Upon being honored by The General Assembly of the European Jazz Federation with my election to the Vice-Chairmanship of this Division, I have given much thought and discussed with my various musician colleagues at various international jazz festivals, to try and coordinate the needs and wants of the European musicians. Needless to say, our first step is to unite amongst ourselves. Each European country must have a national jazz musicians' union, even if it is a simple list of musicians who adhere to this union, with no real union or activity yet organized.

Each national union must then elect a representative or Union Secretary — who must know the English language, which is the official language of the EJF — and each union secretary will then contact me directly at my private address: Lilian Terry, Via G. Antonelli 15, 00197 Roma, Italy, marking the envelope "EJF" so as not to mix it with my private correspondence. Each secretary will give me detailed information on their union, the number of members, their activities, their suggestions and wishes, so as to help me organize a general picture of the whole European scene. The enrollment fees to join the European Jazz Federation — with regard to single musicians, or to musicians unions — will be decided upon by the General Secretariat of the EJF, to which all unions will pay directly. I have found all musicians to be interested in establishing the following points:
a) International Jazz Festivals. Each country holding an International Jazz Festival should consider giving the utmost help to its national and European musicians. It is suggested that each evening of the Festival be programmed as follows: the first half of the concert dedicated to European musicians, of this first half, the opening should be played by national groups of the host country. The second half should be dedicated entirely to American stars. In this manner the national and European musicians obtain exposure to a larger audience attracted mainly by the American stars. One of the most important European Jazz Festivals, Antibes-Juan les Pins, follows this procedure to some extent, and the formula has been proved successful and practical, to everybody's satisfaction.
b) Single concerts. The same procedure should be adopted for single concerts.
However, if the budget is limited, then the organizers should at least have one national group to open the first half, to "break the ice", so to speak.
c) Radio and Television. The EJF Representatives of the various national radio and TV stations should work in close collaboration with the national musicians' unions
of each country, in order to try and establish a regular exposure on these media of the national and European musicians. It is also hoped that the Division dealing with Radio and TV will be able to organize perhaps an annual radio and TV contest for European musicians — on Eurovision or Intervision — with a different country playing host each year.

d) R e c i p r o c i t y. It is strongly hoped that each country, especially the United Kingdom, will organize a successful means of equal reciprocity in allowing working permits to European musicians on an exchange basis. We will need authoritative assistance of the General Secretary, support and collaboration of all organizers and promoters of festivals and concerts, and a special agent in each national musicians' union who will keep track of how many European musicians come to play in each country, and through whom the national musicians will apply for exchange permits to play in other countries.
This is a difficult problem but it can, and must, be solved, no matter how long it takes.
e) Contests, fellowships and grants. Musicians will feel much more encouraged if the EJF will organize annual contests (which could be linked with the radio and TV contest mentioned above) with the purpose of discovering and granting scholarships to talented jazz musicians, enabling them to undertake various specialization courses in Europe or America. Furthermore, we must think of tomorrow's jazz musicians, and try to organize our amateur musicians for summer courses for beginners. I am confident that our excellent Division of Education will be able to offer special courses for kids who are awakening to jazz.
And perhaps one day there will be a regular School of Jazz in Europe, for all European musicians.
) American musicians in Europe. By now the European scene is well furnished with many American jazz musicians who have established themselves for keeps, or at least six months a year, in Europe. It must be decided if these guests are to be considered Americans or members of the European scene. This is very important, especially with regard to points a and b.
I should like to have the opinion of the General Secretariat and of the various national musicians' unions. This is a starting point, all the above items have been mentioned so as to give food for thought. I believe these are most essential and pressing points and I hereby invite all my musician friends and colleagues to consider these points and let me know their opinions and advice. Once again I beg that correspondence should be in English and channelled through one official national Union Secretary for each country. Musicians who have no official national union should take this opportunity to organize and unite themselves, if only to channel their ideas to our European Division. Thank you for your attention and future cooperation and let's start swinging, dig?
LILIAN TERRY
Vice Chairman
Division of Musicians, Artists and Composers.