“I remember ‘getting it’ about six years ago—the mission of MacPhail clicked. A kid came in – lots of issues at home and school, a problem kid. I got it. This is why MacPhail is here; and it has nothing to do with music, it has to do with life...You want them to love the music, to grow as a person.  It has nothing really to do with scales!” --Kelly Rossum

Kelly Rossum directed the first Combo rehearsal in 2006©Andrea Canter

“Being around so much improvisation all the time makes you realize your self identity more. You're more aware of who you are and what you're boundaries are. We need to accept individuals more in the States, and not point the finger when someone is vastly different from the norm.” –Adam Linz  

With a shiny new building and its state-of-the-art performance and rehearsal spaces, the MacPhail Center for Music is one of the gems of the Minneapolis arts corridor along the riverfront above St. Anthony Falls. Known throughout the nation as one of the premiere community music schools, MacPhail boasts classical training for students from young Suzuki violinists to octogenarian pianists; a music therapy program that supports the special needs of students with autism and other developmental challenges; lessons on every instrument from recorder to tuba; series of master classes, student and faculty recitals, and guest artist concerts.  

But MacPhail also offers resources less common to community music conservatories—a multi-faceted jazz program. Developed and coordinated since its inception in the early days of the Millennium by trumpeter/educator Kelly Rossum, the jazz program has grown in both faculty and scope, including individual lessons, ensembles, a guest performance series, adult jazz appreciation classes, and the recent collaboration with the Dakota Foundation for Jazz Education, the Dakota Combo, an all-star student ensemble. 

The program has been as much a reflection of the energy and philosophy of Kelly Rossum as of the mission of MacPhail (“providing music education to all who seek it”). But like jazz, it’s ever-growing and changing. Big change comes in September when Rossum leaves the Twin Cities to tackle life as a performer in New York. Concerns about the future of jazz at MacPhail were alleviated recently when local bassist/educator Adam Linz was named as Rossum’s successor. “Awesome” was the response I heard immediately from several jazz students. And from Rossum himself.

“Adam has a strength of will that will ensure the program continues at the absolute highest level possible,” Rossum told JazzINK. “He leads by example. He is one of the most talented and hard working jazz musicians in the area, and all of his students are motivated by his actions (as am I). He has a strong vision regarding jazz education which will work to his advantage when leading the large jazz faculty at MacPhail.”

Adam Linz

Adam Linz©Andrea Canter

But along the way, Adam Linz found teaching to be equally exciting. “I came to education by way of being a performer. I never set out to be a teacher. But with music, like most things, the better you get at it the more people want you to share it with them. In college, I did some work teaching band directors how to start a jazz combo in their band program. It was very rewarding so when I moved back to Minnesota, I started teaching.” Teaching opportunities came at MusicTech (now McNally Smith), MARS, Minnesota Institute for Talented Youth (MITY), Augsberg College and MacPhail. Adam also notes that he has that the benefit of some great role models. “I would have to cite some of the excellent teachers I've had in my life: Todd Coolman, Hugh Aitken, Benny Weinbeck, Sy Johnson, Tom Hubbard, Jon Morgan from Cheapo Records, and my parents. My parents did the greatest thing when I was younger and never said the word “NO” when I was interested in something musical. They said go for it and if it doesn't work out, it's OK.” 

When Rossum announced he would be leaving MacPhail, Linz was already a faculty member, as well as alum. He had an ongoing position with one of the top music camps in the state, MITY, which provides a two-week intensive institute for state jazz students each summer. And he also had a busy performance schedule as well as some new responsibilities booking jazz at The Clown Lounge in St. Paul. But as he told MinnPost’s Pamela Espeland, “When I heard it [MacPhail position] was open, I thought, ‘This is meant to be.’ A small program, which is awesome; working with the Dakota Combo, which is what I do best. ... I’m in a good place in my life right now where this is the right thing.” 

Following Rossum and maintaining the high quality of the jazz program will be challenging, but for Linz, that is part of the appeal of his new position. “I'm just really excited to share what I've learned all these years playing with different people. It hasn't always been the smoothest ride, but when you take risks it never is. That might be the most challenging thing to get across while I transition into the position. I wouldn't have had a lot of the opportunities if I didn't take risks and be myself. Just being yourself when you play can be the hardest challenge of them all.” And as he told MinnPost, his initial goals are to build on the current program. “I would like to get more kids in there, especially from rural areas. Making the jazz program better known so when people think of Minneapolis and the jazz scene, they’ll think of MacPhail.” In particular, I asked Adam how we can make jazz programs like the Dakota Combo more attractive to young women, who are well represented in high school jazz bands yet much less so when it comes to more elite projects like the Dakota Combo. “I think we have a healthy cross-section of chromosomes going on. I teach at the Minnesota Institute For Talented Youth in the summer and almost half the program are young female players. So I think it's changing, even though it's slow. It's not just the boys club anymore.” 

The Legacy of Kelly Rossum

Kelly Rossum with 08-09 Combo musicians Tony Pistilli and Ryan Freitas at Wild Sound Studio©Andrea Canter

Rossum sees the Twin Cities as a healthy environment for jazz education. “By continually supporting the professional jazz musicians and venues, the health of the scene will stay vibrant and active. This is the environment that jazz education needs in order for educators and students to flourish. When we begin to concentrate solely on the well-being and development of the students, without respect to the scene as a whole, the process becomes artificial and remains separate from the culture and history of jazz as an American art form.”

And even as he prepares to leave MacPhail and the Twin Cities, Kelly Rossum is also preparing yet one more innovation—MacPhail’s first online jazz education class. “It’s called ‘Jazz Giants: Miles Davis,’ designed for high school and adult students. Here’s the tag line from the fall catalog ‘Participate in MacPhail’s first global class and get access to teaching artists from across the country and eventually around the world.’”

Like a savvy jazz ensemble, the MacPhail Center for Music’s Jazz Studies program is continuously evolving, each soloist bringing his or her personal experience and vision to the next improvisation, each in turn creating new music. So will be the transition from Kelly Rossum to Adam Linz.

More information about MacPhail Center for Music, the jazz program and Kelly Rossum’s online course is available at www.macphail.org. For questions about the Dakota Combo auditions and other jazz programs, contact Adam Linz at This e-mail address is being protected from spam bots, you need JavaScript enabled to view it . Kelly Rossum will perform a “Farewell” weekend at the Dakota Jazz Club on August 28-29. This article first posted at www.jazzink.com.  
 

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