Question:What values does a jazz education offer beyond the music itself?
Artists have always had a supply and demand problem. Since time immemorial there have been more people with creative ideas than an audience to communicate them to, especially if the art demands more than a cursory attention span. In the current world of jazz education, the situation vis a vis graduating more and more of the most equipped musicians in history (every year more so) in stark contrast to the scarcity of paid performance and recording opportunities has assumed epic disproportion. To deny this would be like ignoring global warming. Serious educators are and should be concerned. Discussions on the subject are sometimes uncomfortable, but are nonetheless taking place worldwide. Notwithstanding that this situation might differ in degree from country to country or even regionally (all trends have their own natural ebb and flow), it is incumbent that responsible educators address this issue.
The standard response has traditionally been that it is not our responsibility to be concerned with the vocational aspects of an arts education. Our job is the transmission of knowledge, peripherally, if at all, addressing matters concerning the ramifications of making a living pursing ones art in the real world. This viewpoint does not hold up under scrutiny and is at the minimum a matter of principle and ethics, let alone economics if one considers the rising cost of a college education worldwide and the financial debt that a young person will be straddled with from the onset of their real life. Obviously, the situation in America vis a vis the cost of a college education is the most glaring and outrageous example of this part of the problem. Responsible educators should have something to offer these young men and women beyond cliches that is relevant and specific, at the least enumerating proven attributes of a jazz education that go beyond the music itself and will enrich their lives. Yes, Coltrane (and other artists) offer a high aesthetic and spiritual plane, but what about the here and now?
I think it is safe to assume that most students (and their teachers) would in a perfect world, choose to play and communicate their art while maintaining a steady financial basis. When I address my masters degree students at the Manhattan School of Music the first day of class I ask them point blank if they could have it their way, how many would rather contemplate questions of harmony, rhythm, etc., instead of having to deal with making a living, the most obvious route being teaching. The obvious response is unanimously 100% towards playing. This is after all what most of us dreamed of when we became enamored of jazz way before thoughts of a formal education surfaced. Its possible that on a case by case basis a certain measure of success may somehow occur to a gifted, deserving and fortunate individual. But for the majority of young aspiring students looking towards the future this scenario may not happen for reasons that are well documented (end of record business, venues closing, arts funding down, etc.)
What values and/or skills have our students learned through the study of music, of jazz specifically, that will be of use in the world and life they will most likely encounter? I have enumerated what I consider these core values to be using my personal concepts, all of which can easily be described in multiple ways.
BEYOND THE MUSIC
(learned): Spontaneous improvisation.
(transferred): The level of personal honesty that an individual brings to a playing situation is a given since there is nowhere to hide when improvising in the jazz tradition. Who you are and what you represent go beyond the here and now touching upon deep philosophical and spiritual aspects of being alive.
Key concept: Honesty
Having the ability and attitude necessary to assume leadership, meaning to take charge when and if required; also to hand over leadership unconditionally when the situation calls for it.
Key concept: Leadership and follower abilities
Soloing as a multitasking activity.
Dealing with a lot of information quickly; ability to integrate and synthesize information in a creative fashion.
Key concept: Clarity of thought
Learning from mentors.
Being able to learn from older mentors by graciously accepting their wisdom as a vital part of the learning process. This implies suspension of judgment as to the immediate personal value of the material offered.
Concept: Experiential learning
Participating in a group effort through ensemble collaboration.
Maintaining an open and respectful attitude towards other group members by working with them as peers, regardless of age, gender, proficiency level, nationality, religion, race, etc. This infers that being better at a task does not mean personal superiority or the opposite.
Key concept: Mutual respect
Realizing ones unique voice.
By honing ones own vision, the individual assumes an active role towards changing and improving a given situation by offering unique and personal ideas towards that end. This involves critical and creative thinking, honest self evaluation, much discipline and a desire to change ones status quo towards discovering a better way to accomplish something.
Key concept: Clarity of vision
Knowing the standard repertoire (history and traditions) as it is along with the desire and ability to vary these set directives in creative and multiple ways, both spontaneously as well as pre-planned.
Being able to adjust and change direction in a situation already framed by a given set of rules and conditions which may or may not encourage new discoveries and innovation; seizing the moment and affecting immediate change while at the same time being actively involved in the process itself; having the necessary confidence to accomplish this goal with the awareness that the final result might not be realized until later with no guarantees concerning the outcome.
Key concept: Flexibility
To be able to swing meaning being part of the surrounding context (groove).
Being part of the creative process taking place; to energize and be energized by interacting with the involved parties towards realizing a goal; feeling a joie du vivre through being involved in a group effort.
Key concept: Commitment
Composing original music, etc.
Creating something new and/or modifying an already established tradition or practice based upon ones imagination, skills and experiences.
Key concept: Individual creativity
Being in the moment, aware of what is happening around you (in a playing situation).
An open attitude towards the new and unexpected without fear or immediate judgment; realizing that out of the old comes the new to be embraced and refined as befitting the specifics of a situation.
Key concept: Awareness
Interaction on stage; communication with an audience; working within ones immediate musical community.
Realizing your relationship to ones direct working and social environment, meaning the immediate group as well as society at large; the ability to see the big picture in both ones private and public life.
Key concept: Citizenship
Being an entertainer and communicator.
Realizing the social component and purpose of your work; the ability to offer ones ideas and creative work in a manner that will successfully convey ideas and concepts to a given audience for consideration.
Key concept: Communication
Being an artist
To recognize the deep intrinsic values of what one does in life on both a practical and spiritual level; communicating core universal values (truth, beauty, compassion, etc.) in a way that both educates and entertains.
Key concept: Spirituality
John Dewey, one of Americas foremost thinkers on education:
..each (individual) shall have the education which enables him to see within his daily work all there is in it of large and human significance
.first and foremost to teach habits of learning.
Thanks to Walter Turkenburg, Jari Perkiömäki and those educators who offered comments.