Back in 2011, we were introduced to a new concept in jazz, called "Jazz and Democracy". It is an idea that tries to link the jazz idiom to the understanding of democracy.
At first glance, the concept seems a little far-fetched and somewhat ambitious, but upon closer review, one could see the correlation between the two. Jazz and democracy is a music integration curriculum linking the arts, (i.e. music) and the humanities (history).
The concept was developed in the United States by Wesley J. Watkins IV, PhD, also known as Dr. Wes and is based on a hypothesis that Dr. Wes was investigating since he was an undergraduate student.
The goal is to inspire students to become active and offer positive contribution to their communities. It is a music centered curriculum with genuine links to other subject areas that can increase student identification with school, impact academic engagement and have a subsequent effect on overall academic success among those with an affinity for music. A good example of this is when students create a rap to memorize their history lesson. This process becomes engaging and effective while offering students a new approach to learning.
The jazz and democracy project uses jazz as a symbol or metaphor to teach and cultivate a good understanding of American democracy. When done properly, it brings democracy to life, enriches the study of history and encourages youths to become active and positive contributors to their communities.
It uses literary, aural and visual content in addition to kinetic activity to teach children about critical thinking, cooperation and peaceful negotiation. It also enriches the core curriculum while providing arts education and fosters jazz appreciation.
The study of jazz and democracy provides students with the means to see hear and experience concepts that are fundamental to democracy. It was spearheaded by Dr Wes during the 2007-2008 academic years at the Thornhill Elementary School in Oakland, California. Dr. Wes is an arts education activists who is also an avid music lover, especially Latin jazz and jazz itself. He studied at Stanford University and at The International Center for Research in Music Education, University of Reading, England. He visited the Gambia a few years back with a group of jazz musicians and gave lectures at select schools to introduce the Jazz and Democracy concept and share his knowledge on jazz and promote jazz appreciation.
Jazz appreciation is done in many ways, but one of the most popular activities associated with jazz appreciation is the staging of concerts and jazz festivals.
The Montreux Jazz Festival in Switzerland and the Newport Jazz Festival in Rhode Island are well known for their history and attraction to jazz lovers worldwide.
Another festival that has become very popular and is indeed the most important jazz festival in Africa is the Saint Louis Jazz Festival in Senegal. It became very popular since the 1930's and continues to draw huge audiences and participation from notable personalities in the jazz world. It is held every year and has become an important contributor to the tourism industry in Senegal.
Our feature this week is on someone who was the main attraction at this festival in 2011. He is also a jazz educator and a practicing musician.
His birth name is Kenneth Barron and he was born in Philadelphia, Pennsylvania on June 9th 1943. He first came to wider recognition when he joined the Dizzy Gillespie quartet in the 1960's as a piano player. He studied and graduated in Arts from Empire State College in New York City in 1978, but started playing the piano at the age of twelve, and by the time he was fifteen years old, he was playing with Mel Melvin's rhythm and blues band.
As time went on, he gained more experience while playing with drummer Philly Joe Jones and saxophonist Jimmy Heath as well as multi-instrumentalist Yusef Lateef. He has a distinguished career as a soloist and leader, and has also served as one of the most dependable sidemen in all of post-bop mainstream jazz.
Though he was born in Philadelphia, his recordi