Neither side should be given short shrift. I would say, however, that I've more often seen egregious examples of classical-only teachers who allow their own narrow focus to adversely limit their students. As an undergrad jazz performance major at UNT, I had very few jazz-specific lessons with Jim Riggs. We primarily studied classical repertoire, and dealt with learning the instrument. Jazz was addressed in Improv courses, Combo, Big Band, etc. That approach built a legitimate foundation in both areas that served me through my MM and DMA study, and continues to inform my work as a performer and teacher.
I'll reproduce below an excerpt from Greg Banaszak's article A Private Lesson With James Romain, that appeared in the Nov/Dec. 2009 Saxophone Journal, as it details my perspectives on this crucial matter.
Long story short, we need to provide our students with MORE options, not fewer. A focus only on classical, or only on jazz, or only on saxophone, for that matter, is a virtual guarantor of a saxophonist who is prepared for very few professional opportunities, whether as a player or as a teacher.
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Versatility is paramount. Today's players cannot afford to limit themselves to one style or genre or music, but must be conversant in as many as possible. Given the absence of full-time orchestral positions for saxophonists, young players/college students need to broaden the scope of their experience and interests. 'Classical' players should study jazz performance and repertoire, and the converse is equally true. We should strive to think of ourselves as saxophonists-even better, as musicians-rather than pigeonholing ourselves into one arena or another. Doubling (see above) can only serve to improve one's prospects for gainful employment. In the realm of academia, the many outstanding up-and-coming young saxophone virtuosos need to recognize the troubling fact that, while being a stellar classical performer on virtually any other 'orchestral' instrument might be enough to provide a chance for employment in an orchestra, albeit a slight one, it is not the case for us. There are a handful of positions in military performance ensembles that may provide that opportunity to a select few, but the vast majority of saxophone performers graduating with B.M., M.M., or even D.M.A. degrees from top schools and programs face rather stark employment prospects. While that outlook may seem bleak, there is good news. By equipping themselves to be at home in a variety of performance settings, today's saxophonists have the unique opportunity for employment as classical performers (occasional orchestral gigs, recitals with colleagues, etc.), jazz players (local 'rehearsal' big bands, club and casual dates, coffee shops), doublers (local productions, touring productions), and teachers (through local high-school programs, adjunct work at colleges and universities, and full-time college and university professorships), but only if they adequately prepare themselves to attain a high standard in each area.
In addition to versatility as saxophonists and woodwind doublers, it is also extremely advantageous for performers to cultivate ancillary interests. In my case, my undergraduate study as a jazz performance major at UNT was complemented with a minor in music theory. At the M.M. level (also at UNT), my work as a classical performance major was strengthened and rounded by my pursuit of a minor in jazz studies. Finally, during my D.M.A. work at the University of Illinois with Debra Richtmeyer, I also took full advantage of the extraordinary Ethnomusicology faculty by pursuing a minor field in Ethnomusicology, including coursework in the music of India with Charles Capwell, Africa with Tom Turino, Improvisation with Bruno Nettl, and Andean music ensemble.
By strengthening myself in non-saxophone areas, I have strived to set myself apart from 'pure' classical saxophonists, and won four college teaching positions, including my current position as Associate Professor of Music (Saxophone) at Drake University in Des Moines, IA, where I'm in my seventh year. In each instance, it was my knowledge and experience outside of classical saxophone studio that set me apart from other highly qualified applicants. In my first job at Amarillo College, a one-year sabbatical replacement, I taught, besides saxophone studio, music appreciation, clarinet, bassoon, flute, and jazz. At the University of Wisconsin-River Falls, I taught saxophone, clarinet, flute, directed the jazz ensemble, taught jazz improvisation, and taught first-year theory and ear training. At Casper College, I taught saxophone, clarinet, jazz theory and improvisation, jazz combo, directed the jazz ensemble, and coached saxophone quartet. In my current position, my studio teaching is (finally) limited to saxophone (though I continue to perform professionally on flute and clarinet as well), but I also teach (or have taught):
Jazz Ensemble II
Saxophone Quartet
Jazz Improvisation I and II
Jazz History
Single Reeds Segment of Woodwind Methods course for Instrumental Music Education Majors
Techniques in Jazz Performance for Instrumental Music Education Majors
Studio Teaching Techniques for Performance Majors
In addition to these wide-ranging teaching responsibilities, I also serve as Recruiting Coordinator for the Department of Music, a fairly demanding and time-consuming job.
Outside of my Drake responsibilities, I also serve as the Membership Director for the North American Saxophone Alliance, a position that gives me an opportunity to 'give back' to an organization that I have long benefited from, and also gives me the chance to get to know saxophonists from all walks of life-educators, students, and saxophone enthusiasts.