JazzEd March 2010 by JAZZed

MARCH 2010 • $5.00

THE JAZZ EDUCATOR'S MAGAZINE

Conversations with BILLY COBHAM Basic Training Learn to Play a Jazz Tune in Three Steps Jazz in the Classroom: John Clayton The Official Publication of

JAZZ EDUCATION NETWORK

21 Highland Cir. Ste. 1 Needham, MA 02494 Change Service Requested JAZ_COV1 COV1

3/18/10 11:08:21 AM

JAZZ PLAY-A-LONGS

AEBERSOLD 1 2 7 V O L U M E S P E R S O N A L LY C R E A T E D B Y J A M E Y F O R Y O U T O P L A Y J A Z Z VOLUME 6

CHARLIE PARKER - “ALL BIRD” The best of “Bird” in one amazing collec on. Now’s The Time • Donna Lee • Billie’s Bounce • Dewey Square • Yardbird Suite • Ornithology • Confirma on • Scrapple From The Apple • Thriving From A Riﬀ • My Li le Suede Shoes BOOK/CD......................................................................................

15 90

VOLUME 98

MILES DAVIS One-dozen must-know standards. All Blues • Nardis • So What • Eighty-One • Joshua • Blue In Green • Freddie Freeloader • Milestones (New) • Seven Steps To Heaven

BOOK/CD......................................................................................

15 90

VOLUME 34

ANTONIO CARLOS JOBIM

JAM SESSION

Once I Loved • Corcovado • Wave • So Danco Samba • Trista • O Grande Amor • Medita on • One Note Samba • Desafinado • How Insensi ve • Girl From Ipanema • No More Blues

BOOK/CD......................................................................................

VOLUME 50

15 90

VOLUME 25

ALL-TIME STANDARDS Speak Low • I Love You • September Song • Old Devil Moon • I Can’t Get Started • The Party’s Over • A Foggy Day • Foolish Heart • Summer me • My Funny Valen ne • My Favorite Things • Come Rain Or Come Shine • Our Love Is Here To Stay • I Could Write A Book • It Might As Well Be Spring • I’ve Grown Accustomed To Your Face • Have You Met Miss Jones? 95 $ BOOK/2-CDs.................................................................................

Don’t Blame Me • Blue Moon • Laura • On The Trail • Just Friends • Without A Song • Spring Is Here • Star Eyes • Invita on • Once In A While • Over The Rainbow • My Secret Love • No Greater Love • Stompin’ At The Savoy • On Green Dolphin Street • You Stepped Out Of A Dream • I Le My Heart In San Francisco • The Shadow Of Your Smile 95 $ BOOK/2-CDs.................................................................................

GET YOUR FREE JAZZ CATALOG!

VOLUME 42

BLUES IN ALL KEYS Expand your blues in every key! See how fast your ears will take over and find yourself gaining confidence and improving your soloing. Charlie Parker learned the blues in all 12 keys before he learned anything else! Blues melodies and compa ble chord/scale progressions included. BOOK/CD......................................................................................

JAZ_COV2 COV2

1000s of Hand-Picked Items!

15 90

3/10/10 12:54:14 PM

JoAnne Brackeen

Bill Pierce

Tiger Okoshi

Berklee Alumnus ’73

Berklee Alumnus ’75

Gabrielle Goodman

Leads Grammy-nominated group. Has performed and recorded with the best: Stan Getz, Art Blakey, Joe Henderson, Dexter Gordon, Pharoah Sanders, and more…

Leads all-star groups. Has performed and recorded with the best: Art Blakey, Kevin Eubanks, Freddie Hubbard, Tony Williams, Hank Jones, Art Farmer, and more…

Leads all-star groups. Performs and records with the best: Pat Metheny, Gary Burton, Mike Stern, Dave Liebman, Tony Bennett, Dave Grusin, and more…

Leads all-star groups. Performs and records with the best: Terri Lyne Carrington, Kevin Eubanks, Chaka Khan, Christian McBride, Mulgrew Miller, Roberta Flack, Lonnie Liston Smith, and more…

Professor of Piano

Chair of Woodwind Department

Professor of Brass

Associate Professor of Voice

berklee.edu/jazzed

JAZ_1 1

3/10/10 10:52:12 AM

BILLY COBHAM “People only want to play bebop or they only want to play one specific type of jazz and they are aggressively against any other environment that reflects that particular name.”

contents

MARCH 2010

LESSONS LEARNED: THE MILT HINTON JAZZ PERSPECTIVES CONCERT SERIES 12 Eugene Marlow, Ph.D., co-chair of the Hinton Committee, discusses the evolution of the jazz concert series name din honor of Milt “the Judge” Hinton.

BASIC TRAINING: LEARN A JAZZ TUNE IN THREE STEPS 18 A how-to guide from composer and saxophonist Ed Harlow to set beginning players on the right path.

CONVERSATIONS WITH BILLY COBHAM 28 JAZZed talks with Billy Cobham, one of the most enduring and inﬂuential drummers in contemporary jazz.

MELODIC EMBELLISHMENT AND ORNAMENTATION IN JAZZ 36 JAZZ IN THE CLASSROOM: JOHN CLAYTON 44 In this installment, Brad Howey gets together with Grammy-winning bassist, composer, and educator, John Clayton.

™

2 JAZZed March 2010

JAZ_2 2

3/10/10 10:28:03 AM

™

MARCH 2010 Volume 5, Number 2 GROUP PUBLISHER Sidney L. Davis sdavis@symphonypublishing.com PUBLISHER Richard E. Kessel rkessel@symphonypublishing.com Editorial Staff EDITOR Christian Wissmuller cwissmuller@symphonypublishing.com

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

departments PUBLISHER’S LETTER 4 NOTEWORTHY 6 ALI JACKSON: WHAT’S ON YOUR PLAYLIST 10 JAZZ EDUCATION NETWORK SECTION 20 • PRESIDENT’S LETTER • NETWORTHY NEWS • JEN CONFERENCE

JAZZ FORUM 42 CROSSWORD PUZZLE 52 GEARCHECK 54 HOT WAX 58

ADMINISTRATIVE ASSISTANT Popi Galileos pgalileos@symphonypublishing.com WEBMASTER Julie Gibson julie@peepscreative.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

CLASSIFIEDS 62 AD INDEX 63 BACKBEAT: JANE JARVIS 64

Cover photograph: www.BillyCobham.com c/o Universal Attractions 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. © 2010 by Symphony Publishing, LLC. Printed in the U.S.A.

JAZ_3 3

Business Staff CIRCULATION MANAGER Melanie A. Prescott mprescott@symphonypublishing.com

21 Highland Circle, Suite 1 Needham, MA 02494 (781) 453-9310 FAX (781) 453-9389 1-800-964-5150 www.jazzedmagazine.com

Member 2010

RPMDA JAZZ EDUCATION NETWORK

JAZZed March 2010 3

3/10/10 10:28:15 AM

publisher’s letter R I C K

KESSEL

Pursuit of the Cutting Edge

n the early 1980s, a company called Simmons ers; the Mahavishnu Orchestra as well as an inDrums came onto the scene with quite a spectacu- credible group of legendary musicians like Miles lar launch of their new electronic drums. At the Davis, George Benson, George Duke, Tony WilNAMM show in Anaheim California, the music in- liams, and on and on… His diverse background dustry gathering where products are introduced to and big heart also brought him to the charity work the market each year, the president of the company, in Santos, Brazil to help children with autism, as Glynn Thomas, garnered a mixed reaction when well as homeless children. He says, “It was inevihe declared that the electronic drum would replace table that I would find myself working with them the acoustic drum in the near future. Luckily that – some of the brightest minds harboring raw talent has not happened. However, the evolution of elec- that I have ever witnessed to date. The shame of it tronic drums, drum controllers, and all was that many would never have computerized drums have had a sigthe opportunity to use their gift.” The consistent nificant impact on the way music is The consistent theme that we’ve played and have given drummers a seen among many of the artists featheme that we’ve palette of new and unique sounds. tured on our cover is the continued seen among many thirst for knowledge and education One of the early adopters of the electronic drum is our featured artist this which Cobham typifies. He has takof the artists feamonth, Billy Cobham. Way before this desire, along with a certain tured on our cover is en Simmons Drums came along, back in flair for taking risks in his music, to the continued thirst his brilliant drum style as well as his 1968, according to Cobham’s site, he connected with a small drum maker for knowledge and excellent compositional skills. Billy called Meazzi Drum Company in has no doubt influenced legions of education which Milan, Italy and began to use these drummers who bought their first instruments in conjunction with his kits after hearing his thunderous Cobham typiﬁes. acoustic sets to help develop a singuriffs, but also helped to move them lar, distinctive sound. This was just from rock to jazz as he helped to the beginning of a career that has brought drum- bridge this musical chasm. ming to a new level of technique, musicality, and As a final note, if you haven’t signed up for artistry. the first annual JEN conference at the University Throughout his career, Cobham has extended of Missouri in St. Louis, don’t miss out! There his pursuit of the cutting edge by first honing his is a wonderful line up of jazz greats, including skills in a variety of ensembles as diverse and dis- The Clayton Brothers Quintet, Bob Mitzer, Bobparate as: the St. Catherine’s Queensman drum by Shew, Marvin Stamm, Ndugu Chancler, and and bugle corps; The United States Army Band; so many others. Check out the JEN Web site at: fusion group Dreams, featuring the Brecker broth- www.JazzEdNet.org.

rkessel@symphonypublishing.com

4 JAZZed March 2010

JAZ_4 4

3/10/10 10:28:41 AM

An International Jazz Festival Without The International Costs

• • • • • • • • • • •

High g School and College/Un U iv iversity t Jazz Ensemb m les Both t Vo V cal a and Instrumental a Jazz Ensemb m les T p Jazz Profe To f ssional a s as Ad Adjudicat a ors & Clinicians Q al Qu a ity t Hotels Ove v rl r ooki k ng The Beach Buffe ff t Break akfast Each Day a at a th t e Hotel Whal a e Wa Watching Cruise with t Break akfast and Snacks Mex e ican Fiesta Dinner,r Aw Awards Ceremony n with t Liv ive Mu Ms T ophies and Medal Tr a s fo f r Outstanding Soloists Souv uvenir Logo TT shirt & Director’s Gift Free Director’s Ground Package with t 20 Paid Particip i ants Jazz Educat a ion Netw twork r Endorsed Ev Event

Three, Four, r or Fiv ive-Ni N gh g t Packa k ge g s Av Availab a le (Qu Q ad Occup u ancy) y

Starting at a $499.00 per person (Comp m etition plus one oth t er perfo f rmance)

For More Info f rmat a ion Contact: merican Classic To T urs & Mu M sic Festiv ivals 4243 E. Piedras Dr.r #155 San An A tonio, o TX 78228

1(800)733-8384 www.amclass.com ww

SPECIA IAL RE R DUCED AI A R RAT RA ES AV AVAILA LABLE L

Selecte t d ensembles perf rform with t jazz z pro rofessionalsl as soloists ts, such as Ruben Alvare rez - Latitn P rc Pe r ussion Artitstt from Chicag ago, at th t e Los Arc r os Amp m hith t eate tr overl r ooking n th t e beach.

JAZ_5 5

3/10/10 10:52:19 AM

noteworthy Disney Art for Music

n February 4th jazz bassist Stanley Clarke joined Disney Youth Programs and the Grammy Foundation at the Grammy Museum in Los Angeles for the unveiling of one-of-a-kind hand-painted string basses, designed to celebrate the 25th anniversary of Disney Magic Music Days. The instruments were designed and painted by Walt Disney Animation Studio artists. The instruments are now on display separately at music and art museums across the U.S. Following the tour, the basses will be auctioned by Julienâ&#x20AC;&#x2122;s Auctions with proceeds benefiting the music education programs of the Grammy Foundation, which works to bring national attention to the value and impact of music and arts education. The Foundation will assist in the auction and will distribute funds to various school music programs around the U.S. For more information, visit www.disneyartformusic.com.

Disney animator Claire Keane & Stanley Clarke.

Eau Claire Jazz Festival Lineup

he guest artist lineup for the 43rd Annual Eau Claire Jazz Festival includes Grammywinning trumpeter Nicholas Payton; saxophonist Kenni Holmen; violinist Randy Sabien; cellist Matt Turner; alto saxophonist Richie Cole; and jazz vocalists Connie Evingson; and Fred Steele. Events are slated for a variety of area venues April 15-18 and are sponsored in part by the University of Wisconsin-Eau Claire. The April 15th opening reception will turn Eau Claireâ&#x20AC;&#x2122;s Haymarket Grill into a jazz club when vocalist Fred Steele, backed by a UW-Eau Claire

Jazz I combo, performs. The Connie Evingson Vocal Jazz Concert will be held at 7:30 p.m. on April 15th at the State Theatre in Eau Claire. Payton and Holmen will perform in the Jazz Takes Center Stage Concert on April 16th and the Spotlight on Jazz Concert on April 17, both at Eau Claire Memorial High School. The April 18th Jazz Finale, featuring violinist Randy Sabien and cellist Matt Turner, is slated for 2 p.m. at the Heyde Center for the Arts in Chippewa Falls. For ticket information and an events schedule, visit www.eauclairejazz.com.

6 JAZZed March 2010

JAZ_6 6

3/10/10 10:29:39 AM

noteworthy Marsalis Pays Tribute to Saints Wynton Marsalis created a special tribute with music and words to The New Orleans Saints and his beloved city of New Orleans. The video streamed live on February 12th on his Facebook page and the Ustream Channel. The tribute was also featured on the CBS network’s pre-game studio show for Super Bowl XLIV. Marsalis’ recitation was recorded in Frederick P. Rose Hall, home of Jazz at Lincoln Center. The segment was designed to capture the spirit of New Orleans and the meaning of the Saints to the city. Marsalis, whose father took him to the very first Saints game when he was six years old, has been a life-long Saints fan. To find out more, visit www.wyntonmarsalis.org.

“From Ella to Mandela” The Chicago Jazz Philharmonic (CJP), in partnership with the Auditorium Theatre of Roosevelt University, continues its 2009-2010 concert season on March 11 with “From Ella to Mandela: The Legacy of the African and American Spirit.” This second concert of its season will present a musical exploration of the contributions of American jazz female vocalists, juxtaposed to the South African experience in a reprise of the Nelson Mandela inspired suite, “Hope in Action.” The program will include the Chicago Jazz Philharmonic’s full orchestra and will feature three of Chicago’s vocalists, Dee Alexander, Terisa Griffin, and Maggie Brown, giving tribute to the legacies of Ella Fitzgerald, Sarah Vaughn, and Billie Holiday. CJP will present its “Hope in Action” reprise during the second half of the program. In honor of Nelson Mandela’s 90th birthday celebration, ”Hope in Action” originally premiered July 21, 2008 on the Pritzker Pavilion Stage at Millennium Park Chicago, to an audience of approximately 10,000. The work weaves jazz, classical, and South African inspired melodies, interspersed with moments of inspirational oration taken from Mandela’s speeches. It will feature celebrated Chicago saxophonists Ari Brown and Ernest Dawkins, special guest orator, actress and Chicago native, T’Keyah Crystal Keymah, and will culminate with a grand chorus featuring Soul Children of Chicago. For more information, visit www.chijazzphil.org.

Charles Mingus Competition Winners Sue Mingus and Justin DiCioccio, producers of the Charles Mingus Festival, recently announced the winners of the second annual Charles Mingus High School Competition. Participating in the competition were some of the country’s most talented young jazz musicians. Twelve big bands and combos competed in the day-long competition representing schools from California to Massachusetts. Awards were given in two categories for each of the combo and big band performances - one for regular

Festival Organizers Justin DiCioccio & Sue Mingus.

high schools and one for specialized performing arts schools. In addition, a number of outstanding soloist awards were given. The judges for the competition included Gunther Schuller, Vincent Herring, and Andrew Homzy for the combo category, and Justin DiCioccio, Conrad Herwig, and Boris Kozlov for the big band category. , For more information, visit www. mingusmingusmingus.com.

JAZZed March 2010 7

JAZ_7 7

3/10/10 10:29:44 AM

noteworthy SUMMER AT

EASTMAN 2010

Jazz on the Classical Guitar July 22-24 GENE BERTONCINI WITH BOB SNEIDER AND STUDENT GUESTS

“A master at the height of his powers” – Fred Hersch Study and share Gene’s deep insights into improvisation, reading, and arranging for solo performance and accompanying.

Summer Jazz Studies June 27 – July 9 HAROLD DANKO, JEFF CAMPBELL, DIRECTORS

For high school students in grades 9-12 This intensive, performancebased program is ideal for students considering jazz studies at the collegiate level. Work directly with Eastman’s renowned jazz faculty, and enhance your improvisational and ensemble skills.

Middle School Instrumental Jazz July 26-August 6 HOWARD POTTER, PAUL HOFMANN, BILL TIBERIO

For students entering grades 7-10

For further course details and a full listing of all courses visit the Summer at Eastman 2010 website

www.esm.rochester.edu/summer

Stanford Jazz Workshop Videos Stanford Jazz Workshop (SJW), the jazz education non-profit at Stanford University, has produced six educational video clips for their Web site. The videos, which were filmed at the Workshop’s flagship Jazz Camp & Jazz Residency summer programs, represent the organization’s first foray into video content for the Web, and were facilitated in part by an Arts Enhance grant awarded by Arts Council Silicon Valley. Working with existing footage shot at the 2008 Stanford Jazz Workshop for archival purposes, communications director Laura G Thorne solicited recommendations from SJW’s artistic and executive director Jim Nadel and education program coordinator Ivor Holloway to create clips with the most significant potential to inform viewers who may or may not be already familiar with jazz or the Workshop. After a comprehensive review process, recordings featuring four of SJW’s faculty, Andrew Speight, Ndugu Chancler, Yosvany Terry, and Victor Lin, were chosen for the project, representing a range of subject matter covering various topics including an impromptu arrangement of the jazz classic “Night Train” and the use of diatonic scales in jazz. To view the videos, visit www.stanfordjazz.org.

NAMM Program to Support Music Careers The NAMM Foundation is now accepting applications for consideration for a William R. Gard Memorial Scholarship. The deadline for submitting an application is March 31, 2010. Employees of NAMM Member companies who are pursuing education or careers in the music products industry are encouraged to review grant guidelines and submit an online application. The William R. Gard Memorial Scholarship was established by the National Association of Music Merchants (NAMM) in an effort to encourage individuals to pursue education and careers in the music products industry. Named for a former NAMM executive vice president, the Gard Scholarship is available to employees of NAMM Member firms. Applicants must be employed by a NAMM Member company and have worked a minimum of 400 hours with the company over the past 12 months. To apply, visit www.nammfoundation.org.

8 JAZZed March 2010

JAZ_8 8

3/10/10 10:29:48 AM

“Without a doubt, this is the best trumpet I’ve ever played.” 5RJHU ,QJUDP Educator, Author, Recording Artist, and Lead Trumpet with the Orchestras of Harry Connick, Jr., Maynard Ferguson, Woody Herman, Jazz at Lincoln Center and Ray Charles. http://RogerIngram.com

Roger performs exclusively on the new XO 1600I Trumpet.

More professionals are playing XO by Jupiter. It’s time to ﬁnd out why… Once you try an XO professional trumpet, you will discover what more professionals already know. XO instruments not only perform to the highest standards, they outperform them as well. Ask your dealer to show the complete line of B , C and piccolo trumpets. XO by Jupiter. Professional. By Design. • Key of Bb, Medium-Large .459” Bore, Medium-.453” Bore, Large-.462” Bore, standard or reverse leadpipe • Key of C, .462” Bore, standard or reverse leadpipe • Piccolo Trumpet, Key of B /A, .450” Bore, yellow or rose brass bell

Q\WP[LY_V JVT

• Flugelhorn, Key of B , .413” Bore, French-style tuning slide

JAZ_9 9

3/10/10 10:52:36 AM

What’s on Your Playlist? A prodigious talent since childhood, Ali Jackson is one of jazz’s premier drummers, as well as a leading advocate of jazz/music education. A long list of credits includes performances and recordings with the likes of Aretha Franklin, George Benson, Wynton Marsalis, Joshua Redmond, and many others. Currently the drummer for the Lincoln Center Jazz Orchestra, Ali also is featured in the Wynton Marsalis Quintet, Horns in the Hood, and the Ali Jackson Quartet. Ali Jackson’s most recent disc was 2008’s well-received Wheelz Keep Rollin’ (Bigwenzee Music).

1. “Peanut Brittle Brigade (March)” (Off of Three Suites) – Duke Ellington “The swingiest holiday music ever!” 2. “A Quiet Place” (Off of Take 6) – Take 6 “Arguably the greatest acapella group ever. One of my favorite songs.” 3. “Crisis” (Off of Mosiac) – Art Blakey “Art Blakey is one of my favorite drummers. His feel is unforgettable.” 4. “Allegro” (Off of Bartók: Concerto for Orchestra; Music for Strings, Percussion and Celesta) – Bela Bartok “This is a patina of sound and texture. This is a masterpiece of orchestration.” 5. “Temperance” (Off of Taking Charge) – Wynton Kelly “Wynton Kelly, Paul Chambers, and Philly Jo Jones. One of the greatest trios ever to play jazz.”

6. “The Death Of Jazz” (Off of The Majesty of the Blues) – Wynton Marsalis “This album connected the past and present of Jazz music. The solos are soulful, modern and intricate.” 7. “No Way, No Way (You Won’t Lose)” (Off of Pages of Life: Chapters 1 & 2) – Fred Hammond “Soulful, soulful, soulful. There is a higher power!” 8. “Now’s The Time” (Off of The Essential Charlie Parker) – Charlie Parker “This is pure improvisational genius!” 9. “Passion Dance” (Off of The Real McCoy) – McCoy Tyner “One of my all time favorites! The performance and solos are life changing!” 10. “One Finger Snap” (Off of Empyrean Isles) – Herbie Hancock “I really love the sound of this album. The late Freddie Hubbard’s (trumpet) playing on this album is amazing. Truly an all-star ensemble!”

www.alidrums.com 10 JAZZed March 2010

JAZ_10 10

3/10/10 10:31:17 AM

JAZ_11 11

3/10/10 10:52:41 AM

lessons learned

CONCERT SERIES

An Evolution of Partnerships: THE MILT HINTON JAZZ PERSPECTIVES CONCERT SERIES BY EUGENE MARLOW, PH.D.

o produce and sustain a successful jazz concert series over a period of 18 years, especially in a big city, commuter college educational setting, requires not only great musicians, it also requires effective partnerships within and outside the institution. At Baruch College (the City University of New York), a combination of collaborations helped launch and has sustained the Milt Hinton Jazz Perspectives concert series since 1992. member, made a generous contribution of $20,000 to support a jazz concert series at Baruch College. A clarinetist by avocation and a jazz aficionado, Silberman wished to bring to Baruch accomplished jazz artists who, through workshop/lectures and performance, would inform and provide an educational and musical aesthetic for Baruch students and faculty in particular, and the Baruch community in general. It was a natural that the series was named in honor of bassist Milt “the Judge” Hinton who, for many years, led a Monday afternoon jazz workshop at Baruch.

An Evolution of Partners The Hinton Jazz Series’ Inception In 1992, Baruch alum Aaron Silberman, founder and CEO of the American Thermoplastics Company (Pittsburgh, Pennsylvania) and a long-standing Baruch College board

A committee was formed in 1992 to administrate and curate an annual jazz concert in Hinton’s name. I was fortunate to be asked to join the Committee as one of its original members. Today the Hinton committee consists of professors from various departments, administrators, and, from time-to-time, a stu-

12 JAZZed March 2010

JAZ_12 12

3/10/10 10:32:01 AM

lessons learned dent from within the College’s Weissman School of Arts and Sciences. All have a high interest in jazz as America’s indigenous music. Over time, the committee has partnered with several Baruch alums, maintained a close working relationship with the Dean of the Weissman School of Arts Sciences (one of Baruch’s three schools), the Baruch College Fund, the College’s Sidney Mishkin Art Gallery, the Baruch Performing Arts Center, the College’s press office and mailroom staff, the Buildings & Grounds Department, and the Security office, among other college functions. The Committee has also partnered with outside organizations, such as the Jazz Journalists Association, Chamber Music America, the Manhattan School of Music, and numerous New York City jazz clubs for speaker and musician contacts. Nurturing and maintaining these partnerships is an on-going effort all in the service of ensuring the concert series named in Milt Hinton’s honor continues to have a life.

Cuban. We have even mounted concerts featuring zydeco and “crossover” styles. Identifying and contracting with jazz musicians in New York City – called by some the jazz capital of the world – is the easy part. The difficult part is everything else.

A Passing, A New Building, New Challenges On December 19, 2000, beloved Milt Hinton, who attended virtually all of the annual concerts since 1992 as a very special guest, passed away. We

The Concerts The November 1992 inaugural concert starred Hinton, himself, together with his picks for an “All-Star” ensemble: Seldon Powell (saxophone), Bob Rosengarden (drums), Mike Walters (saxophone and woodwinds), Derek Smith (piano), Jay D’Amico (piano), Mike Grey (trombone), and John “Bucky” Pizzarelli (guitar). This magical first concert in Mason Hall auditorium, the college’s ground floor 600+seat auditorium in its landmark 23rd Street/Lexington Avenue building, saw famed trumpeter Wynton Marsalis join the group during the concert’s second half. Mason Hall was packed. We could not have asked for a more successful first concert. Since 1992 the series has hosted a range of jazz musicians and groups, from well known to up and coming, from duos and trios to big band, straight ahead jazz to R&B, bluegrass to Afro-

had always reserved front row center seats for him and his wife, Mona. She continued to come to the concerts until illness prevented her from attending. She passed in 2008. In early September 2001, Baruch College opened its Vertical Campus two blocks from the College’s landmark 23rd Street Building. The opening of the Vertical Campus marked a significant change for the College and the Hinton series. The flow of students and faculty gradually changed.

Turtle Island String Quartet

JAZZed March 2010 13

JAZ_13 13

3/10/10 10:32:06 AM

lessons learned Prior to the 2002-2003 academic year all annual Hinton concerts were held in Mason Hall, usually in November at 1 p.m. on a Thursday – so-called “club hours” when no classes are offered. Even if students and faculty had not planned to attend the concert, hearing the sounds of the performers

through the doors of the ground floor auditorium drew them in. The move of student classes and faculty offices to a new building only two blocks away, however, presented new challenges. Even though we ramped up promotion activities, we began to see an eventual change in audience size. In response, the Hinton Committee – now headed by myself (since 2000) and co-chair Gary Hentzi, Associate Dean of the Weissman School of Arts and Sciences – saw the need to change the series’ “perceived value.” It was increasingly apparent future funding would be a “challenge.” While seemingly counter-intuitive, part of the answer was to expand the series from an annual event to four per year while maintaining the same level of funding. This meant smaller groups, concomitant smaller performance fees, and ultimately cozier venues, but the overall

impact and impression was a more frequent, more beneficial contribution to the College’s mission. The Committee re-shaped concert scheduling. Starting with the 20022003 season, we strategically partnered with annual themes. For example, while the first fall concert now usually took place in October, a second event was scheduled in early December to coincide with the holidays. A third concert took place in February to coincide with Black History Month, and a fourth was scheduled for April during Jazz Appreciation Month. We also planned early evening concerts, in addition to club-hours presentations. We experimented with several campus venues to attract students, ultimately deciding on the 175-seat Engelman Recital Hall, located in the lower level of the Vertical Campus. The hall offered numerous advantages, including a mintcondition Steinway Concert Grand, a plentitude of dressing rooms close to the stage, a Green Room, and outstanding acoustics. A New York Times music critic called Engelman “…one of the best recital halls in the city.” We have hosted smalls groups there quite successfully, including Grammy-nominee R&B singer Carla Cook who presented us with our first “sold-out” SRO performance in the Vertical Campus, and the Turtle Island String Quartet that won the 2006 Grammy for best “crossover album” just one week before their scheduled performance. Again, a sold-out performance. In Engelman we have also hosted sextets, octets, even the 19-piece Manhattan School of Music Afro-Cuban Jazz Orchestra under the direction of multi-Grammy nominee Bobby Sanabria. Around this time Paul Ash, a Baruch College alum, and Chairman of Sam Ash Music, became another partner. He generously donated a brand new drum kit and a bass amp for specific use by Hinton concert musicians.

A Shift In Emphasis The 15th season ended with a lecture/demonstration on legendary pia-

14 JAZZed March 2010

JAZ_14 14

3/10/10 10:32:12 AM

lessons learned nist Art Tatum given by yet another Baruch alum, Arnold Laubich. This lecture was also part experiment. We perceived a need to create an even stronger link between the Hinton series and the Weissman School of Arts and Sciencesâ&#x20AC;&#x2122; pedagogical mission. We began to plan in the direction of lecture/demonstrations as opposed to purely performance-oriented events. We also began to program broader variety. For example, the 2008-2009 season (#17) focused on performers who reflected the â&#x20AC;&#x153;globalnessâ&#x20AC;? of jazz: Indian-born jazz guitarist Rez Abassi and his trio; Italian-born vocalist Roberta Gambarini and her trio; multiGrammy nominee Nuyorican drummer Bobby Sanabria who delivered his masterful â&#x20AC;&#x153;clavĂŠ celebrationâ&#x20AC;? lecture/demonstration; and Columbian-born jazz harpist Edmar Castaneda (with trio).

STANFORD JAZZ

BPAC: A Marketing and Media Partner A significant change in our marketing modus operandi evolved simultaneous to the opening of Baruchâ&#x20AC;&#x2122;s Vertical Campus in September 2001: the creation of the Baruch Performing Arts Center (BPAC). The Hinton Committee readily accepted the concept that the concert series should partner with and be placed under BPACâ&#x20AC;&#x2122;s â&#x20AC;&#x153;eventâ&#x20AC;? umbrella because of its strength in marketing, promotion, and stagecraft. Prior, Committee members handled all these functions. The Committee, together with BPACâ&#x20AC;&#x2122;s Managing Director, John Malatesta, and his staff, has forged a mutually advantageous collaborative relationship. The Hinton Committee selects, contacts, and negotiates with

jazz performers. We also host each concert. In turn, BPAC provides the facility and stage and house crew for a performance, contract and check payment preparation, and much needed marketing.

WORKSHOP

10TH ANNUAL

summer jazz workshop

at Crossroads School for in Santa Monica, California

s 0ERSONALIZED #URRICULA s YEARS OF QUALITY JAZZ EDUCATION s /NE ON ONE INSTRUCTION BY WORLD CLASS FACULTY s 3TUDY 0LAY WITH THE "EST IN *AZZ

S U M M E R 2 0 1 0 % $ 5 # !4 ) / . 0 2 / ' 2 ! - 3 &!#5,49 ).#,5$% *!:: #!-0 YOUTH 7EEK *ULY 7EEK *ULY

*!:: 2%3)$%.#9 ADULTS ADVANCED YOUTH !UGUST

'EORGE #ABLES $ENA $E2OSE $AVE $OUGLAS -ADELINE %ASTMAN 4AYLOR %IGSTI ,ARRY 'RENADIER %RIC (ARLAND 4OOTIE (EATH

*ULIAN ,AGE *UNIOR -ANCE #HARLES -C0HERSON .ICHOLAS 0AYTON #LARENCE 0ENN *OSHUA 2EDMAN *OSH 2OSEMAN 2EUBEN 2OGERS

Arts & Sciences

A six-week program for students entering 6thâ&#x20AC;&#x201C;12th grade designed to enhance a young musicianâ&#x20AC;&#x2122;s knowledge and skills in jazz music. Ensembles will perform at venues in Los Angeles and at Disneyland. Guest artists have included Peter Erskine, Marcus Miller, Danny Gottlieb, and James Newton Howard. Jazz is alive and well at Crossroads, so come and be a part of it! for dates and program information visit us at www.xrds.org

2%')34%2 /.,).% WWW STANFORDJAZZ ORG JAZZed March 2010 15

JAZ_15 15

3/10/10 10:32:27 AM

ARBORS RECORDS WHERE CLASSIC JAZZ LIVES ON Dick Hyman’s Century of Jazz Piano Now available, Dick Hyman’s tour-de-force survey of historic styles of jazz piano in 121 performances on a set of 5 CDs with a DVD of instruction and analysis, plus historical and personal notes. Special retail price $60 and special price for non-profit educational institutions $30

ARCD 19348 American Express, VISA, MasterCard, Discover accepted. Free catalog: Arbors Records 2189 Cleveland Street, Suite 225, Clearwater, FL 33765 Phone: (800) 299-1930 Fax: (727) 466-0432 E-mail: mrd@gate.net Internet: www.arborsrecords.com

Our partnership with BPAC has also extended our audience base. In addition to Baruch students, faculty, and administration, the Hinton series now attracts larger community audiences. Ensuring an audience for each event has been a matter of effective promotion partners. Concerts/ events receive advanced publicity in The Ticker, Baruch College’s student newspaper. BPAC organizes the design and reproduction of postcards distributed to all 500+ faculty and administration at the College, as well as throughout the City University of New York system. Four-color posters are displayed at key junctures on the Baruch College campus. Smaller versions of the concert poster are distributed on each floor of the Vertical Campus. An electronic news release prepared by myself is distributed via email to various internal and external promotion outlets, including a College web site dedicated to the Hinton series. The news release is also sent to Baruch College’s manager of press relations who places the concert information with various newspaper and magazine calendar editors. The news release headline is also posted on the college’s internal electronic bulletin boards, a system of flat-screen monitors throughout the Vertical Campus building, managed by the College’s Office of Student Development. The Committee also partners with professors. By cross-referencing course schedules with scheduled Hinton events, we encourage professors to assign each concert/event to their respective classes as an extra credit writing assignment or as an assignment for the entire class. This strategy directly ties into Baruch’s overall mission of exposing students to broader cultural opportunities.

The 18th Season: More Adjustments As of this writing, America is still in the throes of the worst recession in its economic history since the Great Depression of the 1930s. When the Hinton Committee met in the fall of 2008 16 JAZZed March 2010

JAZ_16 16

3/10/10 10:32:35 AM

to begin considering the 18th season it was apparent then it was going to be financially challenging; we would have to be prepared to make adjustments. Sure enough, in early 2009 we met with the Weissman School’s Dean, Jeffrey Peck, to talk about probable budget cuts for the forthcoming 2009-2010 academic year. We were prepared. Prior to this meeting the Committee had a Plan B: a four-event season, this one, equally divided between performances (Trio Da Paz and the Andy LaVerne/John Abercrombie Duo) and two lecture/ demonstrations (the four-hour PBS documentary “Latin Music USA” with Bobby Sanabria and “The Blues As It Lives Today” with Jazz Journalists Association President Howard Mandel). The Dean appreciated our cooperative response.

People Partnerships Make It Happen In truth, the Committee could not have mounted an 18th season or started planning for a 19th were it not for the support of the College’s administration. Fact is, even though our budget has been curtailed and this may be a budgetary fact of life for the next couple of years, there is strong support for the series at the top. It is no accident. Committee members, both emeritus and current, have worked hard in the last 18 years to create and nurture partnerships within and outside the College. Without these numerous on-going partnerships and collaborations, the Series would have faltered. The Hinton Committee looks forward to many more seasons to come. Eugene Marlow, Ph.D., is a professor in the Department of Journalism and the Writing Professions, Baruch College, the City University of New York. He was among the original members of the Hinton Committee formed in 1992 to organize jazz concerts in Milt Hinton’s name. He became co-chair in 2000. Dr. Marlow, himself a jazz pianist and composer of over 200 jazz and classical compositions with five CDs on his resume, has taught a range of courses in media and culture at Baruch since 1988.

JAZZed March 2010 17

JAZ_17 17

3/10/10 10:32:40 AM

basic training

LEARNING A JAZZ TUNE

Learn a Jazz Tune in Three Steps BY ED HARLOW

1. Melody From an accurate lead sheet, play through the melody from three to 10 times with a metronome set to a medium tempo. After you find yourself playing the song while not really reading the notes anymore, turn the sheet over and play it again from memory. If you make a mistake, just continue playing to the end of the melody. If you weren’t able to play all of the melody correctly, try to play through the part where you made the mistake, still without looking at the lead sheet. If you can’t play it correctly without looking at the music, turn the lead sheet over, take a look at the area in question, play through that part two to four times, and then cover up the sheet music and play that section of the song again from memory. If successful, play through the entire melody from memory again. If not, play the part where you made the mistake, from the sheet again five to 10 times and again without looking at the music, and then try to play the whole song from memory once again.

2. Chord roots Now turn the lead sheet over so you can see the melody and chords again. With a metronome, play through the roots of the chords in time. You could simply play quarter notes, or make up a syncopated rhythm as illustrated in this example: While playing chord roots may not be as overtly compelling as the typical melody, you will find that they very often carry a sublime interest and charm in themselves. This is especially true of songs with

unusual progressions such as “Stella by Starlight,” “I Remember You,” and “Invitation.” Memorize the roots of the chords in the same manner as you memorized the melody. Again, if you make a mistake go back as many times as is necessary to be able to play it from memory. 3. Chord qualities Take a look at the lead sheet again and play 1, 3, 5 of each chord. For example: Play this pattern through the chord changes three to 10 times at a moderate metronome setting. Chordal and rhythmic accuracy along

Repeat this sequence until you’re completely comfortable playing the song from memory.

18 JAZZed March 2010

JAZ_18 18

3/10/10 10:33:24 AM

basic training 6<17+(7,&

5 ( ( ' 6 with feel is the goal here, not speed. Once youâ&#x20AC;&#x2122;ve memorized this pattern, try a new one, such as 1, 7, 3. There are an abundance of permutations that are possible.* You might spend hours, days, or even weeks on one song when you apply a multitude of permutations to a songâ&#x20AC;&#x2122;s chord progression. This is a good exercise for your fingers, ears, and mind. The more variety of ways you play the chords, the better you will know the song and the chords themselves.

GMLD9KLK ;9F= *(( LG ) )(( ;GFKAKL=F;Q ;9F := ;DAHH=< 9F< K@9N=< HD9QK AEE=<A9L=DQ

:9JA KL9J

As you use this method, each successive song that you learn will come more quickly than the one before as your mind becomes more familiar with the process and the different types of chords.

OYje]j$ <Yjc]j Lgf]

Apply this method to any song, and you will be able to play the melody and improvise over it from a position of melodic and chordal knowledge. Couple this with broader musical experience, and youâ&#x20AC;&#x2122;ll be able to offer a relaxed and natural musical performance. * 1, 3, 5, 7 3, 5, 7, 9 7, 3, 5 7, 3, 9 1, 2, 3, 4, 5 5, 4, 3, 2, 1 1, 10, 7 1, 10, 5 et cetera Composer and saxophonist Ed Harlow has played with Tony Bennett, Paquito Dâ&#x20AC;&#x2122;Rivera, and the orchestras of Glenn Miller, Artie Shaw, and Tommy Dorsey. An alumnus of New England Conservatory, Harlow publishes his original compositions through Advance Music.

:9JA GJA?AF9D :jaddaYfl$ NaZjYfl Lgf]

9N9AD9:D= AF2 9DD KLJ=F?L@K >GJ2 ;D9JAF=LK 9F< K9PGH@GF=K ZZZ EDULZRRGZLQG FRP ZZZ P\VSDFH FRP EDULZRRGZLQG %DUL :RRGZLQG 6XSSOLHV //& $ 'LYLVLRQ RI WKH &DYDQDXJK &RPSDQ\

MADE IN THE USA JAZZed March 2010 19

JAZ_19 19

3/10/10 10:33:28 AM

Our network is growing

JAZZ EDUCATION NETWORK A MESSAGE FROM JEN PRESIDENT MARY JO PAPICH March, 2010 “If you want to go quickly, go alone. If you want to go far, go together.” – African Proverb Dear Friends, Everywhere I go people tell me how impressed they are that JEN is growing so quickly! I attribute that totally to this African proverb that stresses working TOGETHER for the benefit of all. In existence less than two years, the JEN Board of Directors is PROUD to produce a quality conference this spring. You will not want to miss this…come for the weekend or only a day! We have an impressive list of headliners, clinicians and school ensembles lined up for you. If you haven’t already, register online now at www.JazzEdNet.org to attend this exciting and historic conference. The first 500 members to register at the early bird rate receive priority seating at evening concerts. Order your ticket online for the fun Meet Me in St. Louis Celebration prior to the Friday night concert that will feature the favorite, tasty foods of the area complete with local wines and brews… the Jazz St. Louis All Stars will perform for your listening pleasure! I can’t wait to see you at the first annual Jazz Education Network Conference to be held May 20-22, 2010 at the University of Missouri St. Louis Sun, fun and jazz! I just returned from the Puerto Vallarta Jazz Festival, a JEN endorsed event held over President’s Day weekend annually. The jazz bands/choirs in attendance were of outstanding quality and were received by the locals and tourists with great applause and appreciation. I met with the presidente de municipale (mayor) and el director de turismo and they are supporting the jazz festival in hopes that it will evolve into a major cultural event. This is an event that I started as a result of my work with the Highland Park/Puerto Vallarta Sister Cities committees and traveling to perform there successfully with student groups from my high school. It made sense to me to offer this wonderful experience to other quality school/university groups and at the same time, bring more jazz and commerce to PV. The young musicians also performed for local students and brought along a variety of school supplies to leave for the needy schools. I have never seen more smiles on faces throughout the weekend! One student commented, “Ms. Papich, this was the best weekend of my life!” For more info, see the Networthy News section. It’s hard to beat sunshine, palm trees and a huge happy crowd for which to perform in February! Thanks to all of you who applied for nominations to the JEN Board of Directors. There have been many capable applicants. Now the Nomination Committee will review them and propose a slate to the membership so the new board members can take office by July 1st. Thanks for the continued support of new JEN leadership. By the time you read this I may be on my way to South Africa to spread the JEN word at the South African Jazz Education Conference. Also presenting will be Dr. Lou Fischer (President-elect) and Judy Shafer (Columbus Jazz Arts Group). JEN is growing globally with members now in 15 countries! Special thanks to Mike and Diane Rossi at President’s Log University of Capetown for their continued support! March 5-6 BOA National HonIn the spirit of excellence and with the advancement of jazz education always in mind…I look forward to workors band ing with you and for you. See you in St. Louis, if not before! March 28-30 SAJE Conference Mary Jo Papich – University of Cape Town, SA President, Jazz Education Network April 2-4 Cape Town Jazz FesInterim Fine Arts Director Niles School District 219 tival – South Africa 5701 W. Oakton St. April 6-8 Brubeck Festival at Skokie, IL 60077 Brubeck Institute – Stockton, 847-626-2050/2560 CA mjpapich@jazzednet.org May 20-22 1st Annual JEN or Conference – St. Louis, MO 1601 Oakwood #101 Highland Park, IL 60035

JEN Board of Directors: Ruben Alvarez, Paul Chiaravalle, John Clayton –Vice President, Steve Crissinger – Webmaster, Jose Diaz, Lou Fischer – President Elect, Rick Kessel, Jackie Harris – Secretary, Mary Jo Papich – President, Paris Rutherford, Bruce Silva, Bob Sinicrope, Terrell Stafford, Andrew Surmani – Treasurer, Jim Widner, John Wittmann. Our goal is to be a vital resource for a constantly evolving global art form today and for JENerations to come.

www.JazzEdNet.org JAZ_20 20

3/10/10 1:11:54 PM

networthynews Be sure and stop by to say HELLO and catch up on the latest plans about the upcoming first annual conference to be held at the beautiful University of Missouri- St. Louis May 20-22nd, 2010. Have you registered yet? Visit www.JazzEdNet.org today! JAZZ EDUCATION NETWORK

The 2nd Annual Puerto Vallarta Jazz Festival participants performed for thousands of locals and tourists at the Los Arcos Ampitheatre on the Malechon in perfect weather Feb.12–15 in sunny Mexico! The outstanding groups and their directors were: Crescent Jazz Institute’s “La Onda Caribena” – CALEB CHAPMAN (UT), Herbert Hoover High School Jazz Orchestra and String Ensemble – CRAIG KUPKA, Niles North High School “Take One” – DAN GREGERMAN (IL), Niles West High school “Guys and Dolls” – AMY BRANAHL (IL), DAN KALNES, DAVID LELLO, Southern Nazarene University Jazz Ensemble – DR. PHIL MOORE. The JEN endorsed event clinicians/performers included RUBEN ALVAREZ (IL–Board), DR. SUE CRUSE (TX) , DR. ROBERT MILLER (AZ) and founder/artistic director of the PV Jazz Fest MARY JO PAPICH (IL).

Minnesota and the District of Columbia in recognizing the end of enslavement in America,” states Rev. Ronald V. Myers, Sr., M.D., Founder & Chairman of the National Juneteeenth Holiday Campaign and the National Juneteenth Observance Foundation (NJOF). Juneteenth commemorates the day when slaves in the last geographic area in America where slavery existed learned of their freedom. This took place on June 19, 1865, in Galveston, Texas, when Union General Gordon Granger read General Order #3, announcing that “all slaves are free” by Proclamation of President Abraham Lincoln. Indianapolis native and JEN member, DR. LARRY RIDLEY, master jazz bassist and Executive Director of the African American Jazz Caucus (AAJC), will be honored for his support for Juneteenth legislation at the annual Indianapolis Juneteenth Jazz & Heritage Festival on June 24th. The festival is part of “June Is Black Music Month!” – CELEBRATE JUNETEENTH JAZZ – “Preserving Our African American Jazz Legacy!” and is in partnership with the National Association of Juneteenth Jazz Presenters (NAJJP).

Award winning Jazz Composer CHUCK IWANUSA’S (MI) latest composition, entitled “What Do You Want?”, was premiered by the Dave McMurdo Jazz Orchestra on Feb. 15th in Toronto at the REX Jazz and Blues Bar. The fourteen minute piece features tenor saxophonists Quinson Nachoff and Kelly Jefferson. Chuck’s compositions have been professionally performed by bands in Western Australia, Kazakhstan, and Switzerland, as well as by numerous college and university ensembles. Heralded as Canada’s “Jazz Big Band of the Year” by The Jazz Report, the Toronto based Dave McMurdo Jazz Orchestra has toured throughout the world with performances from Moscow to New York City.

April 5–10th the grammy nominated CLAYTON BROTHERS QUINTET will be in residence with Jazz St. Louis, according to PHIL DUNLAP (MO), Director of Education. Throughout the week the quintet will be involved with various schools in the St. Louis area participating in clinics and masterclasses. Phil is heading up JEN Outreach programs/Artists in the Schools during the upcoming conference in May.

Indiana has become the 34th state to recognize Juneteenth as a state holiday or state holiday observance thanks to legislation introduced by State Representative William Crawford and passed by the Indiana legislature.… Congratulations to Rep. William Crawford and all those involved with this latest accomplishment – “Indiana joins Texas, Florida, Oklahoma, Delaware, Alaska, Idaho, Iowa, California, Wyoming, Illinois, Missouri, Connecticut, Louisiana, New Jersey, New York, Colorado, Arkansas, Oregon, Kentucky, Michigan, New Mexico, Virginia, Washington State, Tennessee, Massachusetts, North Carolina, West Virginia, South Carolina, Vermont, Nebraska, Kansas, Wisconsin,

FREDERICK NOREN (Sweden) is on a mission to deliver the best of Swedish Jazz to the rest of the world… check out his hot band at http://www.mirrors.nu/… It is worth the listen!!!! Fred will be bringing a talented trio of jazzers to perform at the JEN conference… they are amazing and inspiring! Introducing Jazz Solos For Bass, Vol. 2 by Lou Fischer Kendor welcomes well–known jazz educator/bassist and JEN Co–Founder/President Elect DR. LOU FISCHER (OH–Board) to the Kendor family of writers with his sequel to the bestselling LYNN SEATON (TX) book, Jazz Solos For Bass, Volume 1. This new collection of jazz solos for bass is designed for either acoustic or electric bass playing pizzicato or arco. Ranging in difficulty from grade 1+ to grade 6, each of these 12 solos is based on standard chord changes in a variety of key signatures, tempi, and styles to JAZZed March 2010 21

JAZ_21 21

3/10/10 10:35:42 AM

networthynews JAZZ EDUCATION NETWORK

interest and challenge players. Articulation, dynamics, and slur markings are provided. The solos work equally well with or without a rhythm section, and chord symbols are provided. Kendor Bass Solo Item # 14076 online. The Collection contains: BLUES FOR GAYLORD; WAVING; HAWK TALKIN’; L–O–V–E; TAKING THE TRAIN; THERE’S 3 IN THAT 1; KEEP ON SMILING...WHEN; Bb BLUES; ALL THOSE THINGS; RHYTHMING THEM CHANGES; SHUCKIN’ AND JIVIN’; OCEAN The University of Kansas School of Music is pleased to present the 33rd annual Jazz Festival March 5–6, 2010, featuring saxophonist KENNY GARRETT and trumpeter CARL SAUNDERS. For three decades, the KU Jazz Festival has been one of the focal points for jazz performance and education in the central United States. The festival has annually provided the region with a wonderful opportunity to hear and learn from world–class jazz musicians and educators. Evening concerts feature a first–rate lineup of some of the most important and exciting musicians in the world of contemporary jazz, while daytime clinics and master classes with these and other artists allow students and community members to interact with them outside of the concert hall. For additional information about the Jazz Festival visit http://kujazzfestival.com.

Check it out… a new book… Instrumental Jazz Arranging consists of a systematic presentation of the essential techniques and materials of jazz arranging. Authors MIKE TOMARO (PA) and JOHN WILSON draw upon 50+ years of combined teaching experience to bring you a book that addresses all of the basic needs for beginning arrangers. Topics include counterpoint/linear writing, jazz harmony, compositional techniques, and orchestration. All topics serve to address issues concerned with true arranging in great detail. The book may be used in both individual and classroom instructional situations. The accompanying CDs – 170 tracks in all! – include many of the examples in the book, plus templates for assignments formatted for Finale®. Juilliard Jazz presented the New York premiere of guest faculty member and Juilliard alumnus CHRISTIAN MCBRIDE’S The Movement Revisited, a musical tribute dedicated to civil rights icons Rosa Parks, Muhammad Ali, Malcolm X and Dr. Martin Luther King, Jr. on Tuesday, February 2, 2010 at 8 PM in Juilliard’s Peter Jay Sharp Theater. The Movement Revisited is presented as part of Juilliard’s and Lincoln Center ’s Black History Month Celebration. Its four sections are each dedicated to one of these influential figures in American history. Mr. McBride was moved by these heroes and felt compelled to write the work. He composed all of the musical selections for the piece, including the narrative and lyrical works. The Movement Revisited is for a 17–piece big band, narrators, and a gospel choir.

The International Women In Jazz association announces their 3rd Annual Women In Jazz Festival to be held April 18th, 23rd, 24th of 2010 in NYC. For more information visit info@ internationalwomeninjazz.com SHERRIE MARICLE (NY) and DIVA and 5 Play just returned from a big successful tour to Germany. To read about more their latest happenings… visit www.Divajazz.com . NEA Jazz Master CLARK TERRY received the Lifetime Achievement Award from The Recording Academy®. The ceremony was held on Saturday, January 30. The next night, a formal acknowledgement aired on the live Grammy Award broadcast. The Lifetime Achievement Award is just the beginning of a year full of celebrations for Clark Terry’s 90th birthday on December 14, 2010. Don’t miss these exciting, interesting and educational events happening at the Rock and Roll Hall of Fame and Museum in honor of Black History Month, celebrating the Sound of Philadelphia! Please pass this along to your students as well, as they can have a chance to hear living musical legends tell their stories first hand! Find the complete schedule of events at http:// www.rockhall.com/public/black–history/. RSVP today to reserve your seat by emailing edu@rockhall.org or call 216–515–8426!! We are looking forward to the great performance by the ARMY BLUES (DC) at the upcoming conference in St. Louis. To get more information on how to become a part of this talented group visit www.goarmy.com/band

Send your NETWORTHY NEWS items to: networthynews@JazzEdNet.org 22 JAZZed March 2010

JAZ_22 22

3/10/10 10:35:46 AM

Evening Concerts at JEN Conference Thursday, May 20 Brubeck Institute Quintet - Steve Anderson, director The members of the Brubeck Institute Jazz Quintet (BIJQ) are in the Institute’s Fellowship Program. Winners of numerous DownBeat awards, including the 2007 and 2009 awards for best collegiate jazz group in the country, this group has performed in the Monterey Jazz Festival, Playboy Jazz Festival, Brubeck Festival, Detroit Jazz Festival, and others, and have done concerts in California, New York, Washington, Florida, Texas, Chicago, Toronto, Minneapolis, Washington DC, and on a State Department tour in Spain. The members of the 2009-2010 BIJQ are: Nick Frenay, trumpet; Chad Lefkowitz-Brown, alto sax; Noah Kellman, piano; Zach Brown, bass; and Corey Fonville, drums.

Caswell Sisters The riveting performances of the Caswell Sisters, vocalist Rachel and violinist Sara, are the culmination of years of working together. Their seamless sound combined with their unique interpretation of repertoire ranging from the “Great American Songbook” to contemporary jazz including their own compositions is propelled by arresting improvisation. The Sisters have given concerts nationwide and continue to provide audiences with electrifying performances through their unique combination of sound and artistry.

The JEN All-Stars Hosted by bassist John Clayton, this promises to be a happening event featuring a multitude of favorite artists attending the conference. Be certain not to miss the excitement and spontaneous combustion created by this group!

The Army Blues “Pershing’s Own” - CW5 Charles H. Vollherbst, director The U.S. Army Blues celebrated its 35th Anniversary in 2007. The Army Blues became an official part of the United States Army Band “Pershing’s Own” in 1972. Over the years

it has evolved into the premier jazz ensemble of the U.S. Army. As a component of The United States Army Band “Pershing’s Own,” the Army Blues is one of the few remaining professional big bands working today. The “Blues” were awarded their first ever “Wammy” (Washington Area Music Awards) in February 2008 for “Blues at Thirty Five.”

Friday, May 21 Sixth Wave is an award-winning Los Angeles-based a cappella vocal sextet, whose vibrant sounds span a wide spectrum of styles presented in original arrangements including jazz, contemporary rock/pop and traditional choral music. Sixth Wave was the 2001 National Harmony Sweepstakes Champions and currently is highly in demand as festival performers and clinician/educators throughout the U.S. and Canada. Featuring the talents of: Elin Carlson, Cindy Bourquin, Jennifer Barnes, Greg Whipple, Greg Jasperse, and Eric Bardley, their third and most recent CD recording, Happy Madness, has received critical acclaim for its originality, eclecticism and overall musical integrity.

Rufus Reid OUT FRONT Trio featuring Steve Allee, piano and Duduka Da Fonseca, drums. Rufus Reid’s professional career began in Chicago and continued since 1976 in New York City. His extensive jazz background and discography reads literally like the Who’s Who in jazz. He has traveled, performed and recorded with many of the great Jazz Masters, including: Gene Ammons, Kenny Dorham, Eddie Harris, Sonny Stitt, Don Byas, Philly Joe Jones, Thad Jones, Mel Lewis, Dexter Gordon, Bill Evans, Stan Getz, Dizzy Gillespie, and Art Farmer. The OUT FRONT trio is yet another chapter being written by the world’s truly Evolving Bassist!

University of Missouri - St. Louis Big Band - Jim Widner, director The UMSL Jazz Ensemble is now in it’s seventh year under the direction of Jim Widner. A highlight each year for this group is serving as the host band for the Greater St. Louis Jazz Festival. Historically, the band has appeared with and shared concerts with such artists as: Clark Terry, Buddy DeFranco, John Pizzarelli Quartet, Bobby Watson, Wayne Bergeron, Lou Marini, Mulgrew Miller, Marilyn Maye, Jon Faddis, Tom Scott, Chris Vadala, Conrad Herwig, Bill Watrous, Shelly Berg and Gordon among many others. Tonight’s concert will feature percussionist Ruben Alvarez, vibrophonist Stefon Harris and trumpeter Wayne Bergeron, and promises to be a smoking finish for the evening!

JAZZed March 2010 23

JAZ_23 23

3/10/10 10:35:50 AM

JAZZ EDUCATION NETWORK

Saturday, May 22 Hannes Sigfridsson Trio - Fredrik Noren, director Contemporary trio jazz with Johan Lindvall, piano; Tom-Eddye Nordén, bass; and Hannes Sigfridsson, drums. As winners of the Swedish Jazz federation youth jazz competition 2009, they are a good example of the standard of young jazz groups in Sweden up to 19 years of age.

Marvin Stamm/Bill Mays Duo combines the talents of two classically-trained masters of Jazz and improvisation who have spent their professional careers at the pinnacle of Jazz performance, with groups like the Stan Kenton and Woody Herman big bands, numerous small ensembles, and in the studios of Hollywood and New York. In a duo setting, trumpeter Marvin Stamm and pianist Bill Mays explore the beauty, the excitement, the subtlety, and the grace of the world of music - the Great American Songbook, magnificent Jazz standards, even music from the classical world - all through the spontaneous interaction of Jazz and documented by their critically acclaimed CD, By Ourselves.

Rosana Eckert & Friends With smooth sounds, dynamic spontaneity, exciting rhythms, and a selfless musical sincerity, Rosana Eckert embraces and captivates her listeners, taking them on a musical journey that is often described as joyous, breathtaking, and inspiring. Her acclaimed de-

Project erosity

but CD, At the End of the Day, was praised as “an occasion for celebration” by AllAboutJazz.com and “a superior debut.” by Cadence Magazine, and it was a finalist for Best New Jazz Album in the 2006 Independent Music Awards. Her newest CD, Small Hotel, once again showcases her knack for storytelling and her ability to breathe new life into beloved standards with her contemporary style. Friends include: Shelly Berg, piano; Lou Fischer, bass; Ndugu Chancler, drums; and Gary Eckert, percussion.

The Clayton Brothers Quintet This world-renowned quintet, is the brain-child of saxophonist Jeff Clayton. According to Jeff, some 30 years ago he and Grammy Award winning brother bassist/composer/arranger John, agreed to support each other’s preferred formats. Jeff’s love of small groups led to the formation of the Quintet. The band’s latest album Brother to Brother was released in November 2008 and is currently nominated for a Grammy award. John Clayton, bass; Jeff Clayton, alto saxophone; Gerald Clayton, piano; Terell Stafford, trumpet; Obed Calvaire, drums. John and Jeff Clayton prove conclusively, that while blood may be thicker than water, it can also carry an unimpeded flow of pure creativity.

As many of you know, Hurricane Katrina brought most of the already troubled music education programs in New Orleans to a halt… a permanent halt in many schools. Almost every school music program ceased when their buildings and all of their schoolowned instruments were destroyed by the storm. Few kids in New Orleans owned instruments even before the storm. If the school didn’t provide one, they didn’t play an instrument.

Tipitina’s Foundation is a New Orleans non-profit organization that accepts used instruments to distribute to the schools. (tipitinasfoundation. org) In their Instruments A Comin’ program, Tipitina’s Foundation has distributed 2000 instruments to over 55 local schools and in the hands of deserving students each year... until now. Since the needs of New Orleans’s schools are no longer in the news, this past year they only obtained 100 instruments to donate to the schools. Jazz Education Network is sponsoring an instrument donation program called “A JENerosity Project” at the upcoming conference in St. Louis. We are asking conference attendees to bring used instruments that you are willing to donate to the conference, which will be delivered to New Orleans where Tipitina’s Foundation can distribute them to the school music programs. Items such as mouthpieces, jazz and concert band music, music stands, band uniforms and other things related to a functioning instrumental music program would also be accepted. New Orleans is the birthplace of jazz and the need is still great for jazz

to thrive there within its own musical community. Tipitina’s Foundation is already in place with a well-defined program of evaluating the requests from school’s needing instruments. Donating to some other city without a similar time-tested foundation or mechanism for distribution runs the risk of no accountability or process to make sure the instruments get to the schools that need them. The foundation owns all instruments so that if a school closes or loses its music program, the foundation can re-distribute the instruments to other deserving schools. Schools requesting instruments must have a music program in place with a qualified band director in order to participate. A letter of receipt for tax purposes will be provided by Tipitina’s Foundation to donors who request one. Only instruments in playing condition can be accepted since Tipitina’s Foundation has neither funds nor a process to repair instruments, String instruments are also needed. Please send an email to projectJENerosity@JazzEdNet.org if you plan to bring an instrument to the conference or have questions or suggestions.

24 JAZZed March 2010

JAZ_24 24

3/10/10 10:35:55 AM

The Jazz Education Network 1st Annual Conference University of Missouri – St. Louis Schedule May 20-22, 2010 Thursday, May 20, 2010:

7:30 pm – 10:30 pm

EVENING CONCERTDoors open 7pm

11:00 pm – 1:00 am

LATE NIGHT JAM! featuring Gene Perla GO Trio, Christian Howes, Tony Garcia, Mike Tomaro

8:00 am – 6:00 pm

Registration Open

10:00 am – 12:00 pm

Open Board Meeting

12:00 pm – 12:50 pm

Dave Robinson & Capital Focus Jazz Band

1:00 pm – 1:50 pm

Sperreng Middle School Jazz Band Brian Wyss, director

8:00 am – 6:00 pm

Registration Open

9:00 am – 5:00 pm

EXHIBITS OPEN!

Bob Mintzer, The Saxophonist in the Rhythm Section

9:00 am – 9:50 am

Ft. Zumwalt North High School Rob Babel, director

Friday, May 21, 2010:

Victor Goines/John Clayton/ Terell Stafford College Entrance Guidance from the Experts

Instrumental Big Band Reading Session Mike Tomaro, presiding featuring the U.S. Army Blues

The Future of Online Media Technology in Jazz Cheryl Hughey, clinician 2:00 pm – 2:50 pm

JAZZ CHOIR: Effective Rehearsal to Stellar Performance Michele Weir, clinician

Missouri All State Jazz Band

Jazz for kids/easy and fun! Infusing jazz into elementary music. Sharon Burch & Sherry Luchette, clinicians

Drop 2 for Pianists & Arrangers Mark Levine, clinician

New Knowledge for Engaging Jazz Audiences Carol Argiro & Christy Farnbauch, clinicians

The Classical String Player: Making the Leap to Jazz Improv Christian Howes, clinician Management for the Self-Managed and Emerging Artist Gail Boyd, Karen Kennedy, Orbert Davis (Panel Discussion) 3:00 pm – 3:50 pm

St. Charles North High School John Wojciechowski, director Niles North High School TAKE ONE Vocal Jazz Group Dan Gregerman, director

Who’s Minding the Store! Rufus Reid, clinician Social Networking for New Artists Rachel Kelly, Marina Terteryan, Andrea Pelloquin Andrew Surmani, moderator

5:00 pm – 7:00 pm

10:00 am – 10:50 am

Transcribing Jazz Solos Without Pitches Antonio Garcia, clinician

JEN Junior Advisory Council JAM

JAZZed March 2010 25

JAZ_25 25

3/10/10 10:35:59 AM

JAZZ EDUCATION NETWORK

10:30 am – 11:20 am

Gene Perla - GO Trio

4:00 pm – 4:50 pm

Latin Rhythms: Mystery Unraveled A Practical Approach to Introducing Latin Rhythms to the Jazz Ensemble. Victor Lopez, clinician 11:00 am – 11:50 am

Capitol Bones w/Tom Bones Malone Composition: The Art of Melodic Progression & Reharmonization - Stefon Harris, clinician Marketing Jazz: Programming in the 21st Century Willard Jenkins, moderator

Johnston High School Patrick Kearney, director Arranging for the Jazz Vocal Ensemble Larry Lapin, assisted by Sixth Wave

Marshall University Big Band Ed Bingham, director

5:00 pm – 7:00 pm

JEN Junior Council Jam

Traditional Jazz - It’s Not Just for Breakfast Anymore! Dave Robinson, clinician

5:30 pm – 7:30 pm

Meet Me in St. Louis! Celebration! Ticket Required featuring the Jazz St. Louis All-Stars

11:30 am – 12:20 pm

Roundtable-Open Discussion on K-8 Judy Shafer, clinician

7:30 pm – 10:30 pm

EVENING CONCERT Doors Open 7pm!

11:00 pm – 1:00 am 12:00 pm – 12:50 pm

U. of West Georgia Jazz Percussion Ensemble Doug Overmier, director

LATE NIGHT JAM! featuring: Shelly Berg, Ndugu Chancler, Bobby Shew, Bones Malone, Bob Mintzer, and Lou Fischer.

U. of Northern Iowa Big Band Chris Merz, director The Care and Feeding of the Trumpet Section Mike Vax, clinician Listening 101 Get your students to listen to jazz Robert Klevan, clinician

Saturday, May 22, 2010: 8:00 am – 3:00 pm

Registration Open

9:00 am – 4:00 pm

EXHIBITS OPEN!

9:00 am – 9:50 am

Austin Academy Margaret Wis, director

1:00 pm – 2:00 pm

VISIT THE EXHIBITS!

The Adam Larson Quintet

1:00 pm – 1:50 pm

Jazz St. Louis All Stars Phil Dunlap, director

Anyone Can Improvise Jamey Aebersold, clinician

2:00 pm – 2:50 pm

GENERAL SESSION!

Think Jazz Ensemble 24:7 Pete Barenbregge, clinician

3:00 pm – 3:50 pm

College of the Mainland Big Band Sparky Koerner, director

“Digital Magic” Seamlessly From ‘Live’ Recording (to MP3) to Web Posting in Minutes John Kuzmich, clinician

John Wojciechowski Jazz Quartet Singing Jazz: How do you Begin to Learn Your Craft? Lisa Kelly & J.B. Scott, clinicians Breaking the mold: Taking big band writing to the next level. Tim Davies, clinician

10:00 am – 10:50 am

Hannibal High School T. J. Panula, director

The Evolution of Jazz Music in the 21st Century Panel Discussion: Gerald Clayton, Stefon Harris

26 JAZZed March 2010

JAZ_26 26

3/10/10 10:36:02 AM

Chris Merz’ Equilateral Hands On Activities In Jazz for K-8 Students Sherry Luchette, clinician

Deal-Hannes Sigfridsson Trio Fredrik Noren, director The ALIVE Project: Jazz Education via Distance Learning Alan Molnar & Stewart Smith, clinicians

2:30 pm – 3:20 pm

An Afternoon with Ella Fitzgerald Fran Morris Rosman, clinician

3:00 pm – 3:50 pm

Columbia College Chicago Combo Scott Hall, director

10:30 am – 11:20am

Where are the Girls? Ariel Alexander, clinician

11:00 am – 11:50 am

Tinley Park High School Vincent Aiello, director

OslanDailey Jazztet

Jerry Tolson Quintet

Jazz improvisation One Step At A Time Dean Sorenson, clinician

JEN Student Composition Forum Dave Fodor, clinician 12:00 pm – 12:50 pm

4:00 pm – 4:50 pm

Webster Groves High School Kevin Cole, director

Abraham Baldwin Agriculture College Donald Coates, director Get Your Groove On: Latin Rhythm Section Intensive Michael Philip Mossman, clinician

Finding the Time: From Swing to Salsa Ndugu Chancler, clinician

Inventions Trio Marvin Stamm, Bill Mays, Alisa Horn

Phil Brown and the New Arts Jazztet Advocacy In Action: Tips for Effective advocacy! Richard Victor, clinician

Tune Learning - A Systematic Method for Memorizing and Retaining the Essential Jazz Repertoire. J.B. Dyas, clinician

Teaching Jazz History and Appreciation Mark Gridley, clinician

4:30 pm – 5:20 pm

Downbeat Blindfold Test: Frank Alkyer, clinician

1:00 pm – 2:00 pm

VISIT THE EXHIBITS!

5:00 pm – 5:50 pm

1:00 pm – 1:50 pm

Milton Academy Jazz Combo Bob Sinicrope, director featuring: Terell Stafford & Ruben Alvarez

University of Alabama Big Band Chris Kozak, director

6:00 pm – 7:00 pm

JEN Junior Council Jam

7:30 pm – 10:30 pm

EVENING CONCERT Doors open 7pm

11:00 pm – 1:00 am

LATE NIGHT JAM! featuring: Brubeck Quintet, Dean Sorenson, Mike Vax

2:00 pm – 2:50 pm

Metropolitan Area Youth Jazz Orchestra Peter Madsen, director UCLA Big Band Charley Harrison, director

JAZZed March 2010 27

JAZ_27 27

3/10/10 1:12:24 PM

m a h b o C y l l i B h t i w s n o ti

n a i c i s u M e h

a s r e v n Co

28 JAZZed January 2010

JAZ_28 28

3/10/10 10:38:59 AM

t n e d u t S sa

tein s r u B haim

by C

JAZZed January 2010 29

JAZ_29 29

3/10/10 10:39:11 AM

hroughout his storied career, Billy Cobham has constantly been one of the most innovative and influential drummers in the world of jazz. Scratch that – Billy Cobham is one of the most innovative and influential drummers in the world, period. In 1968, while on tour with Horace Silver, Cobham played one of the first ever Electronic Drum Controllers produced by the Meazzi Drum Company. He was also one of the first drummers to play ‘open handed’ (leading with his left hand) – a technique which has influenced drummers from Steve Smith to Carter Beauford. Perhaps most importantly, Billy is one of the preeminent drummers to successfully lead his own groups, composing, arranging and directing several ensembles from 1978 to the present. His playing has influenced drummers from all genres who envy his powerful yet precise technique and the undeniable grooves he lays down. With a career that spans over 50 years, not only is Cobham one of the most recognizable names, but also one of the hardest working musicians in the business. He’s played with everyone from Miles Davis and Chick Corea to Peter Gabriel and Santana. As a composer, performer, and bandleader, Cobham is one of the most prolific drummers to date. Currently, Billy is credited on over 400 albums, over 40 of which are his own. In fact, when JAZZed caught up with Cobham, he was in the middle of rehearsing for his latest project: Palindrome.

“Working with Miles was an opportunity to learn how to become independent in my thinking.”

Despite his busy schedule and intense work ethic, Cobham is a laid back, patient, and very thoughtful person. Oftentimes, our focus at JAZZed is, understandably, on the “musician as a teacher.” Cobham turned that angle on its head as his focus, in his own musical quest, is on the musician as a student. While Cobham does run clinics, workshops, and master classes all over the world, his ability to push his own comfortable limits, learn new things, and constantly hone his art is admirable. After all, jazz is an everevolving art form, and if you aren’t hitting the woodshed to learn new things for yourself, what good are you to your own students? JAZZed: As a young musician, did you have any mentors that helped shape the way you play today? BC: Not really. There were some people who helped to shape my personality in some ways. One would be Ed Bigton, one would be Grady Tate, one would be Billy Taylor, and another one was a guy named Chris White. They were people who I really respected and are also very special musicians – some of whom are no longer with us. JAZZed: Who were some of your earliest inﬂuences? BC: Oh, Man – Early? Sonny Rollins, Miles Davis, John Coltrane, Dizzy Gillespie, Louis Nelson… People like that. JAZZed: What was it like to work with Miles? BC: Working with Miles was an opportunity to learn how to become independent in my thinking. By that I mean that he wanted you to think and make decisions that you were responsible for. If he said nothing, then they were good decisions. If he had something to say relatively negative, then you knew you made a mistake and it should be something that you don’t do again. I was very fortunate that I had that opportunity to experience, at that level, that kind of freedom.

30 JAZZed March 2010

JAZ_30 30

3/10/10 10:39:16 AM

JAZZed: Did that opportunity and experience change your playing? BC: Absolutely! Itâ&#x20AC;&#x2122;s at the foundation of what I do to this day. The objective is, at least as a writer, to seek out and to find individuals who can interpret what I have written in the way that I would like. This is due to the fact that I feel in my presentations it might be difficult for me to actually play in real time the ideas that I think. So, with that as a base, I try to give them a very strong fundamental presentation. From there, I expect them to not just play that presentation, but to still be independent within the way I present it to them and to expand it to a dimension that they feel much more comfortable with and maybe one that I will feel more comfortable with. That gives us two options. The one that I gave them and the one that they have inside them and this is something that I feel I kind of morphed into after working with Miles.

Billy Cobham & Asere

JAZZed: As a bandleader and musician, how has your approach to playing and leading musicians changed over the years? BC: I feel that I have matured in terms of making decisions, both quick, for the short term and far, seeing in the long term. I have learned to differen-

tiate between tolerance and authoritativeness, when necessary. These traits have helped me through some very interesting times over the past 35 years. JAZZed: How do you approach the writing process? Is it organic or do you force yourself to write new music?

APRIL 15-18

GUEST ARTISTS

Bringing world-class jazz and internationally recognized artists to Western Wisconsin.

MASTER CLINICIANS

www.eauclairejazz.com JAZZed March 2010 31

JAZ_31 31

3/10/10 10:39:25 AM

BC: I write in an organic way, as I am impressed by the life on and off stage and seek to reflect these experiences through my compositions. JAZZed: What’s the hardest thing about teaching? BC: The hardest thing is getting people to accept your dogma. JAZZed: How do you get over that hurdle?

BC: You don’t get over it. You try to be as instructional as you can so that you can adjust to the personalities which you have to work with. The last thing the world needs is a teacher that is rigid in presentation. What teachers, coaches, or someone who is a consultant must do, and what makes them strong and effective, is have the ability to make their presentation to an individual and get their point across based upon the relationship between the Billy Cobham and Terri Bozzio, Japan, 2008

JUNE 23-JULY 3, 2010 PRESENTED BY JAZZ ASPEN SNOWMASS CHRISTIAN McBRIDE Artistic Director LOREN SCHOENBERG Program Director CATEGORIES: MAINSTREAM W/ VOCALIST SOUL JAZZ, LATIN JAZZ, GROOVE, WORLD FUSION, NEW ORLEANS

BANDS ONLY NEED APPLY Admission Deadline April 2, 2010

two. The thing is: everybody’s different. So, you have to find the key, that opens up the lock in the students mind in such a way so that they can understand what you’re presenting to them. JAZZed: What’s the most fulﬁlling thing about teaching? BC: When you see your ideas put into motion by the student. JAZZed: Do you have any advice for young musicians? BC: Have patience. This will take a while. JAZZed: What up and coming drummers are you currently listening to? BC: None JAZZed: Wow. Does that say something about the state of drumming or the state of music today?

Alumni, where are you now?

vii

CHECK: WWW.JAZZASPEN.ORG FOR DETAILS

Band Edition

Info: 970.920.4996 or www.jazzaspen.org

BC: No, It says that I am absolutely oblivious to young drummers. I don’t have time to listen to young drummers because I’m just trying to find a gig for myself. I’m not about to go to a club or listen to a record and say, “Wow that guy sounds good. Who is that?” No, more than likely, I’m just trying to figure out how to do better than I have been doing because I’m a student, too, and I’m constantly trying to hone my craft. If I hear somebody that I like, probably I won’t even go up to them and ask them who they are. If I do find out, it’ll be in passing, for sure. Most of the time, I’m trying to be creative

32 JAZZed March 2010

JAZ_32 32

3/10/10 10:39:31 AM

on my own and come up with things – music or compositions – that continue to represent who I am now based upon my past, so I’m not listening to a whole lot of people. JAZZed: You mentioned that you think of yourself as a student. As a student, how do you approach learning new techniques, skills and music? BC: I keep my mind open to new avenues and approaches to my craft. I believe that understanding what not to do is as important as learning and understanding what to do in any given situation. Analysis is key to everything. So, I try to absorb what is said or done and then take my time to understand what is before me before I choose a path in working with it. JAZZed: What are some of the things that you’re currently working on and how are you approaching them? BC: I am trying to better grasp the concept of working with south Asian and Caribbean percussion as a base, with vocal choral presentation. I intend to present an example of this concept within the next two years. Also, I’ve been working to further develop my understanding of

music and it’s usage within the realm of Autistic and Down Syndrome Therapy. JAZZed: You’ve been living across the pond in Switzerland for over 20 years... BC: Actually, almost about 30 now. JAZZed: What prompted the move? BC: Slower pace. I’m not really somebody that’s fast of foot or fast of mind, but I love to think deeply about things before I make a move. In the United States, that’s kind of tough. I find myself in Europe very much backing away, and going to Europe to view the United States from across the water helped me understand the treasures that are there because the U.S. is extremely rich. I mean, I was brought up in an environment where I could have gone to school and got a Doctorate in music and in the process never left New York. I could have walked to every school all my life and never been farther away than five miles from my home in any direction. That tends to give you an idea of what’s available in society in the United States. I mean everything – high school, middle school, baseball – everything was there. And that said to me, “You

gotta get out of this secure environment that dictates what the world is all about. Go visit and see for yourself if in fact what the words in the books say about the world is actually true.” So, eventually I made that move. Remember, when I was a kid, I had books in geography that dictated how and what was China. At the time I was going to school, China was a geographical outline in red with a yellow hammer and sickle in the middle. Africa was black and it said, “The Dark Continent,” and it didn’t give the names of any countries! Russia was another yellow hammer and sickle on a red background with only one city: Moscow. If you believe that, then that sets you off in a specific direction. But, if you go and you look for yourself, you’ll find that there are many, many countries that made up what was USSR, and as I have traveled I’ve found that they are all extremely different. They’re as different as New Jersey is from Oklahoma! So, the more you know as a musician, the better. You play what you know. So, you have to build and make adjustments for the things you haven’t been told and learn to read between the lines as much as possible – that’s what creates unique personalities.

“You have to find the key that opens up the lock in the students’ mind in such a way so that they can understand what you’re presenting to them.”

JAZZed March 2010 33

JAZ_33 33

3/10/10 10:39:37 AM

JAZZed: Speaking of personalities, what qualities do you look for in a musician? BC: I think there are certain things that are very important about a musician. A good musician has to be very patient – as patient as he possibly can be. He also has to be extremely observant, and he has to be healthy, both mentally and physically. You have to understand that the machine that you’re controlling with your mind is your body and it is imperative that both work together very well for the life of the artist. If you can find musicians who do that, you normally find musicians who excel. Most musicians are thinkers who express themselves in specific ways because they’ve had time to sit back, think and observe the rest of society and say, “Well, I think I can do this in this particular area.” All of those things are very important qualities. JAZZed: You were one of the ﬁrst people to embrace electronic instruments. How has technology affected your craft? BC: The electronic environment is a platform that allows infinite creative di-

rections for me. I try to commit to a path within it and expand on this route as best I can without knowing where I am headed but understanding that the concept will be greater than what I had before. JAZZed: What do you think about the state of Jazz today? BC: I think that the lines are very clearly cut as to what happens in the jazz environment. It’s gotten to the point where even philosophically – I mean you have band names like, “The Jazz Police” - people only want to play bebop or they only want to play one specific type of jazz and they are aggressively against any other environment that reflects that particular name. I think that World Music encompasses, or is now the umbrella under which, all music is enveloped. Jazz is just but a small, yet extremely rich and intense, concept that lives and leans, in a very real way to the right. Most of the geniuses in music, or at least in modern music today – they kind of slip into that area. The problem with that is, because they’re geniuses, they’re very, very selfish people. They only want to hear and talk

about themselves. Then, they require an audience which would be more than one person – which would be themselves – that can justify what they’re talking about! The end result doesn’t change. These guys are the ones who create the fundamental base for everything that we call popular or “pop,” so they’re quite necessary. JAZZed: What are your future goals as an artist? BC: To continue to create the music of my mind and the music of my experiences. The music is a reflection of where I’ve been, what I’m doing now, and also what my future holds for me. In a certain way, it’s a glimpse into where I’d like to go. Especially when I make blatant mistakes. You know, things I’d like to try to do but for some reason I can’t because I don’t have my head wrapped around it yet. I’m always experimenting and I think that that’s very important and a major requirement in performing this kind of music. Actually, any kind of music, but this kind of music, especially.

34 JAZZed March 2010

JAZ_34 34

3/10/10 10:39:44 AM

JAZ_35 35

3/10/10 12:50:22 PM

Melodic Embellishment and Ornamentation in Jazz BY LEE EVANS

n the last issue of JAZZed, I discussed techniques of melodic development in jazz improvisation for the benefit of the aspiring jazz musician. These included repetition and sequence, plus repetition and sequence in altered forms such as rhythmic diminution, intervallic diminution, rhythmic augmentation, intervallic augmentation, fragmentation, complete melodic alteration, rhythmic shift, retrograde, melodic inversion, retrograde inversion, chromatic alteration, and octave displacement (octave shift). I then demonstrated various ways in which these compositional techniques might be used in combination in order to achieve unity in improvisation. Related to the above is melodic embellishment and ornamentation in jazz, the focus of the current JAZZed article, the material of which will be divided into four categories: A. Weak beat ornaments. B. Strong or weak beat ornament. C. Other ornamental devices. D. Combinations of devices from the above three categories, by way of the enrichment and development of a single melodic motive.

A. WEAK BEAT ORNAMENTS Passing tone â&#x20AC;&#x201C; a chromatic tone between two adjacent scale tones (Abbreviation: P.T.) (Note that in traditional usage, half or whole-step scale notes which, in a melody, pass between the tones of a triad or chord are sometimes referred to as passing tones. For the purpose of this article, however, these will be called scale tones. Only half-step tones occurring between adjacent scale notes will be called passing tones in this article.) EXAMPLE:

36 JAZZed March 2010

JAZ_36 36

3/10/10 10:41:12 AM

Anticipation tone – an anticipation tone between two adjacent scale tones. (Abbrev: A.T.) EXAMPLE:

Échappée – a tone occurring between two adjacent scale tones, the motion to the ornamenting tone being contrary to the motion between the scale tones. (Abbrev: E.) EXAMPLE:

Cambiata – a tone occurring between two adjacent scale tones, the motion to the ornamenting tone being the same as the motion between the scale tones. (Abbrev: C.) EXAMPLE:

Neighbor tone (upper or lower) – a half or whole-step tone occurring between two of the same tones. (Abbrev: N.T.) EXAMPLE:

JAZZed March 2010 37

JAZ_37 37

3/10/10 10:41:17 AM

B. Strong or Weak Beat Ornament Jazz appoggiatura – a leaping tone (an interval larger than a 3rd) which then moves a major or minor 2nd in the opposite direction. (Note that a jazz appoggiatura is a melodic embellishment that does not take into consideration the harmonic or rhythmic implications of the traditional appoggiatura. (Abbrev: J.A.) EXAMPLE:

C. Other Ornamental Devices Grace note – an ornamental tone whose time value is not counted in the rhythm (Abbrev: G.N.) EXAMPLE:

Repeated tone – (Abbrev: R.T.) EXAMPLE:

Tremolo – the rapid alternation of two tones. (Abbrev: trem.) EXAMPLE:

Scale tones – tones found in any scale other than the chromatic scale. (Chromatic scale tones would be heard as passing tones.) (Abbrev. S.T.) EXAMPLE:

38 JAZZed March 2010

JAZ_38 38

3/10/10 10:41:22 AM

Chord tones â&#x20AC;&#x201C; tones outlining any chord, including altered chords. (Abbrev: C.T.) EXAMPLE:

Free tone â&#x20AC;&#x201C; an ornamental tone having no relationship to any chord being sounded. (Abbrev: F.T.) EXAMPLE:

Â·7b eOa SOaWZg bVS []ab W\T]`[ObWdS Q]\QS\b`ObSR S\S`USbWQ T]QcaSR ^`]TSaaW]\OZ O\R Tc\ XOhh SRcQObW]\ Sf^S`WS\QS SdS` Â¸ Â´ @WQVO`R AW[]\ 8Ohh/[S`WQO :]a /\USZSa 1/

Y M E â&#x20AC;&#x2122; D A ON C I A al T nu n R ISA YC A O 1th 1 s â&#x20AC;&#x2122; ter CT ROV IN N en E C oln IR IMP 10 â&#x20AC;&#x201D; inc L D t za D ING , 20 Jaz N BA ACH 5â&#x20AC;&#x201C;28 â&#x20AC;&#x2DC;TE NE 2 B67A G3/@Â¸A 02/ T]QcaSa ]\ W[^`]dWaObW]\ VO\Ra ]\ ZSO`\W\U O\R QZOaa`]][ bSQV\W_cSa JU

B= @357AB3@ XOZQ ]`U PRO #& '& PRO.XOZQ ]`U

4/1 C :B G 7 <1 :C 23 A @]\ 1O`bS` BS`SZZ AbOTT]`R @SUW\OZR BV][Oa @]R\Sg EVWbOYS` O\R ]bVS`a

JAZZed March 2010 39

JAZ_39 39

3/10/10 10:41:28 AM

D. Combinations of the Above Ornamental Devices The following are examples of several different ways in which a given motive may be embellished, employing in combination the ornamental devices described in this article.

Lee Evans is Professor of Music at NYC’s Pace University. He is the author/composer/arranger of 95 books and numerous articles. The material of this article is derived from Dr. Evans’s book Improvise By Learning How To Compose (Hal Leonard). His most recent solo-piano publications (for The FJH Music Company) are the late-beginner level Color Me Jazz, Book One, and the intermediate/upper intermediate level Olé! Original Latin American Dance Music.

40 JAZZed March 2010

JAZ_40 40

3/10/10 10:41:34 AM

IT’S ONE BADAAX. royal gold

Mercury black

diamond spiral

Warrior

Raw, classic, subtle, boisterous, Bold, the pursuit of musical excellence

AVA I L A B L E F R O M

lives in the New Big Lip series – part of the extensive L.A. Sax line. for more of the legendary l.a. sax story, visit www.lasax.com.

JAZ_41 41

www.MusicFactoryDirect.com 888-368-7770

3/10/10 10:52:57 AM

jazzforum Thelonious Monk The Life and Times of an American Original Authored by Robin D.G. Kelley, Free Press, A Division of Simon & Schuster, Inc., Copyright © 2009. With permission of the author, excerpts are edited and compiled by Dr. Larry Ridley, Jazz Artist, Professor of Music Emeritus, Rutgers University, and, AAJC Executive director.

“The piano ain’t got no wrong notes!”

www.aajc.us

from Monk’s initial heartbreaks to his lifelong commitment to his muse, the extraordinary Nellie Monk. And it is about his unique friendship with the Baroness Nica de Koenigswarter, a scion of the famous Rothschild family whose relationship with Monk and other jazz musicians has long been the subject of speculation and rumor. Nellie, Nica, and various friends and family sustained Monk during the long periods of job-

So ranted Thelonious Sphere Monk, who proved his point every time he sat down at the keyboard. His angular melodies and dissonant harmonies shook the jazz world to its foundations, ushering in the birth of “bebop” and establishing Monk as one of America’s greatest composers. Yet throughout much of his life, his musical contribution took a backseat to tales of his reputed behavior. Writers tended to obsess over Monk’s hats or his proclivity to dance on stage. To his fans, he was the ultimate hipster; to his detractors, he was temperamental, eccentric, taciturn, or childlike. But these labels tell us little about the man or his music. In the first book on Thelonious Monk based on exclusive access to the Monk family papers and private recordings, as well as on a decade of prodigious research, prize-winning historian Robin D.G. Kelley brings to light a startlingly different Thelonious Monk – witty, intelligent, generous, politically engaged , brutally honest, and a devoted father and husband. Indeed, Thelonious Monk is essentially a love story. It is a story of familial love, beginning with Monk’s enslaved ancestors from whom Thelonious inherited an appreciation for community, freedom, and black traditions of sacred and secular song. It is about a doting mother who scrubbed floors to pay for piano lessons and encouraged her son to follow his dream. It is the story of romance,

lessness, bipolar episodes, incarceration, health crises, and other tragic and difficult moments. Above all, Thelonious Monk is the gripping saga of an artist’s struggle to “make it” without compromising his musical vision. It is a story that, like its subject, reflects the tidal ebbs and flows of American history in the Twentieth Century. Elegantly written and rich with humor and pathos, Thelonious Monk is the definitive work on modern jazz’s most original composer. Robin D.G. Kelley is professor of History and American Studies at the University of Southern California. His books include Race Rebels: Cul-

42 JAZZed March 2010

JAZ_42 42

3/10/10 10:42:32 AM

jazzforum ture, Politics, and the Black Working Class and Freedom Dreams: The Black Radical Imagination. He has written on music for The New York Times, The Village Voice, Jazz Times, Lenox Avenue, The Nation, and other publications. He lives with his family and his Baldwin baby grand piano in Los Angeles. Kelley is currently a 2010 lecturer at Oxford University in England. The professional performance career of Larry Ridley contains many major highlights and I thank God for enabling me with the talent to access and be a factor in these achievements (www. larryridley.com). Performing, traveling, â&#x20AC;&#x153;hanging outâ&#x20AC;? and my friendship with Thelonious, his siblings Thomas and Marion, Nellie, Nica, â&#x20AC;&#x153;Toot,â&#x20AC;? â&#x20AC;&#x153;Boo Boo,â&#x20AC;? â&#x20AC;&#x153;Teeny,â&#x20AC;? and other members of the Monk family has been extraordinary. Playing in several configurations of Thelonious Monk ensembles and subbing for one of my mentors, Al McKibbon with the â&#x20AC;&#x153;Giants of Jazzâ&#x20AC;? (Dizzy Gillespie, Sonny Stitt, Curtis Fuller, Art Blakey, and Thelonious Monk) was extremely memorable. The depth of the intellectual and spiritual aesthetic I learned and felt is difficult to totally articulate in words. My highest regards to my friend and colleague Robin D.G. Kelley for dedicating 14 years of his life researching and writing this book. He has composed a book that truly describes the innovative genius life and times of one of the great masters of African American music - Jazz. This book, Thelonious Monk â&#x20AC;&#x201C; The Life and Times of an American Original, is available from www.Amazon.com. I highly recommend everyone read it. It should also be incorporated into K through PhD and alternative educational curricula.

SUMMER IN SEATTLE. EXCEPTIONAL YOUNG ARTIST WORKSHOPS. THE ART OF JAZZ PIANO June 21 â&#x20AC;&#x201C; 25, 2010 Randy Halberstadt and Dawn Clement

IMPROVISATION FOR CLASSICAL MUSICIANS July 5 â&#x20AC;&#x201C; 9, 2010 Denny Goodhew

JAZZ CAMP July 12 â&#x20AC;&#x201C; 16, 2010 Denny Goodhew, Dawn Clement, Jay Thomas, and Jovino Santos Neto

INTRODUCTION TO LATIN JAZZ July 19 â&#x20AC;&#x201C; 23, 2010 Jovino Santos Neto, Chris Stover, Joe Santiago, and Ben Thomas www.cornish.edu/summer/music | 206.726.5030 Priority application deadline: April 15, 2010

MUSIC

YOUTH STUDIOS WWW.CORNISH.EDU/SUMMER/MUSIC

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

35th Annual Summer Workshop August 8 - 14, 2010 The Putney School in Putney, Vermont 2010 Faculty Includes:

3 Educational Tracks

Jay Clayton Howard Brofsky Pete Yellin Sheila Jordan Marcus McLaurine Eugene Uman Julian Gerstin Peter Eldridge Harvey Diamond Helmut Kagerer Steve johns Claire Arenius George Kaye Satoshi Takeishi

s Instrumental Jazz s Vocal Jazz s Jazz Composition &

Arranging

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

Faculty subject to change

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

www.vtjazz.org

(802) 254-9088

info@vtjazz.org JAZZed March 2010 43

JAZ_43 43

3/10/10 10:42:37 AM

in the classroom

JOHN CLAYTON

John Clayton: “On Another Level” BY BRAD HOWEY

rammy winning bassist, bandleader, composer/arranger, and educator John Clayton is without question one of the most gifted and hardest working men in jazz today. His consistent and sensitive bass playing, multi-awardwinning composition and arranging, and outstanding co-leadership of one of the world’s finest jazz orchestras has gained him a reputation for immense talent and versatility. And his deep and far-reaching commitment to young people and to jazz education has secured his place within in the hearts and minds of students and jazz educators everywhere.

Clayton has recorded with, performed with, and written music for many of the finest that jazz has to offer, including Diana Krall, Nancy Wilson, Natalie, Cole, Milt Jackson, Quincy Jones, George Benson, and many others – as well as for some of the world’s finest ensembles. He has served as the artistic director of Jazz for the Los Angeles Philharmonic, and is currently the artistic director for the Lionel Hampton International Jazz Festival and the Centrum Jazz Workshop in Port Townsend, Washington. We are so very fortunate that he is willing to spend this time with us ‘In the Classroom.’ – Brad Howey: John, it is such a pleasure. John Clayton: I’m thrilled to be here. BH: You grew up around music: at home, at church, and then later on, at school. I wonder if you wouldn’t mind sharing a favorite musical memory with us – something that made an early impression on you regarding the importance of music.”

JC: Well, It’s only in hindsight that I realize how important some of those early experiences really were. For instance – people often talk about how music builds our sense of community. I first witnessed that when my mom would invite church choir members over to our house to practice. It was people just getting together and making music, and it made an impression on me that still sticks with me to this day. BH: I would imagine that your Mom’s musicianship set an important early example for you as well? JC: Yes – her musicianship has always been so amazing to me because she’s pretty much selftaught. With only a few lessons she learned the chord changes to songs and how to accompany the church choir in the gospel style. But I’ll never forget when she went from influencing us to the other way around – when my own musicianship had grown in high school and later on in college to the point where she would call out: “Johnny, come

44 JAZZed March 2010

JAZ_44 44

3/10/10 10:43:31 AM

in the classroom over here and figure out this chord for me.” It was wonderful to watch that transition. And it has been wonderful to watch the same thing happen to me as my own son’s musicianship has grown to the point where I find myself asking him: “Gerald, can you show me that again?” BH: That is wonderful, John. Now, I know you have often told the story of how you came to play the bass. But would you mind sharing that story with us – and what it is about the bass that you enjoy most to this day? JC: Well, in junior high school we were allowed to choose from several different electives, like art, choir, or instrumental music. I chose the instrumental music class, and when I walked into the band room the band director asked me what I would like to sign up for. I said “Ooo – can I play that thing over there?” And he said “sure.” He wrote down my name and next to it wrote down “tuba”. But as I was walking out of the room I saw these four gorgeous brown things standing in a corner, and I asked: “Can I play one of those, instead?” So he crossed off tuba and wrote down what has turned out to be my destiny. The great Billy Higgins used to say that you don’t choose the instrument – the instrument chooses you. That was clearly the case in my situation. Though I didn’t know much about the bass when I first started out, I began to fall in love with the instrument: with the sound of the bass; and with the vibrations it creates in the low frequencies. The sound and feel of the bass really connected with me then and still does to this day. Sometimes I’ll have a student stand behind me and I’ll let them touch the instrument with their leg or thigh while I bow some low notes. I look at them and smile, and I say, “That’s why I play the bass.

he really stressed was repertoire: learning as many tunes as you possibly could. As a teacher, his attitude was: “I’m serious about this, and you should be, too.” And that doesn’t mean he wasn’t a fun guy. Every time I talked to him, he laughed; and most times I talked to him he had a joke to tell. He was really all about fun in life, and wanting to have fun. I remember us leaving the bedside of Milt Hinton. Milt had all the tubes going, and the mask on, and all of that; it was really a sad occasion. And as Ray and I drove back to our hotel, he was really sad, and he said: “When I go, I want people to have a party, because I’ve had a great time here on earth.” For me it was a glimpse into what Ray Brown was really about; that even though he was very serious as a teacher when it came to what we had to do on the bass, he really had fun in life, as well. It was a great balance. BH: Thank you for that, John. Could you take just a moment and reﬂect on how those experiences have shaped your own life? JC: Well, in many respects, I am a Ray Brown clone. I am very serious about the bass. I love it to death; but I have to say: the older I get, the less patience I have for people who

BH: As a young man you had the opportunity to study with the great bassist, Ray Brown. Please share something with us that you learned from him, and a little something of what he was like as a teacher. JC: Sure. I took a course that Ray taught at UCLA – it was an extension course, so I could take it while I was in high school. It met every other week, in the evening. The first lessons that he taught all of us had to do with the importance of learning your major and minor scales and all the various chord types in as many octaves as you could. He really stressed that more than anything, because when you’re armed with all of that, the instrument itself and the music you play won’t throw you. It’s not just about getting it under your fingers; it’s about getting those chords and their “flavors,” if you will, in your ear so that you can sing what a minor triad with a minor sixth sounds like; or so that you can sing a diminished seventh, as well as play it. The other thing JAZZed March 2010 45

JAZ_45 45

3/10/10 10:43:35 AM

In the Classroom… Activity 1) Mr. Clayton said: “Though I didn’t know much about the bass when I first started out, I began to fall in love with the instrument…. The sound and feel of the bass really connected with me then and still does to this day.” Like Mr. Clayton, you probably didn’t know much about your instrument when you first started out, either. What has been the most important thing that you have learned about (or on) your instrument that has made it more enjoyable to play; and what do you enjoy most about playing your instrument today? 2) Mr. Clayton said that as his teacher, Ray Brown stressed the importance of learning major and minor scales and the various chord types so that: “…the instrument itself and the music you play won’t throw you.” What are the things that your music teacher emphasizes most, and why do you think she/he believes those things are so important? 3) Like Mr. Clayton, you have no doubt spent quite a bit of time playing both classical music and jazz. So now the question goes to you: What have your experiences playing classical music done to inform and improve your jazz playing, and how has your jazz playing helped you to better understand and appreciate classical music? 4) “When we jazz players wake up in the morning, we turn on a jazz station. When we get in the car, we pop in a jazz CD. When we go and hear somebody play, it’s very likely a jazz group. …ultimately the only way to get the sound that you’re looking for is to…immerse yourself in that sound or style….” What sounds and styles are you immersing yourself in, and how is your immersion in those sounds affecting your ability to get the sound you’re really looking for? 5) Chances are that every jazz ensemble has at least one of your instrument in the band. How about providing us with a private lesson? What three important things should every player of your instrument do to improve the quality of the section they’re playing in?

In the Classroom Follow-up Activities For Directors • John emphasized the importance of relying on a “sound source.” If you haven’t made listening to jazz a central part of your rehearsal process, consider choosing one of the many Count Basie charts for which recordings are available and allow the band to “cut to the chase” by listening to the recording as a part of the chart’s preparation. • John mentioned the importance of understanding what our role is for any given piece that we’re playing. Whether they’re playing the melody (as in a solo, soli, or shout section), or serving as melodic and/or rhythmic accompanist to others, increasing students’ understanding of the role they’re playing at any given time is a great way to get them to pay greater attention to what’s happening (or should be happening) in the ensemble as a whole. Consider helping your students to become more aware of the various roles they play; and reinforce the concept by occasionally quizzing them on the role they’re playing at any given time. BH

46 JAZZed March 2010

JAZ_46 46

3/10/10 10:43:42 AM

in the classroom are less fanatic about the instrument than I am. Now, of course, everyone doesn’t have to play at a professional level. But if they’re going to come to me for help, then they have to understand how important the music is to me; how much I love it. So, I’ll help anybody – but I have little patience for those people that aren’t really serious about this thing that I’ve devoted my life to. BH: Unlike many musicians, you’ve made a name for yourself playing both classical music and jazz. What have your experiences playing classical music done to inform and improve your jazz playing, and how has your jazz playing helped you to better understand and appreciate classical music? JC: You know, too few people ask that question. Usually what I get is a comment, like: “I can really tell that you studied classically. I’m working on classical right now to improve my technique.” Well, if that’s the way they want to handle it, fine; but that’s definitely not the way it happened to me and it is definitely not the way that I teach. I fell in love with the sound and styles of classical music, and that was my motivation for studying classical music. I also I fell in love with the sound and styles of jazz music. I didn’t study them because it was the “cool” thing to do, or because studying one or the other was a good idea.” Now, when you decide to make that commitment to one or the other it’s not something you need to buy a book about, or talk about, or what have you. It’s really about immersing yourself in those sounds. When we jazz players wake up in the morning, we turn on a jazz station. When we get in the car, we pop in a jazz CD. When we go and hear somebody play, it’s very likely a jazz group. And for the classical player, the circumstances are very much the same because ultimately the only way to get the sound that you’re looking

for is to internally understand what it is that you want. So, if you immerse yourself in that sound or style, then your body will start to understand what it is that you want it to do and it will begin to happen.

BH: You spent two years with Count Basie and his orchestra. What did it feel like to play in his band; and what is something you would like young people to keep in mind as they play music written for that great orchestra?

“The Sound”

as requested by you.

You asked for the playability and sound of the early Otto Links. We listened. With structural changes both inside and out, “the sound” of yesteryear has been recaptured.

Otto Link Vintage for tenor sax.

www.jjbabbitt.com

MOUTHPIECES FOR CLARINETS AND SAXOPHONES

JAZZed March 2010 47

JAZ_47 47

3/10/10 10:43:45 AM

in the classroom JC: You know, the Basie band for me was a learn-by-example experience. The band would show me, by their playing, how long to make a quarter note, or how big to make a crescendo; or how soft to play a particular dynamic. I think that all too often we have a tendency to spend

all of our time talking about how a piece of music should go when we would be better off to just cut to the chase and teach by example. When I was with the Basie band we seldom talked about how the music should go. Instead, the band would play it; and by hearing how some-

L8ikj Gi\$:fcc\^\ Jldd\i @ejk`klk\ ( FI )$N<<B DLJ@: JKL;@<J GIF>I8D @E G?@C8;<CG?@8

N\\b Fe\ @EJKILD<EK8C Alcp () Æ Alcp (-# )'(' N\\b Knf A8QQ G<I=FID8E:< Alcp (0 Æ Alcp )*# )'(' N\\b Fe\ " Knf @EJKILD<EK8C " Alcp () Æ Alcp )*# )'(' A8QQ G<I=FID8E:< ;\j`ê\[ kf `dgifm\ befnc\[^\ f] k\Z_e`hl\# dlj`ZXc jkpc\j# `dgifm`jXk`fe# k_\fip# \Xi kiXèè^# i\X[è^ Xe[ g\i]fidXeZ\ è X Le`m\ij`kp \emìfed\ek% Jkl[\ekj XZZ\gk\[ èkf fe\ g\i]fidXeZ\ Xi\X1 YXjj lgi`^_k fi \c\Zki`Z # [ildj# ^l`kXi# g`Xef# jXofg_fe\# kifdYfe\# kildg\k fi mf`Z\% ?fljè^ Xe[ jZ_fcXij_`gj XmX`cXYc\% K_\ ;`m`j`fe f] :fekèlè^ Jkl[`\j Xk L8ikj Xcjf f]]\ij c`]\cfe^ c\Xieè^ fggfikle`k`\j ]fi X[lckj k_ifl^_ :fekèlè^ <[lZXk`fe Xe[ k_\ Gif]\jj`feXc @ejk`klk\ ]fi <[lZXkfij%

:J%L8IKJ%<;L

=FI DFI< @E=FID8K@FE Zj7lXikj%\[l fi )(,%.(.%-''-

thing was supposed to sound, I would then understand what I needed to do. So it behooves every band director playing Count Basie to get that particular recording and to let the band hear what the chart they’re playing is supposed to sound like, so that everyone has a sonic reference-point that they can always go back to. And if they happen to forget: play the CD again. Once you have that approach as a starting point, then of course you can change it; maybe you’ll take the chart a little bit slower, or take it a little bit faster. Maybe you’ll change some of the articulations. But at least you’re learning the music from a good example. I do feel strongly that we shouldn’t lose sight of the fact that music is sound, and when you want to learn how to make those sounds, go to a sound source. The best sound source is, of course, playing with live musicians. But the other extremely important sound sources would be recordings. So when you want to learn how to make a sound in a certain way or style, go to a sound source before you go to a book. And in a great many cases, you’ll probably find that you didn’t really need the book, after all. BH: As a world-renown bassist, bandleader, composer, arranger, and more – you are without question one of the most talented and successful men in jazz. And yet you are profoundly committed to jazz education. What do you feel jazz has to offer young people today? I mean, what can young people gain from the study of jazz music? JC: I think that jazz is an amazing vehicle for expression. Jazz lets you reach inside yourself and tell everybody what you feel about the music that you’re playing. You don’t get that working in a bank, or as a computer tech. Now of course those things are important – but they don’t really give you the same kind of platform for expression. And I think that jazz has a way of influencing all of the other aspects of your life, like how to deal with

48 JAZZed March 2010

JAZ_48 48

3/10/10 10:43:50 AM

in the classroom people in social settings, how to bring joy to certain situations, and how to improvise in life, so that you really land on your feet and think for yourself. In jazz, we are always trying to improvise accompaniments that make people comfortable and help them to really sound good. Well, we’re often trying to do that in life, too. We are often trying to improvise ways of helping others to feel good – to put a smile on their face, and to live a better quality of life.” Now, I really want to applaud jazz educators. They devote a good part of their lives to helping young people play this music that I love, and they are continually finding ways to pass all of the things that we have talked about on to young people. Like the kid on the soccer team that scores and gets all of that applause, but depends on parents to get them to the game, to root them on, and to support them; it is up to jazz educators to create that path for their students. We focus so much on passing information on to students, but we can’t forget the importance of the incredible people who are making all of that possible.

But you really want to analyze to the point where you get it – to where you understand.

PSD410 $799

BH: Finally, John: I wonder if you wouldn’t mind giving us a quick private lesson. Many of our readers are in ensembles of

PSD450 $1199

Superscope Technologies · 1508 Batavia Avenue · Geneva , Illinois 60134-3302 · Phone 800.374.4118 · Fax 630.232.8905 · www.SuperscopeTechnologies.com

BH: Like many of our young readers, I would imagine that you didn’t start out thinking you would be the incredibly successful musician that you are. What’s a quality that you see in yourself that you feel has contributed to your success? JC: Hmm. I would have to say for me it’s really about paying attention. I’ve noticed that I learn the most when I shut up, listen, and observe. As soon as I am talking and telling people what I think needs to happen, I’m really not learning. So I think that was a really big one for me. The other thing is using my intelligence in terms of really trying to analyze music, and situations, and personalities – what the bass note is in relationship to the melody, or what have you. Analyze, analyze, analyze. Now you don’t want to do what we call: “analysis to paralysis” – analyzing to the point of taking the soul out of the music, or anything like that. JAZZed March 2010 49

JAZ_49 49

3/10/10 12:48:33 PM

in the classroom JC: Well, first of all, you have to approach supporting others in the rhythm section in a completely selfless way. In other words: when I’m playing in a rhythm section, I’m only listening to the drummer, and to the

34TH SEASON

one type or other, and every jazz ensemble has some type of rhythm section. How should readers think about the role of the rhythm section in the jazz ensemble; and what is something every rhythm section can do to improve the job they’re doing?

Centrum’s Jazz Port Townsend John Clayton, Artistic Director

Workshop and Festival

July 25 – August 1, 2010 Featuring 33 outstanding faculty, including: The Heath Brothers, Benny Green, Terell Stafford, Wycliffe Gordon, René Marie and many more. Daily coaching and 30 performances in beautiful Fort Worden State Park, on the shores of Washington’s Puget Sound.

www.centrum.org

The Welland Family

piano player, and to the guitar player. As soon as I focus on myself, I’m not happy. I start over-analyzing what I’m doing: “Oh, I’m playing that same old dumb stuff again,” or, “Oh, I can’t believe I did that,” or, “You’re rushing again,” “You’re dragging again,” and on and on. As soon as I focus on myself, that’s where I go. But if I focus on everybody around me, I’m in heaven. I’m inspired, they keep me on track, and what I’m doing takes care of itself. The other thing I would say is that as a rhythm section player, we have to understand what our role is for any given piece that we’re playing. Maybe it’s to really energize the band. Well, if that’s the case, then I’ve got to make sure that I get the job done. Or maybe we’re playing a ballad, and it requires that I turn my amplifier off and play a little more gently to help the mood of the piece. So to me, it’s about the rhythm section player understanding the role that is required by a given piece of music in a given situation. And in looking for that, I always look for others to help me. Sometimes those that I look to aren’t on the bandstand. Sometimes I have to get a recording of someone else doing that song in order to get it. So, that’s a biggie: really focusing on others when you play. And that includes focusing visually. I mean, if you’re blessed with sight, go ahead and use it. Take the time to look at the drummer’s ride cymbal as they play it. Or, if you’re in a position to, look at the hands of the piano player. Really connect. When you do that, you begin to communicate in a way that really puts the music on another level. Brad Howey is a doctoral student at the University of Idaho, an award-winning author, and an active performer. His most recent publications can be found in Downbeat and JAZZed magazine. While teaching high school music in Alaska, Brad founded and directed the Sitka Jazz Festival – bringing artists such as John Clayton, Steve Turre’, Paquito D’Rivera, The Air Force Band of the Pacific, and others to Sitka to teach, inspire, and perform.

50 JAZZed March 2010

JAZ_50 50

3/10/10 10:44:00 AM

JAZZ SUMMER WORKSHOPS

In partnership with the

In partnership with

Boys and Girls Clubs of Greater Washington Camp Brown

Snow College

Eccles Center

Scotland, MD

July 12-17, 2010

July 5-10, 2010 For Middle and High School Students

Ephraim, Utah

For High School and College Students

Jazz camps for students who are dedicated, disciplined, and passionate about jazz. For details see Juilliardâ&#x20AC;&#x2122;s Web site: www.juilliard.edu/summerjazz or call (212) 799-5000 ext. 7380

JAZ_51 51

Photos: AP Images /Atlanta Journal Constitution-Marcus Yam

July 2010

3/10/10 10:53:02 AM

crossword 1

Crossword by Myles Mellor

12 15

28 31

35 39

45 47

Across 1. Manny ___, jazz baritone sax player that was influenced by Bix Beiderbecke 4. The title of a series of jazz concerts, tours and recordings produced by Norman Granz, abbr. 6. ___ Pleasure, jazz vocalist and early master of vocalese 8. Wedding words 9. Spoon bender 11. Ted or Vic 12. Boyd ___, he was one of the greatest and least known of jazz bandleaders of the 1940’s 15. Bluesy, perhaps 17. Survive, barely 18. Appear 21. Chuck ___, jazz guitarist who is known for being the first guitarist in the George Shearing Quintet 23. Fred ___ Hove, Belgian jazz musician and a pioneer of European free jazz 25. Breakfast juice 26. Sushi bar order 27. Louis ___, trombonist most associated with Dixieland music 29. Brisk, lively musical tempos 31. Silver-gray color 33. Friendly alien 34. Guitar band?

54 57

38 41

46 49

53 55

36. Angel accessory 37. For that reason 39. Part of the neck 41. Neither’s partner 42. Available for business 44. Nab 46. Graeme ___, Australian Dixieland and classical jazz pianist, composer and band leader 47. Light brown color 49. ___ ___ Alley, the collection of New York City-centered music publishers who dominated popular U.S. music in the 19th and 20th centuries (2 words) 51. Computer letter 53. Operating system, abbr. 54. Extreme 55. “At ___,” popular Etta James standard 57. ___ Scott, English jazz saxophonist and jazz club owner 58. Herbie ___, “Lady Sings the Blues” composer

Down 1. Mose ___, American jazz pianist and singer who has been called “the William Faulkner of Jazz” 2. Lester ___, jazz trumpet player and composer who cofounded the Art Ensemble of Chicago

3. “Have You Met ___ Jones?” 1937 jazz standard 4. Duke ___, American jazz pianist and regular member of Charlie Parker’s “classic quintet” 5. Taproom 6. Roland ___, blind American jazz-instrumentalist who was renowned for his onstage vitality 7. Grant ___, jazz guitarist and composer who recorded almost exclusively for Blue Note Records 10. Regret bitterly 13. Long period of time 14. “There Will ___ Be Another You,” Chet Baker standard 16. ___, shucks 19. Throw out of the club 20. Jay ___, Grammy-award nominated pianist, singer and bandleader whose kind of music became known as “the Kansas City sound” 22. Don ___, Calypso Jazz artist 24. Soothing plant 26. Id partners 28. Not applicable, for short 29. Expression of surprise 30. Hoagy Carmichael standard 32. Ship, affectionately 34. Wayne ___, saxophonist and composer commonly regarded as one of the most important American jazz musicians of his generations 35. Sound system, briefly 38. Happening 40. Tito ___, Latin Jazz and Mambo musician best known for his dance-oriented mambo 43. Hallow ending? 44. Spic-and-span 45. Dolly beginning, in song 46. Indonesian island 48. Supreme Supreme 50. Word play 52. Large media network 56. Mr. Jarreau

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

www.jazzedmagazine.com

52 JAZZed March 2010

JAZ_52 52

3/10/10 10:44:50 AM

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

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

Transfer Visit Days: Saturday, April 24, 2010 Fine Art Auditions: Saturday, March 6, 2010

Call 630-637-5800 to discover more about our programs in music.

Music, Theater, Art

Or visit us online at www.northcentralcollege.edu.

www.northcentralcollege.edu JAZ_53 53

Freshman Visit Days: Saturday, April 10, 2010

30 N. Brainard Street

Naperville, IL

630-637-5800 3/10/10 10:53:06 AM

Gearcheck Bari Woodwind Synthetic Reeds

New Trumpets from PJLA Phaeton

Bari Woodwind Supplies adds two new strengths, medium hard (3.5-4.0) and medium soft (2.5 -3.0), to its synthetic composite reed line. Bari synthetic reeds come in two varieties: Bari Original, which projects a clear, vibrant sound and Bari Star, which translates a warm and dark sound. Both Star and Original are available for Bb clarinet, bass clarinet, soprano saxophone, alto saxophone, tenor saxophone, and baritone saxophone. With the addition of the new strengths, Bari synthetic reeds are available in soft (2.0-2.5), medium soft (2.5 -3.0), medium (3.0-3.5), medium hard (3.5-4.0), and hard (4.0-4.5). www.bariwoodwind.com

PJLA’s PHT-2021 “C” Series of Phaeton Trumpets are available in three custom finishes: gold brass lacquer, bright silver plate, and brush brass. All models come standard

Super-Sensitive’s Clarity Spectrum Rosin Super-Sensitive Musical String Co. introduces Clarity Spectrum, a colorful collection of its hypo-allergenic rosin, now available in red, pink, green, blue, and purple. Made from a synthetic hydrocarbon resin compound, Clarity is said to improve the performance of rosin-producing better grab and clearer string response. Clarity Spectrum is non-corrosive to instrument varnish and can be safely used on all valed instruments. Also, unlike sap rosin, hydrophobic Clarity resists the absorption of moisture making it unaffected by humidity allowing it to keep its full tack and effectiveness. Clarity includes a five-inch microfiber cloth for a cleaner application and is packaged inside a hard top container. www.supersensitive.com

PianoDisc SilentDrive-HD PianoDisc’s SilentDrive-HD features a faster processor and streamlined architecture that boost both velocity and timing accuracy. Increased internal memory capacity retains all settings and improves reliability and compatibility regardless of which PianoDisc player system is used. The new design is earth-friendly and eliminates the use of lead solder and other harmful substances. www.pianodisc.com

with a 3C mouthpiece delivered in Phaeton’s custom vintage tweed case with burgundy velvet closure blanket for added protection. Phaeton cases are trimmed in textured burgundy leather-like trim and are equipped with plated brass hardware with a large storage area for mutes and accessories. Retail prices start at $1,885.00 The PHT-4077 Bb/A piccolo trumpet is a four piston model and will be available in bright silver plate with optional 18 karat gold plated finger buttons, top, or bottom caps and bell. A custom all leather case comes standard with this outfit. Retail prices start at $2,975.00 with the optional Gold plate bell available for $450.00. www.pjlamusic.com

Grover’s New G3 Concert Snare Grover Pro’s G3 Concert Snare Drum features 10-ply maple shells, the choice of six hand-rubbed lacquer finishes, chrome plated tube lugs, steel or die cast rims, the new Grover G3 triple strainer, and four types of snares, black coated cable, uncoated steel cable, high carbon spiral snares and an extra set of gold coated cables. The G3 snares are currently manufactured in both 5.5” x 14” and 6.5” x 14” sizes. Price ranges are $ 850 - $ 975. www.groverpro.com

54 JAZZed March 2010

JAZ_54 54

3/10/10 10:45:12 AM

Gearcheck Korg SP-170 Digital Piano Korg is adding the SP-170 to its SP line of digital pianos. The SP-170 offers a streamlined design, revealing no visible controls and features a duo of concert grand piano sounds. Numerous velocity layers are used to capture nuances of playing dynamics, allowing the instrument to respond expressively to every touch. Eight additional sounds complete the palette of keyboard tones: Electric Piano (x2); Harpsichord; Clav; Vibraphone; Pipe Organ; Electric (Drawbar) Organ; and Strings. While the SP-170 never requires tuning, it offers adjustable tuning that can be matched to other instruments, and it can also be transposed into any musical key. As with every Korg SP digital piano model, the SP-170 features a full 88-note piano-style keyboard - three touch curves match the key response to any playing style. The newly-developed, Natural Weighted Hammer Action (NH) reproduces the touch and graduated weight of acoustic piano keys, while keeping the unit’s weight down to 26 pounds. Completely self-contained, the SP170 includes a built-in sound system with a pair of full-range oval speakers housed in an internal bass-reflex cabinet. Dual headphone outputs allow for private practice plus parent/child or student/teacher use. These outputs also enable connection to recording equipment or an external amplifier. A matching music rest and sustain pedal are both included, and an optional color-matched stand is available. The SP-170 can be used as the master keyboard (input device) for computer music software via the MIDI

output. The power switch and volume knob are located on the back panel; all other operations are quickly performed using the keyboard itself. The SP-170 is available in two colors, black and soft white. It will be available April 2010 with a retail price of $600. An optional matching stand will also be available with a retail price of $125.00. www.korg.com

Anvil and Calzone Cases The flagship of Calzone Cases’ iSeries is the Universal Electric Guitar case that fits a wide variety of instruments, including the Fender Stratocaster and Telecaster, Gibson SG, and Paul Reed Smith models. Calzone also introduced a new domestic dealer package designed to offer greater GPM on dozens of iSeries cases. Designed in conjunction with music veteran Jim Messina, Anvil’s new Light Flight cases are designed to beat airline overage costs by weighing less than 50 pounds with instrument www.calzonecase.com

#APITAL 5NIVERSITY #ONSERVATORY OF -USIC

UÊ >Ì > ÞÊ> `Ê ÌiÀ >Ì > ÞÊÊ Ê Ê Ài Ü i`Êv>VÕ ÌÞ

UÊ£nÊÕ `iÀ}À>`Õ>ÌiÊ > ÀÃÊÊ Ê V Õ` }Ê >ââÊÃÌÕ` iÃ

UÊÌ iÊv iÃÌÊi`ÕV>Ì Ê> `ÊÊ Ê Ê ÌÀ> }Ê Ê ÕÃ VÊV Õ« i`ÊÜ Ì Ê>ÊÊ Ê LiÀ> >ÀÌÃÊi`ÕV>Ì ÊÌ>Õ} ÌÊ Ê>ÊÊ Ê V>À }Êi Û À i ÌÊ

UÊÌ ÀiiÊ}À>`Õ>ÌiÊ ÕÃ VÊi`ÕV>Ì ÊÊ Ê `i}ÀiiÃÊ Ê>ÊÃÕ iÀÃ ÞÊÊ Ê v À >ÌÊ V Õ` }Ê iÊÜ Ì Ê>Ê >ââÊ Ê «i`>} }ÞÊi « >Ã Ã

ÀÊ ÀiÊ v À >Ì Ê>L ÕÌÊ >« Ì> ½ÃÊÕ `iÀ}À>`Õ>ÌiÊ ÕÃ VÊ«À }À> Ã]ÊV Ì>VÌÊ i>}> Ê7iLLÊÌ ÊvÀii®Ê>ÌÊ nÈÈ®Êx{{ È£ÇxÊÊ ÀÊ ÜiLLJV>« Ì> °i`Õ° ÀÊ> Ê>«« V>Ì Ê ÀÊv ÀÊ ÀiÊ v À >Ì Ê ÊÌ iÊ }À>`Õ>ÌiÊ«À }À> Ê Ê >ââ]ÊV Ì>VÌÊ À°Ê ÕÊ ÃV iÀÊ >ÌÊÈ£{®ÊÓÎÈ ÈÓnxÊ ÝÌ°Ê£Ê ÀÊ wÃV iÀJV>« Ì> °i`Õ°Ê

ÕÃ V°V>« Ì> °i`Õ

JAZZed March 2010 55

JAZ_55 55

3/10/10 10:45:19 AM

Gearcheck VocoPro’s V-BANK The V-BANK from VocoPro is a dual deck multi-format DVD/hard drive system with DVD/AVI/MP3 ripper. The V-BANK features two 500GB hard

drives, dual USB drive and SD card inputs, digital key control, pitch control,

and media ripping capability. This unit builds on VocoPro’s Media Jukebox technology to create a massive media vault to store and play a digital library of music and video. With disc ripping capability, you can copy any non-copy protected CD, DVD, or DivX discs that you own to the on-board hard drives. www.vocopro.com

it will stay securely in place and it is easily installed and removed from the instrument. AcoustiCoil instrumental bore inserts are said to help improve student’s instrumental articulation, intonation, dynamics, endurance, and range. Models are now available for brass, woodwinds, and saxophones. www.dmamusic.org/acousticoils

AcoustiCoil Inserts

Superscope 400 Series of Digital Recording Systems

Each model of the AcoustiCoil instrumental insert adjusts to fit varying bore sizes. A spring fit assures that

Superscope’s PSD410 and PSD450 400 Series of professional music practice and digital recording systems are portable SD Card and HDD audio recorders that can record MP3 files or WAV files using 16 or 24 bit. The USB interface allows for easy transfer of files to a computer or onto a USB storage device. The PSD410 is a SD Card recorder and the PSD450 features a 40GB

hard drive and a CD burner for creating audio CDs and custom play lists. Both models are portable and can be battery operated. www.superscopetechnologies.com

56 JAZZed March 2010

JAZ_56 56

3/10/10 10:45:25 AM

The Official Publication of

Advertise in the

JAZZ EDUCATION NETWORK

1st Annual Jazz Education Network Conference

1ST ANNUAL JEN CONFERENCE SHOW GUIDE DISTRIBUTION throughout the show at the University of Missouri, St. Louis. May 20-22.

Show Guide University of Missou ri St. Louis May 20-22, 2010

Provide your company with exposure to jazz educators, musicians, students, and music industry execs at the 1st Annual Jazz Educators Network conference (JEN) at the University of Missouri, St. Louis with an ad in the official program guide. This conference will feature a wide variety of clinics, concerts, seminars and more, featuring such luminary artists and clinicians as: Marvin Stamm, John Clayton, Rufus Reid Trio, Bobby Shew, Jamey Aebersold, and dozens more!

A limited number of premium advertising positions are available, so reserve your space today!

Advertising deadline, April 15, 2010. Sidney Davis (800) 964-5150 ext. 13 • sdavis@symphonypublishing.com Rick Kessel (800) 964-5150 ext. 14 • rkessel@symphonypublishing.com Maureen Johan (800) 964-5150 ext. 34 • classified & display advertising • mjohan@symphonypublishing.com Iris Fox 954-973-3555 • ifox@symphonypublishing.com

JAZ_57 57

JAZZ EDUCATION NETWORK

3/10/10 11:01:47 AM

HotWax February 2

Sheryl Bailey – A New Promise [MCG]

New & Notable Music Releases All dates are subject to change

Olivier Manchon – Orchestre De Chambre Miniature-Vol. 1 [ObliqSound]

John Pizzarelli – Rockin’ In Rhythm: A Tribute to Duke Ellington [Telarc]

Antoinette Montague – Behind The Smile [IGV]

Eric Vloeimans – Heavensabove! [Challenge]

Christian Wallumrod – Fabula Suite Lugano [ECM]

February 16 Kenny Burrell – Weaver Of Dreams [Wounded Bird]

George Cotsirilos – Past Present [Oa2]

Acker Bilk – Legrand [Phantom] Barry Finnerty – Blues For Trane

Steve Dobrogosz – Golden Slum-

[Pony]

Maria Neckam – Deeper [Sunny

Jazz at Lincoln Center Orchestra with Wynton Marsalis – Portrait of

Side]

Seven Shades [Jazz at Lincoln Center]

Dave King – Indelicate [Sunny Side] Ralph Lalama Quartet – The Audience [Mighty Quinn]

bers [Phantom]

Scenes – Rinnova [Origin] Bob Sneider & Bob Hofmann

Denis Solee – Blues In the Night [Green Hill Records/EMI]

March 2 Albert Ayler – New Glass [Phantom] John Basile – No Apologies [Stringtime Jazz]

– Serve and Volley [Origin]

John Blake, Jr. – Motherless Child (Arc) Dee Dee Bridgewater – To Billie

Stage Cruisers – Nuclear Blast [Fat

with Love from Dee Dee [Emarcy]

Possum]

Stars [Amj Jap/Zoom]

Jamie Cullum – The Pursuit [Verve] Gil Evans – Miles Ahead [Ais] Polar Bear – Peepers [Leaf] Chris Standring – Blue Bolero

Yosuke Yamashita – Inner Space

[Ulimate Vibe]

Trio3 – Be Bop [Venus] Claude Williamson – Stella Under

[Pid]

February 23

March 9 Pablo Aslan – Tango Grill [Zoho

Froy Aagre – Cycle of Silence [Met-

Music]

ropolitan Groove Merchants]

Anthony Braxton – News From The

Cliff Adams – Sing Something Simple from the Shows [Pickwick]

70s [Felmay]

Zoe Schwarz & Rob Koral – Celebration [33 Jazz]

Anton Delecca Quartet – Lost City

February 9

John Ellis & Doublewide – Puppet

[Metropolitan Groove Merchants]

Gerald Clayton – Two-Shade [Decca]

Buddy Defranco – Autumn Leaves [Universal]

Lorraine Feather – Ages [JMD] Hakon Kornstad – Dwell Time [Universal]

Lionel Loueke – Mwaliko [Blue Note]

Mischief [ObliqSound]

Lula Galvao – Bossa Da Minha Terra

Gerald Clayton – Two-Shade [Decca] Rale Micic – 3 [CTA Records] Nguyen Le – Saiyuki [Act Music] Paul Motian – Lost in a Dream [Ecm] Rufus Reid – Out Front [Motema]

[Kindred Rhythm]

Jack Jezzro – Rio Nights [Green Hill Records/EMI]

Giuseppi Logan Quintet – Giuseppi Logan Quintet [Tompkins Square]

Jones Jones – We All Feel the Same Way [United One]

Love Jazz – Jazz Love [Phantom]

58 JAZZed March 2010

JAZ_58 58

3/10/10 10:45:50 AM

Keep Music Education Strong Learning to play music is so much more than memorizing notes and scales. It helps a child develop creativity and instills self-discipline, commitment and conﬁdence. Your leadership in the community assures that music is a part of quality education for every child. Keep music education strong—go to supportmusic.com.

believe in music 5790 Armada Drive • Carlsbad, CA 92008 • 760.438.8001 • www.namm.org

JAZ_59 59

3/10/10 10:53:15 AM

HotWax Mike Treni – Turnaround [Bell Pro-

Mose Allison – The Way of the World

ductions]

[Anti]

March 16 David Binney – Alisio [Criss Cross] John Lewis – Improvised Medita-

The Bird and The Bee – Interpreting the Masters Vol. 1[Blue Note]

Dave Holland Octet – Pathways [Dare2]

tions & Excursions [Disconforme]

Lage Lund – Unlikely Stories [Criss Cross]

Brad Mehldau – Highway Rider [Nonesuch]

Ken Peplowski – Noir Blue [Capri]

March 30 Anat Cohen – Clarinetwork [Anzic Records]

Jaared – Manhattan Nights [Trippin ‘n Rhythm]

Allyssa Jones – 35 [Lellow Music] Samuel Torres – Yaounde [One Soul]

El Movimiento – The Movement [Nueva Nota Records] Marc Mommaas – Landmarc [Sunnyside]

Steve Oliver – Global Kiss [SOM Entertainment]

Christian Scott – Yesterday You Said

Kenny Rankin– The Kenny Rankin Album [Sly Dog Records]

Tomorrow [Concord Jazz]

Ralph Towner – Chiaroscuro [Ecm] Kirk Whalum – Gospel According to Jazz - Chapter 3 [Rendezvous]

Dan Weiss – Timshel [Sunnyside]

March 23 Absolute Ensemble – Absolute Zawinul [Sunnyside]

Fund Raising

The Wee Trio – Capitol Diner Vol. 2 Animal Style [Bionic Records]

Request your FREE catalog and information packet:

1-800-311-9691 Your School, Church, Club, Team or Youth Group will work directly with the manufacturer to make 40% profit. Our proven Fund Raising system guarantees your success.

or www.RadaCutlery.com NOTE: Dept A10JAZ Find out why our Fund Raisers say that “Rada knives sell themselves!”

Brian Smith – Rendezvous [Fone] Tomasz Stanko – Dark Eyes [Ecm]

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

60 JAZZed March 2010

JAZ_60 60

3/10/10 10:45:56 AM

CDShowcase

A MUST FOR EVERY GUITAR PLAYER THAT SINGS

Classic jazz & blues....

Feature Your CD on CD Showcase For Maximum Exposure! Call: 1800-964-5150 Sidney Davis x13 Richard E. Kessel x14 Maureen Johan x34 Iris Fox 954-973-3555

smooth vocals & spontaneous improvisation between the guitarist who is also a fine jazz vocalist & harmonica player captured live, along with the mastery of Chris Parker & John Arucci on drums and Kevin Callaghan on bass.

“A player and songwriter with a real smooth style.“ Jackie Paris

ECONOMICS OF LOVE is available at CDbaby.com www.BrianConigliaro.com Email: HUWproductions@comcast.net

The Accidental Trio voice, accordion and guitar.

The Accidental Trio "has a repertoire that ranges from Charles Mingus to Todd Rundgren." - Jim Beal, San Antonio Express-News "Carroll’s beautifully supple voice has never been heard with such front-and-center clarity before. Dunne anchors the music by simultaneously playing the changes and handling bass-line movements on his guitar. And Rubinstein consistently steals the show with accordion solos that are remarkably lyrical, endlessly replenishing founts of melodic inspiration." - Gilbert Garcia, The Current

Available through CDBaby and iTunes. Check us out on MySpace

MIKE VAX AND THE STAN KENTON ALUMNI BAND continue their series of superb recordings with HAVE BAND WILL TRAVEL. On Summit Records.

This one captures the excitement and the incredible musicianship of this stellar group of musicians and arrangers

www.bigbandjazz.net JAZZed March 2010 61

JAZ_61 61

3/10/10 10:49:45 AM

Classifieds Merchandise

DVDs

Accessories

Merchandise

iHearit

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

Slow Down, Loop, and Transcribe Music on your iPhone for

$4.99.

Available on the App Store, or go to http://ihearit.net for more info.

Books JAZZ SAXOPHONE ETUDES & DUETS BOOK & CD PLAY-ALONG SETS BY GREG FISHMAN Endorsed by Michael Brecker, Dave Liebman, Jerry Coker, James Moody, Mark Colby, Bob Sheppard, & Jamey Aebersold. Visit: WWW.GREGFISHMANJAZZSTUDIOS.COM for free sample etudes and duets.

Instruments

www.JAZZedmagazine.com

62 JAZZed March 2010

SBO_62 62

3/10/10 10:26:05 AM

Classifieds Merchandise

Repair

WE REPAIR, RESTORE, SELL & TRADE

Print Media

www.JAZZedmagazine.com

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

Saxophones, Clarinets, Flutes, Oboes, Bassoons, etc. Serving the Music Community for 37 years.

www.maestrowoodwinds.com

www.JAZZedmagazine.com

AdIndex Company

Email/Web

American Classic Festivals Arbors Records J.J. Babbitt Co. Inc. Bari Bates Meyer, Inc. Berklee College of Music Brian Conigliaro Capital University Centrum Cornish College of the Arts Crossroads School for the Arts & Sciences Daniel Smith Eastman School Of Music Eau Claire Jazz, Inc Jamey Aebersold Jazz Aids Jazz Aspen Snowmass Jazz at Lincoln Center Jody Jazz John Fedchock Julliard Jupiter Band Instruments, Inc. Superscope Technologies Mike Vax National Jazz Workshop North Central College P. M. Records Gene Perla Pearl Corp. Rada Mfg. Co. SaxQuest, Inc. School For Music Vocations Stanford Jazz Workshop University of North Texas University of the Arts University of Toledo Vandoren Vento Vermont Jazz Center

www.amclass.com www.arborsrecords.com www.jjbabbitt.com www.bariwoodwind.com www.batesmeyer.com www.berklee.edu www.brianconigliaro.com www.music.capital.edu www.centrum.org www.cornish.edu www.xrds.org www.danielsmithbassoon.com www.esm.rochester.edu www.eauclairejazz.com www.jazz.books.com www.jazzaspen.org www.jalc.org www.JodyJazz.com www.johnfedchock.com www.juilliard.edu www.jupitermusic.com www.superscopetechnologies.com www.mikevax.com http://nationaljazzworkshop.org/ www.northcentralcollege.edu www.perla.org www.pearldrum.com www.RadaCutlery.com www.saxquest.com www.swcc.cc.ia.us www.stanfordjazz.org www.music.unt.edu/jazz www.uarts.edu www.summerjazz.utoledo.edu www.dansr.com www.musicfactorydirect.com www.vtjazz.org

Page # 5 16 47 19 34 1 61 55 50 43 15 61 8 31 cov 2 32 39 11 49 51 9 49 61 16 53 61 cov 4 60 56 56 15 17 48 14 35 41 43

JAZZed March 2010 63

SBO_63 63

3/10/10 10:26:09 AM

Photo: Brownie Harris

Backbeat

Jane Jarvis 1915 - 2010 Jazz pianist and New York Mets organist, Jane Jarvis, passed away at on January 25. From 1964 to 1979, she played the organ at Shea Stadium. Previously, she spent eight years as organist for the Braves at County Stadium in Milwaukee. In addition to entertaining baseball fans, she worked for Muzak Corporation where she began as a receptionist in 1963 and eventually became vice president of programming, at a time when a woman in a corporate managerial position was almost unheard of. Bucking trends was not unusual for Jane - at the age of 64, she retired from Muzak and began looking for work as a jazz pianist. In 1979 she left her position with the Mets to follow her true passion and soon became a familiar fixture in the New York jazz scene. She also became a founding member of the Statesmen of Jazz, a group of jazz musicians, age 65 and older, who formed to introduce young audiences to jazz – Jane was the only woman in the Statesmen. In 1985, at the age of 70, she recorded her first record, and continued to perform and record with fellow jazz musicians into her 90s. On March 15, 2008, Jane’s New York City apartment on East 50th Street was destroyed when a construction crane collapsed on the building. She spent her final years at the Lillian Booth Actors’ Home in Englewood, N.J. She was 94.

64 JAZZed March 2010

JAZ_64 64

3/10/10 10:50:17 AM

JAZ_COV3 COV3

3/10/10 10:51:59 AM

The Best $1600 a Student Will Ever Spend. I]Z Vaa cZl 6YVbh Hdad^hi ( dXiVkZ bVg^bWV! l]ZgZ kVajZ VcY eZg[dgbVcXZ h]VgZ i]Z hiV\Z#

BHEK?(%

Æ6c ^chigjbZci d[ i]^h XVa^WZg deZch je V ldgaY d[ edhh^Wa^i^Zh [dg i]Z ^ciZgbZY^ViZ hijYZci# I]ZgZ h^bean ^h cd \gZViZg kVajZ

(#% DXiVkZ 8("8+ <gVYjViZY EVYdj` 7Vgh# KdnV\Zg ;gVbZ d[[Zgh Vc ZmigZbZ gVc\Z d[ ]Z^\]i VY_jhibZci [dg i]Z adlZhi

^c i]Z bVg`Zi idYVn i]Vc 6YVbh Hdad^hi

eaVn^c\ ]Z^\]i d[ Vcn hijYZci bVg^bWV

HZg^Zh BVg^bWVh#Ç" GdWZgi KVc H^XZ

id Òi eZg[dgbZgh d[ Vaa h^oZh#

NVaZ HX]dda d[ Bjh^X EZVWdYn 8dchZgkVidgn 8jgi^h HX]dda d[ Bjh^X >ciZgcVi^dcVa BVg^bWV Hdad^hi

6YVbh ^chigjbZcih VgZ egdjYan Y^hig^WjiZY ^c i]Z J#H# Wn EZVga#

JAZ_COV4 COV4

3/10/10 10:52:04 AM