I just got back from my second trip to the Katy Jazz
festival, run by a school district just West of Houston. It was time for a jazz
fix. You see, I am a jazz fan, and though not compulsive, I do need to dash
occasionally to New Orleans or go to a festival like the one in Katy.
How does one become a jazz fan, particularly somebody like
me who doesn't know much about music and who can't stand 200-year-old church
music or the new mind-numbing songs in so many "contemporary"
services. For Texas students who live in enlightened districts like Katy ISD,
jazz appreciation starts as early as middle school in the larger schools that
spin off jazz training from their marching and concert bands.
My fanhood began in the summer when I turned 19. After
finishing my freshman year at the University of Tennessee in Knoxville, a
fraternity brother talked me into spending the summer in Hollywood, where his
family had moved. He steered me around all the clubs and concert venues, and I
saw in person jazz icons like Stan Kenton, Cab Calloway, Gerry Mulligan, Louie
Belson, Chet Baker, Shelley Mann, and Shorty Rogers. My buddy and I would even
spend a whole evening listening to Dave Brubeck and Joe Morello for the price
of one beer, which we managed to take three hours to milk.
At first, I thought what I was hearing was just unstructured
noise. My buddy explained what was going on, usually opening with the tune's
melody line, then improvising on that melody line, and then gracefully finding
the way back home to the tune's opening statement. And I didn't need to know
musical details to appreciate the rhythms that flowed through my body like
honey on a warm biscuit.
I am since learning a lot at the Katy festival where some 12
schools showed off their jazz bands and subsumed combos. The festival also
featured sets from eight professional combos. But the really important part is
that the student groups are given critiques by professional musicians, many of
whom are or have been college music professors. The critiques are miked so the
audience can hear. From such instruction I am learning that really big things
are happening in the brain's mental biology as one listens to or plays jazz.
First the listening: the most obvious effect is stress
reduction. Stress, as I have explained in early posts, is the arch-enemy of
memory ability. In my case, I put my West Coast jazz experience to good use in
mastering the veterinary curriculum at Auburn. While classmates were beating
their brains up trying to learn all the stuff involved in veterinary medicine
(more than in human medicine), I spent a lot of my time listening to jazz records.
And I still beat all but four classmates in grades.
Listening is also fun, probably less so than playing jazz,
but still a lot of fun. In San Antonio, Jim Cullum's band used to be called the
"Happy Jazz Band." Think about where jazz came from. It is uniquely
an American innovation, beginning as emotional relief for slaves who found comfort
in the blues, which eventually spawned jazz in its happier forms. Wholesome fun
promotes happiness. Happy brains learn better. They can also often live longer
(remember my blog on the long life span of so many stand-up comedians). Think
about Preservation Hall in New Orleans. There and elsewhere around the country,
many jazz artists are still performing sophisticated music in their 80s.
Learning jazz may be the ultimate in training young minds to
think critically and creatively. An earlier blog post after my fist trip to the
Katy festival focused on the exceptional teaching skills of jazz band
directors. Many teachers protested, saying in essence that anybody can teach
good students. Regular teachers get stuck with so many underachievers. Maybe we
should consider the possibility that jazz-band students are such high achievers
because their jazz training has trained their brains in invaluable learning
capacities for hand-eye coordination, the ability to memorize, discipline,
patience, critical and creative thinking, high-speed intellectual engagement
with the ideas of others, and self-actualization and confidence.
There is overwhelming scientific evidence that mental
challenge develops new connections in the brain and with it, new biological
capabilities. In jazz, such mental enrichment enhances the ability to memorize,
not only directly in terms of having to learn a large musical vocabulary and
the rules of jazz, but also in terms of basic mental biology. My new book, Mental Biology, explains some of the
basic ideas.