JAM Magazine: October/November 1999 Issue: A Vision For the Future

A Vision For the Future

by Dr. Wayne E. Goins

With all of the recent events that have taken place in the jazz world -- including the rediscovery of swing dancing, the constant infusion of fresh, new solo jazz artists on the music scene, and the ever-increasing wave of new re-issues of classic jazz albums with added bonus tracks -- it appears as if the appetite for jazz is stronger than it's ever been, not only in the United States, but worldwide.

What's even more promising is that jazz has seemingly permeated every aspect of our culture. It is now commonplace to hear it on television, radio and the internet, and it is used to sell everything from peanut butter to political figures, all of which clearly indicates an increasing acceptance of jazz as a norm in our society.

Jazz has its well-known history of struggle for respectability and inclusion as a 'legitimate' form of music, but today, there seems to be an unquestionable and far-reaching embrace for this uniquely American art form, as indicated, for example, by the year-long celebration of Duke Ellington's peerless musical legacy. Everybody -- musicians and nonmusicians alike -- have joined the party.

As a result, there are more high schools and colleges participating in jazz ensemble programs than ever before. In addition, there are increasing numbers seen in jazz composition and performance competitions, jazz festivals and summer jazz camps for high school and college students. Also, there are increasing numbers of professional musicians who are accepting college and university positions in jazz studies. These are all encouraging signs; and they send a strong message to those who continually search for the jazz experience as listeners or performers.

In my opinion, one of the most positive indications that seeds for the future of jazz are being planted is the overwhelming success of Wynton Marsalis' "Essentially Ellington" High School Jazz Band Competition. It is a shrewd move by Marsalis to combine his love for Ellington's music, his artistic freedom as Director of the Lincoln Center Jazz Orchestra, and his highly-visible crusade to maintain a standard of excellence for not only young jazz musicians, but jazz education as a whole. But most impressive of all is the fact that high school jazz ensembles across the country -- whether they compete or not -- will receive free music just for the request. This, to me, is a highly visible commitment to the jazz education of future generations who will carry the torch.

As for the 21st century that will soon arrive, jazz will most certainly move forward if we challenge students at an early age to thoroughly engage in the creative processes that are integral to making jazz: spontaneous creativity, composition, purposeful listening, collaborative sharing and exchanging musical ideas. One of the most important things we as music educators can always encourage our young students to do is to not be afraid to "color outside the lines," so to speak; to be musical with or without the aid of the printed page. There is, in fact, a wonderful hidden value in all of this: the developing of the freedom of self-expression, and the removal of inhibition, which is not only a marked characteristic for every competent jazz musician, but also a skill that serves us well in everyday life.

It is possible, therefore, that jazz will become more than just a genre, and instead, a way of thinking, a way of life. It is possible that the very act of improvising might become as common to students as exercising the body.

Now, that's a vision for the future that I, for one, could live with.

Dr. Wayne Goins is the Director of Jazz Studies at Kansas State University in Manhattan, KS.

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© Kansas City Jazz Ambassadors 1996-2001. All rights reserved.






	Search our site:		A Vision For the Future by Dr. Wayne E. Goins With all of the recent events that have taken place in the jazz world -- including the rediscovery of swing dancing, the constant infusion of fresh, new solo jazz artists on the music scene, and the ever-increasing wave of new re-issues of classic jazz albums with added bonus tracks -- it appears as if the appetite for jazz is stronger than it's ever been, not only in the United States, but worldwide. What's even more promising is that jazz has seemingly permeated every aspect of our culture. It is now commonplace to hear it on television, radio and the internet, and it is used to sell everything from peanut butter to political figures, all of which clearly indicates an increasing acceptance of jazz as a norm in our society. Jazz has its well-known history of struggle for respectability and inclusion as a 'legitimate' form of music, but today, there seems to be an unquestionable and far-reaching embrace for this uniquely American art form, as indicated, for example, by the year-long celebration of Duke Ellington's peerless musical legacy. Everybody -- musicians and nonmusicians alike -- have joined the party. As a result, there are more high schools and colleges participating in jazz ensemble programs than ever before. In addition, there are increasing numbers seen in jazz composition and performance competitions, jazz festivals and summer jazz camps for high school and college students. Also, there are increasing numbers of professional musicians who are accepting college and university positions in jazz studies. These are all encouraging signs; and they send a strong message to those who continually search for the jazz experience as listeners or performers. In my opinion, one of the most positive indications that seeds for the future of jazz are being planted is the overwhelming success of Wynton Marsalis' "Essentially Ellington" High School Jazz Band Competition. It is a shrewd move by Marsalis to combine his love for Ellington's music, his artistic freedom as Director of the Lincoln Center Jazz Orchestra, and his highly-visible crusade to maintain a standard of excellence for not only young jazz musicians, but jazz education as a whole. But most impressive of all is the fact that high school jazz ensembles across the country -- whether they compete or not -- will receive free music just for the request. This, to me, is a highly visible commitment to the jazz education of future generations who will carry the torch. As for the 21st century that will soon arrive, jazz will most certainly move forward if we challenge students at an early age to thoroughly engage in the creative processes that are integral to making jazz: spontaneous creativity, composition, purposeful listening, collaborative sharing and exchanging musical ideas. One of the most important things we as music educators can always encourage our young students to do is to not be afraid to "color outside the lines," so to speak; to be musical with or without the aid of the printed page. There is, in fact, a wonderful hidden value in all of this: the developing of the freedom of self-expression, and the removal of inhibition, which is not only a marked characteristic for every competent jazz musician, but also a skill that serves us well in everyday life. It is possible, therefore, that jazz will become more than just a genre, and instead, a way of thinking, a way of life. It is possible that the very act of improvising might become as common to students as exercising the body. Now, that's a vision for the future that I, for one, could live with. Dr. Wayne Goins is the Director of Jazz Studies at Kansas State University in Manhattan, KS. RETURN TO OCTOBER 1999 MAIN INDEX ------------------------------------------------------------------------ © Kansas City Jazz Ambassadors 1996-2001. All rights reserved.