The Conservatory That Couldn't Handle a Conversation

After 35 years in music education, I was cast out for raising questions the institution didn’t want answered

Photo: Free Speech Union

In an era that prides itself on progress and open dialogue, my experience at Trinity Laban Conservatoire presents a dark and troubling contradiction. For over two decades, I dedicated myself to nurturing young talent at this esteemed institution, contributing to the vibrant tapestry of London’s jazz scene. My journey in music education spans 35 years at various conservatories, along with international performances and 25 CDs under my name. Yet, despite a lifetime of contributions, I now find myself at the center of a storm that has shattered my career and reputation.

The controversy began innocuously enough. In 2022, Trinity Laban's Principal sent an email to staff and students, extolling the virtues of free speech and mutual tolerance. This was followed by communications in 2023 and early 2024 regarding the institution's stance on Black Lives Matter and its commitment to equity and diversity. As an educator deeply invested in the discourse surrounding jazz—a genre intrinsically linked to cultural and racial histories—I viewed these messages as an invitation for open dialogue.

In February 2024, I submitted my feedback, eager to engage in a meaningful conversation about these policies. My email was shared with the Director of Music and the Head of Jazz, and I mentioned it during an informal discussion with a third-year student. This was a standard exchange of ideas, something that should thrive in any academic environment. However, what followed was a series of events that spiraled beyond my control.

Within weeks, I was informed that several students had expressed discomfort with my email, and my classes were "temporarily halted." The institution convened a meeting—excluding me—to discuss my email, based on hearsay rather than facts. What should have been an open and honest discussion about race and jazz turned into a clandestine tribunal that alienated me from a community I had served diligently.

The fallout was devastating. Concerts were canceled, a record label shelved my new CD, and the London Jazz Orchestra, where I had been the lead alto saxophonist for 15 years, asked me to step down. Even compositions I had shared with musician friends were suddenly unwelcome. The very essence of my existence—music—was being systematically stripped away, leaving behind a void filled with isolation, anxiety, and a profound sense of betrayal.

This personal ordeal underpins a more insidious issue within academic and cultural institutions today. The commercialization of education, where students are viewed as customers, has altered the dynamics between educators and their students. This shift, compounded by the rise of "woke" ideologies, has created an environment where genuine discourse is stifled and dissenting voices are met with swift and sweeping retribution. The very institutions that should champion free thought and robust debate are increasingly becoming arenas of conformity, where fear of reprisal breeds silence.

The repercussions of this climate are far-reaching. The cancellation of my classes and the subsequent boycott by students speak volumes about the chilling effect such institutional actions can have. Students, once eager to engage with diverse perspectives, now find themselves in a position where they can dictate the fates of their educators, often without fully understanding the complexities involved.

My situation is emblematic of a broader cultural malaise—a warning of what can happen when open dialogue is replaced by dogma. The arts, particularly jazz, have always been a conduit for challenging the status quo, pushing boundaries, and fostering understanding across divides. Yet, when the very essence of artistic expression is threatened by a culture of censorship, we risk losing not only the art itself but the lessons it imparts.

Despite these challenges, I have found solace and support from the Free Speech Union, an organization dedicated to defending the rights of individuals to express their ideas freely. They have provided me with the legal and moral backing necessary to challenge the actions taken against me, and my legal battles for Employment Discrimination and Constructive Dismissal are ongoing. The road ahead is daunting, but it is a fight not just for my career, but for the very principles of academic freedom and open dialogue.

As I navigate this new reality, I am determined to reclaim my voice and continue sharing my passion for jazz. I remain open to opportunities to perform, teach, and collaborate with those who value the rich, transformative power of this art form. While my journey has been marred by challenges, it is far from over. I aim to turn this personal struggle into a broader call to action—one that reaffirms our commitment to free expression and the enduring spirit of jazz.

This is an essay for our series, “Make Them Hear You: Stories from FAIR Artists.” Learn more about the series and contribute here.

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