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Reflective paper – my experience in BGJI, class of 2019
My time could be summed up in the Berklee Global Jazz Institute as nothing short of
transformative. I have been challenged and stretched beyond my previous
predictions and anticipations. The experiences, opportunities and situations I
have been exposed to over the past 10 months have cracked me open as
musician and human being and led me to realise that there is nothing that can’t
be accessed and achieved when one has pure-hearted motive, conviction and
persistence.
My time could be summed up in the Berklee Global Jazz Institute as nothing short of
transformative. I have been challenged and stretched beyond my previous
predictions and anticipations. The experiences, opportunities and situations I
have been exposed to over the past 10 months have cracked me open as
musician and human being and led me to realise that there is nothing that can’t
be accessed and achieved when one has pure-hearted motive, conviction and
persistence.
I began playing the drums at 14 years old and instantly fell in love with the rhythmic
responsibility playing a percussion instrument granted me. Since performing
professionally at age 16, I have strived to study and seek out guidance and
direction towards becoming the greatest musician and drummer I can possible.
This serendipitously led me to undertake a Masters degree in the Berklee
Global Jazz Institute, spearheaded by artistic director and master pianist
Danilo Perez and managing director and renowned saxophonist Marco
Pignataro. Through collaborating and learning from the highest calibre of
musicians (Terri-Lyne Carrington, Ben Street, John Pattitucci, Joe Lovano,
Alan Pasqua and George Garzone, to name a few), including Perez and
Pignataro, I experienced and was consistently exposed first-hand, to examples
to some of the highest peaks of musical and artistic mastery, accomplishment
and integrity.
Being surrounded and immersed in the fertile and creatively inspiring environment of
the Berklee Global Jazz Institute and in the greater Berklee music community,
I continued to mount, overcome and relish in the learning curves that
presented themselves throughout the duration of the Master's degree. From
exercises and thought experiments of a musical and conceptual nature to
emotional and psychological mind stretches inherent in the process of artistic
maturation, I was challenged and encouraged to jump into the unknown,
sometimes before I thought I was ready too. One life-changing example of this
was a mini tour with artistic director Danilo Perez and fellow BGJI students in
October 2018.
In a quartet featuring Perez, vocalist Berklee fellow Farayi Malek, fellow BGJI
students saxophonist Luke Norris and bassist Benjamin Jephta, I was
privileged to play and perform in New Orleans, namely at renowned club
Snug Harbor and the University of New Orleans. Through the process of
rehearsing Perez’s compositions and arrangements, working together as a team
and bonding in our time exploring New Orleans, this was admittedly an
exceptionally special experience of which I am so privileged to have had.
Playing and bring the repertoire to life was a richly satisfying experience and
one of the highlights of my musical life thus far. Additionally, living and
exploring the rich cultural heritage of New Orleans provided also a full circle
moment for me. We were accommodated not far from Congo Square in the
French Quarter, the historical birthplace of the art form I have centered my life
around, namely a fusion African rhythmic vocabulary with the European
marching band and classical music, the tradition and culture we know as
jazz/social music.
As a continuation on the theme of travel and outreach, I was privileged to be featured
in the ensemble representing the BGJI at the 16th Panama Jazz Festival in
January 2019. Through the wonderful time making music with trombonist
Andre Hayward and the Panama festival community we were able to see the
power and effect of music on those hungry for increased involvement in an
arts practice. Through participating in jam sessions, to conducting individual
and group led masterclasses, the evidence of the potential and amongst the
students for musical learning and growth was blindingly obvious. This
experienced exemplified a recent quote of Perez’s (the founder and director of
Fundación Danilo Perez and Panama Jazz Festival): “leave your ego at home
before you step onto the bandstand”. To see his influence extend and return
back to his place of birth was a source of tremendous inspiration for myself
and fellow bandmates: trumpeter Alonzo Ryan,pianist Aga Derlak,
saxophonist Alexander Johnson and bassist Jacob Jezioro.
In March 2019, with Johnson, I represented the BGJI in the inaugural GAIA (Global
Association for interconnective Arts) ensemble, developed by Perez and formed
through a collaboration between leading music schools around the USA and Europe:
Berklee, The New School of Music New York, Conservatoire National Supérieur de
Musique et de Danse de Paris, Siena Conservatory of Music and Conservatorium van
Amsterdam, on the latter’s campus of which the project was debuted. Throughout our
time in Amsterdam we had the privilege of performing a repertoire of original
compositions/arrangements at the famed Bimhuis and as part, also, of the Taste of
Jazz performance series. We also witnessed first hand how the power of music can
bridge cultural gaps during our outreach in a refugee camp in Utrecht. Through jam
sessions and dialogue with the inhabitants, awaiting their habitual status in the camp,
we had the privilege of sharing special moments of kinship and connection through
music.
True to its description, each of us in BGJI were required to research towards, compile and
complete a Culminating Experience recording and presentation, pertaining to a
musical and political area of exploration and study that individually resonated with us.
For mine, (entitled Middle Easter Rhythms and the democratization of Gender roles) I
decided to delve into the rich tradition of the Middle Eastern and Lebanese music and
rhythmic canon. Having Lebanese ancestry and being born the offspring a Middle
Eastern migrant family, settled in Sydney, Australia (during the mid 20th century), I
sought, and will continue, to seek towards the potential of creative fusion between
Middle Eastern rhythmic and percussion vocabularies with democratic sensibilities of
jazz/social music. I also aimed to exemplify the concept of gender equality through
the metaphor of artistic and instrumental democracy that jazz/improvised music
espouses. Unlike that of Arab music traditions, jazz music places equal importance
and artistic responsibility on every music/sonic voice in an ensemble. Through using
two beloved and politically resonant Lebanese folk tunes made famous by legendary
vocalist Fairuz (Nassam Alayna Al Hawa, Sal’Alouni Al Nas), an original
composition (Beit Kassab) and arrangement of a piece by a renowned jazz drummer
(Drum Music), I aimed to interpret and translate the idea of gender and social equality
through the lens of creative freedom applied to tunes steeped and representative of
political and social empowerment during a time of civil unrest in the late 20th
century. Notoriously, women instrumentalists have been underrepresented in the Arab
world. Through utilising pieces made famous by a well-known Arab female vocalist I
sought to leave my listeners and adjudicators with a final question: could the
increased inclusion of female creative voice in middle eastern arts practice further
contribute and serve to influence of equality amongst genders in the larger political
and social realms of Arab culture and life? I was able to accomplish this sonic
experimentation and journey with my fellow musicians and alumni from the BGJI and
Berklee College: violinist/vocalist Layth Sidiq, Laoutoist Vasilis Kostas, percussionist
Alber Baseel, bassist Benjamin Jephta and pianist Noe` Zagroun.
The next chapter in my professional and creative life will take place in New York City where
I will complete a Fall internship with freelance Australian-born piano player Matt
Baker. This period of time in the fall help solidify and grow my professional network
in New York and help jumpstart and further develop my creative practice and
collaboration within the myriad music scenes of the City as well as extending my
reach and building audiences nationally and internationally.
Through this richly inspiring process and time spent in collaboration with some of my
favourite musicians on the globe, I came to see the potential inherent in myself to
affect positive change through musical excellence and commitment. The effects on
the immediate and global community in the political, social and environmental realms
were regularly made apparent through inspired teachings of Perez, Pignataro and the
above mentioned guest artists and teaching faculty of the BGJI and greater Berklee
College of Music. At the final commencement ceremony for our class of 2019, we
were left with a poignant and incredible final encouragement from master musician
and one of my greatest inspirations Wayne Shorter (communicated via text message
from Perez) that put the icing on our proverbial BGJI Master’s completion cake:
“The paths you take may present challenges which are in essence opportunities for a life
expanding adventure, beginning with ‘Once upon a time’...GO FOR IT...See you in
the future”
Onwards and upwards from here!
Love,
Jodie Michael, 2019
My time could be summed up in the Berklee Global Jazz Institute as nothing short of
transformative. I have been challenged and stretched beyond my previous
predictions and anticipations. The experiences, opportunities and situations I
have been exposed to over the past 10 months have cracked me open as
musician and human being and led me to realise that there is nothing that can’t
be accessed and achieved when one has pure-hearted motive, conviction and
persistence.
My time could be summed up in the Berklee Global Jazz Institute as nothing short of
transformative. I have been challenged and stretched beyond my previous
predictions and anticipations. The experiences, opportunities and situations I
have been exposed to over the past 10 months have cracked me open as
musician and human being and led me to realise that there is nothing that can’t
be accessed and achieved when one has pure-hearted motive, conviction and
persistence.
I began playing the drums at 14 years old and instantly fell in love with the rhythmic
responsibility playing a percussion instrument granted me. Since performing
professionally at age 16, I have strived to study and seek out guidance and
direction towards becoming the greatest musician and drummer I can possible.
This serendipitously led me to undertake a Masters degree in the Berklee
Global Jazz Institute, spearheaded by artistic director and master pianist
Danilo Perez and managing director and renowned saxophonist Marco
Pignataro. Through collaborating and learning from the highest calibre of
musicians (Terri-Lyne Carrington, Ben Street, John Pattitucci, Joe Lovano,
Alan Pasqua and George Garzone, to name a few), including Perez and
Pignataro, I experienced and was consistently exposed first-hand, to examples
to some of the highest peaks of musical and artistic mastery, accomplishment
and integrity.
Being surrounded and immersed in the fertile and creatively inspiring environment of
the Berklee Global Jazz Institute and in the greater Berklee music community,
I continued to mount, overcome and relish in the learning curves that
presented themselves throughout the duration of the Master's degree. From
exercises and thought experiments of a musical and conceptual nature to
emotional and psychological mind stretches inherent in the process of artistic
maturation, I was challenged and encouraged to jump into the unknown,
sometimes before I thought I was ready too. One life-changing example of this
was a mini tour with artistic director Danilo Perez and fellow BGJI students in
October 2018.
In a quartet featuring Perez, vocalist Berklee fellow Farayi Malek, fellow BGJI
students saxophonist Luke Norris and bassist Benjamin Jephta, I was
privileged to play and perform in New Orleans, namely at renowned club
Snug Harbor and the University of New Orleans. Through the process of
rehearsing Perez’s compositions and arrangements, working together as a team
and bonding in our time exploring New Orleans, this was admittedly an
exceptionally special experience of which I am so privileged to have had.
Playing and bring the repertoire to life was a richly satisfying experience and
one of the highlights of my musical life thus far. Additionally, living and
exploring the rich cultural heritage of New Orleans provided also a full circle
moment for me. We were accommodated not far from Congo Square in the
French Quarter, the historical birthplace of the art form I have centered my life
around, namely a fusion African rhythmic vocabulary with the European
marching band and classical music, the tradition and culture we know as
jazz/social music.
As a continuation on the theme of travel and outreach, I was privileged to be featured
in the ensemble representing the BGJI at the 16th Panama Jazz Festival in
January 2019. Through the wonderful time making music with trombonist
Andre Hayward and the Panama festival community we were able to see the
power and effect of music on those hungry for increased involvement in an
arts practice. Through participating in jam sessions, to conducting individual
and group led masterclasses, the evidence of the potential and amongst the
students for musical learning and growth was blindingly obvious. This
experienced exemplified a recent quote of Perez’s (the founder and director of
Fundación Danilo Perez and Panama Jazz Festival): “leave your ego at home
before you step onto the bandstand”. To see his influence extend and return
back to his place of birth was a source of tremendous inspiration for myself
and fellow bandmates: trumpeter Alonzo Ryan,pianist Aga Derlak,
saxophonist Alexander Johnson and bassist Jacob Jezioro.
In March 2019, with Johnson, I represented the BGJI in the inaugural GAIA (Global
Association for interconnective Arts) ensemble, developed by Perez and formed
through a collaboration between leading music schools around the USA and Europe:
Berklee, The New School of Music New York, Conservatoire National Supérieur de
Musique et de Danse de Paris, Siena Conservatory of Music and Conservatorium van
Amsterdam, on the latter’s campus of which the project was debuted. Throughout our
time in Amsterdam we had the privilege of performing a repertoire of original
compositions/arrangements at the famed Bimhuis and as part, also, of the Taste of
Jazz performance series. We also witnessed first hand how the power of music can
bridge cultural gaps during our outreach in a refugee camp in Utrecht. Through jam
sessions and dialogue with the inhabitants, awaiting their habitual status in the camp,
we had the privilege of sharing special moments of kinship and connection through
music.
True to its description, each of us in BGJI were required to research towards, compile and
complete a Culminating Experience recording and presentation, pertaining to a
musical and political area of exploration and study that individually resonated with us.
For mine, (entitled Middle Easter Rhythms and the democratization of Gender roles) I
decided to delve into the rich tradition of the Middle Eastern and Lebanese music and
rhythmic canon. Having Lebanese ancestry and being born the offspring a Middle
Eastern migrant family, settled in Sydney, Australia (during the mid 20th century), I
sought, and will continue, to seek towards the potential of creative fusion between
Middle Eastern rhythmic and percussion vocabularies with democratic sensibilities of
jazz/social music. I also aimed to exemplify the concept of gender equality through
the metaphor of artistic and instrumental democracy that jazz/improvised music
espouses. Unlike that of Arab music traditions, jazz music places equal importance
and artistic responsibility on every music/sonic voice in an ensemble. Through using
two beloved and politically resonant Lebanese folk tunes made famous by legendary
vocalist Fairuz (Nassam Alayna Al Hawa, Sal’Alouni Al Nas), an original
composition (Beit Kassab) and arrangement of a piece by a renowned jazz drummer
(Drum Music), I aimed to interpret and translate the idea of gender and social equality
through the lens of creative freedom applied to tunes steeped and representative of
political and social empowerment during a time of civil unrest in the late 20th
century. Notoriously, women instrumentalists have been underrepresented in the Arab
world. Through utilising pieces made famous by a well-known Arab female vocalist I
sought to leave my listeners and adjudicators with a final question: could the
increased inclusion of female creative voice in middle eastern arts practice further
contribute and serve to influence of equality amongst genders in the larger political
and social realms of Arab culture and life? I was able to accomplish this sonic
experimentation and journey with my fellow musicians and alumni from the BGJI and
Berklee College: violinist/vocalist Layth Sidiq, Laoutoist Vasilis Kostas, percussionist
Alber Baseel, bassist Benjamin Jephta and pianist Noe` Zagroun.
The next chapter in my professional and creative life will take place in New York City where
I will complete a Fall internship with freelance Australian-born piano player Matt
Baker. This period of time in the fall help solidify and grow my professional network
in New York and help jumpstart and further develop my creative practice and
collaboration within the myriad music scenes of the City as well as extending my
reach and building audiences nationally and internationally.
Through this richly inspiring process and time spent in collaboration with some of my
favourite musicians on the globe, I came to see the potential inherent in myself to
affect positive change through musical excellence and commitment. The effects on
the immediate and global community in the political, social and environmental realms
were regularly made apparent through inspired teachings of Perez, Pignataro and the
above mentioned guest artists and teaching faculty of the BGJI and greater Berklee
College of Music. At the final commencement ceremony for our class of 2019, we
were left with a poignant and incredible final encouragement from master musician
and one of my greatest inspirations Wayne Shorter (communicated via text message
from Perez) that put the icing on our proverbial BGJI Master’s completion cake:
“The paths you take may present challenges which are in essence opportunities for a life
expanding adventure, beginning with ‘Once upon a time’...GO FOR IT...See you in
the future”
Onwards and upwards from here!
Love,
Jodie Michael, 2019
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