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^I^TOKH Z^TTD©!,!
Bill Dobbins
Eastman School of Music
Before the late 1960's the words "jazz" and "academia" were
generally assumed to be mutually exclusive. My own experience as a
student at Kent State University between 1964 and 1970 was, for the
most part, a constant struggle against just such an attitude. Those of
us who formed the school's firstongoing jazz ensemble were thrown
out of practice rooms, prohibited from signing out school instruments
to play jazz and, in general, stronglydiscouraged fromhaving anything
to do with America's greatest musical contribution to world culture.
Only when the ensemble continued to receive highlyvisible praise and
support from university student and administrative organizations did
the school of music involve itself, taking credit for musical
developments which they had aggressively fought at every turn. In-
deed, many of our institutionshad no thought of developing a jazz cur-
riculum until such a move showed a decided potential for attracting
larger numbers of students to music schools where both enrollment
and talent were on a steady decline. Yet, however suspect the motives
may have been, itseems clear that the study, composition, and perfor-
mance of jazz in academic institutionsis now a relatively normal state
of affairs, and will probably remain so for the foreseeable future. It
seems imperative, therefore, that we begin to search for ways in
which the attitudes and aesthetics of jazz and the academic musical
environment can constructively complement and stimulate each
other.
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BillDobbins 31
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32 Jazz and Academia
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BillDobbins 33
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34 Jazz and Academia
eman, Keith Jarrett, Sun Ra, Cecil Taylor and the Art Ensemble of
Chicago have been a far greater force in bringingjazz to where it is to-
day than the effortsof any individual musicians (the main exceptions
being Louis Armstrong and Charlie Parker). Such collaborations as Gil
Evans with Miles Davis, George Russell with Bill Evans and Hall Over-
ton withThelonious Monk have also resulted in importantmusical con-
tributions. Of course, the most remarkable collaboration in the history
of jazz was that of Billy Strayhorn with Duke Ellington.
The most disappointing trend in jazz during the past twenty years
has been the focus on media superstars rather than on working
groups. Apart from the groups of Sun Ra, Phil Woods, and the Art
Ensemble of Chicago, there are virtually no American jazz groups
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Bill Dobbins 35
Possibly the most valuable aspect of the jazz experience is the in-
tegration of the musical experience into everyday life. Jazz musicians
have not only developed the abilityto use musical instruments as tools
through which to reveal their innermost feelings but have, as a
by-product, expanded the technical and expressive possibilities of
these instruments to staggering dimensions. The altissimo range of
the saxophones, the extreme high register of brass instruments, the
use of plunger, growl, and multiphonic technics, the development of
pizzicato bass technic and pedalling and harmonic effects on the
piano are some of the more obvious examples. To the true jazz musi-
cian music is not simply a livelihood, but the expression of life itself.
As withthe true religious experience, many claim a knowledge of itbut
only a very few show the evidence of it in their lives. It is difficult,ifnot
impossible, to know forcertain whether the spiritual leaders of jazz ac-
tually chose the music or were, in fact, chosen by it. What is certain,
however, is that the unreserved dedication of musicians such as
Count Basie, Duke Ellington, Sonny Rollins, John Coltrane, and
Omette Coleman has been an inexhaustible source of spiritual and ar-
tistic inspiration.
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36 Jazz and Academia
The need fora masterful command of verbal skills has become ever
more acute during the past twenty years. This is particularly true in
relation to jazz. Before 1960 most jazz musicians were trained and
educated in a largely informalenvironment. Learning fromolder musi-
cians "on the job", developing close friendships with experienced
musical mentors and peers, and the study of classic recordings were
among the most common methods of continuing the ongoing process
of musical maturation. Since there was littleserious mention of jazz
withinthe structured environment of musical academia, aspiring jazz
musicians sought out the music in the environment where itwas lived
and performed: night clubs, theatres, and dance halls. These
establishments, as well as nearby restaurants, coffee houses, and the
apartments or lofts of the musicians themselves, functioned as the
studios, classrooms, and lecture halls of the earliest jazz education.
From the point of view of immediate and close contact between stu-
dent and master the situation was, in many ways, preferable to that of
today's formally structured jazz education. Practical aspects of the
discipline and the relationship between the artists and the audience
were clearly visible, and knowledge about specific technics or con-
cepts could be obtained directly fromthe source. In such a fertileand
incessantly active environment there was no need forelaborate verbal
explanation or clarification, since direct observation and even par-
ticipation were usually within easy access.
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BillDobbins 27
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38 Jazz and Academia
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Bill Dobbins 39
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40 Jazz and Academia
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BillDobbins 41
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