bentenlaughing

  Jan:  What about development of craft? Judy:  Do you mean that whole business of combining awareness of technique, awareness of phrasing, awareness of...the musical ways to move throughout a progression, rather than the clever ways, the overall architecture of the piece.  To me that's a very important ingredient. I think it's vital to be aware of and have your students become aware of the importance of looking at the overall structure rather than going along beat by beat, bar by bar, till you get to the end. To try and develop a way of looking at a piece in its entirety, so that when you're improvising for instance, you can retain what you've already played, it's as 'though you've recorded it.  You've got you've got your little tape recorder in the back of your head and you can retain a memory of what you've played, what you're playing now and where you're going to so that you're building from what you've started with and you br...

 Introduction:  I interviewed Judy; in perhaps late 1979.  There is a Part One of this interview but I've yet to locate it.  I was studying Jazz theory with visiting USA Jazz musicians; via the courtesy of Jeanette & Greg Quigley who had organized Jamie Aebersold to teach in Australia. I've the feeling that it was around this time that I managed to sit down and have a chat with Judy with my trusted tape recorder.  As this interview will show; Judy displays a brilliant; quirky, humorous and insightful take on her idiom along with the generalities of life in the Antipodes.  I've decided to try to stick to the original transcription with as few edits as possible. Along with that as it's a very long interview which I'm having to retype I'm going to break it up into segments. I know for those who are familiar with Judy's work you'll enjoy hearing her responses to my questions and for those new to her that you'll check out her gorgeous music.   Chee...