Now, the glass is full…

Here then are Paul’s answers to the Q&A with Paul Rushka &  James Danderfer. Both musicians have returned home to Vancouver for some shows at The Cellar. Last week I posted James’ answers to my queries.

K. Paul , how long have both you been in Montreal now extending your music studies @ McGill University and with whom are you studying and working?

P. I’ve been in Montreal since August of 2008. I finished my Master’s degree in Jazz Performance this past summer and started on a Doctorate in September. I’ve been fortunate to pick the minds of many while at McGill: for performance, I’ve studied with Remi Bolduc (a fantastic teacher) and Kevin Dean, while for composition, I’ve studied with Jan Jarczyk and Joe Sullivan. I’ve also started piano lessons in the last few months, working with Josh Rager, an amazing pianist and also a good friend.

K. Paul, I believe you have just finished recording some brand new music, which you will be releasing in the New Year. Is that what you will be featuring when you play @ The Cellar in December?

P. Yes, we will be featuring the music from the recording, with a few extra things thrown in.

K. Are you finding obvious similarities between music that composers are creating in Montreal and Vancouver or do you find that there really is a different approach and style to music and concepts explored now that you are in Montreal?

P. Certainly, a lot of the music has many similarities. But I do find there is more of an emphasis on being modern (whatever that may mean) in Montreal. There’s definitely a lot of straight 8th/rock type feels, and a lot of mixed metre stuff as well.

K. What have you found to be the greatest challenges about moving to Montreal when you had made Vancouver your home for so long?

P. I haven’t found Montreal to be too much of a challenge. The hardest thing for me is that I really miss my friends and musical acquaintances here in Vancouver. While it isn’t a challenge per se, being away has made me realise how special the scene and the people are here and I miss being able to make music with them on a regular basis. But that just makes it even better when I return to town.

K. Do you have any advice to younger musicians who are interested in the world of jazz and composition now that you are both immersed in that life as players and composers/arrangers?

P. The only advice I have is to believe in one’s self. This music is difficult and we all experience ups and downs, like anything else in life. But I wouldn’t be continuing with jazz if I didn’t believe that I have something, however small, to offer.

K. Are there other forms of art or music that you go to for inspiration or for new ideas as you are working on your compositions or are you following your own muse and satisfying that inner drive to create?

P. Probably the most valuable thing I have gotten out of my studies at McGill is how they put a priority on creativity and finding your own voice. It’s made me start focussing more on what it is that drives me, and defining what kind of music really inspires me, so that I can create music that reflects those values. Because of that, I find that I’m looking less and less for outside inspiration, and looking internally more to try to define the sound and the music that I want to create.

K. Regarding recorded music (albums, CD’s, etc) and the new music you will be releasing, what are your thoughts on music downloads vs. CD’s? Will you still be offering your audience CD’s to buy or be directing them to itunes exclusively?

P. That is an interesting question. I think hard copies of music (cd’s, records, etc) will always have value to a select group of people. Personally, I always prefer having a cd rather than downloading tracks. For that reason, I will definitely print some cd’s, but I will also make sure the recording is available digitally for those who prefer that medium.

K. Is there anything that one of your instructors or mentors have said to you in the recent past that has inspired, entertained or enlightened you?

P. There isn’t a specific line that comes to mind, but back in October, I had the opportunity to take a lesson with the amazing English pianist John Taylor. I have been a huge fan of his for years, and simply being around him and playing a few tunes with him was one of the most amazing musical experiences I have ever had, and it continues to inspire me.

K. Paul, you are definitely not a well kept jazz secret having performed with many leading artists in Canada: Bill Coon, Mike Allen, Denzal Sinclaire, Jillian Lebeck, Laura Crema, Brad Turner, Jill Townsend and, “one of the best kept jazz secrets in Canada” Mr. James Danderfer. Do you enjoy being a bandleader or do you in fact prefer being a member of a group where someone else is at the helm or sharing the responsibilities of putting the music together?

P. Obviously there’s good and bad to both situations. It’s always nice to have someone else in charge and dealing with all the small worries that bandleaders have to take care of. And I have had some incredible musical situations as a sideman that makes me very grateful for all the opportunities that have come my way. I’ve learned a great deal from all the different musicians I’ve worked with, and I would like to believe that has helped me to be a better bandleader. It has certainly improved my musicianship and my composition skills. Having said that, there is also something very special about offering a wider perspective of myself to the audience. Leading my own band that performs my original compositions is a very enriching thing and I am especially thankful to have such fantastic musicians and friends to deliver my musical message. I would like to work a little more as a leader, but I would never quit working as a sideman.

K. Good luck to you in your “back at home” performances in Vancouver this coming December. Any last minute thoughts to share with people who may be inspired to come to your shows at The Jazz Cellar?

P. Enjoy the music.