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contents
BASIC TRAINING: RHYTHMIC ANALYSIS 20
MARCH 2012
Saxophonist, educator, and composer Joe Manis advocates close rhythmic analysis as a useful tool for advancement as a composer and arranger. In this piece, he takes a close look at Jeff “Tain” Watt’s rhythmic displacement on “Housed from Edward.”
JOANNE BRACKEEN – LEARNING FROM THE BEST 24
Renowned pianist, Jazz Messengers veteran, Grammy-nominated recording artist, and fulltime Berklee faculty member, Joanne Brackeen is one of the true greats of modern jazz. We recently spoke with Brackeen about her many accomplishments, her unique approaches to teaching, and her continued relevance on the scene.
AN APPLIED JAZZ GUITAR STUDIO CURRICULAR RESOURCE – PART II 34 FOCUS SESSION: THE AFRICAN ORIGINA OF JAZZ 40
Lee Evans, respected author, educator, and frequent JAZZed contributor, examines the polyrhythms, syncopation, and other distinctive characteristics that make for a strong argument that jazz has its strongest roots in African music.
SURVEY: JAZZ CAMPS & WORKSHOPS 50
We asked over 200 of our readers to provide some basic feedback on the upsides represented by summer programs that allow young players to continue their jazz studies beyond the academic year.
™
2 JAZZed March 2012
™
MARCH 2012
Volume 7, 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
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ASSOCIATE EDITOR Eliahu Sussman esussman@symphonypublishing.com ASSOCIATE EDITOR Matt Parish mparish@symphonypublishing.com Contributing Writers Chaim Burstein, Dennis Carver, Kevin Mitchell, Dick Weissman Art Staff PRODUCTION MANAGER Laurie Guptill lguptill@symphonypublishing.com GRAPHIC DESIGNER Andrew P. Ross aross@symphonypublishing.com GRAPHIC DESIGNER Laurie Chesna lchesna@symphonypublishing.com
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departments PUBLISHER’S LETTER 4 NOTEWORTHY 6 MARSHALL GILKES: WHAT’S ON YOUR PLAYLIST? 1 JAZZ EDUCATION NETWORK SECTION 12 • PRESIDENT’S SERVICE AWARD • JEN SHOW RECAP • BEHIND THE SCENES • CLINICS • EXHIBITORS • PERFORMANCE
CROSSWORD 45 JAZZ FORUM 46 HOT WAX 52 GEARCHECK 55 CD SHOWCASE 61
Advertising Staff ADVERTISING MANAGER Iris Fox ifox@symphonypublishing.com CLASSIFIED & Display Maureen Johan mjohan@symphonypublishing.com Business Staff CIRCULATION MANAGER Melanie A. Prescott mprescott@symphonypublishing.com ADMINISTRATIVE ASSISTANT Popi Galileos pgalileos@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
CLINICIANS CORNER 61 CLASSIFIEDS 62 AD INDEX 63 BACKBEAT: ETTA JAMES 64
Cover photograph: Paul Quitoriano, NYC 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 offices. 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. © 2012 by Symphony Publishing, LLC. Printed in the U.S.A.
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publisher’s letter
RICK KESSEL
The Paradox of Today’s Jazz Scene
T
here are two seemingly incompatible events occurring as home large flat screen monitors, perhaps students in the world of jazz today. Anecdotal evidence, as well don’t feel the need to go out to purchase tickets to jazz as sources such as jazzinamerica.org, indicates that performances. The essence of jazz that these younger there are more university, conservatory, high school, listeners are missing with recorded events is the sponand even middle school music students studying jazz taneity of live improvisation – of hearing something today than ever before. Yet, at the same time, jazz audi- completely unique that is flowing right from the musiences are stagnating or shrinking along with the num- cian’s mind and heart and that is unique in that moment in time. ber of venues that are available to jazz lovers… The level of jazz education from elementary and According to the essential Jazz Audience Initiamiddle school levels to high school tive (JAI) study, “on average, only and college is unquestionably higher 17 percent of jazz ticket buyers are than it has ever been in the past. under age 45...” This leads to the “One would think that question about what may be causing with more and more stu- Students are being taught improvisation and other skills that were this paradox. One would think that dents graduating with a unheard of even ten or twenty years with more and more students gradusolid education in jazz, ago. Though this makes them more ating with a solid education in jazz, proficient musicians, it is essential more would seek out and support more would seek out that they understand the value of local jazz venues, attend festivals, and support local jazz the “live” performance aspect of and purchase recordings, yet, this venues, attend festijazz. There are a variety of excellent doesn’t seem to reflect the reality in the market. vals, and purchase jazz recommendations in the JAI study to engage these younger jazz audiThere are a variety of hypothetirecordings.” ences, including the development cal reasons for this inconsistency. of, “a greater focus on multiple There is no doubt that access to all types of media, including recordings, digital media, strategies that involve both live and digital experiences video, sheet music, and more has proliferated over the and activities that are participatory and observationcourse of the last few decades. This may be causing al... explore the options for making jazz available in both a positive and negative impact concurrently. Evi- different types of venues” and several others which dently, “younger buyers (of tickets), are more actively can be found in this excellent study at: www.jazzartsinvolved in the full range of music activities, especially group.org/jai/ Even with all of these essential recommendations, downloading and organizing music.” (JAI) This could indicate that perhaps younger people are more inter- let’s not forget that the people who have the greatest ested in listening to and viewing jazz performances in potential to influence students to become the audiencthe comfort of their own homes. With digital technol- es of the future are their teachers who can continually ogy allowing access to enormous volumes of jazz per- reinforce the idea of hearing live jazz performances as formances, high quality audio and video, as well as the one of the best educational experiences, as well as a instantaneous streaming capabilities on mobile as well lifelong fulfilling endeavor…
rkessel@symphonypublishing.com 4 JAZZed March 2012
noteworthy
American Music Abroad Builds Musical Exchange Program
American Music Abroad DJ Scandales from Chen-Lo and the Liberation Family
T
he Department of State, in partnership with the Association of American Voices, will craft an international exchange that will engage selected American ensembles with international audiences, especially underserved youth. Through public concerts, interactive performances with local musicians, lecture demonstrations, workshops, and jam sessions, the American Music Abroad initiative reaches audiences in nearly 40 countries with little or no access to live American musical performances. For more information about American Music Abroad and other international cultural exchanges, visit www.amvoices.org/ama.
Grammy Camp Heads to GRAMMY Awards Thirty young musicians traveled to Los Angeles for a weeklong musical adventure under the direction of Justin DiCioccio of the Manhattan School of Music, Dr. Leila Heil of University of Colorado Boulder, and Dr. Ron McCurdy of the University of Southern California Thornton School of Music where they grabbed the spotlight surrounding the 54th Annual Grammy Awards. The group performed at a number of public Grammy Week events around town, including an appearance at the third annual Grammy In The Schools Live! — A Celebration Of Music & Education. That event, open to the public, showcased Jazz Session members, along with student alumni from Grammy Camp and Grammy Signature Schools, with host Pat Prescott from 94.7 the Wave. Other special performances included those by current Grammy nominee Terri Lyne Carrington and Grammy-winning artist Anthony Hamilton at University of Southern California in Los Angeles.
6 JAZZed March 2012
Latin Jazz Musicians Protest Grammy Awards
A spirited crowd of Latin musicians held a concert across town in Los Angeles on the night of the Grammys in protest of the organization’s decision to eliminate its 31 Latin Jazz categories from this year’s award. The concert followed a large afternoon rally outside of the Staples Center, home of the Grammy award show that night. Artists including Carlos Santana, Ruben Blades, and Bobby Sanabria have come out to publicly oppose these eliminations, which include awards for Latin Jazz, Regional Mexican, Banda, Tejano, and Norteño music, as well as awards for Native American, Hawaiian, and Cajun music. The organizers of the event say that cutbacks have infuriated musicians from many of those genres that no longer have individual awards, especially Latin jazz artists. The protest concert, dubbed the “Not Those Awards All-Star Latin Jazz Jam,” took place and Mama Juana’s nightclub with performances from Ray Carrion and his Latin Jazz All-Stars, along with John Santos, Bobby Matos, and Oscar Hernandez. For more information, visit www.presente.org.
noteworthy Famed Oak Room Cabaret Club Closes
One of New York’s few remaining cabaret supper clubs, the Oak Room at the Algonquin Hotel, is closing its doors after a storied history of entertainment and ingenuity. The high-end club, which recently hosted a wide variety of regular performers like Steve Ross, Julie Wilson, Karen Akers, and Andrea Marcovicci, was already on its second wind – after a legendary initial run in the late ‘30s ended due to World War II, the club was revitalized in 1980 and served as a launch pad for stars like Harry Connick, Jr. and Diana Krall. The singer Sylvia Syms died onstage at the Oak Room in 1992, when she reportedly collapsed while performing at the feet of composer Cy Coleman. Before it was even dubbed, “The Oak Room,” the venue had served as an informal meetPuppini Sister at the Oak Room ing place for the “Algonquin Round Table” group of writers and artists before that which included performers like Harpo Marx (an avid harp player). The 1994 film, Mrs. Parker and the Vicious Circle, recounts those days. Manhattan still supports two remaining clubs – the Café Carlyle and Feinstein’s at Loews Regency
Chicago’s Hull House Closes
Chicago’s home to disadvantaged youth, Hull House, recently closed after bankruptcy, ending a run of 122 years. The Near West Side institution began as a home to newly arrived immigrants and helped stabilize a neighborhood bustling with families from all over Europe and, for many, marked the beginning of a “social welfare” movement in the United States. Benny Goodman was noted to have joined the Hull House band when he was 12 years old on a borrowed clarinet, quickly establishing a reputation as a professional musician and capable leader.
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Miles Davis and Edith Piaf Get Commemorative Stamps The United States Postal Service recently announced the joint issuance of new Forever stamps honoring legendary musicians Miles Davis and Edith Piaf. The stamps will be issued with the French postal service, La Poste, in June. Miles Davis was in the forefront of jazz musicians for decades, setting trends and exploring musical styles from bebop through cool jazz, fusion and funk. Americans may know Edith Piaf best for her cheerful song “La Vie en Rose” (“Life In Pink”), about the experience of falling in love and seeing life through rosecolored glasses; the tune is still heard on the streets of Paris today. At the time of issuance, the Miles Davis and Edith Piaf stamps are being sold at a price of 45 cents each, or $9 per sheet. To visit the U.S. Postal Service store, go to www.store.usps.com/store
Dr. Ed Calle
Shelly Carrol
www.macsax.com JAZZed March 2012 7
noteworthy THAT’S MY SOUND!
‘Jazz Avenue’ Wins SchoolJam USA Competition
Competing against seven other finalist bands from across the U.S., San Diego ensemble, Jazz Avenue, took first place for the coveted title of “Best Teen Band in the USA.” The prize included $5,000 for their school music education program, $1,000 toward the purchase of new band gear, a private music video recording session on the John Lennon Educational Bus, and a
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8 JAZZed March 2012
grand-prize trip of a lifetime to perform at the 2012 SchoolJam Germany finals in Frankfurt. The event took place in January during the NAMM Show held at the nearby Anaheim Convention Center. The event was hosted by teen pop sensation Greyson Chance and former “American Idol” contestant Shaun Barrowes. The Diamond Bar Marquis Show Choir joined Barrowes to open the evening with his latest single, “Live for Music,” while later in the evening Chance performed hits “Hold On ‘Til the Night” and “Waiting Outside the Lines” from his 2011 debut album Hold On ‘Til the Night. Second and third place runners-up included damsel band The Hi-Tops (Jeffersonville, Ind.) and Ergo We Play (Knoxville, Tenn.). Jazz Avenue was awarded the winning title by a panel of judges including: Disney talent casting director Stan Freese, Irwin Kornfeld of InTune Partners and Westchester Media, Menzie Pittman from Contemporary Music Center, and Michael Smith of Peavey Electronics Company. Learn more at www.schooljamusa.com.
For more headlines and breaking news, sign up for the JAZZed e-newsletter on www.jazzedmagazine.com.
What’s on Your Playlist?
1. Gently Disturbed – Avishai Cohen Trio After hearing this trio live in Eilat, Israel a few years ago, I immediately purchased this record and it has been in my playlist ever since. The folk-like melodies are beautiful and the rhythms and grooves they get into are incredible, but they do it in a way where it never sounds complicated. There is never a dull moment. All of the tracks relate to one another making for a record that you really have to listen to from start to finish. 2. Meant to Be – John Scofield Quartet I have been a huge Scofield fan for a long time, but I never had this record until recently. We did a project with him at WDR a few months back and played a few of the tunes from this record. I’ve been occasionally playing the tune, “Go Blow“ from this record at sessions. Really fun changes to blow over. Scofield writes great melodies, and I love the way he phrases. So natural! 3. Don’t Try This at Home – Michael Brecker I always return to this and his other records for inspiration. He makes me want to practice! Check out the first track, “Itsbynne Reel.”
Photo by Lieve Boussauw
Marshall Gilkes began playing trombone at the age of ten and hasn’t looked back. A graduate of The Juilliard School as well as Interlochen Arts Academy, Gilkes was a 2003 finalist in the Thelonious Monk International Jazz Competition. He made his recording debut in 2004 with the acclaimed Edenderry followed by a 2008 quintet recording, Lost Words. Marshall has performed at jazz festivals and venues throughout Europe, South America, Africa, Asia, and the Caribbean, and taught and presented master classes at institutions around the world. In addition to his work as a leader, Gilkes has performed or recorded with Richard Bona, Edmar Castaneda, Billy Cobham, Dave Douglas, the Maria Schneider Orchestra, and the Village Vanguard Orchestra. He is featured on Maria Schneider’s Grammy Award winning CD, Sky Blue, as well as CDs by John Fedchock, David Berger and Edmar Castaneda and many others. After living and working in New York for 12 years, he moved to Cologne, Germany where he is a member of the WDR Big Band. He is an artist for Edwards Instruments. Gilkes’ new album, Sound Stories (Alternate Side Records) featuring Donny McCaslin, Adam Birnbaum, Yasushi Nakamura and Eric Dobb, showcases him as a distinctive composer of persuasive narrative power and a soloist with boundless melodic appeal.
4. Jazz Mass – Ike Sturm This record is beautiful – full of great players and writing. Sometimes I put it on in the morning to get my day off to a good start. 5. Heavyweight Champion, Disc Three – John Coltrane When I graduated from high school my parents gave me the Heavyweight Champion box set as a graduation gift. Recently after hearing a colleague of mine playing “Fifth House” I got out disc three to check out the tune. I love practicing Coltrane Changes, and this one is based on “What is this Thing Called Love.” After listening to the disc, I actually ended up learning Ornette Coleman’s “The Blessing” first. The disc has music from three different sessions and bands on it, and it is amazing how differently he plays in each setting. 6. The Next Step – Kurt Rosenwinkel I just recently got this album back out. When I first moved to NYC, I used to go see this group play at Smalls as often as possible. Rosenwinkel’s writing always sounds fresh to me. This record has a lot of the compositions that that
Marshall Gilkes new album, Sound Stories (Alternate Side Records) was released on March 6, 2012. www.marshalgilkes.com 10 JAZZed March 2012
they played at those concerts. It’s funny how a record can remind you of where you were when you first started listening to it. 7. Ravel String Quartet – Belcea Quartet Really incredible piece of music. Incredible themes, development, and for lack of an appropriate classical term, “groove!” The pizzicato sections in the 2nd movement always amaze me.
9. Mood Swing – Joshua Redman When I was in high school I saw Redman’s band live a few times, and it was really inspiring as a young musician. I’ve had this record since it came out. I didn’t listen to it for a while, and then put it on again recently. There is a track on this record called, “Rejoice.” When I was still in New York, I used to keep it on my iPod. Every now and then I would listen to it after a bad gig to get me back in a good mood. And it worked!
8. Bang Zoom – Bobby McFerrin I love the pureness of McFerrin’s voice. It’s always refreshing to hear. This album was produced by Russel Ferrante and McFerrin, and features the other members of the Yellowjackets as well. The record has a great spirit.
10. Los Grandes Exitos (Greatest Hits) – Isaac Delgado I’ve been a huge fan of Isaac Delgado for a while now. He was one of the founding members of the band NG La Banda, who are credited with creating timba. I keep on coming back to the track, “La Sandungita” from this record. The horn writing is incredible, and Isaac Delgado’s voice is smooth and effortless.
You are
Converg enCe Talent and inspiration come together to develop a sound all your own—whether you’re part of an ensemble or going solo. In our Jazz and Contemporary Music program, you’ll work with passionate artists across all creative disciplines, because this is where art, thought, and craft collide and connect.
UArts. Creativity Propelled. uarts.edu
The University of the Arts in Philadelphia
JAZZed March 2012 11
Our network is growing JAZZ EDUCATION NETWORK
A MESSAGE FROM JEN PRESIDENT LOU FISCHER “Jazz is... One of life’s greatest gifts: fun found within surprise.” — Author Unknown FUN FOUND WITHIN SURPRISE is exactly what I personally experienced this past January at the 2012 JEN Conference in Louisville, KY! A hearty Thank You to all of the performers, clinicians, volunteers, exhibitors and attendees for making this particular conference the best one yet. Although JEN is just 3.5 years old, we have been successful in bringing the family together and have also built something fresh and vital to all of us in jazz and jazz education. Whether you are an enthusiast, educator, industry representative, journalist, photographer, graphic artist, composer, arranger, publisher, pro or student performer, everyone was shining brightly in January! A pictorial review of the ‘goings on’ follow in the next few pages, through the magical lenses of our two official JEN photographers, Chuck Gee of San Francisco and Lena Adasheva of New York, breathing ever-lasting life into the event. Check out the JEN FaceBook page for more of the same! If you have not had a chance to watch some of the LIVE video footage taken by our good friend Bret Primack of Arcadian Arts, be certain to check out his exciting work on the JEN YouTube page or on Bret’s YouTube channel as the Jazz Video Guy. I am proud that JEN continues to evolve in its support of the 3 mission focal points: advancing education, promoting performance, and developing new audiences for the jazz arts community. I believe our efforts are paying huge dividends in those areas. Each year our scholarship and award offerings, as well as JEN Outreach into the area schools have touched more individuals. We managed to touch 4,000+ students in the Louisville area during the 2012 conference, through the generous efforts of our artist clinicians involved in the this year’s program. Yes, we grew the size and scope of the conference by adding 2 more stages and a multitude of clinic rooms in partnership with TI:ME to present technology focused events, and the Jazz “Let your life Arts Group of Columbus Jazz Arts Initiative Project in relation to audience development. be your music Additionally, we launched two new key initiatives, running pilot programs for each, that I want to make sure you have on your radar. and let your The Festival Clinic Room Stage added a non-competitive adjudicated environment music be your to the conference for students and was successful in attracting 11 bands this year without much advertising. Plans for Atlanta are to market this component as the newly titled life.” JENerations Jazz Festival, where we will be presenting 3 stages to include combo, vocal —Kevin jazz, and large instrumental adjudicated events. Further, we installed a ‘soft launch’ of Eubanks JEN’s painstakingly designed Mentoring Program under the direction of Willard Jenkins, where we asked directors of collegiate ensembles to recommend deserving students for possible mentoring by major artists and professionals in specific areas of interest. We have successfully coupled 7 students with 7 mentors for 2012, each student receiving a year-long mentoring commitment from their assigned mentor via Skype, telephone, and/or in person if distance allows. Check out the posting on the JEN website under the Scholarship & Award Programs tab. And speaking of the website, know that plans are in the works to unveil a completely revamped website by July 1st! One that will be much more user friendly and service oriented to the membership…guaranteed! In the meantime, our efforts to be transparent about governance continue. Board Minutes from the January meetings, which include recent By Law changes, are now posted online, along with JEN Financials including the recent Form 990 for fiscal year 2010-11. In addition, the Call for Nominations for Board of Directors launched on Feb 1st and continued through March 15th. Additionally, we are expanding JEN staffing and have opened a search for a Part-time Marketing/Communications Coordinator. Details are currently online for those interested. Watch for clinic and performance submission information to begin surfacing in March, with a deadline of June 15th to get your application prepared and submitted. For now, sit back, relax, and enjoy the conference review in the following pages, then check the website often as we begin to unveil details related to the 2013 conference to be held January 2-5 at the Hyatt Regency in Peachtree Center, Atlanta, Georgia where we will be…
Networking the jazz arts community…local to global! Bass-ically Yours; Dr. Lou Fischer JEN Co-Founder, President ljazzmanf@yahoo.com
JEN Board of Directors (2011-12): Ruben Alvarez, Paul Bangser, Caleb Chapman, John Clayton-Vice President, Orbert Davis, Jose Diaz-Secretary, Dr. Lou Fischer-President, Dr. Darla Hanley, Dr. Monica Herzig, Willard Jenkins, Rick Kessel-Treasurer, Mary Jo Papich-Past President, Bob Sinicrope, Terell Stafford, Andrew Surmani-President Elect. Office Manager: Larry Green; Bookkeeper: Mindy Muck; Webmaster: Gene Perla; Interim Marketing/Communications Coordinator: Marina Terteyan; Web Hosting: AudioWorks Group, Ltd./JazzCorner.com
12 JAZZed March 2012
2012 JEN Conference Recap The JEN board offers a heartfelt thank you to everyone who attended this year’s conference and helped make it a success! Here are some highlights of our week in Louisville!
Networking at the President’s Founders Reception
@jazzhaiku: Great jazz minds and chops Start swingin’ in Louisville Now it’s TI:ME for JEN #JEN12
The Ken Peplowski -Shelly Berg Quartet: Ken Peplowski, Shelly Berg, Lou Fischer, Steve Houghton
Desolation Row from Western Michigan University featuring Donny McCaslin
Connect with JEN online to view additional photos and videos from the conference!
facebook.com/ jazzeducationnetwork
twitter.com/jazzednet
youtube.com/jazzednet
@MissChristie2: What a great weekend! Heard so much good music, met some amazing people! Inspired to go home and write some new music #Jazz #jen12
Photo credits: Chuck Gee and Lena Adasheva
JAZZed March 2012 13
JAZZ EDUCATION NETWORK
@srockford: This has been by far one of the greatest conferences I have been able to go to...then again jazz is awesome! Goodnight. #JEN12 #JENOV12
Kamil Erdem, Pete BarenBregge, Caleb Chapman
Andrew Surmani with scholarship winner Jamaal Baptiste
Meet & Greet with jazz legend David Baker
Mary Jo Papich, Lou Fischer, and Andrew Surmani
Alex Liu Macias and Price McGuffey
Rhythm and Bows Revue featuring Randy Sabien
The 2012 JEN mentors and mentees
@strategiclinks: Don Braden says, “Jazz is great for life.” #JAI, #JEN12
14 JAZZed March 2012
JEN
Clinics Jeremy Allen, Indiana University
Jamey Aebersold presents a clinic on improvisation
@andrewritenour: You have to keep the environment loose when teaching improv. If the beginner gets nervous, it’s over. #timejen12
Bobby Sanabria presents a clinic on latin jazz
Alan Brown delivers keynote on jazz audiences
@JazzEdNet: To grow your audience, “think about where you perform & how your audiences relate to that space.” -Alan Brown #jen12 #timejen12
Denis DiBlasio
JAZZed March 2012 15
JEN
JAZZ EDUCATION NETWORK
Exhibitors
A. Alyce Claerbaut, and Leslie M. Demus of Billy Strayhorn Songs, Inc discuss Strayhorn’s upcoming centennial celebration
@TKDMann: Got out of live auction alive. Got a little something at the silent auction. Yay! #jen12 #jazz
A tower of cymbals at the Zildjian booth
Dueling trombones at the exhibit hall Students try out saxophones at the Cannonball Saxophones booth
@pisanojm: Music is an incredible gift. Measure success by happiness... get up and invent your day. If they can’t stop me, I win - Fred Bogert #timejen12
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Students play the piano at the exhibit hall
Publicist extraordinaire Dawn Deblaze with Sherri Witt at the Clark Terry Booth
Sierra Music Publications booth
@Zweibz7: The Four C’s of Social Networking: Creation, Connection, Conversation, Collaboration #timejen12 Saxophones shine at the exhibit hall
JEN
Performances Victor Wooten performs to a packed audience
University of Florida Jazz Ensemble Lou Fischer and Steve Houghton
@saxymoni: Very interesting discussion on jazz education for kids. Really good ideas and progress. Looking forward to doing my part to help. #JEN12
Louisville Leopard Percussionists wow the crowds
JAZZed March 2012 17
Millikin University Jazz Vocal Ensemble
JAZZ EDUCATION NETWORK
@danielkweiss: Panel: The audience wants me to do what? “We’re in the business of expression.” John Clayton, composer/arranger/performer #JAI,#JEN12
Jason Marsalis Quartet
Ken Peplowski and Shelly Berg
Terell Stafford with the Jack Wilkins Blue and Green Project
Ruben Alvarez performs
@musictechie: One of the best things about a music conference is the extremely talented young ppl - listening and watching them play #timejen12 Sherry Luchette Trio
18 JAZZed March 2012
Save The Date!
Jazz Education Network 4th Annual Conference Networking the jazz arts community... local to global!
JAZZ EDUCATION NETWORK
Atlanta, Georgia January 2-5, 2013 The Jazz Education Network
is dedicated to building the jazz arts community by advancing education, promoting performance, and developing new audiences. For complete membership information/benefits please visit us at:
www.JazzEdNet.org
basic training
R H Y T H I C A N A LY S I S
Jeff ‘Tain’ Watts’s Rhythmic Displacement on ‘Housed From Edward’
I
BY JOE MANIS
t is useful to study instruments other than one’s own: for composers, to facilitate writing more informed parts for these players; for teachers, to assist coaching of student ensembles. For non-drummers, for example, analyzing various rhythmic devices can also generate various compositional and/or arranging ideas.
“THIS TYPE OF EXERCISE WILL AID A PERFORMER IN BEING ABLE TO KEEP FORM THROUGH MANY RHYTHMIC DEVICES THAT RHYTHM SECTION PLAYERS MAY EMPLOY IN THE COURSE OF AN IMPROVISATIONAL PERFORMANCE.”
20 JAZZed March 2012
Although I’m a saxophonist, I gained a great deal from exploring drummer Jeff “Tain” Watts’ playing on Branford Marsalis’ tune, “Housed From Edward.” The track was recorded May 26, 1989 on Marsalis’ album, Trio Jeepy, featuring Marsalis on tenor saxophone, Milt Hinton on bass, and Tain on drums. The tune is a 12-bar F blues. Three minutes and 36 seconds into the recording is where my transcription excerpt begins, in bar nine of the 12-bar blues form. Tain is playing in an Elvin Jones-influenced triplet style. The highlight of this excerpt is Tain’s use of rhythmic displacement: beginning in the second bar, he takes the standard triplet language and moves the pattern forward an eighth note triplet, creating a different permutation of the beat. The 12-bar blues is a good vehicle for experimentation, including the use of rhythmic devices such as this one. It should be incredibly familiar to the performer, and it provides a relatively easy form in which to keep your place, with its short overall length and regular, four-bar phrases. Tain’s choice to displace the rhythm on this particular tune makes sense, given the quirky nature of Marsalis’ opening melodic statements. It should be noted that Tain plays rather sparsely for the first several choruses and doesn’t build to this excerpt’s level of rhythmic complexity until the 9th and 10th choruses. Also, Tain does not choose to begin or resolve this device at the top of a form or even at the beginning or end of a four-bar phrase.
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Tain begins the displacement on beat three of bar 10, and continues it through the beginning of the next chorus, resolving on the “and” of four of bar seven of chorus 10. This excerpt is in a triplet eighth note swing feel where the last eighth note triplet is the same as the “and” of each beat. A standard ride cymbal pattern is one two “and” three four “and”; when Tain moves this basic pattern forward one eighth note triplet, now the ride cymbal pattern begins on the “and” of one, the second and third eighth-note triplet of two, the “and” of three, and the second and third eighth note triplet of four. A standard hi-hat pattern lands on beats two and four, as Tain plays in the beginning of the transcribed excerpt. When he creates the rhythmic displacement, the hi-hat ends up on the “and” of one and the “and” of three. In the aforementioned Elvin Jones style, Tain ornaments this basic ride cymbal and hi-hat pattern with eighth note triplets on the second and third part of the triplet beat and bass drum notes on the “ands” of the beats. When he displaces this Elvin Jones vo-
cabulary, Tain’s snare drum notes are now on one and the second eighth note triplet of one, two, three, the second eighth note triplet of three, and four; the bass drum notes end up on the second eighth note triplet of beats one, two, three, and four. The trick to any technique like rhythmic displacement is how a player transitions into and out of it while still sounding musical. Tain begins this new pattern by leaving the “and” of two off in bar two of the transcription, and then essentially re-setting himself on beat three by playing a snare drum note with no ride cymbal note. He resolves it by playing a ride cymbal note on beat one of bar 12 of the transcription, thus resulting in three consecutive eighth note triplet ride cymbal notes (where there are usually only two in a row) and a resetting of the beat emphasis back to normal. When Tain moves into this rhythmic concept, Marsalis takes the opportunity to also ‘abstract’ the beat, while Hinton holds his ground. It is a testimony to Milt Hinton’s unflagging walking bassline abilities that his performance is not thrown off by Tain’s rhythmic displacement. It
is impressive to note that Tain’s playing leading up to and immediately following the rhythmic displacement is throughcomposed in style, where one might ordinarily expect a player to simplify his or her playing transitioning in and out of a rhythmic device such as this. Any musician should attempt rhythmic displacements only when he or she has solidified the basics: tone, time, time feel, technique and facility on his or her instrument, reliable intonation, and other fundamental ensemble and musicianship skills. In attempting rhythmic displacement, it is important to be able to feel how your new beat emphasis relates to the original beat emphasis (that others will still be playing) and to perform with that awareness, instead of just mentally adding or subtracting a given note value to initiate your new beat emphasis and then playing without reference to the original pulse. A good exercise when listening to this track (or others like it) is to try to continue to feel the original beat through the entirety of the rhythmic displacement by tapping your foot, and not let yourself be swayed by the new beat JAZZed March 2012 21
basic training emphasis Tain’s rhythmic displacement creates. Once one becomes comfortable, this type of exercise will aid a performer in being able to keep form through many rhythmic devices that rhythm section players may employ in the course of an improvisational performance. Along with keeping track of the beat
and form while listening to recordings such as this one, these rhythmic ideas can be practiced in group situations of various sizes, having one or more people take turns deviating from the original beat emphasis while the remaining members maintain it. Because you won’t always have another individual or
DAKOTA • RICHARD ELLIOT • DAKOTA
DAKOTA • RICHARD ELLIOT
pjlabiz2@aol.com • www.saxdakota.com
22 JAZZed March 2012
rhythm section at your disposal, the inverse of this idea can also be practiced with a metronome. For example, instead of having the metronome play on all the beats (i.e., every quarter note beat in 4/4), you can treat the metronome as if it were playing every third or fifth beat while you play along with it in 4/4. Also useful is to practice with the metronome clicking on the second or fourth beat, rather than on every beat, so that the bulk of the timekeeping responsibility lies on the player. For example, if the piece’s tempo is quarter note = 160, try putting the metronome on 80 or 40. Rhythmic devices were a hallmark of Tain’s playing during this period in various ensembles, including Wynton and Branford Marsalis’ respective groups. Another example of rhythmic displacement (where, in contrast, the entire group is involved) is Thelonious Monk tune “Friday The 13th” on the Branford Marsalis Trio album, Bloomington. The album has the same lineup as Trio Jeepy, excepting the presence of Robert Hurst on bass rather than Milt Hinton. “Friday The 13th” is another great song for employing rhythmic devices such as displacement: it is only four bars in length total and the harmonic phrase structure is only two bars in length. Rhythmic playfulness also matches the characteristic idiosyncrasy of this type of Monk melody.
Joe Manis is a saxophonist, composer, bandleader, and educator active in the Pacific Northwest. Currently serving on the faculty of Umpqua Community College, Manis frequently serves as a clinician, masterclass presenter, and guest performer throughout the region. Quickly gaining recognition for the strength of Manis’ “intense, updated take on the Rollins-’Trane tradition,” the Joe Manis Trio received praise for its 2008 release, Evidence, and its high-energy performances at venues such as the Portland Jazz Festival and the John G. Shedd Institute for the Arts.
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Learning from Jazz is by nature an improvisatory art form, and that holds true for the way its practitioners have pursued educations as well as on-the-spot compositions. From its roots in New Orleans, mixing African folk rhythms with Western harmonies to current jazz ensembles taking on Stravinsky’s “Rite of Spring,” the music and its pioneers have largely decided on their own curriculum, as they scrambled for new tricks and voices to add to the vibrant and quickly-growing musical language. Pianist and Jazz Messengers veteran Joanne Brackeen is one of the all-time greats at this kind of stylistic self-determinism. Growing up in California in the 1940s, Brackeen began teaching herself how to play piano at 11 after becoming enthralled by recordings of Charlie Parker. She transcribed all the solos she could get her hands on and quickly became a prodigy at the keys. She struck out on her own and was soon performing with West Coast musicians like Dexter Gordon, Teddy Edwards, and Harold Land, picking up styles virtually out of thin air whenever she felt like it.
the
Best by Matt Parish
She’s enjoyed a full, world-traveling career that continues to this day, but Brackeen is now also a full-time faculty member of the Berklee School of Music’s piano department (she teaches a class at the New School in New York City, as well), where she brings her wide-open instincts to new generations of students. Her classes are built on free-thinking principles and a stern expectation that students work as hard as she does. She asks the students what they’d like to learn and who they’d like to sound like by the end of the class. The journey from there is different every time. “I let people do anything, as long as they get a result,” she says. It’s no standardized type of education, but Brackeen certainly has the experience to back up her techniques. After moving to New York from California (with four children to boot!), she was soon rubbing shoulders with luminaries like McCoy Tyner, Ornette Coleman, and Chick Corea, to whom her lively playing is often compared. The ‘60s and ’70s saw her expand incredible collaborative work as she teamed up with Freddie McCoy on five albums and partnered with Woody Shaw and David Liebman. She went on to join Art Blakey’s Jazz Messengers in 1968 – she
was the first ever female to perform and to record with the group. Brackeen plays a major role in the Messengers’ Catalyst album. After that stint, she worked with Joe Henderson and then Stan Getz, who said that she was, “one of the most original and creative composers in my band.” She finally began releasing albums under her name in 1975, evolving into a dynamic group leader. Over the years, her ensembles have included all sorts of cutting edge musicians – she has eagerly worked with musicians like Rufus Reid, Cecil McBee, Jack DeJohnette, Ravi Coltrane, Al Foster, Ryo Kawasaki, John Abercrombie, Freddie Hubbard, Terence Blanchard, Gary Bartz, Glen Hall, and Branford Marsalis. A true believer in the free assimilation of styles, Brackeen spent the ‘90s churning out a treasure trove of recordings inspired by a love of Brazilian music that she had just developed, leading to a collaboration with Ivo Perelman on an acclaimed tribute to Heitor Villa-Lobos called Man of the Forest. The Grammy-nominated Pink Elephant Magic soon followed. Through it all, she’s earned a reputation as a musician who breaks conventions of all types and her convictions remain as strong today. In her classes, it’s that fierce pursuit of the things to which individuals find themselves connected that she works the hardest to foster. Everything else, as she says, is easy. She’s won countless awards and honors, including last year’s Distinguished Faculty Award at Berklee, serving on the grant panel for the National Endowment for the Arts, and performing solo at Carnegie Hall. JAZZed recently caught up with her from her home in Manhattan.
“When you listen, you begin to learn things that there is no other way to know. When you do that, and you help your students listen, they also know things there’s no other way to know.”
Brackeen with Gonzalo Rubalcalba in Cuba, December 2011.
26 JAZZed March 2012
JAZZed: It’s amazing that you still maintain such a busy professional performing career – what duties are you responsible for in your teaching positions nowadays? Joanne Brackeen: I teach full-time at Berklee and they’ve allowed me to do one class at the New School, so I do that. At Berklee, I teach private students and I have a Jazz Master class, which is a maximum of eight students and a rhythm section. Then I have an ensemble. So let me see if I can remember – the ensemble is three guitars, bass, piano, and drums. So there are six people in that at Berklee. At the New School, I have eight people in the ensemble. Trumpet, two horns, guitar and a rhythm section, plus vibes. JAZZed: In those classes, what is your goal? JB: My goal is the students’ goal. Their goal is my goal. I always have taught like that. JAZZed: So do you start with a discussion every semester? JB: I find out everything about them. Who they like, what they like to listen to. What they don’t like and what they think is weak or strong, what they want to bring up, and what they want to work on. That’s how I teach. It’s different with each student, and also the rate that they learn is different because I go according to how they learn. JAZZed: Did it take much trial and error to work that process? JB: No, it’s pretty much how I started teaching. It’s just the way I am. It’s the way I learn and it’s the way I teach. It’s the way I live. [laughs] JAZZed: You had received a bit of education early on when you enrolled at the L.A. Conservatory of music, right? JB: Not really – I quit there after two or three days. I didn’t like their concept of whatever that was. I didn’t really agree with what they were doing. So I’ve mainly learned everything by myself.
Juilliard
JAZZ
Summer 2012 Camps and Workshops Jazz camps for students who are dedicated, disciplined, and passionate about jazz.
Bak Middle School for the Arts Grades 6-8: June 11-15 Grades 9-12: June 18-22 West Palm Beach, FL (561) 882-3870
Juilliard Winter Jazz School, Australia High School students, ages 15-18 July 1-7 Trinity College, University of Melbourne Parkville, Victoria 61 (3) 9348 7486 Jazz@trinity.unimelb.edu.au
Snow College High School and College students July 16-21 Ephraim, UT (435) 283-7472 www.snow.edu/jazz Applications dates vary, information at
juilliard.edu/summerjazz JAZZed March 2012 27
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
Big Band Brass Quintet Chamber Jazz Chamber Winds Concert Choir Concert Winds Gospel Choir Jazz Combos Musical Theatre Productions Naperville Chorus NCC Express Show Choir Opera Workshop Pep Band Percussion Ensemble Vocal Jazz Ensemble Women’s Chorale Women’s Chamber Ensemble
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. Our location, in downtown Naperville, is only 40 minutes by train from Chicago and makes it easy to enjoy, perform and do great works.
Friday, March 30, 2012 Monday, June 25, 2012
Transfer Visit Day: Saturday, April 21, 2012
Audition Day:
Call 630-637-5800 to discover more about our programs in music.
Saturday, March 3, 2012 - Music, Music Education, Theatre, Art, Interactive Media Studies
Or visit us online at northcentralcollege.edu.
northcentralcollege.edu
Freshman Visit Days:
Jazz Faculty Janice Borla - Voice John McLean - Guitar Frank Caruso - Piano Jim Cox - Bass Mitch Paliga - Saxophone Doug Scharf - Trumpet Joel Adams - Trombone Brad Stirtz - Vibraphone Jack Mouse - Drum Set/Program Coordinator
z
30 N. Brainard Street
z
Naperville, IL
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630-637-5800
Stephany Tiernan Chair, Berklee School of Music Piano Department Classical composer and performer Stephany Tiernan, who currently heads Berklee’s piano department and often joins Brackeen for piano duets at faculty performances, was on board as assistant chair when Brackeen made the decision become a full-time professor at the school. JAZZed spoke to her from her office in Boston about what makes Brackeen such a one-of-a-kind educator.
Photo by Phil Farnsworth
JAZZed: What were some of the things that jumped out about Brackeen when Berklee first hired her as a teacher back in 1994? Stephany Tiernan: We had an opportunity to have a residency – to have her come for a semester and offer some master classes and workshops and offer some lessons. Very quickly, we were able to see what she was able to do with the students and we decided that we’d like to have her return. First she came part-time and her popularity grew, so of course we wanted her full-time by then. So it started out just trying her out and her trying us out, really, to see if it was a place she wanted to be. With her, it’s a whole package – students don’t say, “Oh, I want to learn technique, so I want to go to her.” It’s the whole thing – they want the wisdom and experience and everything that goes with it. You’d hate to break it down.
JAZZed: Did you find her to have any sort of rough transition to becoming a teacher? ST: Not really, because she knew she had a lot to learn and didn’t try to cover that up. From day one, she had plenty to offer. So no, but you know why? I don’t think she’s ever felt terribly intimidated by the prospect of being a full-time professor, and I think it’s because she never had a full-time professor to teach her! JAZZed: You’re saying she had no expectations? ST: That’s right! She could make herself into whatever she thought she could be, which is an advantage, really. We don’t usually start that way – we compare ourselves to some great mentor or teacher that we had. JAZZed: What makes her such a unique person to have on the faculty? ST: She never went to school herself, so she has no formal training. Then she had an illustrious career which she still enjoys, but she spent most of her life not teaching at all – she was out there performing. While she did all this, she raised a family. Four kids. They’re wonderful. Probably when she was cooking supper and had an idea, she’d run to the piano while the food was on the stove. She has an incredible joie d’vivre from not giving up anything, just mixing them together and coming up with who she is, and that is very unique human being. JAZZed: It seems like she’s open to letting each student help direct the way their semester will go. ST: Well, she finds a balance. She does that, but is also very demanding. She’s one of our toughest teachers. Her balance is very interesting, actually – she’s known as being very strict and you don’t want to sign up with her if you’re not ready to do a lot of work. JAZZed: Watching her transition from such a heavy performing career into being a full-time professor must have been interesting. ST: It wasn’t just enough for her to say, “Now I’m just going to do a little teaching and add that to my resume.” [laughs] Teaching is as serious as anything she’s ever done. Early on when we hired her, she came into my office one day and said something I remember pretty well, because no one had heard that in my department, particularly from someone who’s enjoyed quite a performing career. She said, “You know, I’ve just discovered something – teaching is the highest art.” She’s absolutely meticulous about being organized and she does as much work as the students if not more, constantly updating materials. She would never miss a lesson, she would never be five minutes late for a lesson. She does homework every week and writes materials every week and is constantly working on becoming a better teacher and doing more for the students. That’s catching in the department, to have somebody like her.
JAZZed March 2012 29
JAZZed: It seems like, since you’re so great at teaching yourself new things, you’ve had free reign over what you’ve been able to learn – you don’t have to seek out particular teachers or anything. JB: For me, of course. I feel like anything that anybody likes is theirs. So if someone else is doing something that you like, that’s yours. You better learn it if you’re serious. And it’s not just music, of course. It’s everything. JAZZed: When you were coming up in the ‘50s and ‘60s, did it seem like your approach was out of the ordinary? JB: Everybody else’s way seemed rigid. It seemed hopeless. Ever since I was in high school, they taught music. I was in one of the classes. I’d talk to the teacher and say, “Look, I’ll practice the grand piano in the room by myself, and when there’s a test I’ll come in and take it.” And so that’s what I did. I always seemed to get my way there. JAZZed: When you were going into the more professional jazz world, were there similar attitudes with other musicians? 30 JAZZed March 2012
“When I was writing and playing and conceiving and trying to find people to play new music in 1980 – now, 32 years later, there are actually people who have no problem with that and some of them are actually writing that same type of music now.” JB: No, people who are into this kind of music aren’t like that. I mean, the people who can really play, as a rule. Of course there is every kind of person everywhere, but as a rule they’re very flexible and in tune with the harmonies and the rhythms of the earth. JAZZed: How did it change in the different generations that you’ve performed with since then? JB: It’s always evolving. So when I was writing and playing and conceiving and trying to find people to play new music in 1980 it could be challemging. Now, 32 years later, there are actually people who have no problem with that and some of them are actually writing that same type of music now. So it’s great. And different varieties of course. Everybody has their
own nature, which makes it all fascinating. JAZZed: It seems like a lot of your approach to things in general involves being able to accept things that are already in existence around you. JB: If you can encompass what’s coming to you in every instant of time, that’s what learning is. As much as you can encompass. That’s for everybody, all the time. Music is what I love, so that’s what I do. But that is not an inactive state. It’s an extremely active state, and increasingly so because humanity is constantly evolving. I know who thinks along the lines of this is Ray Kurzweil. I love to hear him talk. I mean maybe he’s drinking a little bit extra green tea. [laughs] He’s really listening. When you listen, you begin
to learn things that there is no other way to know. When you do that, and you help your students listen, they also know things there’s no other way to know. But when they get it, they know it. It’s theirs. They don’t lose it. JAZZed: So much of your music, especially the Brazilian albums of the ‘90s, assimilates so many styles that it seems that travel itineraries like yours could benefit that a lot. Is it at all a factor? JB: No, I knew all of those things before I went anywhere. It was great to go see that those things existed, but whatever I wrote in any of my music wasn’t actually around me. When I’d go to certain countries, all I could really say was, “Wow, there it is. That’s nice.” But what I’m trying to say is that it wasn’t the other way around. Everything comes for everyone from inside themselves and then goes out. So anybody – before they made computers, it’s the same way. Anybody anywhere has access to knowledge of anybody else on the earth, certainly in the past or present, but perhaps even to the future. And that’s how I write. Now don’t ask me how I know that because I just do, but it’s 100 percent effective. That’s how it works. JAZZed: Playing with so many different types of people – have you found it hard to relate to different folks or different generations of musicians? JB: Not really. The only people I would have a problem are ones who aren’t open to certain things. But I don’t care what they’re like as long as they can play music. And I don’t think there’s any age to life or music. If there is, I haven’t discovered it. Some of the youngest people you’ll ever meet are some of the oldest ones you’ll ever know. Someone can be two years old and be older than the 95-year-old that lives next door to you. Your body does not define your essence, and music is something that of course doesn’t get defined that well either.
g n i o G AllArt 12 0 2 ER •
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SUMMER FESTIVAL JAZZ REPERTORY ORCHESTRA Perform essential big band music by the most renowned bands and jazz legends • An extensive collection of literature from multiple eras • Five concerts in just three weeks • Traditional bands: Basie, Ellington, Miller, Goodman • Swinging bands: Thad Jones, Rob McConnell, Buddy Rich • Arrangements of important standards by the jazz masters
June 24 to July 13, 2012 Information at:
http://faculty.uncsa.edu/music/summerjazz/
JAZZed: The story of your beginnings always go back to being enamored of Charlie Parker and wanting to learn from his harmonies and melodies and everything, transcribing every bit of it. JAZZed March 2012 31
JAZZed: It’s an interesting and also unorthodox approach to learning – did you ever have any problems with teaching institutions while trying to get students to learn that way? JB: No. There was this one class where the idea was that they all picked the members of the class themselves, and then that class picks the teacher. That’s the kind of class I had yesterday as well, but this class was like that. They didn’t like that notes
© bruce langton
JB: I never felt like I ever wanted to learn from a harmony or melody because I never divided music into harmonies and melodies. It was very deep music and it’s the way I felt. That was why I wanted to play and that’s why I did play. There was nothing different about it at all. There was something different about all the other music that made me not interested in that. Good music felt like it was part of me – “Let me do that.”
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had to be written for notation in music, and they wanted a new way to write notes for music and communicate with each other. So they did that for a semester and people were almost down on their knees with hands in prayer after they heard this concert. But unlike any other class, they refused to go back to the school unless they were allowed to have me for another semester after that. So the next semester, it turned out that their music had become so involved and complicated – they were doing all kinds of 15/7 and 2/5 all at the same time, that they actually had to go back and write notes. So they ended up writing notes, but only because their music became that complicated that they could not longer use those drawings or pictures they were making. That’s what they did. I let people do anything as long as they get a result. Some people don’t like to teach like that because it means that from the moment you start teaching to the end, you have to be aware. They don’t like that – a lot of people don’t like to be aware. They just like to have a method. They force it, and that’s that. I would be very bored and so would my students. JAZZed: Another one of your early associations was Ornette Coleman. How did you come to appreciate music that seemingly came from so far out? JB: He was never far out. It’s the other people who were far out. I thought that was the best music I ever, ever heard in my life. Better than Bartok, and Bartok was the one that I’d heard before that who might have been close. But when I heard Coleman, that was the best music I had heard and still the best that I have heard. Wherever it is, It came from this moment. That was why – it is more natural than anything else. A lot of people would say the same thing – “Bartok sounds really far out.” I had first thought, “Wow, that’s the first thing I’ve heard that wasn’t boring.” Especially those quartets. JAZZed: That music all sort of develops on its own terms, right? It seems to go right along with your philosophy toward a lot of things. JB: Yes, that’s right. It’s living right at that moment. It’s breathing. I like to play music that breathes.
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An Applied Jazz Guitar Studio Curricular Resource PART 2
W
BY MARK TONELLI
hile jazz studies curricula abound, a resource dedicated especially to the applied jazz guitar studio which addresses not only repertoire and technical studies but also the broader areas of jazz studies seems to lack implementation. Narrowing down the hundreds, possibly thousands of jazz guitar instructional materials on the educational market can be daunting.1 Where to begin? The variety of
choices can be overwhelming to both educator and student. This article synthesizes these many choices into 50 sources to create an annotated, year-by-year resource for the applied jazz guitar studio. • Sophomore The sophomore year marks the turning point of learning the raw materials of jazz improvisation to absorbing them through heavy immersion in vocabulary studies. Reading may focus on playing in the higher positions on the guitar as well as playing “across” the guitar, that is, horizontally and not just vertically. Initial consideration is given to the philosophical and cultural concepts associated with jazz. Repertoire Anthologies The Real Book, Vol. II (Hal Leonard). A companion text to The Real Book, Fifth Edition, it adds hundreds more commonly performed and recorded jazz compositions in lead sheet format. Aebersold Play-A-Longs Vol. 34, Jam Session. Includes 19 standards commonly played by jazz musicians on jam sessions and in performance. Vol. 7, Miles Davis. Exposes students to Davis’s music, an outgrowth of the bebop tradition, which is consistently performed and recorded by jazz professionals.
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Vol. 6, All Bird. Exposes students to the oft-performed compositions by Charlie Parker, the chief architect of the bebop style, generally considered the practice period for modern jazz. Technique and Reading Studies Fretboard Logic, Bill Edwards (Edwards Music Publishing). A system for horizontally connecting the various scale patterns and chord forms on the guitar that, to this point, the student has probably learned as vertical structures. It eases playing across the guitar neck by revealing the sometimes “hidden organization of the guitar fretboard,” as printed on the book’s cover. Philosophical, pedagogical, ethnological, and career studies The Jazz Ear, Ben Ratliff (Times Books). Interviews with 15 well known jazz musicians to discuss a list of recordings, usually selected by the artist, which influenced and touched them. Notes and Tones, Art Taylor (Da Capo Press). Interviews conducted by wellknown jazz drummer Art Taylor with 29 of his peers about the state of jazz and related topics dealing with culture, politics, and, very often, race. Classical non-guitar etudes J.S. Bach two-part inventions. (Alfred). Fifteen piano inventions that align with
the guitar’s range and build on the Kreutzer etudes from the freshman year. The studies cover a wide range of keys for building note accuracy and technique in both hands with the added challenge of navigating intervals that are sometimes awkward but highly useful on the guitar for developing technique and improvising. Classical guitar studies Library of Easy Guitar Classics (Hal Leonard). Upon completion of Noad’s Solo Guitar Playing, this book provides an extensive repository of classical guitar music for the jazz guitar student interested in keeping up with classical guitar. There are many technical etudes and compositions by the foundational classical guitar composers including Sor, Carcassi, and Carulli. There are also other well-known classical pieces which have been adapted for guitar. Despite the title, there are numerous intermediate level pieces.
Jazz guitar studies
Jazz improvisation studies
Charlie Parker Omnibook (Aebersold). Transcriptions of Charlie Parker solos which can develop reading, particularly syncopation, and enlarge the improvisational vocabulary of bebop. Barry Galbraith Studies, various volumes (Aebersold). Strengthens reading and provides numerous, real-world jazz phrases which can expand improvisational vocabulary. Wes Montgomery Guitar Folio, Steve Kahn (Aebersold). Transcriptions of Wes Montgomery solos. It develops single-line, octave, and chord solos by exposing students to some of the great recorded solos of the jazz guitar idiom. Bass Lines in Minutes, Kris Berg (Houston). A simple and effective method for developing walking bass lines, an important skill for a jazz guitarist to possess. It also develops reading in bass clef, a skill that may come in handy.
How to play Bebop, Vols. 1, David Baker (Alfred). Hundreds of public domain bebop patterns contained in this book comprise much of the modern jazz language. It affords further absorption of the common vocabulary of modern jazz in a sequentially organized text. • Junior Students in the junior year begin exploring advanced harmonic and melodic concepts for improvisation and branch out into the derivative styles of jazz. Reading will continue to develop playing across the guitar, duet playing, difficult keys – E♭, A♭, D♭, and E, for example – and more complex syncopation. Juniors should explore more creative ways to practice improvisation. As they enter the halfway mark of their studies, they should acquire the business tools for making a living as a performer. They should also begin to
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consider how jazz performance is connected to the culture which produces it. Repertoire Anthologies The New Real Book (Sher Music). A slightly more advanced version of The Real Book, offering somewhat more com-
plex and contemporary pieces. It contains transcribed parts and arrangements from corresponding recordings, which expose students to arranging for a jazz small group. More than The Real Book(s), there is inclusion of funk and pop tunes that have sometimes crossed over into
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jazz, and lie on the fringe of the standard repertoire. These pieces are useful as students begin learning the derivative styles of jazz that, more often than not, they may be called upon to play. Aebersold Play-A-Longs Vol. 27, John Coltrane. Exposes students to the music of master saxophonist Coltrane, much of which has become part of the standard repertoire. Vol. 33, Wayne Shorter. Eighteen pieces by Shorter, an important jazz artist whose compositions often combine traditional and non-traditional harmony. It continues building on advanced harmony and links bebop to more modern jazz styles. Technique and reading studies Melodic Studies & Compositions for Guitar: A Reading Workout for Serious Musicians, Fred Hamilton (Mel Bay). Advanced position playing, intervallic reading, and a focus on playing horizontally across the guitar as well as in position. Advanced Jazz Conception for Saxophone, Lennie Niehaus (Try Publications). Advanced reading studies which progress through several keys within one exercise and strengthen syncopation. Philosophical, pedagogical, ethnological, and career studies Lee Konitz: Conversations on the Improviser’s Art, Andy Hamilton (Jazz Perspectives). A series of interviews conducted over several years with renowned jazz saxophonist Lee Konitz, discussing his career and his philosophical views on jazz, jazz musicians, and jazz improvisation. There are also interviews with 39 other well-known jazz musicians who discuss Konitz, his influence, and his music. Thinking in Jazz, Paul Berliner (University of Chicago Press). A definitive, exhaustively researched ethnological text examining the culture of jazz improvisation through interviews with 50 professional jazz musicians and indepth transcription analysis. Beyond Talent: Creating a Successful Career in Music, Angela Myles Beeching (Oxford). A comprehensive textbook
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for the entrepreneurially minded performer. It offers a multitude of practical tools for the independent artist.
that focuses on the skills of listening, creativity, and intuition in creating natural tension and release phrases.
Classical non-guitar studies
• Senior
Perpetual Motion, Nicolo Pagannini (Alfred). A highly technical violin sonata within the guitar’s range. The piece has no rests, which can build technical endurance, particularly in the picking hand.
Students in their senior year learn jazz compositions with non-traditional harmony, explore intervallic improvising, and acquire advanced improvisational skills. They will re-examine overcoming the psychological barriers that
hamper performance achievement. They will give deeper consideration to the philosophical aspects of a life in jazz. Finally, after four years of exposure to college teaching methods, they may begin considering the possibility of someday teaching jazz at a college or university. Repertoire Anthologies The European Real Book (Sher). A compilation of jazz compositions writ-
Classical guitar studies The Christopher Parkening Guitar Method, Vol. 1 (Hal Leonard). A somewhat fast-paced classical guitar method with an excellent selection of standard classical guitar works and other well-known pieces adapted for guitar. The book is divided between technique in the first half and applying the techniques to repertoire in the second half. It is appropriate for the jazz guitar student who would like reinforcement of or an alternate view of classical technique. It is also useful for expanding classical guitar repertoire.
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Jazz guitar studies The Advancing Guitarist, Mick Goodrick (Hal Leonard). An unusual text featuring a series of unconventional exercises designed to encourage creative thinking. It helps in breaking free of preconceived ways of playing and can eliminate ingrained habits. Encourages a view of the guitar as a means for artistic expression and not an end unto itself. Chord Chemistry, Ted Greene (Alfred). A definitive text exploring chord theory that develops chord melody playing and comping. Overall, it encourages the student to think globally in making choices from chord to chord. Jazz improvisation texts The Jazz Sound, Dan Haerle (Alfred). This text enables the student with a firm grasp of the modern jazz language to begin making educated improvisational choices. It examines the intersection of a composition’s melody and chord progression to choose the most appropriate scale. How To Improvise, Hal Crook (Advance Music). A well-conceived text
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ten and recorded by European jazz musicians. It helps to expand the student’s awareness of the different but equally valid style of European jazz, which can lean toward free jazz and may be influenced by local culture. Aebersold Play-A-Longs Vol. 19, David Liebman. Completely excludes the ii-V-I chord progression and further expands on advanced and non-traditional harmony through pieces by jazz master Liebman. Technique and reading studies Thesaurus of Scales and Melodic Patterns, Nicolas Slonimsky (Music Sales America). An extensive repository of melodic patterns for improvisation famously used by John Coltrane and other well-known jazz musicians. Very often the patterns are not based on a scale. Instead, they employ intriguing musical cells that encourage exploration of creative, non-scale-based improvising.
Philosophical, pedagogical, ethnological, and career studies Effortless Mastery, Kenny Werner (Aebersold). Extends the concepts from The Inner Game of Music, offering advice and practical means for the student to break through psychological barriers and reach greater musical potential. Teaching of Jazz, Jerry Coker (Advance Music). Provides a rationale for jazz pedagogy at the college level and a framework for administering a jazz program. It outlines a jazz curriculum and includes detailed course outlines and syllabi. Several appendices add thoughtful viewpoints on jazz education, jazz theory, and jazz program administration. Classical non-guitar studies Sonatas and Partitas for the Violin, J.S. Bach (Schirmer). Technically challenging pieces that abound in interpretation, rhythm, and melodic complexity. They feature double, triple, and quadruple stops that are sometimes awkward on the guitar but can strengthen chordal tech-
nique and broaden harmonic knowledge. A surprise discovery may be the melodic parallels to bebop vocabulary. Classical guitar studies The Christopher Parkening Guitar Method, Vol. 2 (Hal Leonard). Continues from Vol. 1. with advanced techniques and additional stylistic interpretation. There are 32 Parkening edition pieces by composers including Dowland, Bach, Scarlatti, Sor, and Tarrega. As with Vol. 1, the book is divided between technique in the first half and applying the techniques to repertoire in the second half. Jazz guitar studies Fusion: Tonal and avant garde music combined in melodic guitar solos, Joe Diorio (Dale Zdenek). Advanced studies in playing single-line jazz guitar solos. It develops reading, technique, and vocabulary and expands from bebop into more contemporary jazz styles. Modern Chord Progressions, Ted Greene (Alfred). Building on Greene’s Chord Chemistry, it develops voice-leading
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through a series of advanced harmonic progressions that emphasize the construction of melodic phrases. Jazz improvisation texts A Chromatic Approach To Jazz Harmony and Melody, David Liebman (Advanced Music). An advanced text that explores atonal concepts. A focus is on constructing jazz phrases with chromaticism and improvising on non-traditional jazz chord progressions. Endnotes 1. A search for “jazz guitar” on Amazon.com yielded 2,291 results. With few exceptions, the first 200 were pedagogical in nature, with titles from different publishers offering instruction in the same or a very similar area. 2. Berliner, Paul. (1994). Thinking In Jazz: The Infinite Art of Improvisation. (The University of Chicago Press). 3. An example is the William Paterson University Jazz Studies Program Repertoire list, which contains approximately 300 jazz compositions divided into three tempi—slow, medium, and fast—and arranged into seven stylistic categories— Popular Standards, Jazz Standards, Rhythm Changes, Latin & Straight 8ths, Modal Tunes, Blues, and Ballads. 4. Watson, Kevin E. (2010). Charting future directions for research in jazz pedagogy: implications of the literature. Music Education Research. 12(4) 383-393 5. Vygotsky, L.S. (1978). Mind and society: The development of higher psychological processes. Cambridge, MA: Harvard University Press.
New York-based Mark Tonelli is guitarist with the West Point Band’s Jazz Knights and leader of The Mark Tonelli Group. He is completing doctoral studies at Columbia University Teachers College in New York City. Mark is the creator of an educational series on iTunes for the West Point Band called American Jazz Masters. He will be releasing his third CD as a leader, The Thread, in 2012.
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The Jazz Combo Workshop is open to musicians of all levels (minimum age - 14) and provides comprehensive studies in jazz combo playing and improvisation. The curriculum includes: combo, faculty concerts (each evening), jazz history and listening, jazz theory, master class guita piano, instruction on bass, drums, guitar, saxophone, trombone and trumpet, student concerts and student jam sessions.
Guitar - Fred Hamilton and Richard McClure Piano - Stefan Karlsson and Bob Morgan Jazz History - John Murphy and Bob Morgan Trumpet - Mike Steinel and Rod Booth Trombone - Steve Wiest and Tony Baker
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JAZZed March 2012 39
focus session
ORIGINS
The African Origins of Jazz BY LEE EVANS
I
n his brilliant 1968 analytical book on jazz, Early Jazz: Its Roots and Musical Development (Oxford University Press) author Gunther Schuller makes a very strong case for jazz’s African origins, writing that “the analytic study in this chapter [Chapter 1, pages 3-62] shows that every musical element – rhythm, harmony, melody, timbre, and the basic forms of jazz – is essentially African in background and derivation.” This article is an examination of those musical elements and of the rationale for that statement. Schuller’s conclusions are based on the writings of ethnomusicologist Arthur Morris Jones in his 1956 two volume analysis of African music, called Studies in African Music, and on Winthrop Sargeant’s pioneering analytical study of jazz called Jazz: Hot and Hybrid, Da Capo Press, 1975, 3rd Edition, enlarged.
Polyrhythms Polyrhythms, two or more different rhythms occurring at the same time, may be found in both European folk music and concert music, but the African polyrhythmic tradition is thought to be much stronger than that of the European as an influence in jazz. Schuller writes that African music is not only contrapuntal (two or more lines sounded simultaneously), but is: 1. polymetric - the occurrence of two or more meters simultaneously; and 2. polyrhythmic - the sounding of two or more independent rhythms simultaneously. By contrast, European music has primarily been: 1. monometric - one meter at a time; and 2. monorhythmic - one rhythm at a time.
40 JAZZed March 2012
An extraordinary number of examples of polyrhythms in jazz and jazz inflected music can be cited. For one, consider the cross rhythm (the overlaying of one rhythmic pattern over another) in a typical measure of Joplin’s Maple Leaf Rag: In the right hand, the rhythmic accentuation of the melody is: 1 2 3 1 2 3 1 2 In the left hand, the basic pulse in each bar is: 1 & 2 &
Schuller also writes about Jones making the interesting point that African phrases “are built up
focus session of the numbers 2 and 3 or a combination of 2 and 3”, and that this ragtime rhythm again demonstrates the African American’s urge to combine two rhythms simultaneously within the European (i.e., white man’s) musical framework. Schuller writes: “The African slave’s adjustment to the white man’s music consisted precisely of translating these polymetric and polyrhythmic points of emphasis into the monometric and monorhythmic structures of European music. Syncopation, preceding or following the main beats, was the American Negro’s only workable compromise. It left the Negro with a vestige of his love for cross-rhythms and cross-accentuation; at the same time it enabled him to carry on the tradition within the white man’s musical structures.” The European rhythmic concept of polyrhythm generally involves two or more simultaneous rhythms that ordinarily feature vertical coincidence at phrase beginnings and endings, as well as at other focal points in the music; whereas the African rhythmic concept of polyrhythm does not ordinarily feature such vertical coincidence. Examine virtually any European orchestral score and you’ll notice that the bar lines are in vertical alignment on the page. Remember that one of the principal functions of the bar line is to let musicians know the location of beat one. In the example below, of the woodwind, brass and timpani parts alone of the orchestral score of Manuel da Falla’s El Amor Brujo, all orchestral parts experience beat one simultaneously.
By contrast, the African approach to rhythm may be seen and heard in African drumming, where drummers may play lengthy and extended cross rhythms whose downbeats seldom coincide. Try to score an African dance – say the Nyayito Dance, a Ghana funeral dance – and you’ll see that rarely does such a vertical coincidence of bar lines occur. Example: Nyayito Dance, measures 38-39 – (from p. 12 of Early Jazz.)
JAZZed March 2012 41
focus session
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42 JAZZed March 2012
Apart from the use of accents, syncopation was an effective way for early-jazz black musicians to emphasize weak beats within the European musical notational system. Syncopation allowed them to express their natural tendency for rhythmic democratization, and to accent against the beat. Schuller also points to their custom of clapping on a bar’s weak beats as an example of their affinity for polyrhythmic organization.
Call and Response
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Syncopation
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African music is essentially antiphonal - that is, responsorial - as in call and response, a musical pattern that characterizes much of African music, usually manifested by the group responding to the leader or soloist, as may be heard in the re-
focus session ligious services of Baptist churches, as well as in vocal blues, where each two-bar line of sung text - the “call” - is followed by a two-bar instrumental “response”. Mark Gridley in his outstanding jazz history textbook Jazz Styles: History and Analysis, 9th Edition (Pearson Prentice Hall), makes the point that what distinguishes call and response as a strongly African based source, as opposed to music from elsewhere, is what he refers to as “overlapping call and response”, where the response begins before the call ends, thus creating rhythmic conflict. To hear call and response in a purely instrumental jazz context, listen to the opening of Miles Davis’s recording of the dorian-mode song So What on his album Kind of Blue. After a brief introduction, one can hear each bass “call” answered by the “response” of piano chords playing the following rhythm:
Repetitiveness Schuller states that repetition is an African based characteristic, and that an important aspect of African songs and dances is repetitiousness. This corresponds to the repetitiveness of the riff/ostinato (the constant repetition of a short musical phrase) in jazz performance, such as may be heard in pianists’ left hand boogie-woogie patterns, in drummers’ ride rhythms, and in riff-based songs such as Count Basie’s Jumpin’ At The Woodside, to name but a few examples.
Blue Notes In Winthrop Sargeant’s book Jazz: Hot and Hybrid, in his chapters on the scalar structure of jazz and the derivation of the blues, he
makes the case that the blues scale, with its blue notes (lowered 3rd and 7th of the major scale), are derived primarily from African sources; and, as author Schuller points out, “from the quartal and quintal harmonies of African singing and from the tendency of African melodies to shift around a central tone.” Notwithstanding the above, however, Gridley states that the decoration of tones, such as pitch bending, originated in European classical, operas and folk music as well as in West African musical practices. Incidentally, the lowered 5th was a new blue note created later on, during the bebop era of jazz in the 1940’s. This note, with its tritone (three whole-steps) relationship to the tonic tone of the major scale - Fb in the key of Bb, for example - was just the touch of abstraction so eagerly sought after by bop musicians in their performances. (In fact, Dizzy Gillespie’s and Charlie Parker’s famous recording of Shaw ‘Nuff even ends with the tritone pitch, the most unstable pitch of all.)
Open Tone and Natural Quality Important characteristics of jazz vocal and instrumental performance, “traceable directly to African singing and indirectly to African speech and language” - according to Schuller are an open tone and natural quality, compared to the cultivated and trained sound of singers and instrumentalists in the European classical music tradition. A good example of this open tone and natural quality in jazz may be heard in the singing of Louis Armstrong.
Individuality Have you ever noticed that players of the various string choirs in a symphony orchestra always move their bows in the same direction at the same time? The purpose is to achieve uniformity of phrasing and sound. By contrast, jazz musicians prize individuality. Other than in big band section playing, where blending in with the other section players is an important goal, it is one’s ability to stand out from the crowd,
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focus session so to speak, that is the surer path to success and fame in jazz. What is the connection to African sources? Subjugation to the group or to a composer’s style is not a feature of African musical performance, while individuality is an African musical characteristic adopted by jazz musicians.
Collective Improvisation
Portamento Sliding into notes from above or below, called portamento, is a prominent jazz characteristic related to the natural quality heard in African singing, and may also be heard often in jazz performance. For excellent examples of portamento in jazz, listen to Bessie Smith singing St. Louis Blues (Smithsonian Collection of Classic Jazz), and to soprano saxophonist/clarinetist Sidney Bechet’s recording of Blue Horizon (SCCJ).
12
Throughout jazz’s relatively short history, jazz musicians have adopt-
June 24 – July 7, 2012 Faculty Todd Coolman Bill Cunliffe Curtis Fuller John LaBarbera Pat LaBarbera Dennis Mackrel Hal Miller Bobby Shew
Office of the Dean of Special Programs 518.580.5546 • www.skidmore.edu/summer
44 JAZZed March 2012
ed certain influences, forms, musical instruments, and the concept of chord progressions from the European musical tradition. However, the strongest musical traditions from which jazz emerged in America in the late 1800’s and early 1900’s are believed by many jazz scholars and historians to be mostly of African origin. For a convincing and detailed analysis of jazz’s African origins, read Gunther Schuller’s essential volume, Early Jazz: Its Roots and Musical Development.
End Note
summer
Improvisation is an essential component of jazz. There are precedents for solo improvisation in much folk and popular music and in the European classical tradition of Baroque figured bass and in concerto cadenzas, to cite only a few examples, but there are no known precedents for the collective improvisation of early small combo Dixieland jazz performance and its simultaneous improvisation of several musical lines, except for
the fact that collective improvisation has long been a strong feature of African music.
Lee Evans, Ed.D., is professor of music at NYC’s Pace University. In addition to his extensive list of Hal Leonard publications, his solo-piano books for The FJH Music Company include the late beginner/early intermediate level Color Me Jazz, Books 1 and 2; the intermediate/upper intermediate level Ole! Original Latin-American Dance Music and Fiesta! Original LatinAmerican Piano Solos. Also, along with four co-authors including Dr. James Lyke, Dr. Evans is author/composer/arranger of the just published Keyboard Fundamentals, 6th Edition (Stipes Publishing), formerly a two but now one-volume beginning level piano method for adult beginners of junior high age and older.
For Additional Articles on JAZZed, please visit www.jazzedmagazine.com
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Across 1 Drummer and former member of Herbie Hancock’s Headhunters band, Mike ____ 4 Jazz musician being honored by the release of a forever stamp in his name 7 Improvise 9 Expert 10 The Standard Joe creator 11 Repair 12 Self-image 13 “Amen!” 14 Plastic ___ Band 15 Musical notation 17 Scott Joplin tune 19 Used before a vowel 20 Type of bread or whiskey 22 Lyric poem 23 First name of one of the inventors of the modern style of bebop drumming (goes with 30 down) 25 Fourplay’s 11th studio album 27 Nina Simone’s “Lilac ___” 28 ____ Young, “Prez” 30 “Do I move you, are you loose now, the answer better ___ (yes yes) that pleases
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me” Nina Simone 31 Smooth jazz saxophonist and Grammy award winner whose latest production is Romance Language (goes with 36 across) 34 Vases 36 See 31 across 38 St Paul’s state 39 It’s part of New England 40 “You Belong to Me” singer, __ Stafford 41 Barrel 43 She produced Little Broken Hearts with Danger Mouse (2 words) 47 Jazz basic 48 “Love Story” actress 50 “Our Love is Here to ___” Ella Fitzgerald 51 One of the greatest jazz trumpeter’s of all time, first name
Down 1 Jazz double-bassist who appeared on over 2500 albums, Ron ____ 2 Simpson’s song writing partner 3 Renowned smooth jazz saxophonist 4 Ray Charles and Betty Carter’s “It’s Cold
Outside” and Sonny and Cher’s “I Got You Babe” for example 5 Double ___, album by 6 down and Bob James 6 Saxophonist who made the album Close Up, David _____ 7 Bass legend who made a new CD Low Standards (2 words) 8 Pioneer of bebop, ___ Roach 16 Film about the life of a legendary blues singer 18 TV channel for mysteries, initials 19 Had dinner 21 Old time you 23 Melody 24 Nurse 25 “I only have ___’s for you” song 26 Bass guitarist called “The Burner” who released a new CD, Sunny Days (2 words) 27 “Fingerpickin’” artist, ___ Montgomery 29 “The Arkestra” leader) goes with 44 down 30 See 23 across 32 One of the driving forces of Cool Jazz 33 Liked a lot, in the 60s 35 “Blame it on ___” 36 Leader of “The Herd” ____ Herman 37 Guitarist Paul 40 Trombonist, ___ Johnson, 42 “The Sound” 44 See 29 down 45 Dimeola and Jarreau 46 Popular piece 49 British princess
For the For the solution to solution to this issue's this issue's crossword, crossword, visit: visit:
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jazzforum
www.aajc.us
A Focus on AAJC President, Bill Myers, Part II By: Dr. Larry Ridley, AAJC Executive Director The following is part 2 (see january 2012 JAZZed for part 1) of a recent interview I conducted with Bill Myers, the newly elected president of the African American Jazz Caucus. I offer this interview to the Jazz Education community as an opportunity to learn about Bill Myers.
Larry Ridley: Didn’t you go to film school at some point? Bill Myers: In 2000, I went to film school. I attended the New York Film Academy at Universal Studios where I was able to reconnect with old friends and make new contacts. My final film entitled, “Family Values” won Best of Show. I returned to Indianapolis and became more active on arts committees and several cultural and civic boards. In 2006, I became a Board Member of the African American Jazz Caucus.
LR: As executive director of the African American Jazz Caucus, I am so glad that you came aboard. You bring a wealth of expertise and experience to the table. BM: I just want to bring my best. LR: Yeah, well. It’s been a great help to us. Share some of your experiences with the Caucus. BM: We held a jazz conference on the campus of North Carolina Central University in Durham. I participated with a very distinguished panel of guests, in a forum on jazz in the media. We were all there when we got the news that IAJE went under. During the conference, I had the pleasure of spending a good deal of time conversing with Dr. Billy Taylor. He shared many great insights with me. What a beautiful man!
LR: A great player, colleague, friend and a great mentor to me and many folks. Being a member of his trio was an honor for me. BM: Absolutely. In 2008, I produced the “Great Day In Indy Jazz Brunch” at the Columbia Club in Indianapolis. It was awesome to work with noted photographer Mark Sheldon in bringing all of the jazz players from Indiana back for a group photo. The brunch event sold out in one day. That was a big deal there at the Columbia Club, because it is an exclusive social club. That brunch was the first public event in the Columbia Club in over 50 years. And certainly there would not have been a public event with African Americans attending. It is powerful when you can make an impact and create a shift in consciousness. Since that event, The Columbia Club continues to host multi-racial public events regularly.
LR: That was something special. What about your production ”Music, Martin & Me”? BM: In the summer of 2008, I was commissioned as an artist, by the Indianapolis Museum of Art, to create an original work for the Dr. Martin Luther King, Jr. Day Celebration. This was a dream come true for me. Martin Luther King has always been
46 JAZZed March 2012
my favorite American figure. And I always dreamed of doing something on Dr. King. I developed a concept inspired by Martin Luther King’s opening address of the 1964 Berlin Jazz Festival. I was fascinated with how the piece spoke of the significance of jazz and its connection to all of humanity - metaphorically, spiritually, creatively and literally. It is a very powerful piece. In creating this work, I was able to bring my film production, theatrical, musical, and personal life experiences to bear as I explored my connection to Dr. Martin Luther King. This would lead me to the title - “The Music, Martin & Me.” It was exciting to see how all of these elements came together with a commentary on our modern cultural discourse today. But if ever there was a great time to have such a project, the performance was the evening of January 19, 2009, and the following morning Barack Obama was being sworn in as the next President of the United States. Our show was a capacity crowd of 600, and we had to turn away over 1500 people. It was a very charged evening, One of the best experiences in my life. I had many of my mentors involved because they were important people in my life. The African American Jazz Caucus was featured with a jazz trio of Rev. Marvin Chandler on piano, Dr. Willis Kirk on drums and the one and only Dr. Larry Ridley on bass.
LR: Now that was a great night! The way you came up with that show, how it flowed with video screens, lights, 2 bands and a string orchestra. That was a lot of work, and it was fantastic! Thanks so much for including the Caucus and me in that production. It was an honor and a pleasure. BM: I wouldn’t have it any other way. We must all go together or not at all. A month after that show I began a Ministerial Studies class.
jazzforum
North Central College Jazz Studies Program presents the
LR: What prompted you to want to become a Minister? BM: This goes back to a conversation I had with my grandfather when I went home from New York for a couple days to visit in 1988. My grandfather said “Bill, I’d like to speak with you a minute.” “Yes, sir,” I said as I followed him to his office in the basement. I knew this had to be serious to have the discussion in his office. My grandfather gazed at me with concern, and said “Bill, I’d like to see you join a church.” I had to sit with that a moment. “Granddad if you are concerned about my relationship with God, you have nothing to worry about. Me and God have a thing going on and work closely together. See, Granddad, I figured out a long time ago that create, creation, creator, creative all come from the same source. I would like for you to see my work the way I do. I see my work as my ministry.” My Granddad sat silent for a moment, soaking in what I said. After a few moments, he smiled with approval and said, “Well alright.” He was satisfied with my response and we never spoke of it again. I became ordained about a year ago. It represents to me, the concretizing of a commitment I made to my Grandfather over 20 years ago. The spirit of creation is always present, and this is the source of my inspiration. I have always worked primarily from an intuitive place; instinctively. Listening to the voice inside and all around me, which guides me on my path. It is the same energy that is present when we live in the moment, improvising, the energy that allows us to be free to go with the flow, not with fear, but with purpose. I am excited by a blank piece of paper for it possesses unlimited possibilities.
LR: Possibilities? So, now tell me about your involvement with the Optimist International Organization. BM: I became involved with the Indianapolis Downtown Optimist Club. This was the first charter in the Optimist International organization, which is worldwide and consists of about 3000 clubs. My Grandfather became
24
th
ANNUAL
JANICE BORLA VOCAL JAZZ CAMP July 22–27, 2012
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JAY CLAYTON Sunnyside recording artist Instructor at the New School
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Dan Haerle, piano Bob Bowman, bass Jack Mouse, drums Art Davis, trumpet CURRICULUM / ACTIVITIES
Solo jazz Performance Vocal Improvisation Vocal Jazz History Music Theory for the Jazz Vocalist Nightly Faculty Concerts Student Jam Sessions Final Student Concert INFORMATION / REGISTRATION
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JAZZed March 2012 47
jazzforum a member of the Optimists around 1972, and became the first African American President of the Indianapolis Downtown Club Charter in 1994. My Father became the second African American President of the Club in 2000. I made history in 2010 when I became President of the Indianapolis Downtown Optimist Club, as my family became the first to have 3 generations serve as President of a Club in all 3000 clubs. During my term as President I became heavily involved in public motivational speaking and coaching. I enjoyed a deeper appreciation for Christian Larson and his book “Your Forces and How to Use Them.” This was new age thinking in the early 1900’s. Merging spirituality, psychology, science, and logic to explore human potentials to improve our lives. It was from this book, that the Optimists lifted their Creed. “Promise Yourself to be so strong that nothing can disturb your peace of mind. To
talk health, happiness and prosperity to every person you meet. To be just as enthusiastic about the success of others as you are about your own.” And so on.
LR: Those are great words and goals to live by! BM: They certainly are. I am also very fond of James Allen’s “As A Man Thinketh.” The mind is a powerful thing. Everything began as a thought- a creative imagining, then it turns into a thing. Negativity is a powerful pollutant on the mind. A distraction at best and a nightmare in the process of manifesting at worst. Like attracts like. Negativity breeds more of the same and is a terrible energy when one seeks creative solutions. Let me be clear, while I am optimistic, I am also a realist. Optimism without reality is a delusion. This is surely a formula for more suffering. So, while I am an Optimist and a very
CAMP
ambitious one at that, I am also a realist with both feet on the ground (or at least one at all times). Also, a moderate dose of skepticism is always a good thing, but never so much that we get stuck and are unable to progress or try something new. That can become fear...and that’s not so good.
LR: I was thrilled with your insight at our recent AAJC/Juneteenth Indiana Jazz Masters Legacy Awards event in Indianapolis at the Indiana Landmarks Center. “Let Freedom Ring: from Justice to Jazz.” How did you come up with that? BM: Well, after a couple months of trying to assemble a team to tackle producing the AAJC/Juneteenth Indiana Jazz Masters Legacy Awards event, it became clear to me that the wheels were about to fall off of the cart. I felt strongly that we should push the pause button for a brief moment and restart with a new direction. After mulling over
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the significance of Juneteenth and its connection to jazz, it became clear to me that there was a huge opportunity to try something new, and test some new directions by framing the event around the topic of Freedom. Then I thought about Martin Luther King’s riff on the phrase, “Let Freedom Ring.” That’s a powerful statement and I could not think of any better time to have an open forum to share thoughts from various individuals on the topic of Freedom. The concept came together as “Let Freedom Ring: from Justice to Jazz.” I invited a wide variety of individuals to come and share 3- 5 minutes on the topic by answering a simple question, “What does freedom mean to me?” I was amazed at the response of these participants and many audience members. So simple, and so obvious, but most had never considered a question like that before. The evening was filled with a variety of profound testimonials from members of the community at large, from a cab driver from the Soviet Union, a former Tuskegee Airman, a lawyer, and several others. In addition we of course awarded 19 Indiana Jazz Legends past and present with the AAJC/Juneteenth Indiana Jazz Masters Legacy Award including Freddie Hubbard, Noble Sissle, Wes Montgomery, Dr. David Baker, Slide Hampton, Rev. Marvin Chandler, JJ Johnson, The Hampton Sisters, Jamey Aebersold, and jazz historian, author and photographer Mr. Duncan Schiedt, to name a few. Sprinkled with musical tribute performances throughout the evening, the event was very well attended and received. I wish to extend a special “shout out” to our partner in the effort, Dr. Ron Myers, Chairman of the National Association of Juneteenth Jazz Presenters.
BM: While this process is a challenge for any organization, I see it as a wonderful opportunity. This is an opportunity to reflect, examine, question everything, redefine and clarify our position. We must bring into focus our relevance, sustainability, market, mission, and vision. It’s the ultimate reality check. If we allow ourselves to step outside the box, if we are willing to take the risk to do the thing that needs to be done for the sake of our organization to grow and discover new ways to make a positive difference in the lives of others, we will be fine. Better than fine. We will emerge bolder, stronger and better than before. The world is waiting for us to show up. I am ready! How about you? LR: I am willing to do the positive things that are best for the accurate historical legacy of Jazz and our organization. BM: You heard it here first, folks. Stay tuned! I am honored to have had this opportunity to share some thoughts with JAZZed magazine and I look for-
ward to the upcoming JEN Convention in Louisville in a few weeks. See you soon. Again, thank you for this interview Dr. Ridley. I would like to close with a beautiful quote from Herbie Hancock’s “Possibilities” DVD notes: HH: “I feel that many of our systems that work to encourage creativity are being challenged. And there’s more encouragement to stay where you are. Don’t make a wave. I think the word that captures the spirit of what I believe in and what I’m really about and what I hope to achieve is possibilities. As children we have that sense that anything is possible, and we have that kind of openness. We’re not jaded. The older we get the more closed in we get. The more frightened we get. The more set in our ways we get. Because we’re afraid of the unknown. Where, as a child everything is unknown. What a beautiful place to reside in. In your own being where you still have the wonder of a child.”
LR: That’s the kind of event that the African American Jazz Caucus would like to see continue. I am proud that you are the newly elected President of the African American Jazz Caucus. BM: It is indeed an honor and a privilege.
LR: As you know, the African American Jazz Caucus is in the process of a reorganization. What are your feelings about that? JAZZed March 2012 49
survey
JAZZ CAMPS
Making the Most of the Summer at Jazz Camp…
T
he end of the academic year doesn’t – and shouldn’t – mean the end of musical advancement for your students. There are any number of quality summer jazz programs that offer younger players the opportunity to stick with their studies in a non-classroom, “fun” context. Yes
34%
We recently surveyed over two hundred of our readers who teach jazz in a formal, school setting throughout the year to share their opinions on, and personal experience No with, such programs. Most agree that music camps can play an essential role in the development of young jazzer, and many either currently 66% teach at camps, themselves, or have at one point.
Are you, or is your program, “officially” affiliated with a summer jazz camp?
Do your students attend summer music camps?
29% Yes
58%
34% No
66%
50 JAZZed March 2012 Generally, no
A few
3%
About half
9%
Most
1%
29%
Generally, no
They all do!
1% 9% 1%
They all do! Most They all do!
How would you rate your (or your students’) experiences with jazz camps:
ensembles: ConCert banD Chorus Jazz Combos anD banDs orChestra WorlD musiC
Poor
Okay
Poor 5% 3% Okay Poor 3% Okay 5%
5% 3%
Good
20% Good Good 20% 20%
Excellent
72% Excellent
Excellent
72% 72%
For your students, you would recommend a camp that is: Mostly just fun, but 2% Mostly with some music just fun, but involved 2% Mostly just fun, but with some music involved 2% with some music involved A good mix of music A good mix ofactivities music 18% and other 18% and A other goodactivities mix of music 18% and other activities
68% 68% 68% 12% 12% 12%
exPerienC
e 2012
New for 2012: Rock Band/ Song Writing aNd
Composition/ ic Electronic Mus
Pre-College Programs: Cello Clarinet Double reeD Flute FrenCh horn musiCal theatre organ PerCussion Piano saxoPhone trombone trumPet viola violin
d u / is ym c. il li n of oisr m.e at i o n w w w.m u si in for more
Music-based, Music-based, butbut alsoalso includes other activities includes other activities Music-based, but also includes other activities AllAll music, all the time! music, all the time! All music, all the time!
Have you run into any issues incorporating students who participate in extracurricular music study, including summer jazz camps, with students who do not? Yes Yes 13%
13% Yes 13%
No
87% No
87% No 87%
PlayJazz
JAZZed March 2012 51
HotWax February 21
Talking Cows – Almost Human (Jazz Sick)
New & Notable Music Releases All dates are subject to change
Sarah Elgeti Quintet – Into the Open (Your Favorite)
March 13 Chinua Hawk - A Beautifully Complicated Life (Blue Canoe)
Sara Leib – Secret Love (OA2)
March 27
Alon Yavnai and the NDR Big Band – Shir Ahava (SR) Scent of Soil – Scent of Soil (Vinyl)
(Hubro)
Greg Spero – Radio Over Miles (Katalyst)
Darren Rahn – Speechless (Trippin N’ Rhythm)
Alfredo Rodriguez – Sounds of Space
Jeff Hamilton Trio – Red Sparkle
April 3
(Capri)
Marin Xavier – When the World Was Young (Ateliers 79)
Mark Sherman – The L.A. Sessions
(Miles High)
February 28 The Middlewood Sessions – The
Middlewood Sessions (Middlewood)
Kerong Chok – Good Company Peter White – Here We Go (Heads
(Kerong Chok)
Up)
Tatum Greenblatt – Imprints Scott Tixier - Brooklyn Bazaar (Sun-
nyside)
Max Merseny – Thanks Y’All (Enja)
March 20 Jerome Covington -- Animism in the Digital Age (Covington) David and Rachel Diggs – Black Coffee (Gold Label)
Ray Jozwiak – Ambience & Wine
(Bosky Dell/Sylvan Glade)
New World Beat – After Carnival Robert Glasper – Black Radio (Blue
(COM)
Jonathan Blake – Eleventh Hour
April 10
Rebecka Larsdotter – Feathers
(Random Act)
Note)
Bria Skonberg – So Is the Day
(Sunnyside)
and Concrete (Prophone)
March 6
Post Jazz Mistress – Global Warming (TRP)
Sue Halloran and Ken Hitchcock – I Can Cook Too!
Wes Montgomery – Echoes of Indiana Avenue (Resonance)
Jane Scheckter – Easy to Remember (Doxie)
52 JAZZed March 2012
Josh Arcoleo – Beginnings (Edition) Dudley Ownes / Aaron Wright Band – People Calling (Origin)
Deborah Shulman – Lost in the
Stars (Summit)
HotWax
New & Notable Music Releases All dates are subject to change
Earl Klug – Finger Paintings/ Heart String/Wishful Thinking The Chris Flory Quintet – The Chris Flory Quintet Featuring Scott Hamilton (Arbors)
If you have information on an upcoming album or music DVD release which you’d like to have included in the next issue of
Rebecca Pidgeon – Slingshot
(Decca)
April 24 Chihiro Yamanaka – Reminis-
Bill Frisell – Everything is Alive (Winter and Winter)
JAZZed, please e-mail associate editor Mathew Parish at: mparish@symphonypublishing.com
cence (Decca)
Misja Fitzgerald Michel – Time of No Reply (No Format)
Alexander Hawkins Ensemble – All There, Ever Out (Babel)
Mustangs – Shaman and the Monkey (Trapeze)
April 17 Budman & Levy Orch – From
There to Here (Oa2)
Pete Zimmer – Prime of Life (Tippin Records)
JAZZed March 2012 53
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Gearcheck Zildjian Renaissance and Bounce Ride K Constantinople Cymbals
The the 22” K Constantinople Renaissance Ride is a versatile instrument that works well in small to medium size musical settings. This cymbal features smoother lathing on both sides and a bell that is unlathed underneath, adding stick definition to the instrument. Three rows of over hammering and four large hammer clusters give it a dark spread with overtones and a bit of “trash.” The K Constantinople Renaissance Ride is medium-thin in weight. The 20” K Constantinople Bounce Ride, a smaller version of the popular 22” model launched two years ago. Like the 22” model, that was developed in conjunction with Kenny Washington, the 20” Bounce Ride features traditional K Constantinople hammering and eight unique cluster hammer marks on top that add just enough “dirt” to the sound. The new 20” model has more pronounced lathing and tonal grooves to produce plenty of dark wash and sustain. The K Constantinople Bounce Ride is medium-thin in weight. www.zildjian.com
Graph Tech’s PrePlay Hand and Instrument Care Product
PrePlay is the first product in the new CHOPS line of professional hand care for musicians. Acid from sweaty hands can attack an axe and deteriorate a guitar’s finish, shorten string life and eat away at precious hardware. PrePlay is formulated to balance skin pH on contact; thereby neutralizing the acid and protecting the instrument. The lubricating nature of this product also adds slide, glide and comfort feel to the neck. PrePlay contains natural ingredients and oil extracts including sandalwood, lemongrass, black tea, mallow, clove, Irish moss, rosemary and chamomile. PrePlay has a fresh, clean citrus smell and is fast absorbing and non greasy. PrePlay comes in a 30ml pump action bottle that contains up to 200 uses. Retail price: $19.95. www.graphtech.com
JAZZed March 2012 55
Gearcheck Tycoon Percussion Bata Drums Tycoon Percussion recently introduced its new series of Bata Drums. Traditionally, Bata drums are used in ceremonial scenarios and are played in groups, where a “call and response” pattern is exchanged between the members. Constructed in Tycoon’s own factory in Thailand, these drums are made from the finest sustainably-harvested Siam Oak wood, and are
individually hand-made and tested, promising only the highest sound quality and durability. Each individual drum also features a premium water buffalo skin head clasped on the drum by chrome colored hardware. The Bata drum is just one of the numerous authentic and top-quality traditional instruments offered at Tycoon Percussion. Available in 3 different sizes: 18.5” tall 22” tall, & 27” tall. www.tycoonpercussion.com
Anthem A-2500 Trumpet The A-2500 trumpet features a .460 bore, a 4 7/8” handhammered brass bell, a red brass leadpipe, hand lapped stainless steel pistons, an adjustable 3rd valve ring, and a beautiful epoxy clear finish. The 7C mouthpiece is plated at Anderson plating in Elkhart, Ind. The A-2500 case has also been redesigned and features 4mm thick durable ABS plastic, with a plush interior and stackable rubber feet. www.antheminstruments.com
WOMEN IN JAZZ FESTIVAL 2012 SATURDAY, APRIL 14 PRESENTING BOBBI HUMPHREY FIRST LADY OF FLUTE FEATURING: JAZZBERRY JAM! IWJ ARTISTS IWJ HONOREES: BERTHA HOPE SHEILA JORDAN SEMINARS, JAM SESSIONS & MORE! SAINT PETER’S CHURCH E. 54th ST. AT LEXINGTON AVE. NYC
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56 JAZZed March 2012
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Crossover Pieces for Saxophone by Peter Lehel This new book from Advance Music offers the saxophonist a most varied stylistic palette of concert pieces in combination with comprehensive and illustrative information on the stfucture of the compositions with regard to composition techniques, melody, harmony , and ideas for improvisation. Additionally, the book presents essential and creative exercises based on the individual pieces, which aim at improving the saxophone players’ performance and at helping them delve deeper into the secrets of music. Features include a playalong CD, creative exercises, explanatory notes on all the pieces with regard to melody, harmony, and rhythm, ideas for improvisation, and ideas for composing. www.advancemusic.com
Gearcheck Pro-Mark Horacio “El Negro” Hernandez Signature Drumstick The Horacio “El Negro” Hernandez Signature Drumstick is 16” long x .500 in diameter with a wood tip. The stick has a smaller, versatile tip that is perfect for jazz and fusion and is also great for pop or R&B. They’re designed with Hernandez in mind. The Grammy-winning drummer has performed with McCoy Tyner, Carlos Santana, Steve Winwood, and as part of Tito Puente’s “Tropi-Jazz” All Stars. www.promark.com.
LP Egg Shaker Trio and Conga Shaker Trio Each LP Egg Shaker Set and Conga
Workshops for students 2012 New York INteNsIve July 16 – 27
ralph Alessi (trumpet/director) tim Berne (saxophone) Fred Hersch (piano) steve Coleman (saxophone) tony Malaby (saxophone) Drew Gress (bass) tom rainey (drums) Brad shepik (guitar) ...and more!
HIGH sCHool JAzz INteNsIve August 6-10
ralph Alessi (trumpet/director) Gerald Cleaver (drums) Chris lightcap (bass) Matt Mitchell (piano) ravi Coltrane (saxophone)
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Summer Jazz Studies
For advanced high school musicians, grades 9-12 July 1-13 Harold Danko, Jeff Campbell, directors
Middle School Instrumental Jazz For students entering grades 7-10 July 23-August 3
Offered during the Xerox Rochester International Jazz Festival, June 25-30:
Six Advanced Jazz Improvisation Workshops For advanced middle, high school and adult students
Introduction to Jazz History For high-school and adult students Shaker set includes three shakers, featuring a different fill formulation that produces a different volume level. The white shaker is the softest and is ideal for acoustic studio applications. The blue shaker is a multi-purpose medium volume shaker that can be used in a variety of applications and the red shaker produces a particularly loud, coarse sound that is perfect for live performances. The patented LP Egg Shaker Trio and Conga Shaker Trio are filled with nontoxic steel shot. Retail price: $11.99 (egg shakers) and $14.99 (conga shakers). www.lpmusic.com
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JAZZed March 2012 57 Summer@JazzEd.indd 1
2/8/12 1:13 PM
Gearcheck Joe Bonamassa Signature Pickup Set from the Custom Shop
rately replicates the P.A.F. pickups in Joe’s beloved 1959 sunburst Les Paul®. Their rich, dynamic, and nuanced voice is designed to appeal to fans of the original humbucker. Wound on the historic Leesona machine that created humbuckers for Gibson back in the ‘50s and ‘60s, the set features an Alnico 2 magnet in the
The Seymour Duncan Custom Shop has teamed up with blues-rock virtuoso Joe Bonamassa to produce the Joe Bonamassa Signature Pickup Set. This immaculately crafted and calibrated dual-humbucker set accu-
Bowling Green State University
NEW YORK VOICES Vocal Jazz Camp
July 30-August 5, 2012 www.bgsujazz.com
2012
mpulse
Summer Jazz Institute July 15-28, 2012 for high school students
For more information, please visit
58 JAZZed March 2012
Fret-King Black Label Worldwide trade distributor John Hornby Skewes & Co. Ltd and leading musical instrument designer Trev Wilkinson are recently announced the ground-breaking new Fret-King Black Label range of electric guitars and basses. Black Label features 12 different instruments that combine tradition, boutique design, custom shop quality, pro playability and comfortable individuality. The range will receive its worldwide unveiling at the 2012 NAMM show, held between January 19th and 22nd in Anaheim, California. The single cut Black Label Eclat has classic looks and a sophisticated tonal palette. The Country Squire fuses the familiar with the contemporary. The Elise has a body style with a heritage that spans all musical styles, while the Corona, a moniker associated with highend UK-built double-cut Fret-Kings for over two decades, builds on the roots of this icon. www.fret-king.com
Schaller Da Vinci Tuner
Andrew Bishop, U-M Faculty Director. A summer performing arts institute on the Ann Arbor campus carrying high school students to exciting new levels of excellence.
music.umich.edu/mpulse mpulse@umich.edu 866-936-2660
neck pickup and Alnico 3 in the bridge. Period-correct butyrate bobbins, lightly antiqued nickel covers, wooden spacer, and retro-style “Bonamassa” P.A.F. stickers heighten the vintage vibe. www.seymourduncan.com
Andrew Bishop
The new Schaller Da Vinci tuner opens up an original dimension to guitar tuning and tuner design. Along with its elegant shapes and precious finishes comes the legendary Schaller quality of materials and workmanship. The models are available in 24K gold, nickel, ruthenium, chrome, SatinPearl, BlackChrome and SatinChrome all the
Gearcheck endorser Chad Smith’s preferences for larger cymbals. Not as monstrously loud as its larger siblings, the 17” will appeal to drummers who want the unique trashy tone of the Holy China, but less volume. However, even at 17” the Holy China is not for the faint of heart. A unique hole pattern, large raw bell, high profile and
way to the incomparable handfinished VintageCopper. Customers can combine those eight spectacular finishes and a total of nine individual components from housing to tuning button, from bushing to screw, from shaft to peg to drive and more. The tuners are specially hardened and UV-resistant to protects the inner life from environmental influences. The transparent cover plate is made of a specially developed high-quality scratchproof polycarbonate that is also resistant to chemical cleaning agents. www.schaller-electronic.com
wide lip all combine to create a monster of loudness and cut. www.sabian.com
Mapex Drums Saturn Special Edition Birch/Walnut Series Mapex Drums introduces an extension to the distinctive Saturn sound – a
Jazz Port Townsend John Clayton, Artistic Director
Workshop & Festival July 22 – July 29, 2012 Workshops, ensemble coaching, and public performances featuring Terell Stafford, Benny Green, Jeff Hamilton, Johnny Mandel and many more! Make plans now to experience Jazz Port Townsend. Visit www.centrum.org/jazz 1-800-733-3608
Fort Worden State Park • Port Townsend, WA
Sabian 17” Holy China Sabian unveils a new size for the popular Holy China cymbal, sought after since its introduction last year for its higher profile to raise the pitch, holes for volume and sustain, and a large, unfinished bell for cut and durability. It was truly a modern Chinese cymbal, initially offered at 19” and 21” due to
JAZZed March 2012 59
Gearcheck Special Edition Birch and Walnut drum that features a stunning burl maple exterior and black nickel hardware. Four finish options will be available for this limited run of five piece configurations. The drums show a figured maple veneer covering a birch layer with an internal ring of walnut. Each shell is finished in an eightcoat deep gloss lacquer, and is topped with Remo Emperor batter heads. Finishes are Moss Green, Ocean Wave Fade, Wine Burst and Walnut Fade. Retail price: $2,979 with a snare drum and 8” mounted tom as add-on components. usa.mapexdrums.com
Wechter Roundneck Resonators
Jim Widner Summer Jazz Camps 2012
The Model RS-6610F brings the incredible tone of a Tim Scheerhorn
Celebrating 25 Years!
Big Bands ★ Combos ★ Clinics Improvisation ★ Master Classes Daily Concerts
University of Missouri – St. Louis Jazz Combo/Improv Camp
Featuring such artists as: Dave Pietro, Chip McNeill, Kim Richmond, Scott Whitfield, Dave Scott, Gary Hobbs, Ron Fleeman, Pete Madsen, Ken Kehner, John Harner, Brett Stamps and others.
University of Nebraska – Omaha Omaha Jazz Workshop Summer Camp
★ June 10–15, 2012 ★
Contact Steven Smith at 314-516-5948 or smithss@umsl.edu
★ June 17–22, 2012 ★
Contact Dr. Pete Madsen at 402-554-2297 or petermadsen@mail.unomaha.edu
www.unojazzcamp.com www.jimwidnerbigband.com
JIMWIDNER_5H.indd 1
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2012 JAZZ WEEK! July 15th – 21st
INTERNATIONAL MUSIC CAMP
Our 57th Season! 10
1 Moose Jaw
Jazz Band and Vocal Jazz for Middle and High School Students
1
39
Winnipeg
Brandon
Boissevain
1
INTERNATIONAL MUSIC CAMP
10
Estevan
Glasgow 2
• Prominent guest conductors lead exciting jazz choirs and big bands
Williston
MT
3
2
2 Grand Forks
281
Dickinson
Bismarck 94
52 Jamestown 94
83
281
Miles City
Bemidji 2
Fargo 94 94
29
85
SOUTH DAKOTA
59
29
AT THE WYOMING INTERNATIONAL PEACE GARDEN INTERNATIONAL 14
16
14
90
Rapid City
94
281
83
14 16
• Professional Development For Educators
2
29
Glendive
Aberdeen
• Outstanding artist-teachers
71
MN
5
Rugby
Minot
NORTH DAKOTA 94
17
Kenora 17
1
Dunseith
5
83 Poplar
ON
MANITOBA
Regina 6
SASKATCHEWAN
29
14
Pierre
MINNEAPOLIS ST. PAUL 59 14
90
281
18
• Jazz Combos & Private Lessons • Jazz Theory & Ear-training
No Auditions Required!
$385
All Full Week Programs Instruction, Housing & Meals
MUSIC CAMP - US
(701) 838-8472 (701) 838-1351 Fax info@internationalmusiccamp.com INTERNATIONAL MUSIC CAMP - CANADA
(204) 269-8468 brent@internationalmusiccamp.com
www.internationalmusiccamp.com 60 JAZZed March 2012
14
hand-spun aluminum resonator cone to an instrument that feels natural to any guitarist. Like all Wechter fretted guitars, these instruments include a Plek Pro set up for ultimate fret precision and maximum playability. The instrument’s mahogany top, back, and sides are finished in a deep tobacco sunburst and accented with beautiful ivory ABS body binding. In addition, Wechter has introduced the Model RS-6610FC which adds a cutaway to the roundneck resonator for great access up the neck. Both models include a deluxe hardshell case. www.wechterguitars.com
CliniciansCorner CDShowcase
CDShowcase
BILL GOODWIN
Feature Your CD on CD Showcase For Maximum Exposure!
Drummer Photo credit: Lauire Samet
Educator GRAMMY winner
• Member of the Phil Woods Quintet since 1974
Call: 1800-964-5150
• Faculty at William Paterson • Playing with musical legends including Dizzy Gillespie, Mose Allison, Freddie Hubbard, Tony Bennett, Tom Waits and many, many more.
Sidney Davis x13 Richard E. Kessel x14 Maureen Johan x34 Iris Fox 954-973-3555
• Now booking the “70/50 Celebration Tour”
www.BillGoodwinDrummer.com
Searching for a college music program will never be the same… .com The Publishers of School Band & Orchestra, JAZZed, Choral Director, and The College Search & Career Guide are proud to present a comprehensive website for music students and colleges to connect. Launching in April 2012, yopus.com will be a dynamic, up-to-date online music college research resource where prospective students and parents can find information about their own geographic, instrument and program preferences to learn more about the music programs that are most relevant to their individual needs and desires.
Find a Music School - Compare and track your favorite schools and be the first to know when new reviews, photos and other media are posted
Apply and Gain Acceptance Find how to get in and pay for it, and get the tips you need from our editors and other experts as you make your way through the selection and application process
Exclusive Content and Tools Get more out of yopus from exclusive scholarships to tools and tips to help you get into the school of your choice and succeed once you do
Go to yopus.com today to sign up to receive launch announcements and have your school listed.
Your Music. Your Education. Your Opus. Symphony Publishing | 21 Highland Circle, Suite 1 | Needham, MA 02494 | (781) 453-9310 | FAX (781) 453-9389 | 1-800-964-5150
JAZZed March 2012 61
Classifieds Camps
Instruction
Merchandise
The New Orleans Traditional Jazz Camp for Adults will be held June 10-15, 2012 in the heart of the French Quarter. Please see our website at
www.neworleanstradjazzcamp.com
Instruments
for more information.
Maine Jazz Camp is a summer music camp for high school and junior high students held on the campus of the University of Maine at Farmington.
joesaxwoodwinds@gmail.com
The dates are July 8-14 and July 15-21, 2012. The week long sessions cost $635/one week or $1200/two weeks.
Advertise in the Classifieds!
For more information please contact Christine Correa at 718-499-9051 or mainejazzcamp@earthlink.net. Please visit www.mainejazzcamp.com.
mjohan@symphonypublishing.com
Lowell Jazz Day Camp July 16 - 27, 2012
Monday-Friday 9am-4pm www.inthespace.net click JAZZ CAMP tel. 978.459.4755
Call Maureen 1-800-964-5150 ext. 34
Merchandise RickLawn.com
New Power of 10 CD Earth Tones with Play-Alongs & Free Download Big Band & 10 Piece charts Sax Quartet Music & Jazz Books Visit RickLawn.com
150 Western Ave. Lowell, MA 01852
Celebrating our 3rd year!
For Sale ESTATE MUSIC SALE
Arrangements (Dedrick, Leeds, Stocks, Combo). Music for piano, guitar, band instruments, Karaoke tapes and CD’s. List available
(402) 729-5418
Instruction 4000 Years in the Making... Tone NoteÂŽ Music Method for Guitar. www.12tonemusic.com/ guitar/tonenote
62 JAZZed March 2012
Advertise in the Classifieds! Call Maureen
1-800-964-5150 ext. 34 mjohan@symphonypublishing.com
Miscellaneous
NATIONAL PRESS CAMPAIGNS Down Beat Voting Critics, Jazz Journalist Association, Bloggers and More. EMAIL CAMPAIGNS Promote your gigs, live music events, festivals and newsletters. MAILINGS Save yourself time, money and aggravation and let us do your fulfillment. Jim Eigo, Jazz Promo Services 269 State Route 94 South. Warwick, NY 10990 Ph: 845-986-1677 • Fax: 845-986-1699 • Cell / text: 917-755-8960 Skype: jazzpromo • jim@jazzpromoservices.com • www.jazzpromoservices.com
Feature Your CD in our CD Showcase For Maximum Exposure!
Call: 1800-964-5150 www.JAZZedmagazine.com
AdIndex Company American Classis Tours & Music Festivals J.J. Babbitt Co. Bari Woodwinds Berklee College of Music Bob Sheppard Bowling Green State University Cannonball Music Instruments Center for Improvisational Music Centrum Cota Camp Jazz Eastman School Of Music Five Towns College Great Basin Jazz Camp Interlochen Arts Camp International Music Camp International Women in Jazz Jamey Aebersold Jazz Aids Jazz at Lincoln Center Jazz Camp Westn Center Jazz Institute of Chicago Jazzappsmobile.com Jazzheads Jody Jazz John Fedchock Juilliard School of Music MacSax Market Development for the Arts New York Jazz Academy North Carolina School of the A North Central College North Central College Ottawa Jazzworks Pearl Corp. PJLA Music Products RS Berkeley Musical Instruments Skidmore College Stanford Jazz Workshop TCU (Texas Christian University) The Roberto Ocasio Foundation University of Illinois - Urbana University of Michigan University of Missouri/St.Louis University of North Texas University of Toledo University of the Arts University of the Arts Vermont Jazz Center Avedis Zildjian Co.
Email/Web www.amclass.com www.jjbabbitt.com www.bariwoodwinds.com www.berklee.edu www.bobsheppard.net www.bgsu.edu/colleges/music/events www.cannonballmusic.com www.schoolforimprov.org www.centrum.org www.campjazz.org www.esm.rochester.edu www.ftc.edu www.greatbasinjazzcamp.com www.interlochen.org www.internationalmusiccamp.com www.iwjazz/newlook.cfm www.jazzbooks.com www.jalc.org www.jazzcampwest.com www.jazzinchicago.org www.jazzappsmobile.com www.jazzheads.com www.JodyJazz.com www.johnfedchock.com www.juilliard.edu www.macsax.com www.marshawalker.com www.nyjazzacademy.com www.ncarts.edu www.northcentralcollege.edu www.northcentralcollege.edu www.jazzworkscanada.com www.pearldrum.com www.pjlamusc.com www.rsberkeley.com www.skidmore.edu www.stanfordjazz.org www.usc.edu/music robertoocasiofoundation.org www.uiuc.edu www.www.music.umich.edu/mpulse www.unojazzcamp.com www.music.unt.edu/jazz www.summerjazz.utoledo.edu www.uarts.edu www.uarts.edu www.vtjazz.org www.zildjian.com
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JAZZed March 2012 63
Backbeat
Etta James 1938-2012
Cherished singer Etta James passed away recently at the age of 73 after a long career marked for its brave mastery of styles from jazz to soul and rock and roll. James, long considered a comparatively overlooked artist by other musicians and fans alike, finally began receiving major industry accolades in the ‘90s, extending her influence over earlier stars like Janis Joplin, Diana Ross, and Rod Stewart to diverse younger performers including Christina Aguilera, Amy Winehouse, and Adele. James grew up in Los Angeles, where she learned to sing in a church choir and withstood a traumatic childhood. She moved to San Francisco in 1950 and formed a girl group called the Creolettes, who were discovered by musician Johnny Otis. James began her solo career on Modern Records and soon joined Little Richard on a national tour. Her debut album, At Last!, was released in 1960 and featured styles from blues to jazz and doo-wop. She soon added gospel to her recordings, which enjoyed a string of hits throughout the ‘60s and ‘70s in a relationship with Chess Records. The late ‘80s brought a resurgence in both James’s old recordings (resurrected in television commercials) and in a new record deal with Island Records (which resulted in Seven Year Itch and Stickin’ to My Guns). More recently, James was portrayed by Beyoncé Knowles in the film, Cadillac Records, and James was invited to perform “At Last” at president Barack Obama’s inaugural ball.
64 JAZZed March 2012
Searching for a college music program will never be the same…
.com The Publishers of School Band & Orchestra, JAZZed, Choral Director, and The College Search & Career Guide are proud to present a comprehensive website for music students and colleges to connect. Launching in April 2012, yopus.com will be a dynamic, up-to-date online music college research resource where prospective students and parents can find information about their own geographic, instrument and program preferences to learn more about the music programs that are most relevant to their individual needs and desires.
à Find a Music School - Compare and track your favorite schools and be the first to know when new reviews, photos and other media are posted
à Apply and Gain Acceptance - Find how to get in and pay for it, and get the tips you need from our editors and other experts as you make your way through the selection and application process
à Exclusive Content and Tools - Get more out of yopus from exclusive scholarships to tools and tips to help you get into the school of your choice and succeed once you do
Go to yopus.com today to sign up to receive launch announcements and have your school listed.
Your Music. Your Education. Your Opus. Symphony Publishing | 21 Highland Circle, Suite 1 | Needham, MA 02494 | (781) 453-9310 | FAX (781) 453-9389 | 1-800-964-5150
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