By Don Heckman

Los Angeles

Lady Gaga

- Dec. 21 – 23. (Mon. – Wed.) Lady Gaga. Performance as pop art reaches a new level in Lady Gaga’s ‘The Monster Ball’ — a multimedia artistic experience she describes as the first-ever ‘pop electro opera.’ Nokia Theatre L.A. LIVE. (213) 763-6030.

- Dec. 22. (Tues.) Marilyn King. Still singing from her heart, the soloist with the King Sisters celebrates Christmas with a too-rare club appearance. Upstairs at Vitellos. (818) 769-0905.

- Dec. 22. (Tues.) Chuck Berghofer’s Midnight Jazz Band. With Gary Foster, alto sax, Tom Rainier, piano, Peter Erskine, drums. With four of the Southland’s veteran jazz players on hand, the Midnight Band always seems to find amazing new musical adventures whenever they get together. Charlie O’s. (818) 989-3110.

- Dec. 22. (Tues.) Zane Musa Quartet. Alto saxophonist Musa has been a cutting edge player since he was still a teen-ager, and he just keeps getting better. Spazio. (818) 728-8400.

- Dec. 22. (Tues.) “Holidays with Sweet Honey in the Rock.“ The Grammy winning a cappella vocal group brings simmering African rhythms and lush harmonies to a program of holiday celebration. Disney Hall.

- Dec. 23. (Wed.) “A Creole Christmas” with the Preservation Hall Jazz Band. Expect Crescent City classics interwoven with Christmas standbys and the Preservation players’ irresistible second line swing. Disney Hall.

- Dec. 23. (Wed.) Josh Nelson and Pat Senatore Duo. A musically stimulating meeting of the generations, between pianist Nelson’s youthful versatility and bassist Senatore’s sturdy rhythmic drive. Vibrato Grill Jazz…etc. (310) 474-9400.

- Dec. 23. (Wed.) Dave Koz Smooth Jazz Christmas Tour. Alto saxophonist Koz celebrates the 12^th Anniversary of his annual smooth and mellow romp through the musical highlights of Christmas. Gibson Amphitheatre at Universal City Walk.

New Shanghai Circus

- Dec. 26 – 31. (Sat. – Thurs.) The New Shanghai Circus. If there’s a manipulation of the human body that can’t be done, the Shanghai artists haven’t encountered it yet. But what’s really amazing is the fact that their astonishing acrobatics are always done with deceptive ease and utterly engaging artistry. Cerritos Center for the Performing Arts. (562) 916-8501.

San Francisco

- Dec. 26 & 27. (Sat. & Sun.) Sharon McNight. “Twisted Christmas: An Orthodox Druid’s View of the Holidays.” The title says it all. McNight is witty, sardonic, hilarious and a sneakily talented singer. The Rrazz Room. (415) 394-1189

- Dec. 26 – 28. (Sat. – Mon.) Arturo Sandoval All-Star Band. Trumpeter/pianist/percussionist Sandoval is always a joy to hear, especially when he’s backed by an all-star Latin band. Featuring Horatio “El Negro” Hernandez, Giovanni Hidalgo, Rebecca Mauleon and others. Yoshi’s Oakland. (510) 238-9200.

- Dec. 26 – 28, (Sat. – Mon.) Jonathan Butler. South African singer/guitarist Butler has been a standout since his 1987 Grammy-nominated hit, “Lies.” And he’s still one of soul/smooth jazz’s most dynamic performers. Yoshi’s San Francisco. (415) 655-5600.

New York

Freddy Cole

- Dec. 22 – 26. (Tues. – Sat.) Freddy Cole. He plays piano, sings softly and leads a trio that includes guitar and bass. And his name is Cole. But although Freddy does have some of the qualities of his older brother Nat “King” Cole, the spirit, imagination and interpretion that he brings to his music is all his own. Birdland. (212) 581-3080.

- Dec. 22 – 27. (Tues. – Sun.) Cedar Walton Quartet. Pianist Walton continues a two week run at the Vanguard, with the added participation of  saxophonist Vincent Herring joining David Williams, bass and Willie Jones III, drums. Village Vanguard. (212) 255-4037.

- Dec. 23. (Wed.) Lew Soloff & The Latin Ensemble. Trumpeter Soloff takes a foray into Latin jazz, backed by Pedro Martinezk, timbales, Axel Tosca, keyboards, Alvaro Benavides, bass and Jhair Sala, congas. But whatever Soloff plays, expect him to be swinging hard, from the first note to the last. 55 Bar. ( 212 ) 929-9883.

- Dec. 24. (Thurs.) A Child’s Christmas in Wales. A highly praised film version of the classic poem in which a reading by Thomas is illustrated by photographic sequences of life in an actual Welsh Village. Marvin Lichtner conceived, photographed and produced. (Full disclosure: I wrote the music that accompanies Thomas and the visual images.) The Metropolitan Museum of Art. 12 noon – 12:30 p.m. Free with Museum admission. (212) 535-7710.

Jazz legend Dizzy Gillespie honors his student, who surpassed him. H/t

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Arturo Sandoval foi uma das presenças da edição deste ano do Matosinhos em Jazz. No início de um grande concerto – já depois de Maria Anadon ter estado em palco -, o cubano disse que era a primeira vez que vinha ao Porto e que isso não era coisa que se fizesse. Uma tortura, segundo o músico que há muitos anos se rendeu aos prazeres de um vinho do Porto. De Cuba, o tabaco; do Porto, o vinho. Perfeito, como a sonoridade de Sandoval.

Formaţia Mandinga va concerta în deschiderea celebrului trompetist de talie internaţională Arturo Sandoval, legenda vie a jazzului cubanez. Mandinga şi Arturo Sandoval vor încheia cele 7 zile ale Festivalului de Jazz de la Sibiu cu doua concerte explozive. Seara de duminică, 17 mai le este dedicată în întregime lor. Nu este de mirare că Mandinga ia parte la acest eveniment cultural, întrucât genul muzical al trupei îmbină diverse stiluri de la salsa, cha-cha, latin jazz, bolero, guajira şi chiar acid jazz. Pe de altă parte, Arturo Sandoval, prezent pentru prima dată în Romania,  va fi însoţit de un sextet de talie mondială şi va încânta publicul cu ritmuri afro-cubane, balade sau swing. Un spectacol oferit de două generaţii de artişti, urmărind acelaşi stil muzical – jazz-ul – însă interpretându-l în două maniere diferite. Cei zece muzicieni s-au declarat extrem de entuziasmaţi de a lua parte la acest eveniment, care a găzduit pe scena lui – de-a lungul timpului – numai celebrităţi de talie internaţională. “Suntem bucuroşi să concertăm din nou în “capitala Jazz-ului” şi suntem nerăbdători să oferim publicului amator de jazz un spectacol de cea mai bună calitate, marca Mandinga. Pentru mine este cu atât mai important să fiu acolo, întrucât Arturo Sandoval este un artist consacrat care cântă la trompetă dumnezeieşte şi pe care îl admir de foarte mult timp” a declarat Alex,  trompetistul trupei. Mandinga va cânta, în seara de duminică, in Piaţa Mică din Sibiu, începând cu ora 18.00.

Sursă: Star Management

I recently found myself doing some cleaning of my album collection. More than cleaning, it is a chance for me to revisit some albums that have, through no fault of their own, been sitting on the shelf too long.

I came to realize that I am fortunate to have the opportunity to be a jazz radio disc jockey, as well as someone who can spend hours in jazz record stores. With the decline in jazz record sales, and the bulk of jazz album sales going to big name vocalists or timeless classic recordings like Kind of Blue, it hit me that just because I have exposure to some wonderful gems of the last thirty years, doesn’t mean that everybody has.

That being said, I decided that I wanted to share my favorite albums from the last thirty or so years that, for one reason or another, might not be sitting on your shelf. And, as always, I encourage you offer your hidden gems.

1. Pilgrimage – Michael Brecker (2007)

Even without the sentimental value of this album (Brecker recorded it while battling MDS and Leukemia, and never did live to release it), it is the best jazz album over the last twenty years. The writing and improvisation from Brecker is stellar, and each member of the band play to their full potential. Winner of two Grammy awards.

Recommended tracks: Tumbleweed, Anagram

Billboard Jazz Chart Peak Spot: 3

2. Trumpet Evolution – Arturo Sandoval (2003)

Many critics called this the best trumpet album of the last twenty years. Sandoval’s ability to capture the sound and emotion of each trumpet player he honors (19 in all) is something I don’t believe any other musician has the ability or talent to do.

Recommended Tracks: I Can’t Get Started, Up Jumped Spring

Billboard Jazz Chart Peak Spot: 6

3. Beyond The Missouri Sky – Charlie Haden/Pat Metheny (1996)

To be honest, I am not a huge Pat Metheny fan. On this album however, you are hard pressed to find a track that isn’t increadibly beautiful. The two musicians are in perfect sync, and you could have this release playing in your CD player over and over for days and continually enjoy it. A Grammy award winner.

Recommended Tracks: Two For the Road, The Moon Song, Cinema Paradiso (Love Theme)

Billboard Jazz Chart Peak Spot: 1

4. The Birthday Concert – Jaco Pastorious (1981)

Jaco Pastorious decided to throw himself a 30th birthday party in the form of a concert, and what a party it was. Jaco shows why he is the best electric bass player ever, and his supporting cast (Bob Mintzer, Michael Brecker, Peter Erskine, Don Alias, and the Peter Graves Orchestra.

Recommended Tracks: Soul Intro/The Chicken, Invitation

Billboard Jazz Chart Peak Spot: 7

5. Flow – Terence Blanchard (2005)

After going through an embochure change (which just sounds painful to brass players), Blanchard came back strong with this release. Working with the likes of Herbie Hancock and Aaron Parks, this album features wonderful arrangements and performances with alot of intensity.

Recommended Tracks: Over There

Billboard Jazz Chart Peak Spot: 10

6. An Evening with Herbie Hancock & Chick Corea – Herbie Hancock/Chick Corea (1978)

Herbie and Chick had both gone pretty electric during the late 70’s, so to have them come together and do a live acoustic set was somewhat of a shock. They play extremely well together, and this concert is a wonderful result of that.

Recommended Tracks: Liza

Billboard Jazz Chart Peak Spot: 8

7. Contemporary Jazz – Branford Marsalis (2000)

Branford displays a wonderfully artistic side on the first album with this quartet, which as of today has spent ten years together. While many of the compositions are complex, no member of the band struggles with them. On the contrary, each band member shines as part of a quartet that would continue to make fantastic music together. A Grammy award winner.

Recommended Tracks: In The Crease

Billboard Jazz Chart Peak Spot: 12

8. Democracy – Kenny Werner (2006)

I know Kenny Werner is talented. But until this live recording, he had yet to truly move me. David Sanchez and Brian Blade are especially good on this album, and all of Werner’s compositions are especially good.

Recommended Tracks: One For Joni

Billboard Jazz Chart Peak Spot: N/A

9. Lucky To Be Me – Taylor Eigsti (2006)

Just 21 at the time of the recording, Eigsti proved that he is the future of jazz piano (in addition to virtuoso Eldar). The performances show maturity, energy, and complexity. Even more impressive is 17 year old guitarist Julian Lage.

Recommended Tracks: Giant Steps, Woke Up This Morning, Love For Sale

Billboard Jazz Chart Peak Spot: 15

10. Earfood – Roy Hargrove (2008)

It is wonderful when a musician can continue to put out music that demonstrates that they have yet to peak. Roy Hargrove continues to get better and better with every album, and this no doubt is his best. While Earfood was snubbed when it came to Grammy nominations, it is widely agreed upon that it was easily the best jazz album released in 2008.

Recommended Tracks: I’m Not So Sure, Speak Low, Bring It On Home To Me

Billboard Jazz Chart Peak Spot: 7

If you are a child of the 80’s, there is no way that you don’t know who Wrestler, pop culture icon ‘Captain’ Lou Albano is. He died on October 14, 2009, of natural causes at 76.

"Captain" Lou Albano

Who can forget him in Cyndi Lauper’s music videos “Girls Just Want to Have Fun“, “She Bop“, and “The Goonies ‘R’ Good Enough“? I remember watching him on World Wide Wrestling Federation. Some of the wrestlers that he managed were the British Bulldogs, and the Wild Samoans — Afa and Sika.

I don’t think I saw anyone before or after him with rubber band facial piercings! R.I.P. ‘Captain’ Lou Albano.

My sleeping patterns have been off these past couple of weeks. One “good” thing is that I have seen some really good shows on TV at 2, 3 and 4 in the morning. The latest one I’ve seen was on PBS — Latin Music USA. I stayed up to watch the whole thing.

From Latin jazz and mambo to salsa, Tejano, Chicano rock, Latin pop and reggaeton, LATIN MUSIC USA tells the story of the rise of new American music forged from powerful Latin roots and reveals the often overlooked influence of Latin music on jazz, hip hop, rhythm and blues and rock ‘n’ roll — and on all of American culture.

Watching the show has introduced me to some artists that I need to find and add to my music collection like:

• Tito Puente
• Rubén Blades
• Héctor Lavoe
• Fania All-Stars
• Arturo Sandoval

One of my four picks on what team was eliminated from Dancing With The Stars — Chuck Liddell & Anna Trebunskaya. I wonder who will be next to be eliminated? I’ll be making my pick(s) on Monday after the show.

Well the Detroit Lions didn’t let me down this past weekend. They lost to the Pittsburgh Steelers 28-20.

I used to like the TV show Nip/Tuck, but after watching the Season 6 season premier, I wasn’t impressed. Has the show “Jump the Shark“?

Bien, por fin este señor pronuncia la palabra “Libertad”, en Nueva York, claro. Pero fíjense, la zoquetería que usa con una transeúnte que solamente le pregunta si le cantó a los presos políticos en Cuba. ¿Comunista solamente? ¡No, descarado! Valga la redundancia. Todavía estamos esperando que nos explique qué pasó en el Hotel Nacional. Gracias a Ric.

Por cierto, escuchen la entrevista de Arturo Sandoval con La Voz de las Américas, en Penúltimos Días.

El Ministro de cultura, Abel Prieto,  consideró como una “victoria extraordinaria” del pueblo cubano  contra el bloqueo, el concierto de “Paz sin fronteras” celebrado  el domingo en La Habana, organizado por el colombiano Juanes.

“Fue una victoria extraordinaria de nuestro pueblo, de la  gente que apoyó esa idea de Juanes, una victoria de la cultura,  del arte frente al odio, frente a la intransigencia”, declaró  Prieto a la agencia italiana ANSA.

“El balance de ese extraordinario momento histórico es muy  positivo no solo para Cuba, sino para el mundo”, añadió sobre el  concierto celebrado en la Plaza de la Revolución ante más de un  millón de personas.

Considerá que “indirectamente fue un concierto contra  el bloqueo, un concierto contra la imagen desfigurada de Cuba  que se ha pretendido construir a través de mentiras, de medias  verdades”.

“Fue un golpe a esa imagen de una Cuba reprimida, triste, de  una Cuba bajo un régimen siniestro, todas esas locuras que se  dicen y se repiten”, afirmó el ministro.

Abel Prieto señaló que con el concierto “lo que salió a flote fue  esa juventud maravillosa que tenemos nosotros y gente de todas  las edades”.

El ministro destacó que “el momento final con el Chan Chan de  Formell (los Van Van), que fue un homenaje a Compay Segundo y a  toda nuestra música tradicional, fue realmente hermoso”.

Sobre el “núcleo intransigente de Miami” que criticó el  concierto, Prieto declaró que “son cosas tragicómicas, una cosa  patética lo que está pasando”. Apuntó que “ya hay gente en Miami, cada vez más, que no  le temen a ese cerco mediático, a esa presión que se ha creado  otra vez en las emisoras radiales de determinados programas de  televisión y que han decidido enfrentar a los extremistas”.

El trompetista cubano Arturo Sandoval dice que Juanes “es nada en la música”

¿Qué le molestó a Sandoval? ¿La mala música de Juanes o la buena trompeta de Alexander Abreu?

Mi concierto por la libertad de Cuba en este blog, post a post, desde hoy hasta el lunes, con videos de artistas cubanos prohibidos en el concierto de Juanes. Sigan leyendo más abajo.

Seguimos con Donato Poveda:

Con Arturo Sandoval:

Mi concierto personal por la libertad de Cuba, post a post, ver los anteriores.

Arturo Sandoval con Dizzy Gillespie:

Hoy domingo, para terminar la semana os traigo otro poco más de música, esta vez le ha tocado al Jazz, que lo tenía abandonado. Así que para recuperar ese mundo nada mejor que una conbinación de los mejores trompetas de Jazz que he escuchado, son: Arturo Sandoval, el fallecido Dizzy Gillespie y Claudio Roditi.

En este video podremos escuchar a Arturo Sandoval y a Claudio Roditi interpretando un tema, de los más conocidos y de los mejores que hizo, de Dizzy Gillespie: A Night in Tunisia. Una obra magnífica con solos de ambos trompetistas. Una gozada, que lo disfrutéis.

Music has its science, and it takes talented people to understand it, and what more to master it.  I think musicians are gifted and rare people. We must educate parents that our children can also have a good career in the music field. A career in music doesn’t restrict you to only becoming a music performer. No. With discipline, sense of organisation and passion; good musician can also be a good manager. Jessel CP Yansalang, Director cum Head of Academic, Sabah Institute of Art. Guitarist and Jazz trumpeter, SIA Jazz Syndicate.

HEY KIDS!  Do you daydream about telling your parents, ‘I wanna be a musician,’ but know their faces will drop? Well, meet 28-year old Jessel Yansalang. Head of Academic at SIA.

Jessel believes that music education can offer an exciting, realistic career path for young people. He sees a generation of music graduates going out and becoming teachers in schools, bringing beautiful melodies into classes instead of turgid songs.

Jessel, who comes from Tambunan, says, “Musicians have the advantage of using both sides of their brains. Part of the reason why parents ask for their children to learn piano is because piano gives the capability of using both sides, practising bass clef and treble clef. Playing different things at the same time really improves children’s intelligence.”

Jessel was in the first batch of graduates from UMS’ pioneering Music degree programme. He also ran the Music diploma qualification at SIA, and is a guitarist and jazz trumpeter. All this, simply by following his heart.

“I need to have passion. For me, this cannot die, otherwise it will all be just work. My mission is to help the younger generation, by educating parents that young people can have a good career in music.

“They need to choose the correct pathway, and it’s definitely through education. Why not?  Why not have your child be called Doctor, and have a PhD in Music? Some parents even ask me, ‘There is a PhD in music?’ Yes! Our professors have PhDs in music. Why not be good at the things you love?

“There are some students with 7As who audition here. We hit a note  – ding! –  and when they sing they are totally tone deaf. I have to reject them. They say, ‘How can you do that? I have 7As and I cannot go into this small institute?’ I say, ‘No. Music is not as easy as other subject because it requires talent and gift to cope.’ I think musicians are gifted and rare people. If you don’t have it, maybe you are meant for other fields.”

Jessel went to SRS Datuk Simon Fung primary school.  “In Simon Fung, they taught the value of music and how to sing lyrics properly. They taught evergreen songs which your parents loved. I went seriously into (the school) choir, and learned that musicians need discipline, especially if you are going for competition. We won competitions, and to me, it was a real achievement. Our teacher was Filipino and we were taught how to maintain a high voice, with a special kind of breathing. They really taught you how to express yourself in music.”

For secondary school, Jessel moved to a half-government school. All Saints.  “Oh man! That was another world. There were now 50 people in the class, when I was used to 20. But I am thankful that I moved to this government school because I learned another level of independence. It was like, you’re on your own.

“Government school taught songs more towards Malay folk songs oriented. I thought, why are we forced to sing these kinds of songs? Later I got to understand, this is the syllabus. It is what the government wants the younger generation to know. Although the school had a choir, I lost interest and didn’t join.

“Then, in Form 2, I saw a band. They were senior boys, playing Beatles, and I thought, ‘Wow! This is so good!’ I heard some simple voicings, and thought, ‘This is like a choir but people are playing instruments at the same time!’  I sang with them. They said, ‘Hey you have a good voice, man!  We’re having a competition (Bakat Interact) come and join us.’ They were in long pants, already driving a car. They played Hendrix. I was like, ‘Oh my God!  I’m in a band with boys like these!’

Jessel’s life at All Saints was characterized by bands and sports. But by Form 4, his parents stepped in. They were worried about his studies, although he managed to get the grades in the subjects he needed to go to university.

After exams, Jessel was lost. Although he loved music there seemed no right path for him to follow.  “During that time Information Technology was THE subject. The government said, ‘The next era is IT. We are going to do MultiMedia, we are going to do Cyber City.’

“I thought, even though I love to play music, this is the real world. So I started Computer Science at Informatics, a UK franchise with a college in KK. It was fun doing html, websites, security programs and animation. I got good grades, and my parents were happy with me. But I would go home and look at my textbooks and think, ‘Why am I learning all this?’

“Then, I met some guys who play the guitar!  (Laughs)  Here we go again!  Band competition, COLLEGE LEVEL!  We won and started seriously composing our own songs.  My grades were still good, but I loved playing music the most.”

Jessel’s family drew his attention to a degree programme at UMS, in Music. Everything connected with Jessel from primary school to secondary school was attached to music. Why didn’t he consider it as a career? Could he see himself in computers in ten years time? What about in music?

“I thought about being in computers in ten years time, and competing with all these genius computer kids.  My classmates were already programming GAMES! They’re already that good! I could not do that!  I could only be as good as what the textbook told me to do.”  He decided to give UMS a try.

“I went to UMS to register, there were 50 students there auditioning, and they would only take 20. Some were practising songs, some were playing simple chords. When it was my turn to go in, I tried to be aware of what they were trying to test.

“They gave me a guitar, and said, ‘Play a song.’ I strummed the guitar, it was out of tune. So I tuned it and then played.  They said, ‘How did you know which strings to tune? We only untuned three strings. How did you know to tune those ones?’  I got full marks for that. They auditioned me on rhythm and other things, and I got everything correct.

“Then one of them said, ‘For a bonus, tell us why we should choose you?’ I said, ‘Because I have nowhere else to go. This is all I have ever dreamed of, and it is the only thing I want to do with my life. If I don’t make it for this audition, if they have another audition, I will come back. This is the only opportunity we have in KK, to come to university to make a career of music.’

“He said, ‘Of all the students here today, no-one is as sure as you are. Some said: Just want to give it a try. Others: If I don’t end up here I will just try somewhere else’.

“I needed a second instrument, which I can play in an orchestra. They chose trumpet for me. I said, ‘If I say Yes to trumpet, will I be in?’

“They said, ‘Yes. Because we don’t have a trumpet player now, and no-one’s willing to take trump-’

“ ‘OK I’LL TAKE TRUMPET!’  I shouted. So that’s how it all started.

Jessel didn’t drop his Computer Science courses at once, he intended to go back during the holidays to complete papers, but there was an expiry date on work due. He had no choice but to quit Computer Science completely.

“So, the UMS music adventure starts!  Wow! I have my first guitar lesson with the best teacher, Ronald James, head of the combo at RTM at that time. I’m so excited that people will actually teach me the proper way to play guitar! How to hold the fret, how to use a pick. I practised day and night and was doing theory, and having the time of my life.

“We played for the Asian Festival, for the National University of Singapore, we played in KL. I was the luckiest guy on Earth! I got to hear all this ethnic music, and we bring in ethnic music fused with modern, and people said, ‘Oh, this is totally brilliant!’ We made friends. Personally my favourites were Indonesians and Filipinos.  I hear their gentle talk and I think, ‘Their culture has a very close bond with Sabahans’.

“But there was the other side… I totally hated trumpet. It sounded like, Barp! Barp! My trumpet teacher was from RTM and was an ex-police marching band educated trumpeter.  My friends teased me, ‘Oh Jessel, why don’t you march around with your trumpet?’

“I was playing the Patriotik songs, Rasa Sayang, using old textbooks. It was not developing me. So…I failed!

“My parents said:  ‘Nooo!  You cannot be like that, Jessel! You cannot just do things you like. You have to do reverse psychology and learn to like your trumpet.’

“My professor said, ‘Jessel, you’re talented, but priority-wise, you are immature. The things you don’t like, you don’t put a balance to it.’

“I knew they were all right. But how can you like music which sounds like Pfft-pfft-pfft!

“Then a new lecturer came to UMS. His name was Vincent Chin and he was teaching saxophone. He said to me, ‘Oh, you play trumpet.’ He was a Sabahan, and had made a living being a jazz sessionist in KL. He said, ‘Well, trumpet, I tell you, is BIG deal in KL.’

Duh???

“He said, ‘Haven’t you heard of Louis Armstrong?  He’s the father of jazz.’

“He said listen to Chet Baker, Chuck Mangione and these people. Wah! I thought, ‘What have I been doing all my life? This is an instrument that most of my friends find hideous. I must take my time with it.’ That’s when I started to love my instrument.

“The rest is history. I was playing classical, duets and always being the first trumpeter in the orchestra. It would be, ‘OK, we’re going to play Latin songs. Jessel! Make sure you hold up the high notes.’  ‘Ok boss!  I take care of the high notes!’ I was back in the degree programme!

“But, the question which never leaves you is, ‘What do you want to do after that?’

“After I graduated, I went to KL for my practical.  I always wanted to check out the music scene there. Finally, it was time! I thought I could be at par with them.  No! I was totally wrong. We arrived there holding our bags, the band conductor came up and said, ‘OK, put your bags in. Later we give you a few scores, we go to Ipoh tomorrow for a concert.’

“You see these old trumpeters, sitting there smoking and looking at us. One said to me, ‘I hear you guys are from university’. That sounded like a big deal! You cannot say you are from university! It looks like you think you are higher than them, when this is your opportunity to look for new knowledge from them. I asked him since when did he take up trumpet. He said, ‘I played for the Merdeka in Malaysia.’ He played the trumpet on Independence Day! His name was Jimmy Lee, he’s a Singaporean, but was hired by Telekom orchestra. I learned a lot from him. It was an honour.

“Jimmy said to me, ‘Jessel, I’d like to bring you to the club.’ He brings me to the parking lot, and he was driving MERCEDES BENZ, OK? (Laughs)  In the club all I can hear is this trumpet inside. I think, ‘Oh my God, that sounds like Arturo Sandoval!’ I got to hear people playing those high notes in front of me often when I had the chance to drop by.

“Returning to KK, I realised that university teaches you about 40 per cent of what you need to know as a musician. That whole experience was another level for me.

“So how did I get to teaching? Well before I graduated, a lot of places had already started to hire me.

“My very first experience was when I got a call from MusicMart. ‘Are you Jessel? Someone here recommended you to help us teach electric guitar for a student. I hope you can help us.’ Then I find out a lot of teachers was afraid to take this student. I don’t know why.

“So I turn up, and wait for this student. Then this guy came in. He’s very friendly. He’s like, ‘Ah!  This is my new teacher? Great! Hi, my name’s Datuk Uzair.’  But I didn’t know who he was until I was told he was a high profile man in politics. So I just asked him, ‘Right, first I need to know what your expectations are.’

“This is my first experience teaching, but I already feel I know what to do. It was natural. I just needed to know what the student wants. The Datuk wanted to play blues. Later he just comes to class for jamming and doesn’t want technical lesson, so I just teach him some licks, and he’s very happy.

“Then I started to teach small kids. That was like, ‘Ok! Let’s tune the guitar!’ Before you finish tuning the guitar you see the kid get up, go to the wall, crying, ‘Boring boring!’  So I re-design my lesson to teach them for just 15 minutes, anything over that is just games. This way they want to come back to the next class. Otherwise they will just say, ‘I hate this!’

“When you get a new student from ground zero, and they start to play exactly how you play, and even better eventually, through your teaching, that feels so good! I have a lot of students who started from Primary 2, and it’s an amazing feeling seeing them develop, until you actually get to jam with them.

“I still play in clubs, in festivals, doing my songs and recording a session, but I want to give something back. Not many people want to do that. They want to take everything and then go further.  I want to go further too, but through education. I want to find out what is the best way to teach, say, to get RESULTS.”

Jessel Yansalang has made a career as a musician, a teacher and now a leading educator. Like everyone, he had to instil discipline and balance into his life. Parents and young people here should take heart from his success, and be positive about the potential future for young musicians in Sabah.

“Teaching is a beautiful experience for me. You can reach higher level in mastering certain subject simply by being a teacher. You really can have a great music career within education. It’s definitely a good path to choose.”   Jessel Yansalang.

ArturoSandoval