Jazz Music Education as a Tool for Liberation

This is part two of a four-part series where we dive into the sections of our mission statement. Read part one here.

Jazz is more than a genre; it’s a vibrant art form, a call to action, and a language of expression.  

With its deep roots in the African American community, jazz is a genre that embodies musical freedom and is as a testament to resilience, creativity, and the power of expression in the face of oppression. It’s a medium for musicians to express their experiences, emotions, and dreams. 

At Seattle JazzED, we take pride in being part of the ongoing legacy of jazz and contributing to a larger movement of cultural appreciation, understanding, and social justice. Through our programs, we aim to create an environment where students can break free from constraints, be they self-imposed limitations, societal expectations, or conventional norms. 

By immersing themselves in the improvisational nature of jazz, our students discover a profound sense of autonomy and unlock boundless possibilities for personal growth.  

Jazz Music Education as a Tool for Liberation

Jazz emerged during the early 20th century in New Orleans, where African, European, and Caribbean musical traditions blended with other stylings like ragtime, blues, and marches.

Rooted in African American communities, jazz emerged from a rich tapestry of influences, not limited to, but encompassing the experiences of Black Americans and their enduring struggles with oppression and racism.  

Jazz music is a testament to the resilience and creativity of a marginalized community that found solace and expression through music, transcending boundaries and forging new paths in the art world.  

Legendary jazz musicians used jazz as a form of liberation and creative release to address the constraints and turmoil of life. Billie Holiday’s Strange Fruit narrates the treatment of Black Americans during the Jim Crow era and became an anthem for equality, while Sonny Rollins’ Freedom Suite addresses the civil rights movement that defined the 1960s in America (NY Jazz Workshop). These songs serve as a small example of jazz’s role in highlighting injustices and inspiring change. 

To sustain the historical and powerful nature of the genre, we aim to offer a music education and experience that serves as a catalyst for cultural, social, and musical liberation for our students.  

Cultural Expression

At JazzED, we delve into the historical and cultural context of jazz, emphasizing its roots in African and African American traditions to provide a more well-rounded educational experience. Setting this context lets students from similar heritage feel a sense of pride and identity, contributing to liberation by creating a deep connection to one’s roots.  

Jazz is a living music that transcends borders, drawing influences and elements from other cultures of people in the room. From Latin jazz, which weaves Cuban rhythms and percussion instruments, to bebop, characterized by complex harmonies and fast tempos, these subgenres enrich jazz and define its dynamic and inclusive nature. Students gain a more holistic appreciation of the universality of jazz and can break free from cultural insularity by connecting with their own roots and exploring the global diversity of the genre.  

Social Liberation

Jazz encourages collaboration, ensemble playing, and community involvement.  

Within the JazzED community, students learn to communicate effectively through music, creating a sense of unity and shared purpose. Students work closely with one another, improvising and harmonizing in real-time. This collaborative process encourages teamwork, respect, and effective communication.  

As students develop in their musicianship, there are opportunities to perform. Whether it’s during an Open House at the end of the quarter or a local gig at a festival, performing promotes a sense of responsibility and engages them more with the community. Our students play alongside their educators, creating intergenerational interactions that encourage mutual understanding, as musicians and individuals.  

As empathy grows and students actively engage with their communities, a profound sense of belonging is nurtured, paving the way for social liberation. 

Musical Liberation

Jazz music education equips students with the fundamentals of the genre, such as improvisation, harmonic progressions, and rhythm. And our educators use jazz as a vehicle to help students engage in life-long music making.  

Using the learned foundations, students are encouraged to take risks and trust their instincts to break away from conventional music structures. Eventually, they become more open to new perspectives and possibilities to develop their own musical styles.  

Ultimately, the objective is for JazzED students to become life-long music makers, capable of playing independently and collaboratively, whenever and however they want. We want to liberate our students from the reliance on sheet music and teacher-led counts, setting them up with musical knowledge that extends far beyond the classroom. 

“The most liberating thing we do is teach skills that one must possess to be life-long music makers.”

— Kelly Clingan, Seattle JazzED's Education Director

Not Just Music

In jazz, we find not just music, but a transformative tool for cultural, social, personal, and musical liberation. 

We invite you to join us at Seattle JazzED, whether as a parent, educator, student, supporter, or however else you would like to show up. Together, we can explore jazz education as a tool for liberation for the youth in our shared community.  

Honoring the Past, Shaping the Future: Meet the New Educators of the Girls Ellington Project

After an incredible decade of passion and dedication, Kelly Clingan, the soulful leader of Seattle JazzED’s Girls Ellington Project, has passed the baton to four new educators. The project, founded in 2012, is a beacon of inspiration, allowing girls and gender-diverse high school musicians to explore the works of Duke Ellington. Under Kelly’s guidance, this project stands out for its focus on community building, collaboration, and inclusion. 

While Kelly remains an advisor, we can’t contain our excitement as we introduce you to the new quartet of educators who are stepping into this leadership role: Abbey Blackwell, Katyrose Jordan, Marissa Kall, and Audrey Stangland.

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Click each photo to learn more about our educators.

What More Educators in the Classroom Means for Students 

The Girls Ellington Project will benefit from having more teachers in this classroom, bringing fresh perspectives and exciting energy. This means more expertise and a rich exchange of ideas and skills between educators and students, resulting in a more well-rounded and inclusive educational environment.

Abbey Blackwell captures the essence of what multiple teachers can offer: “I feel that having multiple teachers in the classroom, giving hands on examples and insight to the students’ playing, will be an invigorating experience and a fun way for the students to learn.”  

With the addition of four educators, the classroom becomes a dynamic platform where ideas and skills intersect and blend, scaffolding in collaboration, a core jazz value, for both students and teachers. In the end, everyone learns there isn’t a single “right” way to do things, which fosters individual voices in a diverse setting. 

Students develop a versatile skill set that can extend beyond music into all aspects of life. As various backgrounds and talents come together, students will receive more collaboration opportunities that promote teamwork and unity in their performances. Plus, in this non-audition ensemble, students can show up as themselves and our educators can identify and nurture these individual strengths for a more fulfilling musical education experience for each student. 

The Girls Ellington Project also places a strong emphasis on creating a safe space for the musicians. Katyrose reminds us of this importance, sharing, “Many people who experience gender-based discrimination don’t get safe spaces, equitable education, support, representation, or basic respect in the classroom.” Our educators understand the significance of cultivating an environment where students can be themselves, free from discrimination and full of support.  

In this environment, our educators teach and learn from each other to facilitate a special and unique place they would have loved during their own upbringings. In the words of Audrey, “Being a part of this project will be such a great learning experience not only for the students, but for us teachers as well! I am all about teaching people to play with confidence and authority, and I think that is my strongest quality in my trombone playing. Playing alongside students with a big confident sound and strong stylization really helps them start to play with that same vigor.” 

And with all this to say, what they learn will go beyond the classroom. Marissa’s hope is that the musicians take the lessons they learn — jazz, courage, and communication — and feel empowered by it inside the music classroom and out in society.  

Continuing the Legacy with a Unique Perspective 

As the Girls Ellington Project moves forward, Marissa shares, “Following the legacy that Kelly built through the program, and creating a safe, non-competitive space for femme musicians to play jazz is a huge responsibility.”  

While the Girls Ellington Project mission stays the same, the classroom dynamics will undoubtedly transform. As Katyrose puts it, “Each of the new educators has their own unique musical background and style of teaching. We were raised in different communities with different perspectives, instrumental backgrounds, instructors, and experiences!”  

This diversity is a strength. It allows our educators to bring something different to the table, creating a rich tapestry of perspectives and approaches that breathe new life into the project. This is a true Ellington value. He would rewrite, rework, and remove songs from his library when personnel shifted. Individual voice was a core tenant of his music.  

Moreover, it’s not just about the melodies. Audrey emphasizes what makes the Girls Ellington Project particularly compelling: “They are already so excited about music and are eager to learn more about jazz, and they simultaneously get to build friendships with other likeminded folks! It’s so valuable to build relationships with people who share similar experiences in the music world, especially when those experiences relate to their gender.”  

Abbey echoes the sentiment, emphasizing the intrinsic rewards of working with our young musicians: “Working with young adults is particularly rewarding when I get to see them learn how to appreciate music while also growing with other young musicians in their band. Cultivating a sense of community through music is a crucial step to appreciation and continuing to stay involved in music and art.” 

Each educator’s experience will help the girls improve their understanding and overall connection with their instrument, the music, the history, and most importantly themselves.  

Some Words of Advice

To inspire more femme musicians to become part of the Girls Ellington Project, we asked each educator to share one piece of advice to aspiring musicians and those curious about the project.

• “I want these students to know that what they have to say is valuable, and to not be afraid to take up space! This band is a really awesome space for students who have been raised/socialized as girls and may feel a bit more cautious in a male dominated space. I think this class is such a cool place to really feel like you can speak out, make mistakes, and really build confidence in your musicianship.” – Audrey Stangland

• “Learning a new instrument or strengthening your chops in a group is such a fun and applicable way to level up your playing. Listening is the most important part of playing music, and being in a band is the best way to get your ears working, not to mention you get to play fun music with your peers.” – Abbey Blackwell

• “No advice per se, because at the core of this project is to empower and support its members no matter what stage or state of musicianship and life they happen to be in. The only suggestion I can make would be for prospective students to bravely self-advocate as much as possible, and to know they are deserving of every single opportunity the find.” – Katyrose Jordan

• “If anything in this article speaks to you or sparks some curiosity, please come and join us on Tuesday nights at 6pm! There’s zero pressure. Everyone is at a different level in their jazz and big band studies, and we make sure to tailor lessons for everyone’s comfort level. There are no grades and most importantly lots of high fives, smiles, music, and good times. Please join us…we need YOU to be in the Girls Ellington Project!” – Marissa Kall

The transition of leadership within the Girls Ellington Project marks a significant moment in its journey. Audrey, Abbey, Marissa, and Katyrose bring a wealth of experience and a shared passion for teaching young femme and gender-expansive musicians. With these new educators at the helm, the future holds exciting possibilities for both the project and musicians.

Want to engage and learn with our Girls Ellington Project’s educators and students? Classes meet every Tuesday, from 6-8 PM, at the Seattle JazzED office.

Why Access to Music Education Matters

This is part one of a four-part series where we dive into the sections of our mission statement.  

Think back to your school days. Remember that one teacher who made a lasting impact on you?

Now, imagine a classroom filled with multiple dedicated music educators and students, each holding an instrument, with faces of curiosity and intent.

Music education can be a transformative force, not just on individual lives, but for entire communities. 

The benefits of music education extend far beyond knowing how to play an instrument. There are holistic benefits like preparing students to learn, enhancing fine motor skills, fostering working memory, and cultivating better thinking skills.  

In a study published in the American Psychological Association, the researcher and author states, “Learning to play a musical instrument and playing in an ensemble is very demanding. A student has to learn to read music notation, develop eye-hand-mind coordination, develop keen listening skills, develop team skills for playing in an ensemble and develop discipline to practice. All those learning experiences play a role in enhancing children’s cognitive capacities and their self-efficacy.” 

Barriers to Music Education 

According to the NAMM Foundation, although 92% of students in U.S. public schools have access to music education, there are still 3.6 million students who lack this opportunity. And an additional 2.1 million students lack access to all forms of arts education, which includes dance, theatre, music, and visual arts.  

Here are just a few barriers to entry for young people across the country: 

• Financial constraints: Families may be unable to afford the costs to purchase and maintain instruments, regular private lessons, or costly program tuition fees.  

• Resource allocation: Schools can’t offer robust music programs due to a lack of government funding, resources, and teacher shortages.  

• Transportation: Lack of transportation options to and from classes can limit participation when students and/or families have to travel.  

Seattle JazzED’s Approach 

At Seattle JazzED, we understand the importance of accessibility and are committed to breaking down these barriers.

JazzED’s co-founder, Laurie de Koch notes, “From the beginning, we have been working to identify and eliminate the obstacles that keeps kids from participating. Whether it was the need for an instrument or the cost of tuition, we sought ways to create access for every student.”

This foundational commitment led JazzED to operationalize infrastructure that creates equitable access. For instance, we offer sliding scale tuition to ensure students from any income level can participate and free loaner instruments to eliminate the cost of new instruments for families.  

Another way we break down these barriers is through community-based programming. Going directly into the communities allows us to bring music education to students so it’s more accessible for families. 

After our “Meet Your Instrument Day” at Leschi Elementary, we asked Seattle Public School’s K-12 Instructional Services Music Coach, Pamela Ivezic, the impact going directly to the community and schools has on the students participating.  

It is incredibly important to have a relationship with the school community you are teaching in.  Being present, and authentic when engaging with students, learning about their interests, goals, and hopes is critical to knowing how to engage with them in the music learning process.  Engaging with family and staff who are the support system for students, and the broader school community when appropriate, fosters trust and a greater understanding of how to effectively work together for the benefit of our students. 
 

The Broader Impact of Access to Music Education 

When all students have access to music education, it promotes diversity, fosters understanding, and bridges socio-economic gaps. Music unites people from diverse backgrounds, transcending differences and fostering empathy. Communities with accessible music education programs tend to be more vibrant and culturally rich. And it can also spark positive emotions. As Pamela puts it,

Students build their confidence, critical and creative thinking skills through music experiences. But I also think the word joy applies here. Joy to have the chance to learn how to play the instrument that you love. Joy to learn alongside and to collaborate with your peers and teachers to make music together. Joy to be able to carry what you learn through your instrument into all other areas of your life. Joy to make music for a lifetime and to share it with others.

The Other Challenges 

While increasing access to music education for youth is crucial, it’s not a standalone solution. We must acknowledge some broader systemic challenges in creating accessible music education. 

Resources allocated to public music education programs often face limitations and disparities in their distribution. While some schools or districts may have well-equipped departments, others have no music programs altogether. 

Historically, arts and music education has been seen as an extracurricular activity rather than an integral part of the curriculum. This results in music programs being deprioritized and underfunded.  

Access Matters

Access to music education holds the potential to transform lives, engage students, and create more vibrant communities. It’s a cause worth championing and efforts at all levels are needed to ensure that every student can experience and access music and its benefits.   

Let’s build doors to musical exploration that swing open for everyone.