JazzEd March 2009 by JAZZed

MARCH 2009 â&#x20AC;˘ $5.00

Kevin COLe

8 E\n 9i\\[ f] AXqq ;`i\Zkfi SURVEY Summer Camps & Workshops Maintenance Properly Restringing the Guitar

The Official Publication of

JAZZ EDUCATION NETWORK

Eddie Daniels Eddie sets the standard for modern clarinet playing and blurs the lines between Jazz and Classical, leaving only beautiful music. His tenor chops are pretty impressive too. Eddie uses Traditional and V12 reeds on clarinet and ZZ reeds on sax. Mike Phillips Mike is on the edge of Modern Jazz, combining it with equal parts Funk and Hip-hop with heaps of soul to bring Jazz to a new generation. Mike uses Jumbo Java mouthpieces, Java reeds and Optimum ligatures. Steve Slagle Steve is a Jazz journeyman who constantly reﬁnes and redeﬁnes straight-ahead Jazz. Steve uses Traditional and Java reeds.

Crisp notes. Clean sound. Top artists use 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.

Custom XO Hard Rubber Mouthpiece Unique Pearl Inlaid Octave Mechanism

Exclusive RovnerTM EV0-5 Ligature

PROFESSIONAL by DESIGN

Includes both Hand-Hammered Brass AND Rose Brass Neck to Customize Your Sound

Adjustable Front F Mechanism Tilting G# - Bb Table Keys Fully Ribbed Alto

Bell Wire for Increased Resonance

Long-Lasting Blued Steel Springs Beautifully Engraved Bell and Neck Left and Right Hand Stack Adjustment Screws

Kid Leather Pads with Metal Tone Boosters

Professional Saxophones For more information on Jupiter XO Professional Instruments, Visit:

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Kevin Cole “I

remember every breakthrough for every kid – the time, place, taste when that kid played that note.”

contents

MARCH 2009

LESSONS LEARNED: SELF-EDITING 18

Dr. Gregg Akkerman, director of Jazz Studies and Commercial Music at the University of South Carolina Upstate in Spartanburg, stresses the importance of not falling victim to the desire to show off your most advanced chops or impose your own personal stylistic preferences.

BASIC TRAINING: TEACHING JAZZ GUITAR TO FRESHMAN 23

Craig S. Snyder shares some tips for and observations about effectively teaching beginning-level jazz guitarists – particularly those with some prior, non-jazz experience.

KEVIN COLE 26

Director of the award-winning Webster Groves (Mo.) High School jazz program, Kevin Cole is part of a new breed of educator – young, proactive, and in touch with his students’ interests and backgrounds. JAZZed sits down with Cole to get the skinny on how he’s getting through to his kids.

FOCUS SESSION: EXPRESSION 34

Educator, performer, and arranger David Marowitz discusses the importance of mastering the expressive elements of jazz performance.

SURVEY: SUMMER CAMPS & WORKSHOPS 40 MAINTENANCE: PROPERLY RESTRINGING & STORING THE GUITAR 44

Accomplished performer, recording artist, and private instructor Dennis Carver details how to effectively restring the electric guitar.

JAZZED IN THE CLASSROOM 46 ™

2 JAZZed March 2009

Terell Stafford joins JAZZed’s Brad Howey for an in-depth conversation about the acclaimed trumpet player’s own experiences as a student of jazz.

™

MARCH 2009

Volume 4, 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

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

departments PUBLISHER’S LETTER 4 NOTEWORTHY 6 WALTER BEASLEY: WHAT’S ON YOUR PLAYLIST 9 JAZZ EDUCATOR'S NETWORK SECTION 10 • PRESIDENT'S LETTER • UPCOMING EVENTS • NETWORTHY NEWS

• MFA JEN CAMP • NETWORK WITH AN EXPERT • MEMBERSHIP REPORT

CROSSWORD PUZZLE 51 JAZZ FORUM 52 GEARCHECK 55 HOT WAX 59 BACKBEAT: LOUIE BELLSON, HANK CRAWFORD 61 CLASSIFIEDS 62 AD INDEX 64 Cover photograph: Sarah Carmody, St. Louis, Mo. JAZZed™ is published six times annually by Symphony Publishing, LLC, 21 Highland Circle, Suite 1, Needham, MA 02494, (781) 453-9310. Publisher of Choral Director, School Band and Orchestra, Music Parents America, and Musical Merchandise Review. Subscription rates $30 one year; $60 two years. Rates outside U.S. available upon request. Single issues $5. Resource Guide $15. Standard postage paid at Boston, MA and additional mailing ofces. Postmaster: Please send address changes to JAZZed, 21 Highland Circle, Suite 1, Needham, MA 02494. The publishers of this magazine do not accept responsibility for statements made by their advertisers in business competition. No portion of this issue may be reproduced without the written permission of the publisher. © 2009 by Symphony Publishing, LLC. Printed in the U.S.A.

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

Member 2009

RPMDA JAZZ EDUCATION NETWORK

JAZZed March 2009 3

publisher’s letter

RICK KESSEL

Teaching Jazz in the Digital Age

eople’s lives have become busier than ever before in Australia at www.jazclass.aust.com which may and with higher transportation costs, tight sched- be more appropriate to younger students. Boston ules, and other limiting factors, both private les- University even offers doctoral level classes online, sons and jazz classes are not always convenient or including one that, “will provide a wide-angled and accessible. However, as computer technology has narrowly focused examination of the blues in both advanced, online music education has emerged as its musical and cultural dimensions.” a practical alternative. Online learning was once To many of us who were born during the Kenmore suited to traditional classes – math, sciences, nedy administration or earlier, this paradigm shift history, et cetera – where the type of feedback re- is significant and yet the technology to implement quired for successful teacher-student this type of study is not as difficult interaction is less intensive, but these to learn as it once was. With the cost “It’s conceivable of computers, recording devices, horizons are rapidly expanding. Internet classes are now allowing microphones, and video cameras all that a student players from around the world to coming down, as well as constant could study study with instructors independently quality improvements, it’s conceivwith a teacher or at colleges. According to master able that a student could study with for a signiﬁcant trombonist Ed Byrne’s Web site, www. a teacher for a significant length of Jazz-Lessons-Online.com, which is time and never meet the teacher in length of time now offering jazz instruction, “These person. An additional advantage of and never meet lessons are live and in real-time. the online lesson is that they can be the teacher in While you are in your space with easily recorded, reviewed, and arperson.” your instrument, Ed is in his studio chived as a continual resource for listening to you. You will have realfuture study. I am not suggesting time conversations with him, getting that this is necessarily the best or feedback on your playing. The entire process is an only way to study music, as nothing is better than extremely intimate experience.” Some music col- face-to-face lessons, but it certainly offers excellent leges like Berklee offer a passel of e-courses includ- supplemental learning opportunities. As an educaing arranging, music business, music production tor, this technology could significantly expand the and many others. There are also some very interest- reach of your teaching studio with only a small ining free classes offered on the Internet from a school vestment of time and capital…

rkessel@symphonypublishing.com

4 JAZZed March 2009

At North Central College, being well-rounded doesn’t mean losing your musical edge. When we say music is central at North Central College, it means that we expect you to build a full and complete life around your music studies.

Performing Opportunities at North Central College Concert Choir Women’s Chorale Women’s Chamber Ensemble Opera Workshop Music Theatre Productions Vocal Jazz Ensemble Gospel Choir North Central College Express Show Choir Concert Winds Chamber Winds Percussion Ensemble Brass Quintet Big Band Jazz Combos Chamber Jazz Pep Band Naperville Chorus

Students choose from majors in Music, Music Education, Musical Theatre or Jazz Studies—but they also dance, act, explore, study abroad, volunteer, mentor, pole vault and pursue countless other passions.

North Central College Freshman Visit Days:

Our location, in downtown Naperville, is only 40 minutes by train from Chicago and makes it easy to enjoy, perform and do great works.

Saturday, April 18 Monday, June 22 Monday, July 13

Call 800-411-1861 to discover more about our programs in music. Or visit us online at northcentralcollege.edu.

www.northcentralcollege.edu

30 N. Brainard Street

Naperville, IL

Transfer Visit Days:

Saturday, April 25

800-411-1861

noteworthy Inaugural Disney Jazz Celebration Competition

he inaugural Disney Jazz Celebration, a competition for high school and middle school jazz vocal and instrumental ensembles, premiered at the Walt Disney World Resort on February 19th. The three-day festival gave students from across the U.S. a chance to learn from jazz legends, and contemporary jazz celebrities alike. The experience included master classes with ConnSelmer clinicians, a jam session featuring professionals and students, along with clinics following each performance. Legendary Arturo Sandoval performed for more than 700 jazz students at the opening ceremony. Over the course of his career, Sandoval has

received four Grammys, six Billboard Awards, an Emmy, and the title of Cuba’s Best Instrumentalist from 1982 – ‘90. The annual Disney Jazz Celebration is supported by Conn-Selmer, Inc. and their family of fine instruments. Vincent Bach, Selmer, King, Ludwig Musser and Glaesel are the official instruments of the event. The Conn-Selmer, Inc. renowned instrumental jazz clinicians included Steve Fidyk, jazz drummer, author, and member of the jazz faculty at Temple University; Bob Mintzer, saxophonist, bass clarinetist, composer, arranger, Grammy winner, and educator; and Jiggs Whigham, internationally acclaimed trombonist, band leader, conductor of the BBC Big Band in

Great Britain, artistic director of the Berlin Jazz Orchestra, visiting professor at the Guildhall School of Music and Drama, and a lifetime member and general advisor to the International Trombone Association, British Trombone Society, and German Trombone Society. Joining the event as a vocal clinician was Jennifer Barnes, studio vocalist, live performer, educator, clinician and arranger. For more information on the Disney Jazz Celebration, visit www.disneyjazzcelebration.com.

KoSA International Percussion Workshops, Camp & Festival 2009

TU – BA or not TU – BA, that is the question... by Rupert Hörst (www.hoerbst.net) Rupert's collections of music-themed cartoons – Brassival, Woodstocks, and Stringled – are available in the U.S. through Hal Leonard Publishing.

6 JAZZed March 2009

This summer, KoSA will host a week of intensive, hands-on classes with professional world-class drummers and percussionists. Students of all ages and levels, will live and work with their mentors, perform with rhythm sections, and attend concerts featuring the faculty. Past faculty has included: John Riley; Dafnis Prieto; Steve Smith; Glen Velez; Dave Samuels; Arnie Lang; Changuito; Memo Acevedo; Dave Hamilton; and Aldo Mazza. KoSA will hold its 2009 festival in Castleton, Vermont at Castleton State College, July 29-Aug 2, 2009. For more information, visit www.kosamusic.com.

noteworthy New Juilliard Residency in Aiken, S.C.

he Juilliard School and the co-owners of Joye Cottage, a historic retreat in Aiken, South Carolina – authors Steven Naifeh and Gregory White Smith – hosted the first five-day Juilliard in Aiken festival that took place March 9-13, 2009. The residency by Juilliard music faculty, students, and alumni from both the classical and jazz departments included six performances and a series of workshops, master classes, and demonstration/coachings for young musicians in twelve schools throughout Aiken County. This first of what is hoped to become an annual event was funded by individual and corporate sponsors, and capitalizes on Juilliard’s unique expertise in music performance education, and its experience in educational outreach in the arts. Among the Juilliard participants in the 2009 Juilliard in Aiken festival were the members of the noted American Brass Quintet, a resident performing and teaching quintet at Juilliard since 1987; the Biava

Quartet, Juilliard’s graduate, resident string quartet; and twelve current and alumni Juilliard musicians, two of whom have completed teaching/ performing fellowships in the Academy – a program of Carnegie Hall, The Juilliard School, and The Weill Music Institute in partnership with the New York City Department of Education.

Others have participated in some of the ten community outreach programs that Juilliard administers on its own. Almost all the Aiken County schools to be visited are part of South Carolina’s public education system, and many of them are federally designated as Title I schools. To find out more, visit

Gold Coast Jazz Receives Grant from the John S. and James L. Knight Foundation The Gold Coast Jazz Society was awarded an $18,000 grant from the John S. and James L. Knight Foundation for the Society’s educational project, First Friday Jazz Jams. The Gold Coast Jazz Society was one of only 31 awardees of the Knight Foundation Arts Partnership grant initiative. Grant award winners were publicly announced at a reception held in December at the Miami Art Museum in Miami, Florida. The $18,000 matching grant from the Knight Foundation will assist Gold Coast Jazz in the first two years of the new educational project, First Friday Jazz Jams. This project, a monthly live jazz jam session to be held at ArtServe in Fort Lauderdale, Fla., will provide students of all ages a chance to perform for free with veteran professional jazz musicians. The Jams will be open to students from area middle schools, high schools, colleges, universities, as well as to the general public. For more information, visit www.goldcoastjazz.org.

NAMM Joins Canadian Tradition of Music Monday NAMM, the trade association of the international music products industry, announced that it will again join the Coalition for Music Education in Canada in its fifth annual Music Monday event May 4, 2009, to demonstrate the galvanizing power of making music and kick off its annual Wanna Play Music Week. NAMM joined the event for the first time last year, which inspired more than 700,000 students across North America to participate in a simultaneous concert and celebrate music education in schools. In addition, many community and professional organizations participated in the event to show their support for music education. Also, Australia recently held a Music Monday event of its own in the fall. This year, NAMM is encouraging more U.S. schools and organizations to sing and play together and heighten the public’s awareness about how music education empowers children with important tools such as creativity, achievement, and social

engagement. Many schools across the country have cut music programs because of lack of funding and cannot offer students the proven benefits associated with hands-on musical training. To register your school or organization as a participant in “Music Monday,” and to receive your Music Monday materials and a copy of the song “Sing Sing,” e-mail musicmonday@ namm.org. For more information and links to national, state, and local music education organizations, visit www.supportmusic.com.

Correction On page 40 of the March 2009 issue of JAZZed, David Friedman was incorrectly listed as “Don” Friedman. On page 44, Edgar Varese’s last name was misspelled, “Varesce.” JAZZed March 2009 7

advance music

noteworthy

SFJAZZ Honors McCoy Tyner Jazz composer and pianist McCoy Tyner will be honored at the annual SFJAZZ Gala on April 25. The only living member of the John Coltrane Quartet who created such landmark recordings as A Love Supreme, Tyner released over 60 albums as a bandleader, including The Real McCoy, and over 30 as a sideman with giants of jazz such as Wayne Shorter, Freddie Hubbard, Art Blakey, Elvin Jones, and many others. He has won five Grammy Awards and is a NEA Jazz Master Recipient. Tyner will perform at the event, jamming with the SFJAZZ Collective and vibraphone master Bobby Hutcherson. The SFJAZZ Gala, to be held at the Four Seasons Hotel, will feature a cocktail reception and silent auction to raise funds for SFJAZZ’s celebrated education program, followed by a seated dinner. Individual tickets begin at $375, and tables from $6,500. Proceeds from the gala benefit SFJAZZ’s award-winning music education program. For more information, visit www.sfjazz.org.

Ruy López-Nussa Lekszycki

RITMOS DE CUBA •Order No. 13022 184-page book w/CD

Guilherme Castro

BRAZILIAN RHYTHM SECTION TRAINING •Order No. 13021 136-page book w/CD

Say What? “Ahhh, cartoons -America’s only native art form. I don’t count jazz, because it sucks.” ~ Bart Simpson

Harrington Achieves Milestone at Berklee

Antonio Adolfo

PHRASING IN BRAZILIAN MUSIC •Order No. 18007 128-page book w/CD

Available through your favorite music dealer or contact advance music www.advancemusic.com

8 JAZZed March 2009

Vandoren artist Danny Harrington is being honored for 30 years of teaching at Berklee. He is a Professor of Music at Berklee College of Music, a position he has held since 1978. He is a member of the college’s Harmony Department, which teaches the theory of American popular music from the early 20th century to the present. Danny has been teaching and performing in the New England area since 1978. Before joining the faculty at Berklee College, Danny toured with the Tommy Dorsey Orchestra under the direction of Buddy Morrow. Since then he has performed with Nick Brignola, Gary Burton, Herb Pomeroy, Gary Smulyan, Joe Lovano, George Garzone, as well as leading his own group since 1980. Danny Harrington is a Vandoren artist and uses Vandoren reeds, mouthpieces, and ligatures exclusively. For more information on Danny Harrington or Vandoren products, visit www.vandoren.com

What’s on Your Playlist? Walter Beasley has made a name for himself in the world of contemporary jazz as both an accomplished saxophonist and a respected vocalist – an unusual one-two punch within such a highly scrutinized musical genre. An alumnus of Berklee College of Music (studying alongside the likes of Branford Marsalis and vocalist Rachelle Ferrell), Beasley later went on to teach at the prestigious school where he remains on staff to this day. He’s performed or recorded with such luminaries as Art Blakey and the Jazz Messengers, Dexter Gordon, Stephanie Mills, Vanessa Williams, Brian McKnight, Gerald Albright, Kirk Whalum, Everett Harp, and Norman Brown. Walter Beasley’s most recent release, 2009’s Free Your Mind (Heads Up) musically addresses personal, political, and global issues in a unique fashion which has already garnered considerable critical praise. 1. Keystone Live – Art Blakey & the Jazz Messengers I ﬁrst heard this walking in the dorm of Berklee College of Music. It stopped me dead in my tracks. 2. Head Hunters – Herbie Hancock What can you say about an album that changed the way most of us heard and related to grooves? It certainly changed me. 3. Shaft Soundtrack – Isaac Hayes “Ellie’s Theme” still takes me to warm intimate places decades later. 4. Secret Story – Pat Metheny Metheny is my favorite composer. “Tell Her You Saw Me” is a perfect song from a perfect album. 5. John Coltrane & Johnny Hartman Some works are just too beautiful to describe. This record is one of them.

6. Gratitude – Earth Wind & Fire This is the record that got me into singing. The grooves are cold the ballads are addictive. You are spent after listening to this record 7. Hell – James Brown “Papa Don’t Take no Mess”... The most funky of all who think and feel funky. This record is a classic. 8. Coleman Hawkins & Roy Eldridge I can listen to these masters all day and not get tired. I love this record as it is – nothing but beautiful melodies delivered honestly by two of the ﬁnest ever! 9. Sunny Side Up – Dizzy Gillespie, Sonny Rollins, Sonny Stitt Well, if you don’t get it after listening to this two or three times you never will! 10. Live for You – Donny Hathaway His versions of “Yesterday” and “Superwoman” are simply gorgeous. Hathaway is a master of space and timing.

Walter Beasley’s latest CD, Free Your Mind (Heads Up), was released on January 27, 2009. www.walterbeasley.com JAZZed March 2009 9

Our network is growing

JAZZ EDUCATION NETWORK A MESSAGE FROM JEN PRESIDENT MARY JO PAPICH March, 2009 Jazz is not background music. You must concentrate upon it in order to get the most of it.—Horace Silver We’re bringing jazz front and center – and concentrating on providing you the opportunities you need to connect with others who are interested in bringing more jazz to more people. Speaking of bringing more jazz to more people…I just returned from the first Puerto Vallarta Jazz Fest in Mexico where several fine jazz ensembles performed for over 1400 people! Now we can add Mexico to our list of JEN memberships! Consider attending the Second Annual Festival in February 2010….palm trees and outdoor jazz in February are a wonderful thing! During the NAMM show in Anaheim, JEN board members Julie Traenkenschuh, Jim Widner, Bruce Silva and Andrew Surmani gathered at the Friends of Music Making pavilion to meet and greet –and share ideas – with others in the new Support Music Coalition. JEN Steering Committee and Founding Members John Blane, Orbert Davis, and Mark Ingram joined me to talk about becoming better advocates for music in our schools. We’re connecting with members of the Traditional Jazz Educators Network, the American Federation of Jazz Societies and the new California Alliance for Jazz group to help each other build extended networks. Special thanks to Andrew Surmani and Kathy Johnstone of Alfred Music for sponsoring a wonderful breakfast prior to the meeting and for sponsoring our Open Forum. John Kuzmich, Darren Kramer and several new members shared innovative ideas about ways to shape JEN unlike any other organization. We launched our JEN music industry survey. We’re looking forward to many new networking opportunities this year and are very excited about upcoming events and new partnerships and sponsorship that are developing to advance jazz education. We encourage you to attend and bring your students to the Jazz in June Summer Camp presented in tandem with the Music For All Symposium (formerly Bands of America) at Illinois State University, June 22-27, 2009. JEN and MFA have formed a strategic partnership that will assist in building student and teacher jazz skills for beginners through advanced. I taught at this camp several years ago and know it promises to be a life-changing experience for directors and students alike. More details will be released soon, so be sure to bookmark our JEN website (www.JazzEdNet.org) and visit us often as we become your most valuable portal for jazz education information and news. In July, be sure to attend the first JEN In-Service held concurrently with the NAMM Summer Trade Show in Nashville. Attend the all-day intensive workshop, including an Open Forum, the jazz hang, and visits to the NAMM Trade Show...more details online or in the pages to follow. We’ll hold an additional Open Forum on the East Coast in Winchester, Virginia at Shenandoah University July 19-24 at the JEN endorsed National Jazz Workshop---see Calendar of Events for details. How exciting it is as we join together to connect, inspire, network and navigate toward a dynamic future for all of music! We are continuing to look for corporate and individual donor sponsors to support new student programs and activities. Our new Student Composition Program headed by David Fodor is getting organized. If you’d like to get involved with setting up this innovative program, please send an e-mail to davidfodor@ mac.com . This program will be designed to encourage and recognize student creativity. And finally, I remind you to VOTE in our first ever JEN election. As previously announced, we will have an official election this spring for the board of directors. The current volunteer Board has served diligently in a temporary capacity and at their own expense. The nominating committee of Michael Kenyon, Jarrard Harris, Bob Breithaupt, Steve Crissinger and Ruben Alvarez will be preparing a slate to “draw in” and “draw from” a richly diverse and multi-talented group to expand and direct JEN’s future growth. Be watching for the online balloting that will take place in April. Your vote counts! In the spirit of collaboration, good will, and with the advancement of jazz education always in mind…I look forward to working with you and for you.

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

Mary Jo Papich President, Jazz Education Network Highland Park High School 433 Vine Avenue Highland Park, IL 60035 224-765-2161 mjpapich@jazzednet.org

www.JazzEdNet.org

Upcoming Events

Mark your calendars and make your travel plans for these exciting JEN events: JEN Partnerships in Jazz Education: March 20, 2009: MFA/JEN National Honors Jazz Band of America Music For All National Festival Indianapolis, IN. www.musicforall.org June 22-27, 2009 MFA/JEN Jazz Division Camp Music For All Summer Symposium Camp activites for students & directors •JEN OPEN FORUM/IDEA EXCHANGE Normal, IL www.musicforall.org July 17-19, 2009: JEN One-Day In-Service: July 17 NAMM Summer Trade Show, July 17-19 • Inspiring sessions held at the historic Union Station Hotel, Nashville, Tennessee • Meet JEN leadership and help shape the future of this new & exciting organization • take part in clinics presented by leading educator, artist and industry professionals • Open Forum/Idea Exchange • JEN Jazz Hang Reception Friday evening • Enjoy the many networking and learning opportunities with admission to Summer NAMM • Register on line at www.JazzEdNet.org • downloadable pdf related to guaranteed housing rates/choices • More detailed Info coming soon at www.JazzEdNet.org

JEN proudly introduces

JEN Endorsed Events: July 19-24, 2009: National Jazz Workshop •JEN OPEN FORUM/IDEA EXCHANGE Beginner to Professional Musicians Shenandoah University in cooperation with U.S. Army Blues & Smithsonian JazzMasters Winchester, Virginia Info at www.nationaljazzworkshop.org or Contact matt.niess@nationaljazzworkshop.org

Web Update www.JazzEdNet.org Our web master Steve Crissinger and his team of Bill Christie and Lou Fischer are working late hours to add features to JEN’s online service to our members.

What’s Up?...and upcoming?

• A place to get answers to your questions as you Network with an Expert (just wait till you see our terrific lineup of jazz greats!) • A place to connect with JEN membership of all ages • A place to network via the online FORUM areas: job openings, calendar of events, discussion platforms, private messaging between members, FAQ section • A place to link to pod casts of clinics and concerts • A place to download free materials • A place to shop for cool JEN Jazz merchandise via the JENeral Store • A place to access our online version of JAZZed magazine, both the current issue and back issues • A place to find clinicians for your festival • And much more!!! Stay tuned as we develop new and exciting ideas based on your input!

newly appointed team members

RICK CONDIT Network With An Expert Coordinator. By now Members of JEN should have received the February eNewsletter! If you are a member of JEN and did not receive the February eNewsletter, first we recommend you check your SPAM folder in your email system. If for some reason you did not find it, please let us know at info@JazzEdNet.org so we can work with you to remedy the situation. Be sure to set up your incoming mail system to allow electronic communication from JEN to get to you!

Visit www.JazzEdNet.org regularly for details, click on Upcoming Events JAZZed March 2009 11

networthynews This column in JEN’s JAZZed magazine will highlight what’s happening in the jazz world of JEN members. In this issue, the column features news about individual members, as well as many members of our JEN “Network with an Expert” team. Need a personal answer to a jazz question? If you’re already a JEN member, access the Members Only area at www.JazzEdNet. org and follow the tabs to ask your question and receive a personal reply. Want your event and news published here? Send your info (100 words or less) to networthynews@JazzEdNet.org

JEN on the beach in Mexico! On February 14-15, 2009 two fine jazz ensembles performed for more than 1400 people in sunny Mexico in the first JEN endorsed Puerto Vallarta Jazz Festival! These two talented groups with soloist Latin percussionist Ruben Alvarez held the crowd spell-bound! With the Pacific Ocean as a beautiful backdrop and RUBEN ALVAREZ (IL-JEN Board) as featured Latin Percussion soloist, members of the Fort Zumwalt North High School Jazz Band (St. Louis, MO) under the direction of ROB BABEL and the Clark College Jazz Ensemble (Vancouver, WA) under the direction of RICH INOUYE thrilled the large crowd at the Malecon (ocean boardwalk) on Saturday night and the Gazebo on Sunday afternoon. In between rehearsals and performances, the students took a whale watching cruise (and saw many whales and dolphins), shopping, enjoyed the beach, and participated in a Mexican Fiesta award ceremony with live local entertainment. The Mayor’s office honored both directors with Recognition certificates and thanks from the city. Rob Babel stated, “The Puerto Vallarta Jazz Festival was a great performance opportunity for my students. The concert at Los Arcos Ampitheatre was the highlight for us. Where else are you going to play for such a large appreciative audience with the ocean at your back? It was a tremendous experience! Gracias -Thanks so much for inviting us. It was a fantastic experience.” Quality groups are encouraged to participate in the 2nd Annual Puerto Vallarta Jazz Fest 2010, February 12-15. Contact RICK DILLARD (TX-Corporate Partner) at American Classic Tours 1-800733-8384 for more detailed information to secure your spot …..to come play on the beach! You can’t go wrong with palm trees and jazz outside in February!

12 JAZZed March 2009

JEN welcomes two new individuals to the Network With an Expert team. DAVID ROBINSON, JR. (VA-Traditional Jazz Expert) is an active jazz performer, historian and educator, plays trumpet, cornet, valve trombone and vocalist, performing and touring with the top traditional and swing bands in the Washington DC area. He is also the founder of the Traditional Jazz Educators Network, is Past President of the American Federation of Jazz Societies, and has produced the Smithsonian’s Jazz Concert Series. Mr. Robinson directs the internationally-acclaimed Capital Focus Jazz Band youth learning program. He has also helped to launch the Traditional Jazz Youth Band Festival in Sacramento, and serves on the faculty of the STJS Trad Jazz Youth Camp in the Sierra Nevada mountains. Robinson hosted “The French Quarter” on XM Satellite Radio for three years and is currently producing the Traditional Jazz Curriculum Kit for national distribution...DARREN KRAMER (CO-Middle School Instrumental Expert) is an Edwards Performing Artist and graduated from the University of Miami and has toured with Matchbox Twenty, Tom Jones, the Tommy Dorsey Orchestra and Duke Ellington’s Sophisticated Ladies. He has also recorded with such artists as Michael Brecker, Eric Marienthal and Jerry Hey. Kramer is now the President/CEO of his own DKO music company producing concerts, clinics, recordings, arrangments, and is modernizing the trombone and expanding its role in contemporary music. The upcoming 2009 DKO CD release is entitled “Beyond The Boneyard” and features an inspiring one man band performance utilizing electric trombone, keyboards and computer loops. This acid jazz electronica is also being presented by Kramer throughout the country as a music software PowerPoint Presentation “Creating Music Using Technology…and an Electric Trombone!”. You can learn more at www.ElectricTrombone.com

networthynews JEN at NAMM in Anaheim The Jazz Education Network was proud to be invited to be a part of the Friends of Music Making Pavilion of the NAMM Foundation at Winter NAMM this year. In the world of making music, there is one organization that services the entire world---NAMM—the largest music product trade show in the world. This year’s attendance racked up over 85,000 registrants. JEN and NAMM share a common goal to help all children learn music as part of a quality education. Towards that effort, JEN is now a part of the NAMM SUPPORT MUSIC COALITION. JEN representatives present at the industry survey press conference included left to right: MARK INGRAM (IL), MATT CARTER, ORBERT DAVIS (IL), JIM WIDNER (MO-Board), MARY JO

PAPICH (IL), RICK KESSEL (MA-Board), JULIE TRAENKENSCHUH (IL-Board), and JAZZed editor CHRISTIAN WISSMULLER. Also waving the JEN flag were JOHN BLANE (IL), BRUCE SILVA (FLBoard), and ANDREW SURMANI (CA-Board). The West Coast OPEN FORUM was attended by over 60 members of industry professionals, performers and educators. Ideas were shared and attendees included representatives from the California Alliance for Jazz, the Traditional Jazz Educators Network, and the American Federation of Jazz Societies. JEN is excited about these new relationships! Special thanks to NAMM leadership – Joe Lamond, Kevin Johnstone, Eric Ebel, Mary Luehrsen for their support and assistance. Thanks also to Corporate partner Alfred Music - Andrew Surmani and Kathy Johnstone for the wonderful breakfast, spacing and equipment rental. Music Education Day and the NAMM Show are definitely worth attending….and we hope to see many new faces at the Summer NAMM Show in Nashville….where “Opportunity Knocks!”

JEN remembers two jazz greats

LARRY RIDLEY (NY-Teacher Mentoring Expert) remembers Freddie Hubbard…”Freddie and I grew up together in Indianapolis, IN. We began playing jazz gigs when we were teenagers. His mother and mine treated us both as their sons. Freddie’s older brother, Earmon Jr., is a Bud Powell influenced pianist. He taught us a lot about chord changes and exposed us to Bud Powell, Bird, Dizzy, Clifford Brown, Miles, Art Blakey, Oscar Pettiford, Mingus and many others. Junior really opened our ears up to the complexity and spiritual feeling of the music. Indianapolis had a vibrant jazz scene with a lot of great musicians who took us under their wing, e.g., the Montgomery Brothers, David Baker, Slide Hampton and countless others. We both were blessed with hanging out, performing and recording with a diversity of great artists after moving to New York City. Freddie was a fiery trumpeter and composer who helped to define jazz in the 1960s. No other trumpeter played and impacted the music in so many far-reaching and innovative musical projects. He played and recorded with artists, e.g., Wes Montgomery, J.J. Johnson, Sonny Rollins, John Coltrane, Art Blakey, Philly Joe Jones, Max Roach, Ornette Coleman, Eric Dolphy, Dexter Gordon, Herbie Hancock, Wayne Shorter, McCoy Tyner and countless others.”… LOU FISCHER (OH) remembers Louis Bellson. To have had the opportunity to hear Louis perform, or to share in conversation with him, was for a jazz lover, a true gift of life. For those of us fortunate enough to have been blessed to perform with Louis, those memories are truly Stolen Moments in our life’s history. I am sure I speak for many when I express how fortunate we all are to have been touched by this giant humanitarian of a man. His constant unassuming sweet demeanor, and consummate musicianship will never be forgotten. Duke Ellington said it best. Louis Bellson is “not only the world’s greatest drummer...but also the world’s greatest musician!” Bellson’s career spanned more than six decades, having played with every big name in jazz including Duke, Basie, Ella, Dizzy, Woody, Oscar, Pearl, and scores of others.

More jazz at Midwest 2009

THE MIDWEST CLINIC in Chicago invites interested JEN members to complete performance applications and clinic proposals for its 2009 conference. The conference will be held December 15-19, at a new location----Chicago’s McCormick Place West. The 2009 Midwest Clinic program will be especially exciting for jazz educators. Jazz concerts and clinics at all levels, will be held in a designated area. For application forms and detailed information, please visit the Midwest Clinic website (www.midwestclinic.org). Application materials are due on Thursday, March 19. If you have any questions, please contact the Midwest Clinic ofﬁce by writing to info@midwestclinic.org, or calling 847-424-4163. JAZZed March 2009 13

networthynews JEN institutional member CAPITAL UNIVERSITY (OH) in Columbus will be hosting its annual Jazz & World Music Festival, April 13-19, 2009. The festival represents a combined fifty plus events performed by the twelve various jazz & music industry ensembles including: daily Outreach Concerts to area schools; daily campus “Brown Bag” lunch concerts; daily community outreach concerts at a local bistro; an all day Invitational component which involves twenty plus bands from around the region; an array of student and faculty recitals throughout the week, and a Saturday evening World Music Concert with featured performances from the festival guest artists. The esteemed artists/adjudicators gracing the stages at this year’s festival include: percussionist RUBEN ALVAREZ (IL-); drummer STEVE HOUGHTON (IN); composer/arranger MARK TAYLOR (FL); pianist STEFAN KARLSSON (TX); saxophonist JARRARD HARRIS (IL-JEN board) ; and trumpeter SCOTT BELCK (OH). For detailed information log onto www. capital.edu/jazzfestival...TERRI PONTREMOLI (MI-Jazz Festival Production Expert) is the executive/artistic director of Detroit International Jazz Festival, voted one of the top five jazz festivals in the country in the 2008 Jazz Times Reader’s Poll, is embarking on its 30th anniversary. Sub-titled “Keepin’ Up with the Joneses”, it will celebrate Detroit’s great family dynasties with a serious nod to Thad, Elvin and Hank, September 4-7, 2009…MICHAEL KOLODNY (NH-Audience Development Expert) has had a busy 2008 with the release of his home course on listening to jazz, I Love Jazz – A Quick Guide to Jazz Listening on Jazz Insight records, available at www.jazzinsight.com has been building the

Jazz Education Network Nashville: July 17, 2009 One-Day In-Service &

2009 Summer NAMM July 17-19, 2009 “Opportunity Knocks”

The Jazz Education Network and NAMM are partnering to support the advancement of music education. Meetings will take place at Summer NAMM 2009, in Nashville, Tennessee. Attend the JEN One-Day In-Service: • Inspiring sessions held at the historic Union Station Hotel • Meet JEN leadership and help shape the future of this new and exciting organization • Take part in clinics presented by leading educator, artist and industry professionals • Open Forum/Idea Exchange • JEN Jazz Hang evening Reception/Hors D’oeuvres/Cash Bar • Enjoy the many networking and learning opportunities with admission to NAMM • Register on line for Earlybird Pricing! • More detailed Info at www.JazzEdNet.org Participation in the JEN In-Service also opens the doors to the unique opportunity to attend Summer NAMM. Music City USA is the place to come to see what is new in music products, and music education. Early Bird Pricing Saves YOU Money! Purchase your One-Day In-Service Registration credentials on line by April 30th, and your cost for the JEN In-Service is $125. Free attendance to Summer NAMM is included. After April 30th, registration is $150. Registration deadline is June 31. Walk-up registrations will be available at the JEN In-Service Registration Desk.

14 JAZZed March 2009

audience one listener at a time. According to critic Nat Hentoff, I Love Jazz “truly illuminates the sound of surprise”. The course, co-produced by Kolodny and his wife, vocalist/educator LAURA PIERCE, joins Jazz Playground, a school curriculum and kids’ CD on jazz listening. Along with their live workshop/performance on enhanced jazz listening. Michael welcomes your questions regarding audience development to build jazz awareness in your community… BOBBY BROOM (IL) is busy working on a jazz guitar instruction book and also is completing work on a new recording with the Bobby Broom Trio, which features DENNIS CARROLL, bass and KOBIE WATKINS, drums. The group appears (with MAKAYA MCCRAVEN on drums) every Wednesday night at Pete Miller’s in Evanston, IL. In addition to his work as a regular with the Sonny Rollin’s sextet, Broom is co-leader of the Deep Blue Organ Trio with CHRIS FORMAN on the B3 and GREG ROCKINGHAM, on drums, performing every Wednesday night at the Green Mill in Chicago. … JUDY SHAFER (OH-JEN Steering Committee Member), Director of Jazz in Schools for the Jazz Arts Group of Columbus, will be recognized March 6, 2009 at noon at the Greater Columbus Arts Council’s annual Community Arts Partnerships awards at COSI, as the Arts Educator of the year in central Ohio. The award honors Shafer’s work to help educate central Ohio school children through the arts. Shafer’s music education programming work includes two main areas: placing live music by professional artists in classrooms and providing arts integration coaching for teachers.

“NAMM believes in jazz educators and we are very pleased to offer our support to the newly formed Jazz Education Network,” said Joe Lamond, president and CEO, NAMM. “We are honored that JEN has chosen the 2009 NAMM Shows for their inaugural meetings and we look forward to working with this very important segment of the music education community in the future.” JEN President Mary Jo Papich says, “In working with NAMM, I'm impressed by theeir sincere support for our new organization. This historic organization of the music products industry encourages music making of all ages…and JEN does too! We are important to one another. NAMM has their finger on the pulse of what is happening today and it’s time for jazz education to find today’s pulse.” To Participate: • JEN Membership is required at a level granting eligibility to attend JEN events and conferences. • Register online today at www.JazzEdNet.org • Downloadable pdf to reserve guaranteed conference housing • Make your airline reservations or travel plans and we’ll see you in Nashville Clinic Offerings: • Piano & Guitar: Stylistic Nuance • Bass & Drum set: Stylistic Nuance • Putting It All Together. The Rhythm Section in all its glory! (Keeping it real for your students) • World Percussion in the Classroom • Stylistic Interpretation for Vocalists • Stylistic Interpretation for Instrumentalists • Technology in the classroom: Equipment & Budget Needs • Sound Reinforcement: Equipment & Budget Needs We hope to see YOU in July! We Believe In Music! We Believe In Jazz! We Believe In You!

presented by June 22-27, 2009 )LLINOIS 3TATE 5NIVERSITY .ORMAL ), ,EADERSHIP 0REVIEW 7EEKEND *UNE

Whether beginners looking to get started in playing jazz, or seasoned jazz cats wanting to get to the next level by working with the very best, the Music for All Symposium has a place for every student.

The Jazz Division at the Music for All Summer Symposium is presented in partnership with the Jazz Education Network (JEN)

&ACULTY

Dr. Lou Fischer, Coordinator Ndugu Chancler Rodney Whitaker Stan Smith Luke Gillespie Rex Richardson Dean Sorenson Jeff Rupert Jarrard Harris *Faculty subject to change

4YPICAL STUDENT DAY INCLUDES Breakfast Leadership Workshop Improvisation Big Band Rehearsal Lunch Faculty JAM Master Classes Big Band Rehearsal Dinner Jazz History Evening Concert

&OR (IGH 3CHOOL -IDDLE 3CHOOL $IRECTORS

Directorâ&#x20AC;&#x2122;s choose from a menu style of offerings, including Directorâ&#x20AC;&#x2122;s Big Band which meets daily and performs a concert on Thursday evening; an assortment of leveled pedagogy classes covering a myriad of topics including: rhythm section (piano, guitar, bass, drumset and Putting It All Together), brass and saxophone pedagogy, how to select the right music for your ensemble, big band and combo rehearsal techniques, and jazz history. Three hours of graduate credit availalable from Illinois State University for a modest additional cost. Live Music Each Evening: s +IRK 7HALUM (pictured) s 9AMAHA 9OUNG 0ERFORMING !RTISTS s #ANADIAN "RASS s "ARRAGE s $RUM #ORPS )NTERNATIONAL #ENTRAL )LLINOIS scheduled to include: Blue Stars, Boston Crusaders, Carolina Crown, The Cavaliers, Colts, Glassmen, Phantom Regiment and Spirit

National Presenting Sponsor

Official Uniform Sponsor

Official Corporate Sponsor

Corporate Sponsor

)NFO VIDEOS ENROLL ONLINE

WWW MUSICFORALL ORG

Programs of Music for All

Network with an Expert Network with an Expert has been designed as a JEN member benefit accessible to members only. The team is made up of respected authorities in their field. JEN members are welcome to go online and communicate directly with the Experts regarding questions or advice. Arts Administration Community Outreach Ken Druker Jazz Festival Production/ Academic Brent Campbell Jazz Festival Production/ Professional Terri Pontremoli Non Profit Business Bob Breithaupt Greg Diethrich Laura Johnson Arts Recognition Programs Honor Jazz Ensembles Ron McCurdy Curriculum & Instruction Arts Integration Judy Shafer Audience Development Michael Kolodny Composition & Arranging John LaBarbera Ellen Rowe Greg Ward Elementary Sherry Luchette Health & Wellness Kahil Elâ&#x20AC;&#x2122;Zabar High School Instrumental Jose Diaz High School Instrumental/Technology James Warrick High School Vocal Dan Gregerman

16 JAZZed March 2009

History Richard Lawn Improvisation Materials Shelly Berg Antonio Garcia Magnet Performing Arts Schools Bart Marantz Middle School Instrumental Darren Kramer Peggy Vax Middle School Vocal Erika Paul Non-Traditional Schools Caleb Chapman Secondary Schools/International Mike Rossi

Special Needs

Kimberly McCord Summer Jazz Studies Scott McCormick Jim Widner Theory Scott Wilson Educational Programs Community Outreach Carol Argiro Teacher Mentoring Katchie Cartwright Larry Green Larry Ridley Industry Big Band Tours Mike Vax Music Publishing Andrew Surmani Performance Tours/

Unique Travel Bob Sinicrope International Relations International Advisor J. Richard Dunscomb Media/Production Film & Video Resources Chuck Berg Recordings Nick Phillips Performance Bass John Clayton Riccardo Del Fra

Drums

Peter Erskine Sherrie Maricle

Guitar

John Baboian Frank Potenza Mallets Cecilia Smith Movement & Dance Michelle Loeffler Percussion/Brazilian Jovino Santos Neto Percussion/Brazilian, Afro-Cuban RubĂŠn Alvarez Ndugu Chancler Piano Lynne Arriale Saxophone Robert Mintzer Solo Voice Janice Borla Lisa Kelly

Strings Randy Sabien Traditional Jazz David Robinson Trombone John Fedchock Dennis Wilson Trumpet Orbert Davis J.B. Scott Vocal Ensemble Paris Rutherford Published Music Big Band Pete BarenBregge Bob Curnow Lou Fischer Combo/Ensemble Ben Huntoon Mike Tomaro Special Manuscripts Robert Washut Strings Bert Ligon Vocal Jazz Michele Weir Research New Music John Kuzmich, Jr. Scholarly Lissa May Technology Programs & Software Rocky Reuter

Welcome New Members JEN has experienced a 25% increase in membership growth since the last publication deadline of December 22, 2008, presently boasting over five hundred and twenty-five members residing in seven countries, including: Canada; France; Australia; Great Britain; Korea, Hong Kong (AP); and membership from forty-six states within the United States. Our membership numbers now include twenty-seven Corporate Partners, sixteen Institutional Partners. and seven Network Affiliates! Please help us to welcome our newest members! Please note: Members joining JEN prior to the expiration date of December 31, 2008 received Charter (C) or Founding (F) designations. New CORPORATE PARTNERS ASCAP (C) Berklee College Of Music (C) EM-BEE Ideas (C) Heritage Music Press, A Division Of Lorenz (C)

National Jazz Workshop (C) The U.S. Army Field Band Jazz Ambassadors (C) Vic Firth Inc. (C) Yamaha (C)

New INSTITUTIONAL PARTNERS Anita Brown Jazz Orchestra (C) Arts & Education Consultants (C)

Brubeck Institute (C) The University Of Toledo (C)

New NETWORK AFFIILIATES California Alliance for Jazz Jazz Society Of Pensacola (C) New INDIVIDUAL MEMBERS: Australia: Gregory Quigley (C) Canada: Philip May Susan Smith Hong Kong: Michael Ross United States: Charles Abplanalp (C) Wilton Aebersold (C) Allan E Aitken (C) Jim E Anderson Steve Anderson (C) James Argiro (C) Martin Ashby (C) Jack Bannon Scott Belck (F) James Bell Jeffrey Benedict Keith G. Berg (C) Corey Bergdorf (C) Thomas W. Billing (C) Ed Bingham (C) Margaret Birinyi John Blane (F) Paul Bloomquist (C) Nancy Botti Gary Brandes Bob Breithaupt (F)

MOAJE Traditional Jazz Educators Network Bobby Broom Anita Brown (C) John Brown Roger Brown (C) Vernon Brown Darius Brubeck (C) Sharon Burch Eric Matthew Burgeson (C) Iantheia Calhoun (C) Steve Call (C) Katrina Calvosa (C) Stephen Cannedy (C) Lenny Carlson (C) Liz Carnes-Wight Warrick Carter (F) Efrain Casillas Sara Caswell (C) Frank Catalano Richard E. Chamberlain Peter Cho Marilyn Clark (C) Warren Clark (C) Andrea Cluff Paul Combs (C) Craig Cornwall (F) Michael Cox (F) Derek Craig (C) Andrew Dahan Evetta Dalla (C) Amanda Dallabetta Mike Danforth (C) Sid Davis (F) Phil Degreg Byron Delto (C)

James Deprizio Kent Devereaux (C) Jill DeWeese Joel Dibartolo Adam Donohue Rob Duboff (F) Bruce Dudley Shane Ellsworth (C) Randy Emert (C) Mary Fettig (C) Erika Floreska (F) Steven Frank (C) Noelle M. Frost (C) Bette Gallant Lee Galloway (C) Scott Garlock (C) Chuck Gee Stephen Gilmore (C) Richard Gore (C) Wendy Grapentine William Halbrook (C) Kevin Hayward Monika Herzig Dr. Willie Hill (F) Clarence Hines (C) James Holden, Jr. (C) Ben Huntoon (C) Matthew James (C) Don Jones (C) Heath Jones A.J. Julian (C) Dr. Sais Kamalidiin (C) Michelle Kaylo Donald Keat (C)

Rachel Kelly (C) Rick Kessel (F) Rob Klevan (C) Michael Kocour Michael Kolodny Kristin Korb (C) Mark Kross (C) Doug Lady (F) Marc Laforce Neil Larrivee (C) Edward Laux (C) Russell Layne Steve Lesche (C) Stan Levenson Sal Lozano Kathy Lyon (C) Peter Madsen Tim Matteson (C) Philip May (C) Michael McCarrell (C) Scott McCormick (F) Jim McFalls (C) Kaitlyn Meiss James Miley (C) Ben F. Miller Ronald Modell (F) Typhanie Monique Gunnar Mossblad (C) Mark Moultrup (C) Lewis Nelson Matt Niess (C) Mark Nowak (C) Miles Osland (C) Joseph Ott (C) Tom Palmer (C) Don Parker (C) Sean Parsons (C) Rob Parton Arthur Pazornik Skip Perry Dewitt Peterson (C) Sandra Pierre-Kazi (F) Larry Polk (C) Terri Pontremoli (C) Frank Potenza (C) Mike Price (C) Christian Provetto (C) Larry Pugh (C) Gregory Quigley (C) Francis Richard (C) David Robinson (C) Ellen Robinson

Fran Morris Rosman (F) Kenneth Rupkalvis Jim Rupp (C) Mike Samball (C) Tim Savage (C) Howard Schuff (C) Zach Schwartz (C) Jb Scott (C) Cathy Segal-Garcia (C) Rudolf Semar John Shoup (C) Monica Shriver (C) Catherine Skinner (C) Susan Smith Chuck Smith (C) Henry Smith Howie Smith (C) Stan Smith (C) Dean Sorenson (C) Birdie Soti (C) Marvin Sparks (C) Jason Stephens (C) Tom Streeter (C) John Studzinski Thomas Tedesco Lucio (C) Mark Tessereau John Thomas (C) Scott Thompson (C) Dennis Trainor (C) Rick Van Matre (C) John Vandergheynst (C) Joel Vanderheyden Christopher Venesile (C) Robert Waggoner (C) Greg Ward Jr. Russ Weaver (C) Alexandra Weber-Morales (C) Eric Wells Gene Wenner (F) Keith Wiley Jack Wilkins (C) Glenn Williams Glenn Wilson John Wittmann (C) Michael Wojciechowicz Jeffrey Wolfe (C) Herb Wong (F) Randy Wright Paula Zeitlin

JAZZed March 2009 17

lessons learned

SELF-EDITING

Playing the Gig You’re On: Coltrane Knew How BY DR. GREGG AKKERMAN

icture the following—a Sunday night jam session at a popular bar where the house band plays blues, not jazz-blues, not blues-rock, but BLUES with three chords and none of them the iim7. Like most organized jam sessions, there is a hierarchy that determines when audience members get invited to play. Regulars get in during the first couple sets but a new face has to stick around to the end of night to earn a spot. A new-to-the-area trumpeter anxiously waits to play and finally gets the nod to join in on the last tune. After a couple choruses to set the groove our trumpeter takes his ride and out of that horn explodes the most exuberant surrounding tone, upper-extended, side-slipping, altered scale on the V chord, Mixolydian on the I chord, harmonic substitution on the IV chord, collection of notes you could ever expect to hear. Man does he play that horn. But after the set when he looks around to do a little networking there isn’t a hand to shake and no one asks for his contact information. Is the band guilty of being intimidated by musicality outside of their pentatonic world? Maybe. But our jazz-drenched friend is also guilty of breaking an unwritten rule of commercial musicianship—you’ve got to play the gig you’re on. Just because you can play Dizzy’s “Bloomdido” solo over Freddie King’s “I’m Tore Down” doesn’t mean you should. An extended, successful career as a commercial musician requires knowing when and where to draw your various improvisational weapons. An excellent example of this ability to self-edit is the playing of John Coltrane on Irving Berlin’s “They Say It’s Wonderful” from the album John Coltrane and Johnny Hartman (GRP Records B000003N7K, originally released on Impulse in 1963). On this

18 JAZZed March 2009

vocal ballad Coltrane (with pianist McCoy Tyner, bassist Jimmy Garrison, and drummer Elvin Jones) does an extraordinary job of playing to the gig. Instead of the ten-minute “sheets of sound” solos or third-relation “matrix” ii-V substitutions he was

lessons learned capable of, Coltrane finds inspiration in the inherent beauty of the original melody and chord changes as well as the sinewy velvet phrasing of Hartman’s vocal. Coltrane’s willingness to act as an equal “second voice” to Hartman rather than his improvisational

superior is a testament to the legacy of both artists. Recorded in just one take, “They Say It’s Wonderful” is the first cut on the album and analysis of Coltrane’s solo when compared to Hartman’s vocal reveals a jazz legend willing and able to play the gig he’s on.

Sound Coltrane’s timbre on this recording is plaintiff, somewhat dry, and greatly complements the beautiful baritone quality of Hartman’s voice. Although Coltrane exploits the full conventional range of his tenor saxophone, he only

JAZZed March 2009 19

lessons learned just grazes the edges of altissimo on one phrase (mm. 15-16). He seems content to confine his tessitura to the more masculine, vocal-like area of the instrument, especially in the cascading dive in mm. 6-7. Showing similar restraint, his dynamics throughout the improvisation do not stray beyond the mp-f range. Coltrane’s idiomatic glisses and ghost notes consistently remind the listener that although the song originated as a show tune from “Annie

20 JAZZed March 2009

Get Your Gun,” it has been effectively absorbed into the jazz canon.

Harmony Based in Eb major, the harmony in “They Say It’s Wonderful” is comprised of standard ii-V-I progressions completing a thirty-two bar AABA form. The bridge modulates briefly to Ab major before moving to g minor in the second half of m. 20. The bridge finds its way back to the Fmin7 in the final A sec-

tion by a clever descending sequence of Gmi7-C7 to F#mi7-B7 (mm. 23-4). There are a few notable harmonic differences between the vocal chorus and Coltrane’s single solo chorus. In m. 5 the vocal melody dictates the need for a flatted 5th on the Fmi7 but this is ignored during the solo. Then in m. 8 the bassist and pianist deviate from the original progression by extending the tonic chord two beats and compressing the ii-V of f minor into the end of the measure. The

lessons learned flatted fifth of the Fmi7 in m. 10 is again ignored both harmonically and melodically. The vocal chorus uses a harmonically interesting Db7(b5) in m. 12 that is replaced by the more mundane Gmi7 for Coltrane. It is interesting that in m. 13 Coltrane, through the pronounced use of the same Cb note as found in the vocal melody, makes ignoring the flatted fifth on Fmi7 impossible although the rhythm section returns to the unaltered version in m. 26. Coltrane is considered a master of reharmonization but on only two occasions does he employ that skill in this solo. Beats 3 and 4 of m. 8 outline an F# minor scale including the B natural that creates dissonance with the C7 in the rhythm section. In the second instance he plays a C natural on the downbeat of m. 28 against the Db7 chord. It is notable that both of these reharmonizations

incorporate the major 7th pitch against a dominant 7th chord.

Melody When a jazz quartet accompanies a vocalist during a ballad, it is common procedure for the horn player to “riff” between the vocal phrases. Coltrane appears to use this procedure as melodic inspiration during his own solo. As noted throughout the following analyzed transcription, Coltrane consistently plays improvised lines that refer to the melody while, in between these phrases, delivering riffs that serve as filler. It is as if he has cast himself in the roles of both melodist and soloist. A good example is mm. 1-3 where several of Coltrane’s note choices are clearly inspired by the vocal melody while m. 4 contains a riff that fills the space normally left between the vocal

phrases. The only deviation from this procedure throughout the entire solo is m. 6 where Coltrane plays an extended line featuring the #9 and b9 over the Bb7 chord. But even this line eventually resolves to a sustained Bb note in m. 7 just as heard in the vocal melody. In what serves as the melodic climax of the solo, Coltrane creates a four-note motif in mm. 14-15 and then transposes it up a perfect 4th in mm. 15-16. Even though this motif is melodically unrelated to the vocal melody, the rhythm and stepwise movement of the four notes would easily accommodate the lyric and it is tempting to assume Coltrane was aware of this. A second motif is played by Coltrane in m. 23 during the bridge. This simple three-note figure not only incorporates a vocal melody note but also follows the descending contour

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lessons learned of the harmonic sequence when it is transposed down ½ step in m. 24. The final measures of Hartman’s vocal melody resolves upward from the dominant to tonic notes while Coltrane chooses a different path. Although he plays a dominant note in his cadence, Coltrane resolves his final phrase from

the 3rd of the key downward to the tonic. But, once again, his melodic deviation in m. 30 would still accommodate the syllables of the lyric.

Conclusion This analysis of the sound, harmony, and melody of John Coltrane’s

solo compared to the vocal of Johnny Hartman on “They Say It’s Wonderful” demonstrates that this visionary saxophonist knew how to self-edit and use the tools of improvisation appropriate to the gig he was on. Although technically capable of greatly extended improvisation featuring copious reharmonization and altissimo playing, Coltrane impresses the listener all the more by finding beauty in the original chords, following a proven improvisational procedure used in ballads, and seeking inspiration from the vocals rather than taking the lower road of merely tolerating the presence of a vocalist as a means to fill the spaces between solos. John Coltrane knew the gig he was on and played it perfectly.

Notes on the Transcription Early drafts of this transcription were made by the author and only afterwards compared to a published transcription. Discrepancies were reviewed and, while some edits were made, the author has decided to differ with the earlier published version at several points in hopes of providing the reader the most current and accurate representation of Coltrane’s solo and Hartman’s vocal. An active arranger and pianist, Dr. Gregg Akkerman is currently the Director of Jazz Studies and Commercial Music at the University of South Carolina Upstate in Spartanburg. He received his doctorate from the University of Northern Colorado and his masters from San Diego State University. Gregg may be contacted at gakkerman@uscupstate.edu.

Sources Coltrane, John. John Coltrane and Johnny Hartman. GRP Records B000003N7K, 1995. CD. Coltrane Plays Standard. Milwaukee: Hal Leonard (no year of publication provided). 22 JAZZed March 2009

basic training

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

Teaching Jazz Guitar To The Freshman Student BY CRAIG S. SNYDER

he student new to jazz faces many obstacles and I believe this is especially true for the student of jazz guitar. In my many years of private and group instruction, I have encountered students with a mixture of no experience, little experience, or a fair amount of prior instruction. Oftentimes, the student with no prior experience in learning to play the guitar, regardless of the specific genre of interest, has less problems adapting to the study of jazz. In contrast, the student with a moderate amount of prior self-study usually discovers that he or she has acquired improper physical techniques and most likely vague or simply incorrect information in regards to theory and the basic fundamentals of music in general. In this article I would like to share with the reader my experiences in teaching jazz guitar at the college level and the personal methodologies I employ to assist the new jazz student of guitar and electric jazz bass. Breaking Bad Habits Technology has an influence on learning and this influence can be negative. There are many questionable Web sites offering so-called â&#x20AC;&#x153;instructionâ&#x20AC;?; many are reputable while others offer advice that is either imprecise or altogether incorrect. All too often guitar students with a year or more of experience have learned to read guitar tablature only; this becomes a problem when reading standard notation becomes a necessity. There are video games such as Guitar Hero and Rock Band that are played with a virtual guitar that have little to do with the way a real guitar is played. With no disrespect to any specific teachers, there are students I have taught who

have been given completely erroneous information in regards to various aspects of physical technique and music fundamentals. This of course creates difficulty for the new student of jazz who must relearn previously given incorrect information. I have actually taught students with several years of personal study who were not sure which string on the guitar was specifically the first numbered string. Others have been misled into believing that picking technique and control have little to do with a clear and articulate tone. Many incoming students even lack the ability to properly tune the instrument. My approach to teaching jazz guitar is a result of decades of private and group instruction from very young to adult students. At the college level

JAZZed March 2009 23

basic training I have perfected my own approach which I believe to be clear, precise, and directly to the point. I have collected these approaches and include them in a booklet that I give to my students as a guide during the semesters of study. To my credit the students tell me that the book has helped them immensely. Having straightforward, logically presented materials is a definite aid in teaching the aspiring guitarist. Twelve-Tone System The first and typically most overlooked subject is the simple application of the twelve-tone system to the fingerboard. As my students acquire basic skills in their theory classes in pitch identification, sharps and flats, enharmonic equivalents, basic intervals, etc, this information is directly applied to the fingerboard. I employ two basic methods-lateral and longitudinal approaches to master the basic task of locating any note anywhere on the fingerboard. For the lateral approach I suggest the student visually divide the fingerboard into four fret quadrants: frets zero to four, frets five to eight, and frets nine through twelve. Each and every note must be located and accurately identified via this quadrant approach. The longitudinal approach requires the student to locate and identify all notes along each string individually. During these lessons I stress the importance of the number twelve and how octaves and first order harmonics are found on each string. I have determined that guitar students progress much more quickly when this task of fingerboard discovery is thoroughly mastered before any other material is presented. The ability to accurately and successfully locate any note on the fingerboard proves its immense worth in acquiring future skills with respect to intervals, chord voicings, note reading, and improvisation. Introducing Chords, Scales As the student progresses and gains confidence in his ability to definitively

24 JAZZed March 2009

locate notes along the fingerboard it is now time to systematically introduce intervals, triads, seventh chords, extended and altered chords, and ultimately scales. When the student has acquired the skills to locate notes, play seventh chords in all five families, and read simple melodies and rhythms it is appropriate to introduce a simple bluesbased jazz tune such as “Freddie Freeloader” or “Mr. P.C.”. This is where the importance of melody is discussed and stressed. I even have my bass students learn the heads to the jazz tunes they are studying in order to better understand the structure and design of the composer’s intentions when writing the tune. The order of study for any tune is: melody, chords, arpeggios of each chord, most-consonant scale for each chord, and ultimately chordtone soloing. A jazz guitar student who has reached an appropriate level then learns to arrange the tune into a basic jazz chord-melody piece. All of the elements of fingerboard discovery are then implemented by the student, which leads to the total mastery of the instrument through years of dedicated and diligent practice and application. Intro to Improv My approach to improvisation is straightforward and thorough. Once the student has proven that for any given tune he can demonstrate the ability to play the melody, chords, and

arpeggios, then it is appropriate to introduce the concept of chord-toneonly improvisation. By restricting the possible melodic choices to the chord’s component tones the student is then forced to navigate along the fingerboard, locate these component tones, and employ simply rhythmic devices to unify and compose melodic lines. I have found this approach to be extremely helpful to prove to the jazz guitar student that scales are learned in conjunction with chord tones; the point being that if you have found the chord’s component tones you have then located foursevenths of the associated scales. The next step is to stress the importance of chord function and how to identify the upper-structure triad and possible alterations to dominants, secondary structures, and substitutions. Once again the initial study and hard work involved in fretboard discovery pays off in confidence and accuracy when enjoying the greatest part of jazz-the freedom to improvise. When the student reaches the level of acceptable chord-tone-only improvisation, I slowly introduce the concepts of altered and other possible colorful scales and modes and their basic application. I stress that the purpose of employing any particular scale against any specific chord is to result in varying levels of color and dissonance. The ultimate approach awaits-the “proof ” of improvisation.

“THE STUDENT WITH A MODERATE AMOUNT OF PRIOR SELF-STUDY USUALLY DISCOVERS THAT HE OR SHE HAS ACQUIRED IMPROPER PHYSICAL TECHNIQUES AND MOST LIKELY VAGUE OR SIMPLY INCORRECT INFORMATION.”

The most difficult but equally rewarding mantra of teaching improvisation is then presented: sing your lines. My definition of improvisation is melody at the speed of thought. When a student can demonstrate the ability to sing an acceptable jazz line and then realize that line on the fingerboard of their instrument that student then has the capacity to advance at an accelerated pace. I then discuss the impact upon jazz by players such as George Benson and his phenomenal ability to scatplay with his voice and his guitar. To me that is the absolute ultimate proof of instantaneous creation of melody. When this ability to sing and play great lines is achieved by the jazz student it then becomes clear to them that their reward is now in the music they can create with almost no limitations. Into the Fray Once the jazz guitar student has acquired all of these skills he or she is now prepared to join a jazz or jazzrock ensemble. The time invested in serious practice and study will prove its worth when the immediate application of all of these essential skills occurs with every tune at every rehearsal. The skills acquired from studying fingerboard navigation, playing melodies, reading notes and rhythms, finding chord tones, and implementing improvisational techniques all play a part in the overall development and maturity of the modern jazz guitarist. For me the teacher, my reward lies in watching and hearing the cumulative progress of my students. I truly believe in the old saying, “give a lesson-get a lesson.” Craig S. Snyder is an instructor of jazz guitar and jazz ensemble at Finger Lakes Community College and the Hochstein School of Music in western New York. Craig has over thirty years of experience as a teacher, performer, studio musician, bandleader, and composer. www.craigssnyder.net

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basic training

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JAZZed March 2009 25

A New Breed ...of Jazz Director Young, Aggressive, and Emphasizing Performing in the Community â&#x20AC;&#x201C; A Tenacious Kevin Cole Sees the Big Picture BY KEVIN M. MITCHELL

Webster Groves High School boasts one of the finest jazz education and performance programs in the Midwest and Kevin Cole, a young director who got the gig right out of college, is in his tenth year running it. Cole represents a new breed of jazz directors, one that comes with a background different from the previous generation. Like the kids these young educators are reaching out to, the musical tastes of their youth tend to be more based in rock than jazz. They tend to escape the school politics that can mire others, and thereâ&#x20AC;&#x2122;s an emphasis on building stronger, more individual relationships with the students.

26 JAZZed March 2009

“I remember every breakthrough for every kid – the time, place, taste when that kid played that note.” JAZZed March 2009 27

“He really encourages us to play outside of school in groups and combos, and gets us chances to do that,” says sophomore Brogan Drissell, an all-state performer who is often spotted playing electric bass in combos around town. “He’s my favorite teacher… he’s actually more a student than a teacher.” Cole is driven and aggressive. He’s got more groups than the modest sized-school might warrant. More kids are performing at more public events, and their repertoire is significantly larger than typically found. Members have performed in New York, Chicago, London, and Prague, and in March they are attending the San Francisco Jazz Collective. His students participate in clinics with artists such as Cyrus Chestnut, Delfeayo Marsalis, Bob Mintzer, Wycliffe Gordon, Tom ‘Bones’ Malone, The Yellowjackets, Chip McNeill, Jeff Hamilton, Dana Hall, Tom Garling, Michael Philip Mossman, Dave Scott, Tim Warfield, Esperanza Spalding, and Jim Widner, to name just a few. Cole, 32, was born in Pekin, Ill., a suburb of Peoria. He started playing piano when he was five, and took up trombone in high school. He studied music at the Illinois State University in Bloomington, Ill., where his jazz teacher, Jim Boitos, influenced him. “In addition to being one of the finest saxophonists I’ve ever heard, he was a great teacher who was as much into jazz history and culture as he was in putting tunes in front of students and getting them to play them perfectly,” Cole says. It was Boitos who also taught him “more was more” when it comes to the amount of literature one learns. After graduating with a music education degree, emphasis on trombone, he says he “lucked in” when in 1999 Webster Groves High School, located in a St. Louis suburb, needed a new jazz band director. “I thought this was a place where music can happen, a community and the school really care about the arts.” And why did the relatively plump position go to someone so wet behind the ears? Cole shrugs. “I think 28 JAZZed March 2009

“When I rst arrived at college, I couldn’t tell Louis Armstrong from Lance Armstrong. Really.” the administrator hiring thought that while there was value in experience, there’s just as much value in an energetic young person.” JAZZed sat down with Cole at a nearby coffee house between classes to discuss what he’s learned, how he approaches teaching, and how he inspires the kids to perform so well and so often.

What It’s About JAZZed: Let’s talk about when you ﬁrst took over the program 10 years ago. Kevin Cole: There was obvious talent and support for the program from the community and school. The program did seem to be 99 percent geared toward learning a set of tunes to play

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for a specific performance. My thought was that we wanted to learn 20 sets [worth of music] that we could perform at any time. That’s not a criticism of anybody – it’s just my belief.

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JAZZed: So Barney is an inﬂuence? KC: [smiles] My young son, Miles, is in a way. We learn speech only from imitating sounds. Then you know a few words. Then you can say sentences, then paragraphs… that’s how I approach teaching music. JAZZed: How about your teaching inﬂuences? KC: We work with a ton of pros. Tom Garling, Bob Mintzer, Michael Philip Mossman … I hope I’ve taken a little from each of them and it comes out in my lessons to the kids. [pause] I’ve probably learned more from my failures then from anything.

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KC: My dad had the Beatles on all of the time, almost everyday. It was the soundtrack to my youth. When I first arrived at college, I couldn’t tell Louis Armstrong from Lance Armstrong. Really. So at first it was the horns in rock bands like Chicago and Blood Sweat & Tears. Then it was Buddy Rich, Stan Kenton, and the R&B-influenced jazz from the 1970s. From there, I got into the hard bop of Hank Mobley, Lee Morgan, Horace Silver, and Cannonball Adderley. I love the guys who play melodically, things that the kids can comprehend. They are not going to get Don Cherry or Ornette Coleman right away. It’s like speech. When you’re four, you don’t enjoy Shakespeare, you enjoy Barney.

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JAZZed March 2009 29

â&#x20AC;&#x153;Just donâ&#x20AC;&#x2122;t be a jerk. There was some of that when I ď&#x192;&#x17E;rst started. But thatâ&#x20AC;&#x2122;s not what music is about.â&#x20AC;? Summer Jazz Studies For high school students in grades 9-12 HAROLD DANKO, JEFF CAMPBELL, DIRECTORS

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JAZZed: These failures... theyâ&#x20AC;&#x2122;d be... ? KC: At first I was too rigid, too strict with kids. It was â&#x20AC;&#x153;my way or the highway,â&#x20AC;? and I was much less understanding of them. I didnâ&#x20AC;&#x2122;t know when to push and when to pull back. I think Iâ&#x20AC;&#x2122;ve learned. Fatherhood hasnâ&#x20AC;&#x2122;t hurt figuring that out, either! JAZZed: Letâ&#x20AC;&#x2122;s talk about your programs. KC: We have three big bands. Jazz I meets Tuesday and Thursday nights, 7:30 to 9:30 p.m. Then we have two Jazz II groups. One isnâ&#x20AC;&#x2122;t different or better than the other, thereâ&#x20AC;&#x2122;s just two different times to sign up for it. One focuses on Basie style, and the other on the Ellington style, then weâ&#x20AC;&#x2122;ll switch. Those are mostly younger players, or kids playing second instruments. JAZZed: Word in the halls is that youâ&#x20AC;&#x2122;re well liked, with more than one kid saying youâ&#x20AC;&#x2122;re his or her favorite teacher... is it more important to be liked or respected? KC: Respected. But the kids do have to dig you a little bit â&#x20AC;Ś if they donâ&#x20AC;&#x2122;t like you at least a little, they have no reason to come back. When youâ&#x20AC;&#x2122;re a music director, youâ&#x20AC;&#x2122;re a teacher, a cheerleader, a

30 JAZZed March 2009

fundraiser, a janitorâ&#x20AC;Ś [laughs] â&#x20AC;Ś just donâ&#x20AC;&#x2122;t be a jerk with all that other stuff. There was some of that when I first started. But thatâ&#x20AC;&#x2122;s not what music is about.

Getting Out JAZZed: There are a lot of combos made up of your kids out playing in the community. KC: Eight years ago, we didnâ&#x20AC;&#x2122;t have any combos. We had players able, but I didnâ&#x20AC;&#x2122;t feel I could ask them to put even more time into music. But then the momentum shifted. Now we have seven or eight, and they work entirely on their own time. Now we have parents calling and wanting a small group to play some event, and we send one out and they sound pretty professional. Then others want to hire them. Some of these kids are out playing three times in a month in addition to things I have them doing. JAZZed: The big band plays some very high-proďŹ le places â&#x20AC;&#x201C; jazz festivals, upscale clubs. KC: We set up a few performances a year at Jazz at the Bistro, which is on Wynton Marsalisâ&#x20AC;&#x2122; list of top ten clubs in

the country for jazz players to play. We’ll play restaurants, clubs. We can get a good audience. Most importantly the kids are getting experience playing on stage.

in context. Otherwise, it would be like an actor acting in a foreign language and just speaking the sounds, not knowing what he or she is actually saying.

JAZZed: All the groups I’ve seen are remarkably mature and sophisticated in their performance style – how do you cultivate that?

Improvisation — Not so Improv

KC: There are two things we talk about besides literature, and one is stage presence. Nothing is more irritating to watch than a band that talks between tunes, are sloppy, etc. Another is about creating arrangements. None of this just head, solo, solo, solo, head again. I have them take the time to practice and find a way to twist or counter the melody, create a musical background, go for some harmonies that are a bit off the page … JAZZed: What’s happening in your classroom? KC: We put a heavy emphasis on learning tunes, reading, and playing by ear. This is above the whole “clean” big band chart. Really, above anything, it’s about knowledge of tunes. When my kids go audition, or play in a combo, they have a wealth of literature knowledge.

JAZZed: So the community is supportive?

KC: The parents are so supportive. It reminds me of the little towns in Illinois where I grew up where when it’s basketball night, the whole town is there. Here, we have an army of 100 parents who show up to all these performances, even if their kids are not in the program. It becomes a matter of pride. The administration is pro-kids. If they are in music, drama, sports, they are there for them. They allow the

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JAZZed: What is your approach to building the repertoire? KC: We do everything from Dixieland to contemporary original compositions. Recently we commissioned a piece by Michael Philip Mossman. So we do a little of everything, and always include the cultural and historical part of it. Every time on every chart, we talk about who played on the original recording, who and where it was written, etc. The kids are as into it as I am. They are all over Wikipedia, and if I make a mistake, they correct me. JAZZed: You’re taking up valuable practice time doing that... KC: It’s an important part of the story. Jazz has culturally and racially always been way ahead of its time, and we’re doing the music a disservice if we just “play” it. You have to discuss the piece

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“If jazz was ever dead, it certainly is not now. It’s alive and making a comeback.”

kids and me to travel more than they should! [laughs]

week at the Bistro, and they will often call us and ask us if we want to work with their performers. There’s no way I’m saying No, and sometimes these things materialize with just 12 hours notice so we have to scramble. It’s an incredible luxury to have a first rate venture like that.

JAZZed: How do you get so many artists to come to your school? KC: A local group, Jazz St. Louis, brings artist in town almost every

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Apply at www.jazzinjuly.com or contact Director Frank Newton 413-545-3530 email lfnewton@admin.umass.edu 32 JAZZed March 2009

JAZZed: Explain how it works. KC: The first thing I do is peruse the Bistro schedule, and we try to go piggy back with them. On a school budget it’s hard to bring in an act from New York for three days, but if they are already in town for a performance, and it’s just a matter of getting them another night at the hotel, that’s doable. Otherwise, we’re pretty tenacious about going after people. If we ask someone to do a clinic and they say No, we just move onto the next person. JAZZed: Your kids are great improvisers – how do you get them at such a level? KC: [pause] I wish it wasn’t called “improvisation” because it’s really not. “Improv” is when you come home re-

ally late, and you’re sneaking in your parent’s house, and they catch you, and you suddenly have to “improv” a whole answer. For me it’s like the improv comedy show, Whose Line Is It Anyway? There’s a framework. You’re this character in this place doing “x.” It’s the same thing with jazz. Here’s the framework, here are the notes we have, and this is the style. So you know a lot of things going in. You’re just being asks to make a new melody. It’s like speech: you know the alphabet, you know the words, so it’s not like you’re making up a new language every time. JAZZed: Still, new players need some direction. KC: We play some games. I get them to solo walking base lines to give them an idea of the harmonic structure. We’ll find notes to eliminate – for example if we’re playing an F Blues and he or she keeps hitting the B-flat, we’ll take that away and say you don’t get to play that note anymore. JAZZed: What’s the most frustrating part of the job? KC: For me, it’s never being able to turn it off. My wife things I’m nuts always listening to music, or playing, or talking to kids in the band on the phone, or talking to an artist who is coming to town and talking him or her into doing a workshop … there are days I’m in the school 13, 14 hours. JAZZed: What’s the most rewarding aspect of it? KC: Just seeing the kids achieve. Seeing them make music together … and I remember every break through for every kid – the time, place, taste when that kid played that note. It’s really nice. JAZZed; Your kids really love jazz. KC: If jazz was ever dead, it certainly is not now. It’s alive and making a comeback. JAZZed March 2009 33

focus session

EXPRESSION

Mastering the Expressive Elements in Jazz Performance BY DAVID R. MAROWITZ

Swing Deﬁned The term “swing” entails more than just swing eighth notes or a style of jazz music. There is another factor in the modus operandi of jazz musicians and ensembles that really swing. The glossary found on the Web site of the Thelonius Monk Institute of Jazz (www.jazzinamerica.org/home.asp) defines this aspect of swing in this way: “To swing is when an individual player or ensemble performs in such a rhythmically coordinated way as to command a visceral response from the listener (to cause feet to tap and heads to nod); an irresistible gravitational buoyancy that defies mere verbal definition.” Renowned jazz innovator, Miles Davis described it this way: “A mysterious, unexplainable quality in any music, but especially jazz, which makes one ‘feel that shit all up in your body.” I fondly remember watching and listening to the Thad Jones and Mel Lewis Orchestra as they performed one evening at the Village Vanguard in New York City in 1971. When the band began the first chart of the first set, the rhythm section played alone for a few choruses. They played with an astounding sense of swing, cohesiveness, and expressiveness.The audience reacted with amazement, big smiles, and many responded to the intensity of the music with hoots and hollers. To take the excitement to yet another level, the saxophone, trumpet, and trombone sections

then made their entrance together, joining in with the rhythm section in like manner. It was about all the excitement the listener could take. Yes, the band was technically extraordinary, but still more, it was the way the band interpreted the music that made their performance an unforgettable experience. To put it succinctly, in general terms, it’s not just what it played, but how it is played that distinguishes the spectacular from the ordinary. Jazz legend, Duke Ellington, in his immortal song expressed it thus: “It Don’t Mean a Thing If It

“THE ARTS ARE ULTIMATELY ABOUT EXPRESSION.”

34 JAZZed March 2009

focus session Ain’t Got That Swing… It makes no difference if it’s sweet or hot. Just keep that rhythm, give it everything you’ve got.” Therein lies the magic that captivates a jazz audience. This article will address this and offer practice techniques that can help developing jazz musicians develop skill in this elusive aspect of jazz performance.

Expression Pursued in the Woodshed The arts are ultimately about expression. It’s not just saying the “right words,” but how they say them, that make great orators masters of their art. This same principal applies to acting, and other art forms, not the least of which is jazz music. Students of this art form need to understand that in jazz performance, it is not solely playing the “right’ notes, but it is the way notes are expressed that make a truly effective improviser or ensemble performer. Expressiveness (“soul”) is something that can be pursued in the “wood shed” (a.k.a. the practice room). What is an effective way to do this? Answer: in like manner in which one learns to talk.

to others, imitating others, and then possibly developing a unique or even a trend-setting manner of expression, sound, and style. Even in early attempts to play this music, despite a limited jazz vocabulary, students can learn to perform with meaningful expressiveness much like a baby learning to speak. In the early 1980’s jazz composer, teacher (founder of Jazz Musician’s Guild), and author, Adolph Sandole, pointed out to this author that there are those among well-known jazz musicians whose improvisations are not very sophisticated as to complexity (eg. early New Orleans Jazz, other styles also), but nevertheless, they are effective and popular soloists due to the command, conviction, and the soul with which they play. One message that could be drawn from this is that those who play simply but soulfully and with command can connect with their audiences, even in earlier stages of development as a jazz musician.

Expression and Practicing the jazz tune How can an aspiring jazz musician pursue mastery of expressive elements in their own performing? A good place to begin is to learn to play jazz tunes with expression. Students should

choose and listen to a recording of an admired jazz artist who will serve as a model to emulate. It is important to choose a recorded track with a tune that is well within the students’ technical ability, so concentration can be fully on the expressive elements without being hindered by any technical difficulties of the instrument or voice. While listening and following along with a written copy of the tune, focus should be on sense of swing and expressive elements. These elements could include accents, articulations, dynamics, phrasing, as well as effects such as growls, glissandos, note bends, shakes, smears, trills, fall off’s, creative use of voices and mutes, and the passion with which the musicians perform. Students should then try to play the tune unaccompanied, and while doing so imitate expressive devices used as performed in the recording. When proficient at this, students can then play the tune along with the recording and then with a music-minus-one type of rhythm section background recording of the chord changes of the tune. This background recording could be purchased, a computer-generated one created with music software, or other means. Finally, the tune should be played with a live jazz combo. The learning process

Expression Through Imitation Before babies learn to speak, they listen to others. Motivated by their own desire to speak, they attempt to imitate the words, body language, accent, and expressions of others around them. As they continue to grow up, they are influenced by an increasingly wider range of people. Those influences make their way into their minds and then out of their mouths. In their pre-teenage years and beyond they may imitate or create some unique or original ways of talking and expressing themselves. Learning to play written and improvised jazz music can follow much the same pattern, ie. listening JAZZed March 2009 35

focus session can be accelerated and more productive if students record themselves for playback and constructive criticism. They should be encouraged by progress while noting that which they can improve upon for application in the wood shed.

Expression and Practicing The Recorded Improvised Solo Students can practice recorded improvised solos in a similar manner as with jazz tunes. The first order of business is to choose a recorded solo

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to study, and acquire a notated copy of the same. Copies of improvised solos may be purchased in published form, downloaded for free or a fee from the Internet, or they can be transcribed from the recording (see ‘Suggested Resources’ below). To aid in transcribing, computer software is available that will slow down recorded music without changing the pitch (www.ronimusic. com). Students should begin by following along with the written music as they listen to the improvised solo on the recording. Attention should be given to soloist/ rhythm section interaction. Next, the solo should now be performed unaccompanied, imitating the same expression devices that the soloist uses on the recording. At first, it may be expedient to concentrate on one phrase at a time, while endeavoring to play/sing the solo expressively in its entirety. When proficient at this, the student should play along with the artist on the recording, next with a rhythm section background recording of the song chord changes, and finally with a live combo. Again, recording, playback and constructive criticism will accelerate the learning process.

focus session Expression and Improvising Many years ago, as a college student, I attended a jazz improvisation clinic given in New York City by the jazz trumpet great, Clark Terry. The clinic began with the rhythm section playing a blues progression as Clark played an improvised solo using only one pitch. He played each and every note with great expression and command, and it was easy to tell that he meant every one that he played. Clark used a plunger mute, and expressive devices such as those mentioned above. All in attendance were amazed at how spellbinding a solo he played with just the one pitch. This makes for an effective practice routine in which students of jazz can simultaneously learn to improvise and develop soul in their performing. They can begin by using one pitch to improvise to the accompaniment of a background recording of a simple blues progression. The rules of thumb are: never play anything more complicated than can be controlled in terms of keeping good time, know where you are in the chord progression at all times, and aim to be creative and expressive with command and conviction as if â&#x20AC;&#x153;telling a story.â&#x20AC;? As students apply this practice routine in the woodshed, a heightened sensitivity and skill with regard to the expressive elements of jazz music will doubtless find its way into their performing. This practice technique can then be applied with two and then more pitches. As confidence and proficiency increase with the simple, there can be a gradual expansion in the use of expressive elements and other musical materials (melodic, harmonic, and rhythmic). This exercise can be done with a live jazz combo and include musical interaction such as creative use of rhythmic motifs in musical dialogue between musicians.

Expression and The Jazz Ballad Developing jazz musicians should aspire to become proficient in play-

ing the jazz ballad. Students choose a recording of a ballad that is well within their technical performing

ability. While listening and following along with a written copy of the tune, attention should be given to the

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focus session jazz artist’s manner of interpreting the tune. The liberties that are taken with regard to rhythm, melody, and addition of improvised fills should be observed. Students can then play the solo alone while imitating the soloist on the recording. The next steps are

to play along with the recording, then with a background recording, and finally with a live combo. Recording and listening back for constructive criticism will prove to be invaluable to progress.

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Expression and The Instrumental and Vocal Jazz Ensemble The principles covered thus far have their application to instrumental and vocal Jazz ensembles as well. A discerning listen to the Count Basie Orchestra or New York Voices will reveal that it is not swing eighth notes alone that make these ensembles swing, but the expressive elements. An arrangement is only as good as an ensemble’s ability to interpret and express it. As a rehearsal technique, jazz ensembles can listen to professional recordings of arrangements that they are technically capable of playing and imitate the way that the music is interpreted. It is best to first listen to a recording of an arrangement enough times to be thoroughly familiar with it. When the ensemble has conceptualized what they have heard, they can then begin to emulate the interpretation that they heard on the recording. Recording and playback for self assessment will give ensemble members a clear understanding of rehearsal needs, objectives, goals, and make for more focused, intelligent and productive rehearsals. The principles learned in this process can be applied to other arrangements and will elevate the students’ level of musicianship.

Expression and ongoing listening to established jazz artists

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F O R

C L A R I N E T S

A N D

S A X O P H O N E S

Listening to a variety of jazz artists live and/or via recordings is essential to grasping and assimilating the aspect of jazz performance discussed in this article. A convenient way to view and listen to Jazz artists regularly is on www.YouTube.com. In addition, many Internet websites provide the opportunity to listen to a myriad of jazz artists as do jazz radio stations. Instrumentalists would benefit by listening to great jazz and blues vocalists like Ethel Waters, Louis Armstrong, Ella Fitzgerald, and others in order to glean and apply principles of interpreting and making songs come alive. Likewise, jazz

focus session Suggested Resources Jazz History & Education: • www.apassion4jazz.net/timeline.html • www.redhotjazz.com Jazz Links Resource: • riad.usk.pk.edu.pl/~pmj/jazzlinks/ Jazz Radio Streaming Online: • jazz.about.com/od/jazzinternetradio/ Jazz Tunes: • www.realbooklisten.com/ Jazz Theory: • www.thereelscore.com/PortfolioStuff/PDFFiles/QuickJazzTheoryRefFinal. pdf Ear Training: • www.good-ear.com/servlet/EarTrainer?chap=1&menu=0 Transcribing Solos: • facstaff.unca.edu/dwilken/transcribe.html Free Downloadable Transcribed Jazz Solos: • www.music.sc.edu/ea/Jazz/transcriptions.html • www.transcriptions-pool.de/suchen.php vocalists can glean from instrumental jazz artists as well as vocalists. This is historically consistent with the musical development of great jazz musicians throughout the history of the music.

Concluding remarks Finally, I have a word of advice for developing jazz musicians. They should resolve to enjoy the stage of development that they find themselves in, as they pursue their musical goals. This can be achieved by recording themselves as suggested above, labeling the recordings with the date, and saving them for future listening and comparison. At any stage of development, a true artist is a student at heart, always pressing forward, experimenting and growing. If students are able to form a jazz combo, in other words, if they can find others to walk this journey with, all-the-better. Who knows? Maybe their combo will become) another “Austin High (School) Gang” which launched the music careers of such notables as Bud Freeman, Jim Lannigan, Dick and Jimmy McPartland, Dave North, Frank Teschemacher, and Dave Tough in Chicago in the 1920s.

David Marowitz has worked as an arranger, trombonist and euphonium extensively in the commercial, jazz, and classical fields of music including Lionel Hampton as a trombonist and Buddy Rich as a recorded arranger. He has taught music in the schools since 1977 and is currently doing so in the Toms River Regional Schools (N.J.).

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survey

SUMMER CAMPS AND WORKSHOPS

“This One Time, at Band Camp…”

uring the summer months, many students and teachers look to workshops and camps as a way to continue intensive musical pursuits outside of the academic year. JAZZed recently surveyed over 7,500 of our readers to get their feedback about these programs – what benefits await prospective attendees and educators, the potential pros and cons, and how to select the most appropriate courses. Are you, or is your program, afﬁliated with a jazz camp or workshop?

Yes

33%

67%

Do your students attend music camps or workshops?

Generally, no

20%

A few About half Most Yes, they all do 3%

40 JAZZed March 2009

62% 8% 7%

“A few years ago, we always had a few students attend a summer camp. Then they just stopped being interested.” Barb OzierCerro Gordo Schools Cerro Gordo, Ill. “Middle schoolers seem to want to attend ‘fun’ camps, not work camps, and for many of them, music still seems like work. In high school this changes.” Kim Lenaway Park Forest Middle School State College, Pa.

survey How would you rate your (or your students’) experiences with such programs?

Excellent

54%

Good Okay Poor

37%

“The well-designed jazz workshop/camp provides a total focus on one style, with its several key elements, not competing styles and activities normally (and rightfully) found in regular academic settings.” Paris Rutherford University of North Texas Denton, Texas

6% 3%

“Almost without exception, every student who attended camp (Shell Lake Arts Center Jazz Camp) came home a better player, and much more enthused about playing their instrument. They loved their time there.” Howard Lehman North High School (retired) Eau Claire, Wis. “My most skilled and motivated students indicate access to real-deal talent and the opportunity to interact with other like-minded young musicians as amongst the most valuable and memorable experiences they have.” Tim Savage Canton Central School Canton, N.Y. What are the prospective beneﬁts of attending a jazz camp or workshop?

“The ability to spend focused time on the skills needed for improvisation is invaluable. Exposure to professionals is extremely important.” Janice Jarrett Vocal Technique Studio Tucson, Ariz. “Inspiration! Although jazz camps and workshops can provide tangible teaching/learning experiences, more than anything, they whet the appetites of knowledge-hungry musicians who become encouraged to study harder and work to improve their skills on their own.” Conrad Miska Eagan High School Eagan, Minn. “There are a number of benefits – Increased knowledge of concepts that I can’t necessarily get to in class (i.e. improvisation), one-on-one rehearsal time with professional musicians, and motivation to continue with the study of music beyond high school.” Jennifer Mann Lindsay Thurber Comprehensive High School Red Deer, Alberta, CANADA

What are the most important factors students should consider when thinking about attending a music camp?

“Who’s on the faculty and how much access will students have to these musicians (how many master classes a week, faculty performances, et cetera) is something to consider. The overall level(s) of playing of all participants is also important. Will there be ensembles at a variety of levels, so that all participants will get a chance to play?” Rick Stone Hofstra University Hempstead, N.Y. “The quality of the instructors, and their ability to teach that specific age group is important. Facilities and length of program are also key factors. I like some features of short day or half-day camps for initial exposure, but prefer an weeklong overnight camp for immersion into study of the art form.” Greg Keel MacPhail Center for Music Minneapolis, Minn. For parents who are sending their child to an extracurricular program for the ﬁrst time, what would you suggest they look for in a jazz camp or workshop?

“Investigate the staff, and the organization of the camp. Talk to the administrator.” Marvin Sparks Lone Star College Kingwood, Texas “I would look at the names of the staff who are teaching at the camp. I would also get a sense of the teacher to student ratio. The more individual attention that a student can JAZZed March 2009 41

survey get in these summer experiences, the better.” Patrick J. Kearney Johnston High School Johnston, Iowa “Examine the weekly program to see that the child is not only engaged in the music program but also has ‘down time’ to be a kid and relax.” Wayne Wallace San Jose State University San Jose, Calif. Would you suggest a resident or a day camp for students?

“A week at jazz camp taught me more than any school improv or arranging class. If you are a student that gets more out of concentrated study, then you can get a lot out of the camp.” Dana Legg Glenbard South H.S. Schaumburg, Ill. “It would depend on the age of the student — younger students do better

at day camps. Also, day camps can be cheaper than overnight camps. I like overnight camps for older students because they can be immersed in the experience with others who have like interests.” Melissa Cummins Western Iowa Tech Community College and Morningside College Sioux City, Iowa “Resident camp for most...only day camps for younger students or those on a severely-limited budget.” Greg Keel MacPhail Center for Music Minneapolis, Minn. “As soon as they are old enough (through with bed wetting, comfortable in a new environment, able to sleep without bedtime stories, et cetera), they should be in a resident camp. Day camps are great for little kids, but I feel that the the more immersed in a subject a student is, the better!”

Jeffrey P. Hodapp Emporia State University Emporia, Kan. “I think a resident camp ‘keeps it real’ – keeps the focus and intensity for the campers, and makes for many more playing and listening opportunities.” Kelly Bucheger, Kenmore, N.Y. Have you had issues integrating students who participate in extracurricular music study, including music camps, with students who do not?

Yes No

9% 91%

Additional thoughts on jazz camps and workshops?

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“Unfortunately, many kids do not realize how much fun and how much they would learn by participating in camps. It usually is very difficult to get them to attend concerts, even. They love them when they go, but it is difficult to convince them of that first.” Dana Hamant Wichita East High School Wichita, Kan. “Camps are not the fix-all for kids in a jazz camp program. This should be a reinforcement for aspiring young artists who want to go to the next level through summer study with great artists they otherwise would not have the chance to interact with. The North Texas Camp in Denton, Texas, the Aebersold Camps, the extended summer study at Berklee, and the Skidmore Institute and Linchfield are all great. The Brubeck Institute is only open to about 17 kids by audition and these students

survey are usually the top young artists in the country. In the end, though, it’s what the student takes home and works on from the week or two spent under these pro artists that will direct their future. New ideas require hard work and loads of commitment.” Bart Marantz Booker T. Washington HSPVA Dallas, Texas “They’re great for those who can afford the time and expense. I think only the most career minded players tend to want to attend camps as youngsters, and the consumate hobbyists as retirees.” Kim Collins Santa Barbara City College Santa Barbara, Calif. “Big Band camps can spend too much time on three or four charts for the final concert which just recreates what a lot of students experience in their own schools.Combo camps can be a bad experience if the talent and knowledge level of the campers aren’t well matched. This happens if you don’t have a large number of campers.” Wayne R. Page Waukee Community Schools Waukee,Iowa “There is a huge need to offer summer jazz camps for elementary general music teachers who use recorders and Orff instruments and who mostly know nothing about jazz. They also tend to be very intimidated and are not likely at all to attend a camp like Jamey Aebersold’s. I say this because I teach workshops all around the country and meet so many hungry teachers. However, what they need is more than a one hour workshop. Also, I would love to be able to teach such a course sometime.” Jim Tinter Medina, Ohio JAZZed March 2009 43

maintenance

RESTRINGING THE GUITAR

All Strung Out PROPERLY RESTRINGING AND STORING THE GUITAR

BY DENNIS CARVER

et me quickly paint a picture that helps bring us to the current day and my reason for writing this here article: It’s Junior year of high school and I’m seventeen years old, playing my first show with my very first band. Like most naïve, young musicians, the singer and I had set up this gig like it was going to be the one event to elevate our group to the lofty position we dreamed about. Well, it didn’t quite achieve those goals, but for our first live performance we wound up playing before more than 400 kids packed into a middle school gymnasium – yikes! Serious nervousness set in. Then, during our third song, I broke a string on my newly acquired Ibanez rg470 (left-handed, I might add, but more on that later.)… Twenty minutes later I finally managed to replace the string and have the guitar in tune (anyone who has broken a string on a guitar with a floating bridge and a locking nut knows the frustration this presents, especially the first time dealing with said instrument). The rest of the show went off without a hitch, but I was embarrassed to say the least. After getting home that night, I realized I needed to try to find out why this happened and how to remedy tuning and restringing problems for any future performances. See, I have what some call a handicap – I’m a lefty guitarist. Not only are left-handed guitars relatively difficult to find, they are also at least a hundred dollars more expensive than their right-handed siblings. Being a young kid at the time, the idea of buying a backup guitar was kind of daunting. This led me to try and find an alternative. “Learn to work with what you have and not with what you think you need,” as my father would always say. So in this article I am going to explain how to properly string and store a guitar in such a manner that will help the reader avoid not only string breakage, but also slippage, as well as keeping the

44 JAZZed March 2009

instrument in better tune for a longer period of time. How ‘Bout that Weather We’ve Been Having…?

So why do guitars go out of tune? Some of the reasons are pretty obvious, of course: string-bends or simply strumming the guitar “hard” can knock any given string out of pitch; uneven wear as the strings get older can lead to intonation problems; accidentally hitting the tuning mechanism will naturally impact tuning negatively… But how about those times when you pick up a guitar – an instrument with fairly new (but not brand new) strings, that hasn’t been played aggressively and hasn’t received any unkind knocks or abuse – and it’s (seemingly) inexplicably and completely out of tune? Any musician who has played a wooden string instrument for any length of time knows how much the

maintenance climate can affect the properties of said instrument. Although its taken shape is that of one of your most cherished possessions, your guitar is still made of wood and, as such, is susceptible to expansion and contraction, or what some people would call, “wood movement.” If you were to take your guitar and put it under a microscope (minus the finish) you would see all kinds of tiny tubes. These bundles of tubes are what transport water from the roots of a tree to the leaves and supply nutrients. These tubes remain full of water for years, even after a tree is dead, or cut. The term “green wood” applies to more newly cut and incompletely dry wood, which is more susceptible to changes in humidity and temperature (and consequently not ideal for crafting a guitar). However, even “dry” wood still expands and contracts in response to climate (for this reason, it’s a good idea to leave your guitar in its case when you come in from extreme temperatures outside, allowing the wood to acclimate to the new room and temperature at a slower rate and thus reducing stress on your guitar’s finish and neck). When this happens you might notice that your strings are now out of tune, or even that the guitar neck needs adjustment. This is especially true of hollow body and semihollow body instruments often favored by jazz guitarists. Since these guitars are made of less material, they are not as resilient as solidbody instruments would be to a drastic climate change. Toolbox

All this being said, I would like to share what has worked for me over the years to help keep this kind of thing to a bare minimum and to avoid that embarrassing onstage moment. Generally, the tools I have on hand, although not absolutely necessary, are. 1.

2. 3.

A new set of like strings (meaning you’re probably settled on a certain gauge of string) A string winder Pitch pipe or electric tuner

4. 5.

Pair of dikes (to cut off string excess) Graphite dust or even a number two pencil (this is used as lubricant on all of the contact points of the strings travel. This helps reduce those “pinging” noises you may hear when tuning up your guitar). Patience

Lockdown

When I change my strings I like to remove and replace one string at a time. Doing so leaves tension on your guitar neck, allowing it to stay close to where it has been set – likely a position you’re already comfortable with. With a string removed, I take graphite or a number two pencil and apply it to both the saddle and the nut. These are the two contact points of your string. Next we pull the string semi tight through the post on the tuning machine. I then pinch the string just past the post of the next string (Figure 1). With my fingers pinching the string, I pull the string back to the post while adding tension to the slack with my free hand. I then run the string underneath itself and back over the top (Figure 2). As you begin to take up the slack of the string try to keep tension on it as it approaches the fret board this helps stretch the strings as you bring them to the correct pitch (Figure 3). This is going to help create a “locking point” on the string itself. As you wind the string on the post make sure to have the next wrap of the string go underneath the string – doing so ensures that we have pinched the string and helped restrict any unwanted slippage or movement. Continue with the same method on all strings and you should be in business. Closing Thoughts

The methods described above have been the most successful for keeping my guitars in tune and the strings physically on the guitar while I am playing. Although I can’t always speak for the rest of the band or the music I’m playing during a given gig, I consistently feel confident that I’m not going to break a string at the beginning of the set. Good luck and be sure to give these

Figure 1

Figure 2

Figure 3

tips a try the next time you change your strings! Dennis Carver is an in-demand guitarist/bassist and private instructor who performs extensively throughout the Northeast. He’s frequently named to “best guitarist” polls in New England-area music publications. Dennis can be reached at dcarver13@gmail.com.

JAZZed March 2009 45

in the classroom

A DISCUSSION WITH TERELL STAFFORD

JAZZed In the Classroom BY BRAD HOWEY

erell Stafford has been hailed as, “one of the great players of our time, a fabulous trumpet player” by piano legend McCoy Tyner. He is known for being a gifted and versatile player with a voice all his own. Stafford combines lyricism and a deep love of melody with a spirited, adventurous edge. He has performed with groups such as Benny Golson’s Sextet, McCoy Tyner’s Sextet, the Kenny Barron Sextet, and many others, and is currently a member of the Grammy-nominated Vanguard Jazz Orchestra. Terell has recorded four albums as a leader, and his latest release, Taking Chances (MaxJazz 2007) has been called his best album yet. Stafford currently holds the positions of professor of Music and director of Jazz Studies at Temple University in Philadelphia and is a clinician for the prestigious Vail Foundation in Colorado and Jazz at Lincoln Center’s Essentially Ellington Program. He has also served as a member of the faculty for the Juilliard Institute for Jazz Studies in New York. JAZZed: Thank you for your time, Terell—we are so glad you could spend a few moments with us at JAZZed In the Classroom.

experience. I wasn’t very good, and my teacher was not very patient with me. He would actually hit my fingers with his bow every time I played a wrong note. After a few of these relentless beatings, I retaliated one day: though I only meant to block his bow, I actually hit him in the face with my bow. I got suspended from school, and my parents were called in. I was suspended from participating in the music program for a year. The string teacher told my parents that their son has …no musical talent whatsoever: keep him as far away from music as you can.

Terell Stafford: It’s my pleasure. JAZZed: Unbelievable! JAZZed: Like most of our readers, you came up through the ranks of public school bands. Can you tell us a little bit about what that was like—a little about how you got your start? TS: My first instrument was viola—I started playing when I was in the Elk Grove Village area, right outside of Chicago—and it was a disastrous 46 JAZZed March 2009

TS: Yeah…so my fifth-grade year I studied a little guitar with my math teacher, and then in sixth grade I was able to join the instrumental program. So for students that may not hit it off with their music teacher right away, I’d say: Don’t give up— follow that passion. I’ve always loved music, but I just hadn’t found the right area to express it.

in the classroom JAZZed: All of that must have been tough on you. What got you interested in music again? TS: At the time I used to spend summers in Florida with my grandparents. I was a curious kid, and one day I was looking around in a closet and found that there was a trumpet in there. I took it out and started to play it. I would hear different things and would try to play them on the trumpet. So, when school came around again, I knew I wanted to play it in the band. I had an incredible teacher that year: his name was John Janusek. That name will stay with me for the rest of my life. He was such an incredible teacher. He encouraged me and supported me. He was the most incredible thing that could have happened to me back then. But my Dad worked for the railroad, so about the time I started to get in and really learn a lot from Mr. Janusek my dad announced that we were moving to the Silver Spring, Maryland area. I played in the middle school and high school band programs there, and then chose to go to the University of Maryland for my undergraduate degree in music education. JAZZed: Reﬂect back a little on the differences between your string teacher and Mr. Janusek: what do you feel was the impact of those teachers on you? TS: Well, I think there are those in the profession that have not had the training that others have had, or are just doing it for the pay check. And then I think there are those who teach for the love of what they do. I think that’s the real difference between those first two teachers: the first one may have been in a position that he wasn’t really happy with. I guess with different

training, he might have seen that I had a real desire to play music. Mr. Janusek had such a passion to teach, and he expressed that. He made it fun and he pushed us. JAZZed: You’ve come so far from those early days in the band room. What was it that you feel really made the difference between you and all of the other kids in the band; I mean, what would you attribute to your success? TS: That’s a good question. I know one difference is that back then everyone thought I was strange because I loved to practice—it was my passion. On my free time I would always sign out a practice room, and while other students were out playing around I would be in that room: everyday, practicing. The other kids would say things like, Something’s wrong with him! But looking back, I think that’s really what made the difference. I think that there’s probably some God-given talent there, but I have always had this really crazy work ethic. The thing is, I wasn’t working ‘cause I wanted to be some famous trumpet player. I just wanted to work for the sake of accomplishing the lessons that were assigned to me; of coming in week after week and having things prepared, so that my teachers would really know that I was serious. Looking back, I know that I always want to keep growing and getting better, but I would have never seen myself in this role twenty or thirty years ago. The difference? I loved to practice, and I still do. JAZZed: As an educator: what’s one thing you try to really emphasize with your students—something about playing or about music that you really want to get across to them?

Photo by Lisa Tanner.

TS: Well, there are a few things, but I would say the main thing is that everything you play has to come from within—and when I say within, I mean from the heart. I think that in education these days too much comes from the mind. Students get into this, I have to think through this… mindset. The thing is that when you’re in the practice room, you can think all you want. But when you get up onto that bandstand you’re going to have to tell a story, and the greatest storytellers I’ve heard are the ones that can say it from their heart. This is so important because it’s an element that’s starting to disappear from the music. I ask students to listen to as much music as humanly possible to get the sound of what they really want in their ear, and then to work to express those sounds. You can express them when you’re working on your scales and patterns, or whatever you want, but make sure that what comes out of your horn is a message from the heart. JAZZed March 2009 47

In the Classroom… Activity

Mr. Stafford had a rough start when it came to music teachers. We have all had teachers that are really great, and some that are not so great. What do you think makes great teachers great? What do you like most about your favorite teachers?

__________________________________________ __________________________________________ ___________________________________________________________________________________________________ __________________________________________ Mr. Stafford went from being suspended from the school music program to becoming one of the world’s great jazz trumpet players and teachers. What’s something you’ve had to overcome to be who you are today?

__________________________________________ __________________________________________ ___________________________________________________________________________________________________ __________________________________________ Mr. Stafford said that one of the most important things he tries to teach his students is to “…make sure that what comes out of your horn is a message… ______________ ______________ ______________.” Mr. Stafford said that to him, preparing for an audition is a waste: “it’s really about preparing yourself for what you want to do.” If life isn’t so much about auditions, but about

48 JAZZed March 2009

preparing yourself for what you really want to do, then: What do you really, really want to do?

__________________________________________ __________________________________________ ___________________________________________________________________________________________________ __________________________________________ Answers to this and future JAZZed In the Classroom activities will be posted on the JAZZed In the Classroom bulletin board—so fill ‘em out encourage your teacher to turn them in! Your answer may just be posted in the next issue of JAZZed In the Classroom!

JAZZed In the Classroom Follow-up Activities for Directors In his advice for young trumpet players, Terell suggested that they “embrace the tradition” of their instrument. Consider adding an “embrace the tradition” theme to your rehearsals, in which you celebrate a different instrument each week by: asking an art student or two (or even the whole group…) to paint/draw pictures of the honored instrument and post them around the room ask students to bring a new fact about the honored instrument to rehearsal each day start each rehearsal that week with a selection of music that features the “embrace the tradition” instrument in a variety of roles and historical settings For many students, telling a story with their horn and putting their heart into something as simple and repetitive as a scale can be hard to imagine. Take a chance: pull that horn out of the case and play a scale or simple melody for them, as Terell says: “from the heart.” Take a moment and tell them what playing your horn means to you. They may laugh a little of course, but then, the world can always use a little more laughter.

in the classroom

TS: You know, it’s kind of the same answer. When I’m listening to auditions, the thing that discourages me the most is the people that are only there to impress the adjudicators. I just think that’s the wrong mentality. I would like to hear students come into an audition and express who they are. I want to hear that they’ve spent enough time listening to jazz and absorbing the sound that when they come in, it’s an expression— a twenty-minute expression of what they’ve listened to and learned—as opposed to something they’ve prepared

just for the audition. It drives me crazy when people come in and have just enough material prepared for the audition, and if you ask them to do anything else, they start to freak out ‘cause it’s out of their comfort zone. As opposed to the situation where I can ask someone coming in: Could you play that a little bit slower, or Could you play that in a different key… and they’re like: Sure! Those are the people that I know I’ll see up there on the bandstand. So to me, preparing for an audition is a waste; it’s really about preparing yourself for what you want to do. And if you love jazz, and it’s something that you really want to do, then prepare yourself for it: listen to the recordings, transcribe the solos, study the tunes, learn the tunes, and then when you have an audition, O.K.: express what you’ve learned.

JAZZed: Do you have some advice for our young trumpet players? TS: My advice? Embrace the tradition. Don’t do like I did; I wasn’t really open to a lot of different kinds of jazz. I just wanted to listen to what my friends were listening to, and I think that’s great, but we can end up with a narrow view of things that way. So, be open. Listen to music from the twenties and all the way up through ‘till now. And the artists that you really are attracted to? Do some research and find out about the history of their playing, and where they were coming from. And of course, never neglect the fundamentals. To me, the fundamentals are the key of life: warming up every day, and sound production, and scales, and finger exercises, and flexibility exercises: they should always be your first

SUMMER R E S I D E N CY

in Atlanta June 8 -12, 2009 a one-week program for high school and middle school students, ages 11–18, who are dedicated, disciplined, and passionate about jazz In partnership with the Atlanta, GA, Board of Education Application deadline: May 15, 2009 For details see Juilliard’s Web site: www.juilliard.edu/jazzatlanta or call (212) 799-5000 ext. 7380

Photos: AP Images /Atlanta Journal Constitution-Marcus Yam

JAZZed: As a college band director and teacher, you have no doubt heard your share of auditions. What are some things that consistently trouble you about the auditions that you hear? What are some things that you wish students would pay closer attention to?

JAZZed March 2009 49

in the classroom priority. Your fundamentals have to be there to express any idea on the trumpet â&#x20AC;&#x2DC;cause people will always hear the sound before they hear the idea. JAZZed: Finally, Terell: In your opinion, why is it so important for young people to study jazz? What does it give back to them? TS: Thatâ&#x20AC;&#x2122;s a really good question. I think the thing thatâ&#x20AC;&#x2122;s so great about jazz is that it can really move people. I listen to my Dad and my brothers go on and on about sports because they really love sports: they talk endlessly about the history of each team, and about each of the players, and on, and on. But they can talk about those teams â&#x20AC;&#x2DC;till the cows come home and they will never affect anybody. I mean, theyâ&#x20AC;&#x2122;re

not exactly going to get people screaming about all the facts they know. But with jazz, you can study the facts and the history; learn the licks and the tunes; and then when you can play it through your horn, you can really move people. You can change peopleâ&#x20AC;&#x2122;s lives, and really heal people. My trumpet teacher is sick in the hospital right now with brain and lung cancer, and when I go and visit himâ&#x20AC;&#x201D;man, Iâ&#x20AC;&#x2122;ll tell you: I put on some Kenny Dorham the other day, and Kenny was playing Swing Can Really Hang You Up the Most, and in as much misery as my teacher is in he just started singing alongâ&#x20AC;&#x201D;it completely took his mind from his pain and ailment. So, music is a way to move people. Itâ&#x20AC;&#x2122;s a way to express yourself, and to me, thereâ&#x20AC;&#x2122;s just no better way to do it.

Vermont Jazz Center Dedicated to creating and preserving jazz through concerts, workshops and instruction

34th Annual Summer Workshop August 9 - 15, 2009 The Putney School in Putney, Vermont 2009 Faculty Includes:

3 Educational Tracks

Jay Clayton Howard Brofsky Pete Yellin Sheila Jordan Marcus McLaurine Eugene Uman Gene Rush Peter Eldridge Harvey Diamond Helmut Kagerer Steve johns Claire Arenius Jamie MacDonald

s Instrumental Jazz s Vocal Jazz s Jazz Composition &

Wissmuller at cwissmuller@

ÂŁ symphonypublishing.com

io iss

Â˘4EBOBÂ¤P > @BOQ>FK ?B>RQFCRI PMFOFQ QE>Q ) ALKÂ¤Q CFKA >Q >KV LQEBO G>WW @>JM ÂŁ Sheila Jordan

To register or for more information, please contact us at:

50 JAZZed March 2009

contact Editor Christian

b Su

Arranging

(802) 254-9088

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If you are Surve interested in y participating in upcoming JAZZed music education surveys, please

Faculty subject to change

www.vtjazz.org

Brad Howey is a doctoral student at the University of Idaho, is an award-winning author and an active performer. His most recent publications can be found in Downbeat and JAZZed magazine. While teaching high school music in Alaska, Brad founded and directed the Sitka Jazz Festival--bringing artists such as John Clayton, Steve Turreâ&#x20AC;&#x2122;, Paquito Dâ&#x20AC;&#x2122;Rivera, The Air Force Band of the Pacific, and others to Sitka to teach, inspire, and perform.

info@vtjazz.org

If you are interested in submitting an article to JAZZed, please visit www.www.jazzedmagazine.com and click on Submissions Info.

crossword 1

Crossword by Myles Mellor

9 11

13 16

24 30

17 25

18 26

32 34

41 45

49 53

35 37

44 48

55 59

62 65

58 61

36 40

15 21

1. ___ Coryell, American jazz fusion guitarist 4. ___ bop, style of jazz that is an extension of bebop 7. ___ for My Father, Horace Silver album 9. AAA subjects 10. Genetic initials 11. ___ of the Cool, Gil Evans record including the song “La Nevada” 13. Gym loss, perhaps 15. Lyrical poem 16. Atlantic City locale 18. A slow tune 21. Mrs. sheep 23. Musical scale note 25. Sailor 27. Type of jazz influenced by Lester Young 28. ___ Day, Billie Holiday album 30. ___-up, the personnel of a band 32. Url part 33. ___ Broadway Run Down, Sonny Rollins album 34. Each, for short 36. Beat setter

Across

38. Ciao 39. ___ Mulligan, he was known as one of the leading baritone saxophonists and arrangers 43. Eddie “Lockjaw” ___, jazz tenor saxophonist who played with Cootie Williams 45. Columnist, Landers 47. American buffalo 49. Raleigh locale 51. Had dinner 52. Popular Massachusetts university, for short 53. A composed section at the beginning of a tune 55. Zone of a city 58. “You’ve got mail!” provider 60. The voice above the bass 61. Any one player’s improvisation over one or more choruses of the tune 63. Art of sound 65. Internet provider 66. Now, now, now! 67. ___ Threadgill, American composer, saxophonist and flautist

Down

jazz vibraphone players 2. Sun ___, aka Herman Poole Blount 3. ___ Lateef, he was known for his innovative blending of Eastern music with American jazz 4. Bobby Shew instrument 5. Oakland baseball team 6. Cheerless 7. Yellowish hue 8. ___ Morning Susie Solo, Esbjorn Svensson Trio 12. ____ the line 14. The usual term for “improvise” 17. Inauguration month, for short 19. Temperature control 20. Every time 22. ___ Marsh, American tenor saxophonist who was tutored by Lennie Tristano 24. Moreoever 26. Wine alternative? 29. Fiscal time period 31. Fashionable 35. Visuals counterpart 37. More, in Spanish 38. Trash can 39. ___ of Modern Music, Thelonious Monk record 40. Borrowed items 41. Type of Sisterhood, when repeated? 42. Hymns of praise 44. Any one of the melodic lines formed by the flow of the music 46. Not applicable, for short 48. David ___, one critic dubbed him the “Joyce Carol Oates” of jazz 50. Sing in a soft voice 52. Show disapproval 54. Ancient, abbr. 56. Engrave 57. Nashville locale 59. Miles Davis’ psychic album? 62. Buddhist sacred sound 64. United Airlines, abbr.

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

www.jazzedmagazine.com

1. ___ Hampton, he was one of the first

JAZZed March 2009 51

jazzforum

www.aajc.us

Remembering Freddie!

ndianapolis, Indiana is one of the many cities in the United States with a vibrant and fertile 20th Century jazz legacy. It has produced some of the finest and leading historic progenitors of Jazz as an art form. The musical talent that has emerged from “Naptown” includes the likes of Noble Sissle, Wes, Monk and Buddy Montgomery, J. J. Johnson, Leroy Vinnager, Carl Perkins, “Pookie” Johnson and Jimmy Coe. Frederick (Freddie) Dwayne Hubbard walked among these giants. Known for his fiery sound and kinetic energy, this Indiana native son passed on December 29, 2008. He leaves his indelible mark on everyone who knew, admired and loved him, and above all on the music. Fellow “Naptown” musicians who grew up with him and watched him evolve from a “Jazz Contemporary”, to a “Jazz Messenger” and ultimately an NEA Jazz Master have joined together to remember this Indiana jazz legend. Read on to learn about Freddie the Man from his brother and some of his closest friends. Earmon Hubbard, Jr., Pianist “Freddie was my baby brother who I can still see as clearly as if he were here talking with me now. I loved him and will miss him. My Mother would get on me sometimes for being hard on him when I would play chords on the piano and he wasn’t getting it. I would slap him on the back of his head and Momma would tell me to leave her baby alone. Years later, he came back to Indianapolis and I played a jazz club gig with Freddie, Larry Ridley, Jim Spaulding and Clifford Jarvis. I will always treasure the experience of playing with those guys. It was a highlight in my life. Freddie grew very quickly and I am proud that he is my brother. He tried for several years to get me to come to New York but, I was married with several children. I told him that it was important for me and my wife to raise our kids in Indianapolis. Freddie told me that he respected me as a strong man for putting my family first and turning down an opportunity to pursue a career in music. He left an outstanding recorded legacy for all of us to enjoy.” James Spaulding, Saxophonist and Flautist “There is so much to remember about this wild and gifted free spirit. We all are inspired, sharing some of his life. My life is musically richer because of the “Hub”. Larry Ridley pulled us together to form the Jazz Contemporaries when we were teenagers. I will remember the “Hub” because of the abundance of his God given talents, much like the natural musical talents of the Montgomery Brothers. I first heard and met Freddie at a Saturday afternoon jam session. It was at a bar called the Cotton Club. I believe “Hub” was 16 years old at the time. He had a sound somewhere between Clifford Brown and Miles. Already an outstanding player, we all knew he was destined for stardom. He learned his piano skills from his older brother Earmon Jr., who was self taught by lis-

52 JAZZed March 2009

tening to Bud Powell recordings. “Hub” listened to his brother playing chords and developed perfect pitch that I believe was God given. A true Aries, Freddie had a fiery personality. He was an outgoing spirit, energetic, very funny and loving. Although we were not always in harmony, I have nothing but love for my friend. His gift to our lives helped pave another path to a future of love, peace and harmony. WORLD PEACE!” Lee Katzman, Trumpeter “Freddie was a young teenaged friend who evolved to become a truly important stylistic Jazz innovator. I was the person in the mid 1950s that introduced and encouraged him to study with my teacher Max Woodbury of the Indianapolis Symphony Orchestra. Max would insist that you practice slowly playing several octaves and make each note match each other with the same measured even tone, breath, time and consistency. He would chastise you if you made a mistake. This aided Freddie in developing his control and technique in all registers of the horn. You hear this in Freddie’s recorded performances. He was a special guy who will be missed. Thank God we have his recorded legacy to reminisce our personal relationship with him.” Phil Ranelin, Trombonist “I first met Freddie Hubbard in 1948 at a place called Hill Community Center while we were attending grade school in Indianapolis, Indiana. Freddie was about 10 years old and I was 8. In the spring of 1951 we performed together in an orchestra that was called the Indianapolis All City Orchestra, a collective of elementary school kids that showed the most promise on their respective instruments. Freddie and I hit it off pretty well despite the fact that my school, P.S. 37 and his

jazz jazzforum school, P.S. 26 were heated rivals. Our next musical encounter was when we were both attending Arsenal Technical High School. Playing with Freddie and Wes Montgomery without question are my very favorite moments in music. I remember the first time Freddie brought his own group back to Indianapolis. I believe it was 1964. I found out where he was playing and sat at the bar waiting for him with my horn hidden underneath the bar stool. Freddie had his brother Earmon Jr. playing piano, Larry Ridley, bass, Clifford Jarvis, drums and James Spaulding, alto sax and flute. Freddie walked in and asked if I had my horn. I told him I did and he said “I want to hear you but don’t come up on the first tune because you’ll want to get paid!” I said “cool” and ended up playing the whole night after the first tune. Freddie was my favorite trumpet player and was undoubtedly a genius. In an interview I was asked, “What made Freddie Hubbard so special and what was the one thing that stood out in his playing?” I answered that there wasn’t one thing that stood out. It was everything: his tone, the warmth of his sound, the technical brilliance, his sense of harmony, rhythm and overall musical intelligence. If that did not grab you, his tremendous heart would.” David Hardiman, Trumpeter “Freddie and I came up on the Eastside of Indianapolis, and went to Public School 26 and Arsenal Technical High School. We studied with the same teachers. Coming from very meager means, as most of us at that time, I watched Freddie develop into one of the world’s greatest jazz trumpet players. I went to Indiana University and Butler University to study music. Freddie remained in Indianapolis and developed his improvisational and trumpet skills playing with James Spaulding, the Montgomery Brothers, and was influenced by many of the great musicians of that time. His move to New York in 1958 enabled him to connect with Indianapolis great, trombonist “Slide” Hampton and other

famous musicians. When I visited Freddie during the World’s Fair in 1964, he was playing with Max Roach in Long Island. I remember Freddie coming to San Francisco several times after that, and noticing his incredible ability to articulate with great facility, agility, range and creative ideas like no one since Clifford Brown. His discography documents his rise to greatness. Freddie became one of my greatest influences and inspirations along with “Dizzy”, Miles, Clifford Brown and Lee Morgan. Freddie Hubbard’s great musical genius, as a composer/arranger, band leader, and master jazz trumpet player places him among the “Jazz Trumpet Kings” of the 20th Century. He will be greatly missed by every one of his many friends and fans.” Dr. Willis Kirk, Drummer “I have known Freddie Hubbard and his family since he was a student at Arsenal Technical High School in Indianapolis, IN. I came up performing with fellow Indianapolis Jazz Greats, Wes, Monk and Buddy Montgomery, Slide Hampton, Carl Perkins, Leroy Vinnegar, Earl Grandy, Jimmie Coe, Lee Katzman and other wonderful musicians who played on Indiana Avenue. Because he was under age, Freddie used to stand outside the clubs and listen to us play. Larry Ridley formed a teenage group called the “Jazz Contemporaries” with Freddie, pianist Walt Miller (later Al Plank on piano), Paul Parker on drums, and Jimmy Spaulding on saxophone. They played frequently at George’s Bar on Indiana Avenue. Freddie really began to develop during this period. He also played with many of us older musicians, Wes, Monk, Buddy, Slide, Leroy and others. In 1958, he left for New York where his career really moved to another level. He was influenced by Clifford Brown, Lee Morgan, Dizzy, Miles, Kenny Dorham and others. His musical genius was recognized by many of the world’s musicians as he traveled and recorded with Art Blakey, Max Roach, Sonny Rollins, J.J., Philly Joe and other Jazz greats. Indianapolis has lost one of its greatest

sons. Freddie Hubbard’s recordings leave us with proof of his greatness.” Virgil Jones, Trumpeter “I probably first heard Freddie play at a jam session at George’s Bar on Indiana Avenue in Indianapolis. I was about 16 and he was 17. He sounded a lot like Clifford Brown then, but everyone starts somewhere and that was pretty great. When he moved to New York he developed his own sound. By the time he was 21, he became himself, the Freddie who matured into the bold, daring player that I always admired and listened to as part of my personal collection. He had a unique feel for the blues, bop and his delivery was powerfully profound. His improvisations were full of variety, spontaneity and exuberance that was characteristic of his personal nature. I truly loved the guy and will miss him very much.” Albert Moore, FAA Certified Pilot “Freddie and I were friends beginning in the 4th grade at P.S. 26 and on to Arsenal Technical High School. My father bought me a trumpet. Freddie used to come over to hang out with me at my house and play on it. He had such a natural touch for the instrument that it discouraged me from thinking that I could ever match him. I told my father that I wanted to give the horn to Freddie. He contacted Mrs. Hubbard and said he wanted to give it to Freddie for free. Mrs. Hubbard, who was a beautiful and proud single parent, refused to accept it for free. She gave my father five dollars for the horn. This was Freddie’s first trumpet. It was made by Blessing and had a circular dial on it that enabled it to be a B flat or C Trumpet. Little did we know then that Freddie would become such a jazz giant. He was my friend and I will miss him.” Michael Ridley, Trumpeter “Freddie’s birthday and mine are three days apart and Mom Hubbard would bake us a cake. The taste and aroma were still vivid in our minds as we reminisced by telephone just a month before he left us.

JAZZed March 2009 53

jazzforum Freddie’s brother Earmon, an amazing piano player, was his first teacher of the language of “Bebop”. Earmon had insight into Bud Powell that provided “fertile soil” for Freddie’s growth, Freddie and I would go to Chicago to the Regal Theatre and the clubs around 63rd Street and Cottage Grove to hear the bands playing. Freddie got a chance to play at some jam sessions. We went together to hear the Chicago Symphony and also the Indianapolis Symphony featuring Raphael Mendez. I truly miss Freddie and his music. He brought a lot of joy to people world wide. “Well done “Hub!” Edythe Fitzhugh, Jazz fan and Indianapolis Jazz family friend

by some as “Hub Cap”. He was a product of Arsenal Technical High School, not Crispus Attucks High School as has erroneously been written in some bio sketches of him. Freddie was sometimes funny, sometimes moody, but always the consummate musician. Those of us who were fortunate enough to be a part of the era that gave us the “Jazz Contemporaries” (Larry Ridley, Freddie, James Spaulding, Paul Parker, Walter Miller/Al Plank), the Montgomery Brothers (Wes, Monk & Buddy), J.J. Johnson, David Baker, Leroy Vinnegar, Slide Hampton and his musical family, Phil Ranelin, David Young, “Pookie” Johnson, Jimmy Coe, “Killer” Ray Appleton, Earl Grandy and too many others to name, consider ourselves blessed.

“Indianapolis, Indiana has produced a host of jazz players of note. Of the many was one Freddie Hubbard, fondly known

Thanks “Hub Cap” for being a friend, the icon you have become and for the legacy you leave. “Ya done good and

54 JAZZed March 2009

made us proud!” Clifford Ratliff, Trumpeter “Freddie Hubbard has always been an inspiration to me. Since the first time that I got a glimpse of him from the rear vent window in back of “Mr. B’s Lounge”, I’ve always loved his music. For me, no one could play and phrase a ballad like he could. His music will always be a part of my musical life and he will be missed.” Chuck Workman, Indy NUVO newspaper writer and Indianapolis Jazz activist “Freddie was Passion: blowing intense, fiery blasts from the mouth of his horn; Pride: knowing he was taking his horn to new levels of execution; Perfection: always raising his personal bar of performance. As he told me, “I thought I was some kind of superman.”

Gearcheck Jazz Legends Endorse Hamilton Stands

Drumming legends Jeff Hamilton and Lewis Nash now use Hamilton Stands’ KB225 and KB245 low mass, light weight cymbal stands. Weighing about 20 percent less than traditional stands of similar size, they are engineered using a U-channel design for the legs and braces to reduce weight. They also feature internally dampened tubes to eliminate rattles and steel-on-steel threads for all leg and tube positioning clamps. The KB225 is a small, flat base vintage-styled stand that can be positioned close-in to the drum set, tucking under the base drum. The stand folds to fit into a 24” trap case with the ratchet fully upright, so it doesn’t have to be re-set each time the stand is unpacked. The KB245 is made with a large A-shaped base and extends to over 60” in height. The stand is designed to fit into a 32” trap case with the ratchet extended. The two drummers depend on the stands for hard-hitting performances; Nash is currently on tour with The Blue Note Seven, celebrating Blue Note Records’ 70th anniversary and Hamilton will be on a North American tour with Diana Krall this spring and summer. www.hamiltonstands.com

Kendor Jazz Journey Series Sheet Music

The Jazz Journey Series of sheet music from Kendor Music features “Good Time Charlie,” arranged by saxophonist Lennie Niehaus, and is moderate swing style with unison melodies, harmonized solos, and

Hudson Music Launches Teacher Integration Program

The Teacher Integration Program (TIP) is intended to advance drum education by helping instructors integrate traditional and new media in private, commercial, and institutional teaching situations. The program has been created by leading educators and professionals and features a wealth of free, online resources, support, and networking possibilities. The core of the TIP program is a series of downloadable Teachers’ Guides containing in-depth information as well as examples of how to augment book-based learning with a new generation of DVDs and other forms of media such as CDs, MP3s, audio and video recording, music technology, and the Internet. Currently available Guides include: The Code of Funk (book & CD) by David Garibaldi; Musical Drumming (DVD) by Gregg Bissonette; Secret Weapons For The Modern Drummer (DVD) by Jojo Mayer; Drumset Technique/History of the U.S. Beat (DVD) by Steve Smith; Groove Essentials 1.0 (DVD, book & CD) by Tommy Igoe. Additional TIP resources include: online interviews; teachers’ forums; roundtables; and discussion groups; suggestions and advice from the TIP advisory board; TIP welcome pack, including a certificate, sticker sheet, lesson planner, and Hudson DVD Sampler. A TIP advisory board, made up of representatives from a wide variety of musical backgrounds, geographic locations, and teaching practices, has been established to provide input and oversight. The board features a roster of well-known drummers/teachers as well as fulltime educators. Membership is free and registration can be done on-line. www.hudsonmusic.com/tip

an open chorus for any and all members of the saxophone section. Also arranged by Niehaus, “Land Line” is straight-ahead, moderate swing for advancing groups. Aspiring soloists can develop their skills by using the suggested solos or improvising over the solo changes provided for all saxophones, trumpet, and trombone. www.kendormusic.com

JAZZed March 2009 55

Gearcheck Jamey Aebersold Jazz Pocket Guides

The 3.5” x 5.5” Jazz Pocket Guides from Aebersold Jazz are sized to fit in your pocket. Chose from six titles: Saxophone Basics by internationally knownartist Dave Liebman; Saxophone Secrets by Saxophonist Daniel Joffe; Saxophone Workshop by player/repair man Peter Ponzol; Quick Chords, packed with simple, effective, jazz chord voicings in all 12 keys by pianist Andy Laverne; Keys Unlocked, learn to play in all 12 keys, by musician and educator Jerry Coker; Jazz Improvisation - A concise reference of chords, scales, and patterns used in improvisation, by pianist and educator Dan Haerle. Each Pocket Guide is $5.95. www.jazzbooks.com

The Titan from Highland Guitar

Anne Drummond Endorses Sonaré Winds

Sonaré Winds announced that New York City jazz flutist and composer, Anne Drummond, is now endorsing Sonaré flutes. Anne Drummond’s debut record, Like Water, is due to be released by Obliqsound records in May 2009 and features her original compositions played by a Brazilian rhythm section and strings. Her group performs at festivals abroad and plays regularly in New York clubs. Anne spends much of her time composing, and in 2008 she wrote the score for a national television commercial for T-mobile. www.sonarewinds.com

The Titan Guitar, the new flagship model in Highland’s Electric Jazz Guitar series, is crafted in a high gloss, vintage fireburst finish over a quilted maple top, back and sides. Features include: a custom wooden pickguard; rosewood volume and tone control knobs; and a rosewood floating tailpiece cover; wooden pick up covers; multi body flame maple and abalone binding; deco style gold tuners; and a rosewood fingerboard. A gold Bixby tailpiece is optional. The Titan’s case features a faux gator skin exterior, a plush interior, and a built-in Hygrometer. www.highlandguitarcompany.com

56 JAZZed March 2009

The EK Blessing’s Student Trumpet

The BTR-1275 Trumpet from EK Blessing is an instrument exclusively designed for students and is only available to school music dealers. The BTR-1275 is made from American brass. Nickel and monel materials provide the foundation for strong, resilient durability and performance intended to stand the test of time and the rigors of student use. The trumpets are all handmade in Elkhart, Ind. Throughout the development and construction of every BTR-1275, over 100 quality control procedures are in place. MSRP: $975.00 www.ekblessing.com

Gearcheck New Releases From Sher Music

Play Along Jazz

The Jazz Singer’s Guidebook: A Course in Jazz Harmony and Scat Singing for the Serious Vocalist by David Berkman offers a step-by-step approach for serious singers who want to improve their grasp of jazz harmony and gain control of the music they are singing. The Guidebook covers chord tones and tension notes on the chords found in standard tunes, how to use chord scales, chromatic embellishments, and guide tones to make up melody variations and scat solos. The 142 page book also comes with an accompanying CD. The list price is $26. The “Real Easy” Ear Training Book: A Beginning/Intermediate Guide to Hearing the Chord Change, by Roberta Radley, Co-Chair of Ear Training Dept., Berklee College of Music, is a practical guide for all musicians, regardless of instrument or experience. Using musical examples from all contemporary genres, Prof. Radley shows how to apply the harmonic ear training exercises in the book to your own musical needs. The book offers step-by-step instructions on how to hear the bass (root movement) in a major key, identify major and minor diatonic triads, and identify 7th chords, minor key harmony, and non-diatonic chord patterns. The book contains 168 pages of text and two audio CDs. The list price is $29. www.shermusic.com

Play Along Jazz is a Web site that gives the practicing musician the opportunity for an “on stage” experience with some of today’s finest jazz musicians. It was designed for musicians of all skill levels. Professional musicians have recorded various jazz standards in a live environment so that you can then play along as if you are part of the band by choosing the song variation that excludes your instrument, downloading the file, and adding your musical voice to theirs. New play along songs are added regularly, and there is a request link where you can ask to add other songs to the site. There is also a different, free play along song each month so you can sample the music. Songs cost 99 cents each. www.playalongjazz.com

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www.bariwoodwind.com

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JAZZed March 2009 57

Gearcheck Metropolitan Drum Cocktail Kits

Available in 14” and 16” diameter by 24” deep main drums, all Metropolitan Cocktail Kits feature Keller VSS Shells, heavy duty hardware, and crushed glass glitter finishes. .

These drums are modern versions of the classic cocktails with modern updates to make them playable in any genre. www.metrodrum.com

JodyJazz’s The Music of George Garzone DVD

The Music of George Garzone & The Triadic Chromatic Approach from JodyJazz is a two DVD disc set - a comprehensive, intimate portrait of legendary tenor man and jazz educator, George Garzone. Features include lessons, performances, trading play-alongs, PDF supplements, interviews and more. Featured musicians include: George Garzone: saxophone; Mike Mainieri: vibraphone; Frank Tiberi: saxophone; Bob Gullotti: drums; and John Lockwood: bass. This DVD set is designed to be used by intermediate to the most advanced players. www.jodyjazz.com

Alfred Releases Afro-Cuban Big Band Play-Along

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58 JAZZed March 2009

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The sound of Afro-Cuban jazz is now accessible in a big band setting with Alfred’s new Afro-Cuban Big Band Play-Along by Joe McCarthy and Dave Samuels. This book and CD set contains six charts from McCarthy and Samuels’ collaboration album, Afro-Bop Alliance, which won a 2008 Latin Grammy. The play-along is available in two versions: Drumset/Percussion (by McCarthy) and Mallets/C instruments (by Samuels). Each book contains a CD with the original Afro-Bop Alliance recording and a play-along recording for each track. www.alfred.com

HotWax February 2

The Bad Plus – For All I Care [Telarc]

New & Notable Music Releases All dates are subject to change

ture [Aum Fidelity]

Alex Cline – Continuation [Cryptogramophon]

Eric Essix – Birmingham [Lightyear] Dominick Farinacci – Lovers, Tales and Dancers [Koch]

Kenny Cornett – Flat Feet [CSP] Mike Dubaniewicz – Drive Time

[Firehouse 12]

Henri Rene – Compulsion to Swing

mark]

Claudio Roditi – Brazilliance X4

[Shanachie]

[Jazzed Media]

in Rhythm [Jasmine] [Resonance]

Greg Skaff – East Harlem Skyline [Zoho Music]

Sound Assembly – Edge of the Mind

Mary Halvorson – Dragon’s Head Red Holloway – Go Red Go [DelJeff Kashiwa – Back in the Day Jackie McLean – Bluesnik [CCT] Pieces of a Dream – Soul Intent

[Heads Up]

[Beauport Jazz]

Marco Benevento – Me Not Me [Royal Potato Family Records]

Chick Corea & Hiromi – Duet [Concord Jazz]

Frank Tusa – Father Time [Enja] Orestes Vilato – It’s About Time [RAFCA]

Nnenna Freelon – Better Than

February 16

Ann Hampton Callaway – At Last

[Vogue Europe]

Anything [Concord Jazz]

[Telarc]

Boney James – Send One Your Love

[Concord Jazz]

Django Reinhardt – Only the Best [Varese Sarabande]

Lee Ritenour & Dave Grusin – Amparo [Decca]

Tierney Sutton Band– Desire

[Telarc]

February 9 Tom Brantley – Boneyard [Summit] Teddy Charles – Dances with Bulls

[Smalls]

Gerald Cleaver – Farmers by Na-

Sidney Bechet – Les Jazz RTL

Dave Brubeck – Jazz Impressions of the U.S.A. [Gambit Spain] Frank Carlberg – The American Dream [Red Piano] Fab Trio – Live in Amsterdam [Porter] Stan Kenton – Kenton on Campus [Dynaﬂow] Linda Presgrave – Inspiration [Metropolitan] Alex Sipiagin – Mirages [Criss Cross] Brian Tarquin – Brian Tarquin Collection [Nu Groove] Keith Tippett – Dedicated to You, But You Weren’t Listening [Reportoire] Paul Tynan – Bicoastal Collective: Chapter One [Kakeda Music] Alan Wilkinson – Live at Café Oto [Bo Weavil]

February 23

Frank Rosolino – Conversations

[Gambit Spain]

Raphael Wressnig – Cut a Little Deeper on the Funk [BHM]

Joe Zawinul – 75 [Heads Up]

March 2 Papa John DeFrancesco – Big Shot [Savant]

Bela Fleck – Throw Down Your

Garvin Bushell – One Steady Roll

Heart, Tales from the Acoustic Planet, Vol. 3: Africa Sessions [Rounder]

Benny Carter – Can Can and Any-

Fourplay – Live in Capetown [Image] Jimmy Giuffre – The Swamp People

[Delmark]

thing Goes/Aspects [Lonehill Jazz]

Charlie Christian – On the Air [Fuel

2000]

[Giant Steps]

Stu Goldberg – Eye of the Beholder [MPS]

JAZZed March 2009 59

HotWax Jan Hammer – Maliny Maliny [MPS] Abdullah Ibrahim – Senzo [Sun-

nyside]

Alphonse Mouzon – Virtue [MPS] Radam Schwartz – Blues Citizen [Savant]

The Vignola Collective – Gypsy Grass [Dare]

Roland P. Young – Isphonic Boogie

Woogie [E.M.]

Monica Zetterlund – Swedish Sensation [EI]

March 9 Larry Coryell – Earthquake at the Avalon [Inakustik] Theo Croker – In the Tradition

New & Notable Music Releases All dates are subject to change

Sonar Kollektiv Orchester – Guar-

anteed Niceness [Sonar]

Ben Webster – Centennial Celebration [OJC]

March 16

Burnt Sugar – Making Love to the Dark Ages [Live Wired] George Duke – George Duke [Wounded Bird]

Melvin Gibbs – Ancients Speak [Live

Wired Music]

Maria Kannegaard – Camel Walk sen [Marsalis Music]

Branford Marsalis – Metamorpho-

[Tzadik]

Novello – B3 Soul [Nu Groove] Scott Reeves Quintet – Shape Shifter [Mile High]

Woody Shaw – Master of the Art [Wounded Bird]

Fat Cat Big Band – Angels Praying

Roger Tilton – Jazz Tones [Skipper] Seva Venet – Mens Working [GHB]

Melody Gardot – My One and Only

March 23

Chris Botti – Chris Botti in Boston [Sony]

Dave Brubeck – Time Out [Sony/

BMG]

Bushman’s Revenge – You Lost Me at Hello [Rune Grammaphon NW]

Fly – Sky and Country [ECM] Gregg Karukas – GK [Trippin &

Five Corners Quintet – Hot Corner

wax]

Andrea Parkins – Faulty: Broken

[Mack Avenue]

60 JAZZed March 2009

March 30

[Emarcy]

Canoe]

[Peak]

nyside]

Down to the Bone – Future Boogie

[United States]

Pino Minafra – La Fiamma E il

The Rippingtons – Modern Art

Ben Wendel – Simple Song [Sun-

Rythm]

[Shanachie]

Orbit [Important]

Greg Wall – The Lights of Ray Kook

Diego Barber – Calima [Sunnyside] Kenny Davern – The Last Reunion

Omar Klein – Heart Beats [Smalls] Masa Orpana – Brothers [Alba] Ed Metz, Jr. – Bridging the Gap

Cristallo [Enja]

Jazz Project [True North]

Missing Link – Fat Lip [Hammond-

[Skipper]

endary Proﬁle [Wounded Bird]

[Arbors]

Michael Occhipinti – The Sicilian Mike Stern – New Morning: The Paris Concert [Heads Up]

The Modern Jazz Quartet – Leg-

ence [Nimbus]

Wynton Marsalis – He and She

[Angel]

Gary Matsumoto – Days Ahead beat]

Fareed Haque – Flat Planet [Owl] Vincent Herring – American Experi-

[Heads Up]

Classical]

Matt Darriau – Gambit [Enja] Charles Evans – The King of All

Thrill [Universal Jazz]

States]

Chuck Loeb – Between 2 Worlds

Bridge Quartet – Night [Origin

[Ume Imports]

for Freedom [Smalls]

Vic Lewis – Singin’ the Blues [United

Paul Barnes – In Italy: With Bovisa Jazz Band [GHB]

[Arbors]

Instruments [Hot Cup]

[Emarcy]

Diana Krall – Quiet Nights [Verve] John Scoﬁeld – Piety Street Will Sellenraad – Balance [Beez-

[Milan]

Joel Holmes – African Skies [Blue Sean Jones – The Search Within Guy Kulcevsek – Dancing on the Volcano [Tzadik]

Julian Lage – Sounding Point

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

Backbeat

Louie Bellson 1924-2009

Luigi Paulino Alfredo Francesco Antonio Balassoni, better known as Louie Bellson, was born in Rock Falls, Ill. in 1924. Hailed by Duke Ellington as not only the world’s greatest drummer, but the world’s greatest musician, Bellson was best known as an unmatched big band drummer, who played with Tommy Dorsey, Count Basie, Benny Goodman, Harry James, Duke Ellington, and others. Bellson was a vibrant soloist known for his use of two bass drums, a technique he pioneered as a teenager. After winning the Slingerland National Gene Krupa drum competition at age 17, Bellson finished high school and got a job playing for Ted Fio Rito’s dance band in Hollywood. In 1943 he was asked to play in Benny Goodman’s band and did so until he joined the Army for three years. After his military service, Louie returned to the Goodman band in 1946 for a year before moving on to play with Tommy Dorsey. From 1951 to 1953 he played with the Duke Ellington band, during which time he wrote the jazz classics “The Hawk Talks” and “Skin Deep.” Bellson married singer/actress Pearl Bailey in 1952 and, the following year left the Ellington band to be her musical director. Though Bellson worked for decades as his wife’s music director, he worked with Count Basie in 1962 and also collaborated again with Ellington. Bailey passed away in 1990 and Bellson remarried in 1992. Composer and author, he wrote more than 1,000 compositions and more than a dozen books on drums and percussion. In his later years, he continued to play and write music and host clinics for young drummers. Among the honors Bellson received were a Jazz Masters Award from the National Endowment for the Arts and a Living Jazz Legend Award from the John F. Kennedy Center for the Performing Arts. He was also designated an ASCAP Jazz Living Legend by the American Society of Composers, Authors and Publishers. Louie Bellson passed away on February 14th at the age of 84 due to complications from Parkinson’s disease.

Hank Crawford 1934-2009

Jazz saxophonist Hank Crawford was born, in Memphis, Tenn. on Dec. 21, 1934, into a large family of jazz and gospel musicians. He began his musical life as a pianist playing in church and attended Manassas High School, a breeding ground for musical talent with graduates such as Jimmie Lunceford and Isaac Hayes. Among Crawford’s own schoolmates were jazz notables George Coleman, Harold Mabern, and Charles Lloyd. Following high school, Crawford attended Tennessee State University where he majored in Music Theory and formed a quartet, Little Hank and the Rhythm Kings. In 1958, when the Ray Charles’ tour went to Memphis, Crawford was recommended to Charles as a replacement for Leroy Cooper, who had just left the band. Three months later, Charles asked him to join the band permanently; Crawford accepted and left school. By 1960 Hank had expanded his ensemble to a big band with Crawford serving as the band’s musical director. In the 1970s Crawford had several successful jazz albums with I Hear a Symphony reaching 11 on the Billboard’s jazz chart. Crawford became best known and admired for his graceful, expressive saxophone solos, and performed with artists such as Etta James, Lou Rawls, Jimmy McGriff, and Dr. John. Hank Crawford passed away on January 29th at the age of 74 due to complications from a stroke he suffered in 2000.

JAZZed March 2009 61

Classifieds Books

Jazz Camps

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.

CDs Guy Lee

"The Hurricane Waltz" All-Instrumental Guitar Oriented CD

www.guytar.com

Instruction

Instruments

Merchandise

MUSICAL INSTRUMENT-N-MORE Grand Opening!!! Quality new and Used instruments for the student or professional. www.minmore.com. Highland Park, NJ 732 227-0776

Jazz Camps

www.JAZZedmagazine.com 62 JAZZed March 2009

Merchandise

Classifieds Merchandise

Print Music

Repair www.JAZZedmagazine.com

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1. What is your primary educational institution/business: (check one)

3. What type of ensembles are you responsible for: (check as many as apply)

T 01 Senior High

T BB Big band

T 02 Independent teacher

T SE Small ensemble

T 03 College/University

T JO Jazz orchestra

I would like to receive/continue to receive JAZZed.

T 04 Manufacturer of musical instruments

T ZZ Other_____________

Yes T

T 05 Retailer/dealer of musical instruments

4. What is the total enrollment of your school:

T 06 Music Publisher

T A 0-500

Signature___________________________________________Date __________________

T 07 Other_________________________ 2. What is your position: (check one)

T B 501-1000

Name _____________________________________Title ___________________________

T 11 Jazz director

No T

School/Company Name ____________________________________________________ Address __________________________________________________________________ City _______________________________ State ___________Zip Code ______________ Tel. (_______)______________________ Fax (_______) ___________________________

T C 1001-2000 T D Over 2000

T 12 Band director

5. Are you a:

T 13 Orchestra director

T E Public school

T 14 Choir director

T F Private school

T 15 Assistant director

T G Private teacher

T 16 Music teacher/instructor

6. Total number of music students:__________

T 17 Owner/executive T 20 Other______________________

Email_____________________________________________________________________ Web site __________________________________________________________________

www.jazzedmagazine.com

JAZZed March 2009 63

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;cW_b%M[X

Advance Music

www.advancemusic.com

Al Hood Trumpet

www.alhoodtrumpet.com

Artist Works

www.andreasguitaruniverse.com

J.J. Babbitt Co. Inc.

www.jjbabbitt.com

Bari Woodwinds

www.bariwoodwinds.com

Big Bandman Jazz

www.BigBandmanJazz.com

Capital University

www.music.capital.edu

Claude Lakey Mouthpieces

www.claudelakey.com

Columbia College

www.colum.edu/music

Cultural Tour Consultants

www.culturaltourconsultants.com

Eastman School Of Music

www.esm.rochester.edu

Five Towns College

www.ftc.edu

Hal Leonard Corp.

www.halleonard.com

Jazz Aspen Snowmass

www.jazzaspen.org

JodyJazz

www.JodyJazz.com

John Fedchock

www.johnfedchock.com

Juilliard School of Music

www.juilliard.edu

Jupiter Band Instruments

www.jupitermusic.com

Maryland Summer Jazz

www.marylandsummerjazz.com

McNally Smith College of Music

www.mcnallysmith.edu

National Jazz Workshop

http://nationaljazzworkshop.org/

North Central College

www.northcentralcollege.edu

Pearl Corp.

www.pearldrum.com

School For Music Vocations Vocal Jazz

www.swcc.cc.ia.us

Stanford Jazz Workshop

FW][

5 cov 4 39 32

The New School for Jazz

www.jazz.newschool.edu

University of Missouri/St.Louis

www.umsl.edu

University of Massachusetts/Am

www.umass.edu

University of North Texas

www.music.unt.edu/jazz

University of Toledo

www.summerjazz.utoledo.edu

Vandoren

www.dansr.com

cov 2

Vermont Jazz Center

www.vtjazz.org

JAZZed March 2009

Jazz Education Network

The

is dedicated to building the jazz arts community by advancing education, promoting performance, and developing new audiences. The Jazz Education Network was founded in the spirit of collaboration and excellence. Our goal is to be a vital resource for a constantly evolving art form that lives globally.

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

Full Individual Membership (18 and up) - $50

lead the transformation of the jazz education culture

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

Partner Membership Levels:

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

Afﬁliate - $25 Annual Fee + $10 per person/member 17 and under categories to be launched soon! Please check the web site for updates.

JAZZ EDUCATION NETWORK

www.JazzEdNet.org

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

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