JazzEd July 2009

JULY 2009 2008 • $5.00

The Jazz educaTor's Magazine

GEORGE GARZONE 9\Zfd`e^ X GXik f] k_\ Dlj`Z Focus Session Interpreting Slash Marks Basic Training Ear Training 101

The Official Publication of

JAZZ EDUCATION NETWORK

Who Says Trumpets Are Just For Boys?

“My 3001mv trumpet feels like it was made just for me.

I can’t believe a horn can make me feel this happy.”

Kiku Collins performs and records all over the world with pop superstars, indie bands, and her solo group. Her new album “Here With Me” is in stores now. For more information visit www.kikucollins.com

www.Getzen.com

อณ ฦฌ

JAZZ: HOW TO PLAY & IMPROVISE

วฏ วฆ

วจ ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย วค ย ย ย วฆ วฆ ย ย ย ย ย ย ย ย ย ฦฌ ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย วค วควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควค อดอถ ฦฌ อดวฆ ย

MAJOR & MINOR

ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย วฆ วฆ ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย วจ ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย วค ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย วค วควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควค อทอถ ฦฌ

MAIDEN VOYAGE

ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย วจ ย ย ย ย ย ย ย วฃ Summertime โ ข Bb Shufฯ le Blues โ ข Impressions โ ข Maiden Voyage โ ข Watermelon Man โ ข Doxy โ ข Autumn Leaves โ ข Solar Flair โ ข Song For My Father โ ข Cantaloupe Island โ ข Satin Doll โ ข Blues In F โ ข Footprints วควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควค

ANYONE CAN IMPROVISE

วจ ย ย ย อดวฆย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย วฒย ย ย ย ย ย ย ย ย ย ย ย ย วณ ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ฦฌ ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย วค ย ย ย ย ย ย ย ย ย ย ย ย ศ ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย วก ย ย ย ย ย ย ย ย วก ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย ศ ย ย ย ย ย ย ย ย ย ย วก ย ย ย ย ย วก ย ย ย ย ย ย ย ย วฆ วฆ ย ย ย ย ย ย ย ย ย ย ย ย ย ย ย วจ วควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควควค

โ One, two,

One, two, three, four ... โ

PLAY WITH

Jazz L

EGENDS.

That disฦ ncฦ ve, iconic โ count-oฤซโ has introduced thousands of musicians to the world of jazz improvisaฦ on. Jameyโ s familiar voice is a reassuring reminder that the rhythm secฦ on is ฦ ght, the changes are correct, and the experience will be as โ realโ as it gets! You simply canโ t go wrong with the legendary rhythm secฦ ons on Jameyโ s Play-A-Longs. โ Iโ ve found the best way to improve your musical skills is to be prepared. My Play-A-Long book and CD sets provide everything you need to learn jazz. From a basic foundaฦ on to all the great jazz standards.

Iโ ve dedicated my life to helping you enjoy making โ your own music.โ โ - Jamey Aebersold

JAMEY AEBERSOLD JAZZ w w w. j a z z b o o k s . c o m

ยฎ

George Garzone

“Teaching wasn't my goal, but as i did it more and more, I got more and more into it.”

contents

J U LY 20 0 9

REPORT: NEW ENGLAND CONSERVATORY CELEBRATES 40 YEARS OF JAZZ 9 2009 MONTREAL JAZZ FESTIVAL 20 BASIC TRAINING: EAR TRAINING 101 21

Chaim Burstein offers three techniques to improve students’ skills at ear training and, consequently, their overall musicianship

GEORGE GARZONE: BECOMING ONE WITH THE MUSIC 26

A prolific recording artist and performer since the 1970s, saxophonist George Garzone is also one of the foremost educators in jazz today. Currently on staff at Berklee College of Music, New England Conservatory, New York University, and Manhattan School of Music, George has mentored some of the biggest names around: Joshua Redman, Branford Marsalis, and Danilo Perez, to name just a few.

FOCUS SESSION: INTERPRETING SLASH MARKS 30

Lee Evans, professor of Music at NYC’s Pace University and author of numerous music books and articles, offers insight insights into properly understanding slash marks in fakebook leadsheets.

™

2 JAZZed July 2009

™

JULY 2009

Volume 4, Number 4 GROUP PUBLISHER Sidney L. Davis sdavis@symphonypublishing.com PUBLISHER Richard E. Kessel rkessel@symphonypublishing.com Editorial Staff EDITOR Christian Wissmuller cwissmuller@symphonypublishing.com

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ASSOCIATE EDITOR Eliahu Sussman esussman@symphonypublishing.com STAFF WRITER Denyce Neilson dneilson@symphonypublishing.com Art Staff PRODUCTION MANAGER Laurie Guptill lguptill@symphonypublishing.com GRAPHIC DESIGNER Andrew P. Ross aross@symphonypublishing.com GRAPHIC DESIGNER Laurie Chesna lchesna@symphonypublishing.com Advertising Staff ADVERTISING SALES Iris Fox ifox@symphonypublishing.com CLASSIFIED SALES Maureen Johan mjohan@symphonypublishing.com

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departments PUBLISHER’S LETTER 4 NOTEWORTHY 5 SETH ABRAMSON: WHAT’S ON YOUR PLAYLIST 11 JAZZ EDUCATOR'S NETWORK SECTION 12 • PRESIDENT'S LETTER • NETWORTHY NEWS • 2009 JEN BOARD OF DIRECTORS ELECTION RESULTS

JAZZ FORUM 33 GEARCHECK 35 CROSSWORD PUZZLE 39 HOT WAX 40 CD SHOWCASE 42

• MEMBERSHIP REPORT • THE JEN WEB SITE A STEP-BY-STEP GUIDE

CLINICIANS CORNER 45 CLASSIFIEDS 46 AD INDEX 47 BACKBEAT: JULIE CORYELL 48

Cover photograph: Naoki Iwane JAZZed™ is published six times annually by Symphony Publishing, LLC, 21 Highland Circle, Suite 1, Needham, MA 02494, (781) 453-9310.

Publisher of Choral Director, School Band and Orchestra, Music Parents America, and Musical Merchandise Review. Subscription rates $30 one year; $60 two years. Rates outside U.S. available upon request. Single issues $5. Resource Guide $15. Standard postage paid at Boston, MA and additional mailing ofces. Postmaster: Please send address changes to JAZZed, 21 Highland Circle, Suite 1, Needham, MA 02494.

The publishers of this magazine do not accept responsibility for statements made by their advertisers in business competition. No portion of this issue may be reproduced without the written permission of the publisher. © 2009 by Symphony Publishing, LLC. Printed in the U.S.A.

Business Staff CIRCULATION MANAGER Melanie A. Prescott mprescott@symphonypublishing.com ADMINISTRATIVE ASSISTANT Popi Galileos pgalileos@symphonypublishing.com WEBMASTER Sanford Kearns skearns@symphonypublishing.com Symphony Publishing, LLC CHAIRMAN Xen Zapis PRESIDENT Lee Zapis lzapis@symphonypublishing.com CHIEF FINANCIAL OFFICER Rich Bongorno rbongorno@symphonypublishing.com Corporate Headquarters 26202 Detroit Road, Suite 300 Westlake, Ohio 44145 (440) 871-1300 www.symphonypublishing.com Publishing, Sales, & Editorial Office 21 Highland Circle, Suite 1 Needham, MA 02494 (781) 453-9310 FAX (781) 453-9389 1-800-964-5150 www.jazzedmagazine.com

Member 2009

RPMDA JAZZ EDUCATION NETWORK

JAZZed July 2009 3

publisher’s letter

RICK KESSEL

Back to Havana

C

uba has an extraordinarily rich history of produc- cal condition and have not been updated with the ing exceptional jazz musicians, many of whom per- latest music technology that has been accessible to formed in some of the country’s legendary venues musicians around the world. in the first half of the twentieth century, including There is a hopeful anticipation on the horizon the Roof Garde Salon in the posh Hotel Sevilla and as relations between the U.S.A. and Cuba are fithe prestigious Hotel Presidente in Havana, among nally beginning to thaw under the Obama adminmany others. Unfortunately, from the time of the istration. Some restrictions have been removed Cuban Revolution in the 1950s, it was not until for Cuban Americans to send money and visit 1988 that the U.S. government allowed Cuban re- their families in their home country. As recently cordings into the USA and artists to travel here, as June 1, according to ipsnews.net, Secretary of albeit with significant restrictions.

State Hillary Clinton announced Much of this, unfortunately, was that talks on direct postal service “Far too many reversed under the George W. Bush and migration concerns indicate a administration, as they “reduced the new normalization of ties between Cuban number of Cuban artists allowed to the two countries. Although much musicians’ perform stateside and stopped issuof the embargo is still in place, arting such visas altogether after 2003” ists and booking agents have begun voices have (Billboard.biz, 5/15/09). to consider opportunities again to been stifled for Many Cuban jazz musicians, acplan tours in the USA, including too many years.” such Cuban favorites as Vocal Samcording to the Chicago Tribune article, “Home-grown Virtuosos” pling, Septeto Nacional, the dance (2/2/03), have benefited from the group Los Van Van, and others strict, classical style training favored by the influx (Billboard 5/15/09). of Russian teachers who emigrated during the comThe potential for further relations between our munist rule. “The merger of Cuban musical tradi- countries opens myriad possibilities for greater tion and rigorous Soviet teaching has produced musical interaction ranging from sales of musical some of the greatest jazz players of the past 40 instruments, equipment and publications, to more years.” However, the downside of communist rule open musical festivals, improved training facilities, was that many musicians, particularly students, and of course the flow of musical ideas. Far too to this day are performing and studying on sub- many Cuban musicians’ voices have been stifled for standard quality Soviet-era instruments, making it too many years, and it stands to reason that if the even more difficult to hone their craft. Although relations continue to improve, it is plausible for a the teaching is superb, many conservatories and great new era for jazz to emerge in the very near music schools in Cuba also remain in poor physi- future. Stay tuned…

rkessel@symphonypublishing.com

4 JAZZed July 2009

noteworthy

Jazz at the White House

W

ynton Marsalis and friends joined the First Lady, Michelle Obama, on June 15 at The White House for the first Jazz Studio. Honoring her commitment to the arts, First Lady Michelle Obama launched the first of three music studios to take place throughout the year. The White House opened its doors to 150 students to participate in a series of workshops including “American History and Jazz,” “Syntax of Jazz,” “The Blues Experience and Jazz,” and “Duke Ellington and Swing.”

The workshops were led by Ellis, Branford, Jason, Delfeayo, and Wynton Marsalis, as well as Jazz at Lincoln Center’s MSJA director Eli Yamin and Jazz at Lincoln Center Orchestra member Sean Jones, among others. Students who participated in

the workshops were invited to the stage to perform with the jazz greats and also received a lesson in the history of jazz as well as some general performance advice. Following the workshops, Michelle Obama introduced a short interactive concert featuring the Marsalis family and Paquito D’Rivera on clarinet.

To find out more, visit www.whitehouse.gov.

Berklee College’s Africa Scholars Program

brass fantasy

by Rupert Hörst (www.hoerbst.net) Rupert's collections of music-themed cartoons – Brassival, Woodstocks, and Stringled – are available in the U.S. through Hal Leonard Publishing.

Berklee’s Africa Scholars Program is designed to create opportunities for gifted African musicians who lack the financial means to study at Berklee. The college will be holding audition and interview events offering talented musicians the chance to be awarded scholarships to attend the college. The auditions will be conducted in Nairobi, Kenya. Events also include clinics, a roundtable discussion, and a concert.

The college launched the Africa Scholars Program last summer in Ghana and South Africa, resulting in $1.4 million in scholarship awards. The program, established by Berklee president Roger Brown and wife Linda Mason, is also intended to enhance Berklee’s presence in Africa; increase the number of African students, fostering a significant cultural exchange; and increase awareness of the college among African musicians. Berklee will award another full, four-year scholarship covering tuition and room and board this year. Musicians who audition will also be considered for many other scholarships awarded by Berklee’s World Scholarship Tour, where the college visits more than 40 cities.

For information about the African Scholars Program, visit www.berklee.edu.

JAZZed July 2009 5

noteworthy Satchmo SummerFest 2009

F

rench Quarter Festivals, Inc. (FQFI) will celebrate the ninth annual Satchmo SummerFest July 30th through August 2nd at Louisiana State Museum’s Old U.S. Mint in the French Quarter. This free familyfriendly jazz festival is dedicated to the life, music, and legacy of New Orleans’ native son, Louis “Satchmo” Armstrong.

Two stages of music on the grounds of the Mint, and one indoor stage will feature traditional jazz, contemporary jazz, and brass bands. Indoor children’s activities include collage art projects, Zulu coconut and second-line umbrella decorating, a daily children’s second line parade and more. In addition, screenings of Armstrong animations and family friendly films in which he appeared will be shown inside the Old U.S. Mint.

Inside the Mint, an array of speakers will host seminars, discussions, music, and movies. Presenters include Professor Robert O’Meally of Columbia University; George Avakian - Armstrong’s record producer and friend; Michael Cogswell of the Armstrong House and Archives; noted Armstrong scholar and Grammy award winner Dan Morgenstern; writer and Armstrong film collector Ricky Riccardi; and Yoshio Toyama, aka “Satchmo of Japan,” who will also perform with his Dixie Saints on the Traditional Jazz Stage.

Satchmo SummerFest keynote speaker, Professor Robert O’Meally of Columbia University, will speak on Thursday, July 30 at the Louisiana State Museum’s Old U.S. Mint, 2nd floor. This event is free and open to the public. The Louisiana State Museum has added a photo exhibit to the Old U.S. Mint. It contains 100 photographs along with narrative, from a time when the U.S. State Department sent famous jazz musicians (including Louis Armstrong, Dizzie Gillespie, Benny Goodman, and other greats) all over the world to act as ambassadors for the United States.

For more information on all FQFI festivals and events, visit www.fqfi.org.

Hudson Summer Jazz Workshop Pianist Armen Donelian and saxophonist Marc Mommaas present the third annual Hudson Summer Jazz Workshop, August 13 - August 16, in Hudson N.Y. This year’s special guest is David Liebman.

Improvisation, composition, duo and ensemble playing, technique, practice

6 JAZZed July 2009

routines, and artist life issues are some of the topics to be covered. Vegetarian meals and housing are included in enrollment fees. Enrollment is limited to allow for an in-depth learning experience.

All musicians aspiring to advanced level work are welcome.

The Workshop includes sessions with Armen Donelian and Marc Mommaas on Thursday evening and full days on Friday and Saturday. David Liebman arrives on Sunday for a special morning session and a concluding afternoon student/faculty concert at the historic Hudson Opera House.

For more information, visit www.armenjazz.com

Say What?

“The music business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free and good men die like dogs.

There’s also a negative side.” ~ Hunter S. Thompson

Deboskey Named “Jazz Educator of the Year” Mark Deboskey, KSDS-FM/Jazz88 station manager, has been named regional “Jazz Educator of the Year,” by the California Association of Music Education (CMEA)/Southern Border Section; the station he leads earned a national “My Source Community Impact Award for Engagement,” from the Corporation for Public Broadcasting (CPB). Jazz88 received the CPB award at a luncheon on July 8, 2009, at the Public Radio Development & Marketing Conference at the Hilton San Diego Bayfront Hotel.

Both awards recognized the station’s innovative programs and services to young musicians. The CMEA Award to DeBoskey noted his leadership in the station’s annual CMEA High School Jazz Festival, held at San Diego City College.

The Festival, now in its fifth year, gives high school and middle school bands the chance to perform, receive critique, and coaching from jazz educators as well as professional musicians. CPB’s Award to the station also recognizes the Festival, along with Jazz88’s annual “Music Matters” instrument donation program for city schools.

For more information, visit www. jazz88.org.

noteworthy

Columbia College Chicago

NEA Jazz Masters Award The National Endowment for the Arts announced the recipients of the 2010 NEA Jazz Masters Award – the nation’s highest honor in this distinctly American music. The eight recipients will each receive a $25,000 grant award and be publicly honored in an awards ceremony and concert on Tuesday, January 12, 2010 at Frederick P. Rose Hall, home of Jazz at Lincoln Center.

George Avakian, a jazz producer, manager, critic, and educator from Riverdale, N.Y., will receive the 2010 A.B. Spellman NEA Jazz Masters Award for Jazz Advocacy.

To find out more and to view the list of award recipients, visit www.arts. gov/news/news09/2010-NEA-JazzMasters.html.

...it keeps getting better!

You’re talented, inventive, determined.

You need an education that understands your music and where you want to go with it. Columbia’s specialized programs in composing and performing contemporary, jazz and popular music will take you from basic theory to in-depth, high-level musicianship. Excellence in educating contemporary musicians is our goal.

What’s yours?

12th annual Kettle Moraine Jazz Festival

Ian Jazz Studies Class of 2010 WWW.COLUM.EDU/MUSIC MUSIC@COLUM.EDU GRADMUSIC@COLUM.EDU 312.369.6300 PHOTO BY NOLAN WELLS

The 12th annual Kettle Moraine Jazz Festival will be held September 11 & 12, 2009. The event will take place along the banks of the upper Milwaukee River at Riverside Park in West Bend, Wisconsin. The festival, expected to draw more than 5,000 jazz lovers from all over the country, particularly from throughout Wisconsin and northern Illinois, will once again feature internationally recognized jazz musicians and vocalists. In addition to music, the festival has international cuisine, an arts marketplace where local and regional artisans display and sell their work, and interactive sponsor exhibits.

For more information, visit www.kmjazz.com.

JAZZed July 2009 7

noteworthy Sennheiser Supports BGSU Vocal Jazz Camp

New York Voices is the Grammy Award-winning vocal ensemble renowned for their excellence in jazz and the art of group singing. (Photo: Chris Carroll)

8 JAZZed July 2009

The 2009 Bowling Green State University’s (BGSU) Vocal Jazz Camp features instruction from members of the vocal jazz quartet, New York Voices. In recognition of what a significant and unique opportunity the camp is for serious students of vocal jazz, Sennheiser and Neumann will support the camp by providing a scholarship and live microphones both for use during the camp, as well as for prizes.

New York Voices have been at the forefront of vocal jazz for over 20 years. Their performances and recordings have earned them numerous Grammys, in addition to a raft of other awards and accolades. This year marks the first time that all four members will be at the BGSU Vocal Jazz Camp to provide instruction and inspiration to attendees.

BGSU Vocal Jazz Camp will run from August 4-9 and welcomes singers and ensembles at any level - from high school and college students to university faculty and professionals. Intense instruction in clinics, ensemble sessions, coaching, and special interest will convey the insights, nuance, and techniques that New York Voices have gained over their long careers. During ensemble and solo singing sessions, participants will use sixteen e 935 live vocal microphones that Sennheiser has provided to the camp. One lucky and talented soloist will win a Neumann KMS 104/105 live vocal mic.

The Sennheiser/Neumann scholarship will pay one full tuition to the winner. Winning ensembles can either admit one free participant or split the deduction of one tuition among their members. Note that ensembles are also eligible for the camp’s ensemble discount, and camp participants that are already registered may also apply.

For more information, please visit www.sennheiserusa.com.

report New England Conservatory Celebrates 40 Years of Jazz Studies

I

n 1969, the New England Conservatory became the first music conservatory to offer an accredited Jazz Studies program.

The program was the brainchild of jazz historian, composer, musician, and then Conservatory president, Gunther Schuller. “I thought it was outrageous that there were no music schools in this country offering Jazz Studies, particularly because jazz was created in this country. I always said this, but was never in a position to do anything about it,” Gunther explains. His first act as NEC president was to announce the creation of a Jazz Department. The point was to not just have a school jazz band, but to offer a full jazz curriculum with degrees. His vision for the program was to nurture the “complete musician.” As current NEC Jazz Department chairman, Ken Schaphorst explains, “Our Jazz majors take the same music theory and music history classes as our Classical majors. This is a very important distinction between NEC and other schools where the Jazz students are often segregated from Classical majors.” It was Gunther’s intent to make the Jazz Studies program a part of the entire school and the NEC community. The program was designed to be free of orthodoxy and

Gunther coaching a rehearsal in Brown Hall (All photos: Andrew Hurlbut/NEC)

boundaries.

In 1986, NEC graduate and long time faculty member, Hankus Netsky, was hired to chair the Jazz Studies department. Hankus explains, “At the time the program had taken a big turn from its original roots, but it was not unsalvageable. My goal was to bring it back to those roots.” In the early 1980s, the Jazz Studies department went through seven chairpeople.

According to Hankus, even though the program wandered a bit, possibly losing sight of Gunther’s original vision, it was never without quality. One of the changes implemented by Hankus was student concerts. “Why should a student come in, study for a year and never play for the public, at all?” That aspect of the program is still in place, larger than it has ever been, with great amount of community outreach. Throughout the year, in addition to various concert performances, NEC students showcase their talents at local area jazz clubs. As Hankus sees it, “Being in the Jazz Department is a way of creating an educational proKen Schaphorst conducting a rehearsal in Jordan Hall gram that can inform a student’s idenJAZZed July 2009 9

report

In concert in Brown Hall, conducted by Ken Schaphorst.

tity. This is not a cookie cutter program that encourages students to play just like someone else. My peeve is when a student comes in with a Miles Davis preset because they play trumpet.

Ultimately students have to find their own voice. Jazz evolves and NEC has an evolutionary program.”

Since 1969, the Jazz program’s faculty has grown, along with the number of students, which has made the admissions process more competitive.

The program is still as well rounded as it was 40 years ago, covering everything from classic jazz history, to free jazz, and even world music. A humbled Ken Schaphorst says, “I’m very excited about our 40th anniversary. I don’t think most people are aware that NEC has been doing this for as long as it has and at the level it has. When I think about all of the amazing graduates of the Jazz program, I think it really is worth celebrating.” The NEC Jazz Studies program will mark this anniversary with a two weeklong series 10 JAZZed July 2009

Prep School’s Youth Jazz Orchestra, one with vocalist Charles Morgan (and strings!) at NEC’s annual fundraiser “A Feast of Music,” at the Copley Fairmont.

What’s on Your Playlist?

As artistic director of Jazz Standard, Seth Abramson has played an instrumental role in shaping one of the most successful and beloved clubs in New York City. His creativity in booking offers guests an eclectic mix of both established and emerging jazz artists in addition to blues, world, and R&B musicians.

In addition, Abramson serves as president of Rabbit Moon Productions, a booking, live music, production and consulting company.

1. “Legs” (off of Let My People Go) - Darondo Listen to this and then try and tell me that Prince didn’t mine this record. Darondo somewhat of an enigma but I caught a rare live show at SXSW a couple of years ago and it was the highlight of the shows I saw there.

2. “Stuttering” (off of Live at Jazz Standard) – Fred Hersch Pocket Orchestra Always musically engaging and imaginative, Fred assumes more duties with this bass-less group. It just happened to be recorded live at Jazz Standard.

6. “The Blossom of Parting” (off of Metamorphosen) - Branford Marsalis Branford’s soprano tone on this track is a work of art in and of itself ,but paired with the quiet fire of their group interplay on this Joey Calderazzo composition that all at once sounds new and classically familiar, is magical.

7. “Knives Out” (off of Day is Done) – Brad Mehldau Trio Brad has developed such a personal piano trio aesthetic that inhabits a world that shines on this interpretation of a Radiohead tune.

3. Serenade – Toninho Horta At the time I discovered this CD I wore it out on dates with my then-girlfriend who is now my wife. This is simply one of the greatest solo Brazilian guitar/vocal recordings ever made.

The irony is that it was recorded live in Korea.

8. “You Are My Sunshine” (off of Powell’s Place) – Shannon Powell This takes me back to Donna’s Bar in the French Quarter where I first saw Shannon perform with his group which is a quintessential down home New Orleans jazz celebration.

4. “Ocean And The River” (off of Senzo) - Abdullah Ibrahim A contemplative solo piano work of profound beauty and spirit by this Zen South African piano master who was discovered originally by Duke Ellington.

9. “Now, Now” (off of Marry Me) - St. Vincent If you were to imagine Bjork collaborating with King Crimson that is where you would find this dynamic and sonically rich track by the talented Annie Clark that sticks in your head.

While it’s not jazz, it is surely artful.

5. “Lady Luck” (off of Kids) Hank Jones & Joe Lovano As strong and fulfilling a musical duo rapport in jazz you can find, but this record should have been recorded live at Jazz Standard! (laughs)

10. “Norleans” (off of Too Damn Hot) – Dr. Lonnie Smith This track from this aptly titled release is a funky, greasy organ trio blues as only the Doctor could prescribe.

JAZZed July 2009 11

Our network is growing

JAZZ EDUCATION NETWORK A MESSAGE FROM JEN PRESIDENT MARY JO PAPICH July, 2009 “Jazz is the only music in which the same note can be played night after night but differently each time.” – Ornette Coleman Dear readers, members continue to roll in and I want to thank you for your continued support of Jazz Education Network. Being a Full Member of JEN allows you to vote, hold office and receive the magazine, if you are not doing so already. Most importantly, it shows your investment and commitment to the future of jazz education. If you haven’t taken time to join us you may do so today by visiting us at www.JazzEdNet.org . JEN is dedicated to building the jazz arts community by advancing education, promoting performance, and developing new audiences.

As a new organization we have gathered information via surveys, Open Forums and our JEN Web site and personal conversations. In our last survey, the “One Minute, One Question Survey” on the viability of having a conference in New Orleans next spring---your responses told us that though economic times are tough way over half of you said you would attend…many said the March date was not ideal. You can be sure that these responses will be studied at the summer meeting of the new Board of Directors and we will plan accordingly from there. We have held Open Forums in Chicago, Bloomington, IL and Anaheim and have one more planned –on the East Coast in Winchester, Virginia on July 23rd at 1:00 p.m. at Shenandoah University at the JEN endorsed National Jazz Workshop---see Calendar of Events on the Web site for details. We continue to invite your viewpoints as we join together to connect, network and work towards transforming the culture of jazz education!

JEN members, thank you for voting in our first official JEN Board of Directors election. JEN proudly announces the first elected board of directors in this issue of JazzEd, please see appropriate page in this section. This new board will take office July 1st. The Executive Committee (President, President-Elect, Vice-President, Secretary, Treasurer) will be elected from the new board at their summer meeting. At this time I would like to recognize and thank the volunteer JEN Board members whom have served diligently in a temporary capacity at their own expense since last June as they will not be serving on the new board: Jarrard Harris, Bob Breithaupt, Dan Gregerman, Ellen Rowe, Julie Traenkenschuh, and Michael Kenyon. We appreciate your many contributions and count on your continued support.

I have made the decision to go into semi-retirement early to allow more time to work on JEN. This means I am retiring from Highland Park High School as the Fine and Applied Arts Department Chair and teacher and will stay on part time to produce the biennial Focus on the Arts Festival. As most of you know, JEN has no paid staff at this time and building an organization of this stature takes time and energy. Thank you for electing me to your board of directors, I am humbled by your support and will do everything in my power to move the organization onward and forward.

We look forward to new networking opportunities and are very excited about upcoming events and new partnerships and sponsors that are developing to advance jazz education. Dr. Lou Fischer represented JEN at the first Quincy Jones Musiq Consortium in New York City this spring, we are honored to work with them in this project to connect more youth to jazz. We are collaborating with the Jazz Arts Group in Columbus on a project related to developing a model for audience development, and have just become involved with NAMM’s Support Music Coalition so we can further the mission of developing audiences.

As you head into the summer, remember to take time to renew, refresh…make time to do what you love and be with loved ones and family. It is so important that we revive ourselves so we can have all the energy we need to do what is ahead. Take time to visit our JEN Web site (www.JazzEdNet.org) and visit us often as we become your most valuable portal for jazz education information and news.

In the spirit of collaboration, good will, and with the advancement of jazz education always in mind…I look forward to working with you and for you.

Our goal is to be a vital resource for a constantly evolving global art form today and for JENerations to come.

Mary Jo Papich President, Jazz Education Network Highland Park High School 433 Vine Avenue Highland Park, IL 60035 224-765-2164 mjpapich@JazzEdNet.org

www.JazzEdNet.org

networthynews This column highlights what’s happening in the jazz world and features news submitted specifically for this area of the magazine. Want your event and/or news published here? Send your info (150 words or less to networthynews@JazzEdNet.org

PARIS RUTHERFORD (TX-Board) has announced his retirement from the UNC Jazz Studies Program as Director of the Vocal Jazz Program. Speaking of UNT, trombone great STEVE WIEST has been named to replace Neil Slater as Director of the One O’Clock Lab Band beginning Fall 2009. Steve was the interim director 2008-09 while a national search was performed.

After forty years of teaching in public schools, JOHN KUZMICH (CO) will be retiring effective May 28th. John plans to spend more time presenting clinics and writing articles. John will be presenting a workshop on How to make “live” digital recordings and incorporate them on one’s Web site seamlessly in minutes at the International Association of Schools of Jazz, June 29 to July 4 in Lucerne, Switzerland, and teaching combos, big-band, music technology, theory and jazz education techniques at the 2009 International Pulawy Jazz Workshop in Pulawy, Poland, July 10-17, 2009.

McNeese State University Professor, Director of Jazz Studies and saxophonist RICK CONDIT (LA-Expert Coordinator) recently returned from a six week Fulbright Senior Specialist grant in Romania. Condit was performing, giving workshops, and helping with curriculum development at the University of the West in Timisoara near the Hugarian border. DARIUS BRUBECK (South Africa) will spend the next Spring semester at the same institution as a Fulbright Senior Scholar. Condit is also helping to coordinate plans for a performance tour of Romania by several American university big bands next summer. The Council for the International Exchange of Scholars (CIES), which administers the Fulbright program, has been extremely supportive in promoting jazz education in Romania, funding numerous grants in the last eight years. Fulbright is currently advertising for a one or two semester grant opportunity in jazz education in Romania for the 2010-11 school year. Information is available at the CIES Web site: www.cies.org.

The grant number is 0359. You can also contact Rick for more information Trombonist member TOM “BONES” MALONE (NY) continues to light it up nightly on the Dave Letterman Show as a member of the CBS Orchestra under the direction of pianist PAUL SCHAEFFER. The second annual Trombone Institute at Interlochen will now offer a jazz component. Noted NYC jazz trombonist JOHN FEDCHOCK (NY-Expert) will take residency at the Institute during its entirety, June 13-19, offering master classes and private instruction in jazz styles, improvisation and performance techniques. Fedchock is joined by three leading artist-teachers of trombone: MARK LUSK (Penn State), MARK HETZLER (U. Wisconsin-Madison and TOM RICCOBONO (Interlochen Arts Academy). The Institute will provide an opportunity for serious trombonists age 15-22 to spend a week of intensive study. Admission is limited to 24 participants and 16 auditors. Daily master classes will focus on solo repertoire, etudes, jazz studies and orchestral works. Private lessons are available as well as solo and chamber recitals.

Saxophonist MILES OSLAND (KY) and co-leader RALEIGH DAILY, pianist have released a new cd on the SeaBreeze label featuring the OSLANDAILEY JAZZTET titled Evidence. Joining the two leaders are JOHN WILLMARTH, drums and DANNY CECIL on bass.

JAZZ EDUCATION NETWORK

Composer/Arranger/drummer TIM DAVIES (CA) has released a cd featuring his outstanding big band from Los Angeles. The album is titled DIALMENTIA and the cover features Tim in a straight jacket. The author provides a detailed explanation of the title and cover within the album credits. Davies pens the Nine original arrangements, eight of them his own compositions, featured on this disc. The one exception being Duke Ellington’s Caravan(-dalized). Two years in the making, this is an exciting contemporary approach to big band music in which Tim incorporates some rap, turntables, et. al.

Two of jazz’s finest were honored with Achievement Awards in the June issue of DOWNBEAT. JIM WIDNER (MO-Board/Summer Camp Expert) was recognized for his contributions to jazz education, specifically his dedication to planning and producing summer jazz camps since 1988. The summer jazz camps are modeled in the manner of Stan Kenton ‘s former camps. This summer the four camps will be at the Univ. of Nebraska-Omaha, California StateSacramento, the University of Missouri-Kansas City, and the University of Missouri-St. Louis.

ROB KLEVAN (CA), Director of Jazz Education for the MONTEREY JAZZ FESTIVAL (CA-Institutional Partner) was recognized for his Achievement in producing one of the largest premier top student jazz band and vocal jazz high school/college competitions in the country.

The Next Generation Festival takes place in downtown Monterey, CA. Rob is now launching a Digital Music education project and has expanded the festival’s Traveling Clinician program.

JAZZed July 2009 13

networthynews JAZZ EDUCATION NETWORK

JON FADDIS (NY), Artistic Director of the Chicago Jazz Ensemble and JEN Founding Member, took the stage with his band at Chicago Symphony Center on June 5th and performed one of Duke Ellington’s most ambitious pieces Black, Brown and Beige to a sold out house. Each movement was introduced via the voice of Duke. The piece premiered in 1943 at Carnegie Hall, with Ellington introducing it “as a parallel to the story of the American Negro.”

DICK DUNSCOMB (IL), JEN founding member, serves as Executive Director of the CJE as the group makes their home at Columbia College Chicago.

SCOTT HALL (IL) was center stage at the Ravinia Festival June 12th as he collaborated with NEA Jazzmaster RAMSEY LEWIS as arranger and conductor of “Proclamation of Hope.” This symphonic jazz work was a world premiere commissioned by Ravinia (Highland Park, IL) honoring the bicentennial of Abraham Lincoln. Also performing was JEN board member JARRARD HARRIS (IL).

JARRARD was recently named to head the Jazz Ensembles and Combo program for Midwest Young Artists in Fort Sheridan, IL CAPITAL UNIVERSITY (OH-Institution Partner) hosted the annual Jazz & World Music Festival, April 12-18, 2009. The Invitational component of the festival featured the worldclass talents of drummer STEVE HOUGHTON (IN), pianist STEFAN KARLSSON, saxophonist JARRARD HARRIS, and trumpeter SCOTT BELCK (OH). Artist in residence for the entire Capital University FUSION Band

14 JAZZed July 2009

President MARY JO PAPICH (IL) was recently honored with the first ever Art Inspiration Award from The Art Center of Highland Park. Approximately 400 people honored her at the “Picasso Sings the Blues” with live jazz, inspiration book of testimonials, lifetime membership and ten arts scholarships for students. Papich

Mary Jo Papich with Highland Park High School Jazz Students.

has announced her semi-retirement from HPHS as Department Chair/Jazz teacher and will stay on part-time to produce the biennial FOCUS ON THE ARTS festival and work on JEN.

week was percussionist RUBEN ALVAREZ (IL-Board) touring with a different one of four designated groups Monday through Thursday performing Outreach Concerts and Clinics in area schools. Noontime concerts each day, happy hour concerts, evening formal concerts featuring a Faculty Series AND Student recital series are key elements of this exciting event. On Saturday all guest artists were featured in a final concert with the group augmented by Capital faculty guitarist STAN SMITH (OH) and bassist LOU FISCHER Secretary JULIE TRAENKENSCHUH (IL) just returned from a performance tour of New York City with the Peoria Jazz All Stars.

RONALD CARTER (IL), Director of Jazz Studies at NORTHERN ILLINOIS UNIVERSITY (IL-Institution Partner) recently received the top university award: “NIU Board of Trustees Professorship Award” for outstanding Scholarship, Teaching and Service. The NIU Jazz Ensemble under Ron’s direction has been selected to perform at the upcoming Midwest Clinic 2009 in Chicago, IL. The Liberace Jazztet also under the direction of Ron Carter recently performed at the Lima Jazz Festival in Lima, Peru, May 22nd –26th, 2009. This marks their second appearance in this beautiful city in South America.

The JAZZ ARTS GROUP (OH-Institution Partner) recently established classroom, rehearsal and technology space on

networthynews JAZZ EDUCATION NETWORK

the third floor of the historic Lincoln Theatre building developing the Jazz Academy, which began offering music education classes in 2006. With the move to state-of-the-art quarters at the Lincoln, the academy now offers instruction in media production, recording technology, keyboard lab media production as well as voice and instrument instruction. Academy students can range from preschoolers to senior citizens. Programming in the academy space also will include teacher training and collaboration with the Columbus City Schools and other districts. Executive Director BOB BREITHAUPT (OH), who is the driving force behind the enormous growth JAG has experienced in the last ten years, indicated to us that Herds of curious visitors packed the theatre in Columbus, OH on May 31 for a community open house to see what $13.5 million in renovations could do for the 80 year old, longclosed establishment.

How to Play Trumpet the James Morrison Way, is a DVD by JAMES MORRISON - an international trumpet virtuoso from Australia, who is known for his startling originality and passion for playing the trumpet. Having played with the likes of Dizzy Gillespie, Wynton Marsalis, Ray Charles and B.B. King, Morrison shares his four decades of experience in this instructional DVD. Learn his innovative techniques with tutorials in topics like breathing, range, endurance, articulation and projection.

The Master Drummer: How to Practice, Play, and Think Like a Pro, is a DVD by JOHN RILEY (NY). With more than 40 years of observing and studying the master players, renowned drummer, author, and teacher John Riley defines and explores the key musical components drummers must develop in order to play at their highest level. He demonstrates exercises

The International Society of Bassists held their biennial conference June 8-14th at Penn State University in State College, PA. Upwards of 1200 bassists were in attendance representing 40 countries. Jazz was well represented during the week long event with numerous concerts and clinics performed by various veterans of the bass world including in alphabetical order: RICH APPLEMAN, REGAN BROUGH, JEFF CAMPBELL, RON CARTER, TODD COOLMAN, JOHN CLAYTON (CA-BOARD), WAYNE DARLING, RICHARD DAVIS, MARK DRESSER, JEFFREY ECKELS, LOU FISCHER (OH-BOARD), MICHAEL FORMANEK, DAVID FRIESEN, BRUCE GERTZ, DREW GRESS, HENRY GRIMES, TOM KNIFIC, KRISTEN KORB (CA), CHRIS KOSKY, STEVE LASPINA, JAY LEONHART, NILSON MATTA, CECIL MCBEE, PHIL PALOMBI, JOHN PATITUCCI, RUFUS REID, HARVEY S., LYNN SEATON (TX), HANS STURM, DANNY THOMPSON, and WILLEM VON HOMBRACHT. JORGE ROEDER, the 2007 jazz competition finalist was featured in concert as well. The 2009 jazz finals were also held with the winner scheduled to perform at the 2011 conference. Other jazz artists supporting concerts included: STEVE ALLEE, MATT FRIES, JOHN KNIFIC, BILL MAYS and NICK SANDERS-piano; RUSSELL MALONE-guitar; TIM FRONCEK, MATT WILSON (NY), and MARCUS GILMORE-drums; CHRIS Left to Right: John Patitucci/Lou BECKSTROM, saxophone; CLAYTON Fischer/John Clayton DEWALT-trombone, and the U.S. ARMY BLUES (D.C.-Institutional Partner). (Editor’s note: there must have been a lot of gigs without bass players this past weekend!)

and strategies that will lead to the control of your limbs, the opening of your ears and the focusing of your mind.

Includes 9 play-along tracks and an E-BOOK containing all the exercises described in the DVD! John’s insightful approach will help any drummer grow, regardless of level or style! View a trailer at alfred.com. Both dvds are published by Belwin Jazz, a division of ALFRED MUSIC (CA-Corporate Partner). Additionally Belwin announces the release of its 2009-2010 Jazz Ensemble performance charts. With 55 new pieces written and arranged by the talented Belwin Jazz authors, titles include the Billy Strayhorn classic Take The “A” Train, Led Zeppelin’s Stairway to Heaven, new titles from Gordon Goodwin and swingin’ original compositions in a variety of styles. Select titles will be available on SmartMu-

sic™ starting fall 2009. A promotional catalog with more information and sample recordings will be available in summer 2009. To request your copy, please email customerservice@alfred. com.

KENDOR MUSIC (NY-Corporate Partner) announces the release of a new book titled: Jazz Solos for Bass – Volume 2, composed by DR. LOU FISCHER (OH-Board). This collection of jazz solos for bass are designed for either acoustic or electric bass, pizzicato or arco. Twelve solos grades 2-6, each based on standard chord changes easily recognized in a variety of key signatures, tempi, and styles to interest and challenge players. Articulation, dynamics, and slur markings are provided. Each solo works equally well with or without a rhythm section, and chord symbols are provided.

JAZZed July 2009 15

2009 JEN Board of Directors Election Results!

Congratulations to the newly elected Board of Directors of the Jazz Education Network:

RubĂŠn P. Alvarez

Melody Balicki

Paul Chiaravalle

John Clayton

Steve Crissinger

Jose Diaz

Dr. Lou Fischer

Rick Kessel

Jackie Harris

Mary Jo Papich

Paris Rutherford

Bruce Silva

Bob Sinicrope

Terell Stafford

Andrew Surmani

Jim Widner

John Wittmann

16 JAZZed July 2009

Welcome to our JEN members and future partners A new Jazz Education Network board has been elected and a new slate of officers is to be elected prior to July 1st and ratified at the upcoming August meetings. Membership has exceeded 600 members and growing. During the last several months, collaborations have been established with Music for All, 12 Points Graphics, Symphony Publishing, and the National Jazz Workshop. Board members will be present at all upcoming events and stand ready to answer any of your questions and listen to your suggestions.

July will mark the one-year anniversary of JEN and it is now time to increase our membership in the corporate world.

As vice president of Buffet Crampon USA, Inc. I was proud to become a charter member and corporate sponsor of the Jazz Education Network. Jazz education can only continue with the assistance and financial support of corporate musical institutions throughout North America and the world. Your participation could assist in the support of educators and musicians who otherwise would not have the opportunity to experience the cultural opportunities the jazz community has to offer. As we look forward to a future JEN convention, your participation both financially and personally will enhance JEN Partnerships in Jazz Education.

Bruce D. Silva Treasurer

Welcome New Members New Members since April 16th, 2009.

Corporate Partner:

Network Affiliate:

SONARE WINDS

PENTASTIC JAZZ FESTIVAL SOCIETY

Institution Partner: NORTHERN ILLINOIS UNIVERSITY Individual Members: BRETT BARKER PHILIPPE BAUGH ROBERT BEHRENS MEGAN BELL KEVIN BENNET RONALD BLAND DARRYL BOGGS STEVEN BRINK REYNARD BURNS ARTURO CANO SCOTT CARTER RON CARTER JEFFREY DARROHN TIM DAVIES ART DAVIS

DR. SCOTT GARLOCK GARY GILLETT JOHN HARNER MICHAEL HARRISON WILLIAM HARRISON ANTHONY HYDE CHRISTOPHER KAUFFOLD ROBERT KEHLE GERALD KINZIE KATHRYN KNUEVEN ROBERT KNEUVEN THOMAS KNUEVEN JEFFREY KUNKEL SUSAN LYNN MARTINEZ WILLIAM MASK TIM NUTTING

VICTORIA OTTO PAUL PEARCE THOMAS POOLE JORDAN REED RICARDO ROBLES LUIS RODRIGUEZ JOHN RILEY RONNIE RIOS JOE RODRIGUEZ ALI RYERSON JARED SLINGERLAND ERIC SPEIDELL JOHN STETLER DAVID SYCKS GERALD SWANBERG JACK TAYLOR

SHANE SHINSATO MICHAEL SHIRTZ EDWARD SWYDEN RYAN THOMAS JOE TONDU RODRIGO VILLANUEVA DAVID WAGNER NEIL WETZEL CURTIS WILSON BARRIE WOODEY JIM YEAZELL MICHAEL YONCHAK MARK YOST TOM YOUNG

JAZZed July 2009 17

JAZZ EDUCATION NETWORK

www.JazzEdNet.org The JEN Web site: A step-by-step guide

Are you using the JEN Web site to your best advantage? There are many facets of the JEN Web site that you may not be aware of.

If you are not a current member of JEN and are just visiting the Web site for the first time, the first page you will see when you place or type the address into your browser is the Splash Page! Our Mission Statement is prominently displayed here for the entire global community. Take a second to read through the descriptive portrait of JEN and see where YOU fit into the family! Click Enter Here to access the Home Page.

Once on the Home Page, there are many options. Members, once logged in, have access to other areas of the Web site specifically designed for members only.

The first thing you will notice is the announcement containing photos and names of the newly elected 2009 JEN Board of Directors! This group of seventeen volunteers will take office officially July 01, 2009. All were elected by the JEN membership in the first annual election of the Board of Directors completed in April of this year. To the left of this announcement you will see the JEN logo, and directly underneath that a link to the JEN home page on Facebook. Click the button marked f Find Us on Facebook.

Nothing will happen to you except you will be redirected to the JEN presence on Facebook where you can read various postings from Friends of JEN not posted on our Web site.

Directly to the right of the Board announcement you will see Member Login. If you are not yet a member of JEN, this area is of no benefit to you. If you are a current member but have forgotten your password, or are having trouble with logging into the Web site, simply click Request New Password and a new one will be sent to you automatically within a few seconds. Directly beneath that you will see a line that reads Upcoming Events. Click it to read about future JEN events and happenings. Directly beneath that line you should see the logo for the JENeral Store! Click it to access and purchase JEN merchandise...t-shirts, polo shirts, jackets, handbags, totes, computer bags, designed with the JEN logo. In the near future we plan to unveil new products here. We know you sound good, now look good!

Show your support of the organization! JEN members receive a discount on orders processed through the Web site. Scroll down the page and you’ll find a video and print version of a Message from JEN President - Mary Jo Papich.

On the MENU BAR directly above the Board announcement you can hover your mouse over the button, then click on the link to

18 JAZZed July 2009

send us a message. Hover over the button to scroll through and click on any one of the various levels of membership. Hover over the button to access details related to organizational structure, and to view membership options. Read about the meeting, which took place June 01, 2008 to form JEN. By the way, we are ONE YEAR OLD! and still growing with each passing day!

If you hover over the button you can read about individuals who volunteer their time to answer questions related to their area of expertise. This group is known as our If you are not a current member of JEN, and click contact next to one of the individuals from this list, you will be redirected to a prompt to join JEN. Click on the button. Anyone can read the information posted in the various topics for discussion. Subheadings include JENeral Forums; JENeral Jazz Discussions (including Everyday Questions and Answers; Outside the Box); Jazz Events, with several sub-categories including JEN events, Middle School, High School, Collegiate and Professional Events; Job Vacancy Postings which includes a place for Clinicians to advertise and institutions to post Collegiate Vacancies; and finally the JazzEdNet.org Site Features which contains JENeral Information, Web site Questions, and an area related to specific Member Features of the Web site .

Become a JEN member today in order to take part in the informative discussions. Hover over on the Menu Bar to access By Laws and press releases.

As a current Member of JEN, you will see a different Home Page. First, on the left side of the page you should see a Link to JAZZed Magazine. This is the area members should use to access both current and past issues of JAZZed. Once you click on the link you will be given a password and username to login to the JAZZed site. We apologize for the inconvenience of having to log in to an additional site, but it is a security precaution necessary for anyone visiting the Jazzedmagazine.com site.

Directly under that button you will see a red link marked Board Minutes. Click here to access minutes of Board of Directors and Executive Committee meetings as they become available. Financials will be posted here as well in the near future.

On the right side of the page, you will see several buttons. The Upcoming Events button has the same functionality as it did when viewed earlier. Directly under that button, as a current Member, you will see My Account. This is the area where you can update your profile or change your password and/ or upload your picture to the site. My Inbox is where you find messages sent to you from other JEN members. My Relationships is where your list of established relationships is stored. Log Out is where you should click to leave the JEN Web site. Search Members is where you can find other JEN members. Simply input a name or username if you know it. If it turns up marked No Response, click on the User Profile button directly above that message and hopefully you will be successful. If those two should fail, check the Members List under JEN Members at the top of the page. The list is alphabetical

and is only viewable to JEN members. Simply click on the person with whom you wish to establish a relationship and follow the prompts. Maintaining member privacy is very important, therefore email addresses are not visible to other members. As a security precaution, you must secure permission to establish a relationship prior to making contact. Members logged in to the site,may send emails directly to any member of: the Executive Committee; the Board of Directors; or the Network for the Experts by clicking on the contact button next to a name or photo. Please advise the JEN administration at info@JazzEdNet.org should you not receive a timely response from any of JEN’s experts. or Board Members.

Everyone is a volunteer, so please allow for a reasonable amount of time to receive a response. We consider this communication portal vital to the success of JEN. Do sign into the Guestbook to state your case related to why you joined JEN! Did you know that JEN members receive a discount for merchandise purchased in the JENeral Store?

The JEN Web site is constantly evolving. It is secure. You can trust your information is not released to individuals to which you have not granted permission. As a member of JEN, please be advised your information may be shared as part of Strategic Partner agreements. Rest assured, in all such cases, you always have the option to OPT OUT of any unwanted emails with a simple click of the mouse.

One last thought as the membership manager for JEN...if the site does not accept your credit card, it generally means you are not using the address which your bank has on file for the credit card, which results in an AVS mismatch on the site. This ultimately results in the denial of your credit card in the system. This is not a problem with the JEN Web site. This is your bank refusing the address you have input into the system. Please be certain you are using the same address that is on file with your bank. For example, if you wish to use your school address for JEN, that is okay with us, but it must be placed in the Shipping Address portion of the order, rather than the billing address area. The billing address area is where the bank which administers your card secures the information they need to verify and approve the transaction. Since our inception, many people have experienced this particular problem.

This is a security precaution required by law and JEN must remain in compliance.

It is my hope this article will shed some light on the functionality of the JEN Web site. The Web site may not appear to be doing much, but in reality, it is doing quite a bit, working so you do not have to! Most importantly, it is a safe and secure environment where membership can share information and ideas towards the satisfaction of JEN’s mission statement...building the jazz arts community by advancing education, promoting performance and developing new audiences. We WELCOME all!

Dr. Lou Fischer Co-Founder/VP/Membership Mgr.

JAZZed July 2009 19

festival

Montreal 2009 Whether your tastes run towards traditional jazz, bebop, smooth jazz, R&B, or many other varieties of music, the 30th Anniversary edition of the Montreal Jazz Festival provided an extraordinary lineup of musicians and ensembles for every imaginable taste. The Festival again solidified its position as one of the largest musical events in the world with such superstar performers as Stevie Wonder, Dave Brubeck, Chris Botti, Tony Bennet, Joe Cocker, Jackson Brown, Al Jarreau and dozens of others. Over 3,000 musicians performed in 650 concerts during the 11 day event which brought over 2.5 million visitors to the beautiful city of Montreal.

If you are a sax lover, you couldn’t help but be blown away by the searing hot jazz of Joshua Redman, whose blazing technique and innovative soloing was one of the highlights of the Festival. Redman’s supporting quartet, which included Aaron Parks, Eric Harland, and Matt Penman showed their own virtuosic abilities to help garner several standing ovations from a very appreciative audience.

Eliana Elias’s concert made you feel as though you were sitting at a beachside café in Rio de Janeiro in the 1960s with her wonderful interpretations from her recent Bosa Nova Stories album. Her sultry alto voice never sounded strained and was reminiscent of the original Jobim recordings, all while providing superlative keyboard work.

Chris Botti, the velvet toned trumpeter, performed a variety of music to appeal to a large audience who seemed to enjoy his interpretations which ranged from Jeff Buckley’s haunting tune, “Hallelujah,” to the pop standard, “The Look of Love.” Backed by the 80-piece Montreal Jazz Festival Orchestra, Botti also performed a tribute to the 50th anniversary of Mile’s Davis’ seminal Kind of Blue, and was backed by jazz great, pianist Billy Childs, as well as several other talented artists.

20 JAZZed July 2009

basic training

B E G I N N I N G G U I TA R

Ear Training 101

BY CHAIM BURSTEIN

T

here are three qualities that every good jazz musician must possess: a great ear, a strong sense of time, and a unique sound. While there are many different ways to approach these skills, the first two always require a certain amount of drilling.

The ear can be thought of as a muscle and to a certain degree must be trained like one. Improved ears will lead to better intonation, improvisation, ensemble playing and transcription skills. With that in mind, here are three great ways of dramatically improving your students’ ears and, hopefully, their overall playing.

Prior to tackling these three exercises, students must be familiar with the underlying scales and moveable “Do” solfege. If students are not familiar with moveable “Do” solfege, or cannot play these scales on their instruments, you have your work cut out for you! If your students are already way past that point, read on. These exercises can be modified for even the most advanced students and will serve them well for years to come.

Crazy for Chromatics Once students have a solid understanding of moveable “Do,” it is essential that they learn to sing a chromatic scale. As chromaticism is prevalent throughout modern jazz, this exercise will improve both intonation and students’ understanding of the genre. When singing through the chromatic

scale, remember to use sharps when ascending and flats when descending. (See Example 1) Begin by accompanying students at the piano. Don’t be afraid to change to a higher or lower octave when necessary. This exercise is not intended to make your students better singers; it is designed to improve their ears. For jazz musicians, octave displacement is an important skill and should be encouraged whenever possible. After students have mastered the exercise and solfege syllables, slowly remove the piano accompaniment, and spot check specific tones as needed.

Target Tones Target tones are an essential part of any ear training regimen. They force students to hear not only chord tones, but surrounding tones as well.

Example 1

JAZZed July 2009 21

basic training Additionally, I have found that while many students can correctly sing a major scale, they have some difficulty picking out specific intervals at random. As an example, try thinking of the letter of Example 2a

Example 2b

Example 3a

Example 3b

22 JAZZed July 2009

the alphabet which precedes the letter “O.” Most people are unable to provide the answer without silently singing or thinking of the letters “L,M,N.” With practice, this habit can be broken. With

respect to the scales and scale degrees, the best way to practice this is through the use of target tones. Here are two of my favorite target tone exercises and their uses.

basic training This first target tone exercise still uses the crutch of the scale but forces students to hear each scale degree without counting up from “Do.” I like to call this the “Leap Frog” exercise and it tends to produce great results in very little time. (See Example 2a) 1. Start by having students sing the solfege with piano accompaniment.

Play the exercise in all twelve keys, using octave displacement when appropriate.

first two exercises, begin with piano accompaniment and slowly work towards students singing a cappella. Example 3a displays target tones used within the context of a major scale while Example 3b utilizes a Lydian Dominant scale.

Drill, Baby, Drill Ear training is one area that is all too often pigeon-holed into a single course and classroom experience. To create a successful jazz program, teachers must

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“IMPROVED EARS WILL LEAD TO BETTER INTONATION, IMPROVISATION, ENSEMBLE PLAYING AND TRANSCRIPTION SKILLS.” 2. After getting comfortable with the exercise, slowly remove the piano accompaniment until the students are able to sing the entire exercise a cappella.

3. The final step in mastering this exercise is perhaps the most difficult.

First, play middle C and have the students sing through the exercise without the piano. When finished, have the students sing C# as the new “do” and check their pitch with the piano. If they’ve practiced the chromatic scale, this should be easy.

Once your students are able to master the major scale, try moving on to more advanced scales. Example 2b displays a version of the Leap Frog exercise which utilizes a Lydian Dominant Scale. This exercise is endlessly adaptable and should be used whenever you introduce a new scale or tonal cluster.

The second target tone exercise removes the scale entirely. This is useful in a number of ways. First, it requires the students to hear each interval without the comfort of the scale. Second, it’s a great way to introduce the concept of bebop approach figures which are often used in jazz improvisation. As with the

strive to involve the ear in every aspect of the student’s coursework. These exercises are not meant to be run through only once a semester, rather they should be continuously practiced and drilled until they are thoroughly absorbed by the students. After obtaining complete control over these three simple exercises, students should be encouraged to expand upon them as their understanding of scales and modes continues to grow.

The beauty of each of these exercises is the fact that the only material needed to practice each exercise is a pitchfork or metronome with A440. When I was an undergraduate at Berklee College of Music, I carried a pitchfork with me and practiced the exercises on the train while commuting to class. All three exercises will provide students with a solid foundation for transcription and analysis courses and will improve their overall playing, intonation, improvisation, and sectional playing. All in all, it’s a recipe for success.

Chaim Burstein holds a M.M. in Jazz Studies from the University of the Arts in Philadelphia and a B.M. from Berklee College of Music.

He is an active musician and educator in the Boston area. www.myspace.com/chaimburstein

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JAZZed July 2009 23

George Garzone

Becoming a Part of the Music

S

ince the 1970s, saxophonist George Garzone has been a key player in contemporary jazz, notably as a member of The Fringe, a jazz trio that also includes drummer Bob Gullotti and bassist John Lockwood. As a performer and recording artist, he’s worked with the likes of John Patitucci, Danilo Perez, Joe Lovano, Dave Liebman, Michael Brecker, Chick Corea, and Kenny Werner, to name but a very few. Additionally, his talents have led to collaborations with major acts outside of the realm of jazz, such as Aerosmith, Aretha Franklin, Tom Jones, Engleberg Humperdink, and even New Kids on the Block(!).

24 JAZZed July 2009

By Christian Wissmuller

All photos by Naoki Iwane.

JAZZed March 2009 25

During over three decades as a music instructor at a number of respected institutions, George has mentored countless students, some of whom have gone on to be counted amongst the greatest players of their age: Joshua Redman, Branford Marsalis, and Chris Speed, among others.

Recently JAZZed spoke with George about his lifetime in music, his pioneering “Triadic Chromatic Approach” to instruction, and his thoughts on performing and teaching jazz.

JAZZed: Let’s talk a bit about how you first got interested in music. What first inspired you? What drew you to the tenor sax?

George Garzone: I have a family given sound on the saxophone. My Uncle Rocco taught me saxophone in

the back of his pizza shop in Boston.

Rocco’s sound was so beautiful and he passed that down to my cousins and me.

JAZZed: Sounds like a pretty great early learning experience. As you got older – high school, college – who were some influential teachers?

GG: I was playing gigs and making real money in my early teens, but when I got to Berklee the faculty really kicked my butt. That’s when I started to become the player that I wanted to be. Joe Viola was my main teacher and his influence was everything. Plus guys

JAZZed: What first drew you to the notion of becoming a teacher, yourself?

GG: I had been in Las Vegas playing for Tom Jones and when I returned to Boston work was kind of slow, so I started teaching some ensembles at Berklee. Teaching wasn’t my goal, but as I did it more and more, I got more and more into it. I think that my approach to teaching is different than

“I’ve had many students who had the skills to go on to great things, but it’s not always obvious who will get that lucky break.”

George Garzone, John Patitucci, and Mike Stern In the studio for an upcoming JodyJazz Inc. Project.

26 JAZZed July 2009

like Joe Lovano, Kenny Werner, Billy Drewes, Jamey Haddad, and many others who were students at that time were so inspiring. Frank Tiberi was also an important mentor.

most teachers and students seem to respond to that.

JAZZed: You’ve taught some of the heaviest hitters in contemporary music – Branford Marsalis, Joshua Redman, Danilo Perez, and the like.

Do you find you have to modify your approach when dealing with an exceptionally gifted student? Is it always obvious when you’re dealing with someone who’s going to go on to great things?

GG: The Triadic Chromatic Approach that I’ve developed is deep enough that I’ve never met a player that was too advanced for it. No matter what a student’s skill level is, he or she can grow their playing by working on the TCA (Triadic Chromatic Approach). I’ve had many

George Garzone Précis Notable Students: Branford Marsalis, Donny McCaslin, Teadross Avery, Seamus Blake, Kenny Brooks, Joshua Redman, Chris Speed, Marcus Strickland, Mark Tuner, Bruce Barth, Danilo Perez, Antonio Sanchez, Chris Wood, Norm Zocher Performed with: Randy Brecker, Tiger Okoshi, Herb Pomeroy, Jerry Bergonzi, Michael Brecker, Kenny Garrett, Dave Liebman, Joe Lovano, Joshua Redman, Stan Strickland, Steve Wilson, John Abercrombie, Chick Corea, John Patitucci, Buddy Rich, Dennis Chambers, Peter Erskine On the Web: www.georgegarzone.com, www.thefringejazz.com Selected Garzone Discography: Alone, Four’s and Two’s, The Fringe in New York (NYC), One Two Three Four, Among Friends (Stunt), In the Zone (Ats)

students who had the skills to go on to great things, but it’s not always obvious who will get that lucky break. But guys like Joshua, Branford, et cetera – you usually know that they’ll probably be the cats.

JAZZed: Let’s talk about the Triadic Chromatic Approach.

GG: The concept came about from listening to Coltrane and developing a way to use triads in a non-repetitive way. It teaches the player how to come up with non-repetitive, non-predictable lines, so you can improvise over chord changes with confidence, sounding fresh and original. There’s a lot more to it than that, but that’s the simplest way that I can describe it.

JAZZed: I’ll want to go back to that to talk about the DVD, but for the moment let’s move on. You’re currently on staff at a couple of places – how are you dividing your time?

GG: I split my time between Boston and New York. I’ve been at Berklee College of Music since 1975 and I also teach at New England Conservatory, New York University, and Manhattan School of Music.

JAZZed: Sounds pretty busy. What’s your favorite thing about teaching?

GG: The kids are really great.

They’re the ones who taught me how to teach and they are probably why I was able to develop the TCA, because if I didn’t have to teach it to someone other than myself, I don’t think I would have formalized it into a method that can be taught.

JAZZed: What do you find most challenging about being an educator?

GG: Staying fresh and present with each student.

JAZZed: What’s different about giving master classes, compared to traditional classroom settings or one-on-one instruction? Of the three, which do you prefer?

GG: One-on-one lessons are the best because everyone learns differently and you can customize the learning process in a private lesson.

Next, the classroom is great because you get to teach a subject over many weeks, so that you have the opportunity to go in depth. And I love doing Master Classes around the world because the energy that I receive JAZZed July 2009 27

John Lockwood, Bob Gullotti, George Garzone, and Mulgrew Miller in the Studio for an upcoming JodyJazz Inc. Project.

from people is amazing. And there are some great players in places you wouldn’t think of having burning jazz musicians.

JAZZed: You’ve performed and recorded with so many notables from the worlds of jazz and well beyond. What have you learned from working in such disparate styles?

GG: Just to be present in the moment and make music with whomever you’re with. On one hand, you’re always going to get my sound when you hire me, but I’m also going to try and do what I hear is the right thing for the music that’s happening.

JAZZed: What’s your proudest achievement as a performer and recording artist?

GG: My 30 years with The Fringe.

There also was a gig I did in Japan that was a tribute to Coltrane. Michael Brecker, Dave Liebman, Josh Redman, and myself were the featured soloists and when I was holding my own with those guys I knew I could hang with anybody.

JAZZed: And your proudest accomplishment as an educator?

GG: My DVD, The Music of George Garzone and The Triadic Chromatic Approach.

28 JAZZed July 2009

JAZZed: And the DVD and partnership with JodyJazz came about how?

GG: How the DVD came about is an interesting story because it shows you how things in life work sometimes.

Jody Espina was one of my students at Berklee in the early ‘80s and then about 20 years later I hear Dino Govoni, another sax teacher at Berklee, playing in the next room and his sound was huge.

So I asked Dino what mouthpiece he was playing and he said it was a JodyJazz. I said, “You mean Jody Espina?”

So I contacted Jody and he worked with me on what I was looking for in a mouthpiece and I’ve been playing his pieces since then. I would recommend Jody’s stuff to any sax player, he’s the real deal.

From hanging out with Jody, he knew that I had wanted to publish a book on the TCA for quite sometime, but I just hadn’t done it because it didn’t feel right to me in a book form.

Jody approached me with the idea that his company would publish it and it was his idea to make it a DVD. Also since the TCA is a relatively advanced concept, Jody wanted to make the DVD accessible to more players, so he had me do a whole lesson on getting a saxophone sound. We put an album’s worth of performances on there with Mike Mainieri, Frank Tiberi, Chris Crocco, and The Fringe, plus interactive play-alongs where the user trades choruses with me. Everybody involved with this project did an amazing job and I couldn’t be happier with the results. And sales have been amazing.

JAZZed: What words of wisdom would you pass along to your fellow jazz teachers and artists?

GG: Hang in there and keep doing what you are doing. If that’s your passion, go for it and don’t listen to the people who will try and put you down.

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JAZZed: Final thoughts?

GG: Music is the purest, most beautiful thing I know of. If you give it your all, you will become a part of the music and there’s nothing better that I can think of than that.

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JAZZed July 2009 29

focus session

SLASH MARKS

Interpreting Slash Marks in Fakebook Leadsheets

BY LEE EVANS

INTRODUCTION A jazz or popular-music fakebook is a book of songs presented as one-staff musical sketches consisting of each song’s melody, plus alphabetical chord symbols above the melody, and the song’s lyrics below the melody. Each such presentation of a song in a fakebook is known as a leadsheet.

A fakebook is so called because the word “fake” is synonymous with “improvise” in the jazz vernacular. What must be improvised are melodic embellishments and the chords, employing desirable voicing and voice leading, keeping in mind that a chord symbol does not always indicate whether the chord should be played in root position or in an inversion. The chord symbols will also serve as the harmonic framework for improvisation after the initial chorus of the song has been stated.

Baroque figured-bass keyboard parts may be considered to be classical-music precursors of the popular-music leadsheet, in the sense that both are mere sketches that require keyboard players to improvise a full realization based upon limited information.

1. CHORD INVERSIONS Slash marks are employed to indicate chord inversions. An upper case letter to the right of a diagonal slash mark denotes the bottom note of the chord. Thus F7/C means an F7 chord played in an inversion in which C is the bottom note; in other words, in this case a 2nd inversion chord.

2. NON-HARMONIC BASS TONE An upper case letter to the right of a diagonal slash mark may also denote a non-harmonic bass tone. A non-harmonic bass tone is a tone that is not one of the chord tones indicated by the character to the left of the diagonal slash mark.

Example

SLASH MARKS Among the symbols employed in jazz and popular-music fakebook leadsheets are slash marks, a subject of some mystery to many classical musicians. Slash marks are versatile in that they actually serve several different purposes that this article will define and illustrate with musical examples.

30 JAZZed July 2009

Had the above chord symbol (Db/C) been spelled DbMA7, it would have been left entirely to the pianist to guess at the composer’s voicing intention.

focus session 3. POLYCHORDS A slash mark may also indicate a polychord. A polychord is a single chord comprised of two or more chords.

Example is played as

Example

6. CHORD CHANGES A. Slash marks are employed in rhythm section parts to show the specific beats where chord changes occur.

Example

A polychord is sometimes indicated by a horizontal slash mark (see above) rather than a diagonal slash mark, but this practice varies widely in different fakebooks.

Polychord symbolization is clearer and therefore preferred over a chord symbol showing harmonic alterations: add #8 C add #6 add#4 …another way of expressing the above chord.

As seen in polychord symbolization, when chord quality (major, minor, diminished, augmented, dominant 7th, etc.) is indicated by the character below the horizontal slash mark, or to the right of the diagonal slash mark, F#/C7, an entire chord rather than a single tone is to be played by the left hand while the right hand plays the chord indicated by the upper or left character.

4. CHORD REPETITION IN A NEW INVERSION An upper case letter to the right of a diagonal slash mark, where there is no character to the left of the slash mark, indicates a different bass note to be played with the previous chord.

EXAMPLE:

Bb/F Bb/F

/D Bb/D

should be played as

5. REPETITION Diagonal slashes that come after the first beat of the bar indicate repetitions of what is written on beat one.

B. Slash marks instead of note heads are at times also employed for rhythm section instruments to indicate specific points where chord changes occur off the beat.

Example

7. UNEVEN DISTRIBUTION OF CHORDS IN A BAR In a 4/4 bar where there are two chord symbols and no slash marks, it means that the chords are to be played on beats one and three, respectively.

EXAMPLE:

4/4

C

Am

However, slash marks are employed to indicate the specific beats where there is a chord change: a) in 4/4 bars in which one or more of the chords are played on other than beats one and three.

EXAMPLE: 4/4 Eb / / Eb+ b) in 4/4 bars containing three chords.

EXAMPLE: 4/4 Cm / B+ Bb7 c) in 3/4 bars containing two chords.

EXAMPLE: 3/4 Eb Eb+ / d) in any other uneven distribution of chords in a bar.

JAZZed July 2009 31

focus session 8. ONE MEASURE REPEAT The sign below means repeat the previous bar. If the repeats continue for more than one bar, number each repeat bar: Example

…or as an alternative, number every few bars:

11. CAESURA (pronounced si-zhoor-uh) The caesura (often referred to as ‘railroad tracks’ by jazz and pop musicians) is a slight pause, or breathing point, in the tempo; a break in the sound. These parallel diagonal slash marks, placed on the fourth staff line, should cross the top staff line at the exact point in the bar where the break occurs and should be located at the end of a note’s full value: Example

Example

…or just before the barline if the break occurs immediately before the barline: 9. TWO-BAR REPEAT To repeat two consecutive different bars, use two parallel diagonal slash marks with dots and write the number 2 over it.

Example

Example

If a longer break is wanted, a fermata should be written over the caesura: This two-bar repeat sign is ordinarily used for rhythm instruments, but I don’t see any reason why it can’t also be used for other instruments.

Example

If more than two bars are to be repeated, traditional repeat marks are employed rather than the above sign.

Example

10. SINGLE GRACE NOTES A single grace note is usually written as a cue size 8th note, and may use a diagonal slash mark slanting upward to the right, no matter the stem direction.

Example

32 JAZZed July 2009

Note: Sometimes an apostrophe - called a breath mark - placed above the staff where the breath is wanted, is used instead of a caesura. This symbol may or may not interrupt the tempo, and is somewhat shorter in duration than the caesura.

I hope that readers have found the information in this article informative and useful.

Lee Evans is professor of Music at NYC’s Pace University. He is the author/composer/arranger of over 90 books, plus numerous articles.

Among his recent books are Discovering Blues Improvisation, Books 1 and 2 (Hal Leonard.)

jazzforum

www.aajc.us

The Jazz History of Indianapolis

By David Brent Johnson

I

ndianapolis, the past recaptured: Freddie Hubbard and Wes Montgomery sitting in with Sun Ra at the Senate Avenue YMCA. Cannonball Adderley stretched out ecstatically in his chair at the smoky afterhours Missile Room, his eyes closed and his thumb raised in hipster benediction as he hears Montgomery’s blues-buttered octaves for the first time. Pookie Johnson and Buddy Parker throwing down on saxophone with bebop legends Dexter Gordon and Wardell Gray at a post-gig jam session, David Baker’s progressive-bop band holding court at the Topper on 34th Street before going on to form the nucleus of the revolutionary George Russell sextet. A group of young “Turks” known as the Jazz Contemporaries kicking out 1950s hardbop at George’s, a bar at the intersection of Indiana Avenue, Senate Avenue and Vermont Street; their ranks included the leader Larry Ridley, Freddie Hubbard and Jimmy Spaulding, future musicians on many classic Blue Note albums of the 1960s. The Montgomery Brothers (Wes, Monk, Buddy) and the Hampton family establishing musical dynasties like forerunners of the Marsalis family in New Orleans.

This is the jazz history of Indianapolis, Indiana, as rich and deep as the soil its crops come from, shadowed by the political agents of segregation, economic dislocation, and cultural change. Its soundtrack, if it could be heard today, would be the music that spilled out into the streets on summer nights in the days before air-conditioning, the doors propped open, Indiana Avenue alive and a town unto itself, with pool halls, restaurants, barber shops, shoe shine stands, pharmacies, doctors’ and lawyers’ offices, stores, apartments and houses and the crown jewel of the African American community, the JJ Johnson Madame Walker Theatre. It alone still stands today.

Ironically, the late 1920s construction boom that added Crispus Attucks High School, the Phyllis Wheatley YWCA and the Walker Building to the cluster of black community buildings like the Senate Avenue YMCA and the Knights of Pythias Hall, was in part a by-product of racist policies that intensified from 1921 to 1928 when the Ku Klux Klan controlled Indianapolis city politics. The black community—hovering at ten per cent of the population and out-maneuvered by an at-large system for selecting political representatives—could not counter the powers that pushed to segregate public facilities. But at Montgomery Brothers least there was some consolation in having the Walker, a place where they could see first-run Hollywood movies without the insult of rear entrances and dirty balconies; where they could enjoy Sunday dinner in the Coffee Pot restaurant; and where they could shop at the Walker Drug Store with its promise that “positively no stale seconds, inferior or refuse merchandise will be used, stocked or sold.”

During that first year in 1927, the Walker Theatre began featuring an array of black entertainers from blues queen Mamie Smith and her Original Jazz Hounds to the famed

Whitman Sisters. The Blackbirds, an orchestra led by Reginald DuValle—the local pianist who had taught composer Hoagy Carmichael to play ragtime and jazz—remained a perennial favorite.

On Labor Day 1928, an S.R.O. crowd eager to see husband and wife vaudeville team, Butterbeans and Susie, spilled onto Indiana Avenue. “Early before the doors opened, street car after street car unloaded hundreds of patrons at the intersection of the Avenue and North Street,” reported the Indianapolis Recorder www.walkertheatre.com/index.asp?p=27) “By the time I was in high school (1945), the Avenue was jumping,” says Indiana University Distinguished Professor, Dr. David Baker, an internationally renowned musician, composer, and jazz educator. “There were clubs from one end of it to the other, from Ohio Street to Lockefield Gardens. There was the Cotton Club, the Sunset Terrace, the Missile Room, George’s Bar, Henri’s, the Red Keg… There was the Sky Club, with tap dancers, pantomimes and female impersonators too. You name it and it was happening.”

These were the places where Indianapolis musicians learned to survive and thrive, when jazz education took place in the clubs and in all-night musical jousts known as “cutting contests,” in which players tried endlessly to top each other’s riffs and licks. Montgomery, Hubbard, Ridley, Slide Hampton and J.J. Johnson all honed their art along the Avenue, as did so many others, less well-known but certainly compatible in terms of talent: pianists Erroll Grandy and Melvin Rhyne, guitarist Paul Weeden, trumpeters Virgil Jones and Maceo Hampton, saxophonists Charles Cox, Jimmy Coe, David Young, “Pookie” Johnson, drummers Willis Kirk, Paul Parker and “Killer Ray” Appleton.

They jammed freely with the big names that came through town and often bested them. “Any out-of-town musician that walked into those after-hours sessions did so with trepidation,” says Baker. “There were no secrets in the jazz world. Everybody knew who these cats were.”

JAZZed May 2009 33

jazz jazzforum has been nominated for a Pulitzer Prize, play religious music, R & B or jazz. I can Then there were the homegrown founded the jazz studies program at Indiremember auditioning for the Indianapolis virtuosos who left Indianapolis for the ana University and become director of the Symphony Orchestra and being told, in no West Coast, including the Montgomery Smithsonian Jazz Masterworks Orchestra, uncertain terms, that even though my audiBrothers, bassist Leroy Vinnegar, and piadedicated to preserving the history of tion was the best, there nist Carl Perkins. “No one American jazz through performance. was no chance that I’d talks about an Indianapo“Jazz was still an underground music become a member.” lis school of jazz, but you when I was growing up in Indianapolis,” Fortunately there could,” says Ted Gioia, Baker says. “You heard Nat King Cole and was no shortage of work Palo Alto, California-based Louis Jordan on the radio. If you wanted on Indiana Avenue, author of the critically to hear jazz, you had to listen to “Randy’s otherwise known as the acclaimed books, “West Record Shop”, a program that came out of “Black Man’s DownCoast Jazz” and “The HisTennessee. There were half a dozen record town” or the “Street of tory of Jazz”. “The players stores on the Avenue, one of them owned Dreams.” The Avenue from there always had a Jazz Contemporaries by an ex-fighter named Kid Edwards and the area around it distinctive style, a tremen(Champion Jack Dupree’s sponsor) but had been a center of African-American dous but relaxed sense of swing. They fit Baker says none of them carried much residency and business activity since the in really well with the West Coast sound; jazz, stocking mostly gospel and R & B. turn of the century. In its earliest days their music always cooked along, but He and his friends headed down to the it spawned musical careers of note in without ever sounding anxious or rushed.

Lyric Record Shop on the corner of Illinois ragtime, the blues and big bands. Ragtime I always wondered, ‘Is there something in Street instead. composer Russell Smith got his start there, the water out there?’”

“Everybody went down to the Lyric on as did Noble Sissle, who went on with Gioia believes that Carl Perkins, an Thursdays, when the records came in,” Eubie Blake to do the musical “Shuffle immensely gifted pianist who died of says Baker. “You Along” (”without it alcoholism at the age of 29 in 1958, is knew the label by there would be no “one of the most undiscovered talents in the color of the “West Side Story”, jazz history.” As a child he developed an record–Dial was says Baker). Leroy unusual style of playing with his left arm yellow, Savoy was Carr and Scrapper held sideways because he couldn’t quite purple… We’d Blackwell, the most reach the keyboard; he sometimes used go and listen to popular blues duo of his elbow to hit bass notes. He was an new 78s by Gene the 1930s, met waitintegral part of units led by Art Pepper Ammons and ing tables at Dee’s and Curtis Counce, and widely respected Dexter Gordon Paradise. Speed among musicians. “Whenever Miles Davis and then hand Webb put together was in California, he would spend hours them back to the one of that era’s hotwith Carl exchanging musical ideas,” says people behind test bands–sadly un- Madame Walker Theater Center Gioia. “The body of work he put together the counter. That recorded–which feais too strong to be forgotten.” was the record store–white, black, it didn’t tured Roy Eldridge on trumpet and Teddy If there was a ground zero for this exmatter, if you were looking for jazz you Wilson on piano. The Ink Spots began as plosion of Indianapolis jazz that reached went there.” a street corner group, then known as the across three decades, it was Crispus Baker and his friends also encountered Riffs. Champion Jack Dupree jump-started Attucks High School, founded in 1927 as nationally famous jazz acts at the many his barrelhouse-piano legacy with a spell a means of diverting black students from venues in town that hosted them. The in Indianapolis during the early 1940s, other Indianapolis schools. Attucks beCircle Theater, the English Theater, and when he was often featured at the brothers came a haven of African American scholthe Indiana Roof all featured national acts, Denver and Sea Ferguson’s four-story Cotarship and achievement, with legendary as did the Cotton Club and the Sunset ton Club on Senate and Vermont. music teachers such as Russell W. Brown, on the Avenue. The bands and performSuch a history would be impressive in Norman Merrifield and Lavern Newsome ers that came through included Count its own right, but the players that came tutoring students like Baker, J.J. Johnson, Basie, Duke Ellington, Jimmy Lunceford, out of Baker’s generation left the imprint Spaulding, Vinnegar, Montgomery, the Billy Eckstine, Charlie Parker, Dizzy Gilof Indianapolis on American jazz forever.

Hamptons and countless others. Ruth lespie, and Illinois Jacquet. Many of them J.J. Johnson practically reinvented the McArthur’s conservatory down on the jammed afterwards at Henri’s, where a sign trombone as a jazz instrument, introAvenue provided valuable instruction as above the entrance read, “Through these ducing what Ira Gitler called “a swift, well. Outside the nurturing confines of portals pass the world’s finest musicians.” extremely legato, eighth-note style.” Wes Attucks, the students went where there (To be continued) Montgomery’s notes-to-octaves-to-chords was opportunity, and the opportunity Written by David Brent Johnson, host of way of constructing a solo influenced jazz was jazz.

WFIU Public Radio “Night Lights” (WFIU. guitarists around the world. Wes’ brother “People tend to excel in the areas that org); Editing by Dr. Larry Ridley, AAJC Monk pioneered the use of the Fender are open to them,” says Baker. “At that executive director. bass in Lionel Hampton’s band. Baker time, a black person was expected to

34 JAZZed May 2009

Gearcheck Alaadeen’s The Rest of the Story

Kansas City jazz master Ahmad Alaadeen has released his first jazz improvisation and history manual. Primarily known by his surname, Alaadeen, The Rest of the Story is presented in a simplified manner with easy to understand terms. Alaadeen’s methods are meant to help guide intermediate to advanced artists in finding themselves as soloists, while laying down a foundation to the art of improvisation. Alaadeen offers a performer’s perspective rather than that of a theorist who may not play on a regular basis.

Alaadeen’s jazz method manual and approach encourages creativity and individuality in playing. Written in old school script, one aim of the manual is to encourage music soloists to play with originality from their instincts and gut.

While the manual is not a step-by-step guide, it does contain lesson plans for jazz educators and soloists. Also included are stories and photos from Alaadeen’s life experience that are a part of our oral tradition. This experience contains musical values, knowledge and lesson, surprising stories of struggle and great perseverance that should not be lost. One of Alaadeen’s favorite sections in the manual is the discovery section. “It opens up your mind. I think the students should discover themselves. For example, take a chord or group of notes, then expand on it.” www.alaadeen.com

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This baritone saxophone features sleek power forged double arm key cups, an oversized graduated 7.48”, and solid stainless steel long hinge rods for fast/positive torque action throughout all bell notes with instant pad closure. The left hand pinky table was designed for fast/smooth and easy action to handle difficult performance passages. All key cups are custom sized for the slim, low-profile pads fabricated from imported Italian leathers with hardened steel boosters that maximize sound projection and enhance tonality throughout the horn. The entire body, bell, and neck of this sax are fabricated from 77 percent copper content brass alloy for resonance and purity of sound. All springs and pivot screws are machined from black oxide steel. The Sax Dakota baritone saxophone is finished with gray onyx metallic finish on all bodies coupled with a satin silver matte finish on all keys, key cups, key guards, and trim. All finishes are protected by a proprietary clear lacquer coat. www.pjlamusic.com

HQ EcoPad

HQ Percussion’s new recycled EcoPad practice pads are made to be more eco-conscious. They are comprised of rubber made from recycled tires and a base made from residual wood waste. HQ’s EcoPad models include a six inch one-side mountable pad, a 12” two-sided pad, and a nine inch adjustable snare pad. All models are packaged using a simple recycled paper band and come in their own POP corrugate display box. www.hqpercussion.com

jj Babbitt’s Otto Link Vintage Mouthpiece

The jj Babbitt Company, Inc. has introduced the Otto Link Vintage mouthpiece for tenor sax to commemorate its 90th anniversary. The new model recaptures the retro sound of the company’s old Otto Link mouthpieces. The sound of the old Otto Link has been recaptured through a combination of minor adjustments to the mouthpiece. The body shape, bore, chamber, baffle, side rails, and tuning are all different from current Otto Link models. Otto Link Vintage is available with the same standard tip openings as current Otto Link models and comes in a choice of metal with 24-karat gold plating or hard rubber. Each mouthpiece is individually serial numbered and comes with a ligature and cap. The metal Otto Link Vintage is specially wrapped in a black & gold box and hard rubber models are packaged in a red and white box. www.jjbabbitt.com

JAZZed July 2009 35

Gearcheck Drum Channel Releases New Buddy Rich DVDs The Buddy Rich Memorial Concert 2008, a new DVD set from Drum Channel documents the all-star showcase held to honor the “world’s greatest drummer.” Filmed last October at New York City’s Hammerstein Ballroom, the program features promi-

s ’ t t i b b a B It’s jj y r a s r e v i n n 90th bArate the sound!

Cele

mouthpiece

k Vintage the Otto Lin . .. g in c u elping you d Intro 90 years of h g in at or em m Com by jj Babbitt. usic. m make great

www.jjbabbitt.com • E-mail: info@jjbabbitt.com M O U T H P I E C E S

36 JAZZed July 2009

F O R

C L A R I N E T S

A N D

S A X O P H O N E S

nent jazz and rock drummers backed by a big band with bassist Will Lee. The drummer – Tommy Igoe of the Birdland Big Band, John Blackwell of Prince’s band, Buddy’s grandson Nick Rich, Zappa alum Terry Bozzio, Peter Erskine, Chad Smith of the Red Hot Chili Peppers, and Neil Peart of Rush – get a few tunes each, tackling both jazz and fusion standards and big-band arrangements of their rock hits. The set includes the original show divided between two DVDs, plus a bonus disc with rehearsal footage and an interview with Cathy Rich.

Drum Channel has also released Buddy Rich Up Close, a collection of six performances originally taped as the pilot for a jazz TV series in 1982. For practicing drummers, the performances have been re-edited to allow for better study of Rich’s technique.

The audio has also been reconfigured to better showcase Rich’s chops. In addition to the standard audio, Up Close includes audio tracks for at-home play-along and a drum-heavy mix for close listening. The tunes performed include “Love for Sale,” “Bugle Call Rag,” “West Side Story,” “Birdland,” “Greensleeves,” and “Dancing Men.” www.drumchannel.com

Gearcheck Sonaré Winds’ Intermediate Trumpets

Sonaré Winds’ new 500 and 600 Series of intermediate trumpets feature a Blackburn designed brass leadpipe and the MicroLok adjustable valve guide system, now exclusive to all Sonaré trumpets. The 500 model horn comes with a lacquer finish and black pearl buttons.

The 600 model is silver plated and comes with gold plated valve caps and fingers buttons. A backpack style case and a 5C mouthpiece are included with each 500 or 600 trumpet. Retail prices are $899 for the 500 model (TRB-500) and $999 for the 600 model (TRB-600). www.sonarewinds.com

Pure Instrument Polish from Black Diamond

Black Diamond Strings introduces Pure Instrument Polish, a boutique instrument polish packaged in a two ounce bottle, which fits easily into the compact storage areas of any guitar case. The bottle also comes with an atomizer pump sprayer which spreads an even and well dispersed amount of polish directly on the instrument or cloth. Additionally, the stay tight cap prevents the atomizer sprayer from being depressed while in the case. www.blackdiamondstrings.com

New Orleans Jamfest 2010 is All About Jazz March 4-6, 2010

Come celebrate the music, the fusion, the fun. Optimal experience for you and your students. Middle School through College Jazz Ensembles will have the opportunity to perform for nationally recognized Jazz Educators!

Walk in the footsteps of the giants of jazz while discovering the city of its birth. Enjoy your adjudicated performance, master classes, jam sessions & incredible evening performances by renowned jazz artists!

Culminating with a public performance, Naturally N’awlins secondline parade, & awards banquet.

You and your students are invited to:

Live, Explore, Remember….

Jazz New Orleans Style.

For more info and to register please visit : www.NewOrleansJamFest.com sandra@worldwideconceptsvacations.com JAZZed July 2009 37

Gearcheck The Music of George Garzone & The Triadic Chromatic Approach from JodyJazz

For all instruments, this three hour plus, two DVD set represents a life’s work, offering a comprehensive, intimate portrait of legendary tenor man and jazz educator, George Garzone. Features include lessons, performances, trading play-alongs, Garzone on sound, PDF supplements, and interviews. Musicians featured on the DVD’s include George Garzone on saxophone; Mike Mainieri on vibraphone; Frank

Tiberi on saxophone; The Fringe’s Bob Gullotti on drums; and John Lockwood on bass. The DVD set is designed to be used by intermediate to the most advanced players. www.jodyjazz.com

User-Friendly Jazz Improv “Methods to Find Yourself as a Soloist” “...devour the practical wisdom he lays down..”

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Masters & Doctoral Degree Programs • Master of Music M.M. • Doctor of Musical Arts D.M.A. Concentrations in Music Performance, Composition/Arranging, Music History & Music Technology

Summer Undergraduate and Graduate Classes June 1 - August 14

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38 JAZZed July 2009

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crossword 1

2

3

4

10 13

Crossword by Myles Mellor 5

6

7

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14

8

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12

15

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17

18 19

20

21

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25

23 26

29

30

31

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Across 1. ___ Bolling, renowned French jazz pianist, composer, arranger and occasional actor 5. Donald ___, Off to the Races artist 7. ___ Carter, one of the most-recorded bassists in jazz history 10. ___ Hefti, jazz trumpeter and composer of the “Batman” television theme 12. Pianist and singer-songwriter, Amos 13. Coltrane ballad in 1959 named after his then-wife 15. “Waltz for ___,” famed Bill Evans Trio album 18. Bread spread, for short 19. Newspaper sections, abbr.

23. Drum cymbal 25. Herbie ___, American jazz pianist and composer who was obscure during his lifetime but is now highly regarded by many musicians and critics 27. York Symphony Orchestra, for short 29. __ Monde, French daily 30. State where jazz originated 32. Eternity, almost 34. Exist 36. Aflame, 2 words 38. Jazz age, stone age, etc.

40. British poet, John ____ 43. ___ Shaw, “Lazy Blue Eyes” musician 44. Night-time images 46. ___ Midnight, the most recorded standard composed by a jazz musician

67

62 68

70

48. ___ Byrne, well-known American jazz trombonist and composer/arranger 49. ___ Rainey, she was known as “The Mother of the Blues” 51. ___ Robinson, tenor saxophonist turned recording engineer 53. “Jazz___” 1974 Carole King song 54. Get away from 58. Tech department 59. Kulu Se ___, 1965 John Coltrane album 61. Lou ___, bebop-based pianist influenced

by Bud Powell and later embraced the cool jazz medium 63. Glasgow girl 66. ___ Rosnes, she is a pianist, composer and arranger in the hard bop and post-bop mediums 68. Little bit 69. “___ Leaves,” much recorded jazz standard that Roger Williams made a number one hit in the U.S. in 1955 70. King ___, jazz cornet player who pioneered the use of mutes

Down 1. ___ball, Nat Adderley’s brother and jazz alto saxophonist 2. Rashied ___, free jazz and avant garde jazz drummer best known for playing with John Coltrane in the last years of Coltrane’s life 3. Code of life

4. Poet, Cummings 5. Carla or Paul 6. The “Grandfather of Rock n Roll,” for short 7. Max ___, pioneer of bebop 8. Alternative word 9. ___ Train, The Oscar Peterson Trio classic album 11. George and Pepper 14. Flame flier 16. “___ and Soul,” the most recorded jazz standard 17. Major search engine 20. ___ Butterfield, band leader and jazz trumpeter and cornetist who studied with Frank Simons 21. Drink addition 22. Musical passage that highlights one instrument 24. Manny ___, jazz baritone sax player that was influenced by Bix Beiderbecke 26. Bandleader Sam 28. Beginning of a flower 31. Relative 33. Must have 35. Absolutely necessary 37. Trends 39. Sun ___, one of the most controversial jazz musicians 40. Al ___, jazz fusion guitarist who was in Chick Corea’s band from 1974-1976 41. Hospital room 42. San-Francisco based saxophone quartet that became an important leader in the movement of genre-bending music 45. Royal official appointed by a lord in olden times 47. Song success 50. Good grades 52. Joe Bushkin instrument 53. Urban V.I.P. 55. Play people 56. Night time 57. Acquire for one’s labor 60. “__, myself and I,” De La Soul 61. Hawaiian garland 62. Compete with 64. Gold symbol 65. “Mi casa es ___ casa” 67. Above ground railway

For the solution to this issue's crossword, visit:

www.jazzedmagazine.com JAZZed July 2009 39

HotWax June 2

Dee Dee Bridgewater – Keeping

Tradition [Emarcy]

Eric Dolphy – Eric Dolphy at the Five

Spot, Vol. 2 [Prestige]

David Garrett – David Garrett [Decca]

Michael Kaeshammer – Days Like These [Alert]

Records]

Guilherme Monteiro – Air [BJU

[Pacific]

Preservation Hall Jazz Band

Bart Wirtz – Prologue [Challenge] Megan Washington – Nightlight

JD Allen – Shine! [Sunnyside] Jerry Bergonzi – Simply Put [Sa-

Bobby Broom – Bobby Broom Plays For Monk [Origin]

The Thing – Bag It [Smalltown] Alexander Zonjic – Doin’ the D [Heads Up]

June 30 Beegie Adair – Parisian Cafe [CMD/

Bros.]

Andrew Green – Narrow Margin [Microphonic Records]

[Owl]

Freddie Hubbard – Liquid Love

Evan Parker – The Moment’s En-

[Wounded Bird]

ergy [ECM]

Arthur Kell Quartet – Victoria [BJU

Alvin Queen – Mighty Long Way

Kevin Deitz – Skylines [Origins] Dave Douglas – Split Moves [Koch] Four80East – Roll On [Native Lan-

[Justin Time]

guage]

Colour [ECM]

Jalala – The Old Mercer Magic!

Edward Simon – Poesia [Camjazz] Soulive – No Place Like Soul [Co-

[Dare]

Oscar Peterson – Songbooks

[Verve]

Eileen Simon – The Visit [Tapestry] Wet Cookies – Soul Protection [Cat ‘N Roof]

Yalloppin’ Hounds – The Great Recession [Chambermusik]

June 23 Bob Baldwin – Lookin’ Back [Nu

Groove]

Lee Ritenour – Rit [Warner Bros.]

Andy Sheppard – Movements in

lumbia]

Baptiste Trotignon – Share [Sunnyside]

July 7 Michael Knopf – Plomosis [Rrygular]

Steve Kuhn – Mostly Coltrane [ECM] Barry Miles – Sky Train [RCA] The Modern Jazz Quartet

Gato Barbieri – In Search of the

– A Quartet Is a Quartet Is a Quartet [Wounded Bird]

Al Cohn – Mosaic Select: Cohn,

Gayle Moran – I Loved You Then…I Love You Now [Wounded Bird]

Mystery [ESP Disk Ltd.]

40 JAZZed July 2009

the Legends Gone? [Heavenly Sweetness]

Green Hill]

Rick Germanson – Off the Cuff

Daniel Kelly – Emerge [BJU Re-

Soft Heap – Soft Heap [Esoteric] Monnette Sudler – Where Have All

John Balke – Siwan [ECM] Larry Carlton – Sleepwalk [Warner

June 9

cords]

– New Orleans Perservation, Vol. 1 [Preservation]

vant]

Sam Yahel – Hometown [Posi Tone]

Records]

Albert Rivera – Juicy Ibiza 2009

Joshua Redman – Mood Swing

[Nonesuch]

June 16

Rob Thorsen – Lasting Impression

Andy Narell – University of Calypso

[Heads Up]

[Black Hole]

Pat Metheny – Day Trip/Tokyo Day

UK]

Newman & Green [Mosaic Select]

Records]

Masabumi Kikuchi – End for the Beginning [Universal Japan]

M-Swift – Evening Sun [Freestyle] Roberto Occhipinti – Cusp [Alma

All dates are subject to change

Jim Ketch – Next Set [Summit] B.D. Lenz – Hit It and Quit It [Apria

[Newmarket]

Trip [Nonesuch]

New & Notable Music Releases

HotWax Notes To Self – A Shot in the Dark

Herb Ellis – The Navy Swing [Sounds

Miroslav Vitous – Remembering

Bill Frisell – Disfarmer [Nonesuch] Johnny Griffin – From Johnny Griffin

[BBE]

Weather Report [ECM]

Matt Wilson – That’s Gonna Leave a

of Yesteryear]

with Love [Storyville]

Mark [Palmetto]

Elliot Levine – Elliot Levine Meets the Seesaw Ensemble [Porter]

July 14

Jon Mayer – Nightscape [Reservoir] Roscoe Mitchell – Congliptious

Bob Florence – Legendary [Mama] Dexter Gordon – Dexter Calling

[Nessa]

Fred Jackson – Hootin’ ‘n Tootin’

Strings [Origin]

[Apo] [Apo]

Quincy Jones – Jazz Manifesto [Jazz Manifesto]

Franz Koglmann – Lo-Lee-Ta: Music of Nabokov [Col Legno] Brian Lynch – Fuschia/Red [Cellar Live]

Christian McBride & Inside Straight – Kind of Brown [Mack

Avenue]

Ben Neuman – Introductions [OA2] Ricky Sweum – Pulling Your Own

Ken Colyer – The Classic Years, Vol. 3 [United States] Bill Evans – Turn Out the Stars: Final Village Vanguard Recordings [Warner Bros.]

Anthony Wilson – Jack of Hearts

Rosenberg Trio – Seresta: 20th An-

[Groove Note]

niversary [Hot Club/Norway]

Streetwise – Put U to Bed [Shanachie]

July 28 Cyro Baptista – Infinito [Tzadik] Rick Braun – All It Takes [Artistry] Joe McBride – Lookin’ For a Chance [Heads Up]

Pietro Ciancaglini – Reincarnation of a Lovebird [Rearward]

If you have information on an upcoming album or music DVD release which you’d like to have included in the next issue of JAZZed, please e-mail editor Christian Wissmuller at: cwissmuller@symphonypublishing.com

Jazz à Juan Dave Rivello Ensemble – Facing

the Mirror [Allora]

B.A. Rolfe – Let’s Do It [Document] Art Taylor – A.T.’s Delight [Apo] The Temperance Seven – 33 Not

Out [United States]

Bert van den Brink – Friendship:

Live at the Muziekgebouw [Challenge]

July 21 Greg Abate – Straight Ahead [Candid]

Pinède Main Stage

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Your student group can be part of Europe’s oldest jazz festival at the 50th Anniversary of Jazz à Juan in 2010.

Jon Alberts – Apothecary [Origin] Louis Bonilla – Pasos Gigantes

[Candid]

info@CulturalTourConsultants.com — www.CulturalTourConsultants.com

JAZZed July 2009 41

CDShowcase CDs featuring the

UNL Jazz Ensemble I are available at www.unl.edu/band/band_sales.shtml

速 SCHOOL OF MUSIC

速

www.unl.edu/music

An equal opportunity educator and employer with a comprehensive plan for diversity.

42 JAZZed May 2009

CDShowcase Sherrie Maricle & The DIVA Jazz Orchestra Live From Jazz At Lincoln Center's Dizzy's Club Coca-Cola Featuring Carmen Bradford

“The spirited interplay between the sections and immediately distinctive soloists compel me to, as I used to years ago, shout aloud in pleasure.”

– Nat Hentoff FIVE PLAY What the World Needs Now “Bravo to Five Play for an excellent release... incredible talents.”

– Larry Detwiler, Jazz Improv

divajazz.com

Mike Bogle

Eternal Family Featuring:

Tom Burchill • guitar Lou Harlas • bass Harrell Bosarge • drums

Miles Donahue Author of the Jazz Workbook

Featuring; Kurt Rosenwinkel – Guitar Fred Hersch – Piano Jerry Bergonzi – Sax

To buy go to JazzWorkbook.com

WAY N E B E R G E R O N • Grammy nominated Jazz Artist • 1st Call LA Session Player • Co-designer of Yamaha custom trumpet (YTR-8335LA) • Concord Recording Artist • Plain spoken, natural educator

Available for clinic, concert and rehearsal with your presenting band with combo or Wayne’s Big Band.

“Plays Well with Others” now available on

Performer, Arranger, Clinician CD’s, Jazz Arrangements, Books

MikeBogle.com

California 805-646-6677 NYC 212-879-5900 www.paradiseartists.com

JAZZed May 2009 43

CDShowcase THE TONY WHITE PROJECT As a Jazz radio announcer, DJ and aficionado I have the distinct pleasure of being associated with some of the finest musical minds to have ever played, composed, arranged and produced this music.

In 2006, Tony White – a fine saxophone player and musical educator of young minds, was introduced to Billy Mitchell. Billy just happens to be one the premier musical educators, arrangers, producers and stellar pianists in Southern California or anywhere else. It was truly serendipitous.

"This is not your father's Big Band"

Tony had been talking about stepping outside of just teaching music and doing more playing of his instrument. Thus as providence would have it, the two men just happened to be in the same general area at the same time when a chance introduction brought them together. Little did they know that The Tony White Project would be the result of that introduction.

[Evidence] "is refreshing and appealing... this recording is honest, open, joyful, receptive and giving" – Jeff Coffin

Tony’s saxophone work is simply sublime.

New Album Out Now For more information, scores, score videos and streaming audio please visit

www.TimDaviesBigBand.com

"PHILANTHROPY" A BEBOP/SPOKEN WORD TRIBUTE TO JAZZ GREATS...PAST & PRESENT!!

Phil Morrison and Keith Williams'** wonderfully crafted creative tool for Jazz Educators featuring Barry Greene, world class guitarist and educator

Jazz! BeBop! - more precious than gold Taste it! enjoy! - it's food for the soul...

Miles, Sarah, Bird & Diz Respect it people...tradition lives! www.philmorrisontrio.com www.myspace.com/worldunityjazzensemble http://philtrio.blogspot.com http://keithpiano.blogspot.com

44 JAZZed May 2009

This is a magnificent collection that I would recommend to every Jazz fan to have in their collection. I fell I love with it when Tony and Billy sent me the first preliminary copy of t he session.

James Janisse – 89.9 FM KCRW Santa Monica KLASFM.COM - Hollywood Continental & Copa Airlines – The World of Jazz & The Jazz Beat

Contact: tonesjazz@aol.com Website: www.tonywhiteinc.com CD available at www.cdbaby.com/artist/thetonywhiteproject

JAZZED MEDIA PRESENTS: The N. Glenn Davis Quintet with special guest Phil Woods

Come Right In

An exciting recording of swinging straight-ahead jazz played by an impressive quintet headed by jazz drummer N. Glenn Davis, featuring alto saxophone legend Phil Woods on several tunes. Also features premier NYC pianist Mark Soskin (15 years with Sonny Rollins), bassist Dean Johnson (10 years with Gerry Mulligan), Jack Schantz (recorded with Oscar Peterson and soloist with Woody Herman), and exciting young saxophonist Dave Sterner.

Cds now available at all major internet sites including, Amazon, Cd Baby, Best Buy, Tower Records, and Barnes and Noble www.glenndavismusic.com

For more information, contact: Miles Osland - miles.osland@uky.edu http://www.milesosland.com

CliniciansCorner

Paul Contos matt niess Saxophonist/Flutist Performer/Clinician/Workshops

• • • • • • •

www.mattniess.com y mattniess@mac.com

artist clinician

Monterey Jazz Festival Saxophone Clinician for over 20 years MJF Next Generation Jazz Orchestra Director Faculty: Univ. of Calif. Santa Cruz Works with ALL levels of saxophone sections and bands Gearing Workshops for individual needs and goals International Performer and Clinician annually: U.S., Japan, Brazil, Europe, Canada Bringing expertise, experience, and proven jazz concepts in a positive way to young musicians for years

Contact Now To Arrange a Workshop for the 2009/2010 School Year

Contact info:pcontos@csumb.edu 831.251.8576 www.paulcontos.com

Grace Testani

Special Spring Discount at Grace Notes Music

VOCALIST - CLINICIAN Arranger, Composer, Keyboardist

Faculty: NYU SCPS Director: The Singers Center Co-writer with Chick Corea & Kenny Barron All Music Guide "...If

you like your singers bold and sassy, Grace Testani delivers on both counts!” ~ Jazz Times

Www.gracetestani.com www.GraceNotesMusic.com

Lead Trombone, US Army Blues Jazz Ensemble Leader, The Capitol Bones Director, The National Jazz Workshop Master Lecturer in Trombone and Jazz Studies, University of The Arts, Philadelphia Jazz Coordinator, Eastern Trombone Workshop Courtois Trombone Artist

Call: 1-800-964-5150

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The Jazz Player’s Connection JAZZed July 2009 45

Classifieds Books

Instruments

Merchandise

JAZZ SAXOPHONE ETUDES & DUETS BOOK & CD PLAY-ALONG SETS BY GREG FISHMAN Endorsed by Michael Brecker, Dave Liebman, Jerry Coker, James Moody, Mark Colby, Bob Sheppard, & Jamey Aebersold.

Visit: WWW.GREGFISHMANJAZZSTUDIOS.COM for free sample etudes and duets.

Merchandise

DVDs

Instruction Need some expert Advise?

Guitar & Bass EncycloMedia 13 years of Fretboard Excellence. www.12tonemusic.com 1-937-256-9344

www.JAZZedmagazine.com 46 JAZZed July 2009

www.JAZZedmagazine.com

Classifieds Merchandise

Print Music

MUSICAL INSTRUMENT-N-MORE Grand Opening!!! Quality new and Used instruments for the student or professional. www.minmore.com.

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Print Media New Jazz Band Charts! for 17 piece big bands Check out my website www.OllieCreations.com www.JAZZedmagazine.com

WE REPAIR, RESTORE, SELL & TRADE

Saxophones, Clarinets, Flutes, Oboes, Bassoons, etc.

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AdIndex Company

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www.bariwoodwinds.com www.BigBandmanJazz.com www.colum.edu/music www.culturaltourconsultants.com www.alaadeen,com www.johnfedchock.com www.ftc.edu www.getzen.com www.jazz.books.com www.jjbabbitt.com www.JodyJazz.com www.NedSteinberger.com www.pearldrum.com www.pjlamusc.com www.NewOrleansJamFest.com

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JAZZed July 2009 47

Backbeat

Julie Coryell 1947 - 2009

Julie Coryell, singer, songwriter, actress, manager, and author, passed away unexpectedly in Poughkeepsie, N.Y., on May 10th. She was 61 years old. She collaborated with award-winning photographer Laura Friedman on the seminal book, Jazz Rock Fusion: The People, The Music, first published in 1978 at the height of the fusion boom.

In preparation Julie conducted in-depth interviews with 58 musicians associated with jazz rock fusion – including Jaco Pastorius, John McLaughlin, Carla Bley, Ron Carter, Randy and Michael Brecker, Freddie Hubbard, Billy Cobham, Tony Williams, Herbie Hancock, Keith Jarrett, Joe Zawinul, Dave Liebman, Wayne Shorter, and Miles Davis – the only interview granted during his most reclusive period. The interviews are accompanied by the Friedman’s striking photo-portraits.

Julie was married to guitarist Larry Coryell and co-wrote and performed on several of his recordings, and managed his career while simultaneously pursuing her own.

48 JAZZed July 2009

Jazz Education Network

The

is dedicated to building the jazz arts community by advancing education, promoting performance, and developing new audiences.

The Jazz Education Network was founded in the spirit of collaboration and excellence.

Our goal is to be a vital resource for a constantly evolving art form that lives globally.

Who we are: students, teachers, directors, musicians, composers, authors, fans, media, industry...WE are YOU!

Full Individual Membership (18 and up) - $50

lead the transformation of the jazz education culture

eJEN Membership Levels: (18 and up) - ($35/25)

Partner Membership Levels:

Festival/Event- $100 Institutional - $300 • Corporate - $500

Affiliate - $25 Annual Fee + $10 per person/member 17 and under categories to be launched soon!

Please check the web site for updates.

JAZZ EDUCATION NETWORK

www.JazzEdNet.org

For complete membership information/benefits please visit us at: www.JazzEdNet.org

The Best $1600 a Student Will Ever Spend.

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