Anyone who has witnessed greatness on a stage and then been too intimidated to approach the performer after the set will know what is meant by "The Miles Davis Syndrome." Well, with Brad Rabuchin there is nothing to fear, except perhaps the knowledge that hearing his incredible guitar playing might require a recovery period in order to figure out what just happened. You simply won't meet a more personable, approachable musician. At the risk of Brad's ego suddenly erupting when he reads this, it must be said: the only thing more inspiring than fantastic talent is when the person behind it has retained their human form, without succumbing to fits of self-grandeur. So if Miles Davis is, well, Miles Davis, then Brad Rabuchin is more like the Jimmy Stewart of fusion guitarists. Or something. Bottom line is, Brad is affable, and humble, and has truly earned accolades as a musician, guitarist, performer, composer, and educator. His presence at the LA Music Academy has contributed significantly to the school's musical identity, and the impressive resumé of artists he's worked with speaks (humbly, of course) for itself.

If your idea of a musician worth admiring is someone who can burn onstage and then shoot some hoops with you after the set, make sure to bring a basketball to the next show Brad Rabuchin plays. And don't worry: the only syndrome Brad carries is one of amiability. Careful, it's contagious.

I took some guitar lessons when I was maybe 16 years old. I had this one teacher who really inspired me, kind of made me think it was a cool thing to play guitar. And when I was in 11th grade, I remember a particular rock band that came and played at my high school in Canoga Park. There was a thing where, once a week, different bands would come and play at lunchtime. I don't think it was a professional band. I mean it wasn't a name band or anything, but they seemed great at the time and seeing a real band play live was an important experience. There's definitely something about seeing it in person that makes a whole bigger impression beyond hearing it on the radio. I remember how the guitar player was playing a Gibson SG, and he had the long hair… It just seemed like such a cool thing to play guitar. Also, they kind of stretched out the tunes they played, and that caught my ear. The big thing that appeals to me about playing music is the element of improvisation and how you can bring your own personality into it and do your own thing. So I would say those are the two things that inspired me initially.

Well, I would say one would be Derol Caraco, the teacher I mentioned, and (legendary LA-based jazz guitarist/teacher) Ted Greene, actually...I took lessons from him also. The music I was into at that time was like, Eric Clapton, and Frank Zappa, and then I started getting into more jazz-type stuff I guess, like John McLaughlin.

I've pretty much been there from the beginning. Dean Taba, one of the bass teachers, kind of hooked me up with playing there. He knew Ralph Humphrey and Jeff Richman, both of whom I was initially dealing with. The first thing I started doing at the Academy was playing for Ralph's Ensemble Workshops. Back then, I was on the road a lot, playing for Ray Charles about 200 days a year, on a schedule that happened to last from just after the school started until Ray passed away (in 2004). Since then, in the last couple years, I've been able to be more involved with the curriculum and the school in general.

I actually still play for Ralph's class. But I teach some private lessons, and I've been writing the jazz curriculum with Jeff Richman. We did that together. I teach the jazz guitar classes sometimes, and I've taught the funk guitar classes, though I'm not doing that right now. Bill Fowler's doing it. I like teaching ensembles the best. I also coach the guitarists in the horn band. They read charts with three horns and a rhythm section — students make up the rhythm section with professionals on the horns and keyboard. Playing and coaching are my favorite things, but I generally enjoy any type of teaching. As long as the students are into it, you know, it's OK!

Playing guitar is such a vast thing; there are so many different angles, and so many different things you can study. I think I'm pretty good at adjusting to a student's individual intentions and capabilities, and one of the things I really try to do is help students find their own voices, their own angles on playing guitar. Like, every guitar player's not going to be a rock player, or a jazz player, or a studio guy… Everyone has their own direction that they might be heading in (hopefully). I'm just helping them find what it is they're after as guitar players, you know, finding their musical voice, finding what it is they want to do, and what it is they can do. I'm not one to go in and say 'you're going to do this my way.' Of course, there are certain things, like if they're playing in a way that's hurting their technique, of course I'm going to step in, but I'm not going to force anyone to play a certain style or follow a certain agenda.

My ideal student is someone who's curious about playing guitar and is open-minded and willing to try some different things. And of course, someone who is trying to grow as a guitar player. Some people can be more difficult to teach because they've already figured out what it is they should be doing. That can sometimes create an overconfident type of student, with a tendency to decide too quickly that they have everything figured out. And in that particular kind of mind set, if you think you do, you probably don't, you know? Sometimes they're just not ready to listen.

One thing I really appreciate is that it's intimate. It's small enough that you know everyone. Every student that walks down the hall, I may not necessarily know all of their names, but I know who they are, what their instrument is, and probably some of their strengths and weaknesses. So because of that intimate element, you can really zone in on particular things that specific people might need to work on, because you know exactly who they are. You can't really hide when you're a student here. You're kind of exposed to the world, whereas at other schools, you can just kind of disappear into the woodwork and get sort of overlooked, whether you choose to or not.

I try to listen to a lot of different things, and I've really played a lot of variety too: Balkan gypsy music, African, Indian, and just different weird kinds of roots music and stuff, just because I'm real curious and I want to put those influences in my music, I guess. Still, the bulk of what I listen to is probably more jazz-type stuff: Wayne Krantz, John Scofield, Bill Frisell, people like that. And I read a lot about different things, I'm curious about the world. I actually play a lot of basketball, believe it or not. I'm a Lakers fan, and I've warmed up to the Clippers too. I like a good game.

I've played with a lot of interesting people, fortunately. I played with Ray Charles for 5 years, all over the world. And Stevie Wonder, Tom Jones, Bonnie Raitt, Willie Nelson, David "Fathead" Newman, Ralph Humphrey obviously, Louie Bellson, Pat Martino, and Roy Hargrove. I've got a CD out (titled When Smart Dogs Go Bad). It's all original compositions, fusion, jazz-type stuff, for a quartet or sextet, depending on the track. I recorded another album a couple months ago that I'm mixing right now to put out. Oh, and I'm on a new Ray Charles tribute CD called Jazz Impressions: Ray Charles.

One thing is to be really adaptable, because today's musical environment is so all over the place, as far as the different things a professional musician might have to do. You have to be able to think on your feet, which is something the LA Music Academy does a good job of addressing — the ability to walk onto a session or gig, and if someone wants you to change what you're doing, you can adjust, because you're not just like a one trick pony. Working musicians need adaptability.

To learn more about the adventures of Brad Rabuchin, please visit: BradRabuchin.com