Edward W. Sarath
Professor of Music
Department of Jazz and Improvisation Studies
School of Music
The University of Michigan
Ann Arbor, MI 48109-2085
Director and founder, Program in Creativity and Consciousness Studies, the University of Michigan
President and Founder, International Society for Improvised Music
PROFESSIONAL ACADEMIC RECORD
Director, Program in Creativity and Consciousness Studies, The University of Michigan, 2004-present
Professor of Music and Chair, with tenure, Department of Jazz and Improvisation Studies, The University of Michigan School of Music, 2000-present. (Founding faculty member of department, chair 1987-2007)
Associate Professor of Music, with tenure, and Chair, Department of Jazz and Improvisation Studies, The University of Michigan School of Music. 1993-2000
Assistant Professor of Music, and Chair, Jazz Studies program, The University of Michigan School of Music, 1987-1993.
Adjunct lecturer in Jazz Studies, The University of Iowa School of Music, 1984-87
Jazz Improvisation I, II. Advanced Jazz Improvisation. Contemporary Improvisation. Creative Arts Orchestra. Improvisational Forms. Integral Basic Musicianship. Creativity and Consciousness. Contemplative Practice Seminar.
BFA in Jazz Studies, BFA in Jazz and Contemporary Improvisation, BFA in Jazz and Contemplative Studies, MM in Improvisation.
- Diversity in Musical Academe, initiative to promote diversity in musical study.
- Director, Deep Inquiry Group, a cross-disciplinary think-tank funded by Ford Foundation Difficult Dialogues initiative.
- Director, Program in Creativity and Consciousness Studies, The University of Michigan, 2004-present. Cross-campus faculty network of 80 colleagues, promotes course design, collaborative teaching, speaker series, and faculty study group.
- The BFA in Jazz and Contemplative Studies curriculum is one of the first curricular models to appear under the auspices of the burgeoning contemplative studies movement.
- Creativity and Consciousness course brings together students from across campus to delve into inner workings of the creative process.
- Integral Basic Musicianship is a hands-on, improvisation/composition-based alternative to core musicianship training for second-year music majors, drawing on diverse musical influences.
- Creative Arts Orchestra engages classical, jazz, and other musicians in trans-stylistic improvisation.
PROFESSIONAL ACTIVITIES: Books, Articles/Chapters, Invited Papers, Performances, Recordings, Compositions, Grants/Fellowships,
Improvisation, Creativity, and Consciousness:Jazz as an Integral Template for Music, Education, and Society, SUNY Albany, (in press 2012).
Contemplative Approaches to Learning and Inquiry, ed. Olen Gunnlaugson, Ed Sarath, Heesoon Bai, and Charles Scott, SUNY/Albany, in press (2012).
Music Theory Through Improvisation: A New Approach to Musicianship Training. Textbook. Routledge, Sept, 2010.
“What Next? Contemplating the Future of Contemplative Education,” appearing in Contemplative Approaches to Learning and Inquiry, ed. Olen Gunnlaugson, Ed Sarath, Heesoon Bai, and Charles Scott, SUNY/Albany, in press (2012).
“Improvisation, Time, and Transcendence,” appearing in Oxford Handbook of Critical Improvisation Studies, edited by George Lewis and Ben Piekut, Oxford University Press. (in press, 2012)
“Jazz, Creativity, and Consciousness: Blueprint for Integral Education”. Invited chapter for book on Integral Education, ed. Sean Esbjorn-Hargens, Olen Gunnlaugson, Jonathan Reams, published by SUNY press; summer 2010.
“Improvisation, Consciousness, and the Play of Creation” Ultimate Reality and Meaning Journal. Fall 2008. I was invited as co-editor of a special issue of the journal on music and ultimate reality. Other papers by Stephen Nachmanovitch, Karlton Hester, Peter Westbrook, Lisa O’Neil.
“Meditation, Creativity, and Consciousness: Charting the Academic Terrain of the Future” Columbia Teachers College Record. Clifford Hill, ed. Fall 2006.
“Improvisation and Negotiation”. Fall 2005. Negotiation Journal, Harvard University. Michael Wheeler/Lakshmi Balachandra, ed’s.
“Meditation and Higher Education: The Next Wave?”. Innovative Higher Education Journal. Summer, 2003.
“Improvisation and Curriculum Reform”. Second Handbook on Research of Music Teaching and Learning. Oxford University Press. 2002
“Craft, Creativity and Consciousness: Toward a New Paradigm of Jazz Education” Jazz Research Papers, January 1999
“Countermeasures” Ongoing column in Jazz Changes. 1997-2004“
Composition and Improvisation in the Core Curriculum”. Proceedings of the National Association of Schools of Music. 1997.”
Art, Ethnicity and Entertainment”. Jazz Changes. Spring, 1997.”
A New Look at Improvisation”, Journal of Music Theory. 40.1. Spring, 1996
“Creativity, Tradition and Change”. Jazz Research Papers. Jan. 1996
“Is the Paradigm Shifting Without Us?” in International Music Educators Journal, November, 1995
“Nonlinear Time Dynamics: A Cognitive Model for the Improvisation Process” Jazz Research Papers. Jan. 1994
“The Creative Foundation of the Jazz Tradition”. Jazz Changes. London. Fall, 1994
“Improvisation and Global Musicianship”. Music Educators Journal. Fall 1992
“On the Centrality of the Big-Band in Jazz Education”, Jazz Educators Journal. March, 1992.
Invited papers/guest artist (flugelhorn/composition) and teaching appearances
Dec. 2011. UCLA, Los Angeles, CA. Improvisation Masterclass.
Nov. 2011. Amherst College. Paper at Contemplative Studies conference, “Consciousness Research, Integral Studies, and Contemplative Education.”
Nov. 2011. Ann Arbor, MI. Performance with pianist Roman Stolyar, Kerrytown Concert House.
October 2011. University of Toronto/Ontario Institute for Studies in Education, Paper at Holistic Education Conference, “Issues in Contemplative Studies.”
May 2011, Fairfield, Iowa. ”Paul Horn and Friends” performance. Paul Horn, flute, Ann Mortifee, voice/guitar,Eugene Watts,trombone, Ed Sarath, flugelhorn.
April, 2011. Exeter England. “Improvisation, Meditation, and Paradigmatic Change: Mapping the Transformation from Conventional to Integral Music Education”, Music Education conference.
April, 2011. Leeds, England. ”Improvisation and Composition as Contrasting Pathways to Transcendence: A Consciousness-based Look at Spontaneous Creativity”, Leeds Jazz Research Conference.
March, 2011. Amherst, Mass. ”What Next: Contemplating the Future of Contemplative Education”, Contemplative Studies conference, Amherst College.
February, 2011. Ann Arbor, MI. Performance at University of Michigan Art Museum. ”Ed Sarath and Friends”
December, 2010. Ann Arbor, MI. Performance at International Society for Improvised Music annual festival/conference with Zim Nqgwana, Geri Allen, Kurt Kranke, Sean Dobbins. Also presided as Founder and President of ISIM.
October, 2010. Corfu, Greece. “Improvisation, Music Theory, and Aural Skills: A New Approach to Musicianship Training”, Jazz Education conference, Ionian University.
June 28-July 2, 2010. The Hague, Netherlands. Performance and master class, International Association of Schools of Jazz annual meeting.
June 2010. Moscow, Russia. Talk at International Transpersonal Association summit. “Improvisation and Integral Theory”
June 2010. Birmingham, England. Talk at Spirituality and Music Education conference, “Improvisation and Meditation: Cornerstones for Spirituality in Music Learning”
June 2010. Dún Laoghaire, Ireland. Keynote address: The Academy in Practice: Creative Policies conference. “Improvisation, Creativity, and Consciousness: Jazz as a Vehicle for Individual and Collective Development”
April 2010. San Francisco, California. Institute of Noetic Sciences Consciousness Forum: “Improvisation, Creativity, and Consciousness: Jazz and Integral Theory”
December, 2009. Santa Cruz, California. International Society for Improvised Music annual meeting. I am ISIM Founder and President. Led Think Tank on the topic of “Diversity in Musical Academe”. Performance with violinist Stephen Nachmanovitch, kumungo/world music artist Jin Hi Kim, woodwind artist Karlton Hester, Russian pianist Roman Stoylar, and poet-laureate, State of Connecticut, Marilyn Nelson.
Oct-Nov, 2009. Berlin, Germany. Scientific and Medical Network, third meeting of New Rennaissance series. Invited presentation: “Improvisation, Consciousness, and Sustainability”.
October, 2009. Toronto, Canada. Ontario Institute for Studies in Education, the University of Toronto. Invited presentation: “Art, Consciousness, and Change: Jazz as a Vehicle for Integral Vision of Education and Society”.
July 2009. Belle lsle Jazz Festival, France. Headline featured artist, performances with Bernard Santacruz, Christian , and Jean-Luc Capuzzo.
May, 2009. Charlottesville, Virginia. Society for Scientific Exploration, annual meeting. Invited paper: “Improvisation and Anomalies in Art and Science”
April, 2009. Capital University, Columbus, Ohio. Guest speaker: “Improvisation Across Fields: Jazz as a vehicle for creativity in music, business, and beyond”, for Capital University Business School. Keynote speaker at Capital University campus-wide convocation: “Creativity, Consciousness, and the Future: An Integral Vision for Education in the 21st century”.
April, 2009. Amherst College, Amherst, Massachusetts. Contemplative Mind in Society annual meeting. Invited paper: “Defining Contemplative Studies: An Integral Perspective”. Also performed at the conference.
March, 2009. Visiting lecturer, Elon University, Elon, North Carolina. “Contemplative Studies: Educational Wave of the Future”.
February, 2009. Northwestern University School of Music, Evanston, Illinois. Guest lecturer: “Improvisation, Creativity, and Consciousness”.
July 2008. Manaus, Brazil. Guest soloist and composer at Amazonas Jazz Festival. Five compositions of mine performed by Amazonas Jazz Orchestra, Rui Carvalho director, including Rites of Passage, which was choreographed by Rui Moriera and performed by Amazonas Dance Co.
June 2008. Riga, Latvia. Taught and performed at annual meeting of International Association of Schools of Jazz.
January 2008. Recording session in New York City, Michael Jeffrey Stevens, leader, with Dave Ballou, Steve Swell, and David Roberts.
June, 2007 Siena, Italy. Performance and master class at International Association for Schools of Jazz annual meeting. With Jarmo Savolianin (Finland), Manfred Brundl
(Austria), Jari Perkiomaki (Finland), Michael Jeffrey Stevens (USA), Jeff Siegal (USA).
Performance on my composition, “Solidarity”.
May, 2007. Guest performer and speaker, Bryn Mawr College. Concert and talk on Creativity and Consciousness studies.
May, 2007. “Deep Inquiry: Laying Groundwork for Paradigmatic Change”, invited talk at the Annual meeting of the Society for Scientific Exploration, Michigan State University, Lansing, MI. I was a member of the program committee for the SSE this year.
March, 2007. “Advocating Consciousness Studies” invited talk. Holistic Education conference. Malibu, CA.
February, 2007. “Improvisation, Creativity, and Consciousness” invited paper. Uncovering the Heart of Education conference. San Francisco, CA.
February, 2007. “Creativity: Not Just for Artists”. Invited talk. Michigan Difference program. Two presentations: West Palm Beach, Fl. Naples, Fl.
December, 2006. Performance at International Society for Improvised Music,
conference/festival, Ann Arbor, MI (I am ISIM founder and president)
November, 2006. Manaus, Brazil. Guest soloist and composer with Amazonas Jazz Orchestra, Rui Carvahlo, director. Concert of my large ensemble music.
October, 2006. The University of Michigan. Conference for Institutional Cooperation, Big 10 Music Education departments. Keynote address: “Is the Paradigm Shifting Without Us?”
September, 2006. The University of Michigan. Chaired panel discussion: “Contemplative Practices in Education”, as part of one-day symposium titled “Creativity, Consciousness, and the Academy”, co-sponsored with Center for Contemplative Mind in Society and UM Program in Creativity and Consciousness Studies.
October, 2005. Ida Beam Distinguished Visiting Professor, University of Iowa, Iowa City. Performance of five compositions of mine by UI Jazz Ensemble; I was also guest soloist. Master classes on improvisation. Talk on “Improvisation, Creativity, and Consciousness” at the School of Music. “Improvisation, Creativity, and Negotiation” at the UI Law School. Performance of five compositions of mine by UI Jazz Ensemble; I am also guest soloist.
October, 2005. Toronto, Ontario. “Education for Creativity and Consciousness” Invited paper for Holistic Education Network conference, Ontario Institute for Studies in Education, University of Toronto.
July, 2005. Toronto, Ontario. “Creativity, Consciousness, and the Future of Education”. Invited presentation at the conference of The Society for Ultimate Reality and Meaning, University of Toronto.
Nov, 2004. Krakow, Poland. Concert with renowned Polish jazz artist, pianist Wojiech
Konikiewicz at Krakow Jazz Club.
Dec, 2004. “Bridging Head and Heart in Higher Education”, Fetzer
Institute, Kalamazoo, Michigan, Dec 2004. I was part of a select gathering of individuals, including several college presidents from well-known institutions, regarded as educational visionaries to discuss new paradigms of educational reform.
Nov, 2004. Krakow, Poland. “Creativity, Consciousness, Education
and the Future”, keynote closing talk at conference of Scientific and Medical Network at the University of Krakow.
Oct, 2004. “Improvisation and Negotiation” symposium. Harvard Program on Negotiation at University Law and Business Schools, a select gathering of individuals invited to discuss the improvisatory core of creativity from a cross-disciplinary perspective.
October, 2003. London Jazz Orchestra, Vortex Theatre, London, England. Performance of six of my compositions; I was guest soloist on three works.
April, 2003. Brown University, guest lecture on improvisation, creativity and consciousness, as part of the Wayland Seminar on the Contemplative Mind.
January, 2003 Harvard Business School, guest lecture on improvisation , creativity and
consciousness for MB A Business Negotiation program, Prof. Michael Wheeler.
January 2003, Guest lecture at Harvard University, for Program on Negotiation; consisting of faculty in Law, Business, Psychology and other fields from Harvard, Tufts, MIT and other schools.
June, 2002. Helsinki, Finland. Performance at International Association of Schools of Jazz conference with international jazz group. Gleen Ferris, trombone, John Rapson, Michel Kuttner drums.
January, 2002 Harvard Business School, guest lecture on improvisation , creativity and
consciousness for MBA Business Negotiation program, Prof. Michael Wheeler.
Nov, 2001. Performance of my compositions by London Jazz Orchestra, London, UK Vortex Theatre.
Oct, 2001 London. Keynote presentation at Scientific and Medical Network “Exploring
Oct, 2001 London Jazz Orchestra. London, England. I directed the group in performances of two of my compositions, Shirodara and Space Race. I also performed with the ensemble.
June, 2000. Paris, France. Performance and teaching at La Villette Jazz Festival. With
international ensemble featuring leading bassist Ronan Guilfoyle from Dublin, Michel Kuttner from Cologne, and saxophonist Claudio Fassioli from Milan.
June 2000. Orleans, France. Performance at Orleans Jazz Festival. With Cache Cache, former winners ofRadio France Jazz Competition, along with Finnish Saxophone Quartet, Saxperiment.
Nov. 1999. Tatui, Brazil. Master classes and performances at Tatui Conservatory, performances and CD release of three compositions for Jazz Orchestra: Thought Forms, River Song, and Shirodara.
July 1999. Santiago de Compostela, Spain. Performance and teaching at annual meeting of the International Association of Schools of Jazz (IASJ). I am IASJ board-member.
June 1999. Lelystad, Holland. Performance with Dutch saxophonist Willem Helbreker, Lelystad Concert Hall.
June 1999 “Art and Consciousness”. Seminar on Art and Philosophy, The Academy of Fine Arts, Helsinki, Finland.
April 1999. “Improvisation, Time and Consciousness”. Improvising Across Borders
Symposium. University of California at San Diego.
April, 1999. New York City. Performance with Walter Thompson Orchestra, at HERE, a top venue for multi-media improvised work.
January 1999. “Craft, Creativity and Consciousness: Toward a New Paradigm of Jazz
Education” International Association of Jazz Educators annual convention, Anaheim, Ca.
April 1998. Cologne, West Germany. Performance with international ensemble at Stadtgarten Theatre, Cologne as part of International Association of Schools of Jazz annual meeting.
November, 1997. London, England. Performance with Graham Collier Jazz Ensemble at the London Jazz Festival. Master class at Royal Academy of Music.
July, 1997. Siena, Italy. Performance with international ensemble at International Association of Schools of Jazz annual meeting.
April, 1997. Le Mans, France. Performance with Cache Cache, winners of the 1993 Radio France Jazz Competition, at Le Mans Jazz Festival.
March, 1997. Tatui, Sao Paulo, and Rio di Janeiro, Brazil. Performances and master classes at Tatui Conservatory with jazz ensemble directed by Rui Carvalho. I was guest composer. Also, workshop and performance with Roberto Sion jazz ensemble in Sao Paulo, and master class at Antonio Adolpho Institute in Rio di Janeiro.
CD Releases as leader:
London Jazz Orchestra, The Music of Ed Sarath. This CD by the LJO features eight of my compositions for jazz orchestra.
Timescape. AES records, Ann Arbor. July, 2000. Compositions for 9-piece ensemble. Featuring internationally-acclaimed pianist/vibraphonist Karl Berger as guest artist.
Last Day in May. 1992; October- Konnex Records; Berlin. U.S. distribution- Cadence Records, Wayside, and Tower Records Japanese distribution- Polygram, Ltd. Featuring internationally-acclaimed artists David Liebman, Marvin “Smitty”Smith, Mick Goodrick, and Harvie Swartz. Compositions by Ed Sarath.
Voice of the Wind. 1990. Owl Records; Paris. European distribution- Harmonia Mundi. U.S. distribution- Mesa Blue Moon. Featuring internationally-acclaimed artists David Liebman, Joanne Brackeen, Cecil McBee, and Billy Hart. Compositions by Ed Sarath.
Fifth Fall. 1986. Iowa City Jazz Orchestra. Iowa City, Iowa. 18-piece ensemble, under my direction, for which I composed entire repertory.
As side-person/featured soloist:
1999. With Brazilian ensemble, Interchanges. Recorded live in Sao Paulo, Nov. 1999. The Third Colour. 1998. Graham Collier Jazz Ensemble, recorded live at the London Jazz Festival.
Tandems. 1995. Recorded on tour of France, November 1994, with award-winning French jazz group, Cache Cache.
Still Life. 1995. Washington D.C.-based composer and bassist, Steve Zerlin. Recorded in December, 1994.
Grants and Fellowships
- National Center for Institutional Diversity, “Diversity in Musical Academe” initiative. 2009
- Ford Foundation Difficult Dialogues program. I was one of eight fellows who were selected at the University of Michigan. 2006.
- Nathan Cummings Foundation, grant for hiring adjunct faculty member to assist in teaching Creativity and Consciousness course that I designed. 1999
- American Council for Learned Societies, Contemplative Practice Fellowship, to design new course called “Creativity and Consciousness” at The University of Michigan. 1997.
- Rackham School for Graduate Studies, The University of Michigan. 1991. Faculty Research Grant, to record my music.
- Rackham School for Graduate Studies, 1988. Faculty Research Grant, to record my music.
- National Endowment for the Arts. 1987. Jazz Performance fellowship grant to support tour of Ed Sarath Quartet.
- National Endowment for the Arts. 1986. Jazz Composition fellowship grant, one of 8 awarded nationally, to compose multi-movement work for jazz orchestra.
- National Endowment for the Arts. 1985. Jazz Performance fellowship grant to support ESQ tour. National Endowment for the Arts. 1985-87. Jazz Performance and Jazz Composition fellowships (one of eight awarded in latter category)
Articles about Ed Sarath
October 1996. “Michigan’s Sarath Expands Jazz Horizons”, Downbeat Magazine.
April 1996 “Ed Sarath Challenges Basic Assumptions in Jazz Education”, Arts Midwest Jazz Magazine
- Trends of Time, for Symphony Orchestra and Jazz Quartet. University of Wisconsin, Stevens Point. Dec 2002.
- Aquarium, for 22 dancers and 8 piece chamber ensemble. 1999. Evelyn Velez Aquayo, choreographer. Power Center, Ann Arbor, Michigan.
- Rites of Passage, for jazz orchestra, commissioned by WDR, West German Radio, for International Association of Schools of Jazz Gala concert, Cologne, Germany, 1999. Bill Dobbins, conductor. Michael Brecker, David Liebman soloists.
- Arrangement and orchestration of David Liebman’s Memories, Dreams and Reflections, a multi-movement work for 20-piece jazz orchestra. Premiered at Montreux-Detroit Jazz Festival, September, 1994.
- Life Cycles, for Grosse Ile Jazz Orchestra; premiered May, 1993 at Grosse Ile Jazz Festival.
B. Other performances of compositions
Over 20 works for large jazz ensemble performed and premiered at jazz festivals between 1979-and the present. Performances by professional jazz ensembles: Amazonas Jazz Orchestra, Brazil; London Jazz Orchestra, London, England; David Liebman Big Band, New York, Boston;, Toledo Jazz Orchestra, Toledo Ohio. Conservatory/university ensemble performances: Guildhall School,. London. Tatui Conservatory, Brazil, Penn State University, University of Colorado, Colorado State University, The University of Southern Maine, University of Iowa, University of Northern Iowa, Interlochen Arts Academy, University of Tulsa, Abilene Christian University, University of Massachusetts.