Paul Carr on how Black audiences are overlooked in jazz programming; "Real Jazz"; the fallacy of treating jazz like pop music; women in jazz organizations
I had to wait two years to get lessons with Paul in the mid 90s because he had too many students. When I finally got to study with him as a junior in high school, he completely opened up my playing in one or two lessons. He is a true gem of a person and an educator. Although I’ve realized that jazz is no longer part of my path, I’m heartened when I check in on the scene to see his success with the MAJF. Paul’s decision not to pursue a performance career in New York was such a great thing for jazz students and audiences in the DMV.
I had to wait two years to get lessons with Paul in the mid 90s because he had too many students. When I finally got to study with him as a junior in high school, he completely opened up my playing in one or two lessons. He is a true gem of a person and an educator. Although I’ve realized that jazz is no longer part of my path, I’m heartened when I check in on the scene to see his success with the MAJF. Paul’s decision not to pursue a performance career in New York was such a great thing for jazz students and audiences in the DMV.