Dr. John R. Lamkin II

Introduction: Biography: John Lamkin received his Bachelors from South Carolina State University, his Masters from Morgan University, and his Doctorate from The University of Maryland at College Park. All of his academic degrees have been in Music Education. Dr. Lamkin taught in the public school systems in South Carolina and Baltimore before joining the faculty at University of Maryland Eastern Shore, and serves on the faculty of Sojourner Douglass College. He has served as a clinician, a guest conductor, a festival adjudicator, and the promoter/organizer of the Eastern Shore High School Jazz Ensemble Festival. Dr. Lamkin’s performance credits include performances with Eubie Blake, the Manhattans, Bob Hope, Stephanie Mills, Stanley Turrentine, Sonny Stitt, Frank Foster, Larry Ridley, Onaje Allan Gumbs, Cyrus Chestnut, Charles Earland, Charles Fambrough, Benny Golson, Keter Betts, Ralph Peterson Jr., Harvey Mason, Jr., the Dells, K.C. and the Sunshine Band, the Zim Zemarel Orchestra, the Baltimore City Big Band, the Hank Levy Legacy Band, the Whit Williams Big Band, the Lynn Gray Orchestra, the Dale Corn Big Band, the Blue Moon Big Band, the African American Jazz Caucus Big Band, the Washington Jazz Battalion, and the Peabody Jazz Ensemble. Dr. Lamkin has also performed with his own jazz and jazz/rock groups in various night clubs in the Baltimore and Washington area, and for many parties and weddings. Dr. Lamkin has also performed either, as a trumpet soloist, with his sacred jazz quintet, with his brass ensemble, or as a guest conductor at various area churches. In 1984, Dr. Lamkin recorded his album, titled “Hot,” on which he wrote all but one of the compositions. I believe that music should be fun, and that music students should have fun while learning play. This I feel is especially true in the private studio. Music should be taught in a way that engages the students’ sense of wonder and amazement, in an atmosphere that is both cheerful and calm. At the same time music students need to be made aware early on, that learning to play a musical instrument well take persistence and dedication, and years of diligent preparation. As I teach, I feel that it is important to teach for understanding at every level. I use various method books that introduce the student to all the technical concepts they will need to become proficient. I take the time to explain and demonstrate each new concept so that my students know what constitutes a specific rhythm or music construct, and how to execute it. I assign regular lessons from the method book I use, which build on previous concepts that have been learned. I think it is important to assign solos that would not be found in the method books, however, the solos that I assign are always at the same level to which the students have been exposed. Employing this method, the students are able to transfer the concepts they have already learned, to the solo they have been assigned. This method reinforces the concepts they are learning. As soon as my beginning students can play an octave on their instrument, I begin teaching them scales. I think it is important for students to learn all of their major scales before they enter high school. High school students need to learn all their major and minor scales before they graduate. I also feel it is essential to teach the student to play by ear and to improvise. Finally, I demand that my students practice regularly, because it is only through regular consistent practice that the music student will unlock the joy to be found in playing an instrument. My mantra is, “Practice Leads to Perfection.”