SPRING 2008

If walls could talk...

By Tracy Batchelor

Well, maybe not the walls themselves, but the photos and awards covering Tom Smith’s office would certainly have a story to tell. They’d tell of his growing up as the son of a professional musician, of his early entry into the realm of jazz conducting and of his passion for spreading the love of jazz. They’d tell how he built performing ensembles in rural Appalachia, in Romania, in Africa and now at Shorter College. And they’d tell how his lifelong relationship with jazz has now earned him international acclaim. If walls could talk…

Speaking of beginnings

Photographs of Tom’s father bring to life a foundation in music. The New Orleans trombonist advised his son early on, “To make it in this business, you have to create your own niche – come up with an idea and a hook – then become the king of that.”

The advice was challenging but struck a chord with the young and talented Tom. He combined his father’s advice with observations of jazz great Miles Davis, who Tom describes as “the greatest collector of people in the jazz world.”

Thus, Tom’s niche began to take shape as he worked to establish his own jazz initiatives. During college, Tom coordinated his first jazz festival. By the time he graduated from the University of Southern Mississippi with a Bachelor of Music Education, the university was home to the largest college chapter of an international jazz association. His role in jazz leadership was growing.

I was framed by one of the local guys. While he worked, he quietly recited his part to some jazzy piece, which seemed out of place for a tall guy in a flannel shirt and suspenders. That music gave him energy and purpose. The whole group had it, thanks to the director.

The photos of Tom’s rural community bands illustrate his real start in forming jazz groups. While a long-term member of the North Carolina Visiting Artist Program, Tom founded more than 30 nonprofit regional jazz ensembles in Appalachia.

“I went into old furniture towns in North Carolina and realized that many of the townspeople had amazing talent and playing ability,” Tom said. “Before I knew it, there were rural jazz bands everywhere I looked.”

Speaking of expansions

At this point, Tom realized his skill in the behind-the-scenes type of work could be utilized on an international level. “I have always been good at starting things from scratch,” explained Tom. “In the early stages, I can hear the potential through the tough sounds.”

Tom partnered with the Fulbright Program to expand his jazz advocacy to other countries; “I asked them to send me where no one else wanted to go,” he explained. Thus began his time in Romania, where he was a five-time senior Fulbright professor of music at the Romanian National University of Music and at Tibiscus University.

Tom took the experiences learned in Mississippi and North Carolina and magnified the program development strategies for an entire country. He coordinated national ensembles and school ensembles. He founded Romania’s first summer music camp. He built the first western-styled jazz music college in the country.

What a memory. The country of Romania has noticed Tom’s dedication and hard work.
I’m the proof that they love what he has done.

Throughout Tom’s initiatives in Romania, he shared his passion for jazz education, and Romanians honored his impact. Tom is the only non-Romanian to receive the Romanian National Radio Prize, the country’s highest musical honor.

Since his time in Romania, Tom has remained an active member of the Fulbright Professional Specialist Program, having also taught and performed at the University of KwaZulu-Natal Jazz Center in South Africa.

Speaking of honors

On Jan. 12, Tom was presented with the International Jazz Ambassador Award, the premier advocacy award in jazz education, during the 35th annual International Association of Jazz Education (IAJE) conference.

“I cannot think of a more appropriate recipient because this award is dedicated to individuals like Tom who are making a difference in developing underserved regions of the world, as it relates to jazz and jazz education,” said Bill McFarlin, IAJE executive director. “Tom has done tremendous things and has made a difference in people’s lives as he has brought jazz and music education to many regions.”

The applause… the music… the entire four-day event…
I can hardly capture the grandness of the conference. There were so many
jazz enthusiasts together in one place for Tom’s moment of honor.

Tom values the award for personal reasons. “When you believe in the purpose of this work, you aren’t concerned with people paying attention to you,” Tom explained. “You do the stuff and don’t care who gets the credit. Over time, however, I suppose people notice your style and, to me, that is the significance of the IAJE Jazz Ambassador Award. Given by my peers, it brings legitimacy to my type of jazz advocacy work.”

Speaking of teaching

Such international success also brings credibility to his efforts at Shorter College. In April 2007, Tom was named Shorter’s first band director and was charged with the task of developing and coordinating an instrumental program for the college. “We had a nice start to our band program this fall, and we will continue to grow and strengthen our sound,” he said. Based on his past experiences, one can trust his outlook on Shorter’s band as it develops over the next few years. “I hope the IAJE award lends credibility to my start-from-scratch passion.”

The first afternoon rehearsals marked a moment in history. One of the students took me with the camera on her cell phone as the band marched across Shorter's front circle. There's a new sound on the Hill, and a drum cadence can mean only one thing!

Thankfully, the photos and awards covering Tom Smith’s office walls do have a story to tell. “To students, the things on my wall show them that I have both the vision and the tools to start something from square one,” he explained. He’s happy to let them do the talking: he’s got too much work to do spreading the love of jazz.