MARCH 2008 • $5.00
THE JAZZ EDUCATOR'S MAGAZINE
JIM WIDNER
“TRACKING THE MEASURE OF PROGRESS” GUEST CLINICIAN Where's the Beat – Part II BASIC TRAINING Be-Bop Harmony
Ú -APEX 53! )NCORPORATED &REE SNARE OFFER EXPIRES $ECEMBER
Ě ğĖĖĕ Ē ĕģĦĞ ĤĖĥ ĥęĒĥ 3&410/%4 ĥĠ ĞĖ
7),, #!,(/5.
*
ĥęĒĥ Ĥ ĨęĪ ġĝĒĪ ĞĒġĖĩ
4HE !LL -APLE 0RO - *AZZ #ONlGURATION IN THE NEW 2EDWOOD &ADE &INISH "UY A 0RO - AND GET A "LACK 0ANTHER X -APLE AND #HERRY 3NARE FREE 3EE YOUR -APEX $EALER FOR DETAILS
MAPEXDRUMS.COM
Jeff Coffin Double Grammy Award winning and double horn-playing member of Bela Fleck & the Flecktones, Jeff looks in unexpected places for music…and fi nds it. Jeff uses V16 alto mouthpieces, Java and ZZ reeds, and Optimum ligatures.
Antonio Hart Out of the Big Apple, Antonio forges ahead while respecting
the traditions of the past with a sound and approach that just won’t quit. Antonio uses V16 alto mouthpieces, Java reeds and Optimum ligatures.
Rudresh Mahanthappa An artist who continues to break new ground. Rudresh is a musical alchemist that is turning heads and taking names on his recent highly acclaimed albums. Rudresh uses Java reeds.
Vandojazz artists serve up their sound using the world’s finest mouthpieces and reeds.
For a free artist poster, visit vandojazzusa.com and click on The Payoff.
Where jazz is more than a legend.
©
2007 Vandoren SAS. Imported to the U.S. by DANSR, 818 W. Evergreen, Chicago, IL 60622, 888.707.4455
Jim Widner “When
I heard the first strains of Henry Mancini’s ‘Peter Gunn’ performed by the jazz band at a school assembly, my life changed forever.”
contents
MARCH 2008
LESSONS LEARNED: RONALD CARTER 12
JAZZed’s Eliahu Sussman checks in with respected performer and educator, Ronald Carter.
GUEST EDITORIAL: GOAL-ORIENTED DEVELOPMENT 18
Dr. Kevin Kjos, director of Jazz Studies at Kutztown University of Pennsylvania, offers advice on nurturing a successful jazz program.
JIM WIDNER 22
A gifted musician and instructor, Jim Widner is also one of the leading names in, and advocates for, jazz camps and workshops. JAZZed gets the lowdown from Jim on his career in jazz performance and education.
GUEST CLINICIAN: ANTONIO J. GARCÍA 32
Part II of Antonio J. García’s feature focuses on Afro-Cuban and funk grooves.
BASIC TRAINING: BE-BOP HARMONY 38
Brian Lillos, one of Canada’s premier jazz educators and performers, walks readers through the fundamentals of “the be-boppers’ harmonic galaxy.”
™
2 JAZZed March 2008
™
March 2008
Volume 3, Number 2 GROUP PUBLISHER Sidney L. Davis sdavis@symphonypublishing.com PUBLISHER Richard E. Kessel rkessel@symphonypublishing.com Editorial Staff EDITOR Christian Wissmuller cwissmuller@symphonypublishing.com
46
ASSOCIATE EDITOR Eliahu Sussman esussman@symphonypublishing.com Art Staff PRODUCTION MANAGER Laurie Guptill lguptill@symphonypublishing.com PRODUCTION Mike Rueckwald mrueckwald@symphonypublishing.com GRAPHIC DESIGNER Andrew P. Ross aross@symphonypublishing.com GRAPHIC DESIGNER Laurie Chesna lchesna@symphonypublishing.com Advertising Staff ADVERTISING SALES Thomas J. Kelly tkelly@symphonypublishing.com ADVERTISING SALES Iris Fox ifox@symphonypublishing.com
10
32
departments PUBLISHER’S LETTER 4 NOTEWORTHY 6 FRANK MACCHIA: WHAT’S ON YOUR PLAYLIST? 10 CROSSWORD PUZZLE 45 GEARCHECK 46 HOT WAX 50 SHEETMUSIC: MY LITTLE SUEDE SHOES 52 CLASSIFIEDS 54 AD INDEX 55 BACKBEAT: OSCAR PETERSON 56 Cover photograph: Suzy Gorman, St. Louis, Mo.
CLASSIFIED SALES Maureen Johan mjohan@symphonypublishing.com 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 2008
RPMDA
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 ofces. 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. © 2008 by Symphony Publishing, LLC. Printed in the U.S.A.
JAZZed March 2008 3
publisher’s letter
RICK KESSEL
The Value of Jazz Camps
W
When you type “jazz camp” into your Google cessful performance and educational career which search bar, you are presented with a listing of an includes his own group of camps that employ extraordinary 282,000 pages, indicating a broad dozens of top-flight musicians and educators. interest in this category of musical education. One In fact, Widner highlights how his professional of the most successful and outspoken proponents life benefited from relationships that he forged of the jazz camp culture is Jim Widner, who is during his own days attending summer workfeatured in JAZZed’s cover story this month. We shops. During these camps, teachers go beyond often think of jazz camps as being summer fun merely teaching, as often they are also mentoring where the kids get to play a bit of music and have students who may become future stars. They are some enjoyment at the pool and on willing to take the time to bring the tennis court. However, many out the best in a student and, in “These ventures are students who attend these camps some cases with more advanced run by highly qualiemerge as far superior musicians. In players, they may even employ fied teacher/musimany cases, these ventures are run them professionally. This setting is cians who have the by highly qualified teacher/musivery similar to the old paradigm time to give kids cians who have the time to give kids of apprenticeships that was the one-on-one instrucone-on-one instruction, advice, and foundation of many trades in the tion, advice, and demonstrations which they simply distant past. This system offers a demonstrations may not get anywhere else. Perforpersonalized, friendlier alternative which they simply mance opportunities abound, and to the more structured classical may not get anyare presented with older students system based more often on short where else.” or professionals who can share their auditions, which may not always experiences to help student campers provide a fair assessment of a improve their playing skills. These musician’s abilities. students may be inspired to a higher level as they From the teacher’s perspective, jazz camps hear faculty performances which they normally provide summer income as well as a chance to may not have access to in their typical public or recharge one’s batteries from the school year and private school setting. have a chance to interface with other like-minded Jim Widner’s interview provides a look into performers. Additionally, the relationships that the life of an extremely successful educator who are built over these summers could lead to excithas been on both sides of the jazz camp, as a ing performance and recording opportunities and student and as a teacher. Widner has built a suclifelong friendships.
rkessel@symphonypublishing.com
4 JAZZed March 2008
for every stage
EXCLUSIVELY DISTRIBUTED BY
price el and d o m lete s comp brand Get a major ll a f o t. arison budge / comp m o c sic. itermu at jup
jupitermusic.com • 512.288.7400
noteworthy NAMM Foundation Seeks ‘Best Music Ed Communities’
W
here are the best communities for music education? The ninth annual “Best Communities for Music Education” (BCME) survey, sponsored by the NAMM Foundation, is searching for school districts that support music education and include music education offerings as part of a complete education for all students. The NAMM Foundation is currently accepting online submissions, and will remain open through early March. The survey, which can be completed by visiting the NAMM Foundation online, is open to anyone — parents, teachers, school administrators, community members — who wishes to enter information about their school and community.
The Best Communities effort surveys a community’s actions and commitment to music through criteria that includes budget, staffing, variety of programs, instructor certification, availability of private instruction, and other relevant items. The results are measured proportionally, so that communities of different sizes are compared equally. The survey’s supporters encourage school district or community members to complete the survey themselves, or to pass it along to school administrators and educators in their communities who may best be able to supply the required data. Following an audit of the preliminary data, the 2008 survey results will be announced on March 25. To access the survey or find more information, please visit www.nammfoundation.org.
Clinton Donates Sax to AJM
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.
6 JAZZed January 2008
Jazz aficionado and former President Bill Clinton has recently donated an item from his presidential library in Little Rock, Ark. to the American Jazz Museum in St. Louis, Missouri. The saxophone Clinton played at his inauguration is now on display at the museum at 18th & Vine. For more information, visit www. americanjazzmuseum.org.
noteworthy Osthoff’s “Jazz on the Vine” Festival
Osthoff’s sixth annual “Jazz on the Vine” festival will be held Friday, May 9 through Sunday, May 11. The weekend of wine and music will feature an array of more than 100 wines from three continents and a line-up of internationally known performers including R&B vocalist Ryan Shaw, currently nominated for a Grammy award, and Jesse J, named by Jazz Trax Fest as the “Best New Artist” of 2007, amoung many others.
February’s Music for All National Festival, presented by Yamaha, typically have higher SAT scores, higher graduation rates and a greater chance of future success than their counterparts who don’t participate in music programs. It’s information like this that has driven the music education organization to in-
crease its focus on research, education and advocacy and ramp up its work to expand access to music programs in schools and communities. Now Music for All is being helped in its work by its first grant from Lilly Endowment. Given to support the implementation of a mature fundraising program, the grant will better position
Tickets are priced at $65 per person, plus tax, for Friday evening (May 9) and $65 per person, for Saturday afternoon and evening (May 10). A two-day ticket is $110 per person; limited preferred seating available at $150 per person. The Osthoff Resort is just an hour north of Milwaukee, less than two hours from Madison and about three hours from Chicago. For more information, check www.osthoff.com.
Music for All receives Lilly Endowment
Students who participate in school bands, orchestras and choirs get more than an appreciation for music out of those programs. Research compiled by Indianapolis-based Music for All suggests that those young musicians also get a leg up on their peers for years to come. Now, thanks to a $495,000 grant from Lilly Endowment, Music for All can better equip itself to ensure that more American students get the advantages that come with music education. According to the Music for All data, student musicians like the ones who will fill concert halls here during
JAZZed March 2008 7
noteworthy Music for All to ensure that it can continue its work well into the future. Music for All’s programs under the names Bands of America and Orchestra America have 33 years of producing educational events and programs – including the Bands of America Grand Nationals marching band championship that attracts more than 60,000 people to the RCA Dome each November, the Music for All National Festival, the Music for All Summer Symposium and more than 20 regional marching band championships – and generated approximately 90 percent of its budget through participant and admission fees. That’s now changing. At the heart of the change is a merger. In 2006, Bands of America combined with the Music for All Foundation and took the Music for All banner as its umbrella name. At the same time, it expanded its mission, from focusing primarily on hosting events to also conducting research and advocating for increased accessibility of music education programs for all students, not just those who can afford it or the gifted and talented. For more information, visit www.musicforall.org.
Sennheiser Launches Sound Logo Competition
Sound logos are to the ear what a visual symbol is to the eye. According to Susanne Seidel, president of Global Marketing at Sennheiser: “Sennheiser’s customers have huge creative potential, and having fun composing and messing about with music and sound lies at the heart of the sound logo competition, which we launched in January at Winter NAMM in Anaheim.” An entry is allowed to be up to eight seconds long. To make it as technologically simple as possible for those taking part, contributions should be uploaded onto the www.sennheiser.com/soundlogo Web site in MP3 format (stereo, 128 kb/s, max. 10 MB). Professional and amateur musicians alike will have six months to play with. Contributions have to be uploaded to the Web site by July 17, 2008. Each entrant may send in up to five entries. By the end of August thirty finalists will be selected, at which point their sound logos will be appraised by an international jury. The winner will receive a prize of 5,000 euros, as well as an optional 30,000 euros if Sennheiser acquires unlimited rights to use the winning logo. Those placed second to tenth will win first-class sound for their home. They can choose between Sennheiser’s dynamic top-of-the-range HD 650 headphones or equipping their rehearsal room with an evolution wireless EW 300 G2 microphone system. For more information, visit www.sennheiser.com/soundlogo.
Arthur T. Fine (1911-2007) Arthur T. Fine, the founder of the Jazz Society in Hartford, Conn., died on December 29, 2007 at the age of 96. Always a fan of jazz, in the late 1950’s, Mr. Fine’s home became a mecca for local jazz aficionados as well as for the many celebrated musicians who played the lounges of the old Heublein Hotel, which was then Hartford’s poshest jazz spa. Fine and many jazz lovers, including future co-founders of the Jazz Society, flocked to the Heublein, which brought a steady parade of talent to Hartford, including Coleman Hawkins, Dizzy Gillespie, Teddy Wilson, and Cannonball Adderley. Over the years, Fine’s home became the unofficial suburban branch of the Heublein, an after-hours jazz salon where many basked in the music, partied and formed long-lasting friendships and alliances that led to the creation of the Jazz Society, an organization which presents jazz in area public school systems, sponsors concerts in prisons, parks, hospitals and rest homes, and awards scholarships to young students. For additional information, please visit www.hartfordjazzsociety.com.
8 JAZZed March 2008
noteworthy Herbie Takes Album of Year Grammy
Herbie Hancock has won the coveted 2007 album of the year Grammy, becoming the first jazz instrumentalist to win the honor in more than 40 years and causing Hancock to remark “it’s a new day” at the Grammys. Hancock’s River: The Joni Letters, an all-star tribute to Canadian singer/songwriter Joni Mitchell was a surprise victory at the 50th annual Grammys, beating out other nominees Amy Winehouse’s Back to Black, Kanye West’s Graduation, rock band the Foo Fighters’ Echoes, Silence, Patience & Grace and country singer Vince Gill’s These Days. The only other album by a jazz artist to win the award was 1964’s Getz/Gilberto, an album released by the American saxophonist Stan Getz and Brazilian guitarist Joao Gilberto. That album, featuring composer and musician Antonio Carlos Jobim, helped create a bossa nova craze. It not only became one of the best-selling jazz albums of all times, but it also transformed singer Astrud Gilberto, who sang on the track of “The Girl from Ipanema” and “Corcovado,” into an international sensation. Jazz pianist and composer Hancock, 67, is credited with blending elements of rock, funk, and soul into jazz. (Source: Reuters)
Say What? "Do not fear mistakes. There are none." - Miles Davis
Online Poll Will you be attending the MENC In-Service Conference in Milwaukee?
27% Yes
60% No
13% Not sure yet
Visit www.jazzedmagazine.com and let your voice be heard in the current online poll – results to be published in the next issue of JAZZed.
JAZZed March 2008 9
What’s on Your Playlist? Composer/arranger/saxophonist Frank Macchia has collaborated with such legends as Van Dyke Parks, Brian Wilson, Ella Fitzgerald, Yes, and Clare Fisher. In 2004, he was a Sundance Labs Composer Fellow and the recipient of a National Endowment Grant for Jazz Arts. Frank has written and orchestrated music for a number of television shows and films. Recently, Macchia helped with some of the orchestrations in the blockbuster movie, National Treasure: Book of Secrets. In January, his work on the score for Wade Balance’s short film, The HusBand was featured at the Park City Film Music Festival. Macchia’s song, “Black Is The Color of My True Love’s Hair,” off of his 2007 album, Emotions, has been nominated for a Grammy Award in the category of “Best Instrumental Arrangement.” Landscapes (Cacophony), Frank’s newly released disc, features the Prague Orchestra. 1 Pilgrimage – Michael Brecker “My idol, my sax hero since I was a kid, in his final album, and what a great album it is! Seriously deep compositions and incredible performances. I just get so sad thinking I won’t hear any more of his heartfelt sax playing. He gave us so much great music.” 2 The Way Up – Pat Metheny Group “I know this has been out a while, but I find myself listening to it over and over, always finding new things. That’s what I love about music – always finding something new. The overall arch of composition in this work just kills me!” 3 Sgt. Pepper’s Lonely Heart’s Club Band – The Beatles “I recently read Here, There, and Everywhere by the Beatles engineer Geoff Emerick and it got me to pull out Sgt. Pepper and I realized once again why they were the huge phenomena of their time. There was nothing like this when it came out and it still holds up today, in my opinion.” 4 Underground – Chris Potter “Chris has such a strong linear concept and he’s got the whole package – technique, sound, incredible time and just amazing musicianship.” 5 Des canyons aux étoiles – Messiaen “I just went to a performance of this work by the Los Angeles Philharmonic and the colors and orchestration of this piece made my mind reel. A fantastic work by a fantastic composer.”
Photo by: Peter Macchia 6 The Nightfly – Donald Fagen “My six year-old son, Charlie, just loves this CD and I can see why. Fagen’s writing and the production are impeccable on this classic.” 7 Back East – Joshua Redman “I saw Joshua right when he started touring for this CD and he really impressed me with his artistry. I’ve been learning a lot listening to this album. He’s really a genius!” 8 Sky Blue – Maria Schneider “Cerulean Skies’ is a truly beautiful work and Maria is probably doing more for large ensemble jazz bands than anyone else. It’s so great to see this music emerge and capture the hearts of so many music fans. And the band has such strong soloists. I love this CD!” 9 My Foolish Heart – Keith Jarrett, Gary Peacock, Jack DeJonette “I just can’t get enough of this trio. This is what jazz is supposed to do, in my opinion: take chances, go places, and create an inner dialogue between players. It doesn’t get better than this.” 10 The Miraculous Mandarin – Bartok “Another work that I keep finding new things to hear. Bartok’s composition and orchestration are perfect on this piece and my favorite recording (so far) is by Leonard Slatkin and the St. Louis Orchestra.”
Frank Macchia’s album, Landscapes (Cacophony), was released in January of 2008. www.frankmacchia.net
10 JAZZed March 2008
Keep Music Education Strong Learning to play music is so much more than memorizing notes and scales. It helps a child develop creativity and instills self-discipline, commitment and confidence. Your leadership in the community assures that music is a part of quality education for every child. Keep music education strong—go to supportmusic.com.
believe in music 5790 Armada Drive • Carlsbad, CA 92008 • 760.438.8001 • www.namm.org
lessons learned
RONALD CARTER
Writing the Book on Jazz Education
W
BY ELIAHU SUSSMAN
ithout the leadership of capable ambassadors, jazz and the boundless creativity and dedication it inspires would never have gained the foothold it has today in our schools. One of these heroes of jazz education is Ronald Carter, who currently serves as the director of Jazz Studies at Northern Illinois University, international vice president of IAJE, and an educational consultant and program director for Jazz at Lincoln Center. After catching up with Carter at the Midwest Band Clinic in Chicago last December, JAZZed was compelled by the story of this man who, in addition to being a prolific performer for almost four decades, built one of the top high school jazz programs in the country and has since transitioned to positions that provide even greater influence on the role of jazz in American music education and beyond.
Formative Years Ronald’s early days were spent in a small town in rural Georgia. As he says, “I started teaching way back when I was about eight years old. I was singing at church and I started working with the other kids, teaching them how to play music. I taught all the small classes.” Meanwhile, he was listening to and learning from some of the greats, like Cannonball Adderly and 12 JAZZed March 2008
Ronald Carter
Stanley Turrentine — the latter of whom collaborated with Ron Carter’s namesake, the celebrated jazz double bassist, on the 1971 CTI release, Sugar. In high school, Carter played the baritone saxophone in the jazz band and the clarinet in the concert band, which brought him all-state honors. His performing career took off early, as a high school sophomore, when Ron began playing gigs with a rhythm & blues band at Moody Air Force Base in Valdosta, Georgia. Carter finished high school and matriculated to Bethune-Cookman College in Daytona Beach, Florida, where he got a BA in music performance and diversified his musical experiences. “I was student teaching while I was studying, and I was the section leader the first year I got there, so I was already teaching in my own ensembles,” he recalls. “Then I got into writing
lessons learned and scoring for the marching band. I was arranging for them and started arranging for all the groups I played with, too.” In spite of the busy schedule, Carter’s path through school was circuitous: “I took a year and a summer off and went on the road, where I played with a group called The Morning After. We opened for a lot of acts like Kool and the Gang — those types of bands. We did rhythm & blues, and we did some jazz.” When that tour ran its course, Ronald returned to school, finished his undergrad, and went on to study for a masters in Music Education at the University of Illinois, Champagne.
jazz band, everything. So we put in the work and the program grew. We ended up with 120 kids in the marching band and the jazz band recorded and toured every year — it was the top jazz program in the area for over 12 years.” What does one do to achieve that level of success after starting from such
meager beginnings? “It was basically a lot of hard work and being able to motivate kids to use their talents,” notes Carter. “There’s a lot of talent in East St. Louis: Jackie Joyner and Miles Davis came through there, of course. Some of my students were Bruce Allen (a gospel artist, Stellar Award winner, and
.<<@E> +C8P@E> @J <C@<M@E>
Jazz at Lincoln High “After I got my masters, my first real job was in East St. Louis at Lincoln Senior High School — that’s the high school Miles Davis had attended,” he says. “The music department had actually fallen way down by the time I got there, and they brought me in to start the jazz program. A friend of mine from the University of Illinois, Michael Dupard, who had gone to Grambling State University, was offered the job first. I was substitute teaching in ChampaignUrbana when Michael called me and said he wanted to start a jazz program. He asked if I’d be interested in working there with him. Of course I was, so I started midyear, in January.” The impetus for a jazz program at Lincoln Senior High School was born primarily from the young teachers’ interest in the genre. Says Carter, “Dupard and I had played in various jazz bands around Champaign (Ill.) when we were in school, so we were into [building a jazz program]. It was just a matter of making it happen.” But while getting jazz in the door was certainly a priority, the whole music department at Lincoln High School needed to be reworked. “The music program had been down to about 10 kids. We had to jump-start the whole music department — marching band, concert band,
A SAXOPHONE AS EXTRAORDINARY AS OUR MODEL SDA-1000 CAN BE YOURS.....BUT ONLY IF.....YOU’RE READY TO BE ASTONISHED, IMPRESSED AND PREPARED TO FORGE AHEAD & EXPERIENCE A THRILLING PERFORMANCE.
PJLA MUSIC SALES & MARKETING PO BOX 550, BARRINGTON, IL, 60011 USA Toll Free: 1-800-541-4017 • Ph: 1-847-382-3212 ext 14 • Fax: 1-847-382-4626 website: www.pjlamusic.com • e mail: pjlabiz2@aol.com
JAZZed March 2008 13
lessons learned member of the Grammy voting committee who now owns a record label and publishing company), Tony Suggs (the pianist for the Count Basie Orchestra for the last eight years), Montez Coleman (a drummer who plays with Roy Hargrove and is on Mack Ave Records), Terreon “Tank” Gully (a drummer playing with Stefon Harris and Christain McBride), Reginald Thomas (a pianist who’s now a professor of music at Southern Illinois University, Edwardsville), and Russell Gunn (a jazz trumpet recording artist, former member of the Lincoln Center Jazz Orchestra, and two-time Grammy nominee), among many others… There was quite a tradition just from the 18 years I was at Lincoln High School. “And it wasn’t only in music, too — doctors, lawyers, teachers, really everything. In fact I recently received an e-mail from a former student of mine who just got his doctoral degree in biochemical statistics. And he wrote his dissertation on the statistics of playing in the trombone section. He actually
used his time in my high school band as the emphasis in his dissertation. He got his doctorate at OSU and now he’s teaching at Tulane.” The success of the Lincoln High School jazz bands was in part predicated on the burgeoning St. Louis jazz scene. Cashing in on the intrigue created by his program, Carter was able to bring some world-class talent into his classrooms. As he explains, “Every jazz artist who came to town came to work with my high school kids. Everybody. Wynton came to town, he was playing with Art Blakey when he was 18, and that’s how I met him. He had heard of some guys from down south who were teaching and he had heard about our high school program, so he came over on his own.” Other artists that Carter’s students were fortunate enough to work with include Steve Turre, Clark Terry, Ellis Marsalis, Oliver Lake, Frank Lacy, Bunky Green, Slide Hampton, Bob Mintzer, Hamiett Bluiett, Henry Butler, and Steve Wiest. “Some of these folks I knew from my own playing, but most NIU Jazz Ensemble at Montreux Jazz Festival, 2007. just came through because the program had gained such national and international recognition that anybody who came to town wanted to come by Lincoln High School and see what we were doing, see what we were putting in the water.”
New Challenges With the Lincoln High music program safely in flight, Ronald Carter recalibrated his goals and aimed even higher: “The program had grown so much, I got to the point where I felt like I needed new challenges. That’s why I took the job at 14 JAZZed March 2008
Northern, where I’m now the director of Jazz Studies. My position here gives me more flexibility. For example, a year after I started here, Wynton [Marsalis] had already taken over as artistic director of Jazz at Lincoln Center and he wanted to start an educational program. So he called me and asked if I’d help him get that underway. What we came up with was the Essentially Ellington program, and that’s been going on for about 13 years now.” Carter wouldn’t have had the time to diversify his activities had he stayed at Lincoln High, though the school system was reluctant to let him go. “After I left they tried to get me to come back as the supervisor of music, but a former student of mine just jump started the band at the new high school [ed. note: Lincoln H.S. was torn down in 1998 to make way for a larger facility] which is East St. Louis High School. He actually just contacted me to come down and give a clinic at his school, which I’ll be doing in March. My college band also does a tour there every year at the Sheldon Theatre.” There’s something poetic in the shape Ronald Carter’s professional career has taken, from young touring professional and all-state musician to high school music teacher, performer, and clinician. From there, Carter has moved on to become a program director and developer of curriculum, author of textbooks. One constant throughout Carter’s multifaceted career has been his affiliation with the International Association for Jazz Education (IAJE). As the educator explains, “I’ve been with the IAJE for almost 30 years. I’ve been the vice president of the organization for the past two years, but before that I had been state vice-president and state president two or three times. I’ve been working to expand music education in the state where I’ve worked over the last 30 years.” As for what specific benefits the IAJE offers, Carter elaborates, “IAJE helps with networking. That’s the first thing. Through IAJE,
lessons learned I’ve had lots of opportunity to present workshops and clinics all over the country. My high school band played at a lot of IAJE conferences, and my college band has played at those many times, as well. The association gives opportunities for educators to share ideas. It hasn’t been that long since jazz education was formalized.” With a wry chuckle, Ron adds, “I was inducted into the [Down Beat Magazine] Jazz Education Hall of Fame almost 20 years ago, and I’m not that old!” And it doesn’t stop there. In addition to helping make policy for the largest jazz education organization in the world, Ronald Carter has also been involved in hands-on local projects designed to empower youths through music. One such endeavor started like this: “When I was in St. Louis, we played at the Chicago Jazz Festival a couple of times. After I left the high school, an organization called Jazz Unites asked me about starting up a youth program in the city of Chicago for elementary-age kids. So I started the South Shore Youth Jazz Ensemble, which was funded by the mayor, the park district, and the South Shore Cultural Center.” The goal was to keep the kids of Chicago focused on something positive and, ultimately, to expand their educational possibilities. “The main thing is that that was a way to help kids attend college, and a lot of kids have gone on to do that. When I started the program, I also started a scholarship fund. We’d do a concert in the South Shore Cultural Center in Chicago to raise money, and we gave four $1,000-scholarships every year. There were also summer training programs where kids came to learn music business, theory, jazz, and just how to respond in performance situations. The kids actually got paid during the summer, five dollars a day, to come and learn music.” Ron put together a full curriculum for that six-week program. “We’d meet and we’d have theory, we’d have improvisation, we had big band and we
had combos that we pulled out of the big band. We also had lectures on the business aspect of music. Students basically auditioned to get into the program, but they also had to live within the city limits of Chicago.” Concerts were held all over the city, and in-
cluded performances with the Chicago Jazz festival and artists such as Wynton Marsalis. Last year was its 12th in existence, but changes appear to be in store. Due to limited funding, the sun appears to be setting on Ronald Carter’s affilia-
New York is JAZZ THE NEW SCHOOL
is New York
GET A BFA IN
THE JAZZ CAPITAL OF THE WORLD Learn jazz by living it in the heart of Greenwich Village. Here, your mentors are legendary professionals from New York City’s renowned jazz community. Your classmates are brilliant musicians from around the globe who are passionate about their art and ready to take their talent to the next level. �
Perform in the city’s hottest clubs, including Sweet Rhythm and Dizzy’s Club Coca-Cola
�
Take advantage of the resources of a major university
�
Get real-world performance experience through the professional Gig Office
�
Consider the five-year, dual-degree BA/BFA option (available with Eugene Lang College The New School for Liberal Arts)
For application and audition information, call 212.229.5896 x4589 or visit us online.
www.jazz.newschool.edu
JAZZed March 2008 15
lessons learned “I WAS INDUCTED INTO THE [DOWN BEAT MAGAZINE] JAZZ EDUCATION HALL OF FAME ALMOST 20 YEARS AGO, AND I’M NOT THAT OLD!” Carter and the NIU Jazz Ensemble, 2007.
tion with the South Shore Youth Jazz Ensemble, as his attention shifts again towards reaching a larger audience, this time through a jazz education textbook and a summer camp for band directors. The textbook, co-written by Ronald Carter along with Wynton Marsalis,
Ron McCurdy, Reginald Thomas, and Ron Modell, is called Teaching Music Through Performance and Jazz and is a part of the Teaching Music series distributed by GIA publications. The series is said to be the best-selling text for band in the world. “We’ll be doing the second book in that series this sum-
Maryland Summer Jazz 2008 Jeff Antoniuk Dave Ballou Tom Baldwin Wade Beach Jeff Coffin Steve Herberman Tony Martucci Jim McFalls Alex Norris, PhD Frank Russo N
16 JAZZed March 2008
Learn & play with recording artists and outstanding faculty from many university programs. Small group combos & loads of playing! Our camps fill up fast. Why go anywhere else?
Session I July 16-18
Session II July 23-25
One Session: $480 before May 1, $524 after Two Sessions: $742 before May 1, $818 after
Jeff Antoniuk, Director (410) 295-6691
www.marylandsummerjazz.com
mer, and that means doing a lot of recording [for the accompanying CDs],” says Carter. “For the standards that are already recorded, the idea is to make educators aware of them. For those that aren’t, the object is to convince record companies to re-issue them — the same thing with arrangements. New compositions and arrangements that haven’t been professionally recorded are what I’m going to try to put down this summer. “We are also talking about expanding what we’re doing at Jazz at Lincoln Center, too, so my plate is full. We have the essentially Ellington program, but we are talking about expanding that to include other composers. Also, we’d like to expand the educational elements offered there, too. What we’re looking at now is putting together some DVDs on teaching jazz concepts, because I’m also the program director for the band director academy, where I’ve put together a curriculum to teach band directors how to teach jazz. We get directors from all over the world – from South Africa to England, all over the USA, and from middle school all the way up for college. Some of these teachers are jazz musicians themselves, though not all, but just because you can play jazz doesn’t mean you know how to teach it. “A lot of the concepts we focus on are scale chord relationships, but I’m also trying to promote teaching more
lessons learned directly related to the cultural aspects of jazz, from the concepts of dance, from the concepts of divorce, how to listen, what to listen for, how to combine auditory knowledge with actual academic knowledge and all those kinds of things. We hold three of these camps for directors every year: one in N.Y., one elsewhere in the US, and one now in Canada. The genesis of this project is also rooted in talks with the inimitable Wynton Marsalis. Clark Terry, Bob Brookmeyer, and Ronald Carter with the Lincoln High Jazz Ensemble at “After we started the Essen- the Elmhurst (Ill.) JazzFest in 1982. tially Ellington program, Wynton and I of music — I played jazz and R&B is really difficult to do; I just put the were talking about what we should do professionally, but both of my degrees challenge out there and the students next. I said, ‘We need to do something were on classical clarinet. And then don’t know better than to accept it. for band directors.’ If you teach educaI got into writing and transcribing My own experience gave me the confitors how to teach, you can reach a lot when I was very young — before I redence to have a clear cut idea of what I more students. That’s another reason I alized I wasn’t supposed to be able to wanted from my students and how to want to get the text done, because the do that kind of thing yet. get them to achieve those goals.” Valufront chapters in that book deal with “It was the same when I started able lessons from the man writing the teaching specific concepts, like teachteaching: I never let on that something book on jazz education. ing the culture of jazz, how to listen, improvisation, how to work with the rhythm section. And the other part of the book is actually taking music I’ve selected and showing how to teach that chart to the band, how to organize LaPorta Jazz Educator of the Year it, and how to teach its form and the Award Winning Bassist at theory behind it.”
BOB SINICROPE
“I Just Put the Challenge Out There” Ronald Carter’s underlying affinity for spreading musical ideas stems from the milieu that shaped him as a child. As he affirms, “When I was growing up, I was exposed to singing and music, hearing it all the time, at home, in church. Not necessarily in a technical aspect, but just the exposure to it was tremendous. I heard jazz and blues and gospel and rhythm and blues and country/western going on all the time around me. When I got to school, I was fortunate enough to be in band programs that gave me the opportunity to learn different types
JAMEY AEBERSOLD’S
SUMMER JAZZ WORKSHOPS TWO GREAT WEEKS TO CHOOSE FROM
June 29th - July 4th or July 6th - July 11th University of Louisville Louisville, KY ALSO: 2-DAY DRUM/BASS/GUITAR PRIMER
June 28th & 29th or July 5th & 6th GREAT INDIVIDUAL INSTRUCTION!
COMBO • MASTER CLASS • JAMS 20 FACULTY CONCERTS
www.summerjazzworkshops.com
JAZZed March 2008 17
guest editorial
G OA L - O R I E N T E D D E V E LO P M E N T
How to Build a Jazz Program BY DR. KEVIN KJOS
R
ecent studies have shown that with enough goal-oriented practice we can all be-
come experts in our field. ■ This presents an interesting dilemma to us as jazz educators: if we buy this new information (See K. Anders Ericsson, et al), how do we get our students to practice enough to attain that level of expertise and what should the ultimate goal be? ■ I think these questions can be answered through three basic ideas: the student should have a clear goal in mind – this can provide the inspiration to practice and will help direct that practicing; the student should have a clear idea of what he or she is going to practice every day, including some kind of routine that involves fundamentals, and; the student needs to have respect for the others in the ensemble and bring to them the same level of competence that he or she hopes they will bring in return. Have a Goal
First, we need to know what goal we’re chasing. To show my students, I will play them both recordings of the great pro bands; Basie, Ellington, Thad Jones/Mel Lewis, Maria Schneider, and many others, and also bands just a bit more mature than they are, perhaps an award-winning college ensemble, and then ask them if that’s what they’d like to sound like. The vote is always a resounding “Yes!” Now we have a contract that as a group (“family” is the word I use) we will pursue this goal together. Then, I share with them what I know of what it takes to go from where we presently are to where these terrific sounding bands on the recordings are. I point out to them that it is immaterial where we are now, that
I believe much more in effort than talent. Talent is for the movies; effort is real life. Everyone can become a great player – it simply takes perseverance and hard work. I tell them of the relentless pursuit of perfection that has driven the masters that came before them, of how much John Coltrane practiced, or of how disciplined and detailed the rehearsals of Maria Schneider are, and that if we want to sound like they do, we have to do what they did. Coltrane became a legendary player as a result of the hours he put into his art – no one gave him his talent, he earned it.
“I BELIEVE MUCH MORE IN EFFORT THAN TALENT. TALENT IS FOR THE MOVIES; EFFORT IS REAL LIFE”
18 JAZZed March 2008
HERE’S WHAT IT TAKES:
Practice Fundamentals and Have a Routine Practice the elements on your instrument that will
guest editorial
★
produce a beautiful, legato sound. The most important element for any musician is the sound he or she makes, so make sure that yours is pretty. Don’t worry about playing fast or high yet – rather, focus on playing the prettiest middle note on your horn that you can play. One of the best pieces of advice about playing I ever received was from Bob Baca when he told me: “Play the prettiest middle G you’ve ever played right now. And do that all the time!” The goal is to make a sound like your favorite player in the style you’re working on. One way we do that at my school is to always have an example of how our favorite player sounds at the ready – on an iPod for example – and before playing a passage/long tone/exercise, listen to the favorite player and attempt to copy what he or she does. The example on the iPod doesn’t have to be exactly what we’re playing (that would be tough to find when playing fundamentals like long tones!), but rather should provide a “characteristic sound model” and serve to remind us of the goal we are pursuing. Often when entering the practice room, the student can be confused about what fundamentals he or she should be doing. William Adam, the legendary brass pedagogue, as-
signed his students a set of exercises that came to be affectionately known among his students as “the Routine.” As any student of Mr. Adam can tell you, we all knew exactly what we would be playing for the first hour or two (or three!) of the practice day. Mr. Adam had devised a routine for each
“THE RULE AT MY UNIVERSITY IS: DON’T MISS REHEARSAL. PERIOD.” student that would cover the fundamental areas and get us all goal directed toward the most beautiful sound we could imagine. I am great believer in this kind of a routine for many reasons. Needless to say, I was never at a loss for something to practice! Ensemble music is much easier to play if the instrument you’re playing is not holding you back technically. After you’ve spent some time working on fundamentals, then practice your ensemble music. As school musicians, some-
Jim Widner
Summer Jazz Camps 2008
For information contact:
★
Celebrating Celebrating 21 21 Years! Years! featuring members of the
MAY 14-17
NORTHWOODS JAZZ CAMP/JAZZ PARTY (Adults Only, 21 and older) Gladys Fritz Holiday Acres Resort PO Box 460 • Rhinelander WI, 54501-0460 (800) 261-1500 gladysacres@yahoo.com
JUNE 8-13
JIM WIDNER BIG BAND
Big Bands • Combos • Improvisation • Clinics • Master Classes • Nightly Concerts
SIMPSON COLLEGE BIG BAND JAZZ CAMP Dr. Dave Camwell Simpson College 701 North C Street • Indianola, IA 50125 (515) 961-1575 • camwell@simpson.edu
JUNE 15-20
UNIVERSITY OF MISSOURI - ST. LOUIS BIG BAND JAZZ CAMP Jim Widner / Stephen Smith University of Missouri - St. Louis One University Blvd. • St. Louis, MO 63121-4499 (314) 516-5948 • smithss@umsl.edu
★
PROPOSED FACULTY AND STAFF Saxes:
Kim Richmond, Dave Pietro, Bobby Watson, Chip McNeill, Pete Gallio, Gary Anderson, Mary Fettig, Dave Camwell, Mike McMullen, Larry Panella
JUNE 22-27
★
Trombones:
Paul McKee, Scott Whitfield, Brett Stamps, Harry Watters, Cody Henry, David Stamps, Matt Hoormann, Tom Matta
Trumpets:
Clay Jenkins, Terrell Stafford, John Harner, Mike Vax, Dave Scott, Mike Metheny, Stan Kessler, Pete Olstad, Steve Huffsteter, Steve Roach, Jay Saunders, Lorenzo Trujillo , Jim Oatts
Rhythm:
Chip Stephens, Dennis Mackrell, Ken Kehner, Gary Hobbs, Rod Fleeman, Danny Embrey, Rick Haydon, Michael Pagan, Steve Homan, Stockton Helbing, Miles Vandiver, Bob Waggoner, Jim Widner
www.jimwidnerbigband.com
UMKC JAZZ CAMP 2008 Dr. Mara Gibson UMKC Conservatory 4949 Cherry Street • Kansas City, MO 64110-2229 (816) 235-2742 • gibsonmb@umkc.edu
JULY 6-11
CALIFORNIA STATE UNIVERSITY - SACRAMENTO BIG BAND JAZZ CAMP Dr. Steve Roach, Director of Jazz Studies California State University, Sacramento Department of Music 6000 J Street • Sacramento, CA 95819-6015 (916) 278-7987 • roach@csus.edu
JULY 13-18
UNIVERSITY OF MISSOURI - ST. LOUIS JAZZ COMBO / IMPROV CAMP Jim Widner / Stephen Smith University of Missouri - St. Louis One University Blvd. • St. Louis, MO 63121-4499 (314) 516-5948 • smithss@umsl.edu
JAZZed March 2008 19
guest editorial times we worry that if we practice fundamentals we won’t have enough time to practice the ensemble music. This is flawed in that it is so much easier to play the ensemble music if one knows one’s instrument. In the long run we’ll actually be practicing in a more efficient manner. Never Miss or Come Late to Rehearsal Remember, we’re all in this together. Missing a rehearsal for any reason other than the most serious is unacceptable. Every other member of the ensemble is counting on you. The third trumpet is as important to a good sounding chamber group as the lead alto or lead trumpet. So unless everyone makes rehearsal, it’s difficult for us to develop concepts together. The rule at my university is: Don’t miss rehearsal. Period.
All American Jazz Festivals The All American Music Festival is now accepting applications for the 2009 Season
ORLANDO, FLORIDA Call Today to Reserve Your Space 1-800-243-4365 Bandfest.com
20 JAZZed March 2008
Be Prepared At my university it is not acceptable to work on wrong notes or wrong rhythms in rehearsal. Out of respect for each other and the music, come to rehearsal prepared. It ends up being a much more fun rehearsal if the ensemble can actually perform the music we’re working on without too many stops and starts. Then the ensemble can really work on getting the group to play as one and include those musical nuances that make the hairs on the back of the neck stand up!
my experience, students know when we are “playing down” to them. Consequently, I would urge the programming of “real jazz” as per-
“IN MY EXPERIENCE, THE MORE CHALLENGING THE MUSIC, THE MORE THE STUDENTS LIKE IT, AND OFTEN THE MORE REWARDING IS THE EXPERIENCE.”
Know the Style In order to play any music well, it is necessary to listen to the great performers play it. This is another “goal oriented” method of learning. By listening, we as an ensemble can make our goal to swing like the Basie Band, or to play as nuanced as Maria Schneider’s group, or to get a blend like Thad Jones/Mel Lewis. I almost always play recordings in rehearsal for the ensembles, to try and get “into our ears” the sounds of the great bands. It is amazing how much better the ensemble plays just after hearing a recording. Program Interesting Music – Aim High When he was campaigning, he used to tell a story of two kids running across the Irish countryside: when they came to a seemingly insurmountable hedge, one of the boys took the other’s hat and threw it over the barrier. “Now we’ll have to find a way over” the thrower said. In my experience, the more challenging the music, the more the students like it, and often the more rewarding is the experience. Also in
formed by the masters. Play music as recorded by Basie, Ellington, Thad Jones/Mel Lewis, the Vanguard Orchestra, Maria Schneider, or written by Fred Sturm, John Fedchock, Jim McNeely, Charlie Mingus, Bob Brookmeyer, Bob Curnow, Jamie Simmons, and many, many others. You will eventually find a sound or sounds that can become your ensembles’ signature, maybe a combination of Ellington and Mintzer! A combination of the traditional big band pieces and the innovative keeps the rehearsals interesting and gives the students an idea of how different the music can be and still fall under the “jazz” umbrella. This also gives the band another goal to pursue: If one is playing “Shiny Stockings,” there are ample recorded examples for the group to copy. Listen and imitate. Stay current in the music – don’t keep programming only the stuff you’ve played before. It’s a comfortable activity, but it’s not interesting artistically, and it will eventually become boring. If your ensemble can handle it, go out on a limb and try a Mingus Big Band or Vanguard Jazz Orchestra piece that was recently recorded, or find a Billy Strayhorn
guest editorial
The Buddy System For generations, the apprentice musician learned music from a master. Through observation and imitation the newbie develops the skills of the master. It should be the case in a school program that the student learns not only from the applied teacher but from those more experienced already in the program. There are innumerable benefits from students learning from one another and especially from practicing with one another. Of course the less skilled player can pick up from the more skilled: technique, practice habits, sight reading, style, and many other musical elements. But another benefit is the motivational one: practicing can often be boring to a young player. Practicing with another (not duets, but rather “switching off”) can provide motivation to get into the practice room and practice with intensity. Anything is Possible Although once a controversial topic, it is becoming more and more apparent from scientific research that
Dr. Kevin Kjos is director of Jazz Studies and assistant professor of Trumpet at Kutztown University of Pennsylvania.
LEARN FROM THE BEST
Motivation - Bring in the Masters “Motivation comes from Inspiration,” a professor of mine once told me. And hardly anything will keep your program as inspired as visits from guest educators or performers. There is nothing like having your students sit right next to the great players to fire them up. They will go out and buy their recordings and try to sound like their new heroes. Even if it’s once a year, the visit will invigorate a program for weeks before and after the visit. At first it could be a player or teacher from your alma mater, someone who you feel comfortable with and who will not be too intimidating to the students. But soon they will be ready for the real thing. I have a friend who teaches high school in Wisconsin who brought in Tony Williams, Christian McBride, and Herbie Hancock in the same year. A rare trio to be sure, but it shows what can be done. (Aside from energizing your program, these visits from clinicians also raise your visibility in the eyes of both the boosters and the administration.) When I get comments from my students every year about what they would like to see more of in our program, a large majority say “bring in more clinicians.” This is despite the fact that we bring in many clinicians every term. I think the reason is that they want as many points of view as possible, enjoy playing for a new “set of ears,” the opportunity to meet their heroes and get to know them personally, and have a goal for rehearsals.
great musicians are made, not born. This is great news for the jazz program from junior high to college. Research is showing us that given the right amount of “right” practice that anyone can reach an elite level of performance. If one engages in “goal oriented” practice in a diligent way, there is nothing that can hold a student back.
Summer 2008 Faculty Include: Ambrose Akinmusire Jeff Ballard Richard Davis Dena DeRose Madeline Eastman
Wycliffe Gordon Larry Grenadier Barry Harris Tootie Heath Charles McPherson
Jason Moran Joshua Redman John Scofield Mark Turner
Jazz Camp (Youth 12-17) Week 1: July 20 – 25 • Week 2: July 27 – August 1
Jazz Residency (Adults, Advanced Youth) August 3 – 8
• Unique curricula, individually programmed • One-on-one instruction by nationally recognized artists • Proven track record – 36 years of quality jazz education
Call 650.736.0324 for a free brochure or go to www.stanfordjazz.org JAZZed March 2008 21
ABOVE: RUTH DAVIES AT THE 2007 JAZZ WORKSHOP
piece that few perform. It keeps us growing artistically and pedagogically.
Tracking the Jim Widner
Measure
of
Progress By Christian Wissmuller Amongst the foremost names in, and advocates for, jazz camps and workshops, Jim Widner is also an accomplished performer, recording artist, and educator. Widner currently serves as director of Jazz Studies/Artist in Residence at the University of Missouri, St. Louis and has also taught at Memphis State University and North Texas State University, in addition to hosting summer jazz camps across the country for the past two decades-plus. An alumnus of the Stan Kenton, Woody Herman, and Glenn Miller big bands, Jim has performed with the likes of Buddy DeFranco, Bill Watrous, Randy Brecker, and Clark Terry, among others. The Jim Widner Big Band maintains an active performance schedule and, to date, has released five albums on the Chase Music Group label. JAZZed recently spoke with Jim Widner about his life in jazz and his unique perspective on the benefits of music camps and workshops.
22 JAZZed March 2008
Photo credit: Suzy Gorman
JAZZed March 2008 23
JAZZed: Jim, let’s start by discussing your early music teachers and mentors. Who were some specific folks who had a major impact? Jim Widner: Well, when I was in the 8th grade I wanted to join the school band, but since my mother was a single parent, she could not afford to rent an instrument. One day while sitting in study hall, an announcement was made inviting students to try out for the school orchestra, at that time directed by an individual named Ernie Pratt. Not truly having an interest in joining the orchestra but being completely bored in study hall, I decided to give it a try, especially since the school provided the instruments. I initially began playing the cello but never developed an attachment to it. Quite honestly, I just was not good at playing the cello. However, I still wanted to join the band. JAZZed: So it wasn’t exactly what you were after, but that’s how things really got started for you, musically. JW: Exactly. By the time I was a sophomore in high school, I was proficient enough at playing the cello. Encouraged
by the new director of the high school orchestra, who had just taken over the program, I auditioned for a seat with the Springfield, Missouri Youth Symphony directed by Jay Decker. Surprisingly, I made the cut. Later that school year, the director of the high school orchestra decided he needed bass players in the orchestra and thought that I would be a good candidate. Still not having established a bond with the cello, I decided to switch, and instantly a love affair with the bass began.
ton Band live in a concert at Ft. Leonard Wood, I attended the Stan Kenton Summer Jazz Camp in the summer of ’63. The band director, who changed my life and countless others over his years of teaching, was a gentleman by the name of Jerry Hoover. He currently is the director of Bands at Missouri State University.
JAZZed: How did you get introduced to jazz?
JW: Yes. After graduating from Lebanon [Mo.] High School in 1964 with the knowledge that I could not afford college tuition, I decided to join the Air Force. Becoming a fighter jet pilot was one of my dreams. Once again, Jerry Hoover interceded and arranged for me to audition for a scholarship at the University of Missouri, with Charles Emmons, the Director of Bands at Mizzou. Much to my surprise, I was awarded a full tuition scholarship. Consequently, my dream to fly fighter jets was never to be realized.
The summer before my junior year, my director allowed me to join the school band if I learned to play one of the school-owned sousaphones. Coincidentally, the same director had recently started a school jazz band. When I heard the first strains of Henry Mancini’s “Peter Gunn” performed by the jazz band at a school assembly, my life changed forever. I knew right then, one way or another, that I was going to be the bass player in the jazz band the following year. I made good on my vow, and after hearing the Ken-
JAZZed: You ended up at University of Missouri, Memphis State after high school, yes?
JAZZed: Aviation’s loss was surely the music world’s gain. Let’s discuss your time at University of Missouri, Memphis State.
“Camps and workshops let you learn from the best of the best jazz artists and educators.”
24 JAZZed March 2008
JW: Sure [laughs]. Although the University of Missouri did not have an established jazz band, I was honored and thrilled to be there. My scholarship included membership in the orchestra, concert band, and Marching Mizzou – Yes, I still had to carry that damn sousaphone! Another part of the scholarship required me to work on campus for two hours each morning in the library. Making the mighty sum of eightyfive cents an hour gave me enough money to pay rent in a rooming house close to campus. Since University of Missouri had no organized school jazz band, the only opportunity to
play jazz were jam sessions with other students who also wanted to play this kind of music. Soon I started getting calls to play dance gigs around the area and made enough money so I could afford to quit my library job. After a couple of years, the University Band program decided to start a jazz ensemble, and it was a privilege to be a charter member. JAZZed: Sounds like you made the most of your time there. Let’s shift gears a little bit: you’ve worked with the Kenton, Herman, and Miller big bands – can you talk about those experiences and how they informed your approach to teaching? Let’s start at the beginning: How did you get hooked up with Stan Kenton? JW: Having attended the Kenton summer camps continuously since 1963, I was honored that my friend John Worster, Kenton’s bassist for a number of years, had arranged for me to play in Stan’s band after his departure. Needless to say, this was a dream come true in every way imaginable. During the summer of ’67, Stan only had the band out on the road for short periods at a time; however, it enabled me to play with the band during two summer camps. This afforded me instructor status at the camps, which was the ultimate prize. After my first concert with the Kenton Band at Redlands University (Calif.) during a weeklong camp, Stan pulled me aside the next day and asked me to get my bass and meet him in one of the music rooms. Of course, this made me a little more nervous than I already was, but Stan always had a reason for everything. He said, “Let’s just play some blues,” so we did. After a couple of courses, he stopped and asked, “Now Jim, do you really feel like you ‘feel the time,’ or are you just playing?" Having never been asked that before, or even thought about it, I answered, “I guess I was just playing.” He said (while clicking his fingers), “Let’s do it again, but this time, I want you to really think about the ‘time’ before you start playing.” I did just that, and when he gave the count off, it had a totally different feel to it. Stan’s lesson is one that I never forgot, and I use it to this JAZZed March 2008 25
“I always ask any band I direct to remember how they sound on the first day and then remember how they sound on the last day. That is the measure of progress.”
Photo credit: Dawn DeBlaze
Go with
AMERICAN TOURS & TRAVEL
You’ll Love It!
We handle all of the details for a succesful trip!
1-800-243-4365
day with all students and bands with whom I work. JAZZed: Grasping the feel of a piece is pretty essential to understanding and playing jazz, no question. Moving on: when did you join up with the Woody Herman Band? JW: After the last camp that summer, I returned to the University of Missouri to continue my studies. Just prior to the start of classes, I was asked to join the Woody Herman Band. It was yet another great honor that proved to be one of the most intimidating experiences I ever had. The band was completely different as it was loaded with world-class players and was more of a business band instead of a “family” atmosphere as in the Kenton Band. I quickly became extremely uncomfortable with the situation. It only took the first night for me to realize I was in over my head. JAZZed: Really? It was that intense?
Licensed, bonded & insured
26 JAZZed March 2008
JW: Well, playing with Ed Soph and the late John Hicks in the rhythm
section was intimidating enough, but trying to keep up with soloists like Sal Nistico, Lou Marini, Ronnie Cuber, Billy Hunt, Bob Burgess and many others was more than I could handle. But man, what an education! After the first week, the road manager and I knew the band needed to find a more suitable bass player. Playing with Ed Soph and Dee Barton further emphasized the value of just playing good “time,” and the lesson has stayed with me throughout my career. JAZZed: You seem to have been able to focus on the positive aspects of the experience, even if it was nerve-wracking at the time. Finally, can you tell me about the Glenn Miller Orchestra? JW: In late ‘68, I received a call to tour with the Glenn Miller Orchestra (GMO), which was then under the direction of Buddy DeFranco. I had mixed feelings about joining the band because, having played with Kenton and Herman, I thought I was probably too “hip” to play with GMO. It was not until I toured Japan and played to sold-out concert halls (sometimes
two shows a night) that I gained a whole new respect for the name Glenn Miller. To be halfway around the world and have the audience request specific tunes that they knew from listening to Miller albums, I again had a valuable learning experience not to be so judgmental of the music. Besides: touring Japan, Australia, New Zealand, and Europe a couple of times, along with working with Buddy DeFranco – how bad could it be? JAZZed: Were all these gigs concurrent with your college career or did this all happen after you graduated? JW: These tours were interludes with my undergraduate studies, but I finally decided to finish my degree. By going on the road, it took longer to conclude my courses, but I finally earned my degree in Music Education in January of ‘71. During this time, I also received requests to work with the fabulous vocalist, Marilyn Maye. These gigs were usually on the weekends in the Midwest and did not interfere with school. But I did have the opportunity to perform with her in Las Vegas a couple of times. Even with a busy road schedule, I still continued to teach each summer at the Kenton camps directing student bands. In the early ‘70s, I moved to Los Angeles to work in Kenton’s office, where I was specifically charged with the details for all summer camps, which had now spread to five locals across the United States and Canada. Stan’s first camp outside of California was one that I established at Drury College in Springfield, Missouri with Don Verne Joseph and Matt Betton. While teaching at these camps, I met Dr. Tom Ferguson, who convinced me to come to Memphis and work with him at Memphis State University.
Schneider Jazz Orchestra and tours with the Rolling Stones. Other players from that band included lead trumpet player Dan Fornero (an L.A. session player currently with Gordon Goodwin), Joe Eckert (former director of the Airmen of Note) and Brad Dutz (L.A. session percussionist, Gordon Goodwin, et cetera) and several others who now have a career in jazz performance and jazz education. All of the above mentioned individuals were extremely influential in my teaching career, but I have always credited my high school band director, Jerry Hoover, Stan Kenton, and Kenton bassist John Worster as the major influences that forged a path for me to enjoy a career in jazz. JAZZed: Can you describe how you came to be on staff at University of Missouri? JW: After a year of post-graduate work at North Texas and with a wife and two children, I made the decision to move back to Missouri to be near family. From the time spent at Kenton’s office through my time at North Texas, I had developed a successful clinic program of my own, conducting concerts and clinics with high schools and colleges across the United States. These programs continue to this day and include jazz festivals in schools as well as regional festivals such as the Quad-Cities Jazz Festival in Moline, Illinois. One of the first festivals I established was at Mineral Area College (MAC) in Park Hills, Missouri, where Dr. Di-
JAZZed: Tell me about your responsibilities at Memphis State? JW: I not only worked with Dr. Ferguson for three years but I was also able to earn my masters degree there. Tom then accepted the position of director of Jazz Studies at Arizona State University, after which I was asked to direct the jazz program at Memphis State. The appointment was my first official full-time teaching gig. After directing the program for the following year, I finally received an offer to become a part of the jazz program at North Texas State University (now the University of North Texas). One of my colleagues at the Kenton summer camps was Leon Breeden, who happened to be the director of the jazz program at North Texas State University. As a result, I was offered the opportunity to direct the 3:00 O’clock Lab Band. Directing one of the lab bands at North Texas, along with teaching at the Kenton camps, was indeed the crowning jewel of my jazz education. One of my major contributions to the Lab Band program was taking the 3:00 O’clock Band on a five-day tour outside of the state of Texas. This had never been done, yet I managed to convince Leon Breeden that this was a great opportunity to demonstrate the true depth of the program. Interestingly enough, the jazz tenor player in the 3:00 O’clock band at the time was Tim Ries, who records with the Maria JAZZed March 2008 27
xie Kohn, who was then president of MAC, hired me. A friend from our days at the University of Missouri, Kohn later retired from MAC and accepted a position as vice-chancellor of University Relations at the University of Missouri – St. Louis (UMSL). When the position of director of Jazz Studies became available at UMSL, it was Dr. Kohn who recommended me as a candidate. I was hired to take over UMSL’s program, which included directing the jazz ensemble and combos and the responsibility of building a more widely known program.
Jim Widner and Marilyn Maye following the 2005 Greater St. Louis Jazz Festival.
JAZZed: Tell me a little about your duties there and how your job has evolved over the years?
3U "E M GI M NN ER IN G
JW: One of my first tasks as director of Jazz Studies was to focus on recruiting students. My previous relationships with many band directors in the St. Louis Metro area proved to be a valuable advantage. I was able to immediately begin working with their programs on behalf of the university. To gain additional recognition of our jazz program, I established UMSL’s Greater St. Louis Jazz Festival. In four years, the festival has featured
Photo credit: Dawn DeBlaze
guest artists Clark Terry, Mulgrew Miller, Gordon Goodwin and the Big Phat Band, Conrad Herwig, Bobby Watson, Jeff Hamilton, Clay Jenkins, Tim Ries, Marilyn Maye, and many
#APITAL 5NIVERSITY vviÀÃÊ >Ê«À>VÌ V> Ê>««À >V ÊÌ Ê> Ê>`Û> Vi`Ê`i}Àii°
-ASTER OF -USIC IN -USIC %DUCATION WITH *AZZ 0EDAGOGY %MPHASIS Ê Ê Ê
UÊ Ê UÊ UÊ
« iÌiÊÞ ÕÀÊ >ÃÌiÀ½ÃÊ`i}ÀiiÊÌ À Õ} Ê>ÊÊ ÃÕ iÀà ÞÊ«À }À> °Ê ÌiÀ>VÌÊÜ Ì ÊÌ `>Þ½ÃÊw iÃÌÊ >ââÊi`ÕV>Ì ÀÃ°Ê > ViÊ> `Êi À V ÊÞ ÕÀÊÌi>V }ÊV>ÀiiÀ°
Ê Ê Ê Ê
UÊ Ê Ê Ê
Ý«iÀ i ViÊ>Ê iÜÊ ÃÌÀÕVÌ > Ê `i Êv ÀÊÊ V Ìi « À>ÀÞÊi`ÕV>Ì ÀÃÊ> `ÊV ÕÀÃiÃÊÊ Ê Ã«iV wV> ÞÊ`ià } i`ÊÌ Ê iiÌÊÌ iÊ ii`ÃÊ vÊÊÊ Õà VÊÌi>V iÀð
ÀÊ> Ê>«« V>Ì Ê ÀÊv ÀÊ ÀiÊ v À >Ì ]ÊV Ì>VÌÊÌ iÊ À>`Õ>ÌiÊ *À }À> ÃÊ"vwViÊ>ÌÊÈ£{®ÊÓÎÈ ÈÓÈÇÊ ÀÊi > Ê V ÝJV>« Ì> °i`Õ°Ê ÀiÊ v À >Ì Ê>L ÕÌÊ >« Ì> ½ÃÊ}À>`Õ>ÌiÊ Õà VÊ«À }À> Ã]Ê>ÃÊÜi Ê>ÃÊ>Ê ` Ü >`>L iÊ>«« V>Ì ]Ê ÃÊ>Û> >L iÊ>ÌÊ Õà V°V>« Ì> °i`Õ°
28 JAZZed March 2008
others. One of my other responsibilities when I came to UMSL was to develop a jazz combo/improv camp. In the summer of ’08 we are adding the Jim Widner Big Band Camp to the UMSL campus. These events put prospective students on our campus who might not otherwise be exposed to our program. The jazz festival itself has taken on a life of its own and it has expanded to four days. We have partnered with Jazz St. Louis to host two days of school combos at Jazz at the Bistro, which was recently named by USA Today as one of the top 10 jazz clubs in the country. Each student combo participates in a clinic session with our guest artists and performs in the club. In addition, we host two days of school big bands (high school, middle school and college) in our beautiful, state-of-the-art Blanche M. Touhill Performing Arts Center on the UMSL campus. The festival is based on a non-competitive format and emphasizes clinic sessions with our guest artists following their performance. Evening concerts featuring the guest artists with the UMSL Jazz Ensemble follow daytime activities.
Since coming to UMSL we have added an adjunct jazz faculty to include classes in improvisation as well as secondary applied study in jazz on each instrument. This has helped establish continued growth in the program.
Jim Widner: Précis
JAZZed: What do you find to be the most rewarding element of teaching?
Recordings: Jim Widner Big Band - Yesterdays & Today, Body and Soul, Rides Again, Flying High, Out of This World (Chase Music Group); Stan Kenton Alumni Band – Stan Kenton Alumni Live on the Road (Summit)
JW: The most rewarding element of teaching is recognizing the progress of each student throughout the semester and how their progress contributes to the development and musicality of each ensemble. I always ask any band I direct, whether it is my university ensemble or an honors band, to remember how they sound on the first day and then remember how they sound on the last day. That is the measure of progress. JAZZed: Ok – how about the flipside of the same topic: What’s the most frustrating or un-enjoyable aspect of being a music teacher? JW: You do not encounter many frustrations when teaching, but the biggest frustration for me is not being able to reach that one student who I know has the talent. The student may have the skills to play in one of our bands, but for whatever reason, he/she does not connect. However, given the opportunity to connect, he/she could become better – that is the ultimate reward for any educator. The biggest challenge in establishing a new jazz program is convincing prospective students of the strengths in your competitive program versus a recognized program. This is especially true for UMSL, as we are the new kid on the block. I imagine I speak for a lot of teachers when I say that probably the least enjoyable part of teaching is when you have to dismiss a student for reasons beyond your control.
Web site: www.jimwidnerbigband.com
Recognition & Accolades: Inducted into “The Statesmen of Jazz” (2006), University of Missouri-Columbia music wing of fine arts residential college named “Widner House” (1999)
Photo credit: Dawn DeBlaze
JAZZed: “Jazz,” as a topic or subject of study, is perhaps more prevalent in jr. and sr. high school music programs than it was long ago, but for some teachers with a more classical background it’s still “mysterious” or “difficult.” How would you advise a music director to best introduce jazz education into their overall curriculum? JAZZed March 2008 29
Photo credit: Dawn DeBlaze
band camp and one combo camp) to help secure some of the tools you need to get you started in teaching jazz. Sadly, a lot of directors view this as an act of weakness, when in reality
JW: Having taught at the Kenton camps for 10 years, I was strongly influenced by Stan’s dedication to young student musicians and jazz education in general. When he died in 1979, Stan strongly expressed in no uncertain terms in his will that there would
“To the music director who still finds teaching jazz mysterious or difficult I would strongly advise him or her to attend clinics and workshops to help unlock the door of fear.” it shows a sign of strength. In today’s market, there are a plethora of recordings, methods and materials to help any director get started. Camps and workshops let you learn from the best of the best jazz artists/educators. Most of all I’d say: “Go for it! Your students deserve it.”
JW: To the music director who still finds teaching jazz mysterious or difficult, I would strongly advise him or her to attend clinics and workshops to help unlock the door of fear. Many directors either did not have or did not take the opportunity to play in a jazz ensemble. Understandably they may be afraid to introduce jazz to their students because they don’t know what to do or how to go about it. Consider taking a week or two in the summer to attend a jazz camp (maybe one big
JAZZed: Can you discuss your experiences with the Kenton, Hermon, and Miller big bands and how that has informed your approach to teaching, if at all? To what extent have those been “learning experiences” for you, personally?
Record & Listen & Improve Order a Free Demo DVD online Dual Drives from $799 &
&
&
CD Recorders for Music Practice
Record. Make great sounding CDs. Create custom mix CDs. Listen. Change the tempo on any CD without affecting the key. Improve. Fine tune an accompanying CD to match your voice or instrument.
New!
Marantz Pro PMD620
Record on the Go
Use the built-in stereo mics to record concerts, marching bands & spontaneous moments when the action won’t wait for you to set up. &
&
&
Records on SD Cards for easy transfer to your PC. Add Clip-on Instrument Mics from Superscope to isolate soloists. Record Lessons & Podcasts as MP3 files for easy sharing on the Web.
www.superscope.net 30 JAZZed March 2008
$399
&
800-374-4118
be no Kenton “ghost band.” Everything he did came to a screeching halt. In the nine years following Stan’s death, I often asked myself why the concept of the Kenton camps had to cease, even if there was no Kenton band. I kept waiting for someone to step forward and “carry the torch,” but no one ever did. Finally, I went to the Kenton estate and asked for their permission and blessing, to pick up where Stan left off. After a brief hesitation, Audree Kenton gave me her blessing to do a camp in Stan’s likeness, as long as I did not use Stan’s name in any way. I agreed, but did ask for a letter in writing to use as an endorsement. She graciously obliged, but to this day, I have never used that letter. I called former sidemen with Kenton who had been involved with the camps over the years. After a lot of begging, most agreed to come on board and give it a try. By the way, the drummer on the Jim Widner Big Band for the first four years was Ed Soph, previously with the Woody Herman Big Band! This past summer we celebrated our 20th anniversary of the summer camps in what started out as only a dream. Now, like many others, I am still drawn to these camps because I know they work. In addition to daily classes in improvisation, instrument master classes, big band or combo rehearsals, sectionals and jazz theory, the students get to hear a professional big band or combo, depending on which camp they attend, each day or evening. This is the frosting on the cake.
Photo credit: Suzy Gorman
JAZZed: Very cool. From a professional standpoint as a performer and recording artist, what do you consider to be the highlight of your career? JW: The highlight of my professional career is being able to hold a big band together for twenty years under my name, a band that includes world class artists (many of whom have been on the band for as long as 15 years), and recording five critically acclaimed CDs. JAZZed: Same question, but this time: What are the career highlights as an educator?
JW: My highlight as an educator has been to be able to walk in to any situation – be it clinic, festival, or anything else – and make a contribution to help a band or even a single individual sound better. I credit this ability to the knowledge that I have gained from working with and learning from some of the finest artists and educators that this art form has to offer. Not only have I experienced a great career in jazz, but a year ago last Father’s Day, thanks to my son Lance and his connections, I finally got my ride in a fighter jet!
JAZZed March 2008 31
guest clinician
ANTONIO J. GARCÍA
Where’s the Beat? Part II
I
BY ANTONIO J. GARCÍA
n Part I of this article we explored how emphasizing the most important beat within swing and Brazilian grooves can quickly unify your ensemble’s performance. We’ll now focus on Afro-Cuban and funk grooves. When I assist ensembles at festivals and at their own schools across the U.S. and beyond, I frequently ask in the post-performance workshop, “What’s the most important beat in a bar of this music?” Very few orchestras, choirs, jazz ensembles, or chamber groups can answer. Yet once they think about it, all agree that unifying their concept of performance around the ground beat is an essential element—and possibly the most essential element—for quickly elevating their performance to their next level of excellence. Impressively, this shift of emphasis rarely calls for any greater technique, only awareness. Unfortunately, the concept of ground beat is often relegated only to the percussion or rhythm section of instrumental ensembles (though too few can answer the question). The horn players and voices seem much more rarely involved in incorporating the groove into their lines. Yet that very incorporation of the ground
“UNFORTUNATELY, THE CONCEPT OF GROUND BEAT IS OFTEN RELEGATED ONLY TO THE PERCUSSION OR RHYTHM SECTION OF INSTRUMENTAL ENSEMBLES.”
32 JAZZed March 2008
guest clinician beat across the entire ensemble is fundamental to the musical success of any performance. So now we’ll explore some accurate interpretations of the ground beat across the jazz styles of Afro-Cuban and funk, with visual examples distilled down to the essentials for clarity.
Afro-Cuban As with Brazilian grooves, there are countless variations of Afro-Cuban
grooves, each based on the appropriate clave (KLAH-vey), which means “key.” The sticks known as claves play the key rhythm of that specific Afro-Cuban groove, and that rhythm informs the patterns of all instruments in the rhythm section. If there’s one phrase that captures the essence of the Afro-Cuban grooves, it’s “Don’t mess with the clave!” In more positive terms, this means that all the horn and vocal lines must be compat-
ible with the clave beat: even the best soloists are aware of incorporating it into their improvisations. The details of the many grooves and related claves are sufficient for a book or article on their own. (See “Resources.”) But let’s assume for the moment that the music you are exploring is in the very popular 2-3 son clave. That describes two specific hits in the first measure and three specific hits in the second measure of any pair of
JAZZed March 2008 33
guest clinician
34 JAZZed March 2008
guest clinician bars (Example 21). (Letâ&#x20AC;&#x2122;s also assume that your drummer is using the hi-hat, even though the original timbales of the genre have no such item.) The clave carries information about the ground beat in the two-bar phrase. The measure that contains two hits (in this case, the first of the pair of bars) usually slightly emphasizes the second hitâ&#x20AC;&#x201D;which happens to fall on beat three of the bar. But much more importantly, the measure containing three hits (in this case, the second of the pair) even more strongly accents the last of the threeâ&#x20AC;&#x201D;which happens to fall on beat four of that bar (Example 22). Thus in 2-3 son clave, the ground beat is actually the eighth quarter of every pair of measures. This effectively shifts emphasis from the downbeat of any given measure to beat four of the even-numbered measuresâ&#x20AC;&#x201D;a position that can properly transport an ensembleâ&#x20AC;&#x2122;s musical interpretation from north of the Caribbean to far south. It also changes most 4/4 Afro-Cuban music to feel not in one-bar groupings but in two-measure phrasesâ&#x20AC;&#x201D;a kind of cut time that adds an element of relaxation to even the busiest such groove. Armed with this information, AfroCuban musicians can take a line that may seem rather sterile in print (such as in the Peanut Vendor-like Example 23) and infuse it with the ground beat accent of beat four every even-numbered bar (Example 24). Depending on the nature of the line, they may even add a moderate emphasis on beat three of the odd-numbered bars (Example 25) or the complete clave pattern (Example 26). The choice is yours. But culturally informed musicians will not play the line devoid of any ground-beat emphasis. (Note again that the last note of each example is short only because it ends a phrase; otherwise, it would likely be long.) The 2-3 son clave can be reversed in another tune to 3-2 son clave (Example 27)â&#x20AC;&#x201D;or modified to 2-3 rum-
accordingly. This groove is often written across one measure of 12/8 instead of two of 6/8.
ba clave (Example 28) or 3-2 rumba clave (Example 29)â&#x20AC;&#x201D;or appear in yet further variations. But whatever the clave beat is, every musical line in every chair of the ensemble should reflect its ground beat: thatâ&#x20AC;&#x2122;s what sells the groove! Even an abbreviated look at AfroCuban grooves has to mention the 6/8
Funk
â&#x20AC;&#x153;AS WITH BRAZILIAN GROOVES, THERE ARE COUNTLESS VARIATIONS OF AFRO-CUBAN GROOVES.â&#x20AC;? feel known by abakwa, abakua, nanigo, or other names. Its triplet-feel bellpattern groove is also based in clave. Some musicians might choose to overlay a 2-3 son clave atop this feel (Example 30), while the more frequent choice seems to be a 3-2 rumba clave (Example 31). So long as everyone agrees on the same pattern, all will be well: the ground beat can be chosen
The roots of funk go deeply into blues, gospel, swing, Brazilian, and Afro-Cuban musics. Help your students realize and demonstrate that the funk backbeat grooves they so enjoy come from the very same backbeats in these earlier forms, and youâ&#x20AC;&#x2122;ll find them more interested in playing swing and Latin grooves well. At the outset of Part I of this article I mentioned that â&#x20AC;&#x153;if an ensemble arbitrarily had chosen a random part of the measure as its ground beat shared among all its musicians, the unity of its performance would markedly improve. The style might not be historically or culturally accurate, but the unified interpretation would be undeniably strong.â&#x20AC;? The most interesting element of funk to me is that virtually any portion of the measureâ&#x20AC;&#x201D;or combination of por-
Earn 1 College Credit...at Camp!
Great Basin
www.greatbasinjazzcamp.com
Bruceâ&#x20AC;&#x2122;s Guitar Playing Featured in Clint Eastwoodâ&#x20AC;&#x2122;s Academy Award-Winning Film "Million Dollar Baby"
Featured Trumpet Star of the ClaytonHamilton Jazz Orchestra - Adjunct Professor, USC Thornton School of Music
+VMZ +VMZ t /PSUIXFTU /B[BSFOF 6OJWFSTJUZt /BNQB *EBIP
$FSUJmFE 1SPGFTTJPOBM *OTUSVDUPST GPS "MM *OTUSVNFOUT
NEW! Vocal Jazz Workshop - Solo & Ensemble Performance Skills, Scat Singing and MORE!
&OSPMM /PX 5ISPVHI +VOF
7JTJU 0VS 8FCTJUF GPS 4QFDJBM 3BUFT BOE .PSF %FUBJMT t XXX HSFBUCBTJOKB[[DBNQ DPN
JAZZed March 2008 35
guest clinician tions—can be selected as the ground beat with tremendous success. But if your ensemble wants to convey the music in the style of the composer, you’ll have to identify what the original ground-beat choice was in order to duplicate it. Whether based on swing or even sixteenth notes in 4/4 time, a majority of funk grooves carry a backbeat feel accenting two and four (Example 32), as in swing. This is gospel music’s influence at its strongest; so if the music you’re performing is built on this feel, you will have to address it deeply. A line that might appear as in Example 33 requires ground-beat accenting as in Example 34. (Note that the last note of each phrase is also accented.)
Sometimes such feels are written in eighth notes at half the tempo rather than sixteenths and thus across twice as many measures, as in Example 35. Though the music sounds the same to the listener, the resulting ground beat is very often on the second half of the bar in 2/2 time (Example 36), as in samba. There is nothing less funky than listening to an ensemble try to play funk without agreeing where the ground beat is!
Form and Function By now, two questions might have arisen in your mind. First, why aren’t these ground beats more obviously reflected in the scores and parts of the
music you’re performing? In most cases, it would be impractical for the composer/arranger to write accents above every critical beat-point in the lines of all the musicians. The more notations added to the parts, the more complicated the written music looks—usually a negative in the eyes of the potential buyer. You might find clues in the drum and percussion parts of the ensemble, at best: it would take longer for the writer to insert those ground-beat accents into each part. Nonetheless, that’s exactly how the pros interpret the lines. That’s how ensembles groove, whether a jazz band, a symphony orchestra, or a chorus: they have one vision of the ground beat involved.
RESOURCES (Please visit the Resources section of Part I of this article for additional references already recommended by the author.)
INTERNET
To hear audio of each of the 35 examples illustrated within Parts I and II of this article, please visit www. garciamusic.com/educator/articles/articles.html and click on “Where’s the Beat?” A sound file is provided for each example within the online presentation. See the Resources section of Part I for details regarding Jamey Aebersold’s Web site at www.jazzbooks.com, Chuck Sher’s Web site at www.shermusic.com, www. descarga.com, and the free pedagogical resource “Latin Rhythms: Mystery Unraveled” by Victor Lopez, downloadable as a PDF from www.midwestclinic.org/clinicianmaterials/2005/victor_lopez.pdf.
CDs
Afro-Cuban H.M.A. Salsa/Jazz Orchestra California Salsa—Sea Breeze CDSB-110 (1991). Mambo All-Stars on Various Artists The Mambo Kings— Elektra 62505 (1992, reissued 2000). Funk Earth Wind & Fire Greatest Hits—Sony 65779-2 (1998). James Brown 20 All-Time Greatest Hits!—Polydor 511326 (1991). The Best of Parliament: Give Up the Funk—Polygram 314 526 995-2 (1995).
36 JAZZed March 2008
The Very Best of Tower of Power: The Warner Years— Rhino/WEA 74345 (2001).
BOOKS
Because the quest for the ground beat is usually rooted in the rhythm section (and especially in the drum part), the brief list below focuses in that direction.
Afro-Cuban Afro-Cuban Rhythms for Drumset by Frank Malabe and Bob Weiner. Book and CD (Manhattan Music). The Salsa Guide Book by Rebeca Mauleón (Sher Music). Funk Mel Bay’s Complete Funk Drumming Book by Jim Payne. (Mel Bay). The Funky Beat by Dave Garibaldi. Book and CD (Warner Brothers). Funk Bass by Jon Liebman. Book and CD (Hal Leonard).
ARTICLE
For specific suggestions as to how an ensemble director might best count off these different grooves to start their jazz ensembles in rehearsal and performance, please see the article “Count-Offs Set the Groove” by Antonio García in The Instrumentalist, Vol. 52, No. 4, November 1997. See the Resources section of Part I for additional books that cover Latin, funk, and more.
guest clinician Second, do all fine ensembles really make these decisions as to how to interpret the ground beat into every musician’s part? Absolutely, they do. But the more professional the level of experience in each chair, the more quickly and silently the decisions are made. In a pro jazz band, for example, the historic tradition is that all horns look to their section leaders for stylistic interpretation—and that all section leaders follow the lead trumpet’s interpretation—and that the drummer and lead trumpeter work on an equal level to lead the ensemble from the chairs. The adjustments across such a band can occur so instantaneously that the communication seems effortless or absent, though it is indeed there. The younger the ensemble, the more the director’s input is needed. Otherwise, the varying opinions of a younger ensemble’s members will continue to conflict in performance. Unifying the interpretation of the ground beat across all chairs is thus one of the foremost responsibilities of an ensemble director. By addressing this musical element, you will strengthen your ensemble’s performance to an extent you had likely not even thought possible in so short a time period, contributing a more natural feel to the music of any tempo.
A trombonist, pianist, and avid scatsinger, Garcia has performed with such artists as Ella Fitzgerald, Dave Brubeck, George Shearing, Mel Tormé, Louie Bellson, and Phil Collins. Tony is a board member of The Midwest Clinic, a ConnSelmer trombone clinician, a former coordinator of the Illinois Coalition for Music Education, has presented instrumental and vocal jazz workshops in the U.S., Canada, Europe, South Africa, and Australia, is a widely published author in a dozen jazz and education periodicals, and is a past nominee for CASE “U.S. Professor of the Year.” Visit his Web site: www.garciamusic. com.
News For Additional News in JAZZed, please visit www.jazzedmagazine.com
Antonio J. García is an associate professor of Music and director of Jazz Studies at Virginia Commonwealth University. His new book with play-along CD, Cutting the Changes: Jazz Improvisation via Key Centers (published by Kjos Music) offers musicians of all ages standard-tune improv opportunities using only their major scales. Garcia is associate Jazz editor of the International Trombone Association Journal, past editor of the IAJE Jazz Education Journal, co-editor and contributing author of Teaching Jazz: A Course of Study, IAJE-IL past-president, and past IAJE International co-chair for Curriculum and for Vocal/Instrumental Integration. JAZZed March 2008 37
basic training
BE-BOP HARMONY
Navigating the Be-boppers´ Harmonic Galaxy BY BRIAN LILLOS
T
he be-boppers’ harmonic galaxy is based on the Diminished 7th arpeggio. It is the axis upon which all is built. ■ For this reason, the first thing I do when I look at a new set of changes is to look for diminished relations. ■ These relations quickly define key centers, dominant relationships, and significant harmonic movement. In 30 seconds I am able to gain the necessary insight for improvisation. ■ However, from an educational standpoint,
my 30-second perusal took half a lifetime to learn. ■ Let me try and retrace my some of my steps. Remember, you are going to have to “connect some of the dots.” ■ Also remember,
if you move to a new step without understanding the previous one, proceed with caution because leapfrogging doesn’t work for long. The beginning of my be-bop study started with be-bop scales. These 8-note, rhythmically symmetrical scales, served many purposes. The first purpose was to my get chord tones on the beat, which proved to be an essential part of be-bop playing.
The 8-note, rhythmic symmetrical scale also facilitated back-phrasing which is a very important element of swing and be-bop phrasing.
38 JAZZed January 2008
The be-bop scale also made harmonic anticipation easy to execute. For example,
But, most importantly, the be-bop scale delivered something harmonic. It sounded the “I” chord and the V7 chord at the same time. For me this was particularly significant.
basic training (I had to think of an inverted, rootless D7ƌ9 to make this work.) The result of discovering that I and V were in the same scale allowed me to, in the initial stages of improvisation, harmonically generalize large sections of tunes. It allowed me to create a “harmonic reduction analysis”, if you will. For example, I made the following harmonic generalizations in the “A” section of “Loudly, as in an Evening Sunset." The original:
tery Chord/Scale Mas Master the Top Ten
Jazz Chords and their Scales Treble Clef
n Versio
ts men all uded! For CD incl ng lo -a Play u Instr
ch Keith Fel Felch.com
© Keith Felch
- All Rights
Reserved
www.Keith
When reduced, became:
While this can’t be considered making the changes, it does allow, through generalization, a scale to be used which covers the tonality. By using the bop scale built on A-6 the E7ƌ9ƌ13 and the B7ƌ5 is implied. The A-6 bop scale is as follows: Another example would be “All Dr. Harris’ Children Got Rhythm.” The original progression, for the “A” section, was as follows:
JAZZed March 2008 39
basic training My harmonic reduction analysis gave me this:
As my improvisation became more about melodic inventiveness with one scale, it gave me the time to concentrate on rhythmic groupings and pronunciation (articulation). The unreduced harmonic progression paralysed me. I felt I had to micro-manage it. With the be-boppers reduction analysis I found I was looking ahead for a target that required a new scale and looking for significant chords that were specific to this tune. This is what is supposed to happen. And beboppers have a hierarchy of chords. In a major tonality they believe I, V7, IV, and IVare important chords. In their world they would assign these chords bigger size fonts on a lead sheet. Everything else is subordinate to I, V7, IV, and IV-. Look again at the reduction of “All Dr. Harris’ Children Got Rhythm.”
My generalization would put important chords on the beat. Hence, I would be left with the example mentioned earlier:
When I initially improvised on this tune I would improvise on G major 6 and D7 for four bars watching carefully for G7 to appear and immediately C major C minor in bar 6. To the bebopper, G7 is important because it sets up C major. C major is particularly important because it sets up C minor and C minor is very, very important because it resolves (takes us back) to G major. Following this type of logic, bars 5 and 6 of “All Dr. Harris Children Got Rhythm” are significant. The other 6 bars are G major. To prove my point, I ask that you please consult the Charlie Parker Omnibook and look at several of his solos on Rhythm Changes. Pay particular attention to his playing on bar 6 of each “A” section.
40 JAZZed March 2008
basic training
With the concept of harmonic reduction in mind I started to analyze a great many bop tunes and jazz standards. I was looking for an abbreviated or more simplified harmonic progression to which I could apply my bop scales and also any “snags” or “hooks” or significant harmonic movement I needed to negotiate. One of my first bop tunes after Rhythm Changes was the bop anthem “Constipation.” The original chord progression is as follows:
My harmonic reductions looks like this: What first startled me when I was improvising on my simplified version of “Constipation” was bar 2 and bars 21 through 24. What commonality was I going to find to handle these two spots in the tune? Bars 1 and 2 share the same diminished 7th. Bars 17 through 20 and bars 21 through 24 share the same diminished 7th. This is significant because it means the dominant 7th chords are related. This is where a deeper level understanding “the diminished” theory began. If chords share the same diminished arpeggio then they are related. If they are related then navigation becomes easier.
JAZZed March 2008 41
basic training For example:
In my initial journeys through the galaxy I was looking for I, V7, IV, and IV- and any modulations. Later, I started looking for significant harmonic movement that was specific to certain tunes or what I learned later were “tune types”. I became interested in connecting my be-bop scales. (Be-bop is a lot more than just playing the right bop scale over a chord.) I became interested in moving from one chord to another in a logical and melodic fashion. I became interested in chord inversions because my instrument has a limited range. I became interested in voice leading (ways in which to introduce tension and resolve it logically). I became interested in the way chords moved from one place to another and why. My first journey of this nature was to look at bars 3 and 4 as well as bars 7 and 8 of “Lovers No More.” I learned that the tune actually started on the IV chord, moved to the flat VII7, then to I, then to flat VI7 and then to V7. Melodically, the tune enjoyed the sound of the tritone. In my improvisation I had the option of playing bop scales over the aforementioned bars:
42 JAZZed March 2008
basic training Or using these scales as harmonic anticipation or approaches to targets in my improvisation:
Or doing the bop thing and looking for the tritone voice lead wherever musically feasible and doing something like this:
Later, I became interested in the diatonic and non-diatonic microcosm, the thing I initially had rejected. I was becoming fascinated with it because I understood chord function and the hierarchy inherent in be-bop harmony. I had learned these concepts through understanding diminished relations. Here is what I think and play now: â&#x20AC;&#x153;Bella by Barlight.â&#x20AC;?
JAZZed March 2008 43
basic training
The further one delves into the be-boppers galaxy, the more one realizes that the diminished 7th is the axis upon which all is built. The diminished arpeggio gives us 2 tritones, 4 related dominants, and I and V7 in the same scale. Further, secondary dominants are a semi-tone away, altered can be explained as the tritones minor, and augmented is diatonic to harmonic minor. For the be-bopper, diminished is the axis upon which all is built. All the best in your travels through the galaxy.
Brian Lillos is one of Canadaâ&#x20AC;&#x2122;s leading jazz educators and performers. Lillos has appeared with the likes of Tony Bennett, Frank Sinatra, Ella Fitzgerald, and Ray Charles, among others. He currently is professor of Jazz Studies
44 JAZZed March 2008
at Humber College in Toronto. This article is based, in part, upon selected chapters in Lillosâ&#x20AC;&#x2122; 2006 publication, Jazz Pedagogy: A Canadian Perspective. Brian can be reached at www.brianlillos.com.
crossword 1
2
3
8
4
5
10
16
18 22
26
27
32
28
46
31
34 39
35 40
36
41
45
47
48
49
50
51
52
61
30
44
55
19
24
29
38 43
23
33
37
11 14
17
21
25
60
7
13 15
42
6
9
12
20
Crossword by Myles Mellor
53
56
54
57 62
63
58 64
59
65
66 67
68
Across 1. Guitar type 4. Aka Swing (2 words) 8. Vocalist in Lambert, Hendricks & Ross, initials 9. Miles’ pal who helped develop Cool Jazz 10. Informal musical session 12. “The Creator Has a Master Plan” artist, initials 13. Sub-genre of cool jazz, with Coast 14. Love message, when repeated 15. Famous trumpeter 18. David Torn’s 1985 album, Best ___ Plans 20. Coltrane drummer, Rashied ___ 22. ___ Ory, Louis Armstrong’s trombone player 25. Aka New Orleans Jazz, with land 27. To copy on email 29. Kings of the jungle 32. Natalie Cole’s first album on Verve Records, ___ a Woman Who Knows 34. Milliliter, abbr. 35. Don Cherry album 38. Florida sax man, Archie ___ 40. Spring flower
69
42. Marketing tool 44. Ella Fitzgerald song, “Someone to Watch Over ___” 45. Forbid 46. Jazzmaster Tosiko Akiyoshi song, “Desert ___” 48. Canadian jazz musician whose debut album is called Two shots, initials 50. Brubeck favorite, “Take ___” 52. American jazz flutist and pioneer of the new age musical genre, ___ Horn 53. Common dot follower 55. Big gulps 58. Chick Corea record label 60. Tennis shoe brand 62. Herbie Hancock classic, “Rock___” 63. Pharoah Sanders’ Impulse! record label release 66. Type of guitar technique 67. “Unit Structures” singer, with Taylor 68. Ella Fitzgerald “Born __ be blue” 69. Type of jazz played by Herbie Hancock
Down 1. Slow song 2. Les Stances A Sophie group, ___ Ensem-
ble of Chicago 3. Gibson guitar model 4. Aka playing a horn instrument 5. Cadenza between two sections of a song 6. A King Cole 7. Music placement website 11. Scale that is not major or minor 15. Notable cornet and piano player, ___ Beiderbecke 16. Songs 17. “Blue Note” jazz club locale 19. 60’s actress, Margaret 21. Fired up 23. “Green Mill” Jazz club locale 24. Poorly lit 26. 15 down’s birthplace 28. Leading man in cool jazz 30. Camp Meeting Blues band, with King 31. First African American to make vocal blues recordings, Mamie ___ 33. Charlie Parker place 36. United Service Organization (abbr.) 37. Miles Davis Quintet title 39. Hawaiian dish 41. Email subject line intro 43. Leonardo __ Vinci 44. Al Jarreau award winning song, “___ Foolish Heart” 47. Nightfall 48. Sun Ra album and song title, The ___City 49. Butch Morris album, ___ to ___ 51. Voiceover (abbr.) 52. Mathematical ratio 54. Precious stone 56. You and me 57. Browse 59. Melodic technique in jazz, ___ and response 61. “...____ been workin’ on the railroad...” 64. Trouble 65. Jazz __ Hot and Cool, by Dave Brubeck 66. Kind of Blue track, “___ What”
For the solution to this issue's crossword, visit:
www.jazzedmagazine.com JAZZed March 2008 45
Gearcheck Yamaha’s “Vizzutti” Trumpet
Yamaha Corporation of America, Band & Orchestral Division, introduces the YTR-9335VS Allen Vizzutti Signature Artist Model Trumpet in the key of Bb, developed by Yamaha trumpet artist Allen Vizzutti and Yamaha Artist Services, Inc. Band & Orchestral Atelier Director Bob Malone. Although similar to the YTR-9335NYS New York Artist Model trumpet, the new horn features a number of specialized design features, including brass valve stems and grey finger-button pearls. In addition, the third valve slide stop screw includes a solid screw head, which improves the instrument’s overall feel and response. Similarities to the YTR-9445CHS Chicago Artist Model trumpet include placement of the first valve slide brace, and third valve slide. The YTR-9335VS was designed to make high-register playing on a classical trumpet design more efficient. Historically, classical trumpet designs tighten up or lose their intonation when played in the extreme high range, which hovers above the usual range of most classical compositions. A special package of Allen Vizzutti CDs and Yamaha logowear will be available free to anyone who purchases a YTR-9335VS and sends in a rebate card through December 31, 2008. Currently available, the YTR-9335VS will retail for $4,500. www.yamaha.com/band
Washburn Guitars Announces New HM Series Washburn Guitars has announced the addition of the HM Series to their line of electric guitars. The new line includes nine guitars with three different body types, designed from the ground up to be a synergistic dream guitar uniting the best of Parker and Washburn Guitars. The HM Series from Washburn Guitars utilizes Parker Guitars carbon-glass technology to create an exceptionally fast fingerboard and neck. The stainless steel frets result in a smooth fingerboard to allow heavy metal players everywhere to enjoy an unparalleled playing experience. The WV540, WM520 and WI550 are all made in the USA at Washburn’s Chicagobased U.S. Custom Shop and feature a mahogany body with a mahogany-set neck and Original Floyd Rose bridge. All three guitars come with Grover tuners, EMG pickups and the Buzz Feiten Tuning System. The more affordable WV40, WV40V, WM24V, WM24, WI50 and WI50V feature the newly introduced Randall Amplifiers humbucking pickups, which have been specifically created to sonically match and strengthen the performance of any guitar amp tone. The engineers at Randall developed the humbucking pickups to further enhance the experience of playing a solid-body guitar in tandem with a premium amplifier. www.washburn.com
46 JAZZed March 2008
Gearcheck The Touring Musician, Jazz Piano Handbook from Alfred
The Touring Musician, a new book by jazz pianist/author Hal Galper and Alfred Publishing, was written to help performers at all levels of experience to take control of their careers. Packed with practical information as well as amusing and enlightening anecdotes, this handbook is designed to guide musicians in applying sound business practices to band travel by evaluating assets; creating an action plan; researching, negotiating, and booking venues; arranging transportation and lodgings; managing personal and tour finances; and getting publicity. Through this book, Hal Galper, an educator and professional pianist with a virtual Who’s Who of musicians, introduces readers to the successful career development and booking and tour techniques that he witnessed first-hand as a side man and that he later developed himself as a band leader, providing an inside look at the proven strategies used by some of the greatest names in music. The Jazz Piano Handbook: essential jazz piano skills for all musicians by author Michele Weir was written to provide an understanding of chords and progressions, how to check lead sheets for accuracy, learn new tunes, arrange write, and become a better improviser. The book outlines a step-by-step process for learning basic jazz piano in six months. www.alfred.com
Guitar Player Repair Guide
Dan Erlwine and Backbeat books have released the third edition of Erlwine’s Guitar Player Repair Guide, a stepby-step manual to maintaining and repairing electric and acoustic guitars and basses. Players learn how to set up a guitar and keep it in top form by mastering basic maintenance This expanded third edition features an essential DVD; set-up specs of leading players; stronger coverage of guitar electronics, including pickups and wiring diagrams; and expanded coverage of acoustics. www.backbeatbooks.com
Guitar EncycloMedia, Fretboard Facts from 12 Tone Music
12 Tone Music has published two new reference books by Mike Overly. Guitar EncycloMedia is an “encyclopedic volume of guitar knowledge that is presented in a methodical order.” This reference of guitar knowledge contains all the scales, modes, arpeggios and chords necessary to perform any song in any style. Guitar EncylcoMedia, which features 318 spiral-bound pages, retails for $44.95. Guitar Fretboard Facts presents 38 guitar lessons designed to further illustrate and connect specific musical concepts that are presented in Guitar EncycloMedia. Guitar Fretboard Facts sells for $24.95 www.12tonemusic.com
JAZZed March 2008 47
Gearcheck MCT-8L Clip-On Tuner from Meisel
Compact and convenient, the MCT-8L is small enough to fit into a pocket, but intelligent enough to distinguish between a single instrument and other noises in a room. By picking up vibrations, rather than sounds, the MCT-8L remains unaffected by ambient noise, but it measures only 1.75” x 1.75” x 0.5” without clip or 2.2” with clip. Ideal for students and professionals alike, the MCT-8L can clip onto virtually any instrument. It features a tuning range of 12-note full range chromatic: A2-B7 and a standard pitch of 420-460Hz in 1-Hz steps. It’s also accurate within +/- 0.5%. With a non-volatile memory, the MCT-8L preserves settings, making it easy—and quick—to use whenever necessary. The LCD display is also clear and easy-to-read, even featuring a light. The MCT-8L uses one CR 2032 coin battery. www.meiselmusic.com
Double Shelf KB95E Encore Music Stand
Utilizing the same double shelf desk as its popular KB1FS, Hamilton Stands has announced the introduction of the KB95ES-1, Encore Double Shelf Music Stand. The desk is constructed of steel and made with rolled edges which resist bending and deep corner gussets and reinforcing ribs for rigidity and long service life. The second shelf offers ample room for articles such as bows, rosin, sticks, mallets, pencils and erasers. It is lined with black felt to reduce noise. The KB95E stand is engineered for stability and features Hamilton’s smooth operating ‘E-Z Just’ clutch, a tapered fit between the lower tube and base that will not wobble and a riveted and welded hub-and-foot construction. Optional KB95FP floor protectors are available. www.hamiltonstands.com
Chord/Scale Mastery
Chord/Scale Mastery is a new approach to jazz improvisation, designed to build technical proficiency, ear training expertise, understanding of theory, and confidence in performance. This comprehensive 134-page book/CD combo takes the top ten jazz chords and exercises the player on those chords and their scales. The play-along CD allows readers to improvise and put into action what they learn.
48 JAZZed March 2008
New Releases from Sher Music
Walking Bassics by Ed Fuqua is an indepth method book on how to create authentic-sounding walking bass lines, designed for the beginning bassist. It includes many exercises to get any aspiring bass player up and walking on their own, as well as complete transcriptions of every bass note played by swinging NY bassist Ed Fuqua on the accompanying play-along CD. Afro-Caribbean Grooves For Drumset by Jean-Philippe Fanfant is the only book published on how to play over 100 grooves from a dozen Caribbean nations, arranged for drumset. The author is the drummer on over 300 CDs, including the great Latin jazz band Sakesho. This book includes an enhanced CD that has both audio and visual examples of the author demonstrating how to play various Caribbean rhythms. www.shermusic.com
Each five-minute cut on the play-along CD provides a background for the 10 most common chords in one key and the 12 cuts cover the 12 keys. The final track on the accompanying CD, a “120-Chord Tune,” tests the player on all 10 chords in all 12 keys. Suitable for private study and classroom instruction, Chord/Scale Mastery is spiral bound on high-quality paper and built for years of professional use. www.keithfelch.com
Gearcheck Steinberg Presents Classroom Resource Pack
eMedia’s Guitar Method 4.0
Line 6 Announces Micro Spider
The Classroom Resource Pack by Steinberg Media Technologies GmbH was written by teachers for teachers. It integrates up-to-the-minute software technology into a comprehensive music education package, and provides the necessary elements for teachers to deliver a wide range of innovative, modern music lessons. Classroom Resource Pack is available now through Steinberg’s regional distribution network. Catering primarily for the age groups 11-18, the CRP supplies all required materials, templates, worksheets and much more – all in an easily navigable and highly usable package. The included 100 hours of fully prepared material has been prepared by teachers for teachers to cover aspects of music composition and performance as well as recording, production and technology. The Classroom Resource Pack contains all needed media files such as audio, MIDI, loops, videos - all integrated directly into the specially designed lesson plans. The custom-made interface guides through each step, and provides fast and easy access to all the included materials, files, worksheets and Cubase projects. Classroom Resource Pack is now available for $399. www.steinberg.net
eMedia has released version 4.0 of their Guitar Method learning software, which includes over 160 comprehensive lessons covering everything from the basics through chord strumming, rock styles, playing melodies, and finger-picking. This version includes over 70 songs, among them hits from artists such as Bob Dylan and Steve Miller. Also new in this release are larger, easy-to-read screens, enhanced audio and video, and custom animated fretboard skins. There are more than 50 large-format videos featuring instructor Kevin Garry, Ph.D., including split-screens and close-ups of both hands. Songs and exercises can be heard as either live recorded audio or MIDI tracks that can be slowed down or sped up. www.emediamusic.com
Line 6, Inc. has launched the Micro Spider, the traveling guitarists battery-powered best friend and a potent addition to the best-selling Spider III family of modeling amplifiers. Micro Spider boasts intuitive functionality, versatility and sensational tone. Featuring four Spider III amp models, a new acoustic guitar model, six Smart Control FX (with reverb, chorus, tap delay and more) and a precise chromatic tuner, Micro Spider offers attitude and flexibility. Plus, weighing only seven pounds, Micro Spider is uniquely portable. This little box boasts the sound of six C batteries pushing six watts of electricity through a 6.5-inch speaker. Micro Spider features a POD® 2.0-style direct output, plus a microphone input and dedicated trim knob. www.line6.com
summer 08 2008 Faculty Todd Coolman Bill Cunliffe Curtis Fuller John LaBarbera Pat LaBarbera Hal Miller Jim Pugh June 28 – July 12, 2008 Ed Shaughnessy Office of the Dean of Special Programs Bobby Shew 518.580.5595 www.skidmore.edu/summer
JAZZed March 2008 49
HotWax February 19
Chet Baker – Playboys (Jazz Track) Al Basile – The Tinge (Sweetspot) Anthony Braxton – Solo (Milano)
1979, Vol. 2 (Golden Years of New)
Benny Carter – Benny Carter in
New & Notable Music Releases All dates are subject to change
Angella Christie – The Breath of
The Crusaders – Rural Renewal
George Lewis – George Lewis in Hi-
Thierry David – Zen World (Real)
Life (A. Williams) Fi (Upbeat Jazz)
Oscar Peterson – The Soul of Oscar Peterson (BHM Music)
Gonzalo Rubalcaba – Avatar
(Pra)
Al di Meola – Cosmopolitan Live (SPV)
Jessy J – Tequila Moon (Peak)
Copenhagen (Storyville)
(Toshiba EMI)
Steve Khan – Suitcase (Tone Center)
Bill Evans – Conversations With Myself (Universal)
Sun Ra – Media Dream (Art Yard)
Wynton Marsalis – Congo Square
Drew Gress – The Irrational Numbers (Koch)
Nick Vayenas – Synesthesia (World Culture Music)
Danny Grissett – Encounters (Criss
(Shanachie)
Thelonious Monk – Brilliant Cor-
ners (Riverside)
Russ Nolan – With You in Mind (Rhinoceruss Music)
Cross)
Herbie Mann – At the Village Gate (WEA Japan)
Lou McGarity – Some Like it Hot
(Lonehill Jazz)
Art Pepper – Art Pepper Meets the Rhythm Section (Essential Jazz)
Grand Pianoramax – The Biggest Piano in Town (ObliqSound) Jerri Winters – Somebody Loves Me (Japanese Victor Co.)
Raya Yarbrough – Raya Yarbrough
(Telarc)
Sam Yahel – Jazz Side of the Moon: Music of Pink Floyd (Chesky)
March 4 Eric Alexander – Prime Time: In Concert (Highnote) Michael Winograd – Bessarabian Hop (Midwood Sounds)
February 26 George Benson – Big Boss Band;
Love Remembers; Tenderly (Wounded Bird)
Susie Arioli – Live at Montreal International Jazz Festival (Justin Time)
Cyro Baptista – Banquet of the
Spirits (Tzadik)
George Cables – Morning Song (Highnote)
Ben Sidran – A Little Kiss in the
Night; The Doctor is In (BMG Japan)
Alex Sipiagin – Out of the Circle (Sunnyside)
Mary Lou Williams – A Grand Night for Swinging (Highnote)
March 11 The Auratones – Cool & Danceable Adventure (Challenge) Rob Brown – Crown Trunk Root Funk (Aum Fidelity) Roy Campbell – Akhenaten Suite (Aum Fidelity)
George Duke – Keyboard Giant (Universal Japan)
50 JAZZed March 2008
HotWax The Jazzinvaders – Blow! (P-Vine Japan)
Andrea Marcelli – Beyond the Blue (BHM De)
Charlie Mariano – Music of Charlie Mariano (Challenge)
Marian McPartland – Twilight
World (Concord)
Mark Egan – Beyond Words (Wavetone)
Kaori Osawa – Aluminum (Leo)
March 25 Richard Bona – Bona Makes You Sweat (Universal Japan) The Caribbean Jazz Project – Afro
Bop Alliance (Heads Up)
THE JAZZ EDUCATOR'S MAGAZINE
AN EXCLUSIVE NEW MAGAZINE
REACHING 13,000 JAZZ EDUCATORS!
Rob Parton – Just One of Those Things (Sea Breeze)
Sacha Perry – The Third Time Around (Smalls)
Sadiki – Gal dem Everytime (P-Vine Japan)
Gerald Veasley – Your Move (Heads Up)
George Duke – Faces in Reflection (MPS)
John Ellis – Dance Like There’s No Tomorrow (Hyena) Amos Hoffman – Evolution (RazDaz) Adam Kolker – Flag Day (Sunny-
side)
Judy Wexler – Dreams & Shadows (Jazzed)
March 18 Air – Air (DBK Works) Louis Armstrong – New Orleans Nights (Verve)
Buddy Childers – Artistry in Jazz (Candid)
Dawn Clement – Break (Origin) Ornette Coleman – Twins (Water)
Lionel Loueke – Karibu (Blue Note) Sonny Rollins – Dancing in the Dark (Universal Japan)
April 1 Victor Wooten – Palmystery (Heads Up)
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
r ve You Reser ising t r Adve ! Today Space 4-5150 6 -9 1-800 or x14 x13
www.jazzedmagazine.com JAZZed March 2008 51
sheetmusic Reprinted courtesy of Sher Music and Criterion Music.
The Real Easy Book - Vol. 3: A Short History Of Jazz from Sher Music Co. is a unique fake book which will give your students 'the big picture' of all the different eras and styles of jazz. It consists of 5-10 tunes from each era or style - from Dixieland to Afro-Cuban jazz, and everything in between - plus a short history text introducing each era and its musical innovations (like the Bebop one reprinted here). See www.shermusic.com for more details and a complete song list.
52 JAZZed March 2008
sheetmusic
JAZZed March 2008 53
Classifieds Books
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. Visit: WWW.GREGFISHMANJAZZSTUDIOS.COM for free sample etudes and duets.
Instruction Need some expert Advise? Guitar & Bass EncycloMedia 12 years of Fretboard Excellence. www.12tonemusic.com 1-937-256-9344
Instruments
Jazz Videos
equatone@earthlink.net
JAZZ DVD’S
schoolmusiccenter.com
Concerts, films. TV, documentaries, instructionals.
(Armstrong to Zorn). Free JAZZ DVD CATALOGUE JAZZWEST, PO Box 3515(ED). Ashland, OR 97520 (541) 482-5529 www.jazzwestdvd.com
Advertise in the Classifieds! Call Maureen 1-800-964-5150 ext. 34 mjohan@symphonypublishing.com
54 JAZZed March 2008
Print Music
Classifieds Publications
CARIS MUSIC SERVICES The source for Germany’s Advance Music publications Celebrating 20 years of USA distribution
Write for a free catalog or visit the Caris Music Services homepage Also distributing other fine publications including Universal Edition, Schott, Mr. Goodchord plus select European imports and self published artist works
£
2206 BRISLIN ROAD STROUDSBURG, PA 18360 USA phone: (877)267-9797 or (570)476-6345 fax: (570)476-5368 e mail: caris@ptd.net webpage: http://www.carismusicservices.com
AdIndex
ns
io iss
bm
Su
If you are interested in submitting an article to JAZZed, please contact Christian Wissmuller at 1 (800) 964 5150 ext. 16.
Company
Email/Web
All American Music Festival
www.allamericanmusicfest.org
Page #
J.J. Babbitt Co. Inc.
www.jjbabbitt.com
Big Bandman Jazz
www.bigbandmanjazz.com
47
Cannonball Music Instruments
www.cannonballmusic.com
25
Capital University
music.capital.edu
28
Chord/Scale Mastery
www.keithfelch.com
39
Claude Lakey Mouthpieces
www.claudelakey.com
37
DANSR, Inc.
www.dansr.com
1
Diplomatte Musical Instruments
psgpi@aol.com
27
Five Towns College
www.ftc.edu
29
Great Basin Jazz Camp
www.greatbasinjazzcamps.com
35
Jamey Abersold Jazz Aids
www.summerjazzworkshops.com
17
JodyJazz
www.JodyJazz.com
8
Jupiter Band Instruments
www.jupitermusic.com
5
Legato Guitars
www.legatoguitars.com
39
Mapex USA Inc.
usa.mapexdrums.com
Superscope Technologies
www.superscopetechnologies.com
30
Maryland Summer Jazz
www.marylandsummerjazz.com
16
Muzak Heart & Soul Foundation
www.meiselmusic.com
Pearl Corp.
www.pearldrum.com
PJLA Music Products
www.pjlamusc.com
13
Skidmore College
www.skidmore.edu
49
Stanford Jazz Workshop
www.stanfordjazz.com
21
The New School for Jazz
jazz.newschool.edu
15
University of Missouri/St.Louis
www.jimwidnerbigband.com
19
20,26 7
Cov2
9 Cov4
JAZZed March 2008 55
Backbeat
Willow Weep for Him Oscar Peterson
Oscar Peterson was a legend of jazz equipped with all of the typical adjectives of such iconic figures: dedication, creativity, sensitivity, intensity, insight, and oh, those chops! Born in Montreal, Canada in 1925, Oscar quickly distinguished himself on the piano, earning a steady performance gig on Canadian national radio at just 14 years of age by virtue of winning a national radio talent competition. Staying focused on his musical studies through his teenage years, Peterson didn’t make his American debut until 1949, when he played Carnegie Hall at the behest of music impresario Norman Granz. In that ensemble, Oscar began playing with bassist Ray Brown, with whom the pianist soon thereafter formed the Oscar Peterson Trio. This was the first of many outstanding groups led by Peterson. In addition to countless performance and recording credits over his more than 60-year career, Oscar Peterson was also a tireless educator. In 1959, along with Ray Brown, Ed Thigpen, and Phil Nimmons, Oscar founded Canada’s first school exclusively for jazz, the Advanced School of Contemporary Music. Though it was only five years before the school’s popularity and demands proved too much for its founders to maintain, Oscar continued to fill the gaps in his arduous performing and recording schedule by teaching, eventually settling in as an adjunct professor of music at York University in Toronto. Oscar Peterson passed on December 23, 2007 while at his Mississauga home in Ontario, Canada. He was 82.
56 JAZZed March 2008
A NEW ONLINE COMMUNITY BRINGING TOGETHER JAZZ EDUCATORS, PERFORMERS, STUDENTS, AND FANS!
JazzPlayer.com is now live – visit www.JazzPlayer.com to sign up and create your individualized profile and start connecting with fellow jazz aficionados and scholars. Brought to you by the publishers of
8ViX] i]Z K^WZ d[ FjVa^in LdgaY XaVhh bjh^X ZYjXVidgh `cdl i]Vi cdi]^c\ V[[ZXih i]Z VYkVcXZbZci d[ V ?Voo hijYZci Vh i]Z VXXZhh id V fjVa^in ^chigjbZci# 6YVbh d[[Zgh V hZaZXi^dc d[ * K^WgVe]dcZh [ZVijg^c\ [jaa ]Z^\]i VY_jhibZci VcY V X]d^XZ d[ ( iVh` heZX^ÒX [gVbZh ^cXajY^c\ i]Z gj\\ZY Vaa"iZggV^c :cYjgVcXZ ;^ZaY ;gVbZ# :kZgn hijYZci YZhZgkZh I]Z HdjcY d[ FjVa^in! dcan [gdb 6YVbh#
HiZkZ =dj\]idc ^h Vc ^ciZgcVi^dcVaan gZcdlcZY ?Voo YgjbbZg VcY eZgXjhh^dc^hi l^i] dkZg &%% gZXdgY^c\h id ]^h XgZY^i# =Z ^h Vahd Vc 6hhdX^ViZ Egd[Zhhdg d[ EZgXjhh^dc VcY ?Voo Vi >cY^VcV Jc^kZgh^in VcY dc [VXjain Vi i]Z =Zcgn BVcX^c^ >chi^ijiZ# =Z ^h Vc Vji]dg d[ bdgZ i]Vc (% ZYjXVi^dcVa Wdd`h! k^YZdh VcY YkYh#
6K"& 6gi^hi 8aVhh^X ( DXiVkZ ;(";+
IdcZ L^i]dji 8dbegdb^hZ EZVga d[[Zgh i]Z bdhi Y^kZghZ hZaZXi^dc d[ YgjbhZih [dg i]Z XdciZbedgVgn ?Voo hijYZci# ;gdb i]Z kVajZ"eVX`ZY ;dgjb HZg^Zh! id djg aZ\ZcYVgn BVhiZgh HZg^Zh! Vaa [ZVijgZ djg HHI HjeZg^dg H]Zaa IZX]cdad\n i]Vi egdk^YZh ZmigZbZ higZc\i]! dei^bVa gZhdcVcXZ VcY hjeZg^dg idcZ# HZZ Vaa d[ i]Z ZmX^i^c\ ZYjXVi^dcVa egdYjXih [gdb EZVga VcY 6YVbh Vi lll#eZVgaYgjb#Xdb#
l l l # e Z V g a Y g j b # X d b 6YVbh ^chigjbZcih VgZ egdjYan Y^hig^WjiZY ^c i]Z J#H# Wn EZVga 8dgedgVi^dc
BVhiZgh HZg^Zh H]dlc ^c &'- K^ciV\Z HjcWjghi