Erik Paliani advocates nationwide jazz education

Erik Paliani, the Malawian jazz musician who is based in South Africa, recently stirred discussions when he posted on Facebook earlier this month pleading for the inclusion of jazz in music education as the genre is prominent in all other genres.

“Do not sideline jazz music and studies. We need jazz programmes back on our national broadcasting platforms…remember there is jazz element in every music…bring back jazz on our radios please,” reads the post.

But why did this accomplished Malawian singer make this plea?

In an interview this week, the musician, who received a South African Music Award (Sama) nomination in 2011 for his debut album Chitukutuku, says for one to study jazz, they need to possess adequate knowledge of music.

“Only a student with a full understanding of basic music principles can become a jazz student. Jazz music is almost used as a tool in music,” he explained.

The guitarist, who produced Hugh Masekela’s world acclaimed Phola album, claims that jazz expands one’s basic musical knowledge, thereby giving them an edge.

“Jazz students are constantly equipped with musical concepts that will enable them to dissect any musical composition. In a situation where a normal musical student is able to identify which notes and chords being played in a song, a jazz musician, goes further by knowing the history of the notes being played, being able to anticipate which notes/chords can be plated thereafter or more importantly he would have already identified which notes to be improvised over the chords,” says the former Zigzaggers and Acacias Band guitarist.

Paliani said this knowledge can be applied in any genre of music and cites Bob Marley’s Waiting in Vain as an example.

“In Waiting in Vain, Bob Marley wrote the song predominantly using jazz chords and the lead guitarist improvises using jazz riffs/(or notes),” he explains.

According to www.howstuffworks.com, improvisation is an important element in jazz.

“Furthermore, one can look for jazz in any song one comes across. I personally like to look for songs that I can apply a certain kind of jazz, as in my translation of Wilson Makawa’s Chitukukutu,” adds Paliani.

The musician bemoans the lack of jazz knowledge and appreciation in Malawi, citing the lack of jazz schools as the source of the problem.

“With this environment, it is therefore expected that the full definition of jazz might be obscure. Jazz itself is so broad that on the ground it can easily be defined wrongly. Only when the universities in Malawi first bring special jazz programmes and having fully equipped jazz venues, and proper jazz festivals and workshops can we will fully understand what jazz is,” says Paliani.

He argues that in other countries, jazz is taught in schools giving examples of South Africa, Zimbabwe and Mozambique.

“In most cities in the world they have jazz clubs and cafes where jazz is presented to the masses weekly. There is also special emphasis on the preservation of jazz through corporate and government initiated programmes,” says the Chitukutuku musician.

Paliani says music education in basic education which makes it easier for them to understand other complex genres such as jazz.

“General understanding of music will enhance fruitful musical criticisms. Imagine if everyone who has a say in music had a bit of musical studies, the music standards and expectations rise higher,” says the South African-based musician.

“Malawi will have to do a comprehensive study before introducing music studies to Malawian students. Only a Malawi tailor-made music programme and highly trained teachers who understand the international music standards will ensure the success of the intended musical initiative,” he adds.