Educational Articles

Foreword from “Jazz Saxophone Players” – A Bibliographical Handbook

Surely Adolph Sax had no idea concerning the implications of his incredible invention in the 1840’s. Described by Berlioz in a generous review as a combination of strings and brass that could be an alternative to the brass section in a marching band, or maybe in the orchestra, history seems to have proven that the saxophone was created for a music that didn’t exist in Adolph’s time. The saxophone found its home in jazz and more than any instrument symbolizes it to the world. In jazz the saxophone’s assets shined: its linear and logical key layout meant the fingers could go places fast and with ease; a beautiful and sensuous shape; a powerful and loud presence if need be; a sound somehow akin to the range(s) of the human voice; a relatively small learning curve, certainly compared to the strings, other woodwinds and brass; and an important consideration….the saxophone was not prohibitively expensive. There was a time in the early part of the 20th century that the horn was the rage and one could find them everywhere. As well, the saxophone was a beautiful instrument to behold with all the brass and key work featuring etched designs (who can forget the “naked lady” engraved on the Conn tenor) embraced by the player and glistening to the listener.

The history of jazz is intrinsically tied to the saxophone. After Louis Armstrong, the line of innovation goes straight from Coleman Hawkins to Lester Young, from Charlie Parker to Ornette Coleman, Sonny Rollins, Wayne Shorter and for me, most of all, John Coltrane. What they all had in common is the saxophone’s tone and possibilities of endless nuance which could be coaxed from it regardless of the style being played. From the honkers who inhabited rhythm and blues bands to the heavy vibrato employed by the saxophone section of Guy Lombardo’s Royal Canadians, from the silky sound of Paul Desmond and Stan Getz to the cry of Ornette’s plastic horn, the saxophone’s ability to take on the personality of its player is outstanding. It was the next best thing to the human voice, but with more agility and technical possibilities, all in pursuit of creating a melody, a single note line that might be remembered for posterity after it was played. After all, in jazz, isn’t the primary goal to create a new melody using the given harmony as a framework, in real time? Even if there is no harmony as in freer jazz idioms, inventing a melody still represents the main challenge. The saxophone fit the bill perfectly!

Another “gift” from Mr. Sax was the different ranges that the saxophone family could embody, much like the string section. An instrument for every taste from high to low, from soprello (one octave above the normal Bb soprano) to contra contra bass saxophones (one octave below the normal bass saxophone). To each his own. Certainly a case could be made for the saxophone being the voice of the 20th century, of urban life, of sexual innuendo, of partying and melancholy-what a broad range!

For me it was 1950’s rock ‘n’ roll when the saxophone (especially tenor) was the main solo instrument taking eight bars here and there, a direct feature of the rhythm and blues tradition. The saxophone solos on Bill Haley’s “Rock Around The Clock” and Duane Eddy’s ”Rebel Rouser” hooked me big time. I just wanted to play tenor, but my parents insisted (wisely as it turned out) that I play the piano for at least two years before choosing an instrument of my choice. Once I did that by age twelve, the common wisdom was to play clarinet first because of its difficulties. Obediently I followed directions, but must admit that to this day the clarinet is not among my “desert island” choices though I admire guys who play it like glass. (The same can be said for the flute.) The final act in getting hooked on the saxophone was seeing Coltrane live many times during my teenage years. I couldn’t believe that was the same instrument I had home under my bed in Brooklyn. Trane transcended the horn raising the bar to unimaginable heights. Within a little more than one hundred years, the saxophone had done it all. For my life the soprano became my main voice. I could feel that it fit my personality and body.

Bill Lee gives us the whole deal, from the famous to the not so well known, including those who excelled on the so-called “doubles” that saxophonists are traditionally indebted to play. Herein lays a wealth of resource material about hundreds of players, all having in common their love of the saxophone. Adolphe Sax is smiling down on us horn players!! As Bird put it so succinctly: “Music is your own experience, your thoughts, your wisdom. If you don’t live it, it won’t come out of your horn.”

April 3 2010
Stroudsburg, PA USA

The Liebman World Survey

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.”

Common Traits of Jazz Musicians-transcribed from lecture given to jazz appreciation course

David Liebman

Jazz Masters Seminar IV – Opening Lecture

February 3, 2003 – Spring 2003

 

Editor’s Note: Following is a transcript of a lecture given on Feb. 3, 2003 by Dave Liebman to open the 2003 ESU Jazz Masters Seminar. Developed and taught by ESU Professor Patrick Dorian, the list of speakers in that spring semester also included Phil Woods, Bob Dorough, Bill Goodwin, Steve Gilmore, Mark Murphy, Terrell Stafford, Kim Parker and 10 other respected professionals from the Pocono jazz community who will share their story with the students. In his talk, Dave challenges the students to take notice of the skills and personal traits that have made each speaker successful, characteristics they should work hard to adapt for themselves to achieve success in their chosen walk of life.   

 

Liebman note: I have taken the liberty to put sub headings throughout the text because each part of the lecture is devoted to one particular aspect that the students should notice in the people who will be speaking to them. Hopefully they can transfer these concepts to their own endeavors, whatever that might be, present or future.

 

Patrick Dorian: Welcome to Jazz Masters Seminar IV. We’re so pleased and proud to present the fourth edition of our Jazz Masters Seminar. David Liebman is our opening and closing speaker this semester, as in the past. He’s a wonderful speaker. He always makes me feel like I’m at a lecture at Harvard because of his intellectualism but yet the personal approach he gives us is entertaining and enlightening. Please welcome David Liebman.

Audience: [applause]

David Liebman: Thank you very much. It’s nice to see some old friends and some new faces. I’d like to thank Pat for organizing this seminar again, Dr. Dillman and the University for supporting Pat’s efforts, and in advance to the speakers for putting in the effort to talk to you about their lives.

My function here is to give you an overview of what to expect and listen for when you hear these folks speak concerning musical and personal matters that occurred in their lives. But the overall point of these talks if to give you insight into your own present and future development. This is an evolving class and things will change as the weeks go on from your perspective. Along the way you will learn some things about music and jazz itself which should be of interest.

 

DEFINITION OF AN ARTIST

I’d like to begin with something from the book you’re using as a text [David Liebman – Self-Portrait of a Jazz Artist: Musical Thoughts and Realities, Advance Music, 1996], which I certainly feel honored about. For me, at the time I wrote it originally in the ‘80s and rewrote in the ‘90s, it was a summary of how I feel about what we, as jazz musicians do both generally and musically. The first question I dealt with was: “What is an artist?” [Liebman reads from the text] …

“An artist is a person who spends his or her life trying to be in touch with their inner self and attempts to communicate these perceptions to the world through a chosen art form. One’s works of art are a mirror of personal thoughts and feelings which are reflected for all to see and consider. A body of work over a period of time is in a way similar to an autobiography, for the artist’s entire being is revealed. What an artist experiences and feels are hopefully shared by all people on one level or another; this is what is meant by universality. All human beings have the potential to experience similar feelings somewhere within themselves at one time or another during their existence. Art acts as a catalyst to remind and help clarify these feelings. There are some artists who qualify primarily as technicians and craftsmen. This means they possess works which may appeal to a portion of the audience, but behind the façade there is an emptiness and lack of depth. The true artist has considered the meaning of his work as well as the technical aspects and attempts to portray this to others. This gives great art depth, relevance and timelessness which are not usually observed in the popular art of a given period. Art should be both entertaining and educational: edutainment. In this way art is not just transitional but eternal.

            “In sum individuality of expression revealed in a creative and instructive form is the general axiom for an artist. His or her constant search for beauty, truth and knowledge should be an example for all to be inspired by. The creation of art itself is representative of the ultimate act of individual freedom and is an expression of this basic human need which no political or cultural taboo can stifle.”

 

ESSENTIAL TO SUCCESS: COMMITMENT

The people you will be meeting in these weeks are folks who have devoted their lives to a particular style of music which is more or less a hundred years old and has waxed and waned in popularity. It had its time of being the popular music of America in the 1930s and then as it evolved artistically it went through an esoteric period. Now jazz is experiencing another era of respect and interest.

When I look at a person who makes the decision to pursue a jazz life I have to consider that they have something in their character that separates them from the pack. Love of music is of course one thing. More specifically, this music has an inherent power that is unmistakable to those who play and listen to it.  As with any great art, it takes education to appreciate it fully. You don’t just listen casually and get it right away. I know that once someone starts to understand jazz, whether it’s because they grew up with it, or they found it through parents/friends, or they were introduced to it at a time in their life when it makes a big impression on them, as was my case with hearing John Coltrane as a teenager….they will be hooked on it because this is a music for life and not a passing fad. The nice thing about it is that like all great art, the more you know and appreciate what it is, the deeper the music becomes and the more you enjoy it. There’s no end to the jazz trip….it goes on and on.

Though I am certainly not an expert in pop music whenever the era, I have to trust that anybody who makes music and produces something that communicates is being honest about what they do. However, I can’t help but note that when the rewards are so high in magnitude as it is in the pop world, this has to figure into the equation of why people pursue that path. Jazz musicians on the other hand are aware that they are not going to get rich playing this music. The commitment and sacrifices one makes to go into this profession are daunting. To see somebody who is dedicated to something that is materially rewarding speaks about a certain quality in that person(s) to be admired. This will be something to notice about all the guests you’re going to hear and the people that you enjoy on records because when you see somebody that’s been doing this for 20, 30, 40, 50 years, it’s a remarkable achievement in that respect.

 

EMBRACING CHANGE

Pat’s course outline advises students in their papers to: “Discuss the artistic growth of these performers throughout their careers.” What you’re going to see in your guests is a wide age range. You have one speaker, bassist Evan Gregor, who is 20 years old and has gone through the informal jazz education system available here in the Pocono area studying with people like Phil Woods, my wife Caris Visentin for ear training and participated in the jazz activities we have going, many instigated by your teacher, Pat Dorian. Evan is now is attending the largest jazz music school in the world, Berklee College of Music in Boston. So, you’ll have from him up to “senior citizens” Bob Dorough and Phil Woods meaning you’re going to be exposed to a 50 to 60 year span of history.

I don’t know how many of these presenters will get into this but I think what’s interesting in an active artist of several decades is that they have most likely gone through different periods of artistic growth and interests. In painting, Picasso was known for his red period, his guitar collages, bullfighters, etc. He was involved in a certain kind of style for an intense (in his case) period and then would move on. We have many examples of this in jazz, especially Miles Davis whose career traversed several major stylistic changes. As musicians, we all go through this process in one way or another, maybe several times. What’s interesting is to see how somebody evolves and changes direction and interests throughout a multi-decade period of participation.

In my case I was very interested in that element of music known as harmony, particularly the sounds of the famous 20th century classical composers like Bartok and Schoenberg. After 10 years of pursuing that subject I became more interested in the rhythmical aspect, especially ethnic rhythms, exotic instruments and drums from other parts of the world. There was another period of exploring flutes from various cultures. This is something you will notice in at least some of the speakers….that they have been interested in different facets of music over the years, embracing change and discovery.

 

CULTIVATING ONE’S NATURAL CURIOSITY

This is something that’s obvious but shouldn’t be taken for granted…..an intense curiosity is part and parcel of being an artist. The desire to know what is “behind the veil” and studying what others don’t even notice is ubiquitous among artists. Something interests them…..they pursue the mastery of that subject. I would hope that any young person would see this trait as a model for whatever field (s)he may end up in. Curiosity followed by serious study gives one enormous depth and inspiration to keep going ahead. One is even willing to enter an area as a novice, even after mastering something else in order to understand it. To be able to say: “Well, I’ve done this and I’ve gone that far in this particular area and have nothing more to prove. I feel confident enough to be interested in something I am not necessarily that proficientt in which may necessitate starting at a lower level than I am used to.” This shows a trait about artists in general, which is their flexibility, humility, openness and natural curiosity.

This is not unique to being an artist. It is part of being a human being, like the first person who picked up a stick and made fire. Every invention in the world is due to someone’s curiosity followed by hard work. It’s not something to be taken for granted because it’s easy to fall asleep on the job of life and let things pass thinking you’ve experienced everything and have nothing more to learn. To be selective about what interests you, to seriously delve into it, to explore and possibly master the subject is a remarkable achievement. You are going to see in some of the speakers evidence of this penchant for constant change, of accepting the new, of not being afraid with a willingness to forge ahead.

 

CONTROLLING ONE’S CIRCUMSTANCES
Another point Pat makes in his course outline to look for is as he phrases it: “What made these artists successful?”  We cannot deny that in life there is a certain amount of “lady luck” and of being in the right time and place fortuitously. For me, the chance to play with Miles Davis for a period in the 1970s is an example of good timing. I can even give you the specific moment when I was in the right place at the right moment. On the other hand you can’t assume that timing is completely serendipity. If you desire something enough, you help to create the conditions that will make opportunities more likely to occur. There needs to be a combination of effort and desire in order to create the circumstances where so-called “luck” can happen. There is a cliché that really is true to some extent: “Things happen for a reason.”  There are people who believe that nothing is coincidence and everything happens according to a plan of some sort. The bottom line is you create your own circumstances to at least some degree and in the biographies you will hear from the speakers, you will notice that.

 

BEING ORGANIZED

Another trait that is clearly exhibited in all artists – though it may not appear that way in some cases is a very good sense of organization. We all know the stereotype image of the artist…scatter-brained, forgetful, not punctual, etc. With rare exception I have found that beneath the surface of a person who appears to be a little scattered is a very high intellect coupled with disciplined behavior, at least in what truly interests them. They may not be able to keep their business affairs in order, or their abode, or personal life.  But when it comes to the particular thing that they do, their instrument, the style of music they play, their performance, they’re extremely organized. If you would ask them to describe in detail how they operate, depending upon the individual and the timing of your request, they would probably deliver the equivalent of a thesis from top to bottom in absolute order, logical and step-by-step, because they know what they’re doing when it comes down to it.

That is a very important aspect of being successful in anything…..to be well organized in your thinking and use of your time, especially in the culture we live in now. I know for myself, having extra time is a gift if I can find it. This is especially true for young people who are just getting their act together. With so many things happening, free time is not that plentiful, though of course attention should be given to “down time” for necessary mental and emotional rest. It is crucial to be disciplined with the available hours you have to accomplish what you want effectively.

Being in school sometimes can make you think that this is the way it’s going to be forever. The truth is that when you get out of school it gets much more difficult, because you have been basically living a schedule given to you since you were six or seven years old. That is September to June with a 9 to 5 hour spread more or less for 30-35 weeks a year. Given that college is quite different than grade school, there still is a schedule imposed from on high. You know what the expectations are and what you are responsible for. Whether you took care of business or not is another story. But you knew you had to give a paper….you knew you had to be somewhere at a certain time, etc. You had to get your degree.

Then you enter the real world. This is something I make a point of telling my students who are about to finish college. “If you think you have no time to practice now, wait till you get out in the real world because then it gets much more complicated and you’ll really be aware of the little time you have to do what you want.” So, getting focused and being able to zero in on something is a very important skill to get under your belt as soon as possible so it stays with you for life. One thing in common to all the musicians you will meet is their economical use of time, most certainly when they were learning their art.

 

 

ROLE OF FORMAL EDUCATION

Another point in the course outline: “How did their education, formal or otherwise, contribute to their success?” It’s going to be very interesting to notice this in the coming speakers. I can tell you from knowing some of these folks personally that the training that made them who they are ranges from what we call “street” education to full academia and everything in between. “Street” in the musical sense means picking up things by ear, observing what is happening in a given musical situation and having the ability to ask specific questions, hoping to be rewarded with meaningful answers. On the other hand you will meet some university educated folks who definitely went through the system and have a degree and were formally trained.

What’s interesting in an art form is that the training is as varied as the individuals who are present. In my judgment, it really doesn’t matter where you get the information as long as you obtain it somehow and find a way to balance the various ways of learning. For some people, learning by books, being in a class, having to be responsible for written work is beneficial. For others that scenario doesn’t work. It’s better for them to learn by first hand experience.

In the end, to learn this music you need a combination of all learning methods….. aural, written, intellectual, instinctual. Each one offers another perspective, different from the other. The people you will meet are very experienced and have been out there in the real world.  But they are also artists who sat and studied in a very academic way, learning the facts, plain and simple. Education in a field like this is about balancing all these methods. I think that in most walks of life, the same is true. Everyone builds their own path with different twists and turns but with a certain amount of overlapping.

 

FINANCIAL CONSIDERATIONS
Another course point: “Discuss how finances and making a living affected careers.” You’re going to hear a lot about this for sure!!  I’m hoping that everybody will share the various steps along the way and the obstacles they faced to be who they are as they worked towards establishing themselves. Financially, as I said in the beginning, once you choose this way of life you have accepted that “making a living” may be as good as it gets which is fine. You must accept that. Being happy on a day to day level, satisfying yourself emotionally is worth more than any money and your guests here are proof of that.

I’ll tell you a little story of mine in this regard. In the early seventies when I came up, jazz was beginning to be mixed with pop music. The style was called fusion for lack of a better description. There were some people making great fortunes at the time as the music was more accessible than the jazz of the day. I cannot tell you that I wasn’t tempted and actually did get into this field for a minute. I had to work through that period towards realizing that money wasn’t the point.

I think a lot of the invited guests will really give you some nuts and bolts ways of how they’ve made a living in this music. One thing you will notice: most of these people have done several different things in the field, if not out of the field. There are probably a few folks you will meet who may have worked on the docks or something like that….real physical labor. In the jazz field we have to wear a variety of “hats” meaning jobs. The image of the great star soloist standing in the spotlight may shine bright when one begins a career. There’s nothing inherently wrong with this. We have to have a dream. For me, it was the image of being a great soloist with the best band in the world like my idol John Coltrane or Miles Davis (which incredibly DID happen). But the necessity of making a living as well as my interest in other aspects of life made me see that I had to develop in more than one way. Once again, flexibility and the ability to switch gears looms large as you will note in the artists coming here.

You’re going to see a wide range of endeavors in these folks that may or may not have embodied their musical talents as they would’ve liked, at least for a period of time. In the jazz world, since teaching has become so widespread, more and more musicians find themselves doing more educating than playing. This is a reality and folks have to adjust accordingly. For myself, I’ve had to branch out writing articles and books as well as teach to compliment my playing activities.

What you’re going to see here during the ESU Jazz Masters Seminar would never have happened 20, 30 years ago with rare exception, at least not in jazz. The famous Charles Eliot Norton lectures in the fifties were presented at Harvard with artists discussing their work but that was an exception and did not include jazz musicians. So, education is an important part of the M.O. you will here about from the speakers. Pianist Phil Markowitz teaches with me at the Manhattan School of Music; Terrell Stafford, a wonderful trumpet player, is at Temple University; Bill Goodwin teaches at William Paterson College and so on.

 

BEING FLEXIBILE

As a touring musician, we travel a lot and do what we call one-nighters. In our world that means that I may go anywhere joining a group from that country or a combination of countries for one night. In my case a lot of my work is done in Europe which most of the time means landing in a city, going through all the logistics of where to stay and eat, discussing the music, possibly running through it or not at all and then performing. Because of that you have to be very stylistically adaptable these days.

The training that the modern musician is getting, for example Evan Gregor who is at Berklee is quite varied as a result of today’s requirements. The jazz education system makes  students realize that they have to be flexible. You can’t get up anymore and say: “I’m only going to play one way.” It doesn’t work except for a very few who can command enough notoriety to pull it off. In these days the modern musician and even those from my generation have to be very musically adaptable.

 

WHAT IS YOUR MESSAGE?

I always make the following point to musicians I have taught after all the basics are accomplished at a certain minimum but high level of expertise. “Now we’re going to talk about what it is that is going to make you who you are.” In other words, after you acquire all these skills, what do you really want to impart to the world?  Let’s say you have a lot of the tools together, implying you understand the language and you’re technically adept, meaning you have the craft pretty well taken care of, as I spoke about in the opening quote from my book. Most importantl, you know what came before musically which you can duplicate up to a certain degree. Now you have to consider: “Who am I? What do I have to say to anybody? Is what I play of such compelling interest that someone should pay for it, listen to me, buy my recordings, hire me and so forth?”

One of the things I emphasize is that it’s important to be aware of what’s going on around you. By that I mean certainly on a physical level in your immediate and in the world at large. Also, awareness needs to be on a variety of levels. What is going on in the news that is affecting people? Economically, what are people experiencing? What is your spiritual and philosophical view about things? These questions and more are what determine your profile, your persona. On a practical level, being aware of the world around you offers insight as to who you are playing for. I think this is a crucial part of the artistic process, and true in all walks of life. You are a product of your time and you need to be aware of the context in which you are operating.

The image of the “ivory tower” where an artist locks themselves up in a room and practices towards perfecting their skills is not relevant any more, if it ever was. Acknowledging the outside world and reflecting upon it, I believe, makes your message more pertinent to whoever you are addressing, in whatever line of work you are involved in. With your coming guests, note the degrees of awareness they exhibit in their talks about life in general, of course some will be more verbal than others in this regard.

 

DEALING WITH CRITICISM

“Is national or international recognition important to the artist and why?”  We’ve talked about recognition and rewards. Certainly, it’s nice to be well-known. It doesn’t hurt obviously. Seeking recognition should not be exaggerated when pursuing a goal. Excellence has its own rewards. Fame may or may not occur, but it should not be the motivating factor that drives a person, because it is ephemeral, disappearing as fast as it comes.

“How has their music been received by the public, along with or as opposed to the critics?”  I think that most people who are world-class performers will tell you that they don’t really listen to what is said about them. On the other hand, from my standpoint, I’ve had criticism that has been educational because it revealed how I was being perceived, at least by this or that particular writer. This view point can be important because sometimes it is very difficult to see beyond one’s own personal horizons. There was a period when I took criticism personally. But taking into consideration who is doing the talking (another discussion unto itself concerning the legitimacy of so-called experts) I like to see what they think I’m doing since I usually have a good idea of what I’m after. This matter of criticism will be different across the board with your guests, but I think it’s pertinent to your life in general.

Part of the dues when you get up in front of the public and declare: “Listen to me” whether it be a speaker or a performer or someone presenting a new idea, is the ability to take criticism. Somebody along the line will say, “I don’t really think this guy’s got it. I don’t think he or she is credible. I don’t think he’s sincere, blah-blah-blah,” and down the list of disapproving comments. Most of these artists will tell you that no matter what the comments are, they had to persevere.Thick skin is a necessity and you will hear about it in these weeks.

 

SELF CONFIDENCE

Following right along after the subject of criticism is the matter of self confidence. You will see a large degree of that trait in every speaker here. At some point, possibly at a younger stage, it may have been arrogance. But you know, I, we, have put a lot of time into this. I know what I’m doing and am aware. You may not like it, but you can’t minimize it. A healthy dose of self confidence keeps you going. If you’re a performer, you’ve got to have a certain amount of “moxie” to get up there…..a sizable ego. You can’t get up there and say: “Listen to me … listen to what I have to say” without feeling that you have something of real value to offer. That kind of confidence is part and parcel of being an artist. It’s earned…it’s not a gift….and it takes time to acquire. It’s not something that you in get in one day….more like years.

 

JAZZ DEMEANOR: BASIC MODUS OPERANDI

One more point about the people you will be meeting, if I may generalize a bit. Jazz musicians are just about the nicest folks around. I mean it. I think the reason I can make such a general statement is because of the music itself. The tradition, the masters before us, the beauty and the magnificence of the music is humbling.

I know you will feel what I am referring to in various degrees from your coming guests. They truly are nice people, warm, usually introspective, relatively low key and more often than not very private until they get to know you. There’s a feeling of camaraderie, of commonality among jazz musicians. Of course, there’s competitiveness: this guy got the gig that you would’ve like; he was chosen for the festival over you, etc. There’s got to be some of that, of course. On the other hand, there’s a feeling that we’re all in this together. We’re all trying to play the best we can, to be true to the music and bring it to the world. In a way there is a missionary spirit in jazz towards sharing its beauty.

So, by and large you’re going to see a really nice group of people who don’t have one evil thought in their mind. It’s true that we all have stories in this music of aberrant behavior and strange happenings, which is true of any walk of life. But once again to reiterate, if you are into this music, there is automatically a kind of screening process, no matter what part of the business you are in. The music takes care of that.

Enjoy these fantastic people who will through their art and life, help you discover yourselves.

Thank you for your attention.

Doubling on the Soprano

by Dave Liebman

The soprano is officially considered to be part of the saxophone family, but to be honest through there are some obvious similarities to the other members of this esteemed club, playing the soprano is another matter altogether.

The first difference with the other saxophones is obvious but shouldn’t be underestimated. We hold the soprano straight out, seemingly like a clarinet, but alas, it is NOT a clarinet. One must be careful not to use a clarinet embouchure, meaning the more or less 45 degree angle that the licorice stick is normally held at (notwithstanding an occasional lift up in the air). Positioning incorrectly inhibits the vibrational capacity of the reed. This also leads to the most common problem I observe in students which is holding the horn pointing down towards the floor and lowering the neck to accommodate that position. This places unnecessary strain and tension on the all important vocal cords in the laryngeal area. It might look hip but in reality it puts the player at a disadvantage towards producing a tone that isn’t pinched. We must keep that area as free and loose as possible for anatomical reasons I describe in my book on the subject “Developing A Personal Saxophone Sound” and demonstrate on the DVD, “The Complete Guide To Saxophone Sound Production.”

The biggest musical challenges playing the sop are about tone production and intonation, problems primarily caused by the small bore size. The body of the soprano is conical like the other saxophones except at the very onset of the flaring out it is extremely narrow. This means that an immense volume of air is being pushed through a very small space leaving little room for error. The same is true of the soprano mouthpiece which is much smaller than tenor or alto. These factors necessitate the need for a very focused and controlled air stream that takes a lot of practice to internalize. The well-known soprano problem of intonation, especially in the high register, is worse than the other saxophones because the speed and intensity of the air stream is magnified to such a degree. The high notes on the sop are in the range of sound where the pitches are produced by very fast oscillations. (If the A below middle C is 440 cycles, double that number for the next A and again for the higher A above the staff giving you an idea of the speed of vibrations in that range.) As far as playing in the altissimo register, that is a separate issue on its own.

Another point is that the other saxophones use more of the entire torso when playing, meaning a natural emphasis felt from the neck down to the waistline. With the soprano, although we still have to breathe deeply using the abdomen area as on all the saxophones, more intensity is felt in the upper torso, much like a trumpet. In fact, in some ways the soprano might be considered closer to the trumpet than the other saxophones.

Along with the challenges there is the joy of the soprano’s immediacy of sound as well as the transposition being so close to true concert pitch, making true unisons quite common as compared to the other saxes. As soon as air enters the soprano responds and is especially sonorous in the beautiful low register of the horn. One can really control the amount and speed of air for very positive timbral results. The other saxophones by their construction have some degree of lag time, especially in the lower register.

The red zone of the soprano is the left hand octave and palm keys. As mentioned these pitches are very high up register-wise and the problem of thinness and harshness of sound becomes quite challenging. This is true of all the saxophones but it is most vivid on the soprano because you cannot hide. As one of my mates described it: The sound in the high register is like….”a pet store on fire!!”

What to do? The same exercises that I teach on any saxophone (coming from saxophone master teacher Joe Allard) have to be especially practiced on the soprano…..overtone production, matching of tone color and pitch, even air control, etc., are necessary items to be practiced. I can’t stress enough the practice of overtones in order to overcome the thinness of sound in the red zone.

Fledgling doublers might not want to hear the following. Playing the soprano at a high level is a job in itself and much like the flute, demands everyday attention. Those of you familiar with my career might remember when I put the tenor and flute away for fifteen years to concentrate on the soprano. It comes down to what level of expertise one is seeking. To play a tune or two or a written part on the soprano is one thing. To try and develop a sound that is yours is another deal altogether. Successful doublers have historically had different styles on the soprano than their main horns, which is a good thing. I know that for me this is true.

The masters of the horn are of course Sidney Bechet, Steve Lacy, Coltrane and Wayne Shorter. There are some great avant-garde players who have stretched the palette of sound possibilities, maybe even more on soprano than other saxophones…Evan Parker, John Butcher, Michel Donado are a few.

I wish you the best with the fish horn.

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