From Jazz Clubs to Classrooms 

Source: The Nation.

In the music world today, higher-ed programs in jazz are now so pervasive that it’s probably safe to assume that any fairly well-established musician under 40 studied jazz in college. Their professors would not have been just “the road,” but also the likes of Bill Charlap, the pianist who directs the jazz program at William Paterson University in New Jersey; George E. Lewis, the trombonist and electronic composer who teaches in the jazz-studies program at Columbia; or Regina Carter, the violinist who teaches at the Manhattan School of Music in New York. And their music, like the movies of the star graduates of the early film schools, has, at its best, both formal integrity and intellectual expansiveness.

Recent releases by two jazz-program graduates, Ryan Keberle and Tyshawn Sorey, make potent cases for the value of the educational methods by which any artists so fine could achieve such fineness. If Keberle and Sorey had both studied by correspondence course, I’d sign up my teenage son, a bass player, for mail-order lessons.

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