THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC Presents
Faculty Jazz Sextet David Detweiler, Saxophone John Dupre, trumpet Kevin Jones, Trombone Bill Peterson, Piano Rodney Jordan, Bass Leon Anderson, Drums
Thursday, September 17, 2020 Seven-thirty in the Evening Opperman Music Hall Live: wfsu.org/fsumusic
PROGRAM Daahoud Jordu Joy Spring Parisian Thoroughfare
Clifford Brown Duke Jordan Clifford Brown & Jon Hendricks Bud Powell
Swingin’
Clifford Brown
The Blues Walk
Clifford Brown
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 PERFORMERS Leon Anderson, Jr., Associate Professor and Director of Jazz Studies, joined the Florida State University College of Music 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 from Louisiana Tech University and in 1996 completed the MA degree in Percussion Performance from 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 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, the Temptations, and many others. 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). David Detweiler, Assistant Professor of Jazz Saxophone, previously served as Director of Jazz Studies at Nazareth College (Rochester, NY). He has performed at many of New York City’s premiere livemusic venues, including The Blue Note, Birdland, The Knitting Factory, and The Iridium. His first record as a leader, New York Stories, recorded in Tallahassee with Leon Anderson, Clarence Seay, Chris Pattishall, and Rick Lollar, received a favorable review by Scott Yanow. His second record as a leader, The Dave Detweiler Trio featuring Fumi Tomita and Alex Patrick, was released in August 2015. Detweiler studied at both the University of North Texas and William Paterson University, receiving the BM degree from William Paterson. He received the MM degree from Florida State University in 2010 and the DMA degree from the Eastman School of Music in 2015. His teachers include Ramon Ricker, Charles Pillow, Bill Kennedy, Gary Smulyan, and Steve Wilson.
Originally from Baton Rouge, LA, John Dupre is a fifth generation musician and educator currently serving as the jazz trumpet Graduate Assistant at Florida State University. He received his undergraduate degree in Music Education from Louisiana State University, where he studied both jazz and classical trumpet, splitting his senior recital between both styles. He has worked professionally in a variety of musical contexts including orchestra, big band, jazz combo, musicals,
Top 40 cover bands, and spiritual services. John has had the pleasure of playing with many renowned jazz musicians including Bobby Shew, Peter Erskine, Dennis Diblasio, Wycliffe Gordon, and Wayne Bergeron. He has performed alongside FSU Jazz faculty in the Tallahassee area, including Leon Anderson and Kevin Jones. He has performed with both the Baton Rouge and Tallahassee Symphony Orchestras. He was recently awarded a graduate scholarship to attend the next International Trumpet Guild convention.
Kevin Jones, Assistant Professor of Jazz Trombone, joins the College of Music faculty after previous teaching appointments at the University of Texas at Austin, the University of South Carolina, Lander University, and Presbyterian College. As a performing artist, Jones has toured with James Brown, Kenny Loggins, and the Ringling Bros. Circus, and was a featured artist for Princess Cruise Lines. He has numerous performing credits with jazz and commercial artists, including the Temptations, Bucky Pizzarelli, Aretha Franklin, Joshua Redman, David Sanborn, Bill Holman, Jeff “Tain” Watts, Jim McNeely, Burt Bacharach, and Barry Manilow. His research interests include the pedagogy of jazz and the use of improvisation to improve aural skills in non-jazz students. Jones is also an accomplished saxophonist, having performed with the South Carolina Philharmonic and at the North American Saxophone Alliance biennial conference.
Professor of Jazz Studies Rodney Jordan joined the FSU faculty in 2001. He received the Bachelor of Music degree in Music Education from Jackson State University in Jackson, Mississippi where he studied with Dr. London Branch, Alvin Fielder, and Andy Hardwick. Mr. Jordan was the Assistant Principal bassist with the Mississippi Symphony Orchestra and Principal Bassist with the Albany Symphony Orchestra (Albany, GA) and served as string instructor in the Dougherty and DeKalb County School Systems in Georgia. He has also served as the bass instructor at Darton College in Albany, GA and Georgia State University in Atlanta, GA. Mr. Jordan continues to maintain an active performance schedule throughout the United States and abroad, and has performed and recorded with some of America’s finest jazz musicians. Recent performances include: Wigmore Hall
with the Marcus Roberts trio in London, England; The Kennedy Center for the Performing Arts with Rene Marie in Washington, DC, and The Monterey Jazz Festival with the Scotty Barnhart Band in Monterey, California. Recent recordings include: Pivot with Melvin Jones (Turnaround Records, 2011); Celebrating Christmas (2011) and Jazz at Lincoln Center Presents Higher Ground: Hurricane Relief Benefit Concert (2005) with the Marcus Roberts Trio; Black Lace Freudian Slip, Voice of My Beautiful Country (Motema Records, 2011), and Experiment in Truth (Independent Release, 2007) with Rene Marie; Say It Plain with Scotty Barnhart (Unity Music, 2009); Keep it Simple with Curtis Fuller (High Note Records, 2005); When Cooler Heads Prevail with Bill Anschell (Summit Records, 2002) and Ethnomusicology Volume 1 with Russell Gunn (Atlantic Records, 1999), which received a Grammy nomination for Best Contemporary Jazz Recording in 2000.
Bill Peterson is Professor of Music in Jazz Studies and Music Theory/Composition at Florida State University, where he teaches jazz piano, jazz arranging and jazz combo. He holds the MM degree from the Eastman School of Music and the BM from the University of Cincinnati. Peterson has released his own jazz trio recording on Summit Records and has also recorded on the Unity label. He has performed at the Monterey Jazz Festival, Blue Note Jazz club NYC, Paraguay International Jazz Festival and Savannah Music Festival. He has been a clinician and performer at the University of Miami, University of Denver, the Lafayette Jazz Workshop (California), the University of Alabama, and Eastern New Mexico University.
ABOUT THE FEATURED COMPOSER Clifford Brown was an American Jazz trumpeter who left a lasting legacy on the history of Jazz (itself ), and definitely the history of Jazz trumpet playing. He is known for his incredible range, flexibility, dexterity, inventiveness, rhythmic vitality, and impeccable technique on the trumpet. Not only was he a dynamic performer, he was also a great composer. Many of his compositions such as “Sandu,” “Joy Spring,” and “Daahoud,” are considered standards in the library of Jazz. His recordings of other standards like “Embraceable You,” and “Cherokee” are legendary as well. Clifford Brown had a career (and life) that was short lived, but his legacy lives on forever in the history of American music. Brown was born in Wilmington, Delaware on October 30, 1930, to a musical family. Everyone in his family participated in music (in some capacity), and as time went on Brown became interested in the trumpet. He began talking lessons around age ten while in school as a beginner, but quickly became more serious and began taking more extended lessons with a teacher by the name of Robert Lowery. He completed his early years of study at Howard High School, which provided a good musical environment from learning Jazz and Classical music. Brown attended Delaware State University (as a math major, initially), but then transferred to Maryland State College where he participated in the Jazz Band. He also began taking trips into the city of Philadelphia which had a budding jazz scene with the likes of musicians such as The Heath Brothers, Joe Jones, and many others. It was there that many believe Brown got his inspiration to become a professional Jazz musician. Some of Brown’s main influences were trumpeter Fats Navarro, Louis Armstrong, and Dizzy Gillespie….all major pioneers in their own right. He learned to develop a high sense of technical fluency, deep knowledge of how to master complex harmonic progressions (or chord sequences), and play with a sense of rhythm and phrasing at any tempo. He also was a master of great expression during the performance of ballads as well.
As Clifford’s professional career began to take off, he formed a partnership with one of the great drummers of the Bebop Scene in New York named Max Roach. They formed the Clifford Brown/Max Roach quintet in 1955, focusing more on the “Hard Bop” sound that had been a part of the scene as a reaction to the “Cool” Jazz phase that had preceded it. His group joined the likes of other bands like Art Blakey’s Jazz Messengers and The Miles Davis Quintet of the mid-1950s as pioneers of the Hard Bop Style. Brown did not fall into many of the same pitfalls that other Jazz musicians did such as developing drinking habits or heroin addictions. He lived virtually a clean life. Unfortunately, this was not able to save him, as he and a member of his band suffered a terrible car accident that ended his life too soon. While Brown and pianist Richie Powell were asleep (during a commute to Chicago for their next engagement) it is said that Powell’s wife (who was driving) lost control of the vehicle causing it to hit an embankment on a bridge and veer off of the side and crash, killing them. Brown died at the very young age of 25 years old. Clifford Brown leaves behind a legacy of music, trumpet virtuosity, and compositions that will forever be a part of the history of Jazz. Brown also leaves behind a legacy of recordings between 1953 and 1956. He worked with legends such as Art Blakey, Sarah Vaughn, Lou Donaldson, J. J. Johnson, and his group which he co-led with drummer Max Roach. His most significant recordings include: Clifford Brown/Max Roach (1954), Clifford Brown with Strings ( 1955), Study in Brown (1955), and Clifford Brown and Max Roach Live at Basin St. (1956). NOTES ON THE PROGRAM Daahoud – Clifford Brown Beautiful late-bebop influenced melody here, which begins with an enclosure where the fundamental note is surrounded by a note above and below it. The line ascends into an exotic sounding phrase that eventually resolves to a gratifying first statement. Daahoud is named after a friend of Clifford’s. The word “Daahoud” is derived from the name “David” and it means “beloved.” Jordu – Duke Jordan This 1953 Duke Jordan original is easily one of the signature pieces of this style. The melody and harmony both have a symmetry that is easily identifiable and the listener may easily follow the phrases to their logical conclusion.
Joy Spring – Clifford Brown and John Hendricks Larue Anderson was a graduate student who was working on a thesis entitled “Jazz verses the Arts (classical music). Ms. Anderson was classically trained and did not know very much about Jazz. Max Roach, a friend of hers, introduced her to Clifford Brown. Larue became a fan of the music. She and Clifford became close friends and later married. Joy Spring is what Clifford affectionately called his wife. This piece was written in 1954. Parisian Thoroughfare – Bud Powell Powell originally recorded Parisian Thoroughfare in 1951. The introduction musically describes the sounds of traffic in Paris and refers to “American In Paris” by George Gershwin as well as the French national anthem. After the introduction, the piece releases the frantic sounds of traffic and ushers in a relaxed swinging groove. Swingin’ – Clifford Brown This piece can be found on the recording “A Study in Brown” which features Clifford Brown (trumpet), Harold Land (tenor saxophone), Richie Powell (piano), George Morrow (bass), Max Roach (drums). This is a fast tempo bebopbluesy piece that takes only two minutes and fifty two seconds to hear on the original recording. The (A) sections are in A-flat major while the (B) section is in C minor. Perhaps only musicians would care about the key centers but this is one of the unique features of this high-energy gem. The Blues Walk – Clifford Brown Here we find ourselves listening to another piece from the recording Clifford Brown & Max Roach Quintet. This up-tempo blues is a staple in any performance and it allows us to enjoy the individual personalities of each soloist.
— Notes on the program by Rodney Jordan
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