(Ed. Note: In answer to questions from a number of readers as to what the Institute of Jazz Studies is and does, we have asked its director, Marshall Stearns, to outline its pur­ pose and functions. His article fol­ lows.) By Marshall W. Stearns As THE TOP research center on the subject, the Institute of Jazz Studies receives—and answers—an increasing variety of inquiries. Enthusiasts from behind the Iron Curtain request free recordings and literature; college freshmen airmail urgent pleas for a theme on such and such a type of jazz by such and such a date. And students from all over the world, including the best-known jazz critics, come to gather material at 108 Waverly Place, New York City. For the institute has amassed a tre­ mendous amount of material on jazz and related subjects. Some 10,000 rare and choice record­ ings of old 78 rpm variety have been cross-indexed by title and artist. The collection is being constantly aug­ mented by donations from record com­ panies. Add to this a growing collection of 45-rpm discs, LPs, tapes, transcrip­ Institute Of Jazz tions, and V-discs. A Discussion Of Its Attempts To THERE IS EVEN a precious collec­ tion of piano rolls and cylinder record­ Foster An Understanding Of Jazz ings, as well as the machines on which they are played. tained toward a goal which is emi­ jazz on a graduate level, directed by The institute’s collection of literature nently worthwhile, namely, a center for this writer for those interested in is enormous. It consists of nearly every the study of jazz. research in the archives of the Insti­ book on jazz ever published and most AS TIME GOES ON and historical tute of Jazz Studies with a view toward of the magazines. Currently, the insti­ publication. tute subscribes to 20 publications on materials on jazz become more and jazz from all over the world and a clip­ more rare, the institute will serve an A new project has been begun under ping service covering press items in the increasingly important function in the the direction of Wen Shih on the jazz United States. study of American culture. repertory, a systematic examination of When the time comes to analyze the This does not mean that the institute the themes which jazz musicians choose nature of and the response to bop, pro­ is not willing and eager to proceeed to record. gressive jazz, or rock and roll, for ex­ with more ambitious plans. From the Preliminary results will be reviewed ample, the files, with some 15,000 items first, projects such as field trips to by members of the IJS advisory board alphabetized in 76 large file drawers, gather fast-vanishing material, a quar­ at u series of conferences to be held will furnish a wealth of material. terly journal or an occasional paper­ next fall. The conclusions will be pre­ The aim of the institute is simply to back book of top-level articles on jazz pared for publication. foster an understanding of jazz. As a and related subjects, annual scholar­ So it goes. The Institute of Jazz nonprofit organization limited in its ships, albums of educational lecture­ Studies is the logical organization to activities by the amount of contribu­ recitals, workshops in jazz, a film li­ which anyone, who wishes to concern tions it receives and at which all work brary, a chair in American music at a himself in any way with any era of is voluntary, the institute has grown leading university and other projects jazz, may come and find intelligent at a pace which it feels can be main- have been seriously considered. guidance. It’s a big and important job, Again, it is a matter of funds, and and the institute welcomes all help it our search for financial help has not can get. yet borne sufficient fruit. Shake That Thing Nevertheless, the institute has organ­ ized and sponsored lectures and courses After more than a decade su­ in jazz in and around New York City. Marching On pervising thousands of record These courses are taught by the IJS dates, Norman Granz has finally faculty, a group of volunteers who work During a recent Dave Brubeck debuted as a performer on his and study together closely. Courses interview on the Magic of Music own label, Verve Records. The have been given at Great Neck, Mont­ show over the Mutual radio net­ occasion was a Louie Bellson clair, and Scarsdale and in Queens work, announcer Don Von Bulwitz date, recorded in ­ octet Holly college. was commenting on aspects of the wood. Granz stepped out of the pianist’s career. booth for one number, an exotic A DETAILED SYLLABUS outlining “Well, Dave,” he began breezily, Juan Tizol composition, to play a 15-lecture course with recommended “I guess the biggest thing that ever tambourine. recordings and readings is available to happened to you was when you No union hassel will be forth­ the public upon request. In effect, the made the cover of . .” After an coming, for Granz has been a IJS is training thoroughly grounded embarrassing pause, he whispered paid-up member for many years in a frantic aside, "What the hell of both Locals 47 and 802. teachers of jazz. Next fall, the New School will offer the first seminar in was the name of that magazine?” Down Beat.