How does a traditionally classical institution like The Juilliard School go about creating a new jazz program? And, more importantly, how can one ensure its success? These are questions which the powers that be certainly pondered well before—and beyond—the opening statements last September, when President Joseph W. Polisi, Laurie Carter, and Victor L. Goines inaugurated the Juilliard Institute for Jazz Studies. Surely their feelings were somewhat akin to those Peter Mennin and John Houseman had upon the creation of the Drama Division in 1968, or those of William Schuman and Martha Hill at the start of the Dance Division in 1951—and perhaps even those of Frank Damrosch and Augustus Juilliard, way back at the beginning of this history lesson. In each case, those involved had a creative vision they fortified with the right people, in the right places, with all the right resources. As far as being able to combine those elements into an effectively disciplined department of an established educational institution—well, you do all you can—and then you improvise.

Victor Goines, director of the Jazz Studies program, playing clarinet (and holding sax); with Juilliard faculty members Rodney Whitaker, bass (left); and (seated right) Wess Anderson, saxophones; Terrell Stafford, trumpet; Lewis Nash, drums. Photo by Nan Melville

To the misinformed, improvisation brings the image of flippantly doing whatever you want—i.e., winging it. But to cats in the know, improvising is an art to be held in the highest esteem, requiring great discipline and deep awareness of oneself. Sometimes you fall, but sometimes you fly. All those involved in the first year of Juilliard's jazz program have been diligently walking that tightrope with great skill and courage, and their success has been demonstrated in having one year well under their belts without too many slips along the way.

I asked each of those on the staff of the Jazz Studies program (whose ranks I have recently joined part-time) to comment on the program's first year and whatever they considered to be one of its highlights. Said intern David Stanszke (a jazz musician himself, who comes to us from Paris, France), "It has been a great year, full of guest artists and well-received concerts. I am glad to have been a part of it." Highlights of the year? "Shaking Jimmy Heath's hand and listening to Wynton Marsalis in improv class. The students did very little playing, but listened to Wynton talk about jazz. He has so much knowledge—even about the people whose philosophy he doesn't necessarily agree with. He could still sing and play back all of their solos, in their exact style. Genius!"

Maria Fantini, assistant to both the artistic and administrative directors, said, "We met the challenges as they came. It was an exceptional first year. I really enjoyed getting to know the students and have developed a real fondness for early New Orleans jazz." (Not only that, but she and Laurie Carter, the program's administrative director, have developed that amazing "office speak," when each can tell you exactly what the other will say without having to consult her.)

Laurie Carter's thoughts on the year: "The faculty and students have been amazing; I have been astounded by the way everyone has embraced this program and its ideas. My fondness for Juilliard as a real community of caring, thoughtful artists continues to deepen with each endeavor. It is a very special place. Of the jazz program, I have been particularly impressed with Wynton Marsalis and his work with the students. He forces them to think about what they are doing on a different level, to play from their hearts and learn their music from their love of music. My favorite concert had to be the Blakey concert, with the student arrangements. The energy in the room was unreal! I was so proud of them."

Victor L. Goines, artistic director of the Juilliard Institute for Jazz Studies, comes to Juilliard with an eclectic history of teaching, performing, and mathematics—all things he believes very strongly in, making him the perfect person to describe the equation for success. "I never believed in that 'starving artist' philosophy. So I pursued a degree in mathematics during the day and played at night anywhere I could. Once I had my teaching degree, I was also playing with Ellis Marsalis. There were times when the presenter would pick me up right after a class, take me to the venue for the concert, and then run me back to teach my last class." Always on the run, Mr. Goines is also a member of the Lincoln Center Jazz Orchestra and the Wynton Marsalis Septet, and has his own solo engagements while maintaining a very hands-on role as the artistic visionary for the Jazz Studies program. His philosophy, "If you can, do it, and do all you can."

His thoughts about the year: "We have been blessed with tremendous success this year. Jazz is no longer coming to Juilliard; it is here, because Juilliard has been so incredibly welcoming. The integration has been nothing but positive and we will continue to strive and raise the bar for next year and beyond." What does he see happening in the future? "I would like to see the students in the program integrated more into the professional scene of the New York jazz musician, with Broadway pit engagements, more club dates, guesting, and other opportunities. I particularly enjoyed the 'Messenger' concerts, because the students were invested in their arrangements in a way we had not seen or heard before. I really enjoyed that energy."

Turning his thoughts toward the faculty, Goines said: "Wynton has been great. I can call on him at any time for leadership or advice, and he has been so nurturing towards the students with his open-door policy. All of the artists have taught me more than a thing or two, and have brought so much to the table. But listening to Jimmy Cobb during one of the 'Conversations in Jazz' events reminded me that he will always be Jimmy Cobb—and Clark Terry will always be Clark Terry; Slide Hampton will always be Slide Hampton. Those people can never be equaled. But we can bring them, the people who created the music, into the classroom for this generation of musicians. That is what we as jazz educators can offer in a program such as the one here. We can continue to educate ourselves by presenting all sides of the story, all the different pieces of the pie, and bringing together the artists of the future with those working today."

The distinguishing mark of a jazz artist—or any great artist—has always been the gift of improvisation: that magical ability to channel something unique in a single moment's time. Anyone with basic musical skills can somehow get notes that sit on the page through an instrument and into their listeners' ears; those who are able to gracefully transcend the page, remaining true to the composer's ethos and managing to infuse and inflect a little personality of their own, are the ones we consider the great artists. For almost 100 years now, Juilliard has actively been seeking to find, refine, and advance young people with that magical gift of "the moment"—whether it be in classical music, dance, the spoken word—and now, jazz. Juilliard seems to have the knack—as do the people who keep its engine running. 

James Martin received a Master of Muisc from Juilliard in 1995 and was a young artist with the Juilliard Opera Center from 1995-1997.