Dear All About Jazz Readers,

If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.

You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...


The Many Faces of Jazz Today: The Big Picture

Victor L. Schermer By

Sign in to view read count
Even for the most naturally gifted musician, jazz is an acquired skill that requires many hours of practice and takes up a huge amount of time. I would estimate that the number of hours and years invested in becoming an excellent jazz musician is greater than the amount of training time for a medical doctor or an airline pilot. Jazz education occurs mostly "off-line," i.e. in ones home, on gigs, with informal mentoring, and just listening. Since the 1970s, the educational process has been formalized and institutionalized in schools and departments of jazz. Very few young musicians today sidestep the process of conservatory or university jazz programs. (By contrast, very few of the early jazz masters had a college education.) Today, formal jazz education is a natural result of the evolution of any profession: there is now so much to learn that it needs to be carefully organized for you in a planned program with a knowledgeable faculty.

Formal education puts the young musician in a difficult place jump-starting his career. Having invested in education and acquired great skill and knowledge, he has virtually nowhere to go! A doctor or a pilot can get a decent paying job at a hospital or an airline. A jazz musician has to find a group with some gigs, with an income that is totally unpredictable. Any job as an entertainer is like that, but jazz is one of the hardest fields to break into. It may take years before you find steady work. Sadly, many of the finest students in jazz programs spend several of the formative years of their lives preparing for a career that they later have to abandon.

Another difficulty with formal jazz education is that learning jazz in a classroom environment is quite different from developing a unique voice and approach. Too often, jazz departments encourage homogenization—becoming skilled in doing what others have already done. Saxophonist Bobby Zankel, who has devoted his career to innovation and creativity, advises recent graduates, almost in exasperation: "Take a chance, walk on the edge of the mountain, walk out on the ice." In the past, the mountain and the ice were on the bandstand where you showed your stuff or you were dissed by the other players. Four years of jazz classes isn't going to do that for you. To their credit, a fair number of the students in the jazz schools know that well, and they play gigs and interact informally with their peers and mentors while in school.

Immersion in formal jazz education is essential in giving the current and future generations of jazz musicians a strong grounding in the skills and knowledge base they need to succeed as jazz becomes a global and increasingly complex enterprise and art form. What is getting lost, however, is the development of the unique voices who make profound music that makes a difference. There is a point where, to become a potent force, a jazz musician must scuttle his ties to the shore and devote himself to a passionate search for his own musical truth. I know of no exception to that imperative in the history of jazz.

Taking action: Fostering the Future of Jazz

Thus concludes my sharing of impressions about the "Big Picture" of the jazz scene today from historical and contemporary perspectives. It is based on my fifteen years of experience as a jazz writer, listening a lot, talking at length to many of the musicians and entrepreneurs, and gleaning insights and information from the five interviews in "The Many Faces of Jazz: Critical Dialogs" series. Is my portrayal accurate? That is for you to decide. I'm sure there is research being done that is relevant to each of my points. And the musicians and fans certainly know what is happening in their own bailiwicks. Assuming I have said something valid and useful, others will voice agreement. Then, when we get our bearings, we have to ask, what can we do to help jazz thrive and flourish in today's fast-changing and complex world? I do believe there is a worldwide jazz community—that we are all connected in one way or another, especially with All About Jazz bringing us together. So what can we do? I can only provide a few suggestions that might stimulate your own thinking and sense of purpose.

In my opinion the most important thing we can do is really listen! That means going to the shows, not for just a quick fix of music and excitement, but with the intent of internalizing with our minds and hearts something that might affect and transform us. This not only supports the musicians on stage, but it creates an audience with good judgment and sensibility about the kind of music we want to hear. That in turn affects both the quality of the music and the economic bottom line, because we're going to choose shows and recordings that are of the highest quality, so that they will become more frequent and financially viable.


comments powered by Disqus

Shop Music & Tickets

Click any of the store links below and you'll support All About Jazz in the process. Learn how.

Related Articles

Read Jazz House Kids:  The House that Jazz Built What is Jazz?
Jazz House Kids: The House that Jazz Built
by Bob Kenselaar
Published: April 6, 2018
Read Jazz Stories: 2017 What is Jazz?
Jazz Stories: 2017
by Michael Ricci
Published: January 1, 2018
Read Craft Beer and Jazz What is Jazz?
Craft Beer and Jazz
by Thad Aerts
Published: December 22, 2017
Read BAN BAM: Talking Music What is Jazz?
BAN BAM: Talking Music
by Ian Patterson
Published: December 7, 2017
Read Jazz, Suffering, and Meaning What is Jazz?
Jazz, Suffering, and Meaning
by Douglas Groothuis
Published: November 23, 2017
Read Penang House Of Music: Shining Light On Penang's Jazz/Indigenous Music Heritage What is Jazz?
Penang House Of Music: Shining Light On Penang's...
by Ian Patterson
Published: November 22, 2017
Read "Jazz House Kids:  The House that Jazz Built" What is Jazz? Jazz House Kids: The House that Jazz Built
by Bob Kenselaar
Published: April 6, 2018
Read "Jazz Stories: 2017" What is Jazz? Jazz Stories: 2017
by Michael Ricci
Published: January 1, 2018
Read "Craft Beer and Jazz" What is Jazz? Craft Beer and Jazz
by Thad Aerts
Published: December 22, 2017
Read "Monk's Trumpets" History of Jazz Monk's Trumpets
by Matt Lavelle
Published: March 2, 2018
Read "Love Songs for August" Radio Love Songs for August
by Mary Foster Conklin
Published: September 22, 2018
Read "Rudresh Mahanthappa’s Indo-Pak Coalition & Rez Abbasi’s Invocation" Multiple Reviews Rudresh Mahanthappa’s Indo-Pak Coalition & Rez...
by Mark Sullivan
Published: December 27, 2017
Read "Going Solo" Mr. P.C.'s Guide to Jazz Etiquette... Going Solo
by Mr. P.C.
Published: October 1, 2018
Read "Kuumbwa And The Magic of Monday Night" Profiles Kuumbwa And The Magic of Monday Night
by Arthur R George
Published: July 2, 2018
Read "Top 10 Moments in Jazz History" Genius Guide to Jazz Top 10 Moments in Jazz History
by Jeff Fitzgerald, Genius
Published: November 12, 2018