Michael Tracy, a renowned jazz educator, was born and raised in Louisville, Kentucky, USA. Last week marked his first visit to Kenya, where his performance was met with an overwhelming response, selling out the venue.
Having spent most of his life in the US, Tracy had always longed to explore other parts of the world. He has visited 50 countries, but this was his first time in Africa. Reflecting on his childhood dreams, he shared, “I’ve been to 50 countries, but this is my first time in Africa.”
Originally aspiring to become a lawyer, Tracy’s path took a turn when he attended a court session with his father, who was serving on jury duty. “It was boring. I don’t want to do this, I told myself,” he recalled. Deciding to pursue music in his undergraduate studies, he found inspiration from exceptional teachers who not only taught him music but also instilled a sense of curiosity and care for others.
Surrounded by master musicians, Tracy took every opportunity to listen, learn, and soak in as much as he could. His dedication led to him founding a jazz program from scratch at a university, which has since flourished. “I later started a jazz programme from scratch at a university and now it is flourishing with faculty,” he said.
Over the course of his 45-year career at the university, Tracy taught students from around the world, including Brazil, Argentina, Russia, and Scotland. Despite opportunities to move elsewhere, he chose to remain in his teaching role because of his passion for working with students. Tracy, a father of twins who are now 31 years old, shared that both of his children are musically inclined—his daughter plays the harp, while his son plays the saxophone.
Tracy’s wife, a former symphony violinist, also contributed to their musical household, ensuring that their children grew up immersed in music. When asked about his initial attraction to the saxophone, Tracy explained that although he initially wanted to play the trumpet at the age of nine, his teacher suggested he try another instrument due to difficulties with the trumpet’s mouthpiece. His parents purchased a saxophone for $50, and he began taking lessons. Now at 73, Tracy continues to play the saxophone.
What does Tracy love most about playing the saxophone? “At my age, it’s a part of me now,” he said. “I know of people who, at a certain stage, say it’s time to stop. But I enjoy playing; it’s fun, and I like the challenge of learning. I enjoy working with young people, watching them learn, and giving back what was given to me. When you play well, it always gives you a little tingle. It’s almost like a drug— you get addicted to it.”
Jazz, as a genre, often seems complex, and Tracy shared his thoughts on why it is so intriguing. “Jazz is unusual in several senses,” he said. “Once you finish the first part of the song, you make it up as you go. You’re creating in the moment. It means the player has to understand what’s going on, and in a band, you’re communicating with each other and trusting yourselves to all be in the right place. You need to know all the elements of a song and then let it go.”
While acknowledging the complexity of jazz, Tracy emphasized that the genre requires a high level of skill. “It requires the individual to know a lot of information and be able to manipulate the instrument at a higher level. You cannot do this if you cannot play. It requires the individual to be willing to make mistakes, listen to others, and lose control.”
Regarding whether jazz has a select audience, Tracy stated, “It’s not the music of the elite. The audience of jazz is smarter than, say, a hip-hop audience. Its audience is similar in size to that of classical music.” He pointed out that many people who haven’t listened to jazz don’t understand the engagement required during a performance. “When you’re at a jazz event, you don’t just sit there; you have to be engaged with it,” he explained.
Tracy, who even visited the Korogocho slums in Nairobi to teach jazz to students, understands that jazz is not for everyone, but for those who do give it a chance, he is dedicated to sharing his knowledge. “I do not expect everybody to give it a chance, but for those who do, I will do what I can to help them,” he said.
Although Tracy admits that playing for so long can sometimes be tiring due to routine and repetitiveness, he also appreciates the freedom that comes with jazz. “Once you get past that, there is freedom, which is the hardest thing to have. Does it get boring? Yes and no. There’s always fluidity with jazz; it’s always moving, and I like watching that happen.”
On whether jazz has strict rules, Tracy explained, “There are things you have to know for it to work. It’s like a folk tradition where you have to listen to your elders, respect what people before you did, and learn. A lot of jazz is written out now, but when I was growing up, we mostly learned by listening. The written part is useful, but the best lessons come from listening. Even after listening to Miles Davis and John Coltrane thousands of times, I still learn something new every time. When I don’t feel like playing, I pick up a record in my studio, and if I’m listening to Hank Mobley, it always sends me back to practice.”
Through his visit to Nairobi and his reflections on the art of jazz, Tracy continues to inspire both seasoned musicians and young students alike, reaffirming his lifelong commitment to the genre.
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