By Haley Zaremba

More than 100 years after the birth of jazz, women still remain underrepresented in jazz performance and jazz education programs.

This is not because of a lack of female talent. As long as there has been a jazz scene, there have been women trailblazers helping to set the standard for great jazz musicianship. 

A long legacy of pioneering female jazz talent has proven that women belong in jazz. Now, a new generation of jazz instructors and students are working hard to make jazz an equal opportunity art form – and they’re gaining ground. 

For this article, we spoke with five exemplary women who have achieved success in their careers as jazz musicians, and who are working hard to inspire, encourage and empower the next generation of girls in jazz. They share thoughts on barriers women still face in the jazz world, as well as some of the ways these barriers can be overcome to create a safer, more inclusive, and more creative jazz scene. 

Obstacles faced

Gender stereotypes that classify jazz as a masculine genre along with a lack of female representation can make jazz uninviting and intimidating for young women.

And for those who are brave enough to enter this male-dominated musical genre, the challenges may not stop once they’re through the door. Unwanted attention or being expected to prove oneself in a way that male-identified jazz performers aren’t expected to are not uncommon.

Many women jazz artists report being reduced to their gender rather than treated as individual artists. “It is sometimes exhausting wondering how one’s playing would be assessed if folks weren’t noticing the ‘female’ aspect of it,” describes jazz drummer and educator Clare Church. “Are they looking at me like a novelty act? Are they actually being easier on me? Are they even really listening to the playing outside of the fact that it’s coming out of a woman, and in my case, an older woman, especially one who is (gasp!) playing the drums?” 

At the same time, a gender-blind approach to jazz has its own trade-offs. It is important to recognize that women face gender-specific barriers and challenges. Naming these challenges is the first step to fixing them. 

As an example, women performers have to think about safety concerns that their male counterparts may not worry about, says Olivia Hughart, saxophonist, woodwindist and composer. “Before taking a gig, you might have to spend more time thinking about whether the people on the gig are cool to be around or if you have found a safe way to get to the gig that won’t leave you on a train alone late at night,” she says. “Women also have to think about going to jam sessions alone or finding somebody to go with, just in case others at the hang have other motives besides playing the music.”

Creating a more welcoming space

When asked about how to inspire young women to become involved in jazz, the musicians we interviewed talked about the importance of seeing and working with other women in jazz. 

Entering into a male-dominated space can be daunting, but with the guidance and support of women role models and peers, it can be a whole lot easier. 

Turning to females of your own age group can be one empowering approach. Hughart noticed that girls were few and far between in her middle school jazz program. With the help of her teacher, she created Key of She Jazz for girls in her school district to support girls in jazz, from middle school through college and beyond. 

“I found that facilitating a space like this creates more enthusiasm and encouragement between girls trying to pursue jazz,” she says. 

Role models are essential

A lack of confidence can be a major barrier for girls who want to get started in jazz. They may worry they don’t belong or don’t have what it takes to succeed in a system that isn’t built for them. This is especially true if girls have seen few women jazz performers out in the world. 

“Girls need to see other girls succeed in order to envision themselves doing what they want to do,” says Hughart. 

Representation, community, and mentorship are key to providing girls with the support and confidence they need to succeed. “In jazz, taking improvised solos can feel like taking a leap of faith, and if girls do not feel supported or encouraged, we may not see as many girls out in front of the band soloing,” Hughart shares. 

Jazz pianist/composer and educator Annie Booth echoes this sentiment, stressing the importance of representation. “Having role models both in proximity to and from afar can make an immense difference in the self-esteem of young women learning such a heavily male-dominated art form,” she says.  

The importance of mentors

Booth urges young women in jazz to seek out female mentors. She created the SheBop Young Women in Jazz Workshop through the Colorado Conservatory for the Jazz Arts specifically to bring female and non-binary young women together to play jazz in a safe and welcoming environment. Now as co-owner and co-founder of Brava Jazz Publishing, Booth offers a platform to publish and distribute the music of women composers and arrangers in big band jazz. 

“Mentorship is super important, especially when starting out,” says Hughart. “When I was able to meet other women who were making it on the scene and playing jazz professionally, I felt more inspired and was able to see myself pursuing a career similar to the ones that my role models and mentors had made for themselves.”

The value of college for pursuing jazz performance

College-level music school is helpful for meeting other women jazz musicians and mentors. This can facilitate professional connections and build a support network of like-minded, talented women who can advocate for each other and provide moral support, solidarity, and professional opportunities. 

These programs can:

• Break down some of the key barriers described above
• Build skills in an academic setting to foster confidence
• Facilitate taking creative risks in a male-dominated world
• Teach professionalism
• Refine talent
• Hone musical skills
• Provide ways to stay a step ahead of the talent pool and stand out from the crowd, which many women jazz musicians will tell you is especially important when outnumbered gender-wise

Finding the right program

There are still lots of programs that are heavily male dominated in terms of both students and faculty, and it’s good to be mentally prepared for this reality. You may want to take these factors into account while searching for the best fit college for studying jazz.

1. Check the gender makeup of the faculty and previous cohorts. This can tell you a lot about the program.

2. Reach out to former women students for important insights into how they fit with the program’s culture.

“I found that when I was applying to colleges, I had to think about other things that my peers did not,” says Hughart. “I had to think about whether the program was going to be ‘bro-y’ or if it was going to be a safe and comfortable environment to learn in.”

3. Look into existing gender initiatives at schools you consider. Otherwise, there’s a significant chance you’ll be one of very few women in your program.

Parting thoughts

It’s clear that jazz still has a lot of evolving to do in order to become a safe and welcoming space for anyone with passion and talent. But things are slowly changing for the better thanks to talented women jazz musicians who continue to push boundaries.

Believing in yourself, as well as advocating for yourself and others, can help women and girls stay on the path despite the challenges they still face.

“So many jazz greats have said to me over the years, ‘Just keep doing it,’ which sounds so simplistic, but really is true,” says Clare Church. “If you don’t give up and consistently have a growth mindset, are open-minded about all kinds of music, and keep your eyes and ears open for opportunities, you’ll continue to grow as a musician your entire life.”

Annie Booth adds, “My biggest advice is to be yourself and stay curious about the music! I can see now that early on in my career I had an image of what I thought I should be doing and as I’ve gotten older, I’ve begun leaning into what makes my musical voice special. Everyone has something special to contribute and it’s all about working on your skills so that they can be tools in strengthening and adding clarity to your unique musical voice! There’s room for everyone in this art form.”

“Focus on your goals and celebrate your successes,” says  Jenny Neff, conductor, horn player and Lead Advisor for Key of She Jazz. “Don’t be afraid to have those difficult conversations (in a respectful way) that help teach others how everyone should be accepted and treated.”

Composer/arranger and jazz drummer Sherrie Maricle emphasizes, “Be aware of gender bias and misogyny and work hard to rise above it, confront it, and help fix it, whether it’s coming from a teacher, band director, friend or peer. Practice hard and be great at your instrument. Music has no gender. As my mentor Stanley Kay said ‘If you can play, you can play.’” 

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Haley Zaremba is a writer and researcher with an MFA in Food Studies from American University of Rome and a BA in Media Studies from University of San Francisco. Her writing ranges from music and culture to energy and the environment.

Photo: Olivia Hughart of Key of She Jazz/ Photo credit: Manasa Gudavalli

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Check out these excellent resources:

Brava Jazz  

Colorado Conservatory for the Jazz Arts 

Jazz Education Network – Sisters in Jazz

Key of She Jazz

Special thanks to these extraordinarily-talented mentors and leaders for contributing to this article:

Annie Booth, jazz pianist and composer, faculty at University of Denver Lamont School of Music and co-founder of Brava Jazz Publishing.

Clare Church, jazz drummer, faculty at University of Colorado Boulder College of Music and co-founder of Muse Performance Space.

Olivia Hughart, jazz saxophonist/woodwind doubler, composer, and founder of Key of She Jazz.

Sherrie Maricle, jazz drummer/composer/arranger and leader of DIVA Jazz Orchestra

Jenny Neff, Program Director and Professor of Music Education at University of the Arts 

Do you love vocal jazz? Ever considered what it would take to turn your passion into a career? In this article, we look at what vocal jazz programs offer, what it takes to get accepted, and what you can do with your degree after you graduate. Acclaimed jazz vocalists who also teach college-level programs share information and candid thoughts to help you figure out whether this is the right path to pursue.

What to major in if singing jazz is your passion

You’re most apt to find jazz voice training in college music programs listed under Jazz Studies. Your instrument is your voice, so look for programs identified as Jazz Voice, Jazz Vocal Performance, or simply “Vocal Concentration.” If you’ve found a school you’re interested in but don’t see vocal jazz listed as a major, contact the school directly to see whether they offer what you want to study. Note that many schools offer classes in vocal jazz but not as a major. And at most schools, a vocal performance degree has a classical focus, not jazz.

Schools that offer a major in Vocal Jazz want students to get a well-rounded education. In addition to general education requirements and applied voice lessons and jazz vocal technique, you’ll also study vocal jazz history and analysis of styles, composing and arranging, and improvisation. Ensembles are also part of the curriculum. Some schools require classes in classical voice while others do not.

For future career opportunities, you’ll serve yourself well by taking any classes, programs or workshops offered that teach music majors how to think of themselves and market themselves in business terms (i.e., entrepreneurship training). Check the career services office if these types of classes aren’t clearly offered through the music school or department.

Who is a good candidate for this major?

Vocal jazz programs are all looking for students who are really passionate about jazz, have some kind of background in the language of jazz, and are ready, willing, and excited to learn more than they already know. Basic sight-reading skills are expected. Good tone and intonation are also important going into this major.

“Jazz is so much about community, hearing each other perform and jamming with each other,” says Rosana Eckert, senior lecturer who teaches in the Jazz Vocal Performance degree program housed in the Division of Jazz Studies at University of North Texas.

Those who don’t see themselves doing this work professionally should not attempt this major, says Elisabeth Lohninger, who teaches Voice and Ear Training at the School of Jazz at The New School. She also emphasizes the importance of a solid work ethic as essential for any vocal jazz major.

What can you do with a degree in vocal jazz?

“The world of the professional musician, especially the jazz musician, is constantly changing,” muses Greg Jasperse, assistant professor of Jazz Studies and director of Vocal Jazz at Western Michigan University School of Music. “This isn’t necessarily a bad thing but it does require flexibility and the ability to adapt. Luckily, that’s what jazz musicians do all the time.” He goes on to say, “There is no single job that all jazz vocal graduates do. In fact, in our community of professional jazz vocalists, not one of us has an identical life.”

 

Graduates of vocal jazz programs often work as:

• Solo artists
• Back-up vocalists
• Private studio and college-level teachers
• Studio singers on film & tv soundtracks and commercials
• Composers and arrangers
• Copyists
• Cruise ship performers
• Members and directors of professional jazz ensembles

 

While some of this work is not vocal jazz per se, the degree should provide the kind of solid musical training that allows graduates to find work in other music genres as well. “One of my last film score sessions in Los Angeles before moving to Michigan was [singing] for the film Oz, the Great and Powerful,” says Jasperse, who also directs the award-winning vocal jazz ensemble Gold Company. “It was an incredibly creative score by Danny Elfman. I looked around the choir and saw 3 other alums from Western Michigan University. We weren’t singing jazz but we were there for our ability to sight-read, our vocal versatility and our professionalism.”

What are schools looking for in an audition?

An audition demonstrating your current vocal jazz skills is required by most programs. Every school has its own audition repertoire requirements, so check them carefully. Following directions about the audition speaks volumes to college admission folks about the kind of student you’ll be if they admit you.

Schools want to see what you already know and how familiar you already are with jazz. They’ll likely assess your current ability to:

• Sight-read
• Improvise/scat
• Sing with good tone and intonation

Schools do not expect you to be advanced in these areas. Instead, they want to see that you’ve already begun to learn how to do these and that you show up as someone who is eager about and capable of learning more.

Your background in areas like jazz theory, aural skills (harmonic identification), melodic recall and piano skills is also likely to be assessed.

How to prepare for your audition?

First and foremost, follow this advice from Kate Reid, associate professor and program director of Jazz Vocal Performance at University of Miami Frost School of Music: “Listen, listen, listen – to the tradition – instrumental and vocal. Listen, listen, listen to what is happening today in jazz, contemporary and popular music styles.”

Your next step is to determine what music you love to perform will meet the audition requirements of each school you’re interested in. The music should demonstrate your current vocal skills and artistry, as well as your understanding of vocal jazz. Your private teacher should be able to help you figure this out. Greg Jasperse suggests: “Study the chord changes so you are prepared to improvise. Practice sight-reading regularly so you are as strong as you can possibly be at the time of your audition. Jazz keyboard skills are incredibly helpful when it comes to learning a song, practicing improvisation, and expanding your knowledge of jazz theory. And all along the way – LISTEN to jazz. Immerse yourself in this language and culture so when you have an opportunity to audition, you are as fluent as possible.”

Rosana Eckert at UNT adds, “Students can prepare for auditions by listening, transcribing, and imitating respected jazz vocalists and instrumentalists as a way of getting more jazz language, phrasing, and style in their ears.”

La Tanya Hall, who teaches Jazz Voice in the Jazz Studies Department at Oberlin Conservatory and School of Jazz at the New School suggests, “Ideally, to prepare, you should have at least three songs in your repertoire in varying styles that show your range and basic understanding of the genre. I would also suggest some scatting/improvisation on at least one tune.”

Note: Some schools require a pre-screen recording to determine whether to invite you to audition. Check each school to see if a pre-screen is required and if so, look carefully at the required repertoire, recording guidelines and deadline for submission (often December 1).

How about summer vocal jazz programs?

Summer jazz camps and programs throughout the U.S. and abroad provide the opportunity to dig deeply into vocal jazz without the burden of school, work, and time-consuming distractions. They also offer wonderful opportunities to network with professionals as well as other students passionate about singing jazz. You’re apt to find classes in jazz theory, improvisation, vocal technique, and keyboard skills along with solo and ensemble training and performance opportunities. If you’re getting ready for auditions, look for programs that will help you start preparing.

When is a graduate degree important?

Graduate school isn’t necessary for everyone who gets a degree in vocal jazz. According to Kate Reid at Frost School of Music, “The timeline for graduate school is different for everyone. Some students need to move directly into graduate work and others want and need to perform and explore their own solo career and experience extensive performing before returning to study again. There is no right or wrong answer there.”

But there are benefits. At most college-level programs, a graduate degree is required in order to teach. Graduate school is also appropriate if you want “extra time to hone your craft in a stimulating environment,” says Rosana Eckert at UNT. “It can also be a great opportunity to get teaching experience with a mentor to guide you.”

Final thought

“Vocal jazz is not an easy path by any means,” acknowledges Greg Jasperse. “And it’s not a mainstream art form. Jazz really has to feel like it’s in your DNA in order to pursue it professionally. If you’re interested in becoming a jazz vocalist, do some research about the professional lives of the jazz vocalists you admire and appreciate. You’ll find that most of these people eat, sleep and breathe jazz.”

University of Miami Frost School of Music top jazz vocal ensemble, Frost Extensions, performs at the Monterey Next Generation Jazz Festival.

About the contributors

• Rosana Eckert, senior lecturer in Jazz Vocal Performance at University of North Texas, is a live and studio vocalist, songwriter, and voice-over talent who has sung or spoken on hundreds of commercials, album projects, publishing demos, and radio IDs around the world. She has recorded four solo CDs and performs regularly throughout the U.S. and abroad. Eckert also serves on the faculty of the New York Voices Summer Vocal Jazz Camp and University of North Texas Vocal Jazz Camp.
• La Tanya Hall, teacher of Jazz Voice at Oberlin Conservatory and School of Jazz at the New School has collaborated and appeared with performers across many genres (including Harry Belafonte, Aretha Franklin, Quincy Jones, and Steely Dan) and has toured and recorded with Bobby McFerrin since 2002. She teaches master classes with the YoungArts Foundation and is also a session singer and actress. Hall has sung at international festivals and with several U.S. orchestras, and has an album out on Bridge Records.
• Greg Jasperse, assistant professor of Jazz Studies and director of Vocal Jazz at Western Michigan University School of Music, is a composer, arranger, clinician, adjudicator and guest conductor. He has sung on many film soundtracks as well as Red Hot Chili Pepper’s song Monarchy of Roses and Muse’s album The 2nd Law. He sang at the 85th Annual Oscars with Adele on her song Skyfall and arranged, produced and music-directed A Gallagher Family Christmas for William H. Macy and the cast of Showtime’s “Shameless.” Jasperse sings with Sixth Wave and Vertical Voices and spends summers teaching at New York Voices Vocal Jazz Camp, the University of North Texas Vocal Jazz Camp, and Showchoir Camps of America.
• Elisabeth Lohninger, teacher of Voice and Ear Training at the School of Jazz at The New School since 2002, has 11 albums to her name and and regularly tours Europe, Asia and the Middle East. In fact, she was touring in Germany while contributing to this article. She maintains a private voice studio in New York City, performs in four languages, and has had song placements on television.
• Kate Reid, associate professor and program director of Jazz Vocal Performance at University of Miami Frost School of Music, maintains a solo performing career in Miami and Los Angeles. She has several albums out and as a session singer, has lent her voice to film, television and artists’ albums including Planes, Star Trek Into Darkness, Epic and Men in Black III and albums for Josh Groban, X-Japan and Muse. Reid is a master class presenter and a clinician and adjudicator at jazz and choral festivals throughout the U.S. She also teaches at the summer Young Musician’s Camp at the University of Miami Frost School of Music.

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Photo Credits

Top Photo: Western Michigan University/Photo by Mark Bugnaski Photography – vocal jazz student Christian Diaz performs with Delfeayo Marsalis

Inset Photo: Western Michigan University – Aimee Lopez, vocal jazz ensemble Gold Company

Wishing for a jazz career but concerned about how you’ll be able to pull it off?

Jazz majors: you’re more likely to find work if you pay attention to these career tips. Even if you’re not a jazz major, however, you’re likely to find a lot of this information relevant and useful.

1. Prepare well.
If you want to perform, you’ve got to be at the top of your game. All of the other career-building techniques and skills will be “meaningless when you are not prepared on your instrument,” says Javier Arau, composer, saxophonist, and founder/director of the New York Jazz Academy. “As a student, make sure you are spending more time on your instrument, actually studying music, more than anything else.”

2. Connect with other musicians.
A musician cannot work in isolation. It’s important to understand this and incorporate it into your world as a jazz major.

Peter Stoltzman, composer, jazz pianist and head of Piano at University of Colorado Denver, Music Entertainment & Industry Studies says: “Music is social. Music careers are social. You have to connect with people.”

3. Utilize your professors and visiting artists.
Jazz professors are typically gigging musicians themselves. See if you can sit in on their gigs, suggests saxophonist Javon Jackson, director of the Jackie McLean Institute of Jazz at The Hartt School.

Peter Stoltzman adds, “Once you start to make an impression on your peers and teachers, you start to get opportunities—friends invite you to jam sessions, teachers might hire you for a gig, visiting artists get to hear you perform or they play with you in a concert. Your circle expands.”

4. Take other music majors seriously.
Your peers may be the people who end up hiring you, and vice-versa. Respect them as colleagues, and offer and receive the kind of support you all need to get through school and become the musicians you want to be.

Vocalist, composer and saxophonist Amber Navran, USC Thornton School of Music graduate says: “Stay positive. Be non-judgmental and kind to all musicians you meet – you never know where someone will end up or who will want to call you for a gig. Don’t hate on other kinds of music because they are less complex than jazz. Be open to playing and exploring all kinds of music.”

“A lot of my favorite jazz groups had their foundations formed in school,” says Daniel Weidlein, another saxophonist and USC Thornton alum. “Pieces and parts change, but the core of a lot of the best bands were formed by musicians who developed a bond while in school together.”

5. Practice efficiently.
“You will NEVER have this much time to practice ever again – take advantage of that and develop yourself into the best musician, composer, artist, and human being you possibly can!” urges Mike Casey, saxophonist and graduate of the Jackie McLean Institute of Jazz at The Hartt School.

“Here’s a secret: whatever you practice, discipline yourself to practice with a 3:1 ratio of success to mistakes. Most people practice with the opposite, or worse. They play things five or ten times with mistakes, and finally get it right, and they think, ‘Phew, I got it.’ No. You don’t have it. You just programmed your brain and body to play mistakes 80-90% of the time. And then you lament how frustrating it is to practice for two hours and make the same mistakes the next day! “ – Peter Stoltzman

6. Learn to be professional.
“Be on time, be prepared, be flexible. Learn as many tunes as you can, be a great reader. Meet and study with (if possible) the people who are doing what you would like to do, go out and hear live music, learn from the older generation of musicians,” says Vern Silert, associate trumpet professor and director of Jazz Studies at the Lionel Hampton School of Music at the University of Idaho.

In his DIY book “Living the Dream: The Morning After Music School,” musician Brian Horner features a list of top ten behaviors to avoid if you want to work as a professional musician. He includes “Fail to return calls or emails” and “Waste your colleagues’ time by showing up late or missing rehearsals or gigs.” A concert saxophonist, music professor and music management company owner, Horner also urges young professionals to avoid “consistently taking the position that you are right (and that somebody else must have made the mistake).”

7. Find balance.
This isn’t an easy one and may take many years – even a lifetime – to really figure out. But now is a good time to start working on it. Mike Casey encourages jazz majors to “Try to find a balance between living life, practicing, connecting with your fellow music students, writing your own music, and studying the music business.”

8. Get experience in areas of music outside of jazz.
“There’s not a ton of work in the jazz field,” says Daniel Weidlein, who majored in Jazz Studies and minored in Recording. “Yes, you can join a working big band if you’re lucky, or maybe become a sideman with a well-known jazz artist, or even better, start your own group that has a viable touring career…but these opportunities are few and far between. Most of the work is in other areas of music. Take the time to learn the nuances of other musical styles (pop, rock, R&B). How can you cross-apply your jazz skills to these areas and use them to your advantage? At the end of the day, the most important thing is to be able to write/arrange your own music and be able to apply the same cross-genre study to writing as well.”

9. Plan ahead.
Mike Casey recommends figuring out your next step plans when you reach your senior year. That way, when you graduate, you’ll hit the ground running. Or at least walking fast.

What can you do when you first graduate?

1. Network.
Chad McCullough, who received degrees in trumpet performance from the University of Idaho and the University of Washington, performs and also teaches trumpet at DePaul University School of Music Jazz Studies. “Find all of the people who are doing what you want to do,” he says, “and do anything you can for them. Friendships are what make careers in the music industry… friends hire friends.”

Peter Stoltzman agrees: “When you graduate, you have friends that become the core of your network/tribe/community. You can’t survive happily without a tribe. You have to start this while you’re in school. Stay connected and physically close to your tribe!”

2. Be visible.
“Find a way to be visible,” says saxophonist Greg Johnson, D.M.A., M.M., USC Thornton School of Music; B.M., University of Northern Colorado, and director of Jazz Studies at the Marin School of the Arts. “Go to shows, jam sessions, take lessons, make the hang. No one will know to call you if they don’t know who you are, how you interact with people, and how you sound.”

“Go out to support your friends’ music,” urges Amber Navran. “People notice when you’re a supportive friend/peer. It’s inspiring to see what other people are doing, and it inspires them to support you and to call you for gigs, too.”

3. Take a day job?
Taking a non-music job to help pay the rent is a highly debatable topic. Some new graduates do everything possible to avoid this.

“Try as hard as you can to keep all (or most) of your employment music related, and as close to your dreams as possible,” says saxophonist Mike Casey. “I’ve seen too many musicians graduate and get ‘stuck’ in their careers by working 9-5 day jobs instead of embracing the hustle that being an independent musician/artist/business owner is about –– and trying to make that work first. It helps if you have some money saved initially to survive the first year after graduating. If you embrace the hustle right away, know this: it is far from easy, and you’ll likely need some financial padding if you want to avoid getting stuck in a non-musical job. A music career is a marathon, not a sprint!”

But Greg Johnson disagrees: “Day jobs are not a bad thing. While a lot of musicians are sleeping and watching Netflix, you can be making money and preparing for your next gig. The fewer hours that you have to practice become way more precious.”

Kevin Smith, bassist and associate director of admissions for School of Jazz at the New School adds, “As is the case for most students going into any creative field, you will need to find a way to earn a living beyond just performing. This will require dedication, legitimate goals, time management. Keep a short- and long-term plan in mind. Most of all, be honest with yourself about what you need in life to be happy with yourself and with your art form.”

4. Use your business savvy.
It’s essential to take an active role in promoting yourself and your music. If you’ve missed out on entrepreneurship skills, find a way to learn them. Figuring out how to brand your music, understanding what your audiences want, and using creative ways to market your music are all important.

“Make it happen for yourself,” says Amber Navran. “Record, make videos, have a website, be on social media in a strong but humble way. You never know where YouTube and Twitter can take you, and having strong music to show people is the easiest way to get gigs.” Daniel Weidlein adds, “Refine your ability to present yourself in a professional manner that shows off your musical talents as well as your business acumen.”

5. Join professional organizations that support your professional goals.
JEN, SESAC, NAMM, College Music Society, state chapters of the American Federation of Musicians, the Musicians Union in the UK, and professional music publishing organizations like BMI and ASCAP are some of the many organizations jazz majors will find worth checking out. Learn what you can and then see if you can get an invitation to attend events to help figure out which ones are worth joining.

6. Use the alumni network.
Most schools have strong alumni networks, and new graduates are urged to utilize them. The career development and alumni centers at your school should be able to guide you there.

How important is travel for a career in jazz?

• Travel is a good way to become visible.  Every time I go somewhere new, I sell albums, sheet music and get more traffic on my website. Traveling can build relationships that lead to more performance and compositional opportunities.  – Greg Johnson, saxophonist and arts school jazz director
• Travel becomes a huge part of the life. I wouldn’t give anything away for the opportunities I’ve had to see the world, and the entire continental USA playing music.  – Brett McDonald, saxophonist and pit orchestra member
• Travel also helps define who you are and what music you are making.  From my experience and what I’ve seen in others, travel and exploration are key to staying fresh to your listeners.  – Kevin Smith, bassist and assoc. director of admissions
• If you don’t explore other musical communities, you run the risk of severely limiting yourself to things you are familiar with. Musicians need a bit of uncertainty to really grow, and putting yourself in foreign situations can be a great way to force the issue!  – Paul Shinn, pianist
• The most rewarding and fulfilling experiences I’ve had have been playing music and touring in other countries.  – Chad McCullough, trumpeter and professor
• Travel can be fun and it can be grueling. And it can make it hard to hold any steady gigs where you live. At a certain point, there are decisions to make about how much traveling you’re going to do. But I highly recommend that performers dive in and live that life for at least a few years. You don’t want to regret not doing it. Is it crucial to a successful career? No. Only if you’re trying to be a star. If you or your band want to have a national or international audience, you have to travel. A lot!  – Peter Stoltzman, pianist and department chair

Parting Thoughts

• Study with the best people you possibly can, and try to study with a diverse array of teachers. You may learn as much or more from the piano professor even if you’re a saxophonist. – Daniel Weidlein, multi-instrumentalist and producer
• The improvisation you learn as a jazz major will impact your life whatever you do.  – Javon Jackson, saxophonist and department chair
• Look for scholarships and grants before enrolling. There are a lot of great opportunities for musicians to help fund their career, so with 20/20 hindsight I wish I’d done a bit more research before applying. – Freddy Gonzalez, trombonist
• Compose. You can’t be a successful professional jazz musician just playing other people’s music.You need to hone that craft while you’re in school. Take composition lessons; take orchestration; study your favorite composers and take advantage of the amazing world that is a university library and their vast stacks of real scores.  – Daniel Weidlein, multi-instrumentalist and producer
• Listen to more music, and sing way more than you think you should! – Chad McCullough, trumpeter and professor

Are you someone who lives and breathes jazz and can’t imagine doing anything else in college? If you’re wanting to major in jazz, here are 8 top considerations from jazz faculty, students, and recent graduates for anyone thinking about majoring in jazz or already on their way.

by Barbra Weidlein –

1. Why Go to Music School to Study Jazz If You’re Already Performing?

While some young musicians at the top of their game will make a name for themselves without ever going to music school, careers in music are so highly competitive that musicians need all the knowledge, support, and connections they can get.

According to Alan Pasqua, professor of Jazz Studies at University of Southern California Thornton School of Music, “Music school increases your chances of being a better musician. It’s a structured environment with other high level, motivated students,  that offers networking opportunities and knowledge. It’s a way to become more fluent in jazz.”

Pasqua goes on to say that young musicians who think they can learn what they need to learn, by simply studying with a private teacher, will miss out on everything that happens after the lesson is over. “In music school, the learning is ongoing. It’s so easy to find fellow students to play with, to continue the learning. There are also opportunities to meet so many others in fields that will be important to you in your life.”

2. Choose a Direction

First and foremost: do you want to focus on performance? Or on the history of jazz? Do you want to teach? Or are you leaning toward a career in music industry, with jazz as your focus? Schools differ in their strengths, so a good starting place is to clarify what you think you want to do when you graduate. Richard Dunscomb, chair of the Music Department at Columbia College Chicago, recommends that you research and then ask each school you’re interested in to specify what type of jazz education you will get there.

For performance-driven students, Harry McKenzie, who got his Bachelor of Music degree in Jazz Studies at USC Thornton School of Music in 2012, suggests looking closely at schools “in cities that have thriving jazz scenes, so you can start establishing yourself as a professional player while you’re in school.”

3. Become a Good Improviser

Music schools typically expect jazz students to know how to improvise by the time they audition. But how do you get there?

According to John Murphy, chair of Jazz Studies at University of North Texas College of Music, “Learning how to improvise, and to play jazz in general, is a lifelong pursuit. The best thing you can do is to listen with your full attention to important artists on your instrument (including voice) and on other instruments. Much of the listening we do these days is distracted. Anyone who wants to learn how to play jazz needs to listen with full attention, with no distractions, repeatedly. There’s no better way to learn what you want your tone to sound like, how to feel the time, how to play a solo that tells a story.”

4. Get the Most Out of Your Program

Take responsibility for finding out what you need to learn if you want a career in music. Don’t expect music schools to lay it all out for you. Talk with professors who are also performers or who have backgrounds in music industry, music education, or any area of music you’re interested in. Find out what they wish they’d learned when they were in music school. And, as professionals, what skills/tools they can’t do without.

“You get out what you put in,”  says John Gunther, composer and multi-reed instrumentalist, and associate professor of Jazz Studies at CU Boulder College of Music. “Be active and pro-active. Study hard and practice a lot but also look for or create opportunities to play with your peers. Get familiar with other instruments (everyone should play drums and piano!). Be familiar with things happening outside your immediate environment (theatre, dance, classical concerts, etc.). You also have to take care of yourself….sleep, good food, exercise.”

Drew Zaremba, senior jazz studies major at University of North Texas College of Music, spends as much time as possible with faculty to learn as much as he can, and then practices everything he learns. “Your colleagues are an equally important source of inspiration and encouragement,” he adds, “so finding good dedicated musicians as friends is essential!”

Addision Frei, University of North Texas College of Music junior and an award-winning pianist, agrees. “One of the most important aspects of studying jazz in college is connecting to your peers and establishing strong music relationships. Playing with others outside school is the most helpful way to harness ideas obtained in class and to develop an artistic identity. Supporting peers at local performances is also crucial to becoming a part of a musical community.”

5. Find the Right Teacher

The importance of finding the right teacher can’t be underestimated. John Davis, director of Jazz Studies at CU Boulder College of Music, recommends: “Find a teacher who plays how you would like to play, but who also has been recommended as a good teacher.  Unless the teacher/performer can relate ways to practice and play effectively, all you may end up with is a great player who sounds good but who can’t help you sound good.  You want to find a teacher who can effectively provide approaches and ideas that will help you grow.”

Alan Pasqua offers these suggestions:

• Find a teacher who can be a mentor.
• Find a teacher whose performance you can emulate.
• Find someone with whom you can work well, and with whom you have good relationship dynamics (i.e., chemistry is important!).
• Find out how much time the teachers you want to study with are really at the schools you’re looking at applying to. Many tour, so you’ll want to know whether they’ll actually be teaching your classes and how available they’ll be for your questions and concerns outside of class time.
• Connect with anyone you might want to study with, before you start applying to schools. They should be willing to email with you and hopefully give you a lesson, as a prospective student at their school.

6. Know What’s Required to Be Successful

“You must develop a repertoire of jazz standard tunes,” says John Davis, a trumpet player who has taught everything from jazz history to big band and vocal jazz. “These are tunes you have memorized, know the chord changes, and can improvise over.  All jazz musicians are expected to have a large base of jazz tunes in their ‘arsenal’ to be competitive and functional in the industry.”

Learning to network is vital. According to Alan Pasqua, whose background includes playing electric keyboard for TV shows and performing with legendary musicians including Bob Dylan, Santana, Ray Charles, Elton John, and Queen Latifa, “The networks you develop in college are the most important for meeting friends, fellow students, and for learning about other areas. Your friends will become your co-workers and the people who hire you.”

Los Angeles guitarist, Erik Miron, a 2009 graduate of USC Thornton School of Music, concurs. “The importance of networking and forming groups with my peers –– this was critical, and in my opinion much more important than coursework.”

Drew Zaremba, who plans to be a studio orchestrator and arranger as well as performer after graduation, says “determination, confidence, and humility” are all necessary for success. “One must be determined to face economic difficulties (jazz music is no longer the pop music of our culture) and still be driven to practice daily. Confidence is essential –– jazz music is based in improvisation, and without confidence it is difficult to deliver a convincing solo for audiences to listen to and enjoy. Humility is also incredibly important –– this goes hand in hand with confidence. Without humility, no one will want to help you musically, with getting gigs, and finding work will be all the more difficult.”

7. Learn to Be Versatile

According to Dick Dunscomb at Columbia College Chicago, who also conducts and teaches jazz workshops all over the U.S., “Many schools now require that you learn to perform a variety of forms of music, not just jazz. Anyone pursuing music these days needs to be prepared to work on projects in many fields.”

Along these lines, Harry McKenzie, now a jazz drummer in Los Angeles, advises: “Don’t put yourself in a box and say you only play a certain kind of music. Take advantage of every playing opportunity you’re offered.” Noah Fulton-Beale, a 2012 trumpet performance alum from CU Boulder College of Music who now performs and teaches, agrees. “Be as versatile as you can as a player, arranger, composer, teacher…You never know what opportunities might come up that you’ll need to be ready for!”

8. Invest in Summer Music Programs

“Do it!” says Alan Pasqua. “You’ll get to interact with more musicians who are at least at your level of ability.”

John Murphy concurs. Investing yourself in a summer music program “gives you access to two important things: college-level instruction and a group of peers of similar age who are also serious about the music. You can get a sense of whether you will enjoy being a music major and devoting every waking moment to playing, listening to, and thinking about music.” (See Summer Music Camps & Programs.)

If you want to major in jazz, you need an understanding and appreciation of the unique aspects of this genre.

MajoringInMusic.com spoke with Dr. Lou Fischer, bassist, jazz professor at Capital University Conservatory of Music, and former president of the Jazz Education Network (JEN). Fischer’s background includes over 40 years as a performer and composer in the entertainment industry, and as guest director, clinician and adjudicator at international jazz festivals and at high schools, All-State jazz events, and universities across the US.

1. What’s different about jazz auditions from any other type of audition?

“The improvisation component, says Fischer, “is what sets jazz auditions apart from any others. Improv is what makes jazz, jazz.” Each school, of course, will differ in terms of its expectations of how savvied applicants actually need to be at audition time.

“Some schools,” he notes, “put an emphasis on style…they want to see flexibility and what you’ve been exposed to. Some also want to see what you do with things that are new to you.” Fischer urges students to read through each school’s audition requirements very carefully. “Make no assumptions!” he warns. “Colleges are looking for your ability to follow directions to a “T.”

Be prepared to tailor your audition to each school you apply to. You basically get one shot at it because schools don’t have the time or staff to go back and forth with you to help you make changes or corrections if you neglect to read their audition requirements carefully.

What about video interviews? Fischer believes that if offered that opportunity, “you should go for it…it saves money and time.” But he also acknowledges that many schools want you to audition live.

Note that virtually all Bachelor of Music programs will require auditions. But for Bachelor of Arts majors, it may vary from school to school and major to major.

2. How is studying jazz changing?

Fischer sees no decline in interest in studying jazz on the college level. In fact, at his university, the number of students applying “is growing like crazy.” But the demands on students are changing and growing as well. Technology is an important part of the curriculum but so is learning about the history of the music. A focus on career development is also an essential part of the education of a jazz musician. Students need to pay attention to what audiences are interested in, as well as how to attract and keep those audiences filling the seats and buying the music.

Working gigs while going to school is an important aspect of majoring in music, say Fischer. So is learning to network. And developing a breadth of skills is also necessary. “You may have to pay your dues,” he explains. “It’s not demeaning to look at what else you are good at (besides performing). Sometimes you need to know how to ‘subsidize your passion.'”

Did you know that there’s a national non-profit association of writers, bloggers, photographers, web producers, audio broadcasters, film makers, videographers, and new media specialists whose focus is jazz? The Jazz Journalists Association (JJA) includes journalists covering jazz in all media. It supports their efforts to disseminate credible information about jazz music.

Through its professional member directory, JJA offers assistance to anyone seeking help with a jazz-related project. Close to 200 writers, over 60 photographers, almost four dozen audio producers, a couple dozen web producers, and over a dozen film makers and videographers make themselves available through this service.

High school and college students interested in any aspect of writing, photographing, filming or other areas of covering jazz can become JJA members at a discounted fee.

To learn more, visit Jazz Journalists Association. Also check out their annual “Jazz Heroes Awards” given to “activists, advocates, altruists, aiders, and abettors” who’ve had a major impact on jazz in their communities.