Yesterday, I had one of those once-in-a-lifetime experiences that only comes when you are a student. I am currently enrolled as a Ph.D. candidate in Higher Education at the University of Toledo. I was looking at the activities on their website and learned that Mr. Delfeayo Marsalis was giving a Master Class at the University of Toledo.
I drove there as early as I could and fortunately beat the crowd, which to my surprise was far too small. It was composed of some of the music students, a few of the music faculty, but it was memorable.
The first thing which I must declare is that the Marsalis family did a great job raising their children. Delfeayo is one of the most gracious and brilliant people I have ever met in my life. Despite the Grammys, higher degrees, talent, album credits, etc., he was open and hospitable with everyone.
Secondly, the music faculty at the University of Toledo are equally gracious. I felt at home there in that recital hall, as if I were part of the class. Finally, the students who participated are living proof that jazz has a vibrant future.
Mr. Delfayo Marsalis conducting a lecture on how to apprehend the essence of America's classical music form that we call 'jazz.'
Many jazz listeners, critics, etc. believe that the institutionalization of the art form we know as jazz has undermined it. There is a prevailing belief that because of the 'way' in which jazz is taught that all the musicians 'sound alike.' Mr. Marsalis exploded this myth. He noted that Berklee, for example, encouraged its students to tour with jazz legends. This enables the students to learn from the masters intimately. However, he stated that his alma mater the University of Kentucky Louisville demanded that he discontinue touring with the great jazz drummer Elvin Jones or withdraw from the Masters in Fine Arts progam. This obviously stung him because he learned more about the subtleties of jazz ensemble playing from this experience than from anything else, but he did end his tour with Elvin Jones and resume his studies at the University of Kentucky at Louisville.
Mr. Marsalis taught us about the hierarchy of leadership in the jazz orchestra. He stated that the trumpet player is always the leader of the ensemble or orchestra. He even related a true story about how the legendary clarinetist and soprano saxophonist Sidney Bechet, a New Orleans legend, used to have musical battles with Louis 'Satchmo' Armstrong and despite the fact that Sidney could play more notes in a measure than Armstrong, because of the fact that the clarinet and soprano saxophone have more keys than a trumpet, did not matter. It was simply the nature of the trumpet and the personality of those who play the instrument.
One of the primary problems that Mr. Marsalis found in the manner in which jazz students are taught is that few of them have sufficient ear training. He stated that music is heard, and if the musician doesn't learn how to play what he/she hears then the audience will be able to discern it. Why? It's because there will be no dynamics (variance in speed, volume, etc.) in the notes that the musician is playing. Now he said this does not mean that musicians should not learn to read and write music, but he did say that ear training builds the essential musical intuition that the jazz legends all have.
Micheal Whitty, a jazz trombonist and student at University of Toledo, exchanging 'licks' with the master, along with two other brave young lions waiting their turn.
There is a story to this photograph. Shortly after I took
this picture, another young tenor saxophonist walked on stage. He proceeded to play some impressive solos, while Mr. Marsalis listened. Mr. Marsalis challenged each student to play a solo that he had learned to play by ear. The tenor saxophonist proceeded to take the challenge, especially after Mr. Marsalis said he would pay $20.00 to each one who could reproduce one by ear. He could tell that the tenor saxophonist was playing a solo that he perhaps had read because he did not reproduce any of the dynamics consistent with the John Coltrane solo that he was playing. The masters always know. and the saxophonist admitted it.
Note: I was wearing my student hat today. So while I am a student at the University of Toledo, I had to pose as a student on assignment. This will explain the content of the question.
TW: I would like to ask you some questions about the role of music in relationship to how it expands the curricular interests of students, psychologically, etc.
DM: When you say curricular activity, you mean exactly what?
TW: What I mean by that is, what we're studying is how outside activity. And when I say outside activity, I mean subjects like 'the arts,' etc. How do they expand not only the intellectual capacity of students but also the ability to faculty and administration to see the worldly value that these subjects have?
DM: OK. Well I'd say that the information that we have about past civilizations, past cultures, generally always boils down to art, their artistic achievements and that's how we're measured against. What kind of art did the Greeks leave behind, what did the Romans leave ? These other type of activities are not the things that...We're in a really athletic age. You know they had the Roman gladiators, and then they had the Samurai warriors of Japan. Now some of these people were important, and some of them had legendary status, but ultimately, it's the art that is used to measure the quality of the civilization.
So as far as expanding the curricular activity, music can have a social significance. For example, folks go to dances, and they want to hear a certain kind of music. And just when you're mingling with your friends, you can have that. Now there's so much music that's available. Like I said, if you listen to Irish music or music from India, classical music. There's so many kinds of music that's available that the more students experiment and learn about those forms of music, the more it expands not only their minds but their consciousness. I would say their way of thinking, and I find sometimes students who just listen to one type of music all of the time, a backbeat-oriented music. Their orientation will be more close-minded than those who say, 'OK when I go to the dance or to the party, I'm going to listen this, but I'm also going to take the time to listen to baroque music or listen to opera. I want to listen to some big band music or to some traditional New Orleans music or to some modern jazz.' Those individuals who can successfully do this...There are individuals who say, 'I listen to all kinds of music.' Generally, this is not the case. Usually it's only the jazz musicians and a handful of classical musicians who really listen to all kinds of music. Usually when they (the masses of people) say 'all kinds of music,' they mean hip hop, R&B, smooth jazz, music that has a backbeat. I encourage students to listen as much as possible, just check it out. You know, you'll learn something.
TW: OK. Thanks a lot.
This has been Terrill S. Wyche for OpenAir.
Mr. Delfayo Marsalis, one of America's cultural champions.
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