Conversations with Jack Dunlevie

Today we’d like to introduce you to Jack Dunlevie.

Hi Jack, so excited to have you on the platform. So before we get into questions about your work life, maybe you can bring our readers up to speed on your story and how you got to where you are today.
I took piano lessons the same as most kids my age and neglected my practicing until the week before the yearly recital, the same as most kids my age; but my teacher, Janet Beales, taught me to read music and instilled an appreciation for Classical music. In the meantime, I fell in love with the guitar and played a lot of Rock and Folk music, and even studied Classical guitar with the mysterious hermit/guitar wizard Emmett Finley.

In high school, a mentor figure entered my life in the form of Taylor Kundolf, a piano bar entertainer and somewhat idiosyncratic personality. He gave me a lesson every day and I started catching the bug for the piano. After a few months gave me the keys to his studio where I could practice on his concert grand. I’d spend 6 hours a day in his studio and he’d pop in for a few hours giving me lessons, recordings to listen to, books to read, and playing pieces four hands. He never took a nickel of my or my parents’ money and we still share a lifelong friendship.

After a year studying with Taylor, I went on to study Classical piano at the University of Denver. I received valuable instruction from Alice Rybak, Heidi Leathwood, and David Genova. During my freshman year, I developed an interest in improvising after being discouraged at only being able to play- when I wanted to just sit down and play- for as long as my meager repertoire lasted. I had a meeting with the director of Jazz Studies, Lynn Baker, where I played a laughable rendition of I’ve Got Rhythm with octaves for the bass, octaves for the melody, and nothing in between.

He showed me a couple of things and promptly enrolled me in the modal combo and lessons with Eric Gunnison. Eric was the best thing that could have happened to me at that time. He was my guide through what was a new and seriously daunting undertaking. He taught me not only how to approach learning Jazz, but more importantly, to truly fall in love with it. At that time I was obsessive about practice, playing at least 6 hours a day and doing my utmost to avoid making friends, thinking social activities would encroach on my progress. I also felt removed from my peers because I was a late bloomer and so far behind them in our study of music.

It’s funny and a little cringy now to look back on my thought process, and I had to do a lot of learning about what it is to be an actual person later on. Around this time, I also developed a bad case of tendinitis. I obsessed over it, rubbing my arms until the hair fell out, and sought out 4 doctors, 5 physical therapists, a chiropractor, and a surgeon. I remember walking with my roommate Ian (and the one friend I managed to make) and proclaiming if I could only play piano as much as I wanted without pain I would want for nothing. Myopic maybe, but I try to keep this in mind and not take my very lucky life in music for granted.

At the last moment before having to drop out of the program, it was discovered that my bones were shaped such that I couldn’t fully pronate my arms. Then began the long process of learning to manage it. I played leaning back in an office chair, standing up with a keyboard resting on my legs, on a comically high bar stool, and eventually on a chair, just a few inches higher than a typical piano bench. I finished school, having switched my major to Jazz piano performance, and began working around Denver playing all kinds of music. I played in an R&B group, with several Salsa bands, Jazz gigs, and playing mandolin in a Bluegrass band. The latter went on to tour the country, record 3 albums, and play an opening slot at Red Rocks.

I’ve been lucky that more than a few older, more experienced players have taken me under their wing and given me opportunities to play gigs, record, and get the most important music education, which is of course experience. Notably, pianist John Kite who runs all the entertainment for the historic Brown Palace Hotel, has given me a regular gig playing for tea service in the lobby several afternoons a week. In the last 8 or 9 years I’ve managed to build a modest, but comfortable living just playing music, and it’s a life I’m forever grateful for.

Thanks – so what else should our readers know about your work and what you’re currently focused on?
I play many genres of music and a few instruments, but my main focus, and what I’m most known for, is Jazz piano.

I’m proud of the work I’ve devoted to the rich tradition of Jazz music, and that, even starting relatively late, I’ve worked my way up the professional scene to now play with many of the musicians I’ve looked up to (and was even intimidated by) for years.

Can you talk to us a bit about the role of luck?
I count myself as luckier than average. I’ve had a robust and incredibly supportive network of friends, peers, family, teachers, and mentors who have lifted me back up at my low points and cheered me on in the good times.

I am a fairly disciplined person and a share of my success comes down to the consistent effort I’ve put into studying music, but I think I’m also lucky that the practice of discipline comes somewhat naturally to me.

Contact Info:

• Instagram: https://www.instagram.com/jack_dunlevie/?hl=en
• Youtube: https://www.youtube.com/channel/UCYmrul530_eNX0W-RT6rstA

Image Credits
Grace Clark and Erik Fellenstein