FSU JAZZ FACULTY
Friday, September 9, 2022
Kevin Jones, trombone
Presents
Scotty Barnhart, trumpet
Rodney Jordan, bass
Leon Anderson, drums
FLORIDA
Inga Swearingen, vocalist
featuring special guest
Seven-thirty in the Evening
THE STATE UNIVERSITY
Bill Peterson, piano
Opperman Music Hall
COLLEGE OF MUSIC
David Detweiler, saxophone
owner
850-894-8700 719www.beethovenandcompany.comNorthCalhounStreet,Suite E Tallahassee, Florida 32303
SupportingtheArts
Tom Buchanan,
Willow Weep for Me Ann Ronell
PROGRAM
Dizzy Gillespie
Tizol/Ellington The Nearness of You Hoagy Carmichael
Beautiful Love Victor Young
Inga Swearingen, vocals
Horn arrangements by Bill Peterson
Centerpiece Edison/Hendricks
Scotty Barnhart, trumpet; David Detweiler, tenor saxophone Kevin Jones, trombone; Bill Peterson, piano Rodney Jordan, bass; Leon Anderson, Jr., drums
Avis Berry, vocals
INTERMISSION
Caravan
Ain’t Misbehavin’ Fats Waller
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. Health Reminder: The Florida Board of Governors and Florida State University expect masks to be worn by all individuals in all FSU facilities. Thank you for your cooperation.
Birk’s Works
My One and Only Love Wood/Mellin
Down by the Riverside African American Spiritual No Sandwich! Bill Peterson
In 1997 Mr. Anderson was a featured soloist with The Marcus Roberts Trio’s performance with the Los Angeles Philharmonic Orchestra at the Hollywood Bowl, and he was the selected drummer for the “Great Saxophone Legends” concert at the Jacksonville Jazz Festival, featuring Jimmy Heath, David Sanchez, Javon Jackson and Red Holloway.
ABOUT THE GUEST ARTIST
LeonARTISTSAnderson,
Anderson also has performed with the Baton Rouge Symphony Orchestra and the Louisiana Philharmonic Orchestra in roles of drummer and percussionist. Additionally, he has performed with the Czech National Symphony Orchestra with the Ellis Marsalis Trio; National Orchestra de France with the Marcus Roberts Trio conducted by Seiji Ozawa; Umbria Jazz Festival, Perugia Italy; Ingolstadt Jazztage in Ingolstadt Bavaria; Switzerland Jazz Festival in Basel, Switzerland; North Sea Jazz Festival in Rotterdam, Netherlands, and Ascona Jazz Festival in Ascona, Switzerland.
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 earned the B.A. degree in Music Education at Louisiana Tech University and the M.A. degree in Percussion Performance at Southeastern Louisiana University. His mentors have included Ellis Marsalis, Willis Delony, and Victor Goines of the New Orleans jazz scene, as well as the late bassist Ben Tucker. Mr. Anderson currently teaches drum set, jazz ensembles, jazz combo, and jazz history at the FSU College of Music.
Following her love of music, Inga Swearingen sang in choirs and studied voice at Cuesta College, Cal Poly University, and the Musik Hochschule in Luzern, Switzerland. After attending a workshop with André Thomas, she applied to Florida State University where she eventually received the master’s degree in choral conducting. During that time, she received her first invitation to appear on Garrison Keillor’s renowned radio show, A Prairie Home Companion, an opportunity that led to over a dozen appearances on the show. Currently, Inga teaches jazz voice at Cuesta College and Cal Poly University, performs with her band, and will be conducting with the Central Coast Youth Chorus in San Luis Obispo, CA. For more information, visit ingaswearingen.com.
ABOUT THE FACULTY
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). He also occupies the drum chair in The Jazz Orchestra at the Dr. Phillips Center in Orlando, AtFlorida.FSU,
Anderson continues to implement innovative ways in an effort to enhance and expand the Jazz Program. Since its inception, the program has grown exponentially and yielded numerous successful students, many of whom have solidified careers nationally in Jazz performance and education.
Mr. Anderson has also performed at the International Association of Jazz Education Conference with Bunky Green, Ellis Marsalis 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 (Swing Central Jazz); Loyola University (New Orleans) Jazz Festival; Governor’s Honors Jazz Camp; Broward County All-City Jazz Ensemble; “Jazz in the Schools” program in Jacksonville, FL; Florida Music Educators All-State Jazz Ensemble; Louisiana Music Educators All-State Jazz Ensemble, and numerous All-County Jazz Ensembles throughout the state of Florida.
His professional recordings include Victor Goines’s Joe’s Blues (1998), Marcus Roberts’s Cole After Midnight Vol. 1 (1998); To Those We Love So Dearly (1999) with Victor Goines; Sunrise to Midnight (2000) The Victor Goines Quartet; Five By Design’s Club Swing (2001); Richie Summa’s Tear It Down (2001); Etienne Charles’s Culture Shock (2006); David Detweiler’s New York Stories (2009); Melvin Jones’s Grammy nominated Pivot, (2011); Larry Panella’s The Gestures Project (2012); and Joy Road Vol 2 (The Complete Works of Pepper Adams) with the Kevin Bales Quartet (2017).
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 Baptiste, 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, Eric Reed, Sean Jones, Oliver Lake, Delfeayo Marsalis, Victor Goines, Ellis Marsalis, Lou Donaldson, Hank Jones, Ben Tucker, Terence Blanchard, Bunky Greene, Carmen Bradford, Byron Stripling, Jon Faddis, Rodney Whitaker, Terrell Stafford, Marcus Printup, Larry Panella, Melvin Jones, Mace Hibbard, Gary Motley, Nicholas Payton, Alvin Batiste, and many others.
A graduate of Florida A&M University with a degree in Music Education, Barnhart is profiled in the book Trumpet Kings, which places him with the most important Jazz trumpeters in history, from Louis Armstrong to Miles Davis and others. Barnhart maintains a private website at www.scottybarnhart.com; additional information can also be found at www.thecountbasieorchestra.com
Scotty Barnhart is an internationally acclaimed Jazz trumpeter, composer, arranger, educator, author, and is the Director of The Legendary Count Basie Orchestra. A featured trumpet soloist with the orchestra for over twenty years, he’s a two-time Grammy Award winner, appears on three critically acclaimed recordings with pianist Marcus Roberts, and over fifteen others with artists as diverse as Tony Bennett, Diana Krall, Ray Charles, and Tito Puente. Acknowledged as an authority on the history of Jazz trumpet, he has given two keynote lecture-demonstrations at The International Trumpet Guild Conference and continues to give lectures and seminars at universities in South America, Japan, China, Europe, South Africa, and all across the United States. Hal Leonard published his groundbreaking book, The World of Jazz Trumpet – A Comprehensive History and Practical Philosophy, worldwide in December 2005 to rave reviews.
In April of 2008, Unity Music signed Barnhart to his first recording contract as a leader and released his long anticipated debut CD, Say It Plain, to critical acclaim on May 19, 2009. Of Say It Plain, Bill Cosby stated “Scotty Barnhart’s soulful work combines a mastery of tradition with vibrant originality. I love it!” An unprecedented lineup of musicians appearing with Scotty on his solo recording are Wynton Marsalis, Clark Terry, Ellis Marsalis, Marcus Roberts, Herlin Riley, Todd Williams, Leon Anderson, Jr., Bill Peterson, and Rodney Jordan. It reached #3 on the Jazz Charts.
As Professor of Jazz Trumpet at Florida State University since 2003, two of Barnhart’s former students won First place in the National Jazz Trumpet Competition. He was also trumpeter for the Marcus Roberts Quintet in the late 80s and early 90s and garnered critical acclaim for his playing and sound of which The New York Times wrote: “Barnhart bears watching…laid out assured melodic lines in a singing, silvery tone.” He has also performed or recorded with Frank Sinatra, Wynton Marsalis, Herbie Hancock, Quincy Jones, The Duke Ellington Orchestra, Ray Brown, Take 6, Lena Horne, Max Roach, Nat Adderley, Aretha Franklin, Lalo Schifrin, Natalie Cole, Jane Monheit, Jon Hendricks, Hank Jones, Freddie Hubbard, Clark Terry, Nancy Wilson, George Benson, and Barbara Streisand among others. Additionally, Barnhart has been featured in the Asian Wall Street Journal, performed at The Academy Awards, and is in demand as a soloist and lecturer on jazz history.
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 live-music venues, such as 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.
Considered a modern renaissance woman, three-time Florida State alum Avis Berry is a talented singer and actress, teacher in Leon County Schools, and librarian at FSU College of Music’s Warren D. Allen Music Library. Music has taken her around the globe allowing her to record and share the stage with such greats as Dave Brubeck, Robert Shaw, the Berlin Radio Choir under the direction of Dr. André Thomas, the Count Basie Orchestra under the direction of Scotty Barnhart, FSU jazz faculty, the Tallahassee Ballet, and the Tallahassee Symphony Orchestra. She continues to collaborate artistically in projects such as her singing, writing, and performing role in Tri-Eagle Sales’ commercial with Tiburoso Films (2021), her inaugural role as Nana Grace in Crossing Jordan by award winning author Adrian Fogelin and adapted for the Young Actor’s Theater stage by Jimmy Kontos (2021), her inaugural role in the recording and production of Voices: A Folk Opera written by Suncoast Emmy winners Kathryn Belle Long and Michael Abraham (2022), and performances in regional music festivals such as Hulaween (2021), Word of South, a festival of Literature and Music (2022), and Suwannee Rising (2022) as a singer and songwriter with her band, Revival.
In 2009, Jordan took over the bass chair in Roberts’ trio. His first official performance with the trio was at the prestigious Wigmore Hall in London and it was clear that Jordan thoroughly understood Roberts’s unique trio conception. He quickly became known for his virtuosity, quick reflexes, and musical wit. His hard-swinging style has earned him the nickname Rodney “Swing” Jordan. His knowledge of harmony from his classical bass
Teaching has always been an important part of Jordan’s life and career. During his years in Georgia, Jordan served as a bass instructor at Darton College (part of the University System of Georgia) in Albany and at Georgia State University in Atlanta. He joined the faculty at Florida State University in 2001, where he now holds the rank of Professor of Jazz Studies. It was at Florida State that Jordan and Roberts first played together, while working to train young aspiring musicians.
Kevin Jones, Associate Professor of Jazz Trombone, joins the College of Music faculty after previously holding teaching appointments at the University of Texas at Austin, the University of South Carolina, Lander University, and Presbyterian College. As a performing artist, Jones 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, as well as at the North American Saxophone Alliance biennial conference.
Rodney Jordan is a native of Memphis, Tennessee. He grew up playing bass in church, and like Marcus Roberts, these roots are the foundation for his rich and soulful sound. He studied music with Dr. London Branch, Alvin Fielder, and Andy Hardwick at Jackson State University in Jackson, Mississippi. This training led him to positions as Assistant Principal Bassist and Principal Bassist with leading state and regional orchestras in Mississippi and Georgia. While living in Atlanta, Jordan became one of the city’s most sought-after jazz bassists, performing and recording with some of America’s finest jazz musicians including Marcus Printup, Mulgrew Miller, James Williams, Milt Jackson, George Coleman, Russell Gunn, and the singer René Marie.
training combined with the relentless feeling of swing in his playing is clearly a perfect fit for the powerful melodic, blues-based, syncopated improvisational sound of Marcus Roberts’ bands.
In the past two years during the Covid pandemic, Jordan has kept busy with teaching, writing and arranging new music, and doing remote recordings. He is credited with arranging the opening extended piece (“Art Moves Jazz”) of Quentin Baxter’s Soundbox commission for the San Francisco Symphony. He was also featured in Marcus Roberts’ 2021 short film entitled United We Play.
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 M.M. degree from the Eastman School of Music and the B.M. from the University of Cincinnati. He 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.
The script required Armstrong to play “Ain’t Misbehavin’” in a trumpet solo, and although this was initially slated only to be a reprise of the opening song, Armstrong’s performance was so well received that the trumpeter was asked to climb out of the orchestra pit and play the piece on stage.
NOTES ON THE PROGRAM
Ain’t Misbehavin’ - Fats Waller
Jordan has also been instrumental to the training of many of the younger musicians, including those at Florida State as well as the younger members of the Modern Jazz Generation band. He is a gifted and generous teacher who is respected by all. Jordan has been featured on all of Roberts’s recordings since 2009, including the most recent, Trio Crescent: Celebrating Coltrane. He released his first CD as a leader, Playing Jazz, in 2017.
The song was first performed at the premiere of the musical revue Connie’s Hot Chocolates in Harlem at Connie’s Inn as an opening song by Paul Bass and Margaret Simms, and repeated later in the musical by Russell Wooding’s Hallelujah Singers. Connie’s Hot Chocolates was transferred to the Hudson Theatre on Broadway during June 1929, where it was renamed Hot Chocolates and where Louis Armstrong became the orchestra director.
As noted by Thomas Brothers in his book Louis Armstrong: Master of Modernism, Armstrong was first taught “Ain’t Misbehavin’” by Waller himself, “woodshedding” it until he could “play all around it”; he cherished it “because it was ‘one of those songs you could cut loose and swing with.’”
One account of the inspiration for the song is that, during her time at Radcliffe College, Ronell “had been struck by the loveliness of the willow trees on campus, and this simple observation became the subject of an intricate song.”
Willow Weep for Me - Ann Ronell
“Willow Weep for Me” is a popular song composed in 1932 by Ann Ronell, who also wrote the lyrics. The song form is AABA, written in 4/4 time, although occasionally adapted for 3/4 waltz time.
Caravan - Tizol/Ellington
Birk’s Works - Dizzy Gillespie
The title refers to Gillespie’s middle name, “Birks.” It was the title track of Gillespie’s 1957 album, Birks’ Works.
The song was rejected by publishers for several reasons. First, the song is dedicated to George Gershwin. A dedication to another writer was disapproved of at the time, so the first person presented with the song for publication, Saul Bornstein, passed it to Irving Berlin, who accepted it. Other reasons stated for its slow acceptance are that it was written by a woman, and that its construction was unusually complex for a composition that was targeted at a commercial audience.
“Caravan” is an American jazz standard that was composed by Juan Tizol and Duke Ellington and first performed by Ellington in 1936. Irving Mills wrote lyrics, but they are rarely sung. The exotic sound of “Caravan” interested exotica musicians; Martin Denny, Arthur Lyman, and Gordon Jenkins all covered it. Woody Allen used the song in two of his films, Alice and Sweet and Lowdown. Steven Soderbergh used the Lyman version in his 2001 film Ocean’s Eleven. The song appears often in the 2014 film Whiplash as an important plot element. The Mills Brothers recorded an a cappella version in which they imitated instruments with their voices. Johnny Mathis recorded the song in 1956. More than 350 versions have been recorded.
The Nearness of You - Hoagy Carmichael
“The Nearness of You” is a popular song written in 1938 by Hoagy Carmichael with lyrics by Ned Washington. The song debuted in the 1938 movie Romance in the Dark. It is also heard in the 1940 recording In the Mood by Glenn Miller and His Orchestra, with vocals by Ray Eberle, and by many others. The song is on the Grammy-Award-winning album Come Away with Me by Norah Jones, at Track 14.
It’s not the pale moon that excites me That thrills and delights me, oh no It’s just the nearness of you
“Down by the Riverside” (also known as “Ain’t Gonna Study War No More” and “Gonna lay down my burden”) is an African-American spiritual. Its roots date back to before the American Civil War, though it was first published in 1918 in Plantation Melodies: A Collection of Modern, Popular and Old-time Negro-Songs of the Southland (Chicago, the Rodeheaver Company). The song has alternatively been known as “Ain’ go’n’ to study war no mo’”, “Ain’t Gwine to Study War No More”, “Down by de Ribberside”, “Going to Pull My War-Clothes” and “Study war no more”. The song was first recorded by the Fisk
Beautiful Love - Victor Young
Lyrics
“Beautiful Love” is a popular song composed by Wayne King, Victor Young, and Egbert Van Alstyne with lyrics by Haven Gillespie. It was introduced by the Wayne King Orchestra in 1931. The song has been called the “second favorite number” of King, after the Orchestra’s theme song, “The Waltz You Saved for Me.”
All my wildest dreams come true I need no soft lights to enchant me If you’ll only grant me the right To hold you ever so tight And to feel in the night the nearness of you
It isn’t your sweet conversation That brings this sensation, oh no It’s just the nearness of you When you’re in my arms and I feel you so close to me
It appears as a love theme both in the 1932 film The Mummy (when it is played during the ball sequence where Helen is telepathically called to the museum), and in the film Hotel Continental, also 1932. The song is included in the film Sing a Jingle (1944) and it was also included in the 1989 film Crimes and Misdemeanors by Woody Allen. Joe Pass performed the song at the Brecon Jazz Festival in 1991 and stated in jest that he couldn’t remember if it was by Victor Herbert, Victor Young, or Victor Mature.
Down by the Riverside
The song has many lyrical variations, though usually, each stanza follows a standard form, with one sentence that differs from one stanza to the next.
Because of its pacifistic imagery, “Down by the Riverside” has also been used as an anti-war protest song, especially during the Vietnam War. The song is also included in collections of socialist and labor songs.
The song often begins: Gonna lay down my burden Down by the riverside (3×) Gonna lay down my burden Down by the riverside: I ain’t gonna study war no more Study war no more Ain’t gonna study war no more
My One and Only Love - Wood/Mellin
This piece was written for tonight’s performance. It is a 24 bar minor blues in 3/4 with a first and second ending. The idea was to give Ms. Swearingen a new melody to scat sing in combination with our jazz faculty horn trio. The title emerged when the composer finished writing the tune around lunch time.
University jubilee quartet in 1920 (published by Columbia in 1922), and there are at least 14 black gospel recordings before World War II.
As an instrumental jazz standard, it remained predominantly a song for tenor saxophonists. Ben Webster recorded the tune with Art Tatum in autumn 1956. John Coltrane recorded his version with vocalist Johnny Hartman ten years after Ventura in 1963 (John Coltrane and Johnny Hartman). This was followed by Sonny Rollins in 1964. He re-recorded it in 1977, this time on soprano saxophone. Later interpretations came from Chico Freeman, Michael Brecker, and Joshua Redman.
Lyrics
“My One and Only Love” is a 1953 popular song with music written by Guy Wood and lyrics by Robert Mellin. Notable renditions by Frank Sinatra (1953), and later by John Coltrane and Johnny Hartman (1963), have made the song part of the jazz standard musical repertoire. When Frank Sinatra recorded it in 1953 with Nelson Riddle, first released as B-side to his hit single “I’ve Got the World on a String” (Capitol 2505), it became known as a jazz standard. Then popular saxophonist Charlie Ventura saw the song’s “jazz potential” and recorded the first instrumental version in the very same year.
No Sandwich! - Bill Peterson
September 18, Bak & Chang, viola/piano October 23, Dominic Cheli, piano January 22, Sinta saxophoneQuartet, February 17, Jasper String Quartet, Valentine Fundraiser, 7 PM St. Peter’s Anglican Cathedral March 5, Coro Vocati, vocal ensemble May 7, Cuarteto Latinoamericano, string quartet 2022-23 Concert www.theartistseries.orgSeason850-445-1616 Live Concert, 4 PM Opperman Hall Livestream & Video available
UNIVERSITY SYMPHONY ORCHESTRA UP NEXT
Centerpiece - Edison/Hendricks
But nothing’s any good without you ‘Cause baby you’re my centerpiece
Tickets and information at tickets.music.fsu.edu
“Centerpiece” is a 1958 jazz standard. It was written by Harry Edison and Jon Hendricks. The song is a love song, with the lyrics indicating that the singer feels incomplete without his lover. Each of the two verses ends with the couplet:
Join the University Symphony Orchestra and pianist Xu Han, winner of the 2022 Doctoral Concerto Competition, for an evening of orchestra works featuring selections from Copland, Brahms, and Prokofiev.Friday, September 16, 2022 7:30 PM | Ruby Diamond Concert Hall
Notes on the program gathered from Wikipedia (August 2022).
Vocal renditions of “My One and Only Love” were recorded by Ella Fitzgerald (Decca 29746), Johnny Mathis, Doris Day, Mark Murphy, Chet Baker and Kurt Elling. Cassandra Wilson turned the song into an up-tempo swing number.
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