THE FUISON MOVEMENT by DAVID LIEBMAN

I was weaned on early 1950’s rock ‘n’ roll. In fact, that was the music that brought me to the tenor sax in the first place. Elvis, Jerry Lee Lewis, Little Richard, the doo-wop groups and of course any instrumentals that leaked through to the hit parade (Walkin’ With Mr. Lee; Topsy; Rebel Rouser; Tequila) made up my first musical interests, followed in my teenage years by the inredible experience of seeing the John Coltrane Quartet live many times in New York City, where I was brought up. So by the time I became a so-called jazz player and served my “apprenticeship” with drummer Elvin Jones and Miles Davis, rock, funk or whatever it was called, was a part of my life. I didn’t particularly want to play that music but I enjoyed it nonetheless.

When fusion became a style to be reckoned with by my generation(early 1970s), it appeared to be a way that we could leave our mark and take the music to a new place. At the beginning we didn’t think about commerciality or sales and the like. We just enjoyed playing rock based rhythms and rode that energy wave, interspersed with improvised lines which were actually quite chromatic in some cases pushing the boundaries of harmony. And of course, the advent of electric instruments and synthesizers, etc., just sweetened the pot. My first real steady gig was with “Ten Wheel Drive” which featured five horns, a great singer (Genya Ravan) and sophisticated arrangements that reflected Broadway and jazz as well as rock. And of course, Miles and his “students” (Mahavishnu, Herbie Hancock, Chick Corea  and Wayne Shorter with Joe Zawinul ) forged new ways of thinking about music which was truly exciting.

Unfortunately, several things happened around the same time that thwarted the movement. First of all, the large record companies saw the chance to sell this more palatable music (as compared to late Coltrane or free jazz which were concurrently happening) and the industry, with the tacit or in some cases enthusiastic agreement of the musicians basically “poisoned the well.” Also, since the style itself was less intellectually demanding compared to be-bop or Coltrane’s style of playing, numbers of musicians who did not have the necessary discipline to play jazz or possibly the talent, could more easily learn the trappings of the fusion style. So the combination of trying to fit the music into a package that was attractive to the consumer along with a lowering of musical standards conspired to in fairly short order put an end to at least the main creative aspects of fusion. Soft or easy listening, “CD101” type music came along to suck up the trappings of fusion but with the energy and creative drive watered down and “slickified” of course. Putting rhythm and blues roots together with pentatonics and blues licks was irresistible, especially if encased in high class productions and so on.

End of story. Fusion exists now as a style with a few musicians exemplifying the best of the idiom, who will play that way till the day they die. The classic fusion period of the ‘70s will stand as a monument to musicians who were trying to break out of the box and extend jazz to other places.

Note: Even the word “fusion” is a misnomer, since all music is a fusion of at least a few if not more influences. I would prefer to call this period, the jazz-rock age, since the music borrowed certain precepts from each area. Of course, therein lies the danger: When you mix two strong elements together, there is the obvious necessity of having to sacrifice some of the principles of each in order to meld the two together. I am afraid that in the case of jazz-rock, something like this happened.

PLAYING WITH YOUR BROTHER(SISTER) by DAVID LIEBMAN

 Jazz is replete with examples of same instrumentalists playing together. Gene Ammons and Sonny Stitt, Al Cohn and Zoot Sims, Phil Woods with Gene Quill, etc. Though my list would probably be top heavy on saxophonists it exists to one degree or another on most instruments. What would seem to be a recipe for disaster, meaning a potential clash of egos has often resulted in great music being played. Given that any performer has a strong sense of him or herself and naturally wants to be the center of attraction when one is soloing, it would seem that the idea of two tenor players or two guitarists playing together in anything more than a spontaneous and short performance wouldn’t work. But the commonalities far outstrip the differences and jazz musicians are in general, very generous in spirit. They also love to be in an atmosphere where there is the need to raise one’s game because of the challenge of witnessing another musician playing great ideas on the same instrument.

Granted that the musicians desire to communicate, the idea of common ground is obvious because only another musician playing the same instrument would understand the intricacies and subtleties that one must deal with. So instead of a competitor, what you have is a brother who understands as you do what things “feel like”.

Then of course there is the inspirational factor. The fact that you can see and hear someone playing things that you may not have thought of in the same musical context before one’s own eyes can be incredibly inspiring. I know that when I play with the Saxophone Summit-Joe Lovano and Mike Brecker, there is a feeling of familiarity and joy when two of us are on the side of the bandstand listening to the third guy play. We will look at each other and say something like this: “Wow-how did he do that…or what a great version of a Sonny Rollins lick was just played, etc.” This is a very warm feeling because familiarity and recognition naturally makes things feel comfortable in any real life situation.

The level of communication and camaraderie is surely intensified when musicians perform together on the same instrument. And for the listener, there is a natural excitement evident in hearing this wonderful musical situation.

In light of the economic state of the jazz record business, many artists have to accept live recordings as representative of their work. It’s true that even in the studio situation if the money is tight and time restricted because of that, the recording process is not that much different from live outside of the presence of an audience. I have done many records in six hours or less which essentially  is a kind of live recording allowing no time for use of the studio situation to one’s advantage. But for the sake of this discussion let’s omit economics and assume that you have approximately two hours per tune, meaning for a standard CD length around two eight hour studio days. (This doesn’t include mixing and mastering which adds on at least another day.)

There is an inherent contradiction when recording jazz in the studio. The obvious fact that people can hear the music anywhere, anytime in the world forever certainly puts something special on any recording. The paradox is that we are capturing a moment(s) of musical time and magnifying it way beyond that time scale. Ideally, jazz, in fact any improvisational art, is predicated on being in absolute present time with no past or future impeding the flow of spontaneity or the artist’s ability to respond to what is happening in the moment around them. We cognize musical “spontaneity” as an ideal, as something special. However, spontaneous doesn’t mean that completely new and fresh material is necessarily being discovered, though that exists as a goal for most jazz players. The reality is that we are playing what we have discovered before, whether it be through the practicing process, or by accident, or a combination of events. It is the interpretative aspects of the music in the moment which is the first time event identified as spontaneous. Even in the case of the pre-be-boppers who often would play a set solo with exactly the same notes from performance to performance (like the classical artist), matters of interpretation (meaning phrasing, nuance, etc.) were different every time. To use a metaphor, magnifying a snapshot into a poster can be daunting and in the case of jazz, at least theoretically, paradoxical to its very ethos. On the other hand, why shouldn’t one moment  be as representative of an individual’s playing as another, assuming the artist is skilled enough to be consistent (a skill gained by experience in the studio).

The obvious benefits of studio recording is what painters, writers and sculptors artistically enjoy as a given….the opportunity to refine, correct and change one’s art towards the artist’s vision. It is in the studio where we can actually realize a piece representing the kind of diligence and care an artist should and can give to his work and to the audience. The other reality is that you cannot hide under the harsh lights of the studio where everything is heard to the smallest detail. The studio is a great leveler of talent…everything is scrutinized. However, in our era with technology so advanced, it is possible to seamlessly alter everything about the music to such a high degree that there is the inherent danger of over correction…. a problem of too many possibilities. In other words, if I have the capability of making something “perfect,” how can I resist using it? The sad truth in our era is that a listener cannot be sure that what they are hearing is what was actually played because there are so many ways to alter the past. Of course this is ultimately an individual artist’s decision but a very important one, especially for an art form that prizes spontaneity. Let me remain positive and just say that editing in our time affords the artist a chance to make a truly grand presentation, to present a concept, to mull over details… all of which hopefully contribute to a higher level of enjoyment from the listener as well as encouraging the artist to evolve further.

Though it is less likely that a performer uses extensive editing on a live recording compared to the studio, you can never be sure. Putting that reality aside, recording live is as close as you can get to hearing the essence of jazz….spontaneous-in the moment playing which for my aesthetic is the absolute highest musical goal. What I am looking for when I hear myself is a solo that is technically beyond reproach; ideas that are musically sound and coherent; interaction with the other musicians at the highest level; and an emotional depth that the listener can feel. That is a tall order which is realistically beyond most of us, but represents the highest goal of jazz improvisation for me. Recording live can be a nerve wracking experience because you cannot go back and change or fix things without affecting the very premise of what a live recording is supposed to be.

In summary the challenges of both kinds of recording are many and for the jazz artist it is mandatory to live in both worlds. As I said earlier, because of the current state of affairs in jazz recording, much of what is being released are live recrodings, a reality we as musicians have to live with. But we must persevere in attempting to find ways of recording under the white lights of the studio, using the tools afforded us in that environment to elevate our art.

One thing is sure…for myself and my peers it was the live recordings of Miles, Coltrane, Bill Evans, etc., that were passed around, many of which recorded in the ‘60s, as tenth generation reel to reel copies, evolving into cassettes and finally CDs that had the most effect on our musical development. The Coltrane “One Up, One Down” track live from the Half Note in NYC was a treasure as were various live Miles Davis concerts. “Live at the Plugged Nickel” was like gold (first released in Japan only as a double LP) and I wore out Trane’s “Live at Birdland.” There were some artists like Sonny Rollins, known for not being terribly comfortable in the studio, for whom you went primarily to their live recordings to hear their latest work. On the other hand those of us who saw Coltrane live witnessed first hand a group that was completely different on vinyl than live. (Refer to the You Tube of “Vigil” discussed below).

So what does this come down to? As an artist we have to deal with what is given us in our time. But for the serious listener the only way to really know how someone plays is to hear them live a few nights in succession without the benefits of hindsight (editing). Then you can truly judge themusic. Studio recordings are another, parallel reality to be taken in account on its own merits.

EUROPE AND JAZZ (written in the 1990s) by DAVID LIEBMAN

When I review the days spent on the road at the end of the year, the percentage of time in Europe far exceeds anywhere else. I would venture to say that this is true for the majority of working jazz artists, even some of the superstars. This has been the case for several decades or more if you factor in famous expatriates like Ben Webster, Dexter Gordon, Johnny Griffin and others. Sidney Bechet, the father of the soprano sax has squares and boulevards named after him in France!! Is it simply a matter of the grass is always greener or that finding acceptance in one’s own backyard has always been traditionally more of a challenge for creative people? Or is it because jazz is viewed as foreign and exotic to Europeans, thus explaining its long appeal. Maybe we should just say that Europeans are just more sophisticated and cultured than us!! After all, almost everywhere you go in Europe there is something REALLY old staring you in the face, especially compared to the World Trade Center or Sears Tower. In my opinion, it is all of the above and more that causes Europe to be such a fertile land for jazz. There is definitely a long musical tradition which besides having provided for the church l liturgy has elevated music making to a high art. On the technical side, jazz harmony derives lock, stock and barrel from the European classical aesthetic with much having been written tracing the common lineage from Bach to Schoenberg. Because of this long tradition, music is considered a necessity in Europe. With the socialist political tendencies that have marked post- war politics, the most important fact of why the arts have continue to survive there is government funding. Pure and simple, there is money to support the arts and though the major beneficiaries are largely opera, theater and orchestras, jazz has received its share of the largesse. Surely it differs from country to country and fluctuates as the governments change but the e mandate is essentially intact. Some co-sponsorship with private companies has risen in the past decade to take up the slack of less government spending. Remember that until recently all radio and TV were state run and these stations had the responsibility to present all forms of culture, from rock to world music, jazz to classical. Finally, the romantic image of the smokey jazz club and the whole jazz culture in general resonates loudly in Europe where the concept of the café as a meeting place to hang out is part and parcel of their life style. To sum it up, I quote a statement that the famous impresario George Wein (founder of the Newport and JVC Jazz Festivals) told me: “If it weren’t for Europe, there would be no jazz!”

The European Jazz Scene

Prior to World War II there was some jazz played in parts of Europe, but it was definitely the post war generation exposed to Bird and the be-boppers, (some of whom came through on tour), who took jazz and began to develop it, at first derivatively, t hen slowly expressing an individual personality. Remember, when one says Europe you are speaking about an area comparable to the size of the U.S., but with over a dozen distinct cultures, histories and traditions. Each country has its own slant on the development of jazz with a distinct way of doing things. Given the rich classical tradition that these musicians were born to and in many cases trained in, you can imagine the interesting and diverse fusions of influences that have taken place there. The Afro-American roots of jazz which we take for granted in the U.S. didn’t really exist in Europe. But what they do possess besides the classics is proximity to many types of world music coming through colonization and subsequent immigration from Asia, the Middle East and Africa. Europe indeed has its own unique circumstances which have mixed with American jazz. By the 1980s there were more notable jazz personalities and styles from many of the countries than previously. Some had come through be-bop, while the new generation was affected by free jazz and Coltrane as well as fusion. By that decade, jazz education was well on its way throughout Europe. In fact, the 80s represented a virtual explosion of interest in jazz with more combinations of European and American musicians. There had always been a tradition of an American soloist(usually a horn player) playing with a European rhythm section. That trend increased during the 80s when even lesser known musicians were being invited to play with Europeans. Finally, the role of independent run record companies became quite pronounced in Europe from the 70s on, especially with the phenomenal success of the German-based ECM label. The European record producer was a special breed: non-compromising, expert in on e or more areas of the music, avid record collectors wholly dedicated to “art for arts sake.” It was through their support and commitment that many American musicians established a reputation as well as a platform to develop their art. With the American a attitude towards commercialism and profit margins so entrenched in our culture, all but a few artists could regularly record in the U.S. Personally, my first two recordings as a leader were for ECM in the early 70s(“Lookout Farm” and “Drum Ode”), and if it weren’t for the great support of several labels over the years, I probably wouldn’t be writing to you now!!

Myself and Europe

Maybe it was fate but even on my first trip to Europe while in college, I connected up with the scene. In June, 1967, I was finishing my third year of college at New York University. My parents gave me $1000, a book called “Europe on 5$ A Day”, a plane ticket and the first night’s reservation at a hotel in London. With my tenor and a few names of musicians I was off. That first night in London I made some calls the moment I got into the hotel. I ended up at the famous Ronnie Scott’s club and met a whole g group of young musicians rehearsing in a big band. For the next few weeks I stayed with saxophonist John Surman and Dave Holland(who would come one year later to New York to play with Miles Davis). On July 17th,the day Trane died, I arrived in Stockholm an d stayed with musicians there for awhile taking part in my first recording(“Och Hans Vanner”-Love Records), with pianist Lars Werner. After these weeks I went to Italy, Spain, France and Copenhagen(hearing Dexter Gordon) playing more than I ever had. This was the first revelation that there was a chance to play jazz after all. My life and its focus had changed forever. Little did I know how many times I would return to these same places over the years!! When I did return in the 70s it was much different with Miles Davis, Elvin Jones and soon my own groups. But it was really in the 80s that I began to seriously interact with European musicians, publish books, teach and record a lot. It has been a continuo us run since then. For me, Europe has been a mecca with a different relationship in each country. I would not be the musician I am without Europe and am eternally grateful to those who have supported me there. Overall, I would say it is the openness, curiosity and above all respect that I have felt from the European public and musicians which have been the main factors. Given the various cultural differences, this has worked greatly to my artistic advantage by having to adapt musically and still keep the integrity of what I do personally. The European musicians in general are less bound to the be-bop culture in the aesthetic sense. It is so interesting to see how the influences of various cultures, world music and the classical tradition have interacted t o create such individual music in some cases. I hesitate to describe the European jazz I encounter as “free”, but I would say that there is a remarkable openness on both the part of the audience and artists to playing in a less traditional manner. Following are my observations of some of the major characteristics of the jazz scene in various countries.

Scandinavia

Overall there are two strains of American influences which are quite pronounced in Scandinavian jazz. Because many expatriates resided in Sweden and Denmark in particular, there is a legacy of be-bop and the sophisticated audience which it engendered over several decades. On the other hand, there is the famous “Nordic” sound first made famous by Keith Jarrett’s recording on ECM “Belonging” from the 70s which used several Scandic musicians(Jon Christensen on drums, Palle Daniellson on b ass and Jan Garbarek on saxophone). This had a major influence on the jazz scene there and in fact worldwide as far as setting the tone of a style. The ECM label in fact has used a studio in Oslo, Norway for years to record many CDs and employed these an d other Scandinavian musicians for many dates over the past decades. Also, there is an abundance of big bands, both amateur and professional who regularly integrate the writing skills of some of America’s best composers: Bob Brookmeyer, Jim McNeely, Mari a Schneider and Vince Mendoza to mane a few. Exactly what is this “Nordic” sound that I have referred to which in turn has influenced American musicians? Maybe it is the long winters along with the heavy imbibing that takes place in this part of the world. In any case, there is a melancholic and stark flavor in the harmonic realm, quite different then the blues tinge that we are used to. Some of the other characteristics area great deal of minor based tonality, a pronounced folk song influence, sparseness of texture, long melodic lines, a lot of rubato phrasing, eighth note based pulse with a sprinkling of uneven meter, and a preponderance of reverb effect used on the recordings themselves. There is a definite and singular atmosphere or color to their music in general. The deepest musical education in Europe takes place in Sweden beginning at the high school level. There are many conservatories and programs in jazz as well as the other arts. For the working situation there is even a government sponsored agency which sends groups out to countryside towns for performances as well as an association of nearly 100 jazz clubs country-wide. The typical Swedish jazz musician is the best overall equipped craftsman around. This is reflected in their ability to play in many genres from free jazz to be-bop to fusion and of course the “ECM” style. They have a long relationship with jazz and are for example proud of the fact that Charlie Parker toured with Swedish sideman back in the early 50s. Overall there is usually some financial support from the government for many jazz musicians. The Swedish audience in keeping with the basic orderliness of their society is usually quite reserved and small in numbers, relative to the population of course. Close to Sweden, surprisingly I would place Finland. This small and rather mysterious country is reputed to have more orchestras and festivals of all sorts proportionally than any other country. I have toured towns with unpronounceable names way in the north near Russia which all have the most lavish and gorgeous concert halls. Again, there is some level of government support and several higher schools teaching jazz. The Finns have a justified reputation for reticence which definitely pervades the typical audience there. But like the Swedes they are very appreciative and fairly sophisticated listeners. Concerning Norway I haven’t as much time there but in many ways it is similar to Finland in that there is a nucleus of musicians more or less clustered around the capital of Oslo who are very active. Specifically, several of the most important musicians on the ECM label are Norwegian: Aril Andersen, Jon Christensen, Terje Rypdal and most notable of all, saxophonist Jan Garbarek. Denmark is a special case in Scandinavia because both in the physical sense(they are attached to Europe’s mainland) as well as culturally, the Danes combine the Nordic and European sense. They are a lively people, very warm and polite with great interest in humanitarian and environmental causes. In general their personalities are a bit looser than their Northern counterparts and more in tune with the American influence. Throughout jazz history, many expatriates have resided in Copenhagen, in large part due to the Dane’s traditionally equitable treatment of minorities. (Dexter Gordon and Kenny Drew were among the most well known.) The Danish are a great audience to play for as they really get into the music. Throughout Scandinavia but especially in Sweden and Denmark, there has been a long tradition of great bass players, ranging through classical, jazz and fusion. It seems that the great bebop bassist, Oscar Pettiford spent some time there and exerted a tremendous influence. In Sweden, American bassist R ed Mitchell lived for many years and was very important to the scene. Contemporary bassists of note are Nils Henning Orsted Petersen(NHOP for short)from Denmark, both Palle and Lars Daniellson(not related) as well as Anders Jormin from Sweden. Since 1985 I have been working with the rhythm section of Lars Danielson(bass) and Bobo Stenson(piano) from Sweden along with Norwegian drummer Jon Christensen. In this group, Jon basically sets the loose rhythmic tone while Lars holds the harmony and time as Bobo and myself dance over this bubbling foundation, often playing lines in tandem as well as blowing in the traditional accompanist-soloist relationship. The music ranges from very lyrical to almost austere in tone as well as some high energy free jazz. There are some Swedish folk influences and even a few jazz standards, but it is all played in the same stylistic “Nordic” vein. We have several recordings out on the Swedish-based Dragon label including a live date from Visiones, the former club in New York.

France

During the 1980s, the typical national French budget included over a 10% allotment for culture, of which jazz was part. This has abated recently but it has not entirely disappeared. Suddenly in that decade there were literally dozens of small and large festivals throughout France, as well as an abundance of record labels and at one time, nearly 200 “jazz” schools. The French have for decades been proud of their supportive attitude towards jazz. Many American musicians have spent time in the greatest of cultural cities, Paris. There was a vibrant Left Bank jazz scene in which expatriates of the bebop era ruled for years including Bud Powell, Kenny Clarke and others. The Art Ensemble of Chicago lived there for some years as did many avant garde musicians. Soprano saxophonist Steve Lacy has been in Paris for nearly 30 years himself. In my opinion outside of the northeastern part of America considering New York as the hub, Paris is the only other logical place to live if you are interested in jazz and its offshoots. Paris, even more than New York is literally a bouillabaisse of people and influences, mainly from the former colonies which results in a tremendous hodgepodge of musical cultures including southeast Asia and many areas of Africa, fro m Morocco and Tunisia to Senegal and other Western African countries. The French truly respond to jazz and enthusiastically embrace it as a people, probably more than anywhere else. It is not uncommon to hear jazz at road stop restaurants or when you fly Air France as you enter and exit the plane. Because of the explosion of government support in the 80s, and as part of their general Gallic pride in anything French, their own musicians have been better supported than anywhere else on par with Sweden. The French musicians have therefore developed quite a bit in the past decades and they have a unique style all to themselves. I don’t intend to denigrate it by calling it vaudeville (a French word in any case), but a lot of French jazz has and almost minstral show quality to it. Maybe it is the theatrical influence from Moliere and the Comedie Francais along with the literary tradition of Flaubert, Stendhal, Baudelaire, etc., but I detect a sincere effort to entertain the audience with the music. The French truly have their own sound. Also it is saxophone-clarinet land to be sure. Along with the oboe and flute, a great deal of the historic development of these instruments is due to French craftsmen. Some say that the elocution of their language causes the typical Frenchman’s lips to articulate in a way favorable to woodwind sound production. In any case, some of the oldest and most popular instrument, reed and mouthpiece manufacturers are in France including Selmer (saxophones), Louray (oboe) and Buffet (clarinet). One particular thing strikes me about the French audience to their credit. Once they are convinced that you are valid, they remain loyal forever. They can be very opinionated, sometimes a bit uniformed and even prejudicial, but if they take you into their orbit you will always be accepted. To the French, being an “artiste” is everything!! For me, France has definitely been the best scene for me, due mostly in part to the recordings and great support I received from Jean Jacques Pussiau, owner of Owl Records. We made seven CDs ranging from West Side Story to fusion to classical and free jazz as well as tributes to Miles and Coltrane. I have had the opportunity to work with the trio of Jean Francois Jenny Clark, one of the greatest of all bassists (recently and sadly passed away), pianist Joachim Kuhn (German but lives in France for years) whom I have known for 25 years and is a consummate musician, and drummer Daniel Humair, who in a sense represents the history of European jazz having begun playing with Bud Powell as a teenager in the early 60s. Well rooted in jazz history, they like to p lay hard, angular melodies with complex harmony followed by completely free improvisation usually at very fast tempos. Also in France, I have been invited often to play with Michel Portal who represents the best in the French tradition. He is an expert an d famous classical clarinet who also plays a sort of free jazz influenced at times by his Basque roots. He is not a be-bopper but plays the horns so well and has such great musical instincts that he is capable of some wonderful moments. In the recent pas t I have formed a trio with a bassist similar to Portal in the sense that he too is a classical expert who among others has worked with Pierre Boulez. Jean Paul Celea plays the bass so well that whatever comes out is musical. The drummer in this trio is Austrian, Wolfgang Resigned, who plays in a very modern and energetic mold along the lines of Jack DeJohnette. This group deals in a free jazz context similar to the first group I was involved with, the Open Sky Trio with Bob Moses in the early 70s. The common thread with all of these musicians is their classical background and familiarity with that repertoire, way beyond mine by the way. Therefore, they begin at a technical point on their instruments that is astounding.

Germany and Austria

With the long and historic tradition so linked with the German culture for hundreds of years, their audience is highly developed and the most mature in the world. This directly leads to the existence of many small and independent labels dedicated to p resenting jazz over the years (ECM,ENJA,CMP).. With the largest market in Europe, their famous efficiency and such a highly educated population, jazz has traditionally done well in Germany. For years there were several full time resident big bands working for the regional radio stations which regularly played jazz. The cabaret and beer hall tradition of German society where people socialize has contributed to a high number of jazz clubs throughout the years, though this has greatly evaporated recently. From the post war years and still, the presence also contributed to the direct influence of American culture-not only in jazz, but pop also. There is one distinct aspect of German jazz which has been evident for several decades. That is the free jazz movement which has continued to exist even after its near disappearance in America. I would trace this to the classical avant-garde tradition of the early 20th century with Schoenberg, Webern, Berg and others of that ilk. Some of Germany’s top practitioners in this regard are Alexander Shlippenbach, Peter Brotzmann and most notably, trombonist Albert Manglesdorf. The free jazz influence was also felt in the former Eastern bloc countries, more so before the end of the Berlin Wall than now. But there are still some festivals completely devoted to avant garde music, while at the same time you can attend pure Dixieland events (a contrast which by the way occurs in almost all of the countries surveyed here). The typical German audience as I have mentioned is the most sophisticated in the world as far as jazz is concerned They are knowledgeable and thought they can be faddish with styles being popular for awhile, then fading, usually the highest level of listening takes place there. They are respectful but let you know how they feel. Jazz education exists in several places including, Mannheim, Essen, Cologne, Frankfurt and Berlin for the most part alongside longstanding classical programs. Overall, with such a large population, high income levels, and in one area of Germany a sort of cultural tax for each citizen, this country has been a major force for the support of jazz for several decades. Austria is much smaller in population than Germany with the main center of course being Vienna. It also enjoys a rich classical tradition which is virtually inseparable from Germany. There are many fine musicians involved in all kinds of projects especially with chamber music and other types of traditional ensembles being incorporated in various mixtures of sorts. The level of musicianship in Austria is extremely high, but in general the audience is not as discerning as their German neighbors. Although I don’t have a steady rhythm section in Germany as in France and Scandinavia, I have had some important relationships in other ways. Advance Music, run by Hans and Veronica Gruber, have published most of my books as well as chamber music. They have been very supportive, especially in view that many of my teaching materials are not commercial or meant for the wider audience. The same could be said for the record company CMP, run by Kurt Renker. I have done some of my most artistic recordings at the wonderful studio that Kurt has in the German countryside along with one of the greatest engineers alive, Walter Quintus. Our latest project is a solo recording titled “Time Immemorial”. The northwest part of Germany (around Cologne) is home for the WDR( West German Radio) which covers both TV and radio. They are well funded and have a full time jazz big band that does all types of creative projects featuring soloists. I have done work there with Jim McNeeley, Vince Mendoza and in an orchestral setting with Bill Dobbins who now heads both the WDR big band and the jazz department at the Cologne Hochshcule. The whole concept of soloing over large ensembles has added greatly to my skills and besides, it is a thrill of a different sort fronting so many musicians. This experience comes directly from my interaction with the German scene.

Italy

There is a natural correlation between the Italian temperament and jazz. For Italians, the energy, joy and enthusiasm of jazz is a natural. The scene as far as musicians is concerned is quite active. Unfortunately, the Italian government(s) do not have their act together enough to subsidize this music at all, nor is there much jazz on radio or TV. This is a bit sad because there is so much culture surrounding them on an everyday level, and there is much support for opera of course. Finally, in the pa st decade jazz was officially recognized by the very traditional university system, which as in most of these countries is state supported, very old and very conservative. The Italian musicians play all kinds of styles from be-bop to free. Besides England and Holland, they have been the most heavily influenced by American jazz. Possible due to their operatic tradition and ecclesiastical music, they definitely have a gift for melody and for some reason the trumpet has been quite popular for Italian jazz a rtists. Some notable trumpeters are Enrico Rava, Flavio Boltra and Paolo Fresu. The Italian audience is by far the most enthusiastic and warmest that one encounters. They love everything usually. In fact, it is hard to separate the Italian life style of great food, wine, high fashion, beautiful towns and villages, medieval art and culture everywhere as well as the mellifluous sounding language from their enthusiasm about jazz, film, opera, painting and the arts in general. For that matter they are equally enthusiastic about gossip. After all, the term “paparazzi” originates with the Italians! They are a most remarkable people and the musicians and audience alike reflect this. Touring in Italy is extremely enjoyable (outside of the frequent transport strikes).I always enjoy playing with the acclaimed pianist Franco D’Andrea, trumpeter Paolo Fresu and saxophonist Maurizio Giammarco among others. Also in Italy I have recorded some repertoire CDs for Red Records and original music for Soul Note. Just to give you an insight into the attitude of European record producers, I quote what the owner of Soul Note, Giovanni Bonnandrini said to me when I asked if a particular project was al l right. He said: “The only thing is that the music be creative”!! (How many American producers would say that?)

Holland, England, Ireland and Spain

All of these countries (except Spain) have in common the large effect of American jazz. Maybe it is language, because even the Dutch are quite fluent in English. In England itself, there is a long tradition of “trad” (dixieland), but there have also been great beboppers and free musicians. London, like Paris and New York is a world city with all the different influences from former colonies and immigration affecting the music. For years, one of the most famous clubs in the world, Ronnie Scotts h as been presenting world class jazz. Jazz education exists to some degree and there have been a lot of notable jazz journalists, books and periodicals coming from Britain. The staid English audience is a given, but they are the most hospitable of peoples, genuinely gracious and polite. The list of notable English musicians is impressive: Dave Holland, Tony Oxley, John Surman, Kenny Wheeler(Canadian but living in England for years) and John Taylor to name a few. The Netherlands is a small and very densely packed country which has an extensive university system for jazz education. The Dutch musicians are highly skilled and very adept at all styles with a wide range from be-bop to free. The audiences are good and have an exceptional tolerance for free jazz which has been widely accepted there. Musicians such as Hans Bennink and Wilhelm Breuker have excelled in this music. One of the biggest festivals in the world runs in the Hague there during the summer called the North Sea Festival. Ireland which is truly tiny in population has in recent times really come up in jazz. They are obviously tied to both the U.S. and England, but due to a handful of energetic musicians led by bassist Ronan Guilfoyle, as well as the strong artistic tradition native to this island culture, the Irish sound is becoming more individual, especially in the realm of rhythm. Spain, relatively new to jazz and more isolated culturally, has of course its own rich flamenco tradition which permeates the entire society there. In both Barcelona and Madrid there are full time schools where hundreds of students of all ages study around the clock. The progress of the Spanish musicians has been remarkable over the past decade. Although they bear some similarities to the Italians and the lyrical heritage, they possess a soulfulness and rhythmic intensity all their own.

International Association of Schools of Jazz

The founding of the IASJ in 1989 was the result of my personal efforts to bring the various cultures together along with of course America and other parts of the world, all with the common thread being their love and teaching of jazz. Currently we have 35 countries represented on every continent and have held meetings in a different school each year. Upcoming are meetings in Spain, France, U.S., Finland and Japan. Over the years I have handed out to all the participants a questionnaire meant to gather various information including how the students began in jazz , their influences and views on a wide range of topics outside of the music. This questionnaire is in reality statistical proof of the axiom that jazz is universal. Pat Dorian and Terry Giffel of East Stroudsburg University in Pennsylvania have taken it upon themselves to prepare an analysis of this data which will is available in the research division of IAJE. Some quick findings offer the following points of interest: -Forty eight percent of those surveyed(256) come from musical families. The large majority had their first major jazz experience between the ages of 14 to 16. Miles Davis(book, video, recordings) was mentioned by thirty seven percent as the biggest influence; Coltrane by 30%. “Kind of Blue” was the leading recording mentioned. Definitely check out the research paper for more interesting conclusions.

Final Words

The fact that a musician like myself, steeped in American jazz and New York in particular, can be fortunate enough to share spiritual moments with so many people from a different part of the world is a testament to the universal appeal and potential power of this music. I honestly feel that the future will see more and more international collaborations for jazz musicians coming from all parts of the world, infusing the music with a breath of fresh air and enthusiasm .For sure, Europe has definitely been a god send for the life of jazz.

In the 1990s, David Liebman surveyed 256 young student/musicians. A total of 37 (14%) participants attended his annual International Saxophone Master Class at East Stroudsburg University of Pennsylvania (ESU) between 1994 and 1997; and 219 (86%) attended the annual meeting of the International Association of Schools of Jazz (IASJ).

Both of these yearly events presented an opportunity to survey a select population on matters ranging from the personal to the philosophical. The goal of the survey was multi-faceted: to collect some basic information about the backgrounds, listening habits, and other influences that have informed these students’ musical lives as well as cause them to reflect upon matters that form one’s world view, which is an intrinsic component of being an artist.

We hope that this survey will inspire more research into who is being taught jazz worldwide-and their hopes and aspirations for the future.

 Respondents’ Profile

Country
Respondents to the survey came from 5 continents and 28 countries: the United States, Germany, England, Austria, Sweden, Spain, France, Italy, Netherlands, Switzerland, Denmark, Finland, Israel, Japan, Ireland, Brazil, Canada, Norway, Australia, Portugal, Estonia, Hungary, Mexico, New Zealand, Poland, Scotland, Slovenia, and Uruguay. Most participants came from Europe, but the United States was also heavily represented. Asia, Australia, and South America had few representatives, which was to be expected given that all surveys were taken in Europe or the United States.

Gender and Age
There were 13% female respondents and 87% males. A total of 90% gave their age on the surveys, ranging from 14 to 67, with the majority being in their twenties. Of those in their twenties, the data were skewed slightly toward those in their early twenties, which is to be expected since most have undergraduate or graduate music school affiliations.

School Affiliations
Some type of school affiliation was indicated by 95% of the respondents. The remaining 5%, who were part of the Liebman Master Class held at ESU, indicated other reasons for attending, such as being a freelance performer or amateur/novice performer. 83% were students, 10% teachers, and 2% administrators. Schools with the significant representation of 5 or more participants included The New School (New York, NY); Royal Academy of Music (London); Royal Conservatory (The Hague); Berklee College of Music (Boston, MA); Skurup Folkhogskola (Skurup, Sweden); Bruckner Konservatorium (Linz, Austria) ; Conservatory of Montreux (Montreux, Switzerland); Musikhochschule Graz (Graz, Austria); Rimon School of Jazz (Tel Aviv, Israel); Siena Jazz Association (Siena, Italy); Taller de Musicos (Barcelona, Spain); Hans Eisler Music School (Berlin); Musikhochschule (Koln, Germany); Sibelius Academy (Helsinki, Finland); Taller de Musicos (Madrid, Spain); Fridhems Folkhogskola (Lund, Sweden); Koyo Conservatory (Kobe, Japan); Newpark School Centre (Dublin, Ireland); Rhythmic Music Conservatory (Copenhagen, Denmark); Hochschule der Kunste (Berlin, Germany); and Jazz and Rock Schule (Freiburg, Germany).

Performing Media
Since the questionnaire was open-ended, some participants listed as many as 6 performing media. The most-listed medium was saxophone(s), with piano/keyboard as a close second. Other significant media in order included drums/percussion/mallet percussion, flute, string/electric bass, guitar, clarinet(s), and voice.

 PART I

In Part I of the survey, Liebman attempted to ascertain what drew students from around the world to jazz and who influenced them: “I thought that it would be of great interest for educators to see how these students entered jazz, what books, records, and other musicians have affected them most in the musical realm.”

Family Musical Background
Participants were surveyed regarding other members in their family who played instruments or sang. Of the 256 participants, 48% indicated that at least one member of their family performed at some level. Some listed as many as four family members who performed. 2% indicated that they had professional musicians in their immediate family.

Piano or church organ was listed as being played by a family member by 17% of the participants. Violin, viola, and cello were listed by 7% of the participants, which strongly suggests they had a classical string (orchestral) influence. 6% of the participants named vocalists as relatives. Guitar was mentioned by 5% of the participants; trumpet and saxophone were each mentioned by 5%; and clarinet and drums/percussion were each mentioned by 2%. Flute or trombone were mentioned by 2% of the respondents.

How did you become interested in jazz?
Several respondents indicated either people and/or media that inspired their interest in jazz. Recordings were mentioned by 35% of the respondents, friends by 13%, a teacher by 10%, parents by 5%, and radio by 5%.

What was the first live jazz performance that made an impression on you? List musician(s) and/or group(s).
The performers mentioned more than three times were Chick Corea (7%); Miles Davis (5%); Pat Metheny (4%); Weather Report, Art Blakey and the Jazz Messengers, Herbie Hancock, Keith Jarrett (3% each); and Dizzy Gillespie, Dexter Gordon, Sonny Rollins, Count Basie, Michael Brecker, Ella Fitzgerald, Wayne Shorter (2% each).

What was your age when you attended the first live jazz performance that made an impression on you?
There were 139 (54%) responses to this question, and the ages cited ranged from 3 to 32 years. The most significant ages were 13 to 18, where 96 (69%) of the 139 respondents fell. 16% identified an age from 19-32, with another 15% from age 3-12.

What recordings, books, and movies have most influenced you?
Recordings were clearly mentioned most often as providing a major influence. Overwhelmingly, the most influential recording was Miles Davis’ Kind of Blue, named by 10% of the respondents; John Coltrane’s A Love Supreme, Keith Jarrett’s Standards Vol. I or Vol. II, Sonny Rollins’ A Night at the Village Vanguard, and John Coltrane’s Crescent each received 3% mention; and Miles Davis’ Milestones, pianist Bill Evans’ Sunday at the Village Vanguard, and John Coltrane’s My Favorite Things each 2%.

Books and movies were also significantly mentioned. Some respondents detailed multiple items. Books were mentioned 55 times, including non-music books. The most-named books were the Miles Davis autobiography (17 times), biographies about John Coltrane (5 times), and Duke Ellington’s autobiography or biographies (5 times). Jazz movies listed were Round Midnight (18 times), Bird (7), and Thelonious Monk: Straight No Chaser (3). Several non-jazz movies received one mention each.

Often participants mentioned an artist in addition to a specific recording, book, or movie. Those artists mentioned most frequently were Miles Davis (35%); John Coltrane (25%); Keith Jarrett or Charlie Parker (12% each); Sonny Rollins or pianist Bill Evans (9% each); Herbie Hancock, Pat Metheny, or Wayne Shorter (5% each); Chick Corea, Weather Report, Dexter Gordon, Duke Ellington, Charles Mingus, or Thelonious Monk (4% each); Ella Fitzgerald, McCoy Tyner, Cannonball Adderley, J.S. Bach, Art Blakey and the Jazz Messengers, Joe Henderson, or Jaco Pastorius (3% each); and Michael Brecker or Joni Mitchell (2% each).

Additionally, recordings, books, or movies related to Miles Davis and John Coltrane were mentioned most often (cited 95 and 78 times, respectively).

 PART II

Part II of the study focused on the students’ views on issues. Liebman stated: “I inserted questions that concerned their view of the world. The main goal at first was not so much to gather information but more to prod the students to think about issues raised by the questions-to reflect upon matters not directly related to playing jazz and begin to form a world view as an artist.” Because of the nature of the questions, a majority of the summary that follows is comprised of quotations from the respondents.

 What other art forms interest you and why?

239 (93%) of the 256 respondents listed other arts that interest them. While 14 respondents indicated that all of the arts interest them, many other individuals listed interest in as many as five other art forms. Painting was most often mentioned, with cinema/movies/film following. Others mentioned include literature, theater/drama, dance/choreography, sculpture, photography, poetry, and architecture. While most respondents specified specific visual art forms, 4% mentioned “visual arts.” Interestingly, classical music was mentioned by 3% as another art form.

 All Art Forms

Finland: Studying artistic values of all forms of art will also deepen the understanding and conception of music as art.

Germany: All arts are interesting because one is being creative with given structures. They have traditions, rules, development, and improvisation. It’s interesting to see the parallels between a given structure and what you can do with it in a creative way.

Ireland: I think it is important to look at what is good in other arts to see what you can bring to your own culture.

Sweden: From all art forms, you can learn a lot about emotions, life, people, nature, and of course, about yourself.

Dance and Theater

France: I enjoy theater because it is a live performance; and as in music, characters and the director can give different meanings to the same sentence.

Uruguay: Dancers make me see music.

Visual Arts

Ireland: It’s nice to focus completely on drawing and painting as a contrast to music because they are so silent.

USA: Architecture is the mathematics and construction of a big work of art. With painting we seek to understand what the artist was trying to convey.

The Written Word

Austria: Literature opens up your mind and makes you look at other points of view and think from other points of view.

Canada: I have always been interested in poetry for its condensation to essentials.

 What do you want to do with your music?

The 247 (96%) respondents to this question gave a wide variety of answers as to their future goals in music. Most responses could be categorized as communication (communicate, communicate emotions, affect the world, teach); internal processes (learn, express myself, happy/fun/enjoyment, play/perform); documentation (record, compose); and monetary income (earn money/make a living).

Playing/Performing

USA: I want to play my music for people, preferably in related settings. I would like to create more situations that are a hybrid between a formal concert and a bar…create a world for people to get lost in for a while through music.

Happiness/Fun/Enjoyment

France/Morocco: Music has become my friend and no longer a means to become known.

Communication

Netherlands: Create a moment of fulfillment for the listener and the fellow musicians.

Affecting the world

Finland: First, I’d like to acquire something that I could justifiably call my music and then expand ideas, express myself, and make social and political statements.

Expressing Myself

Italy: I need music to live, and my goal is being able to forget my ego so that the real me comes out through the music I play or sing.

Learning

France: To develop myself in order to be able to have a better understanding of the people in the world.

Teaching

USA: I want my music to be good enough to be used as a teaching device, much like what we do today with our past (musical) jazz heroes. I would like to build a bridge with jazz from the older generation(s) to the younger ones who are missing out on this fun.

Communicating Emotions

Sweden: Communicate, evoke feelings, and also enjoy myself while I’m playing-and at last, develop myself as a human being on this planet.

And finally…

Austria: At the moment I only want to graduate.

 What is the relationship between jazz and your culture?

The relationship between jazz and the students’ culture received 181 (71%) detailed responses. The remainder of the population gave no response or indicated they could not answer the question. Several indicated that this was a difficult question or that they did not feel that their English was good enough to respond. Of those who responded, 17% felt that there was no correlation between jazz and their culture. A number of respondents described the correlation between music and culture, but did not discuss jazz specifically. There was some mention of folk music by 7% of the responses.

Austria: There is no jazz tradition in Austria, but there is a scene and an amount of people who are interested in jazz and folkloristic jazz. This culture is influenced by America.

Canada: Canada is in transition and jazz melded with ethnic influences is quite possible.

Denmark/Sweden: There is a lot in common between my Swedish folk music and jazz. They are both rhythmic and use improvisation.

England/Ireland: Irish folk music is almost entirely improvised and involves the participation so vital to its effectiveness (as with jazz). Britain’s interest in jazz is an imitation of America’s art form. Influences from different cultures in Britain are slowly mixing with jazz.

Finland: Because jazz is an American art form, it has a strong international aspect from a Finnish point of view. Fortunately, jazz is quite respected in Europe.

Japan: Jazz is one of the most Westernized art forms brought over to Japan and was very closely related with the dance boom in Japan.

Italy: Jazz is a free language that can unite.

Netherlands: I’m out of a Dutch, Western European culture; so my music will always sound like that.

New Zealand: The jazz that is performed in New Zealand reflects the European and American cultures.

Sweden: My culture is the Western music you know but also some folk music. There have been people in Sweden trying to mix ethnic music with jazz.

Switzerland: In Switzerland, jazz is music for a minority of people. It’s regarded as intellectual stuff-with the exception of Dixieland, which is very popular in my parents’ generation.

USA: The fundamental elements of jazz-rhythm, swing, improvisation-are present in Peruvian music, especially Afro-Peruvian music.

 What is the relationship between your music, your culture, and the outside world?

This question received 173 (68%) detailed responses. Of those responding, only 2% felt that there was no relationship between their music, their culture, and the outside world.

Austria/Germany: The more I sang and wrote music, the more I found my culture coming through my music (gypsy music) as well as different styles not related to my heritage.

Brazil: Our Brazilian culture is strong, and world music is heavily influenced with Brazilian rhythms and phrases.

Denmark/Sweden: Living in Scandinavia, I try to find and push my folk music and roots in my music. The sounds and life are different in Copenhagen compared to New York.

France: Let’s flush out the borders! Jazz and improvisation is freedom. I hope my music will become an expression of myself and my culture, and I hope to be able to share it with great spirit with the outside world.

Germany: One world. One music. Mix it! Fix it!

Italy: The world needs our little, positive, but unique contribution. I feel that there is only one god with different names and only one language: music. As human beings we are all equal.

Japan: The movement, the throbbing, and the creativity of music are part of the important aspects of human values.

New Zealand: I hope that just by following my instincts and being myself, I will have something pure to offer the world. Creating something “real,” I believe, is one of the most positive things we can do for the world today.

Sweden: My music is hopefully a reflection of my life and thereby also a reflection of my culture, and of the things going on in the world.

Switzerland: Since I grew up in a culture, it will always be a part of me. After I was able to make my own decisions, the “outside” always attracted me.

USA: My culture does not embrace jazz. I live in a pop culture that caters to the lowest common denominator.

 What world issues most draw your attention and why?

This inquiry was answered by 216 respondents (84%). Some mentioned current events such as the fall of communism, Gulf War tensions, and conflicts in the early 1990s. The world issues most concerning those who answered the question were Ecology (environment/nature/pollution, 29%), Peace (21%), Racism (9%), Money/Economy (7%), Politics (5%), Religion (4%), and Lack of Communication or the issue of Hunger (each 3%).

Ecology: environment, nature, pollution

England: The destruction of our natural environment concerns me because the next generation deserves the right to live in a decent world.

USA: Environment: the enormous problems we face are a terrifying sign of our spiritual ambivalence and violent rejection of the original knowledge of native cultures.

Desire for peace/disdain for war

Germany: War: it is scary to see the dark side of human nature.

New Zealand: War: any situation in which people cause each other to suffer astonishes me. Not only do I despise wars, but I cannot understand how they could possibly happen.

Racism

England: Racism: I think there’s still a little bit of segregation in jazz music.

USA: Racism: it amazes me how we can love the music of a culture; we can tan ourselves until we peel; we can inflate our lips, breasts, and butts to look like a certain culture; but when it’s one on one, we can’t accept people for who they are.

Money/economy

Norway: The rich nations holding the poor nations as slaves. The poor earn almost nothing making cheap products.

Spain: Economic differences are getting worse for the third world, which will bring unpredictable consequences in the near future.

Politics

Brazil: Capitalism: when someone wins, someone else has to lose.

England: The world collapse of communism draws my attention because I know that what existed has only been an attempt at communism and not communism itself. I believe that only through true communism will the world be freed from injustice.

Religion

Canada: I am saddened by the role religion plays in so much of today’s strife. I am very concerned about the environment and its degradation-there is nothing if we have no earth! Worship of money and corporate moral bankruptcy are also problems.

Lack of communication

Denmark: The social and economical development in the different regions of the world with its extreme tensions, and the development of modern communication systems like the Internet. Because this will influence my life now and in the future, and I am starting to be afraid of this.

Germany: I am interested in how the media worldwide deals with political events. Can they influence decisions in law courts?

Ireland: Why must there be media hype before any issue is addressed by governments? The fickle nature of such media coverage results in unbalanced handling of global issues (for example, Bosnia).

Switzerland: People are too selfish, and they don’t know how to listen to other people or to themselves.

Hunger

Germany: It is absolutely perverted that people die of hunger in the third world.

USA: I don’t understand how hunger, racism, and crime can exist.

General comments

Finland: What gets put in the food to make it less nutritious, like hormones and preservatives. Also, the inhumane treatment of animals that are raised to be eaten.

Netherlands: The lack of self-knowledge, honesty, and application of simple wisdom. From this stems the more concrete issues such as violence (wars) and hypocrisy on a global level regarding the unequal division of wealth. This also provides the conditions for the existence of moral codes in the political and economic arenas such as we know them now.

Portugal: All issues that show people’s disrespect for themselves and others.

Sweden: The worst thing is that there are too many mean people in the world because of a long tradition of bad education and bad raising of children.

< expressed. also were (5%) doing is one what of understanding and (6%), honestly self one’s expressing (7%), inside from voice own finding (9%), ?trust? or truth>

Austria: It’s a special way to live, with creativity. It’s not only important for your music but also for all aspects in living.

Canada: I have believed for some time that all humans are driven to create. Some do it via creating children, others through house construction, others through the arts, or the like. I believe each person has at least one creative niche and needs to find it. (Denmark) I believe that we need inspiration from all sorts of things, people, places. Also to be able to be really creative so it really will get to people. I guess if you dare to stand behind yourself and what you do, you will grow.

England: Creativity keeps the mind active and is stimulating; originality is achieved through creativity.

Finland: They come of open-mindedness and courage and trust. They occur in everybody, but most of us are taught not to use them. But you really can’t get through to other people without them.

France: They must be developed by practice. It’s hard to balance the search for originality and the necessary repeat and practice of the tradition of jazz.

Germany: What goes in, comes out. The most important thing to a jazz musician is the broad input from all kinds of music and life experience (including pop and classical).

Holland: Creativity is the ability to finish solutions to a problem or task that are not obvious or closely related to your personality. Originality is not wondering whether what you do has been done before.

Norway: I must be creative to be happy with life, and originality is a question of really finding my own person and being honest with other people.

Sweden: These are natural forces; get prepared to be spontaneous as often as possible.

Switzerland: Creativity grows in a situation where a person or group lives in the moment without consciousness. Originality is a result of study, understanding, and transforming in an honest way.

USA: I will never do anything original in music. I can be creative. I’m only trying to be true to myself.

 What relationships do you see between jazz and other forms of music (i.e., classical, pop, folk, world)?

This question was answered by 131 (51%) of the respondents. Classical music was mentioned by 24%, pop/rock by 17%, world music or the aspect of rhythm by 8% each, and the aspect of harmony by 4%.

Austria: Jazz is that kind of music where musicians try to combine different experiences which they had in other forms. There is a lot of give and take.

England: As Duke Ellington said, “There are only two forms of music: good and bad.”

Finland: I find all styles mentioned above interesting at some level. Jazz musicians can learn a lot about simplifying and clarifying music.

France: All forms of music influence each other. Can we give music labels? What is jazz and what isn’t?

Japan: It seems to me that European people consider jazz as one art form of modern music (including classical music). However, most Japanese people consider jazz as a totally different music form and it doesn’t have any relation to classical music or rock.

Netherlands: Classical music gave the foundation for jazz harmony that is used. My feeling is that jazz and classical music are closer to each other than ever.

Sweden: Jazz is one of the few music styles where all of these forms of music can meet and be used freely.

Switzerland: Classical music and free improvisation are just other forms of organization.

USA: Classical’s harmony relates to jazz; Pop’s lyrics, phrasing, some harmony, solos do; World Music’s rhythm, phrases, and harmony do.

In what ways can art in general influence individuals, events, and the world?

This topic was answered by 131 (51%) persons. Again, the answers varied widely. Topics such as inspiration, creativity, bringing people together, and spirituality were mentioned about a half-dozen times each.

Austria: I don’t really think that art can change things in the world.

Brazil: Art could be the great world language.

Denmark: It can bring people together: art is universal.

England: It can inspire individuals to do things and also comment on world events.

Finland: Art is able to evoke emotions that aren’t possible to verbalize.

France/Morocco: It’s the best instrument to make people all over the world meet and talk. It’s the best instrument for peace.

Germany/Austria: Art to me is a very important part of the world’s evolution. Music and other arts have always been there, and real art seems always to be ahead of its time.

Holland: Through the education on certain topics of discussion, develop a sense of borrowing and consonance; develop a taste of your own to make life decisions.

Hungary: Arts can change the emotions and thoughts of the individuals if they are able to accept them.

Ireland: Although we need a certain amount of ego to perform at all, I think that truly pursuing art destroys the ego and brings us closer to our spiritual reality.

New Zealand: I think there comes a time in the learning of an art form where in order to improve you have to come to a deeper understanding of the world and its spirituality. I think art has this effect on anyone who allows it to.

Norway: Art is food for the mind: imagination and fantasy.

Sweden: Many times art can predict future events in the human society and even influence people into going in certain directions because it doesn’t have any restrictions. Art can be provocative, innovative, critical, and educational; and it speaks right to the beholder without being judicial.

Switzerland: Since in art there is no past or future (in the moment of producing or consuming), it teaches individuals theory that events can be great.

USA: By pursuing excellence, surviving, and stretching or testing the intellectual and emotional boundaries of the world audience.

 In what ways can jazz be used to influence individuals, events, and the world?

There were 114 (45%) responses to this question, with the answers varying widely: topics such as inspiration, creativity, bringing people together, and spirituality were mentioned about a half-dozen times each.

Austria: It can be seen as a universal/global art form and can be used as language/communication.

Canada: Jazz must be relevant to the times and not existing in museums. The harmonious blend of improvisation and rhythm should serve as a model for human cooperation and interaction.

England: The freedom and energy could inspire individuals to do something creative, but jazz is too much of a minority interest to have a wide-scale effect on the world.

Estonia: It’s developing the speed of thinking in all aspects. Musicians as a rule are better students, and their emotional worlds are richer.

France: I don’t really think jazz can influence politics and society other than on a small scale (such as to create a community of musicians).

Germany: Great personalities can influence a whole generation of musicians, not only by their art, but with all their life, thoughts, and attitudes.

Holland: Jazz has room for any other style of music, makes it easy to integrate different cultures, and opens your mind.

Hungary: This music demands more courtesy by the listeners, who may be more honest not only to jazz but the other arts, too.

Ireland: It can promote contact between people of different nationalities, races, religions, and social classes who share a common interest; plus it allows for personal expression while requiring the individual to cooperate with others.

Norway: It’s a universal language and can be a way of life for love, peace, and understanding.

Sweden: Art can be provocative, innovative, critical, and educational; and it speaks right to the beholder without being judicial.

Switzerland: I’m afraid it doesn’t at all.

UK: Unless all jazz musicians take up arms, it can’t.

USA: Once the jazz language is understood, anyone can participate in the process. This is an amazing premise: “Come and make music.”

USA/Netherlands: The technique of collective improvisation striving for a common goal could be imitated possibly by various problem-solving organizations.

 What do you see as the most important societal aspects of jazz?

There were 115 (45%) responses to this question. Three common responses were noted: bringing people together (22%), communication (17%), and jazz as a world language (10%).

Austria: People of different colors are brought together and learn from each other.

Brazil: It can be played in so many different idioms such as Afro, Latin, or Hindu.

Canada: Jazz is not as equally accepted (compared to other musics) because what people don’t understand or find hard to accept is usually what they don’t like.

Denmark: The feeling of being together in a situation of creativity.

England: The sense of intimacy you can get from playing with three or four other guys and communicating that to an audience can speak volumes for democratic sharing on the bandstand.

France: A jazz group for me is like the model of the society in general. We learn very much about society in a group. Jazz is a social music because it has to be performed live and shared between the musicians and with the audience.

Germany: To bring different people from different countries together and establish a common language for communication and understanding.

Italy: Jazz is too much of an “elite” music to affect the society.

Sweden: Jazz is both an individual and a group experience: it is a democracy.

Switzerland: It can give some people pleasure, but that’s all.

USA: People have to listen to each other to make it work.

 What do you see as the main limitations of jazz?

There were 126 (49%) responses to this question. 11% felt that jazz has no limitations. Common limitations identified by the remaining population included 11% references to jazz being too intellectual or elite for a small audience, 10% citing financial difficulties faced by performers, and 7% feeling that the term “jazz” as a label had a negative effect.

Austria: It’s very complex for non-musicians.

Canada: The fact that it is a subculture. It is an acquired taste in today’s musical/cultural milieu, as much as I wish it were otherwise.

England: Small audience.

Finland: Sometimes musicians make music egotistically: that might be typical in jazz. For many people, that has a bad ring to it.

France: I think television is the main limitation of art because everybody in the world thinks through their television set.

Germany: Jazz is in a lot of ways a male-dominated art form; it shows how male musicians can work together but also how hard it is for some females to get a chance to develop.

Holland: It’s too hard for most people to listen to (too theoretical) so that it will always remain “musician’s music,” which is fine with me; it will always remain music for a selected audience.

Japan: Many things have been done with jazz, and it seems hard now to do new things.

Netherlands: As long as we can integrate new elements in the art, there are no limitations.

Norway: Creative jazz can’t be a commercial success. You can’t get enough gigs to survive.

Portugal: Some of its compositional aspects, as well as form and development.

Sweden: The word “jazz” and your own imagination.

Switzerland: Like other art forms, a lot of jazz musicians are not very open to other music or art forms-their music is often very static.

UK: Elitism.

USA: The purely scholastic/technical approach of jazz schools. A mentality stuck in the 1940s and 1950s. There is a very small audience because of the lack of music education in our schools. Another problem is that most jazz is instrumental and people relate better to vocal music and its lyrics. Lastly, the money. Popular musicians get the money. We, the preservers of history, die poor unless we bend to what record label CEOs want. I guess it all comes down to what the people want, as well.

 SUMMARY

In conclusion, several points can be observed from this survey:

– Jazz education is active and organized in many countries and in many schools. This survey identifies 21 conservatories, 17 of which are in Europe.

– Most participants listed saxophone(s) as their performing medium. This datum is skewed by the fact that many attendees were drawn to the IASJ meetings and the Liebman International Saxophone Master Class at ESU because Mr. Liebman is a saxophone performer.

– Parents who performed music were a major influence in a student’s involvement.

– Students most often attended their first live jazz performance during their teenage years, particularly during the ages of 14 through 16.

– The most influential recording was Kind of Blue by Miles Davis, and Davis is also the most influential recording artist. John Coltrane, Keith Jarrett, and Charlie Parker are also significantly influential recording artists.

– Jazz students internationally have a great deal to say about their music, their culture, their world, and what they share with their fellow inhabitants in different countries.
Editor’s Note: This article is excerpted and adapted from “Opinions, Attitudes, and Influences of Jazz Students Around the World in the 1990s: The Liebman Survey” in (Part I) the IAJE Jazz Research Proceedings Yearbook Volume XIX (1999), pp. 73-79; (Part II) the JRPY Volume XX (2000), pp. 117-126; and (Part III) the JRPY Volume XXI (2001), now in publication, each also presented at the corresponding IAJE Conference. IAJE is grateful to the authors and to Dr. Larry Fisher, editor of the annual JRPY, for their permission and assistance. All percentages cited in this article were rounded to the nearest percent; figures rounded to the hundredth of percent can be found in the appropriate IAJE Research Proceedings, where many more details of the study process and analysis, plus additional quotes from the individuals surveyed, can be found.

Patrick Dorian is an Associate Professor of Music at East Stroudsburg University of Pennsylvania, where has been on the faculty since 1987. As a member of the trumpet section of the Phil Woods Big Band, he has toured Europe twice and recorded; he is also a member of the David Liebman Big Band under the direction of Gunnar Mossblad. Since 1992 he has been a member of the IAJE Resource Team for Educational Festivals and Summer Jazz Studies, compiling directories for the JEJ. His writings include seven pages of the enclosure booklet for the 1997 CD The Urbie Green Quintet: Sea Jam Blues (Chiaroscuro CR[D]338); a chapter in the book Annual Review of Jazz Studies 8: 1996 (Institute of Jazz Studies and the Scarecrow Press, Inc.); and Confessions of a Sideman (May 1999 JEJ). He holds degrees from Ithaca College and Northwestern University.

Dr. Terry Giffel is a Professor of Media Communication and Technology at East Stroudsburg University of Pennsylvania, where he teaches courses in computer integration for teachers and traditional and digital photography. He received his Ph.D. from the University of Wisconsin and his Bachelor of Science and Master of Science degrees from Indiana State University. This paper represents his first study related to music.

David Liebman has performed with Elvin Jones, Miles Davis, Bob Moses, Richie Beirach, Chick Corea, John Scofield, Kenny Kirkland, Terumasa Hino, George Mraz, Al Foster, Ron McClure, Billy Hart, Phil Markowitz, Vic Juris, Jamey Haddad, Tony Marino, and a host of other renowned musicians. He has recorded more than 85 releases under his own leadership as well as being a featured sideman on 170 more, recording well over 200 compositions. A recipient of National Endowment for the Arts grants for composition and performance, an honorary Doctorate of Music from the Sibelius Academy (Finland), the founder of the International Association of Schools of Jazz, a Grammy nominee for Best Jazz Solo in 1998, and an author whose books and articles are widely published, Liebman has taught at universities and in clinic settings around the world. He was inducted into the IAJE Jazz Education Hall of Fame in 2000. For additional, related information, see Jazz In Europe: My Own Impressions by David Liebman (JEJ May 1999) and David Liebman: In Pursuit of Balance by Chris Collins (JEJ March 1995).

He will always be grateful for the hard work that Patrick Dorian and Terry Giffel did on behalf of jazz education with this survey: “Seeing all this information so cogently organized lends credence to the axiom that jazz is a universal language.”