorrit Dijkstra and Eric Rosenthal), Karayorgis/Hofbauer/William/Gray and Charlie Kohlhase's Explorer's Club. He is also a 2009 recipient of the Massachusetts Cultural Council Artist Fellowship in Music Composition, and a teacher of jazz guitar, jazz history, and composition at Emerson College and The University of Rhode Island.

Instrument(s):
Guitar.

Teachers and/or influences?
Teachers: Mick Goodrick
Mick Goodrick
Mick Goodrick
b.1945
guitar, electric
, Paul Bley
Paul Bley
Paul Bley
b.1932
piano
, Ran Blake
Ran Blake
Ran Blake
b.1935
piano
, Robert Ferraza, Wendell Logan, Don Walden. Influences: Eric Dolphy
Eric Dolphy
Eric Dolphy
1928 - 1964
reeds
, Charles Mingus
Charles Mingus
Charles Mingus
1922 - 1979
bass, acoustic
.

I knew I wanted to be a musician when...
I first felt the elation and wonder of improvisation. I was in high school.

Your sound and approach to music:
My approach is what the aficionados call post-modern. I believe in the three jazz vocabularies of improvisation: swing, bop and post-bop (some call it "free"). I approach them like a chemist, my compositions are the laboratory and the various vocabularies are the elements I fuse to create new compounds.

The whole history of jazz and American music is on the menu and I am a sound omnivore.

Your teaching approach:
The study of jazz music is a study of language, of history and culture, and perhaps most importantly, a study of the self. It is my goal to ensure that each of my students have the necessary tools to communicate with their instruments, understand the music's traditions, and discover his/her own unique stylistic voice within the art form. I have developed an empathetic teaching style, which is tailored to each individual student, especially in the private instrument or composition lesson setting and in ensembles. I believe it is the teacher's responsibility to adapt to each student's learning style and interests to create ways of imparting the fundamental elements of jazz while encouraging the students' own self discovery and creativity.

The jazz language can be broken down to elemental parts, all of which are at the nexus of my teaching priorities. Technique, scales, ear training, and reading are central to understanding jazz. I also believe a thorough study of what I call the "vocabularies of jazz" is crucial to the success of students practicing in the 21st century. I focus my instruction around the three major vocabularies of the jazz language: swing, bebop and free (post-bop). These vocabularies were the building blocks of the majority of jazz styles in the 20th century and are the keys to synthesizing personal style and individuality in the post-modern jazz world of today. In my ensemble or private instruction, I encourage a deep understanding of these traditional vocabularies as a way to self-discovery. I share concepts, but I do not give away the answers by making students practice licks or patterns or only work with limited interpretations of the jazz tradition. Conceptual understanding of each vocabulary through transcription, analysis, and repertoire study can illuminate the path towards fluency while stimulating an individual approach to all jazz styles.

Keeping students inspired and passionate is at the heart of my adaptive teaching philosophy. I always encourage questions and dialogue. I also pose questions to my students at length to help me develop a deep understanding of their abilities and influences to create an individualized path of study for them. With this method, I can express the same concepts through several different and personalized ways. For example, one student may discover how to use over-the-bar line phrasing by learning Charlie Parker
Charlie Parker
Charlie Parker
1920 - 1955
sax, alto
melodies as etudes, while another may acquire that skill through transcribing, then comparing and contrasting, the solos of Miles Davis
Miles Davis
Miles Davis
1926 - 1991
trumpet
and John Coltrane
John Coltrane
John Coltrane
1926 - 1967
saxophone
on the album Cookin'. Regardless of the method, the important outcome is that, through my guidance, the students are focused and passionate about the elements of jazz and discover them in their own way.

Individuality and personal style are the building blocks of jazz and can be heard in the innovations of all the great past and current players and composers. If my students can be grounded in the fundamentals of the history and language of jazz while developing their own style and voice, then I have succeeded in not only feeding the tributary of jazz, but I have helped a young artist to know themselves.

Your dream band:
I am living the dream band. My Infrared Band: Kelly Roberge, sax, Miki Matsuki, drums, Sean Farias, bass; all underrated virtuosos on the Boston jazz scene.

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