In 1970, at age 24, fresh out of the U of M with a bachelor's degree, I dreamed up the odd idea that I would start a music school near the U that focused on non-classical music. It was clear to me that the world of music stretched much farther than Beethoven and Brahms, and that there were no institutions around that took seriously the teaching of jazz, folk, bluegrass, old time, swing, rock and roll, country music and so on. The first thing my Dad said, when he heard this plan, was "Are you sure that's a good idea?" Good question, one I still wonder about. But here we are thirty years later--many thousands of students of all stripes have learned some remarkable skills and had a fabulous time doing it. It must have been a good idea after all.

I was lucky in the beginning to find a half dozen or so versatile local performers who could teach many instruments and styles of music. It felt like a vacuum was suddenly filled because hobbyists and aspiring professionals from all over the Twin Cities began to appear at our door looking for musical guidance. Many were pleased that they would be spared college-type academic pressure, grades, tests, etc. It seems to me that learning is, and always has been, more successful if students can focus immediately on what they want to learn, and progress at their own pace. This philosophy is still observed at WBSM.

For the first years, several of us lived in the West Bank School house, and one could say, with our 'counter-culture' origins, that we had a colorful period, complete with very late night jam sessions, and occasional drop-in visits from nationally-known traveling musicians. In the room above the office, Al Peterman had the ceiling covered with aluminum foil and laden with Christmas lights, which were rigged to respond to the thumping speakers. We had pets too, especially Al's aloof gray-striped cat named Sundance, and John Beach's playful black lab, Moonglow. Meals and teaching sometimes alternated. Things were casual and friendly.

The staff grew fast in the first decade, as more specialists were attracted to teaching at a place like WBSM: not a college and not a music store where sales was/is the main driving force. The longest-serving current faculty member is Bill Hinkley (fiddle, mandolin), who started sometime in 1972, and has been sharing his unique knowledge of country and old-time music for all these years. One of the smartest choices I ever made was the hiring of Dale Dahlquist in 1976, who developed (through more on-the-job training than Jesse Ventura) from a young folk guitarist with little teaching experience to one of the Midwest's premier guitar instructors. Eight thousand students (no exaggeration) have studied with Dale either in group guitar classes, individual lessons or performance ensembles. He has created and developed a method/style of teaching that is unique and unparalleled. Another important long-term faculty member is jazz pianist Tom Pletscher (c1980), who has proven to be a most valuable asset to our School's staff. Another memorable individual from that era is Butch Thompson, a remarkable old jazz and ragtime specialist, who taught piano and served as an important part of the administrative staff for nearly ten years. Since then his performance career has taken off, but he remains generous in sharing his skills on WBSM concerts.

Historical highlights for me are the Marching Guitar Orchestra, the largest version of which performed in the 1988 Cedarfest parade, and the ten-year run of the WBSM Jazz Composer Series, which I created and managed. Sixty of Minnesota's best jazz composer/musicians performed their compositions, often with their bands, at the Walker Art Center, Coffeehouse Extempore, Willey Hall at the U of M, and Augsburg College. A personal highlight for me: I married Patty Solum, one of my piano students, in 1974. Patty became a piano instructor and the office manager for WBSM in the mid 1970's (through the early 80's).

I served as WBSM's first Executive Director (1970-1984), working long, stressful hours for a miniscule wage, but once the School was launched there was no stopping it. Following me in that position most notably were Dale Dahlquist, Patti Tetta, Sharon Chace and our current leader, Ellen Liberatori. The dedication of those people and scores of other staff and board members has made our history, created our success, and built our reputation.

I believe that tremendous good has come from the West Bank School of Music for the over 15,000 (16,000?) students, young and old, who have come through our door (at the same place we began—6th and Cedar), for the multitude of musicians who have performed in our hundreds of concerts, and for the 300 faculty members who have taught for us over the 30 years. It has been a great adventure. Here's hoping for an even brighter and more successful future.

From the WBSM 30th anniversary memory book