At the end of the year I review my days spent on the road, and the percentage of time in Europe far exceeds anywhere else. I would venture to say that this is true for the majority of working jazz artists, even some of the superstars. It has certainly been the case for several decades, considering such famous expatriates as Ben Webster, Dexter Gordon, and Johnny Griffin. Sidney Bechet, the father of the soprano sax, has squares and boulevards named after him in France!

Is Europe for American artists simply a matter of "the grass is always greener"? Or has finding acceptance in one's own backyard always been traditionally more of a challenge for creative people? Or is jazz's long-time appeal in Europe due to its being viewed as foreign and exotic by its residents? Maybe Americans should say that Europeans are just more sophisticated and cultured. After all, almost everywhere you go in Europe there is something really old staring you in the face–especially when compared to the World Trade Center or Sears Tower in the U.S.

In my opinion, all of the above and more causes Europe to be such a fertile land for jazz. The long musical tradition there has not only provided for the church liturgy but has elevated music-making to a high art. At the same time, jazz harmony derives a large part of its language from the European classical aesthetic: much analysis has been written that traces the common lineage from Bach to Schoenberg.

Because of this long tradition, music is considered a necessity in Europe. The socialist political tendencies that marked post-war politics have led to government funding which contributes to the survival of the arts. Though the major beneficiaries are opera, theater, and orchestras, jazz has received its share of the largesse. Surely this mandate differs from country to country and fluctuates as the governments change, but it remains essentially intact. Where some government spending has decreased in the last decade, co-sponsorship with private companies has risen. Until recently, all radio and TV stations were state-run; and they had the responsibility to present all forms of culture: from rock to world music, jazz to classical.

Finally, the romantic image of the smoky jazz club and the whole jazz culture in general resonate loudly in Europe–where the concept of the café as a meeting place to "hang out" is part and parcel of the lifestyle. To sum it up, I quote that famous impresario, George Wein (founder of the Newport and JVC Jazz Festivals): "If it weren't for Europe, there would be no jazz!"

The European Jazz Scene

Prior to World War II, some jazz was heard in parts of Europe. But the post-war European generation, exposed to Bird and the beboppers (some touring Europe), began to develop jazz–at first derivatively, then slowly expressing an individual personality. Remember that while Europe represents a geographic area comparable to the size of the U.S., it includes over a dozen distinct cultures, histories, and traditions. Each country has its own slant on the development of jazz, with a distinct way of doing things. Given the rich classical tradition that European musicians were born to and often trained in, interesting and diverse fusions of influences have taken place there. The African-American roots of jazz which we may take for granted in the U.S. didn't really exist in Europe. Europeans possessed not only the classics but proximity to many types of world music via colonization in and subsequent immigration from Asia, the Middle East, and Africa.

Europe's own unique circumstances mixing with American jazz resulted in more notable jazz personalities and styles emerging from many of their countries by the 1980s than previously. Some had evolved through bebop, while the new generation was affected by free jazz, Coltrane, and fusion. By the '80s, jazz education was well on its way throughout Europe. In fact, that decade represented a virtual explosion of interest in jazz, with more combinations of European and American musicians. The long-time tradition of an American soloist (usually a horn player) playing with a European rhythm section increased during the '80s: even lesser-known American musicians were being invited to play with Europeans.

Finally, the role of independently run record companies became quite pronounced in Europe from the '70s on, especially with the phenomenal success of the German-based ECM label. The European record producer was a special breed: non-compromising, expert in one or more areas of the music, an avid record collector wholly dedicated to "art for art's sake." It was through the support and commitment of such individuals that many American musicians established a reputation–as well as a platform to develop their art. With the American attitude towards commercialism and profit-margins so entrenched in our culture, only a few artists could regularly record in the U.S. My own first two recordings as a leader were for ECM in the early '70s (Lookout Farm and Drum Ode). If it weren't for the great support of several such labels over the years, I probably wouldn't be writing to you now!

My Introduction to Europe

Maybe it was fate; but even on my first trip to Europe while in college, I connected up with the scene. In June 1967, I was finishing my third year of college at New York University. My parents gave me $1000, the book Europe on Five Dollars A Day, a plane ticket, and the first night's reservation at a hotel in London. With my tenor and a few names of musicians, I was off. The moment I got into the hotel, I made some calls; and that first night I ended up at the famous Ronnie Scott's club, meeting a whole group of young musicians rehearsing in a big band.

For the next few weeks I stayed with saxophonist John Surman and bassist Dave Holland (who a year later would come to New York to play with Miles Davis). On July 17th, the day Coltrane died, I arrived in Stockholm and stayed awhile with musicians there, taking part in my first recording (Och Hans Vanner on Love Records) with pianist Lars Werner. After these weeks I went to Italy, Spain, France, and Copenhagen (hearing Dexter Gordon), playing more than I ever had previously. This was my first revelation that there was a chance to play jazz after all: my life and its focus had changed forever. Little did I know how many times I would return to these same places over the years!

When I did return in the '70s with Miles Davis, Elvin Jones, and soon my own groups, it was much different. But it was not really until the '80s that I began to interact seriously with European musicians, publish books, teach, and record a lot there. Since then, it has been a continuous run.

It is so interesting to see how the influences of various cultures, world music, and the classical tradition have interacted in some cases to create such individual music. European musicians in general are less bound to the bebop culture in the aesthetic sense. I hesitate to blanketly describeEuropean jazz as "free," but there is a remarkable openness on both the part of the audience and artists to playing in a less traditional manner. Following are my observations about some of the major characteristics of the jazz scene in various countries.

Scandinavia

Two strains of American influences are quite pronounced in Scandinavian jazz. There is a legacy of bebop and the sophisticated audience which it engendered over several decades because many expatriates resided there, particularly in Sweden and Denmark. Also related is an abundance of big bands, both amateur and professional: these regularly integrate the writing skills of some of America's best composers, including Bob Brookmeyer, Jim McNeely, Maria Schneider, and Vince Mendoza.

But also there is the famous "Nordic" sound, first made famous by Keith Jarrett's '70s recording Belonging (ECM), on which Scandic musicians Jon Christensen (drums), Palle Daniellson (bass), and Jan Garbarek (saxophone) performed. It exerted a major influence on the jazz scene there and worldwide, setting a new style. In fact, the ECM label has used a studio in Oslo, Norway for years to record many CDs, employing these and other Scandinavian musicians for many dates over the past decades.

Exactly what is this "Nordic" sound? Maybe it is influenced by the long winters–along with the heavy imbibing that takes place in this part of the world. In any case, there is a melancholy and stark flavor in the harmonic realm, something quite different from yet related to the blues tinge that Americans recognize. Other characteristics include a great deal of minor-based tonality, a pronounced folk-song influence, sparseness of texture, long melodic lines, much rubato phrasing, an eighth-note-based pulse with a sprinkling of uneven meter, and a preponderance of reverb effect on the recordings themselves–all of which contribute to a definite, singular atmosphere or color to their music in general.

The deepest musical education in Europe takes place in Sweden, beginning at the high school level. There are many conservatories and programs in jazz as well as the other arts. A government-sponsored agency sends jazz groups out to countryside towns for performances, and there is an association of nearly 100 jazz clubs across the nation. Many jazz musicians receive some financial support from the government. The Swedish audience, in keeping with the basic orderliness of its society, is usually quite reserved–and small in numbers relative to the population.

In my view, the typical Swedish jazz musicians are the best overall-equipped craftsmen and women around, reflected in their ability to play in many genres: from free jazz to bebop to fusion and, of course, the "ECM" style. They have a long relationship with jazz and are proud that Charlie Parker toured with Swedish sidemen back in the early '50s.

Close to Sweden, perhaps surprisingly, I would place Finland. This small and rather mysterious country is reputed to have more orchestras and festivals of all sorts proportionally than any other country. I have toured towns way in the north, near Russia (with unpronounceable names). All have the most lavish and gorgeous concert halls. Again, there is some level of government support; and several higher schools teach jazz. The Finns have a justified reputation for reticence, as it definitely pervades the typical audience there. But like the Swedes, they are very appreciative and fairly sophisticated listeners.

I haven't spent as much time in Norway. But in many ways it is similar to Finland: there is a nucleus of musicians who are very active, more or less clustered around the capital of Oslo. Specifically, several of the most important musicians on the ECM label are Norwegian: Aril Andersen, Jon Christensen, Terje Rypdal, and (most notable of all) saxophonist Jan Garbarek.

Denmark is a special case in Scandinavia: the Danes combine the Nordic and European sense both geographically (being attached to Europe's mainland) and culturally. They are a lively people, very warm and polite, with great interest in humanitarian and environmental causes. In general, their personalities are a bit looser than their northern counterparts–and more in tune with the American influence. Throughout jazz history, many expatriates (including Dexter Gordon and Kenny Drew) have resided in Copenhagen, in large part due to the Danes' traditionally equitable treatment of minorities. The Danish are a great audience to play for: they really get into the music.

There is a long tradition of great bass players throughout Scandinavia–classical, jazz, and fusion–but especially in Sweden and Denmark. The great bebop bassist Oscar Pettiford spent some time there and exerted a tremendous influence. American bassist Red Mitchell lived in Sweden for many years and was very important to the scene. Contemporary bassists of note from Denmark include Niels-Henning Ørsted-Pedersen (NHOP, for short); from Sweden are both Palle and Lars Daniellson (not related) and Anders Jormin.

Since 1985 I have been working with the rhythm section of Lars Danielson (bass) and Bobo Stenson (piano) from Sweden, along with Norwegian drummer Jon Christensen. (We have several recordings out on the Swedish-based Dragon label, including a live date from the former New York club Visiones.) In this group, Jon basically sets the loose rhythmic tone; Lars holds the harmony and time; and Bobo and I dance over this bubbling foundation, often playing lines in tandem as well as blowing in the traditional accompanist-soloist relationship. The music ranges from very lyrical to almost austere in tone, as well as some high-energy free jazz. There are some Swedish folk influences and even a few jazz standards, but we play all the music in the stylistic "Nordic" vein.

France

During the 1980s, the typical national French budget included over a 10% allotment for culture, of which jazz was part. (This has abated recently but not entirely disappeared.) The '80s suddenly saw literally dozens of small and large festivals throughout France, an abundance of record labels, and nearly 200 "jazz" schools. The French have for decades been proud of their supportive attitude towards jazz. Many American musicians have spent time in the greatest of cultural cities, Paris. There was a vibrant Left Bank jazz scene in which expatriates of the bebop era, including Bud Powell and Kenny Clarke, ruled for years. The Art Ensemble of Chicago lived there for some time, as did many avant-garde musicians; and soprano saxophonist Steve Lacy has been in Paris for nearly 30 years.

If New York is the obvious hub of the northeastern part of America and its jazz interests, then in my opinion Paris is the only other logical place to live if you are interested in jazz and its offshoots. Even more than New York, Paris is literally a bouillabaisse of people and influences–mainly from the former colonies–resulting in a tremendous hodge-podge of musical cultures including southeast Asia and many areas of Africa, from Morocco and Tunisia to Senegal and other West African countries. The French truly respond to jazz and enthusiastically embrace it as a people, probably more than anywhere else. It is not uncommon to hear jazz at road-stop restaurants or when entering or exiting an Air France flight.

Because of the explosion of government support in the '80s–and as part of their general Gallic pride in anything French–French musicians have been better supported than anywhere else (on a par with Sweden). The French musicians have therefore developed quite a bit in the past decades; they have a unique style all to themselves. A lot of French jazz has an almost minstrel-show quality to it. I don't intend to denigrate it by calling it vaudeville (a French word, in any case); but perhaps it exhibits the theatrical influence from Molière and the Comedie Francais, plus the literary tradition including Flaubert, Stendhal, and Baudelaire. I detect a sincere effort to reach the audience with the music.

The French truly have their own sound. It is "saxophone/clarinet land," to be sure: a great deal of the historic development of these instruments (and of the oboe and flute) is due to French craftsmen; and some of the oldest and most popular instrument, reed, and mouthpiece manufacturers are in France–including Selmer (saxophones), Louray (oboe), and Buffet (clarinet). Some even say that the elocution of the French language causes the typical resident's lips to articulate in a way favorable to woodwind sound-production.

One particular, positive characteristic strikes me about French audiences: once they are convinced that you are valid, they remain loyal forever. They can be very opinionated, sometimes a bit uniformed, and even prejudicial; but if they take you into their orbit, you will always be accepted. To the French, being an "artiste" is everything!

France has definitely been the best scene for me, due mostly to the recordings and great support I received from Jean Jacques Pussiau, owner of Owl Records. We made seven CDs, ranging from West Side Story to fusion to classical to free jazz, as well as tributes to Miles and Coltrane. I have had the opportunity to work with the trio of Jean Francois Jenny Clark, one of the greatest of all bassists (recently and sadly passed away); pianist Joachim Kuhn (a German living for years in France), whom I have known for 25 years and is a consummate musician; and drummer Daniel Humair, who (having begun playing as a teenager with Bud Powell in the early '60s) in a sense represents the history of European jazz. Well-rooted in jazz history, they like to play hard, angular melodies with complex harmony, followed by completely free improvisation (usually at very fast tempos).

I have been invited often to play with Michel Portal, who represents the best in the French tradition. He is an expert, famous classical clarinetist who also plays a sort of free jazz influenced at times by his Basque roots. He is not strictly a bebopper but plays the horns so well and has such great musical instincts that he is capable of some wonderful moments. Recently I formed a trio with bassist Jean Paul Celea, who is similar to Portal in the sense that he also is a classical expert, having worked with Pierre Boulez and now the Bass Master at the Paris Conservatory. Celea plays the bass so well that whatever comes out is musical. The drummer in this trio is an Austrian, Wolfgang Reisinger, who plays in a very modern and energetic mold along the lines of Jack DeJohnette. This group deals in a free jazz context similar to the first group I was involved with in the early '70s: the Open Sky Trio with Bob Moses. The common thread with all of these musicians in the French groups is their classical background and familiarity with that repertoire, way beyond my own: therefore they begin at a technical point on their instruments that is astounding.

Germany & Austria

With a long and historic tradition so linked with the German culture for hundreds of years, German audiences are highly developed–the most sophisticated in the world as far as jazz is concerned. They are knowledgeable; and though they can be "faddish" (styles being popular for a while, then fading), usually the highest level of listening takes place there: they are respectful but let you know how they feel.

This awareness directly leads to the existence of many small and independent labels dedicated to presenting jazz over the years, such as ECM, ENJA, and CMP. With the largest market in Europe, their famous efficiency, and such a highly educated population, jazz has traditionally done well in Germany. For years there were several full-time resident big bands working for the regional radio stations that regularly played jazz. The tradition of socializing in cabarets and beer halls has contributed to a high number of jazz clubs throughout the years–though recently this has greatly evaporated. Fro m the post-war years and still today, the American presence influences not only jazz but also pop music.

One distinct aspect of German jazz has been evident for several decades: the free jazz movement, which has continued to exist there even after its near-disappearance in America. I would trace this to the classical avant-garde tradition of the early 20th century: Schoenberg, Webern, Berg, and others of that genre. Germany's top practitioners in free jazz include Alexander Shlippenbach, Peter Brötzmann, and most notably trombonist Albert Mangelsdorff. The free jazz influence was also felt in the former Eastern-bloc countries, more so before the end of the Berlin Wall than now. But there are still some festivals completely devoted to avant-garde music–while at the same time you can attend pure Dixieland events (a contrast which occurs in almost all of the countries surveyed here).

Jazz education exists, usually alongside long-standing classical programs, in such places as Mannheim, Essen, Cologne, Frankfurt, and Berlin. Overall, with such a large population, high income levels, and (in one area of Germany) a sort of cultural tax for each citizen, this country has been a major force for the support of jazz for several decades.

Although I don't have a steady rhythm section in Germany, I have had some important relationships in other ways. Advance Music, run by Hans and Veronica Gruber, has published most of my books as well as my chamber music. They have been very supportive, especially in view that many of my teaching materials are not commercial or meant for the wider audience. The same could be said for the record company CMP, run by Kurt Renker. I have done some of my most artistic recordings at the wonderful studio that Kurt has in the German countryside with one of the greatest engineers alive, Walter Quintus. (Our latest project is a solo recording, Time Immemorial). The northwest part of Germany (around Cologne) is home for the WDR (West German Radio), which covers both TV and radio. They are well-funded and have a full-time jazz big band that does all types of creative projects featuring soloists. I have worked there with Jim McNeely, Vince Mendoza, and in an orchestral setting with Bill Dobbins (who now heads both the WDR Big Band and the jazz department at the Cologne Hochschüle). The whole concept of soloing over large ensembles has added greatly to my skills, and it is a thrill of a different sort fronting so many musicians. This experience comes directly from my interaction with the German scene.

Austria is much smaller in population than Germany, with its main center being Vienna. Its rich classical tradition is virtually inseparable from Germany's. The level of musicianship in Austria is extremely high, but in general the audiences have not been as exposed to or educated in jazz as their German neighbors. There are many fine musicians involved in all kinds of projects, especially with chamber music and other types of traditional ensembles being incorporated in various mixtures of sorts.

Italy

There is a natural correlation between the Italian temperament and jazz. For Italians, the energy, joy, and enthusiasm of jazz is a natural; and the musicians' scene is quite active. Unfortunately, the Italian governments do not subsidize this music at all; nor is there much jazz on radio or TV. This is a bit sad since there is so much culture surrounding them on an everyday level; and there is, of course, much support for opera. In the past decade, jazz was finally officially recognized by the very traditional university system (which, as in most of these countries, is state-supported, very old, and very conservative).

The Italian musicians play all kinds of styles, from bebop to free. Besides England and Holland, they have been the most heavily influenced by American jazz. Possibly due to their operatic tradition and ecclesiastical music, they definitely have a gift for melody. And for some reason the trumpet has been quite popular for Italian jazz artists, including Enrico Rava, Flavio Boltra, and Paolo Fresu. The Italian audience is by far the most enthusiastic and warm that one encounters: they usually love everything. In fact, it is hard to separate the Italian lifestyle of great food, wine, high fashion, beautiful towns and villages, medieval art and culture everywhere, and the mellifluous-sounding language from their enthusiasm about jazz, film, opera, painting, and the arts in general. For that matter, they are equally enthusiastic about gossip: after all, the term "paparazzi" originates with the Italians! They are a most remarkable people, and the musicians and audience alike reflect this.

Touring in Italy is extremely enjoyable (outside of the frequent transport strikes). I always enjoy playing with the acclaimed pianist Franco D'Andrea, trumpeter Paolo Fresu, saxophonist Maurizio Giammarco, and others. I have also recorded in Italy some repertoire CDs for Red Records and original music for Soul Note. To give you an insight into the attitude of European record producers, I quote what the owner of Soul Note, Giovanni Bonnandrini, said to me when I asked if a particular project was all right. He said, "The only thing is that the music be creative"! How many American producers would say that?

Holland, England, Ireland, & Spain

Holland, England, and Ireland have in common the large effect of American jazz. Maybe it is the language, as even the Dutch are quite fluent in English. In England itself there is a long tradition of "trad" (Dixieland); but there have also been great beboppers and free musicians. London, like Paris and New York, is a world city with all the different influences from former colonies and immigration affecting the music. For years Ronnie Scott's, one of the most famous clubs in the world, has been presenting world-class jazz. Jazz education exists to some degree; and there have been a lot of notable jazz journalists, books, and periodicals coming from Britain. The staid English audience is a given; but they are the most hospitable of peoples, genuinely gracious and polite. The list of notable English musicians is impressive, including Dave Holland, Tony Oxley, John Surman, Kenny Wheeler (Canadian but living in England for years), and John Taylor.

The Netherlands is a small and very densely packed country which has an extensive university system for jazz education. The Dutch musicians are highly skilled and very adept at all styles, with a wide range from bebop to free. The audiences are good and have an exceptional tolerance for free jazz, which has been widely accepted there. Musicians such as Hans Bennink and Wilhelm Breuker have excelled in this music. One of the biggest festivals in the world runs in The Hague during the summer: the North Sea Jazz Festival.

Ireland, which is truly tiny in population, has in recent times really advanced in jazz. They are obviously tied to both the U.S. and England; but due to a handful of energetic musicians led by bassist Ronan Guilfoyle–as well as to the strong artistic tradition native to this island culture–the Irish sound is becoming more individual, especially in the realm of rhythm.

Spain, relatively new to jazz and more isolated culturally, of course has its own rich flamenco tradition, which permeates the entire society. In both Barcelona and Madrid there are full-time schools where hundreds of students of all ages study around the clock. The progress of the Spanish musicians has been remarkable over the past decade. Although they bear some similarities to the Italians and the lyrical heritage, they possess a soulfulness and rhythmic intensity all their own.

International Association of Schools of Jazz

The founding of the IASJ in 1989 was the result of my personal efforts to bring the various cultures together–from America and other parts of the world–with the common thread being their love and teaching of jazz. Currently 35 countries are represented from every continent. The IASJ holds meetings in a different school each year: upcoming are events in Spain, France, the U.S., Finland, and Japan.

Over the years I have handed out to all the participants a questionnaire meant to gather various information: how the students began in jazz, their influences, and their views on a wide range of topics outside of the music. This questionnaire is in reality statistical proof of the axiom that jazz is universal. Pat Dorian and Terry Giffel (of East Stroudsburg University in Pennsylvania) have prepared an analysis of this data, available in the IAJE Research Papers. Findings include the following points of interest:

Additional interesting conclusions can be found in the research paper.

Past & Future

Europe has definitely been a godsend for the life of jazz. For me, Europe has been a mecca–with a different relationship in each country. I would not be the musician I am without Europe and am eternally grateful to those who have supported me there. Overall, I would say the main factors are the openness, curiosity, and–above all–respect that I have felt from the European public and musicians. My having to adapt musically (given the various cultural differences) while keeping the integrity of what I do personally has worked greatly to my artistic advantage.

The fact that a musician like myself, steeped in American jazz and New York in particular, can be fortunate enough to share spiritual moments with so many people from a different part of the world is a testament to the universal appeal and potential power of this music. I honestly feel that the future will see more and more international collaborations for jazz musicians coming from all parts of the world, infusing the music with a breath of fresh air and enthusiasm.

David Liebman has performed with Elvin Jones, Miles Davis, Bob Moses, Richie Beirach, Chick Corea, John Scofield, Kenny Kirkland, Terumasa Hino, George Mraz, Al Foster, Ron McClure, Billy Hart, Phil Markowitz, Vic Juris, Jamey Haddad, Tony Marino, and a host of other renowned musicians (including the European artists described in this article). He has recorded 75 releases under his own leadership as well as being a featured sideman on 150 more, recording over 200 original compositions. His most recent releases include The Meditations Suite (a live recording of Coltrane compositions) and Water: Giver of Life (featuring Pat Metheny), both on the Arkadia label.

A recipient of NEA grants for composition and performance, an honorary Doctorate of Music from the Sibelius Academy (Helsinki, Finland), the founder of the International Association of Schools of Jazz, a Grammy nominee for Best Jazz Solo in 1998, and an author whose books and articles are widely published, Liebman has taught at universities and in clinic settings around the world. For an in-depth interview with and discography of Liebman, see the March 1995 JEJ ("David Liebman: In Pursuit of Balance" by Christopher Collins).

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