THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC Presents
Jazz Ensemble I Leon Anderson, Jr., Director
Thursday, March 4, 2021 Seven-thirty in the Evening Ruby Diamond Concert Hall Live: wfsu.org/fsumusic
PROGRAM Three and One
Thad Jones
A-That’s Freedom
Hank Jones arr. Thad Jones
Moanin’
Bobby Timmons arr. Quincy Jones
Mosaic
Cedar Walton arr. Don Sickler
Skylark
Hoagy Carmichael/Johnny Mercer arr. Bob Brookmeyer
Crackdown
Thad Jones INTERMISSION
In the Wee Small Hours of the Morning Dat Dere
David Mann/Bob Hilliard arr. Billy Byers Bobby Timmons arr. Mark Taylor
The Song Is You
Oscar Hammerstein/Jerome Kern arr. Mark Taylor
Minor’s Holiday
Kenny Dorham arr. Don Sickler
Please refrain from talking, entering, or exiting while performers are playing. Food and drink are prohibited in all concert halls. Please turn off cell phones and all other electronic devices. Please refrain from putting feet on seats and seat backs. Children who become disruptive should be taken out of the performance hall so they do not disturb the musicians and other audience members. Thank you for your cooperation.
ABOUT THE DIRECTOR Leon Anderson, Jr., Associate Professor and Director of Jazz Studies, joined the Florida State University faculty in 1998. His musical experience includes that of a classical and jazz percussionist, educator, clinician, and composer. Mr. Anderson received the BA degree in Music Education at Louisiana Tech University and in 1996 completed the M.A. degree in Percussion Performance at Southeastern Louisiana University. His mentors have included Ellis Marsalis and Victor Goines of the New Orleans jazz scene. Mr. Anderson currently teaches drum set, jazz ensembles, and rhythm section methods at the FSU College of Music. In 1997 Mr. Anderson was a featured soloist with The Marcus Roberts Trio, the Los Angeles Philharmonic Orchestra at the Hollywood Bowl, and at the “Great Saxophone Legends” concert at the Jacksonville Jazz Festival. As a soloist he has also performed with the Baton Rouge Symphony Orchestra and the Louisiana Philharmonic Orchestra. His most recent engagements include performances with the Czech National Symphony Orchestra and the National Orchestra de France, conducted by Seiji Ozawa. His professional recordings include Victor Goines’ Joe’s Blues (1998), To Those We Love So Dearly (1999), and Sunrise to Midnight (2000); Marcus Roberts’s Cole After Midnight Vol. I, (1998); Five By Design’s Club Swing (2001); Richie Summa’s Tear It Down (2001); and Etienne Charles’ Culture Shock (2006). His professional collaborations include performances with numerous artists: David Sanchez, Red Holloway, Donald Brown, Wynton Marsalis, Mike Wolf, Nathen Page, Allan Harris, Stephanie Nakasien, Phyllis Hyman, Barry Greene, Dianne Reeves, Harold Batiste, Donald Harrison, Mary Stallings, Judy Collins, Wessell Anderson, Wycliffe Gordon, Kent Jordan, Oliver Lake, James Moody, Deborah Brown, Rufus Reid, Henry Mancini, Art Farmer, Jason Marsalis, and the Temptations, to name only a few. Mr. Anderson currently performs and tours internationally with Marsalis, Goines, Walter Payton and the Snapbean Band, and the Third Coast Jazz Quintet. In addition to these ensembles, he has also performed at the International Association of Jazz Education Conference with Bunky Green, Ellis Maraslis and the New Orleans Jazz All-Stars, and has served as an artist/clinician for several jazz festivals in the United States, including the Bill Evans Jazz Festival, Savannah Music Festival, Loyola University (New Orleans) Jazz Festival, Governor’s Honors Jazz Camp, Broward County All-City Jazz Ensemble, the “Jazz in the Schools” program in Jacksonville, FL, and serves as director for the FSU High School Jazz Festival. His festival commitments outside the United States are numerous and include the
Umbria Jazz Festival in Perugia, Italy, the Inglostadt Jazztage, in Inglostadt, Bavaria, the Switzerland Jazz Festival in Basel, Switzerland, and the North Sea Jazz Festival. Anderson has also been featured in a review of the jazz composition “Afro Blue” for the text Teaching Music Through Jazz (December, 2007) and an article entitled “JazzEd Scene,” by Steve MacQueen, published in Research and Review (Vol. XIV, No. III, Fall, 2004).
NOTES ON THE PROGRAM Tonight’s concert will consist of a variety of compositions that mainly feature works by the great composer/arranger Thad Jones, and tunes also recorded or made famous by the great jazz drummer Art Blakey and his Jazz Messengers. Both of these gentlemen have made an immense contribution to jazz performance and composition. We celebrate their legacies and hope that you enjoy this presentation of music by the FSU Jazz Ensemble I. “Three and One” composed by Thad Jones and originally recorded on the album The Jazz Orchestra, features the writing and arranging talents of Thad Jones. His blend of dense harmonies and complex counterpoint lines pitting brass against (and alongside) winds and rhythm are a great example of his writing style. You can describe his writing style as a blend of Basie Swing with Ellingtonian harmonic complexity. “A-That’s Freedom” was written by Thad Jones’ brother, Hank Jones, a great pianist from the swing and Bebop schools of performance. It is a Blues composition that has the influences of the jazz drummer Art Blakey’s groove on the “Blues March” (a composition on one of Blakey’s most famous albums, Moanin). However, this is an original work of Hank’s. “Moanin” was composed by Bobby Timmons from Art Blakey’s Jazz Messengers group of the mid-1950s. It is a soulful example of the gospel-tinged, funky, dance sound of the Hard Bop period of the middle 1950s. This tune was arranged and recorded by Quincy Jones and his big band (as well as also recorded by Count Basie’s Orchestra). “Mosaic” is a composition by pianist Cedar Walton (the pianist who replaced Bobby Timmons, in Art Blakey’s Jazz Messengers). Walton was a part of the Art Blakey sextet that took the band into the early – mid 1960s. The focus was always on creating new, fresh, original compositions and this tune does not disappoint
with cross-rhythms written across the bar (in the bridge section of the tune) and the Afro-Cuban groove that Art Blakey so often played with powerful drive and groove. This arrangement is by Don Sickler. “Skylark” is a gorgeous ballad written by Hoagy Carmichael and arranged by pianist Bob Brookmeyer. I chose this ballad because it pays homage to the great Thad Jones/Mel Lewis Jazz Orchestra (which recorded the tune), but also because Art Blakey recorded a version of Skylark on one of his Jazz Messenger albums as well. “Crackdown” is a very challenging uptempo Thad Jones original composition, and a great example of complex ensemble writing and quickly moving melodic ideas woven into dense and rich counterpoint between the brass and woodwinds. “In the Wee Small Hours of the Morning,” is a great Billy Byers arrangement of a classic standard that was recorded by the Count Basie Orchestra on an album entitled Frankly Basie, an instrumental dedication to the hits that Frank Sinatra recorded with Basie’s Band. This is a great second half opener! “Dat Dere” is another Bobby Timmons offering that has that soulful hard-bop sound of Art Blakey’s Jazz Messengers. It was recorded on an album entitled The Big Beat in 1960. “The Song is You” is a pop standard by Oscar Hammerstein and Jerome Kern. It is arranged by Mark Taylor. I chose this tune because Art Blakey also recorded it with his Jazz Messengers. “Minor’s Holiday” is a tune composed by one of the trumpet players from the Jazz Messengers of the early days (early 1950s). This tune was composed by trumpeter Kenny Dorham, and originally recorded on an album entitled Afro-Cuban in 1955. He featured an all-star lineup of American Jazz Musicians and Cuban musicians on this entire recording (featuring Art Blakey on drums as well). This arrangement is (again) by Don Sickler.
– Notes on the program by Leon Anderson, Jr.
Jazz Ensemble I Personnel Leon Anderson, director Saxophone Rhys Bennett, alto/soprano Jonathan Gray, alto/clarinet Grant Teeple, tenor/flute Neal Lumapas, tenor/flute Reese Cloud, baritone/clarinet/flute Trumpet John Dupre Devin Daniel Jermaine White Thana Rangsiyawaranon Trombone Joel Perez John Byerts Lawrence Newson Samantha Amos, bass trombone Rhythm Section Tyler Griffin, piano Matthew Boyd, piano Chris Minami, guitar Sam Dingle, bass Steve Fryson, drums Carson Degner, drums
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*University Musical Associates Executive Committee
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