If you see only one jazz legend teach a master class this year, make it saxophonist David Liebman. As a veteran of bands led by greats like Wayne Shorter, Elvin Jones and the high priest himself, Miles Davis, Mr. Liebman's classroom leadership thrives on decades of experience. Sure, his scroll of instrumental credentials rivals the length of the Torah itself, but the "Rabbi of Jazz" (as his friends affectionately refer to him) has an equally riveting talent with words. Think of him a stand-up philosopher, enthusiastically expounding on his musical insights with the lively mannerisms of a natural entertainer. Quite simply, you won't find a better teacher than David Liebman. Come for the information. Stay for the inspiration.

Liebman's presentation in the Performance Hall was structured as two segments. The first focused primarily on the development of individual musical identity and the crucial ability to map out one's educational and professional intentions. Immediately clear is how deeply Liebman values communication between teacher and student. "If you can learn the process of learning, consider that a success." He emphasized how capable a student must be at adapting "new information" (which comes through in so many varying shapes and forms) to "make it personal and useful to your own situation." Case in point: though he is a sax player, Liebman skillfully articulates lessons universally valuable to any musician, regardless of their primary instrument. Have you ever considered taking guitar lessons from a saxophonist? After David Liebman's master class, it suddenly makes a lot of sense...

The second half of the session concentrated on the most essential foundations of musicianship. Mr. Liebman, who has earned a coveted induction into the International Association of Jazz Educators Hall Of Fame, vivaciously explored various techniques of ear training and rhythmic development. As a true educator should, he came prepared and reinforced his well-formed philosophies with musical demonstrations and audience participation. "No one is born with the ability to swing." After assigning a volunteer drummer the role of "human metronome," Liebman played soprano sax, articulating behind, in front of, and right on the beat. This very simple example helped to visualize his assertion that "we should be able to draw a picture of the beat," thus charting, at any given moment, where each of an ensemble's instrumentalists place their notes in rhythmic relation to the others.

As a teacher, David Liebman's most vital message channels from his belief that developing musicians "practice by imitating." The process of transcribing music lies central to this philosophy. For Liebman, a transcription isn't finished just because all the notes are on paper. It's not over just because you can do a complete harmonic, melodic and rhythmic analysis. You must be able to sing the music and play it on your main instrument, fitting the transcribed subject PRECISELY. Then, and only then, when you have absorbed the rhythmic articulations and the dynamic nuances captured on the original recording, are you fully reaping the benefits of such meticulous ear training. Now you're feel training.

*Special appreciation goes to Jeff Richman, Mike Shapiro and Andrew Campbell for bringing Dave into the LA Music Academy fold.