The Trumpian Dystopia

I used to teach university level jazz piano.  It was a long time ago, and I unpleasantly remember how desperately I wanted to improve as a jazz pianist.  Never had I taken a lesson except a few meetings with Dr. John Emche at the University of South Carolina.  College lessons are mostly, "Learn this tune for next time."  There is not much discussion on style, improvisation, harmony or the rest.  I did have one lesson with Hank Marr at Ohio State, and it was the same thing.  "Learn this tune."  Trying to learn jazz from a teacher is reserved for the top jazz schools in America which include North Texas, Berkely, Manhattan, Eastman, and Julliard.  The New School has entered the picture.  When I was looking for a doctoral program in jazz decades ago there only were about ten schools that offered such a thing.  It is because jazz piano is a hidden art form.  Often it is an aural skill only, and some jazz pianists like Erroll Garner don't read music.  I resigned myself to teaching myself, and that is what I have done.  The bulk of knowledge of jazz piano comes from recordings.  You must be a trained pianist first with technique, a knowledge of music theory, and an inclination to want to swing and improvise.  I studied most of this under the tutelage of my good friend George William Knowles.  I sought out his friendship, because I knew he was the absolute jazz scholar of the American South.  For two years we listened to the recordings, and I studied jazz history.  It was not until years later at OSU my love for jazz finally solidified.  You have to love it.  That love is what gives you the feeling of swing.  We try to swing as youths, but the feelings of jazz and swing are a mature subject.  They are equal to the substance of Western orchestral and chamber music, but the format is looser.  No symphony hall is needed, only small jazz clubs, churches, or dance venues.  It also thrives in the home.  I stopped trying to become a better jazz pianist, because I finally reached a professional level.  I worked as a professional jazz pianist for many years including dance and commercial music work.  Ten years of this was on cruise ships, and I was prepared musically.  Unfortunately the jazz skill was moot, and it was more intimidating than anything.  They don't appreciate jazz on ships, and the bands play mostly Broadway, classics, and Motown.  I was able to hold my own, because I was a skilled jazz pianist with a working knowledge of the styles of jazz including the avant-garde.  The reality was my intellectual study of music composition at the doctoral level was what allowed me to survive.  I had to analyze music and produce a suitable product.  Without the analysis you would struggle to play the gig.  Many do.  They are hired, fail, and get fired.  There is politics involved in ship work, and it is more important than music.  I stopped my study of jazz piano a long time ago, because I have developed a great understanding of the idiom.  My listening now is as a consumer, and I don't try to analyze the music.  I can discern many different jazz musicians, and often I can name the artists on a particular track.  I don't think to myself, Dave Brubeck is playing block chords.  Gene Harris is playing the blues.  Ray Bryant uses a gospel approach when he plays jazz and accompanied Aretha Franklin.  Styles do resonate in my mind but not theoretically.  Purposefully I have abandoned the music theory in the history of jazz, because I spent countless years learning it.  I know music theory on the doctoral level, so nothing much is a threat.  Recently my interest in jazz piano has resurfaced, because America is in the dark ages.  The styles of jazz piano are relevant, and they help define America.  The art form of jazz is so deep and diverse, it presents itself as salvation in the face of ignorant, fascist, white supremacist propaganda.  These people are so afraid of the achievement of the black man in America, that jazz will never have a fair chance of recognition.  That an African-American could invent and produce artistic music blows their mind.  It also blows their self confidence.  When we discard fake news, the Big Lie, and the spin America will return to the merit system.  Those who achieve in the humanities whether it is art or science are the ones worthy of reward and respect.  The rest are just snake oil salesmen peddling cheap tonics.  Trump's time will come to an end, because art will win.