One of the strengths of Oberlin's jazz program is the relative freedom students are allowed in forming small ensembles. At other Conservatories, jazz ensembles are assigned based on an audition and on seniority, rather than based on student background or interest; you may, as a freshman, find yourself playing in an all-Charlie Parker ensemble, or in a band devoted to the works of Charles Mingus, even if these two composers are familiar territory for you. All groups at Oberlin are student-formed, and the repertoire is student-selected, and I think this is critical for a number of reasons. First of all, it prevents the grade levels from being stratified: freshmen get to play with seniors, and the resultant open exchange of information is beneficial for everyone. Second, it creates a fertile environment for student composers to hone their style. I would say that every jazz major at some point in their time at Oberlin brings in at least one original composition to an ensemble. Some of us (and I proudly include myself in this category) inflict many original compositions on our ensembles.
I am of the opinion that part of the reason why jazz is dwindling as a popular art form is that the number of inventive composers writing for jazz instrumentation has decreased over the years. Much of the responsibility for this rests on Wynton Marsalis' shoulders (the Tory of the jazz political realm), but I also think that so much pedagogical emphasis has been placed on performing jazz at a high technical level that the composition process has fallen by the wayside. Pop tunes from the 20's and 30's, which make up most of the "standard" jazz repertoire, can only be reimagined so many ways--no matter how fast you can play, or how many harmonically advanced melodic lines you can impose on chord changes, "Here's That Rainy Day" is still going to be "Here's That Rainy Day." By allowing students to mix original compositions with more traditional repertoire, Oberlin is not only cultivating the next generation of skilled jazz performers, but of composers too.
Mid-performance at the Cat in the Cream
Lastly, the relatively small size of the program means that everyone gets to know each other quickly. My first semester at Oberlin was the first time that I'd ever played acoustic jazz at a high level, and the transition from my high school jazz band to the ensembles here was jarring. I made a lot of very embarrassing mistakes, and felt--correctly--that I knew almost nothing about the music I was trying to make. Some of my peers came from New York City and were used to seeing the most cutting-edge names in jazz perform live on a weekly basis; I was lucky to see one decent jazz concert a year make its way to Maine. Suffering through this steep learning curve was alleviated by playing in groups with friends and familiar faces, who were willing to be patient with me (and who were probably struggling a bit themselves).
This semester I'm playing in a piano trio, a group dedicated to playing the music of Ornette Coleman, and a jazz/metal group (so-called) performing originals and, er, abrasive takes on some old favorites. This last group is going to record in the TIMARA studio on December 2nd, so expect to hear more about that later on. All three groups have been great fun, and while I've continued to struggle with playing my instrument at a level I deem satisfactory, I'm finding that I'm cringing less and less often when I listen to recordings of my performances. Ah...Progress.
Responses to this Entry
It sounds like you're a Conservatory student. Are there opportunities for Oberlin Arts & Science students to play in jazz ensembles? Also, do you know if there are double basses that non Conservatory students can regularly practice on?
Posted by: Connie on February 8, 2009 2:36 PM
Yes! There are many opportunities for A&S students to play in ensembles. I wrote a much longer post about it here: http://blogs.oberlin.edu/applying/applying/opportunities_f.shtml
The short of it is that the jazz program's rules for playing in small ensembles represent the closest thing to a meritocracy that you're likely to find in the conservatory (which otherwise places emphasis on the needs of Con students, who have graduation requirements to fulfill by playing in ensembles, over the needs of college students). You'll have an audition in the fall and either be consented or refused for enrollment in Jazz 803, which is the small ensemble "course". Then you form groups (a post about that process is forthcoming!) which are coached and meet weekly during the semester.
Bass is a weird instrument here; there are a lot of bass players in the program but at the same time they're an essential part of every combo (whereas not every group needs, say, a sax player) and so ultimately there are almost never enough bass players to meet demand. So if you do get consented for ensembles you probably wouldn't have trouble finding a group. Most of the bass players here also don't overbook themselves to the extent that the drummers do--I think almost every drummer in the program is doing at least three groups this semester, and sometimes we end up doing as many as five. There are usually ~18-22 coached small ensembles a semester.
I am not certain about what the bass practice situation is but my suspicion is that no, there are not basses here for you to practice on. This might change if you were to also take secondary lessons, but I don't know for sure. Do you live someplace far enough away to preclude you from hauling an upright with you? My friend Ethan is a college student and jazz bass player and he just keeps his in his dorm room closet.
Hope that helps!
Posted by: Will on February 8, 2009 3:57 PM
"so expect to hear more about that later on"
Any update on this? Doesnt look like the blog is updated any more?
Posted by: David on April 30, 2011 10:45 AM
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