by DAVID LIEBMAN

The “ideal” jazz education would obviously include technical matters meaning the vocabulary of music in general: scales, chords, keyboard knowledge, the technical aspects of instrumental playing (with some classical technique also), the specifics of jazz concerning history, repertoire, ensemble playing, big band participation, writing and arranging. Alongside this obvious musical training, the business of music must be included meaning the realities of performing and teaching as a way to make a living. Finally, and most important should be aesthetics involving readings etc., in order to recognize what art is in other manifestations besides music along with the great philosophical as well as spiritual matters that a human being who aspires to be a conduit for deep feelings and thoughts should be aware of. In summary, it is the development and evolution of the total “artist” that should be the focal point of the “ideal” jazz education.