NOVEMBER 2008 • $5.00
The Jazz educaTor's Magazine
Bart Marantz
8epk_`e^ `j Gfjj`Yc\ FOCUS SESSION Triplets HEALTH CLINIC Avoiding Vocal Ailments The Official Publication of
JAZZ EDUCATION NETWORK
Phil Woods Phil is a living legend that single-handedly defines an alto sound and represents the best of the masters that have come before him. Phil uses ZZ reeds. Sherman Irby A true southern gentleman, Sherman’s sound is as big as
his smile. If you’ve not heard him yet, you should. Sherman uses V16 reeds.
Talib “TK Blue” Kibwe TK is a student of Jazz, combining sounds from the U.S., France and Africa to create an approach that is uniquely his own. TK uses V16 mouthpieces, ZZ reeds and Leather ligatures.
Vandojazz artists serve up their sound using the world’s finest mouthpieces and reeds.
For a free artist poster, visit vandojazzusa.com and click on The Payoff.
Where jazz is more than a legend.
©
2007 Vandoren SAS. Imported to the U.S. by DANSR, 818 W. Evergreen, Chicago, IL 60642, 888.707.4455
Bart Marantz
“When students can be convinced that they can achieve any level of excellence if they work hard, it’s much easier to go there.”
contents
NOVEMBER 2008
GUEST EDITORIAL: HARRY SCHNIPPER 26
The executive director of the Blues Alley Jazz Society shares suggestions on how best to launch a jazz festival, drawing upon his experiences as a key figure behind Washington D.C.’s BIG BAND JAM!
FOCUS SESSION: TRIPLETS 32
Performer and educator Keith Hall discusses how to help young drummers learn to swing, through a better understanding of triplets.
BART MARANTZ 38
The director of Jazz Studies at Dallas’ Booker T. Washington High School for the Performing Arts sits down with JAZZed to chat about his nearly 30-year career as an innovative and acclaimed teacher of jazz.
HEALTH CLINIC: VOCAL FOLD AILMENTS 48
Tips for comprehending, avoiding, and treating common afflictions suffered by jazz singers.
JAZZED IN THE CLASSROOM 53
Author, performer, and educator Brad Howey speaks with jazz luminary Ira Nepus and provides some classroom excercises that educators can share with their students.
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2 JAZZed November 2008
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NOVEMBER 2008
Volume 3, Number 6 GROUP PUBLISHER Sidney L. Davis sdavis@symphonypublishing.com PUBLISHER Richard E. Kessel rkessel@symphonypublishing.com Editorial Staff EDITOR Christian Wissmuller cwissmuller@symphonypublishing.com
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ASSOCIATE EDITOR Eliahu Sussman esussman@symphonypublishing.com STAFF WRITER Denyce Neilson dneilson@symphonypublishing.com Art Staff PRODUCTION MANAGER Laurie Guptill lguptill@symphonypublishing.com GRAPHIC DESIGNER Andrew P. Ross aross@symphonypublishing.com GRAPHIC DESIGNER Laurie Chesna lchesna@symphonypublishing.com Advertising Staff ADVERTISING SALES Iris Fox ifox@symphonypublishing.com CLASSIFIED SALES Maureen Johan mjohan@symphonypublishing.com
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departments PUBLISHER’S LETTER 4 NOTEWORTHY 6 STEVE SHAPIRO: WHAT’S ON YOUR PLAYLIST 14 JAZZ EDUCATOR'S NETWORK SECTION 17 • PRESIDENT'S LETTER • EVENTS PAGE • NETWORTHY NEWS
• 101 REASONS TO JOIN • NETWORK WITH AN EXPERT • MEMBERSHIP REPORT
CROSSWORD PUZZLE 52 GEARCHECK 57 HOT WAX 60 BACKBEAT: DAVE MCKENNA 62 CLASSIFIEDS 63 AD INDEX 64 Cover photograph: Brian Guilliaux, Dallas, Texas. JAZZed™ is published six times annually by Symphony Publishing, LLC, 21 Highland Circle, Suite 1, Needham, MA 02494, (781) 453-9310. Publisher of Choral Director, School Band and Orchestra, Music Parents America, and Musical Merchandise Review. Subscription rates $30 one year; $60 two years. Rates outside U.S. available upon request. Single issues $5. Resource Guide $15. Standard postage paid at Boston, MA and additional mailing ofces. Postmaster: Please send address changes to JAZZed, 21 Highland Circle, Suite 1, Needham, MA 02494. The publishers of this magazine do not accept responsibility for statements made by their advertisers in business competition. No portion of this issue may be reproduced without the written permission of the publisher. © 2008 by Symphony Publishing, LLC. Printed in the U.S.A.
Business Staff CIRCULATION MANAGER Melanie A. Prescott mprescott@symphonypublishing.com ADMINISTRATIVE ASSISTANT Popi Galileos pgalileos@symphonypublishing.com WEBMASTER Sanford Kearns skearns@symphonypublishing.com Symphony Publishing, LLC CHAIRMAN Xen Zapis PRESIDENT Lee Zapis lzapis@symphonypublishing.com CHIEF FINANCIAL OFFICER Rich Bongorno rbongorno@symphonypublishing.com Corporate Headquarters 26202 Detroit Road, Suite 300 Westlake, Ohio 44145 (440) 871-1300 www.symphonypublishing.com Publishing, Sales, & Editorial Office 21 Highland Circle, Suite 1 Needham, MA 02494 (781) 453-9310 FAX (781) 453-9389 1-800-964-5150 www.jazzedmagazine.com
Member 2008
RPMDA JAZZ EDUCATION NETWORK
JAZZed November 2008 3
publisher’s letter
RICK KESSEL
Jazz in the People's Republic
D
uring a recent Shanghai trip to attend the Music the Yangtze River Hotel Dance Hall. Critics called China trade show, it was nearly impossible not to this music ‘pornographic,’ but the band played on notice that Western musical culture has gained a just the same.” Unfortunately however, the pressignificant presence throughout the city. You hear ence of jazz was brought to an end during the early all types of music in a variety of venues, as well days of communism. as on the radio – ranging from hip-hop to Bach Now, a more “open” China is emerging to grasp to jazz and everything in-between. As you likely onto one of America’s most beloved art forms in know, there are more and more musical instru- a more serious fashion. With the inevitable expoments being produced in China, and their quality sure to the Internet and recorded music, there is has improved significantly. Now, with a growing an undercurrent of interest in jazz and jazz educamiddle and wealthy class, there is tion at a variety of levels. Accordalso an interest in, and a demand for, ing to crienglish.com, a major jazz quality jazz performances. festival, the Beijing Nine Gates Jazz “There is treWestern music, especially classiWeek, has increased the visibility of mendous potencal, has become enormously poputhis music. This has also provided lar in Chinese culture and they have exposure to native Chinese jazz tial for a major done a remarkable job at producing musicians who are integrating the increase in jazz world-class, virtuoso musicians, esart form into their own culture by education and pecially pianists and string players. utilizing folk themes and traditionAccording to a New York Times artial instruments as well as standard performance in cle last year, “classical music arouses Western instrumentation. There China.” few of the political and nationalistic are jazz clubs popping up in major sensitivities that have made it harder centers such as Shanghai, Beijing, for other kinds of Western culture to Hangzhou, and Shen Zhen City. take root in China.” However, my personal experi- Additionaly, you can find an active online presence in this country has indicated that this seems to ence, shanghaijazzscene.com, which provides an be changing rapidly. interesting look into the happenings in the perforHistorically, jazz has had a presence in China as mance venues around the city. far back as the 1930s and according to the Web site, Like France in the 20th century, there is tremenshjazz.com, “In 1935, Du Yu Sheng, the notorious dous potential for a major increase in jazz educaoverlord of Shanghai’s ominous ‘Green Gang’ or- tion and performance in China and it will be very dered into creation the first all-Chinese jazz group, exciting to see how this common interest brings called ‘The Clear Wind Dance Band’ to perform at our cultures closer together.
rkessel@symphonypublishing.com
4 JAZZed November 2008
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Blues by Five t Circle t Eighty One t Flamenco Sketches t Fran Dance t Green Haze t Mood t Petits Machins t Pfrancing (No Blues) t Swing Spring.
Au Privave t Billie’s Bounce (Bill’s Bounce) t Confirmation t Donna Lee t Moose the Mooche t My Little Suede Shoes t Now’s the Time t Ornithology t Scrapple from the Apple t Yardbird Suite.
Caravan t Don’t Get Around Much Anymore t In a Mellow Tone t In a Sentimental Mood t It Don’t Mean a Thing (If It Ain’t Got That Swing) t Perdido t Prelude to a Kiss t Satin Doll t Sophisticated Lady t Take the “A” Train.
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All the Things You Are t Easy Living t Jeruvian t Rude Old Man t Samba Cantina t Samba De Orfeu t Suicide Is Painless (Song from M*A*S*H) t Take Five t Take Ten t When Joanna Loved Me.
Blue Train (Blue Trane) t Countdown t Cousin Mary t Equinox t Giant Steps t Impressions t Lazy Bird t Mr. P.C. t Moment’s Notice t Naima (Neima).
Featuring Gerry Mulligan playing the melodies on the recording, along with his own rhythm section. Apple Core t A Ballad t Festive Minor t Five Brothers t Line for Lyons t Nights at the Turntable t North Atlantic Run t Song for Strayhorn t Walkin’ Shoes.
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But Beautiful t Here’s That Rainy Day t Body and Soul t Misty t My Foolish Heart t My Funny Valentine t My One and Only Love t My Romance t The Nearness of You.
Billie’s Bounce (Bill’s Bounce) t Birk’s Works t Blues for Alice t Blues in the Closet t C-Jam Blues t Freddie Freeloader t Mr. P.C. t Now’s the Time t Tenor Madness t Things Ain’t What They Used to Be
Blue Train (Blue Trane) t Comin’ Home Baby t Footprints t Impressions t Killer Joe t Moanin’ t Sidewinder t St. Thomas t Stolen Moments t Well You Needn’t (It’s over Now).
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Autumn Leaves (Les Feuilles Mortes) t Cotton Tail t Easy Living t I Remember You t If I Should Lose You t Lullaby of Birdland t Out of Nowhere t Stella by Starlight t There Will Never Be Another You t When Sunny Gets Blue.
Agua De Beber (Water to Drink) t Chega De Saudade (No More Blues) t The Gift! (Recado Bossa Nova) t Invitation t Manha De Carnaval (A Day in the Life of a Fool) t Mas Que Nada t Ran Kan Kan t So Nice (Summer Samba) t Sweet Happy Life (Samba de Orpheo) t Watch What Happens.
Angela t Cast Your Fate to the Wind t Feels So Good t Give Me the Night t Just the Two of Us t Minute by Minute t Morning Dance t Songbird t Street Life t This Masquerade
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noteworthy
Berklee Valencia
B
erklee College of Music president Roger Brown and Sociedad General de Autores y Editores (SGAE) CEO Eduardo Bautista have announced a cultural partnership to build a new college for global, contemporary music education in Valencia, Spain. Berklee Valencia will be the largest offshore U.S. music college in the world. Programs will offer music education that is new to Europe, focusing on contemporary music, international business, and the latest developments in leading-edge music technology. Berklee and SGAE officials broke ground October 16, 2008. Berklee Valencia is housed in a cultural complex called ARTeria Valencia, part of a network of performance and education spaces being constructed by SGAE in several Spanish and Latin American cities. ARTeria Valencia’s modern complex
will include a 27-story building. Berklee Valencia will open in 2011. Berklee Valencia’s curriculum for undergraduate and graduate programs will offer five main areas of study to prepare students to meet the challenges of the contemporary music industry: Music for Film and Integrated Media; Electronic Production and Design; Global Music and Entertainment Management; Symphonic Band Studies; Mediterranean Music. Berklee Valencia will enroll 1,000 students. Student recruitment will have emphasis on Spain,
Europe, Spanish-speaking countries, Africa, and the Middle East. ARTeria Valencia, home of Berklee Valencia, is one part of ARTeria Multiespacios, a network of multi-purpose spaces being developed by SGAE. The ARTeria includes eight centers in Spain, as well as centers in Mexico City, and Buenos Aires. The centers will have space for dance, music, audio/visual work, and theater, as well as recording studios, classrooms, and SGAE offices. For more information visit www. berklee.edu/Valencia.
Festival New Orleans Takes Over London The inaugural Festival New Orleans proved a resounding success as more
On Tour by Rupert Hörst (www.hoerbst.net) Rupert's collections of music-themed cartoons – Brassival, Woodstocks, and Stringled – are available in the U.S. through Hal Leonard Publishing.
6 JAZZed November 2008
than 80,000 people made their way to London’s The O2 for this free celebration of the music and culture of one of the world’s most exciting cities. The large crowd danced and sang along to sets from the likes of Dr John, Allen Toussaint, Buckwheat Zydeco and Kermit Ruffins. In total, more than 100 New Orleans artists performed over the course of the weekend, playing to packed crowds in the IndigO2 and the newly opened Matter venue within The O2, as well as the Promenade, which was transformed into a recreation of famous Bourbon Street and saw processions from the Apache Hunter Mardi Gras Indians, the Rebirth Brass Band, and the New Birth Brass Band. Festival New Orleans was the largest celebration of Louisiana music and culture to be held outside of the US. With its overwhelming success and huge attendance figures exceeding the already high-expectations of both its organizers and its audience, plans are already in place to hold the Festival next year as well. To learn more, check out www.theo2.co.uk.
At North Central College, being well-rounded doesnâ&#x20AC;&#x2122;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 musical study. Students choose from majors in Music, Music Education or Jazz Studies â&#x20AC;&#x201C; but also dance, act, explore, study abroad, volunteer, mentor, pole vault and pursue countless other passions. Our location, in downtown Naperville, is only 40 minutes by train from Chicago and makes it easy to enjoy, perform and do great works. Performing Opportunities at North Central College Concert Choir Womenâ&#x20AC;&#x2122;s Chorale Womenâ&#x20AC;&#x2122;s Chamber Ensemble Naperville Chorus Opera Workshop Music Theatre Production Vocal Jazz Ensemble North Central Choir Express Show Choir Concert Winds Chamber Winds Percussion Ensemble Brass Quintet Big Band Jazz Combos Chamber Jazz Pep Band
Call 800-411-1861 to discover more about our programs in music. Or visit us online at www.northcentralcollege.edu.
North Central College Music Scholarship Auditions M
SSaturday, February 7, 2009 Sa Saturday, February 21, 2009 Saturday, March 7, 2009
www.northcentralcollege.edu s . "RAINARD 3TREET s .APERVILLE ), s 800-411-1861
noteworthy Jazz at Lincoln Center
Due to overwhelming demand for the sold out concert on February 9th, Jazz at Lincoln Center added a second concert on February 10th for Willie Nelson and Wynton Marsalis. The two American icons will perform in Rose Theater at 8 p.m. on February 9 and February 10. This summer, Blue Note records released the CD Two Men with the Blues recorded at an earlier Jazz at Lincoln Center performance. On October 28, Eagle Eye Media released the DVD from that performance entitled Willie Nelson and Wynton Marsalis Live from Jazz at Lincoln Center, New York City, which was recorded live in The Allen Room at Jazz at Lincoln Center in 2007. All single tickets for the February 10th performance can be purchased through www.jalc.org or CenterCharge at 212-721-6500, daily from 9 a.m. to 9 p.m. Tickets can also be purchased at the Jazz at Lincoln Center Box Office, located on Broadway at 60th Street, ground floor. Box office hours: MondaySaturday from 10 a.m. to 6 p.m. (or 30 minutes past curtain) and Sunday from noon to 6 p.m. (or 30 minutes past curtain).Ticket prices for Willie Nelson and Wynton Marsalis are $30, $50, $75, $100, $125, and $150. Learn more at www.jalc.org.
New Labels for Nu Jazz Entertainment
Nu Jazz Entertainment has announced the formation of two separate labels to release high definition video and audio content, exclusively for digital download in the genre of jazz. Nu Jazz Records and Nu Jazz Video are the first labels of their type in the industry dedicated to providing high quality audio and video releases of emerging, and soon to be, legends in jazz. Nu Jazz Entertainment will release over 30 audio and video projects per year. The current slate of releases include projects from, tenor and soprano saxophonist, Jimmy Greene; percussionist, drummer, Geoff Clapp; longtime Wynton Marsalis sideman, alto saxophonist, Wess “Warmdaddy” Anderson; baritone saxophonist Jason Marshall; and current Jazz at Lincoln Center member, Walter Blanding, Jr., on tenor saxophone. Check out Nu Jazz on the Web at www.nujazzentertainment.com.
Monterey Jazz Festival’s Next Generation Festival
T
he Monterey Jazz Festival announced the 5th Annual Next Generation Festival, featuring the nation’s most talented middle school, high school, conglomerate, and college jazz musicians and vocalists. The Next Generation Festival, which includes MJF’s Next Generation Festival Jazz Competition, will take place in downtown Monterey from April 3 - 5, 2009. The three-day event will include performances and competitions, with awards going to the best groups for Middle School, High School, Conglomerate, and College Big Band Divisions; for High School Combos and Vocal Ensembles; and to College Vocal Ensembles. The event also includes the annual Composition Competition,
8 JAZZed November 2008
open to high school composers. The top three high school big bands, top high school combo, top conglomerate big band, top college-level big band and vocal ensemble and top two high school vocal ensembles will win cash awards and be invited to perform at the 52nd Annual Monterey Jazz Festival, September 18 - 20, 2009. In total, nine groups from the Next Generation Festival will perform at MJF/52, with the top high school big band kicking off the Arena/Lyons Stage on Sunday, September 20, 2009. Other winning groups will perform in the Night Club, the Garden Stage, and the Coffee House Gallery on the Grounds. Auditions will also be held for chair positions in the Monterey Jazz Festi-
vals Next Generation Jazz Orchestra, which embarks on a yearly tour and is a featured ensemble on the Festival’s Sunday, September 20, 2009 afternoon Arena/Lyons Stage program. For MJF/52, the multiple Grammy-winning trumpeter and Pulitzer Prize recipient Wynton Marsalis will perform as a guest soloist with the NGJO. The Next Generation Festival is accepting applications from middle school, high school, conglomerate, and college big bands; high school combos and vocal jazz ensembles; and from college vocal jazz ensembles through January 23, 2009. Application forms may be downloaded at the Monterey Jazz Festivals Web site. Visit www.montereyjazzfestival.org for more information.
My reed, My music, My soul. MattMarantz HOMETOWN : Cedar Hill,Texas GREATEST INFLUENCES : Charlie Parker,
John Coltrane, Keith Jarrett, Jan Garbarek, Pat Metheny, Paul Motian, Elvin Jones, Cannonball Adderly
BEST BAND: John Coltrane Quartet FAV MOVIE: Empire Strikes Back FAV SPORT: Huge baseball fan LATEST RECORDING : Just Friends REEDS USED : Rico Select Jazz Unfiled 3M
The reed for the next generation of musicians
www.ricoreeds.com
D’Addario & Company, Inc. • Farmingdale, NY 11735 USA Rico and “The World’s Most Popular Reed” are trademarks of D’Addario & Company, Inc. or its affiliates in the United States and/or other countries. © 2008. All rights reserved.
noteworthy Mapex Artist Liberty DeVitto Awarded by Marshall University Liberty DeVitto was selected to be a Joan C. Edwards Distinguished Professor of the Arts by Donald Van Horn, Dean of the Marshall University College of Fine Arts. During his residency DeVitto, who recorded multi-platinum albums and toured the world for 30 years as Billy Joel’s drummer, presented lectures to 10 different sections of music appreciation classes about the creative process of composing and recording rock/pop music,presented several lecture/discussions Liberty DeVitto receives the Jean C. Edwards to jazz studies and commerDistinguished Professor of the Arts Certificate cial music students,hosted from Dr. Ben Miller. a seminar on performance preparation and career development for music majors, worked with Marshall percussion students and presented a drum set clinic for the general public. Visit www.mapexdrums.com for more information.
• Perform at Lincoln Center... • Make an awesome CD that goes platinum... • Score a film that is internationally acclaimed... • Represent an entertainer who is #1 on the charts... • Have a fantastic internship in a major recording studio... • Be part of a Broadway or theatre production...
If these are your goals, WE ARE YOUR FIRST CHOICE!
305 N. Service Road Dix Hills, New York 11746 email: jazzed@ftc.edu
631.656.2110
• A U D I O R E C O R D I N G T E C H N O L O G Y • C O M P O S I T I O N / S O N G W R I T I N G • M U S I C T E A C H E R E D U C AT I O N • MUSIC BUSINESS • MUSIC PERFORMANC • MUSICAL THEATRE • MUSIC TECHNOLOGY • MUSIC HISTORY
10 JAZZed November 2008
Say What? Making the simple complicated is commonplace; making the complicated simple – awesomely simple – that's creativity. ~ Charles Mingus
New Web Site for Pearl
Pearl has launched a new Web site designed to bring drummers all the information they want about products, artists, events, and Pearl history in an easily navigated format with exclusive content. Some of the new features include a color selector tool that allows the customer to see exactly how a certain finish looks on a drum, as opposed to just looking at a color swatch.The new artist section now features expanded photo and video galleries, as well as artist kit plots to view all of your favorite artists’ set ups. Another new feature of the Web site is the timeline of Pearl history. This timeline, powered by Dipity, allows customers to browse the entire history of Pearl Musical Instruments, starting in Japan in 1946 up to present day. Loaded with archived photos, videos and catalogs, this resource gives drummers a unique and in depth look at significant moments in Pearl’s legendary history. Check out Pearl's new Web site at www.pearldrum.com.
Jazz Performance Education at This Country’s Premiere Conservatory
Juilliard Jazz JUILLIARD JAZZ Carl Allen Artistic Director Laurie A. Carter Executive Director Artists-in-Residence Benny Golson Christian McBride Visiting Artists Benny Green Wynton Marsalis Faculty Kenny Barron Ron Blake Kendall Durelle Briggs Ron Carter George Colligan Xavier Davis Richard DeRosa Billy Drummond Ray Drummond Mark Gould David Grossman Eddie Henderson Christian Jaudes Rodney Jones Frank Kimbrough Gregory Knowles Ted Nash Phil Schaap Bob Stewart Joe Temperley Steve Turre Kenny Washington Joseph Wilder Ben Wolfe
Photo: Peter Schaaf
Accepting applications for Bachelor of Music, Master of Music, and Artist Diploma Programs in Jazz Studies � Perform and Tour � Participate in Master Classes � Study with extraordinary faculty and top performing guest artists
A curriculum tailored to the practical performance needs of its young artists at all levels
� Bachelor of Music high school diploma or equivalent required � Master of Music bachelor of music degree required � Artist Diploma college degree or extensive experience required for this post-graduate, tuition-free program All applicants must meet Juilliard’s jazz audition requirements. Auditions take place in February/March Send Applications and Pre-Screen Recording to: Juilliard Admissions 60 Lincoln Center Plaza New York, NY 10023 (212) 799-5000 www.juilliard.edu Joseph W. Polisi, President
Building an extraordinary future
noteworthy Jamfest
Jamfest has joined forces with Loyola University Jazz Department’s Jazz Ensemble Festival to create a culturally rich and educationally outstanding performance opportunity from Friday, March 6 to Sunday, March 8, 2009. At JAMFEST’09 students will walk in the footsteps of the giants of jazz while discovering New Orleans, the city of its birth. The goal is to provide the optimum experience for all performers and directors through cultural immersion and the wonder of learning through cooperation with Loyola Jazz Ensemble Festival, which is in its 39th year. All performances, both competitive and non-competitive, will be held at Loyola University. The Festival is open to big bands or jazz combos from elementary through junior college level. Master classes will be held for all instruments on Friday, March, 6th and Saturday, March 7th, and will be taught by guest artist, bassist and composer Rufus Reid and the Loyola jazz faculty. A panel of expert musician/educators will adjudicate and provide clinics immediately following each performance. Outstanding groups receiving top rating will be awarded trophies. Outstanding JEN musician awards will be given to exceptional students. Seven tuition scholarships will be awarded to attend Loyola Summer Jazz Band Camp to be held May 31st to June 6.
with clinic immediately following, master classes, admission to evening concerts on March 6th performance by Loyola Faculty Jazz Septet and Guest, and on March 7th Rufus Reid with the Loyola Jazz Band, participation in a Naturally N’awlins second line through the French Quarter lead by a professional second line brass band ending with a private welcome reception at a Cajun Restaurant, hotel accommodations, New Orleans JAMFEST’09 t-shirt for each participant and director, tickets to Audubon Institute Aquarium of the Americas and Zoo, one group photo, Sunday morning gospel brunch, 1-year membership to Jazz Educators Network, lunch at Bubba Gump Seafood Restaurant, final night awards ceremony, concert and New Orleans JAMFEST’09 final night celebration N’awlins style. Worldwide Concepts Inc.is the official Travel Company and producer of New Orleans JAMFEST’09. E-mail all requests for more information and to request a registration packet to Sandra@WorldWideConceptsVacations.com New Orleans JAMFEST’09 is endorsed by Jazz Education Networkand supported by New Orleans Metropolitan Convention and Visitors Bureau. The New Orleans Metropolitan Convention and Visitors bureau is delighted to promote JamFest 09 and look forward to sharing culture, food and incredible music with America's next generation of jazz musicians.
Participants of New Orleans JAMFEST’09, Friday, March 6th to Sunday, March 8th will enjoy: One adjudicated performance
The National Jazz Workshop 2009 The Shenandoah Conservatory of Music located in scenic Winchester, Virginia will host the 2008 National Jazz Workshop from July 19 through the 24th. Study with the nation’s finest at a new comprehensive and inexpensive workshop designed for students and educators. Studies include arranging, composition, jazz history, MAC software technology, big band and combo performance techniques, recording studio technology, new jazz literature reading session, and various subjects. Participants will be grouped with peers. Educators and adults can participate in a non-performing status. The National Jazz Workshop 2008 will be hosted by Dr. Robert Larson, Director of Jazz Studies at Shenadoah University and directed by Matthew Niess of the U.S. Army Blues. The growing number of faculty, sponsors, and performers include The Smithsonian Jazz Masterworks Ensemble, The Jazz Education Network, The US Army Blues, Shenandoah University, The US Navy Commodores, Buffet/Crampon, The US Army Jazz Ambassadors, Courtois, The Capitol Bones, arrangers Alan Baylock and Bryan Kidd, and Pete Barenbregge with Alfred Publishers. Members of the Washington, DC premier military bands and visiting artists will serve as faculty and conduct master classes. Cost of the workshop will include admission to afternoon and evening concerts.
12 JAZZed November 2008
Workshop Fee: $175, Dorm Fee: $175 (5 nights), Campus Meal Plan Fee: $125 ($475 total for those staying on campus). Alternate housing is available at the official NJW hotel: The George Washington Hotel @ $94.00 per night 866-845-8930 code: “National Jazz Workshop”, parking fees apply @ $5 per day self park. Airports: Dulles International Airport - 52 miles. Reagan National - 72 miles. College Students: Preliminary plans are for this workshop to be available (as an option) for one (1) to three (3) undergraduate and graduate credits. In addition to registering with NJW individuals seeking college credit will be required to register and pay any credit fees through Shenandoah University. NJW fees will still apply. Students should register with NJW before registering with Shenandoah University to guarantee participation in the workshop as space may be limited. Individuals should also check with their home college before assuming credits will transfer. More detailed information will be available at www.nationaljazzworkshop.org. The Jazz Education Network will be hosting an open forum/idea exchange with free admission, visit www.JazzEdNet.org for details. For more information visit nationaljazzworkshop.org or contact Matt Niess at matt.niess@nationaljazzworkshop.org.
A NEW ONLINE COMMUNITY BRINGING TOGETHER JAZZ EDUCATORS, PERFORMERS, STUDENTS, AND FANS!
JazzPlayer.com is now live – visit www.JazzPlayer.com to sign up and create your individualized profile and start connecting with fellow jazz aficionados and scholars. Brought to you by the publishers of
What’s on Your Playlist? A respected session musician, vibraphonist, and music producer, Steve Shapiro has worked with such diverse artists as Steely Dan, Ornette Coleman, Whitney Houston, Spyro Gyra, and They Might Be Giants. Shapiro is also an accomplished composer and arranger whose work has appeared in hundreds of television and film projects. In addition to having performed with the likes of Curtis Fuller, Jimmy Heath, and Marc Johnson, Shapiro has also notably collaborated with Nashville guitarist Pat Bergeson (Bill Evans, Chet Atkins, Bill Frisell), with whom he has released three CDs, including 2008’s Backward Compatible (Apria Records). 1. Milt Jackson – Bags’ Opus It doesn’t get much better than “April in Paris” on this session – certainly Milt at his very best. Benny Golson also sounds amazing on this record. It is probably my favorite Milt side, from 1958. 2. Charlie Haden – Rambling Boy Here is something new. I like to preview new releases on Internet radio like Last.fm, then purchase what really inter-
ests me. Charlie doing a country record is something I had to examine in detail – if anything, just to hear that gorgeous bass sound on some country tunes. 3. Steve Swallow – Swallow Swallow’s tunes are made for improvisation and always have a clever twist. One thing that makes this CD special is that many of Steve’s greatest collaborators all appear on it: Carla Bley, John Scofield, Steve Kuhn, and Gary Burton. I consider Steve and Carla to be two of our greatest American jazz composers in the tradition of Duke Ellington, but with a more post-modern sensibility. Steve was very generous to me when I was young, and I owe him a lot – he is an amazing person. Very few people in jazz have his kind of artistic legacy. His latest project, So There, is a masterpiece and probably the most successful marriage of jazz and poetry ever (along with his 1980 ECM release, Home). 4. Steely Dan – Aja Timeless. Perfect. Pop music with real jazz chords. To me, Aja and Gaucho represent the pinnacle of sophisticated modern record production. Not much has surpassed this in the last 30 years as far as the integrity of the compositions, the detail
Steve Shapiro and Pat Bergeson’s newest album, Backwards Compatible (Apria Records), was released October 28, 2008. www.apria.com, www.vibraphonic.com.
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of the performances, and a mastery of studio recording as an art form unto itself. And 1977 is remembered as the era of Barry Manilow and disco! 5. Hank Mobley – Dippin’ (Rudy van Gelder edition) Hank took what Sonny and ‘Trane were doing, and put it into a groovy setting that made it very listenable. As far as this period – I’m always spinning something from Clifford Brown/Art Blakey, Lee Morgan, Erroll Garner, Wynton Kelly or Wes Montgomery. Just stuff that has that feel.
of the modern pop song. I’m also a big fan of Phil Ramone, who produced this record. 9. Al Green – Greatest Hits Not much to say – just some serious groove and finesse going on here. A lot can be learned from the economy of the playing, as well. The kind of phrasing that singers like Al and Ray Charles use has a lot in common with my favorite jazz.
10. Maria Schneider – Sky Blue There is just some really beautiful writing on this and some real individualism. It sounds fresh, but still follows in the footsteps of great arrangers like Gil Evans, Henry Mancini, or even Pat Metheny and Lyle Mays. And like Duke, Maria writes to the strengths of the cats in the band. It’s a real ensemble.
6. Victor Feldman – The Arrival of Victor Feldman How about this killer trio with Scott LaFaro and Stan Levey? It’s a little looser than later things, after Vic became a big L.A. session sideman. But the tasteful playing is always there. I think he is sometimes overlooked when people talk about the innovators of a pianistic approach to the vibes. 7. Weather Report – Heavy Weather Whenever “Teen Town” pops up on my player, I can’t seem to fast forward past it. It is so compelling and Zawinul, Wayne, and Jaco are such strong musical personalities. Joe was very inspiring – his music never got tired. He always infused it with young energy, which I guess is something he learned from Miles. I have become interested in the melodica and I always try to think of Joe when I play that instrument. 8. Paul Simon – There Goes Rhymin’ Simon This is about songwriting and arranging, especially on tracks like “An American Tune.” What an amazing song. I’m almost always listening to some classic material from Paul, or James Taylor, Joni Mitchell, The Beatles, or maybe Jackson Browne or Elvis Costello – the masters JAZZed November 2008 15
Keep Music Education Strong: Let Your Voice Be Heard!
Looking for ways to support music programs in your community? Order your new, FREE SupportMusic Community Action Kit and get started today! The multimedia kit helps you organize community efforts with:
-presentation materials -a petition to keep music in schools -brochures -public service announcements -tips to form a local coalition -many items in English and Spanish To affiliate with the SupportMusic Coalition, e-mail info@namm.org. To find out more and order your FREE kit, visit the NAMM Idea Center in Booth #5501 or e-mail info@namm.org. For more advocacy tools and information, log on to www.SupportMusic.com.
Introducing the newly launched
JAZZ EDUCATION NETWORK! A MESSAGE FROM JEN PRESIDENT MARY JO PAPICH November, 2008 We all have to open our minds, stretch forth, take chances and venture out musically to try and arrive at something new and different. ~ Horace Silver The Jazz Education Network is definitely a venture that is “new and different” – and musicians and fans around the world are stepping up to join us on our jazz journey. Our Charter Members already stretch from California to Boston and across the sea. Our Affiliate groups hail from Ohio and Arizona and I was happy to hear from Professor Michael Rossi at the University of Cape Town that the South Africa Jazz Educators organization has voted to join JEN. So our international connections are halfway around the world! We chose the word network because that is what we do: we make connections to enhance your jazz experience, whether it be teaching, performing, producing, managing, or listening. If you have a jazz success story to share, a discovery of a new teaching tool, or if you need help finding a chart, a bit of jazz history, or anything else, JEN is the way to get connected. JEN is about give and take, sharing resources, and broadening the audiences for this creative music. For those of you who’ve been playing the “wait and see” game, JEN needs your support now! Be a part of the start! I’ve been getting calls and e-mails from dear friends, as well as many newcomers, who want to be in on the ground floor of this unique association, and I invite you to join today. Join by December 31st to become a Charter Member of the Jazz Education Network. Attend the Open Forums coming up in Chicago and L.A. and get connected. Our affordable membership categories ($10-$50) make it easy for you to join at the level that suits you best. You can find a full description of each membership category at our Web site www.JazzEdNet.org – and we can now accept credit card payments directly through the site. If you are part of an existing jazz group, such as a local jazz society or a statewide jazz organization, your whole group can join at the Affiliate level. We purposely have made it extremely reasonable ($25 for unit and $10 per member) for groups to join JEN. See Dr. Fischer’s article on the details of membership. The JEN Executive Board will be meeting in Chicago during the Midwest Clinic and we will be there to give you a short presentation about the new organization and hear your comments. I invite you to attend the Open Forum to be held Friday, December 19th at 1:00 p.m. in the Crystal Ballroom (4th floor) at the Blackstone Hotel (right across the street from the Hilton). We will not require attendees to the Open Forum to have a badge. Do make plans to stop in and chat with us any time at the Symphony Publishing (JAZZed magazine) booth in the exhibit area and get your latest copy of JAZZed. It’s your chance to meet and talk with JEN’s officers, board members and some of our new committee chairs. Come on over and ask questions, share information, give us helpful ideas, chat and enjoy some face-to-face networking with people who share your interest in jazz. In partnering with the prestigious NAMM Trade Show, JEN is able to offer a unique opportunity for educators to attend the NAMM Trade Show January 16-18 and also attend another JEN Open Forum. Come and see what is new in the music industry world in sunny southern California! The leadership of NAMM and JEN will be sharing their ideas on the future in music education. Come spend the weekend with us…or if you live close by, just the day! See our Web site for more info and for details on how to register for this fabulous and fun weekend. In the spirit of collaboration, good will, good cheer, and the advancement of jazz education, I look forward to working with you and for you.
The happiest of holidays to you, your families, and friends, Mary Jo Papich President, Jazz Education Network Highland Park High School 433 Vine Avenue Highland Park, IL 60035 mjpapich@jazzednet.org
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JAZZ EDUCATION NETWORK
Mark your calendars and make your travel plans for these exciting JEN events: December 19, 2008: Midwest Band & Orchestra Clinic Open Forum/Idea Exchange 1:00 pm Blackstone Hotel-Crystal Ballroom- 4th floor North Texas State Jazz Singers 5:30 pm TBA Chicago Hilton & Towers Chicago, Illinois www.midwestclinic.com
March 6-8 New Orleans JAMFEST Middle School/High School/College level Performances and Events Loyola University New Orleans, Louisiana For registration packet contact: Sandra@WorldWideConceptsVacations.com
January 16-18, 2009: NAMM Trade Show Open Forum/Idea Exchange, Jazz Education Panels/Clinics Attend the NAMM Trade Show/Concerts Attend NAMM Music Educator Day Anaheim Convention Center Anaheim, California www.NAMM.com & www.JazzEdNet.org to register
July 17-19: NAMM Summer Trade Show/JEN MiniConference OPEN FORUM/IDEA EXCHANGE Attend the NAMM Trade Show/Concerts Attend NAMM Music Educator Day Nashville, Tennessee Info coming soon at www.JazzEdNet.org
February 13-17 Vallarta JAZZ SHOWCASE H.S./Collegiate level performance Come Play on the Beach! Puerto Vallarta, Jalisco, Mexico www.Amclass.org
July 19-24, 2009: National Jazz Workshop JEN OPEN FORUM/IDEA EXCHANGE Beginner to Professional Musicians Shenandoah University in cooperation with U.S. Army Blues & Smithsonian JazzMasters Winchester, Virginia Info at www.nationaljazzworkshop.org or Contact matt.niess@nationaljazzworkshop.org
Visit www.JazzEdNet.org regularly for details, click on Events. Web site Update www.JazzEdNet.org
JEN proudly introduces
the newly appointed Communications Task Force/Editorial Advisory Committee:
Nancy Grant, Chair- Louisville, KY Kahil El Zabar- Chicago, IL John Kuzmich- Southern CA Tony Garcia- Richmond, VA
Our webmaster Bill Christie and his team of Steve Crissinger and Lou Fischer are working late hours to add features to the JEN Web site.
Our JEN Web site will be:
• A place to get answers to your questions as you “Network with an Expert” online (just wait till you see our terrific line-up of greats)! • A forum for discussions online, to post job openings and upcoming events • A place to host a calendar for workshops/ events/ conferences • A place to network with other jazzers of all ages • A place that will offer pod casts of clinics and concerts • A place to download free materials • A place to shop the JENeral Store • A place to access our online magazine version of JAZZed by Symphony Publishing
• And much more!!! 18 JAZZed November 2008
networthynews This column of JEN’s JAZZed magazine will feature “what’s happening in the JEN jazz world” items that are worthy of interest. In this issue the column features happenings from some of the finest jazz experts in the world! These people make up the “Network with an Expert” team for the Jazz Education Network. JEN members can access the Members Only area at www.JAZZedNet.org to get their questions answered personally. Now that’s a member benefit! ORBERT DAVIS (Trumpet Expert), much honored jazz trumpeter and artistic director/conductor of the Chicago Jazz Philharmonic Orchestra, recently composed, conducted, and soloed in a spectacular “Tribute to Nelson Mandela and his 90th Birthday” at the Pritzker Pavilion in Chicago’s Millennium Park. Orbert composed a piece that weaves jazz, classical and South African melodies and featured Zim Nggawana, a prominent SA jazz saxophonist, Ari Brown, Dee Alexander, and T’keyah Crystal Keymah. Over 10,000 people enjoyed the creative piece, complete with narration and learned about the historic struggle of South Africa’s beloved Mandiba… SHERRIE MARICLE (Drums Expert) is the drummer and leader of The DIVA Jazz Orchestra and FIVE PLAY as well as the Director of Education and drummer for The New York Pops. DIVA’s new CD “LIVE” from Jazz at Lincoln Center was released in Sept. 2008. The next gig of note is a jazz cruise Nov 15 - 22 on the Norwegian Dawn … KEN DRUKER (Community Outreach Expert) is the Manager of Public Programming in the Education department at Jazz at Lincoln Center. His new “Listening Party” series kicks off with guest Joe Lovano in November. He has previously worked at The Verve Music Group and in the Music Department at Concordia University… RICHARD DUNSCOMB (International Advisor) is currently forging new paths with his SymphonicJazz International project as he conducts symphony orchestras worldwide. SymphonicJazz is an exciting and innovative combination of traditional Symphony Orchestra instrumentation with Jazz instrumental and vocal music. The summer of 2008 found him in Italy conducting the Bari Symphony Orchestra in a world premier of special arrangements of jazz standards by Thomas Gunther. Currently Professor Dunscomb is the chair of the music department at Columbia College Chicago and is also the Executive Director of the Chicago Jazz Ensemble... PEGGY VAX (Middle School Curriculum Band Expert) was named Jazz Educator of the Year for the state of California and has been a specialist in Middle School Instrumental music for 28 years as well as a Clinician/Adjudicator for the past 15 years currently teaching at Valley View Middle School, Pleasant Hill California…
JAZZ EDUCATION NETWORK
ERIKA PAUL (Elementary Music Expert) is fulltime career musician, singer, teacher and music director in Nevada, California and in Europe, with a passion for jazz performance, teaching and creating learning concepts that inspire. Her three-time national award winning children’s interactive cd/songbook/coloring book learning trilogy for K-8th grades, called “Scat’s My Bag”, is available through her Web site, www.erikapaul.com, through Jamey Aebersold’s www.jazzbooks.com; her beginning solo jazz piano pieces are available at www.kjos.com and her song tracks and CDs are available through her Web site and iTunes…CECILIA SMITH (Mallet Expert) of NYC recently received the JOYCE Award and is currently working on a commission through the JOYCE Foundation. This live jazz multi-media work will premier during the Tri-C Jazz Festival 30th Anniversary in Cleveland, Ohio - April 29, 2009…MICHELE WEIR (Vocal Jazz Expert) is currently on the faculty at UCLA, touring internationally as teacher, clinician and/or performer, and writing vocal arrangements for numerous groups and publishers, including her own company, MichMusic (www.michmusic.com). Michele’s recent projects include orchestral work for vocal group, M-Pact, her new book, Jazz Piano Handbook (Alfred Publishing), and the initiation of a new mentorship program, MichMusic Personal Study…WILLARD JENKINS (Jazz Festival Production Expert) is currently wrapping up the finishing touches on his new book collaboration with the great NEA Jazz Master Randy Weston - African Rhythms: the autobiography of Randy Weston, composed by Randy Weston, arranged by Willard Jenkins. Duke University Press will publish the book in 2009 and excerpts from the book will soon begin appearing regularly at www.openskyjazz.com in The Independent Ear blog section. He also has an article in the current jazz education supplement of JazzTimes magazine on the current JAZZed November 2008 19
networthynews JAZZ EDUCATION NETWORK
state of jazz education at historically black colleges and universities (HBCUs). His work as artistic director of Tri-C JazzFest Cleveland (celebrating its 30th anniversary April 24-May 4, 2009), BeanTown Jazz Festival (produced by Berklee College of Music), and Tribeca Performing Arts Center also continues. He is also eagerly anticipating the October 17, 2008 celebration of the 2009 class of National Endowment for the Arts Jazz Masters at Jazz at Lincoln Center and serves as a consultant to the program through his work for Arts Midwest’s stewardship of the NEA Jazz Masters “Live” funding program…LYNNE ARRIALE (Piano Expert) is a pianist, composer, leader of the Lynne Arriale Trio and newly formed Lynne Arriale Quartet featuring Randy Brecker, George Mraz and Anthony Pinciotti, has recently recorded her 11th CD, scheduled for March release on Motema Music. She is also assistant professor of Jazz Studies and director of the Combo Program at the University of North Florida in Jacksonville…BOB CURNOW (Composer/Arranger Expert) was a trombonist with The Stan Kenton Orchestra, touring all of the United States, Great Britain, Scotland and Wales (1963). He produced over 30 LPs for Kenton, and his arrangements and compositions can be heard on six Stan Kenton albums. His company (Sierra Music) is the exclusive publisher of the Stan Kenton Orchestra Library, along with the music of many other great jazz artists/composers. Curnow had the great honor of being inducted into the Hall of Fame of the International Association of Jazz Education in January, 1999 and is a past-president of the IAJE…
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J.B. SCOTT (Trumpet Expert) performs internationally as not only a featured artist but with his wife, vocalist LISA KELLY (Vocal Expert), as co-leaders of the Kelly/ Scott Jazz 5tet (mainstream jazz), J.B. Scott’s Swinging Allstars (Chicago style Dixieland), and of the Florida Jazz Plus music organization. “Lisa’s “Ella” like scat is really impressive...His versatile style enables him to swing like crazy. This is a highly entertaining exciting band that – on the evidence of this CD – can please a wide variety of audiences. I can’t wait to see them in the UK - they’re really refreshing,” says Brian Harvey, The Hot Jazz Channel, October 2008. Lisa has become well known for her vocal jazz clinics and presentations, becoming the first to present both a vocal jazz clinic for the Florida Vocal Association/FVA (2007, 2008), and a big band vocal performance clinic for Florida Bandmasters Association/FBA (2007) at the MENC State Convention in Tampa, Florida. Since 2000, she has been the vocalist with the FBA reading band session, she is a pro! JB is much in demand as a YAMAHA trumpet artist/clinician and adjudicator. Currently, J.B. Scott is Associate Professor at The University of North Florida teaching the award winning Jazz Ensemble 1, trumpet and music related courses. He is also the Director of The Great American Jazz Series bringing in 4 major artists a year for weeklong residencies and The Koger/Matteson Jazz Festival, a non-competitive big band festival for middle and high school jazz ensembles. RUBEN P. ALVAREZ is a drummer, Latin percussionist, composer, and educator based in Chicago. He currently records and tours with Chicago’s premier Latin jazz ensemble Chévere, and Grammy nominated rumba flamenco ensemble Guitarra Azul. He is on the faculty of Northwestern University, Roosevelt University and Columbia College Chicago, and is an educational endorser and clinician for Latin Percussion, Zildjian cymbals, Vic Firth sticks and mallets, and Remo drumheads and percussion…JIM WARRICK (NonCompetitive Jazz Festivals & Web Production) is in his twenty-seventh year as the Jazz Ensemble Director at New Trier High School in Winnetka, IL, where, under his supervision every school concert is broadcast live on TV, in stereo on public radio, and webcast worldwide on the jazz program’s website: NTJazz.com. He created and directs the popular non-competitive Frank Mantooth Jazz Festival and teaches in the summer at the Birch Creek Music Center jazz camp. He is taking early retirement at the end of this school year to explore other opportunities in education…BOB SINICROPE (Performance Tours/ Unique Travel) founded Milton Academy’s internationally acclaimed jazz program in 1974 and remains its director. He was the inaugural recipient of the IAJE/ Berklee John LaPorta Jazz Educator of the Year in 2007 and has been on the staff of Jamey Aebersold’s Summer Jazz Workshop since 1982. An active bassist he performs regularly in the Boston area and has special connections with jazz programs throughout South Africa where he is planning to tour for the seventh time next March with the Milton Academy Jazz Combos.… PETE BARENBREGGE (Publishing Expert) is the instrumental jazz editor for Alfred Publishing/Belwin Jazz, managing hundreds of jazz ensemble charts and supplemental jazz resources. He is also a busy saxophonist in the Washington, DC area, performing various gigs ranging from shows for artists such as Natalie Cole, recording sessions, jazz gigs, and all the usual commercial gigs. This past summer, Pete taught at the Gettysburg Jazz Camp, and as director of the Columbia Jazz Band, a community big band in Columbia, MD, he and the band performed at the Montreux Jazz Festival, then a nine day tour of Italy, Croatia, Slovenia and Vienna, Austria, an amazing trip… JOHN BABOIAN (Guitar Expert) Professor of Guitar at Berklee College of Music in Boston, recently returned from his ancestral Armenia where he performed concerts with Armenia’s Queen Of Jazz, “Datevik” and her trio. He is the leader of The “Be-Bop” Guitars (5 guitars & rhythm section) with their recently released CD “Freshly Painted Blues”. Last spring this amazing group was featured at the CapeTown Jazz Festival in South Africa. Check out their web site at www.bebopguitars.com...
networthynews JAZZ EDUCATION NETWORK
ANTONIO GARCIA (Improvisation Expert) is Director of Jazz Studies at Virginia Commonwealth University and a widely recognized composer, author, and performer (primarily trombone and scatsinging). He is International Trombone Association Journal Associate Jazz Editor, IAJE Jazz Education Journal Past Editor, and a Midwest Clinic board member. Tony led the VCU Jazz Orchestra I in performance at Midwest last December, performed and taught in the Middle East in November, has new articles coming out regularly, and will direct the Kansas All-State Jazz Band in February, where he will also present a workshop related to his improv book, Cutting the Changes: Jazz Improvisation via Key Centers (Kjos Music)…MIKE ROSSI (International Affliate) is Professor in Jazz and Woodwinds at the South African College of Music, University of Cape Town, South Africa. Mike presently serves as President of SAJE, (South African Association for Jazz Education). Mike regularly performs, conducts workshops and records with leading artists in Africa, Europe and the United States. Advance Music has published his books on jazz improvisation, and African inspired compositions and arrangements. He has a wealth of experience with teaching jazz and jazz related events in formal and non-formal areas of developing countries. He plays and endorses Rampone & Cazzani Saxophones; makers of Hand Made Italian Saxophones. President Papich saw Mike’s expert organization and planning when she spoke at the South African/Middle East Jazz Conference….MIKE VAX (Big Band/Trumpet Expert) is one of the most active clinicians (Getzen) in the USA today, performing on the road more than six months a year. He is Chairman of the Board of Friends of Big Band Jazz, a nonprofit that raises funds for scholarships to summer jazz camps and sponsors the Mike Vax Jazz Orchestra in California, the Stan Kenton Alumni Tours, and the Prescott Jazz Summit in Arizona, of which Mike is also festival director. Mike is a Summit Records recording artist and has six CD’s available from Summit. Mike will be directing the Small Schools All State Honor Jazz band at the Texas Music Educator’s Convention in February of 2009, and an All State Honor Jazz Band in Louisiana, as well as doing clinics in at least 12 states. The Kenton Alumni Band will be touring the East Coast in April and May of 2009…LARRY GREEN (New Teacher Mentor Expert) one of the founding members of JEN has been active as a jazz ed clinician and mentor for 35 years is currently with Gemstone Musical Instruments…
BRENT CAMPBELL (H.S. Festival Expert) is currently the director of the Brandon Jazz Festival and teaches band at Vincent Massey High School in Brandon, Manitoba, Canada. He has toured with
his high school groups to Europe, Cuba and across North America… JOVINO SANTOS NETO (Brazilian Percussion Expert) was awarded a grant from Petrobras, the Brazilian State Oil Company in 2006, to re-
search, compose and record a new work inspired by the musical universe of Northeastern Brazil;. The resulting CD, “Alma do Nordeste” (Soul of the Northeast) is being released in 2008 in Brazil and in the US. It features some of the best musicians in Brazil and once again solidifies Jovino’s reputation as one of the most creative composers and musicians in activity today… JOHN KNECHT (Unique travel/tours expert) has traveled to over 30 countries, studying world percussion instruments and their connections to jazz music. This past summer 2008, he visited Indonesia, India, South Africa, Argentina, New Zealand, Costa Rica and Ecuador. John specializes in West African Malinke music, having been to Guinea, Mali and Senegal four times. He documents these journeys and uses them to lead workshops around the country on behalf of the House of Blues, Chicago Symphony, Urban Gateways and his own company, Pulse Beat Music. KAHIL EL’ZABAR (Health & Wellness/World Music) is doing exciting and creative stuff as he has become a national spokesman and for Motel 6 and working with the German and French governments on music therapy projects. Congratulations to HERB WONG (Archival & Current Recordings Expert) who was given the prestigious Jazz Journalists Award for 2008 by the Jazz Journalist Association at Stanford University. Herb has been a fine journalist over the decades and JEN salutes him proudly! Can we talk you into writing for JAZZed, Herb? See this section in the next issue for more info on our Jazz Education Network EXPERTS!
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Reasons (more or less) to join JEN!
BY DR. LOU FISCHER
JEN is about Jazz!... innovation, improvisation, swing, tradition, culture, history, and the future. If I can paraphrase jazz master Quincy Jones... “the music is like osmosis; it gobbles up everything in its path...Bach, Beethoven, Mozart, ragtime, stride, Dixieland, bebop, Stravinsky, Debussy, blues, brass bands, big bands, bebop, hard bop, cool jazz, avant garde, free jazz, rhythm & blues, rock ‘n roll, Britishrock, acid rock, grunge, rap, soul, country, afro-Cuban, Brazilian, Ives!” The music is the greatest gumbo you’ll ever taste! JEN is about Education!... realizing the collective potential of working together; sharing, learning, growing, developing lifelong skills, being rich with knowledge, and positioning jazz as a global language. It’s about serving the needs of friends, neighbors, students, colleagues, artists, and family. JEN is about the Network!... opening the door to that one important opportunity with the right person. Connecting with people who share your passion, dedication, perseverance, drive, and determination. It’s a social connection, being inclusive, humble, respectful, without prejudice, having a face of all color, speaking all languages, and communicating through a common usage of jazz. Current Membership Levels for ages 18 and up are quite varied in an effort to be inclusive to all. A Charter FULL Individual membership at $50 (USD) includes voting rights and eligibility to: serve on boards or committees; receive JAZZed magazine via USPS (US residents only at this time); receive monthly newsletters; free downloadable gifts and music; access to the Members Only sections of the Web site and mem-
22 JAZZed November 2008
bership database; attend all JEN activities and events, and display merchandise and receive discounts to cool JEN apparel and other items available in the JENeral Store. Charter eJEN Individual memberships are offered at two levels. A Level II member at $35 (USD) receives all the benefits of the FULL membership above except the magazine is delivered online rather than in print. This is the best option available to our International friends at this time. A Charter eJEN member at Level I at $25 (USD) is not eligible to serve on the board or committees, nor is allowed to display merchandise in the JENeral store. A Charter Institutional Partner at $300 (USD) is the category open to educational institutions at any level, foundations, and arts groups with a non-voting membership base. Corporate Partners can become Charter members of JEN at a membership rate of $500 (USD). In each of these two categories, one representative from the group receives voting rights in JEN elections and meetings. Additionally the Partner group will receive: eligibility for three eJEN passes to the Members Only section of the Web site and to attend all JEN activities and events, discounts for placing multiple ads in JAZZed magazine, eligibility to display merchandise in the JENeral store, which includes full access to the Members database, and a link on the JEN Web site to your Web pages. The Charter eJEN Network Affiliate category is open to existing societies, arts organizations, associations, groups, etc. with a voting membership base, at a base fee of $25 (USD) + $10 (USD) per person. Your association receives eligibility for one representative to have voting rights in member elections and meetings, one member can serve on committees with voice and vote, display of association merchandise in the JENeral store,
organizational discounts when placing ads in JAZZed magazine, and a link on the JEN Web site to your Web space. Each individual member of the group will receive an eJEN pass which provides eligibility to surf the Members only section of the Web site, access the JAZZed magazine online and access the Members database. Further, all individual association members have the ability to upgrade his or her membership to the equivalents of an eJEN or FULL Individual membership once the association or organization becomes a member should they so choose to enjoy FULL benefits of membership in JEN. More Detailed information related to each of the Membership Categories is available on the JEN Web site under the JOIN button where we are now accepting secure online credit card application processing! Join now at any membership level before December 31, 2008 and earn the distinction of becoming a Charter Member. Your name, company, organization, or institution will carry the Charter designation long into the future, as long as you maintain a continuous membership. Future plans for the site include music, video, newsletter capabilities, downloadable sheet music, and dedicated areas for the younger jazzers around the world. All are currently being developed. Stay tuned as things happen quickly on the Network! Working Together...WE are the Jazz Education Network! Working Together...WE are strong! Onward and Forward! Dr. Lou Fischer Vice President/Membership Chair, Jazz Education Network Visit: www.JAZZedNet.org for additional information.
JAZZ EDUCATION NETWORK
NETWORK WITH AN EXPERT… ONLINE ONLY AT WWW.JAZZEDNET.ORG
Network with an Expert has been designed as a JEN member benefit accessible on the Members Only Web site at www.JazzEdNet.org. The team is made up of respected authorities in their field. Current JEN members are welcome to communicate directly with the Experts regarding questions or advice…simply ASK THE EXPERT! Jazz Education Network proudly introduces you to their EXPERTS: Curriculum & Instruction Elementary . . . . . . . . . . . . . . . Sherry Luchette Middle School Instrumental . . . . . . Peggy Vax Middle School Vocal . . . . . . Erika Paul Carlson High School Instrumental . . . . . . . . . Jose Diaz High School Vocal . . . . . . . . . Dan Gregerman Performing Arts Magnet. . . . . . . . .Bart Marantz Non-Traditional Schools . . . . . Caleb Chapman Special Needs. . . . . . . . . . . . . . . .Kim McCord Arts Integration . . . . . . . . . . . . . . . Judy Shafer History . . . . . . . . . . . . . . . . . . . . . . Rick Lawn Improvisation Materials . . . . . . . . . Shelly Berg . . . . . . . . . . . . . . . . . . . . . . . . . . . Tony Garcia Composition and Arranging . . . . . . .Ellen Rowe . . . . . . . . . . . . . . . . . . . . . . . . . Greg Ward, Jr. . . . . . . . . . . . . . . . . . . . . . . . . John LaBarbera Theory . . . . . . . . . . . . . . . . . . . . Scott Wilson International Secondary . . . . . . . Michael Rossi
Published Music Big Band . . . . . . . . . . . . . . . . . . . . Bob Curnow . . . . . . . . . . . . . . . . . . . . . . . . . . . Lou Fischer . . . . . . . . . . . . . . . . . . . . . . . Pete BarenBregge Combo/Ensemble . . . . . . . . . . . . Ben Huntoon . . . . . . . . . . . . . . . . . . . . . . . . . . Mike Tomaro Vocal Jazz . . . . . . . . . . . . . . . . . . Michele Weir Strings . . . . . . . . . . . . . . . . . . . . . . Bert Ligon Special Manuscripts . . . . . . . . . . . Bob Washut
Technology Programs & Software . . . . . . . . . Rocky Reuter
Research Scholarly . . . . . . . . . . . . . . . . . . . . Lissa May . . . . . . . . . . . . . . . . . . . . . . . Tammy Kernodle
New Music . . . . . . . . . . . . . . . . John Kuzmich
Instrumental Performance Woodwinds . . . . . . . . . . . . . . . . . Victor Goines Trumpet . . . . . . . . . . . . . . . . . . . .Orbert Davis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JB Scott . . . . . . . . . . . . . . . . . . . . . . . . . . .Clay Jenkins . . . . . . . . . . . . . . . . . . . . . . . . . . Terell Stafford Trombone . . . . . . . . . . . . . . . . Jiggs Whigham . . . . . . . . . . . . . . . . . . . . . . . . . Dennis Wilson . . . . . . . . . . . . . . . . . . . . . . . . Wycliffe Gordon Piano . . . . . . . . . . . . . . . . . . . . . Lynne Arriale . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Geri Allen . . . . . . . . . . . . . . . . . . . . . . . . Reggie Thomas Mallets . . . . . . . . . . . . . . . . . . . . Cecilia Smith Guitar . . . . . . . . . . . . . . . . . . . . . John Baboian . . . . . . . . . . . . . . . . . . . . . . . . . .Frank Potenza Strings . . . . . . . . . . . . . . . . . . . .Randy Sabien Bass . . . . . . . . . . . . . . . . . . . . . . John Clayton . . . . . . . . . . . . . . . . . . . . . . . .Riccardo Del Fra Percussion /Afro-Cuban. . . . . . Bobby Sanabria . . . . . . . . . . . . . . . . . . . . . . . . Memo Acevedo Percussion /Brazilian . . . . . Jovino Santos Neto Percussion /Latin. . . . . . . . . . . . Ruben Alvarez . . . . . . . . . . . . . . . . . . . . . . . Ndugu Chancler Drums . . . . . . . . . . . . . . . . . . . . Peter Erskine . . . . . . . . . . . . . . . . . . . . . . . . Sherrie Maricle Harmonica . . . . . . . . . . . . . . . . . .Howard Levy
Voice Performance Solo Voice . . . . . . . . . . . . . . . . .Kitty Margolis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lisa Kelly Ensemble . . . . . . . . . . . . . . . . Paris Rutherford
Media /Production
Jazz in Film/TV . . . . . . . . . . . . . . Michael Wolf Film & Video Resources . . . . . . . . Chuck Berg Radio Program Production. . . . . . Bob Bernotas Webcasts . . . . . . . . . . . . . . . . . . . Jim Warrick Archival and Current Campus & Professional Jazz Recordings. . . . . .Herb Wong Promo. . . . . . . . . . . . . . . . . . . . . . . . Jim Eigo
Jazz Industry Business, Music Publishing . .Andrew Surmani Other Experts Teacher Mentoring . . . . . . . . . . . . Larry Ridley . . . . . . . . . . . . . . . . . . . . . . . . . . . Larry Green . . . . . . . . . . . . . . . . . . . . . . Katchie Cartwright Arts Administration/ Non Profit Business . . . . . . . . . . Suzan Jenkins . . . . . . . . . . . . . . . . . . . . . . . . . Laura Johnson . . . . . . . . . . . . . . . . . . . . . . . . . Greg Diethrich . . . . . . . . . . . . . . . . . . . . . . . . Bob Breithaupht Big Band Tours . . . . . . . . . . . . . . . . . Mike Vax International Advisor . . . . . . . . Dick Dunscomb Health & Wellness . . . . . . . . . . . Kahil Elzabar Movement & Dance . . . . . . . Michelle Loeffler . . . . . . . . . . . . . . . . . . . . . . . . Andrea Johnson Honor Jazz Ensembles . . . . . . . . Ron McCurdy Community Outreach. . . . . . . . . . . . Ken Druker Jazz Festivals Production. . . . . .Willard Jenkins . . . . . . . . . . . . . . . . . . . . . . . . Terri Pontremoli Jazz Festivals H.S. Production . Brent Campbell Performance Tours/ Unique Travel . . . . . . . . . . . . . . Bob Sinicrope . . . . . . . . . . . . . . . . . . . . . . . . . . .John Knecht Summer Jazz Studies . . . . . . . . . . Jim Widner . . . . . . . . . . . . . . . . . . . . . . . Scott McCormick
Recordings . . . . . . . . . . . . . . . . . .Nick Phillips
JAZZed November 2008 23
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guest editorial
L A U N C H I N G F E S T I VA L S
BIG BAND JAM!
H
BY HARRY SCHNIPPER
ere’s how we began a successful big band festival in the nation’s capitol, and how this idea could be replicated in your community. April in Washington, D.C. is about springtime, tourists, and Jazz Appreciation Month. As a native Washingtonian, the owner of an internationally acclaimed jazz nightclub, and a lifelong jazz devotee, I wanted to give something back to my community and what better way than to celebrate on America’s “Main Street?” The first annual BIG BAND JAM! was held from April 21-23, 2005 on Pennsylvania Avenue between the White House and the United States Capitol with the theme, “Making Music on America’s Main Street.” The first year boasted eleven high school, college, and military bands on two stages. The featured performers were the Smithsonian Jazz Masterworks Orchestra (SJMO) under the musical direction of the NEA Jazz Master, maestro David Baker. The first year also featured a master class with the SJMO.
Getting Started The first year was an experiment to determine demand and examine variables ranging from venue to entertainment to vendors to timing. Obviously timing is critical to success and in Washington, D.C., weather is always a factor. In order to provide a suc26 JAZZed November 2008
cessful jazz festival, one must build it according to its audience and in our nation’s capitol, our audience is tourists and April is the height of the tourist season. In order to successfully achieve an audience, one must think outside the box while keeping a watchful eye on economics. The first seasonal hurdle is to decide when and whether or not to hold the event indoors or out. Since the April weather coincides with the MasonDixon line, which divides north from south, the decision to hold the event outdoors was inevitable. The weather, while often inclement in the evenings, boasts both warm and cool breezes outdoors. It was therefore decided to promote a daytime program of public, private, and parochial high schools, and an evening venue of college and military bands. The central theme of the event would coincide with our own Blues Alley Jazz Society’s musical mission — to promote youth, jazz, and education here in our nation’s capitol. The next decision was to select the participants and issue the invitations. The decision to pick public, private, and parochial schools was based upon the knowledge that educational diversity promotes educational exchange. Educational exchange can cross social, political, and improvisational boundaries and bring better understanding to all. The biggest challenge was to drill down beneath the surface and uncover the identities of those that contribute to the jazz musical culture of our community. The foundation of this identity is built upon jazz education and therefore exhuming our own identity as it exhumes others. It would require a careful and painstaking timeline based upon timing and outside
“IN ORDER TO PROVIDE A SUCCESSFUL JAZZ FESTIVAL, ONE MUST BUILD IT ACCORDING TO ITS AUDIENCE.”
guest editorial “action dates.” If the first festival did not succeed it would not be attempted again. Therefore timing, understanding, and focus would play a significant role in our overall success. The first step toward a successful event is the reservation of the venue and the issuance of invitations. Our nation’s capitol is controlled by bureaucracy, as are its parks. In order to hold a public performance, we would need permits, partners, and placeholder positions. Partners come in all shapes and sizes. They may be your advertising accounts, music directors, security police, adjacent property owners, or corporate sponsors. The partners in your community might appear to be stakeholders, but by empowering them as partners, you ensure your own success. A festival is a complex and complicated undertaking and is by no means, to quote a popular movie, a “field of dreams.” In Washington, as elsewhere, the easiest way to ensure your own success is by empowering gatekeepers and decision-makers alike. For those of you unfamiliar with the complex maze of bureaucracy, your gatekeepers assist you in processing your paperwork, organizing your event, and promoting your success. No non-profit event can be successful without corporate underwriters and no corporate underwriter will contribute without a budget. The difference between success and failure depends upon and is determined by your ability to accurately forecast your own expenses. As they say, “if you fail to plan, you plan to fail.” While we could not forecast all of our expenses, the National Park Service made it altogether easier for us by itemizing the necessities. We would need security, bonding, lavatories, first aid, maintenance, park supervision, and insurance underwriting. These may be obvious to all but I
have come to call them the “invisibles.” When you assemble such a large consortium of individuals into one place it may seem that it is inevitable that their collective consequences may disappear, but the reality is they do not. The consequences include everything from trash detail to portable commodes. Do not be afraid to ask questions or even to hire an event planner. A committee may create consensus but not necessarily expertise in all areas. If you choose to create a committee, do so amongst a pool of equals but also of individuals with disparate disciplines. They may include individuals from both the public and private sectors. Organizing an event of this magnitude may include navigating complex political waters, so expertise and experience are also essential to your success. You may need to secure municipal street closings, retain audio-visual technical support, or identify overnight accommodations. The first order of business is to secure the actual entertainment. This is not an easy process and requires perseverance on your part. I recommend sending a written letter out to each of the prospective participants, extending to them a placeholder position. This is simultaneously easy and difficult. It requires diligence, tenacity, and per-
severance. It requires e-mails, faxes, and telephone calls. It requires discussing the details with each of the prospective performers. It requires confirming receipt of the initial invitations via phone or fax and then segregating out the timeslots well in advance to avoid scheduling conflicts or confusion. Build the event appropriately around these placeholder positions. Music directors of all ilks need to partition out their curriculums, develop playlists, rehearse their orchestras and schedule transportation months in advance of the intended event. Sponsors and vendors require a budget and verification of your ability to produce the event. I therefore recommend that an initial itinerary be developed and distributed to all of the partners and participants. The itinerary will become the template for undertaking the validity of the event.
The Notre Dame School of the Arts big band of Ottawa, Canada performing on the Sylvan Amphitheater Stage on the National Mall.
JAZZed November 2008 27
guest editorial Categorically create a list of prospects that will both perform and promote the event. Developing a Web site with Web links will similarly serve to sympathetically expand your effective information network. The Internet is a valuable source of this exchange and we linked ours with the IAJE, National Park Service, Washington Convention and Tourism Corporation, radio stations, and local business improvements districts. We created flyers for the annual IAJE conference and public service announcements (PSAs) for local radio stations. Sponsorship was similarly critical to our success. We wanted to accept charitable donations from only those corporate contributors that shared our mission. Jazz and jazz music are a very strong market demographic and we wanted to partner with those corporations whose goal it is to create responsible citizenship and reach out to the next generation of jazz listeners. We found our corporate audience in communications companies, scholastic publications, law firms, and national and municipal arts agencies. We convinced this corporate audience that they would receive maximum visibility via vendor booths, on-air/print advertising, banners, brochures and production programs all for a nominal expense. Our operating budget became our outline for success. We tabulated our costs accordingly, divided the sum of the whole, and spread the cost equally among the underwriters. We assured the underwriters that one hundred percent of their donations would go directly toward producing the event and it did. One might logically assume that if you raise enough money, craft a successful program, and produce the event that it will somehow be successful, but that too is not necessarily so. Successfully advertising the event is also imperative to its annual existence and “branding” becomes the essential ingredient to formalizing the narrative. Timing, place, and content become the unacknowl28 JAZZed November 2008
edged formula for that success. Everyone involved becomes dependent upon that formula as does the brand that we are trying to promote. The branding concept is as true in the public sector as it is in the private sector. Our goal therefore was to time the annual occurrence with Jazz Appreciation Month and the month with the event.
Nothing Succeeds Like Success The 2nd Annual BIG BAND JAM! was held between April 20th-23rd, 2006 and included the addition of more schools and more master classes. We featured 25 high schools, colleges, and universities over four days and added world renowned trombonist Slide Hampton, saxophonist/educator Loren Schoenfeld, members of the U.S. Army military jazz ensemble, and the SJMO in a series of clinics, classes, and workshops. Education is still the focal point of our event. We structured our budget around the branding concept and we sold it to our partners in the form of a business proposal. We posited a theme, constructed its itinerary, distributed it to the community of stakeholders, marketed it to the public, and placed it in the middle of our nation’s capitol. We broadcasted our press releases over the Internet and we empowered others to promote the program. It was unremarkable in its undertaking but it was a classic win-win-win marketing model. Nothing succeeds like success. The 3rd Annual BIG BAND JAM! was celebrated between April 20th-29th, 2007 and expanded to include four venues over 10 days. We included six additional performance dates and received requests from outside our immediate academic community. We promptly provided follow-up letters to our past partners and participants and asked that they request a placeholder position in the coming calendar year. The primary mission of the festival continued to promote education while the foundation of the festival expanded to include
increased clinics and classes. We again secured the venues but we expanded our invitation list to include the international cultural community through our preexisting strategic ties to the embassies located here in Washington. As we further examined our content we peeled back the layers of our city to see colleges and universities and so we introduced “Collegiate Jazz JAM! day. We invited all of the universities located within our community and further partnered with George Washington University to promote the event. We wrote articles and placed advertising in the campus newspaper and alumni magazine. We sought volunteers from their marketing and media schools to assist in festival support and further instituted Web links. We installed a downloadable brochure on-line and further developed the brand in the marketplace. We inaugurated tribute dates to honor jazz luminaries to coincide with “Jazz Appreciation Month”. Our goal was to establish our legitimacy in the larger festival marketplace and we cultivated a partnership list to include local tours and exhibits at the various cultural institutions within our community. We tabulated a comprehensive press release list and further expanded our portals by establishing Web links with prominent civic and cultural Web sites. The response was overwhelming and that year included the Jazz Knights from WestPoint, New York, the One O’clock Band from the University of North Texas, the Count Basie Orchestra, and seven European Union ensembles. The 4th Annual BIG BAND JAM! occurred between April 18th-27th, 2008 and included all of the above and also included all of the academic, embassy, and military communities. We made a list of big bands and brought in the Basie, Dorsey, Ellington, Smithsonian, and Berklee College Orchestras. We invited an ever-increasing number of schools, sponsors and venues. We hosted 47 separate ensembles with more
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guest editorial than 60 events on six separate stages. We identified sponsors from every significant professional category and paid tribute to Ella Fitzgerald, Duke Ellington, and Willis Conover. We had 27 high schools, colleges and universities participate from as far away as Canada and New York City. We documented
their participation through photographs, recordings and certifications. The BIG BAND JAM! continues to be the only jazz festival in America specifically created by kids to kids for kids and from kids. The theme of the event focuses on composition, arranging and orchestration. The jazz DNA of
from Belwin Jazz Sittin’ In with the Big Band: Jazz Ensemble Play-Along These are more than fun play-alongs! The Book/CD combination features great big band charts written at the mediumeasy (Vol. I) or at the medium-difficulty level (Vol. II). Play your part with the outstanding professional players and learn about blend, style, phrasing, tone, dynamics, technique, articulation, time and playing in tune. You will also experience a variety of styles including Latin, swing, jazz waltz, ballad and rock. Unique to this series is the availability of rhythm section books providing opportunities for drummers, pianists, guitarists and bassists to experience all the benefits of playing along and learning. Volume 1: Book & CD Alto Saxophone (00-27527) .......................$14.95 Tenor Saxophone (00-27530) ....................$14.95 Trumpet (00-27533) .....................................$14.95 Trombone (00-27536)..................................$14.95 Guitar (00-27545) .........................................$14.95 Bass (00-27542) ............................................$14.95 Piano (00-27539) ..........................................$16.95 Drums (00-27548).........................................$14.95 Volume 2: Book & CD Alto Saxophone (00-30668).......................$14.95 Tenor Saxophone (00-30669) ....................$14.95 Trumpet (00-30670) .....................................$14.95 Trombone (00-30671) ..................................$14.95 Guitar (00-30673) .........................................$14.95 Bass (00-30674).............................................$14.95 Piano (00-30672) ..........................................$16.95 Drums (00-30675).........................................$14.95
Not Rocket Science
Gordon Goodwin’s Big Phat Band Play-Along Series By Gordon Goodwin and Select Members of the Big Phat Band Titles include: Swingin’ for the Fences • La Almeja Pequeña • Hunting Wabbits • Whodunnit? • Count Bubba’s Revenge • Get in Line • Horn of Puente • The Jazz Police • High Maintenance • Cut ‘n Run Book & CD Alto Saxophone (00-25244) .......................$24.95 Tenor Saxophone (00-25247) ....................$24.95 Trumpet (00-25250) .....................................$24.95 Trombone (00-25253)..................................$24.95 Drums (00-25256) ........................................$24.95
Visit alfred.com for more information and to find a retailer in your area or online.
30 JAZZed November 2008
Washington, D.C. is deeply committed to these three educational approaches and enjoys a deep and storied tradition via the military ensemble presence. We are reaching out further and farther to include both music publishing and instrument manufacturing support. The recent loss of the International Association for Jazz Education (“IAJE”) cannot be sufficiently overstated. IAJE was one of our principal and primary partners and promoters. Instead we have had to turn to alternative sources of association affiliations located locally. We have constructed a strategic alliance with New Horizons Tour and Travel (“NHTT”) to help promote our festival nationwide. We have expanded the number of available performance slots on the National Mall to 30 and will continue to seek new donors, sponsors and venues. The appeal of the festival reaches young and old, rich and poor and every ethnicity. The loss of the annual IAJE Conference has left a tremendous void in the world of jazz education but, with your support, it will not be forgotten.
What I have described here is not rocket science and can be replicated by anyone anywhere with the right amount of caution, consideration, perseverance and approach. I will concede that we have a significant home field advantage because of our location, but that should not deter others from accepting the challenge and learning that the key to success lays in academic understanding and musical cooperation. Everyone knows that jazz is not for everyone, but that this genre alone transcends generations and all socio-political or economic borders. It is a unifying force that should be shared by all and we invite you to share it with us. Harry Schnipper is executive director of the Blues Alley Jazz Society (BAJS) whose mission it is to promote youth, jazz and education. He is also the owner of Blues Alley Jazz and founder of the annual BIG BAND JAM!, held each April in Washington, DC. The 5th Annual BIG BAND JAM! will occur between April 17th-26th, 2009. www.bigbandjam.org.
focus session
TRIPLETS
Swingin’ Transitions For Drummers BY KEITH HALL
I
t is safe to say that all of us have either listened to, or played in, a young jazz group and that we are well aware of that awkward point in the music when the drum-fill transition approaches and the very excited drummer either rushes, drags, freezes, or plays something completely inappropriate. I cringe when I hear this because I know that with a little practical coaching, the drummer could sound much more confident and provide a smoother transition. After many years of teaching and playing, I have learned that these transitions can sometimes make or break a performance. If the transitions are seamless and they help the music to flow, then it makes for a much more enjoyable musical experience for everyone. Recently, I have begun writing specific transitions and fills for my drum students to use as a springboard for their own creativity. Many drummers, including myself, have come from a rock or pop background, so thinking of a swingin’ transition isn’t the first thing that our hands gravitate towards. Because swing is based on triplets, I have designed some simple triplet-accent patterns as a place to begin. Triplets
Let’s begin by playing triplets while alternating Right, Left, Right, et cetera... Ex. 1
32 JAZZed November 2008
focus session Since most American music is grouped in four-bar phrases, I like to have my students practice with this in mind. This trains them to hear and feel the length of a four-bar phrase and eventually they won’t have to count or think about them. Begin by playing three bars of swing time and then use triplets on the fourth bar as a transition. Feel free to keep the feet going through the triplets. Ex. 1A
The important thing with this is to have a seamless transition going from the swing time to the triplets and back again. Practice these with a metronome so that you work on keeping the tempo consistent throughout. “Imitate, Orchestrate, and Create” Imitate
One of my mottos is “Imitate, Orchestrate, and Create.” We must first copy and imitate what we hear or see, secondly move it around the kit to hear different sonic possibilities, and finally begin to turn it inside out and backwards as we create our own ideas based off of the original material. Now we will add some accents to the triplets and develop what I call “Rhythmic Melodies.” The idea is to make the accents very clear and much louder than the other notes so that you only really hear the accents. I call these “Rhythmic Melodies” because they are “singable” and are easy to remember. Ex. 2
Ex. 3
Start these on the snare drum first with the same foot pattern. Practice these until you get very comfortable with the sticking and accents.
JAZZed November 2008 33
focus session Now play it as a fill at the end of a four-bar phrase. Ex. 2A
Ex. 3A
Again, the idea is to make the transitions seamless as you go from playing time to triplets and back to playing time. Don’t forget the metronome! You can also try longer phrases: – eight-bar phrases: seven bars of time plus a one-bar fill. –12-bar phrases: 11 bars of time plus a one-bar fill. Orchestrate
Once you get comfortable with these on the snare drum, you can now begin to orchestrate these rhythmic patterns around the drum kit. Let’s orchestrate the previous ideas. Notice the right hand accents are orchestrated on the floor tom and the left hand accents are orchestrated on the high tom. Ex. 2B
Ex. 3B
34 JAZZed November 2008
focus session Create
Now letâ&#x20AC;&#x2122;s try to create our own phrases first by connecting the snare and orchestrated patterns together to make a two -or four-bar pattern. Remember to keep the feet going. Ex. 2C
Ex. 3C
Letâ&#x20AC;&#x2122;s connect pattern 2 and 3 together in a two-bar pattern on the snare only. Ex. 2D
Orchestrate it. Ex. 3D
JAZZed November 2008 35
focus session Reverse them both. Ex. 4D
Ex. 5D
You can see that there are numerous ways to create fun and challenging patterns for yourself. Now letâ&#x20AC;&#x2122;s use these two-bar patterns as transitions. Begin by alternating two bars of swing time with two bars of the new pattern. Ex. 2E
Ex. 3E
Now play four bars of swing time and play four bars using the snare ideas for two bars and orchestrating for two bars.
36 JAZZed November 2008
Ex. 4E
This is the common practice of trading fours, which happens quite often in a jazz performance. Making these transitions smooth and seamless will help the music flow and make the performance fun and more exciting for everyone. I hope that you take this concept of “Imitate, Orchestrate, and Create” and apply it many other ways including playing time and improvising. The possibilities are endless! Check out some of my favorite drummers, including Max Roach, Philly Joe Jones, Art Blakey, Elvin Jones, Roy Haynes, Billy Hart, Ed Thigpen, Jimmy Cobb, and Vernel Fournier – just to name a few! These great
drummers are all masters at incorporating these types of accented triplet patterns. I encourage you to listen to them and other great drummers on classic recordings, as you look for ways to increase your jazz drum vocabulary. Have fun and keep swingin’! Keith Hall is a performer and educator who has performed with Betty Carter, Sir Roland Hanna, Luciana Souza, Curtis Stigers, Steve Wilson among others, and his own band, Tri-Fi. He is the jazz drum set professor at Western Michigan University and is the director of the Keith Hall Summer Drum Intensive held in Kalamazoo, Mich. For more info or questions, please visit www.KeithHallMusic.com.
JAZZed November 2008 37
BartMarantz
Anything is
Possible By Christian Wissmuller
C
urrently director of Jazz Studies at the acclaimed Booker T. Washington High School for the Performing and Visual Arts (BWHSPVA) in Dallas and previously on staff at Jones County Junior College (Ellsville, Miss.) and Lake Sumter Community College (Leesburg, Fla.), Bart Marantz has been playing an active role
in shaping the future of jazz for nearly three decades.
Since Bart joined the faculty at BWHSPVA in 1983, the school has seen a number of high profile musicians matriculate including Roy Hargrove, Erika Badu, Keith Anderson, Norah Jones, and Bart’s own son, Matt. The school’s music department has received no fewer than 194 DownBeat Student Music Awards and the jazz students have performed at the Monterey Invitational National Jazz Festival, the IAJE Conference, and the White House. As a performer, Marantz has played with the likes of Gladys Knight and the Pips, Nancy Wilson, and Frankie Valli and has toured with a number of shows, including Ray Charles and The Glenn Miller Orchestra. Additionally, Bart has contributed to a number of respected jazz periodicals and has co-authored three respected method books, Jazz Figure Reading Studies, Trumpet Masterclasses, and Teach Jazz – A Course of Study. JAZZed recently sat down with Bart Marantz to discuss his background as a scholar, performer, and teacher of jazz.
tors, all of them, did not understand jazz and commercial music and didn’t make any effort to learn this wonderful art form. I felt that those who should have encouraged and supported me always looked down on me for loving this music. I played in the jazz band, then known as the stage band, the wind ensemble, the orchestra and unfortunately, the marching band. JAZZed: Why do it if you were so against it?
JAZZed: A pretty big deal then, that performance. BM: This was strictly a coincidence, but our relationship continues today! His name is Dr. Frank Biringer. He and my Jr. high teacher, Mr. Wallace McMurry, would give me a foundation that would last me the rest of my life, both as a musician and a person. JAZZed: How about your high school years? BM: My high school days were my worst musical experience. The direc40 JAZZed November 2008
Web sites: www.dallasisd.org/ btw/; www.bartmarantz.com BTWHSPVA Accolades and Awards: DownBeat/Musicfest USA Invitational National Jazz Festival (10 Awards); Monterey Invitational National Jazz Festival (Combo Winner 3 times); International Association for Jazz Education Conference (17 Performances) DownBeat Student Music Awards (194); Grammy National Signature School: (5 times – 2000-2008). Bart Marantz Education: BM in Instrumental Jazz Studies/Performance – University of Miami; Masters Degree in Afro-American Jazz Music – New England Conservatory of Music
JAZZed: Talk a bit about your first experiences with music – as a student and as a fan. Bart Marantz: I was born in Brooklyn, New York in 1950 and moved to Miami with my family when I was seven years old. I did study music in elementary school as well as junior high school in Miami, which was where I heard a brass quintet for the first time. The group had come over to my elementary school to do an informance. The first trumpet player would become my trumpet teacher and mentor about a year later.
Bart Martantz/Booker T. Washington HSPVA Précis:
JAZZed: Valuable lessons, all.
BM: If I didn’t do the Marching Band I couldn’t participate in any of the other ensembles! They had me. Unfortunately many directors still use this policy today to populate their large ensembles, especially marching bands. Shortly after coming to Coral Park High School in Miami, I struck a deal with my band director. I would play his marching shows if I could leave after the performance, that’s after half time, to go to Miami Beach to play shows at the hotels on the strip. This was the mid-‘60s and it was a nine-month performance season and the large hotels with show rooms were always short on musicians. I cut my teeth on performing major shows, playing a low book in the trumpet section, learning early what it was to be a working musician.
BM: In my senior year – that’s the 1967/1968 school year – I was the lead and jazz trumpet player for the Florida All-State Jazz Ensemble. This was a big deal back then, as there were really so few jazz programs in the US on the college level. Indiana University had the first full university degree program in the US started by Jerry Coker. The University of Miami, Berklee and a few more were running programs at that time as well. Jerry Coker was the clinician for the Florida All-State Jazz Ensemble in 1968, and after the first break in our first rehearsal, JC asked me where I was going to college. At that point I really didn’t know. Jerry Coker had just moved from Indiana to start the program at the University of Miami. David Baker took over the Indiana University program handed to him by JC. Jerry offered me a full scholarship and it was a done deal.
JAZZed: That settled that I guess.
JAZZed: The ABCs?
BM: [laughs] Funny, I remember him showing me his masters dissertation soon to be printed as Improvising Jazz, the first book of its kind in the jazz education industry. He was leaving IU to take the newly formed position at the University of Miami hired by Dr. Bill Lee, then the Dean of the University and a wonderful jazz pianist and writer. He knew that Jerry was one of those special musician/instructors who could bring the street into the classroom. Jerry has proven himself to be truly one of the all time jazz education pioneers. I was so intrigued by JC telling me about IU, that I decided to go there for my sophomore and junior years in undergraduate school. I did this after a year between schools, touring with shows starring Dick Clark, the Smothers Brothers and the like. It was fun, but I wanted to play jazz and this certainly was not it.
BM: I consider these men to represent the ABCs of jazz education: Jamey Aebersold, David Baker and Jerry Coker. Dan Haerle was a big influence on me as well, as he was the assistant to Jerry Coker at the University of Miami when I was a freshman in 1968. All of these people are indirect influences on my students and all I really do is pass on the same information they gave me to our Booker T. young artists. The
interesting thing though is that these young jazz students are now receiving the same information I got as a senior in college as juniors and sometimes sophomores, in our performing arts curriculum! They are growing quicker and attaining information at a faster pace. Anything I relate to my students in the classroom at Booker T. Washington or at any of the colleges where I have taught has come directly from those four men. Also, while at IU I had the pleasure of playing with a young drummer named
JAZZed: How was your time at Indiana University? BM: While at IU I had the privilege of studying with Bill Adam on trumpet â&#x20AC;&#x201C; who at 90 years of age is still one of the all time most respected trumpet instructors â&#x20AC;&#x201C; and David Baker, NEA Jazz Master, who still heads the IU jazz studies program. David was always busy and on the road himself a lot, so I hooked up with an IU alumni in New Albany, Indiana once a week for jazz lessons. His name was Jamey Aebersold. This was before the first Play-Along! Am I giving my age away? No, I did that before when I told you I was born in Brooklyn in 1950. The hour and a half back and forth once a week to New Albany, Indiana for my lessons with Jamey was spent listening to my 8-track recordings, allowing me to take in all my favorite jazz musicians of the day. JAZZed: Time well spent. BM: Time well spent, indeed. My relationship with the ABCs of jazz education remains intact to this day. JAZZed November 2008 41
Peter Erskine and a pianist named Alan Pasqua. They are still working together at The University of Southern California in LA. This has remained an on going friendship as well. I find all of these wonderful musicians and educators have in common an innate love for the art form – a deep commitment to jazz music
for scholarship and he was gracious enough to return it to me. I had heard from David Baker some months before going back to Miami that he had heard a 17 year old guitarist at the Whita Jazz Festival who was about to rewrite the instrument. When I got to Miami I met him. He was an incoming freshman named
to say, as compared to those I would rather listen to?” After stints on the road with a number of artists including Ray Charles, I found myself wanting the other side of life: a home, children, and a chance to pass this wonderful art form on to others. I’m old school: jazz is an oral language and I teach that way. Yes, I use printed materials and have been part of three books, but to me it’s really all about the oral side. 20 years ago, when Jeff “Tain” Watts visited Booker T. Washington HSPVA with a young 20-something trumpeter named Wynton Marsalis, I asked him where he had gone to school and he said, “I went to Berklee for a minute, but I really studied at the school of Blue Note!” I think this says it best. I think I was never interested in teaching jazz music – I just wanted, and still do want, to pass it on.
“When students can be convinced that they can achieve any level of excellence if they work hard, it’s much easier to go there .” and a sense of never having finished the task of sharing new ideas in passing along this wonderful music. All of these men, excluding Peter and Alan, are now in their 70s and are still hard at work releasing new books, music and participating in clinics on a regular basis, sharing the music with anyone who wants to learn it. JAZZed: Let’s talk a bit about your experiences as a touring musician. BM: I had left the University of Miami after one year of instruction to try my hand at an offer of full time roadwork. I was out with a show at 19 performing with the Smothers Brothers, the Rhodes Brothers, and hosted by Mickey Rooney and Dick Clark. It was fun, but not jazz music and I was frustrated. We were performing in Cincinnati at the Lookout House and Buddy Rich was performing downstairs in the small room. This is where I met Frank Brown, a wonderful jazz trumpet player who hooked up with me during a week’s stay in Ohio. We went to dinner, listened to jazz, and just started hanging out together. He recommended me to Indiana University and got me into the studio of Mr. Bill Adam, who changed my life for the better as a person and musician. After my junior year at Indiana, I found out that many of my credits from Miami, especially in the area of music theory, would not transfer. As a result I asked Dr. Bill Lee, then dean of the School of Music at the University of Miami to consider my reapplication 42 JAZZed November 2008
Pat Metheny. By the way, like in most cases with David, he was right. Pat played in the Concert Jazz Band and, from our getting to know each other, he kindly performed on my senior recital along with Mark Colby – tenor sax, Danny Gotlieb - drums, Mark Eagan – bass, Carmen Lundy – vocals, and a number of other wonderful artists who were all at Miami studying at the time. It has been such a privilege and inspiration in my life to have established relationships with musicians of this calibre during my college and graduate study years. To this day I’m in touch with, or run into, these wonderful artists and it’s like very little time has passed. I saw Pat just about six weeks ago and it was old home week! Many of these musicians have been over to Booker T. Washington, to give back to the next generation. JAZZed: At what point did you first become interested in teaching others? Did you have a specific instructor who inspired you to teach? BM: Teaching never really interested me in the early years. Like with most young players, all I wanted to do was play. There comes a time when, if your’e fortunate enough to be surrounded by great players, you come to terms with just where you are musically. This is why I have never recorded – I would much rather listen to someone else. There are so many great players out there and I have always struggled with the question of, “What do I have
JAZZed: A subtle distinction perhaps, but a point well made. BM: My degrees are in performance – both my undergraduate and Masters. I want to see aspiring young artists who are committed to and interested in jazz music succeed, and the way to do this is now in the classroom. I do very little “teaching” at Booker T.; it’s really a coaching gig more than anything else. There are now very few big bands and gigs to hone the blade of a jazz musician. The opportunity those avenues once presented has now gone to the performing arts high school, universities, colleges and conservatories. We are a “Peer to Peer” Arts School and are tied to The Thelonious Monk Institute along with the Brubeck Institute, of which I have been a founding faculty member since 2003, are where the final preps are now done before going on to changing the jazz industry. Festivals like the Monterey Jazz festival, and unfortunately, the now demised IAJE are and were all jumping off points for young artists inn the jazz music industry. JAZZed: What was your first teaching gig? BM: When I got married I came off the road and settled where my
Bart Marantz and Wyntom Marsalis
then-girlfriend, now my wife of 30 years and the mother of my two boys, was living near her parents. I started teaching in the back room of a church and within six months I was working out of my home. This was in Hattiesburg, Mississippi – home of the University of Southern Mississippi. JAZZed: So the private lessons lead to other things? BM: I was seeing some great interest in private study and was gaining students pretty steadily. I was able to land a weekly column in the Hattiesburg American Newspaper, called the “Jazz Corner” and tied this into the WMSU Radio Station for a weekly jazz show using my library of vinyl. The following year I was offered an adjunct position at Jones County Community College in Laurel Mississippi. I worked for the band department and was as-
sistant to the band director teaching some jazz courses as a supplement to the band program. That year I brought in Woody Herman to do a one-night concert, which sold out, and, later that semester, I arranged a small group residency with the likes
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JAZZed: What came next in your teaching career? BM: The next year an offer came from Lake Sumter Community College in central Florida where I became head of an instrumental department with an emphasis in jazz. This was a good teaching gig, but was not a full time position in jazz studies. I had to invent ways to expand the curriculum and did this by
producing a three-day jazz festival that brought about 30 bands in from a threestate area to be adjudicated and take in some evening concerts with national jazz stars. We also had some wonderful jazz clinicians including people like Willie Thomas, John Lockwood, and Bill Dobbins. It was a high level for any area of the country and brought into the region new ideas about, and more acceptance of, jazz music.
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My first month at the college I produced my first concert and at the reception the new college president told my wife and I how much he enjoyed the music, but unfortunately he was closing the fine arts department and the new facility for music would be housing a new nursing program he envisioned! He told us to start looking for prospects elsewhere, as we only had three years before the program we presently taught in would close. JAZZed: Your wife also taught at Lake Sumpter? BM: Yes. My wife, Sara, and I taught in the same music program and it was going to be a challenge to survive. I then began the chore of calling friends in the jazz education business and letting them know I was looking for a gig. In July of 1983, I got a call from Willie Thomas who was doing a series of clinics at what was then known as the Dallas Arts Magnet High School. It resumed its original title, Booker T. Washington (HSPVA) some ten years later. Willie told me there was an opening at the school and the talent level was amazing. Yea, right: a high school kicking jazz to a new level. Sure! JAZZed: Skeptical, I guess. BM: To say the least. But, I called the school and spoke to Dr. James O. Gray, the Principal, and asked him if the school had a marching band. He laughed, and said no. I told him I was interested in the position in the music program. He had me send in my resume and support materials and I was offered an interview. We got into our trusty VW Bug and drove a thousand miles, round trip, to take the tour. Upon our arrival at the school I was most unimpressed with a building that was the worse for wear and used rags for acoustic treatment in the jazz room!
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BM: My wife and I looked at each other and thought what a mistake we had made in our long journey to Dallas, Texas. After a couple of hours, which included a verbal interview and a detailed tour of the building, I was ready
to get back into our Bug and go back to Florida in hopes of finding something else that would work as a jazz education gig. Before we left the building, Dr. Douglas Cornell, department coordinator dropped the needle on their group’s latest vinyl recording and after ten or so seconds I asked if I could sign a contract now or did I have to wait? JAZZed: It was that convincing – wow. BM: It was. I was told we would meet for dinner that evening and we could go over more details of the school and jazz studies program. I was just blown away by the talent and immediately realized the building had little to do with the program. It was all about the kids, along with the responsibility of reinforcing their musical desires with positive feedback and new ideas for direction for their futures and, in turn, the future of this wonderful music. JAZZed: Do any lessons learned while teaching at Booker T. Washington stick out? BM: One lesson learned from being at Booker T. Washington is that you have to remember that the gig is not about me or any other instructor. It’s about the young artists who bring the future of jazz into the building every day. In doing so, these wonderful young artists have changed the future of jazz and commercial music. I really learn from all my students. I get just as much from them as I hope I am giving them. They bring a lot to the table and for some it’s laying out their artistic souls. I have always seen this in Roy (Hargrove). For him, it’s naked art, from the time I met him in 8th grade to the present day. Every time I hear him play he is standing in front of the world baring his inner most self. I can’t say this about many artists. He is the truth. JAZZed: What do you find to be the most rewarding element of teaching? BM: When you see the light bulb go on and you know that a young musician has just gotten the concept you are trying to relay, it’s the best. I might add that when these same wonderful young artists come back and keep us posted on their progress
Bart Marantz and Doc Severinsen.
it’s just so rewarding. Once in a while I’ll hear from a former student with a thank you letter or e-mail. These updates on their successes keep me aware that we are making a real difference and it reinforces the notion that we need to continue the effort in moving forward with our youth. JAZZed: Ok, flip that question on its back – what do you find to be the most frustrating aspect of being an educator? BM: My biggest disappointment as an educator is that not all the students that you pour your time and energy into put forth the amount of effort that you would like to see in return. Of course, some of those that didn't show that much interest in pursueing jazz have gone on to successes in other musical genres, such as rock and pop, and I'm proud for them, as well. But motivating the underachiever is a difficult and often disappointing task. Also, I would have to say that dealing with difficult parents is always an
Again, I would have to add in the frustrations of having to fill out countless amounts of "paperwork" to comply with administrative policies and the difficulty in raising the monies needed to give my students more opportunities to travel and participate in worthwhile educational events. In that vein, I would like to say a special thank you and express my admiration for The Thelonius Monk Institute and JB Dyas. For several years they have stepped in to fill this "financial gap" by sponsoring our Combo I's travel as a "Peer-to-Peer" group, allowing them the opportunity to serve as student educators to other jazz students around the country. It is a unique and highly effective concept, and I applaud them for their ingenuity and commitment to jazz education. This same Institute has also funded monthly clinics at our school, enabling me to invite in our local jazz greats, including many of the noted jazz professors at the University of North Texas, along with a wonderful mix of our successful alumni. So, I may have started out lamenting my disappointments as an educator, only to end on a positive note! JAZZed: “Jazz,” as a topic is perhaps more prevalent in jr. high and high school music programs than it once was, but for many music teachers it’s still an unknown quantity or “difficult” – how would you advise a music director to introduce jazz education into their overall curriculum?
“I think I was never interested in
teaching jazz music – I just wanted, and still do want, to pass it on .” issue. I don't so much mind the ones that seek to promote their talented child, as that just goes hand in hand with being an interested parent, but it's the ones who always take the side of the child who is not putting in the "woodshed" time to warrant a particular position or opportunity.
BM: Listening to the music is the essence of learning the art form. My first experience in jazz was hearing a recording at a friend’s house and becoming overwhelmed by what I heard. I was ten years old and never looked back. Bring in recordings of great and exciting “jazz” artists. Here is where the JAZZed November 2008 45
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crossroad divides the future for a program. Some directors don’t really know about hardcore jazz music and think that crossover or fusion music along with funk is jazz music. There is a way to teach this art form and it all starts with Louis Armstrong and evolves from him. Of course, it’s important to introduce Buddy Bolden and all the early names to youngsters, but to hook them in one needs to let them hear Bird, Art Blakey, Horace Silver or some big bands like Woody Herman, Duke Ellington and Stan Kenton. They need to hear something that will capture their imagination and show them what they can become. Even the RH Factor, Roy Hargrove, can be a hook for these kids if the director will go back and allow them to hear Roy play with his trio on Parkers Mood and then something as beautiful as Moment to Moment where Roy is playing with strings. Man, how could you miss with those albums? Teaching the inner workings of jazz theory comes later and should start with the major scales and keys. From here I use the modes to expand the theory these students already know. I use three approaches. Horizontal - scales, vertical - chords, and the combination of both, patterns based on scales and chords within the key of the moment. An example would be C7 a V7 chord (mixolydian mode) allowing the key center of F Major. This allows the young student to visualize these concepts when using chord changes and eventually gives them the freedom of just reacting to a key center for colors and ideas. Teaching Jazz: A Course of Study gives a daily lesson plan that can be used by any teacher who needs help with putting together a plan for teaching jazz. It also gives these concepts listed above and many more including a listing of essential audio and video. The book was produced a number of years ago and took a long time to get into the jazz education market, but in most areas it is still fresh with ideas and teaching concepts. JAZZed: What are some of the highlights of your career as an educator? BM: There have been wonderful trips to Montreux Switzerland, The
46 JAZZed November 2008
IAJE Conference all over the nation and Canada, going down to Miami for the NFAA, working with and learning form the above mentioned alumni, but visiting the White House in 2004 when now alumni, Matt Marantz performed with the New Generation II under the direction of Dr. Billy Taylor has to be the highlight of my 25 years at “ARTS.” Matt was part of a group that performed with Dr. Taylor earlier in 2004 at the Kennedy Center in Washington DC and this was a performance with the same group for the NEA Jazz Masters Series. Enjoying the rehearsal at the Kennedy Center, having private time with the President and Mrs. Bush in the Blue Room, and experiencing the performance in the East Wing of the White House was surreal. JAZZed: Booker T. Washington’s music program has achieved so much – notably all of the DownBeat awards. To what do you attribute the school’s and the students’ success? BM: The “DownBeat Student Music Awards” have been a magical ride. We won our first award in 1983, the year I arrived, but the preparation for the first win was done the year prior. I did see, though, that this very motivating award was a way to get our kids out into the public eye by allowing their talent to be documented by one of the most respected jazz periodicals on the market. I remember buying a DownBeat in Africa in 1989, as a Fullbright scholar working in part with Darius Brubeck, and realized at that time the importance of having this “world magazine” publicize and promote our talented students. Our kids are self-motivated, knowing that if they are prepared to play at the highest levels of jazz and commercial music, the sky is the limit. We, as a faculty try our best to prepare materials that allow out kids to audition with top of the line technology. Of course they have to prepare for the opportunity, but the many accolades and awards all prove our students to be hard working artists who take their music seriously.
My teaching philosophy is simple: Anything is possible. I use the three Ds: Desire, Discipline, and Dedication. When students can be convinced that they can achieve any level of excellence if they work hard, it’s much easier to go there. I remind them that there are no grantees and that this is a
business and not a party. If they take this seriously and treat our vocation as they would if they were becoming a doctor or any profession that could change lives for the better, than they will have the right attitude to go forward. Many of them have.
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health clinic
VOCAL FOLD AILMENTS
Staying in Good Voice: UNDERSTANDING AND PREVENTING VOCAL FOLD AILMENTS
BY J. PIETER NOORDZIJ, HARINI NAIDU AND HADAS GOLAN
A
J. Pieter Noordzij
jazz singer's voice is an invaluable tool, yet it is often taken for granted and exposed to many damaging factors. Q These factors may either be environmental or behavioral. Q Many times, these factors are intrinsic in everyday activities, and thus could be detrimental to someone’s well being without his or her knowledge. Q Over time, this exposure could result in various vocal fold complications, ranging from soreness or irritation to hemorrhage. Laryngitis
Acute laryngitis is the inflammation of the larynx or “voice box,” a condition which may last up to three weeks. One usually notices laryngitis by an abnormal speaking voice, a condition which may range from simple hoarseness to a soft whisper. Other signs of laryngitis include coughing, difficulty swallowing, feeling of swelling in the throat, swollen lymph nodes, congestion, and fatigue. Laryngitis is often seen by physicians as reddened swelling of the membrane covering the vocal cords with little, if any, fluid accumulation. The resulting thickness or stiffness along the entire length of the vocal cords causes a lower pitch in the voices of people suffering from acute laryngitis. This condition may be caused by fungal, viral, or bacterial infections, allergies, air pollutants, vocal trauma (overuse), asthma inhalers, smoking, or alcohol consumption. Gastric reflux disease can also be a cause. In this case, acidic digestive juices from the stomach travel back up the esophagus and cause irritation of the vocal cords. Treatment of acute laryngitis involves time, avoiding excessive use of the vocal folds, and other irritating factors. Inhaling humid air from
48 JAZZed November 2008
a hot shower or bowl of boiling water can cause the upper airway to get some moisture and lessen the intensity of the symptoms. Smoking and alcohol consumption should be avoided completely for a timely recovery. Treatment for gastric reflux may also help through anti-reflux medications or changes in dietary habits. If laryngitis is caused by bacteria, an antibiotic may help. Viral laryngitis simply takes time to heal. Acute laryngitis may be prevented altogether by not smoking, avoiding secondhand smoke, drinking plenty of water, and avoiding clearing your throat, which causes excessive mechanical throat irritation. Vocal Fold Polyps
Vocal fold polyps or nodules also interfere with the quality of one’s voice. Vocal fold nodules are the result of scar tissue accumulation on both medial edges of the vocal fold. This usually leads to breathiness and hoarseness since the vocal folds cannot close properly. Also, the range and stamina of the voice goes down, while the voice itself gets more fatigued. In many cases, vocal nodules are present since childhood, and it is not necessarily a compromising condi-
health clinic tion. Some vocalists who have small nodules are not adversely affected. Vocal fold polyps are similar to nodules except they are only found on one side of the vocal fold. The symptoms of a polyp are similar to those of a vocal fold nodule; however, diplophonia, a condition in which two simultaneous vocal tones are produced, is also possible with polyps. If the polyp is very large, one may have trouble breathing, but this condition is unlikely in professional vocalists. Treatment for polyps and nodules is based on the symptoms of the patient. First, gastric reflux is treated if it exists, along with muscle tension dysphonia, which is the tightening of muscles around the vocal cords. Voice therapy usually treats this condition. In addition, it is used to improve vocal hygiene and reduce any
“GOOD DIET, EXERCISE, AND AN ADEQUATE AMOUNT OF PHYSICAL REST ARE NECESSARY TO MAINTAIN OPTIMAL VOCAL HEALTH.”
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swelling around the nodule or polyp. After therapy, it is possible to have complete recovery. Some singers may still notice vocal limitations, and thus might opt for surgery in which polyps are removed. Surgery for vocal fold nodules is almost never recommended because of concerns for permanent vocal fold scarring and recurrence of the nodules.
t Get real-world performance experience through the professional Gig Office t Consider the five-year, dual-degree BA/BFA option (available with Eugene Lang College The New School for Liberal Arts) For application and audition information, call 212.229.5896 x4589 or visit us online.
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health clinic Vocal Fold Hemorrhage
Vocal fold hemorrhage occurs after intense use of the voice for prolonged period of time or in relation with an upper respiratory tract illness. After strenuous vocal use, a sudden change in the voice is often noted. The condition characterized by the bleeding of the soft tissue of the vocal folds caused by the rupturing of blood vessels on the surface of the vocal cords. Someone who has vocal fold varices, or large dilated veins, on the surface of the vocal fold has a higher risk of suffering from vocal fold hemorrhage. The hemorrhage usually only occurs on one vocal fold, but rarely it can happen in both. This condition is common among females and professional vocalists. This is thought to be because of hormonal imbalances and frequent overuse of the vocal folds and a higher sensitivity to vocal changes, respectively. Vocal cord hemorrhage is considered an emergency and calls for immediate and complete vocal rest for one to two weeks. During this time, the vocal cord usually flattens and the blood diminishes. If the condition persists, surgery may be required to fix the bleeding. Voice therapy and medical follow up is required to reach and confirm a full recovery. In some cases, hemorrhage can reoccur. Prevention of vocal cord hemorrhage involves avoiding prolonged vocal strain. Prevention
As devastating as these conditions are, taking proper precautions can prevent them, starting with good oral hygiene and general health. Good diet, exercise, and an adequate amount of physical rest are necessary to maintain optimal vocal health. In certain situations, one may be exposed to detrimental environmental factors. Vocal students are some-
50 JAZZed November 2008
times at high risk for the vocal fold damage because of the drugs or alcohol involved in the partying scene on college campuses. In addition, yelling at sporting events contributes a great deal to adverse vocal strain. Although singers make an effort to be cautious with their singing voices, they often forget to apply the same care to their regular speaking voices. Adverse vocal strain from everyday activities is often the cause of laryngitis and other vocal illnesses. Professional singers often have to handle frequent changes in environment. Smoke-filled concert venues or clubs take a huge toll on vocal hygiene by causing irritation and, at times, infection. In addition, those who travel frequently are exposed to the dry air of airplanes, as well as, the noisy sound of the engine. One should avoid talking on airplanes for these reasons. Talking loudly over the noise and the drying of the vocal cords will cause unwanted or unnecessary irritation. The burden to perform when ill is also very high for professional singers. Singing when suffering from allergies, cold, or swollen cords would result in devastating vocal conditions that last months. Proper vocal training also prevents vocal cord damage by teaching singers techniques to avoid unnecessary strain and promote better voice quality. Good posture and body alignment are crucial in creating a healthy work environment where respiration, phonation, resonance, and articulatory systems can work together efficiently. Complementary therapies such as Yoga, Pilates, Alexander technique, and Feldenkrais help to develop awareness and are very useful in the development of core stability and strength, balance, and flexibility. Breathing for singing is simply an extension of the natural functioning
Sierra Music Presents
health clinic
The classic, recorded charts from the greats !! These are all the original, exact charts which were performed and recorded by these artists.
of the respiratory system. The system is designed to meet our basic needs for sufficient air. Ironically, not content with “sufficient,” singers struggle to take in more breath than they actually need, locking tension in the respiratory muscles, and actually restricting air intake and blocking the natural flow of vocal energy. Well-balanced phonation requires
ALTHOUGH SINGERS MAKE AN EFFORT TO BE CAUTIOUS WITH THEIR SINGING VOICES, THEY OFTEN FORGET TO APPLY THE SAME CARE TO THEIR REGULAR SPEAKING VOICES. coordination between the vocal folds and the flow of breath. The vocal folds function as a valve on top of the airway. For optimal vibration, they must position themselves in a nearly closed position, where minimal breath will set them into vibration. Pushing too much breath will blow the vocal folds too much apart, weakening the tone and resulting in excessive laryngeal muscle tension, as the singer tries to bring them together again. Holding back with the breath will result in laryngeal strain as well. For good phonation a balance is required, not holding back with the breath and not forcing it forward. The articulatory system has a major and sometimes unrecognized impact on voice quality and resonance. The tongue and jaw must be very
strong to assist in chewing and swallowing but both can have a very negative effect on singing. Singers who habitually constrict the jaw and base of the tongue often complain of vocal fatigue, restricted range, and loss of pitch flexibility. For optimal resonance a maximum pharyngeal space with lifted soft palate is required. The jaw should hang nicely in place with a flexible ready tongue. When everything is working in balance the singer will experience active posture, natural abdominal movements as breath flows in and out, no strain at the laryngeal level, vibrations in the head, and feelings of ease and pleasure in singing. A performer’s vocal health may be taken for granted until one of the above common maladies develops. Fortunately, most common vocal fold ailments are reversible. More importantly, many are preventable if the above guidelines for vocal health are followed. J. Pieter Noordzij, MD is associate rofessor of Otolaryngology-Head & Neck Surgery at Boston University School of Medicine, Boston Medical Center. Harini Naidu is a BS medical student at Boston University School of Medicine. Hadas Golan, B.Ed. Mus. MS/CCC-SLP is a voice therapist at Boston Medical Center.
The Stan Kenton Library
The amazing charts of Rugolo, Holman,Russo, Niehaus, Richards and others .....
Maynard Ferguson’s Dream Band Library
The stunning charts of Slide Hampton, Don Sebesky, Willie Maiden, Mike Abene and others .....
The Bill Holman Band
Bill’s wonderful arrangements and originals he has written for his sensational band
Oliver Nelson’s many superb Big Bands The legendary charts recorded over many years by the best jazz musicians in history
The Doc Severinsen Library
If you are interested in participating in upcoming JAZZed music education surveys, please contact Editor Christian Wissmuller at cwissmuller@ symphonypublishing.com
Surve
y
Ten more exciting charts from the Johnny Carson show band are now available. There are now a total of 20 arrangements in print. They were written by such great arrangers as Bill Holman, John Bambridge and the wonderful Tommy Newsom.
Go to
www.sierramusic.com our ALL-NEW website for more information
ORDER NOW ! • www.sierramusic.com • Fax to 1 (509) 928-2350 • Call 1 (800) 255-6551 or 1 (509) 928-7422 (Int’l) JAZZed November 2008 51
cross noteworthy word
Across 1. The first truly American musical genre, predating jazz 6. ___ Freeman, his sax playing was the strong alternative to Coleman Hawkins’ 8. ___ Blakey, one of the inventors of the modern bebop style of drumming 11. Yusef Lateef instrument 12. My gal? 14. ___ Ross, jazz singer and actress best known as a member of the Lambert, Hendricks & Ross trio 16. Canadian leaf type 17. Henpeck 18. ___ Edwards, American jazz tenor saxophonist and Sunset Eyes artist 21. “___-Ya,” Thelonious Monk standard 23. You can ring mine? 24. On a cruise 27. State with a famous hotel, in song 28. Bracelet trinket 29. Jimmy Blanton’s instrument 33. Poker bet 34. ___ Johnson, he is considered the father of the “slap” style of string bass playing 35. College degree 36. “___, I love you” 37. The quality of a musical note 39. Room, abbr.
52 JAZZed November 2008
Crossword by Myles Mellor
40. Beginning part of a song 42. Type of jazz that was first developed in the 1950’s and 1960’s 44. John Coltrane’s train color? 46. ___ Byrne, well-known American jazz trombonist and composer/arranger 48. Ella Fitzgerald’s forte 50. That is, for short 52. ___-garde, experimental or innovative music description 56. Musical piece 57. David Raskin girl 60. Turn on the radio 62. Small, for short 63. Request 64. Bring along 66. ___ Hines, jazz pianist whose playing helped shape the history of jazz 68. Stereo opposite 70. Duke Ellington’s first name 71. ___ Donahue, American swing jazz tenor saxophonist, trumpeter and musical arranger who worked with Benny Goodman 72. Tempo indicators
Down 1. ___ Down, popular Jimmy Smith album 2. Stomach muscle 3. ___ Morning Susie Soho, Esbjorn Svensson
Trio favorite 4. Musical scale note 5. Miles Davis’ psychic album? 6. Paul ___, Canadian free jazz pianist who worked with Charles Mingus 7. Steely ___, rock group 8. ___ and Demons at Play, Sun Ra record 9. Narragansett locale 10. “___ Me a Bedtime Story,” Herbie Hancock standard 13. Manny ___, jazz baritone sax player that was influenced by Bix Beiderbecke 15. Seize, suddenly 16. Folk tale 19. Gil ___, he played a seminal role in the development of cool jazz, modal jazz, free jazz and jazz-rock 20. Freshwater carp 22. ___ Blake, “Memories of You” composer 25. Literary genre 26. Hospital show 27. Headgear 30. “We’re in this Love Together” singer first name 31. Bar words? 32. ___ Lanin, American jazz bandleader 34. Buddy 35. Breakable dinner items? 37. Transaction time, abbr. 38. This type of jazz doesn’t use chord progressions as its harmonic framework 40. Vitamin measurement, abbr. 41. Compass direction 43. ___-friendly, aka green 44. Miss Lady Day? 45. Green field 47. Patriotic song 49. Speeds of musical pieces 51. Famous Chet 53. Stringed Renaissace instruments 54. Good grades 55. Drink for two 58. United Airlines, abbr. 59. They come before T 61. Desensitize 65. Cut off 67. Billboard feature 69. Santa Fe state
For the solution to this issue's crossword, visit:
www.jazzedmagazine.com
in the classroom
IRA NEPUS
JAZZed In the Classroom
I
BY BRAD HOWEY
Ira Nepus is one of the quiet heroes of today’s jazz world. He has performed and/or recorded with some of the greatest names in jazz, including Benny Carter, Woody Herman, Quincy Jones, Lionel Hampton, Ray Charles, Ella Fitzgerald, Diana Krall, and Cab Calloway – to name a few. He was one of the founding members of the Clayton-Hamilton Jazz Orchestra, and continues to perform with them after over 20 years. He has recorded in every major Los Angeles-area recording studio, and can be heard on soundtracks for movies and television shows from Remember the Titans to X-files and from Family Guy to Jeopardy. We are so fortunate that he is willing to spend some time with us at JAZZed In the Classroom. JAZZed: Welcome, Ira. Ira Nepus: Thank you. I’m glad to be here. JAZZed: You’ve had the opportunity to see and be a part of so much of the history of this great music. I’d like to start by asking for a story. Would you be willing to share a favorite memory with our readers? IN: One of my fondest memories as a professional musician was when I was in Woody Herman’s band, in 1969 or 1970. We were in New Orleans working at Al Hurt’s nightclub for two weeks. We would do two shows a night, and would have up to two hours off between shows. So, I would run across the street in the French quarter and go sit in with all the old New Orleans guys, like Sweet Emma, Louis Catrell, and Punch Miller over at the Preservation Hall. Then I’d go back and play my sets with Woody Herman – two completely different genres. After we left that gig' we flew to New York City, where we were working at one of the major hotels.
We’d do our jazz set there and on our breaks I’d run over and sit in with the Thad Jones-Mel Lewis Big Band. In a relatively short period of time I went from the very beginning of jazz, in New Orleans, to sitting in with the most contemporary big band in the world at that time. Being able to cross over like that was like going through a musical time machine. I think it’s important for young players today to really understand the entire history of jazz, and to be able to know and play the repertoire. I didn’t go into Preservation Hall with lead sheets and a fake book. Whatever tune they’re playing is the tune I had to be able to play – the tunes those guys played every night. But then to go and sit in with Thad Jones-Mel Lewis and read the very sophisticated charts they had stretches you to the max. You’ve got to be at their level, as well. It really stretches you, and makes you a better player. That was one of the greatest memories of my life. JAZZed: Incredible, Ira. IN: It was just amazing. And then there were those three weeks at Caesar’s Palace in Los Vegas – with JAZZed November 2008 53
in the classroom Woody Herman and Duke Ellington’s Orchestra on the same stage, every night. We were trading tunes: Duke would play a number, and then Woody would play; then Duke, then Woody. Then we’d move over across the stage and play Ellington’s music, while Ellington’s guys moved across the stage and played Woody’s music. And then we’d end it all with the really grand finale: both playing at the same time. We did that for three weeks – all the way through Christmas and into New Year’s Eve. It was one of the most memorable gigs of my life. One I’ll never forget. JAZZed: Now you’ve got a great relationship with that horn of yours. What do you love most about it? IN: I love that I am still discovering the instrument: still learning how to play, and still learning about the music. I don’t ever feel like I’ve arrived; it’s an on-going process. And, I truly love the trombone. I’ve loved it from the day I first opened up the case in elementary school, and fell in love with the sound of it listening to professionals play: it just gave me goose-bumps! JAZZed: What advice can you give to our readers with regard to playing the trombone? IN: Well, I’ll tell you: it isn’t as much about playing scales as it is about the way they get around on the slide. You need to memorize your major scales in several octaves and play them is if they were the finest piece of music in order to ultimately free yourself from the physical-ness of playing the instrument – to allow playing to become more of a natural process, like walking down the street. Rather than trying to move perfectly from position to position, it should be a kind of flowof-the-slide: so that instead of moving from first to second and from second to third, you are moving from all the way up the slide to all the way out the 54 JAZZed November 2008
slide, passing the positions along the way. I’m very much into the classical world, as I am the jazz world, and have watched some of the greatest classical trombone players. The ones that I admire the most are the ones whose slide just flowed, without stopping on every position in order to make the notes come out JAZZed: Thank you, Ira. Tell me: What is it about jazz music that makes it so special? IN: The great thing about jazz is that every performance is different. No two solos are alike. Of course, it is true that, for instance, Chick Corea sits down at the piano and works out solos for hours beforehand. Now that doesn’t mean that when Chick Corea performs he is going to play the same solo note-for-note, but he is going to work out certain things in his solos that he is going to be able to draw on when he performs. You build up a reserve of little ideas—a repertoire of things that you’ve played in the past that help to propel your solo in the present. JAZZed: So…part of preparing for a fresh performance is making sure you have some things that you can rely on? IN: Yes. Now there are guys that practice patterns all the time, and of course there is nothing worse than a guy that gets up and plays a solo and the whole thing sounds like a pattern. That’s not right either. But if he draws from some of that, and really makes it interesting, he can really get to us! Like a painter who has a general picture in their mind of what they want to paint, a jazz musician has a general picture in his mind of what kind of a solo he wants to play: is it a hot solo? Is it a kind of a down ballad, or is it a romantic solo? What is it going to be? Like the painter who paints with color, so we are painting with notes.
But we don’t know exactly how it’s going to turn out until it is over. When I go into the recording studio and somebody says they want a trombone solo on a tune, we’ll often give them three or four solos in a row and let them choose which one they like the best, or which one moved them the most. Sometimes they’ll even take bits and pieces of each solo and construct their own final solo, because the picture they had in their mind for a particular tune was a certain way. That’s the way it’s done in the studios. JAZZed: Ira, when you look over your lifetime in jazz music and you look at the kids today, why would you say that they should study jazz? What is it about jazz that is valuable for them? IN: There are lots of reasons. For one, playing jazz makes you feel good! I feel good when I’m playing the kind of jazz I like to play. It raises me to another level. In normal life when I go to the post office, or the bank, or to the gas station, I’m living at that level. But when I’m performing and playing jazz in the right environment, I’m in a totally different realm--and it is just such a wonderful world. It can be such a wonderful space to be in! JAZZed: One final question: Over your years in the music business, you’ve seen all kinds of young people come to the stage in the hopes of becoming the next great jazz discovery. But in the end—of all of those you’ve seen come and go--what’s the quality that really makes the difference? What’s the most important quality that a young person can have if they really want to be successful? IN: The most important quality you can have is persistence. You have to see your goals and dreams clearly in your mind, and then you have to go after them! Set up a practice schedule and don’t give up…motivate yourself and don’t give up on practice!
In the Classroom… Activity
Mr. Nepus shared a couple of his favorite musical memories with us. How incredible it must have been to perform with Woody Herman and Duke Ellington! Think back over the performances you have seen and the ones you have given; the rehearsal that made you laugh and that teacher who meant so much to you. Describe one of your favorite musical memories and why that moment was so important to you. __________________________________________________________________________________________ __________________________________________________________________________________________ __________________________________________________________________________________________ __________________________________________ “Like the painter who paints with color, so we are painting with notes.” Imagine: you, as a musician, are painting with notes! How cool is that? Some pieces make me think of colors; like splashes of yellows and blues. Others remind me of people dancing and having a good time. Choose one of the pieces your ensemble is working on right now. What kind of pictures does it paint for you? What kinds of things does it remind you of? __________________________________________________________________________________________ __________________________________________________________________________________________ __________________________________________________________________________________________ __________________________________________ Ira said that there are lots of good reasons for young people to study jazz. What if someone asked you why studying jazz is valuable; what would you say? __________________________________________________________________________________________ __________________________________________________________________________________________ __________________________________________________________________________________________ __________________________________________ Last question: Ira said that the most important quality a young musician could have is persistence. Of all of the things he could have said, why do you think he said that? Why is persistence so valuable? Can you give an example from your own musical life when being persistent helped you to be successful? __________________________________________________________________________________________ __________________________________________________________________________________________ __________________________________________________________________________________________ __________________________________________ Answers to this and future JAZZed In the Classroom activities will be posted on the JAZZed In the Classroom bulletin board—so fill ‘em out encourage your teacher to turn them in! Your answer may just be posted in JAZZed In the Classroom! www.jazzedmagazine.com
JAZZed November 2008 55
in the classroom Follow-up Activities for Directors Ira spoke of going back and forth between bands of different eras. Big bands today often play music from many different eras, but we seldom take the time to listen to recordings of the great bands and how they approached the music in their own time. Here is an activity to help us do just that: Go online and search for: Duke Ellington Orchestra – “It Don’t Mean a Thing” (you’ll want the version featuring Ivie Anderson.) Purchase the track and save it to your computer. Thad Jones Mel Lewis Orchestra – “It Don’t Mean a Thing” (you’ll want the one featuring Joe Williams). Again, make the purchase and save the file to your computer. Burn both tracks to disc so you can play them for your kids at school.
Now play both recordings for your kids. Work with their reactions. How do the bands sound the same, and how do they sound different? Both vocalists use some similar techniques, but use them very differently to make for exciting performances. What are they doing differently? Continue to run with this and have some fun – these are two of the finest jazz bands ever to play a note and it is really just flat out incredible that you’re giving your kids a chance to listen to them! Brad Howey is an award-winning author and an active performer and a PhD candidate at the University of Idaho. 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.
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56 JAZZed November 2008
Gearcheck The Jazz Ear
The Jazz Ear features discussions between music critic Ben Ratliff and jazz greats about recordings by the musicians who most influenced them. In the process, Ratliff coaxes out a profound understanding of the men and women themselves, the context of their work, and how jazz— from horn blare to drum riff—is created conceptually. Expanding on his popular interviews for The New York Times, Ratliff speaks with Sonny Rollins, Ornette Coleman, Branford Marsalis, Dianne Reeves, Wayne Shorter, Joshua Redman, and others about the subtle variations in generation, training, and attitude that define their music. www.timesbooks.com
Hal Leonard’s Jazz Standards
As part of their Note for Note Keyboard Transcriptions series, Hal Leonard releases Jazz Standards-authentic transcriptions of 23 classics by 23 jazz masters such as Duke Ellington, Bill Evans, Errol Garner, Thelonious Monk, Oscar Peterson, Bud Powell, Art Tatum, “Fats” Waller and others. Some of the songs included: “Blue Skies; Come Rain” or “Come Shine; Honeysuckle Rose;” I Remember You;” “A Night in Tunisia”; “Stormy Weather (Keeps Rainin’ All the Time);” “Where or When.” www.halleonard.com
Barney Kessel: A Jazz Legend
Described as the first book to document Barney Kessel’s remarkable life in music, the comprehensive discography of hundreds of his jazz recordings included in Barney Kessel: A Jazz Legend will prove to be a valuable source of information to jazz historians for many years to come. www.halleonard.com
JAZZed November 2008 57
Gearcheck New Stageline Music Stands
Stageline has expanded its offering to include desktop wooden music stands. The desktop stands are available in two size options and finishes, including a black or cherry finish. The DS10BK, CH has a 14” width / 10” height and retails for $109. The DS15BK, CH has a 20’ width / 13” height and retails for $125. www.stagelinestands.com
Dyna-Flow Modular Mouthpiece System
These trumpet mouthpieces come in three pieces that can be assembled to create a complete custom-designed mouthpiece by the player. This new design is the adjustable throat length design that allows the length of the throat to be adjusted in order to also adjust the air-flow resistance that occurs when playing. This can be adjusted to fit the player’s preferred blowing style or to match the horn to the player and the style of music being played. www.dynaflowbrass.com
The Official Vintage Guitar Price Guide 2008
Published annually by Vintage Guitar magazine, The Guide not only includes historical data, it is the only book that lists values derived from comprehensive research and hard-nosed, realistic market analysis on thousands of vintage and recent-model guitars, amps, basses, effects pedals, mandolins, lap steels, ukuleles, and banjos. The Guide includes information on nearly 1,700 brands supplemented by 1,200 photos, along with an in-depth look at the factors that drive the collectible instrument market. The price is $27.95. www.vintageguitar.com
58 JAZZed November 2008
The Pearl Anniversary Quantz Coda Series Flutes
Pearl's Quartz Coda Series flutes incorporate features from the highend Dolce and Elegante series, including a solid silver Forza headjoint, C# trill key, D# roller, and elegant 10k gold lip-plate, along with all features as found on the Quantz series. The Anniversary Quantz Coda A665RBE-CODA carries a list price of $2,300. The Anniversary Quantz Coda A765RBE-CODA carries a list price of $3,600. www.pearlflutes.com
The Titan Guitar
Titan Guitar is the new flagship model in Highland’s Electric Jazz Guitar series. The Titan is crafted in a high gloss vintage fireburst finish over a quilted maple top, back and sides. Features include a custom wooden pickguard, rosewood volume and tone control knobs, and a rosewood floating tailpiece cover. Wooden pickup covers, multi body flame maple and abalone binding, deco style gold tuners, and a rosewood fingerboard provide complement to the Titan’s appearance. A gold Bixby tailpiece is optional. www.highlandguitarcompany.com
Gearcheck W. Schreiber‘s New Clarinets
As of October 2008, clarinets from W. Schreiber are being distributed on the US market exclusively by Gemstone Musical Instruments. Along with a model made of ABS material (model 6010), there is a clarinet made of grenadilla wood (model 6025). This instrument is made of high-grade grenadilla wood, perfectly seasoned and highly protected due to a state of the art impregnation method. Computer-controlled machinery guarantees a high-precision finish. This new instrument provides top class intonation throughout all registers and suites both beginners and advanced musicians alike. www.schreiberharmony.com
New Belwin Jazz Play-Along Collections
Tone Gear String Cleaner
The String Cleaner by Tone Gear extends the life and preserves the tone of guitar strings. It removes harmful substances like sweat and oils and keeps strings strong. The revolutionary design allows for 360 degrees of cleaning power. String Cleaner requires no solution, and there’s no possibility of it damaging frets. Featuring cleanable microfiber pads, it saves money on new strings by prolonging the life and the tone of the string. It has a suggested price of $12.99. www.thestringcleaner.com
Belwin Jazz has packaged several solo and ensemble pieces in two series: Sittin’ In With the Big Band, Volume II and Best of Belwin Jazz: Young Jazz Collection. Sittin’ In With the Big Band, Volume II features ten new big band pieces from top arrangers such as Victor López, Dave Rivello and Dave Wolpe. These medium-difficulty level pieces teach about blend, style, phrasing, tone, dynamics, technique, articulation, and playing in time, as well as a variety of Latin, swing, ballad, and rock styles. A professionally-recorded CD contains two recordings of each piece – one for demonstration and one for accompaniment in study and performance. Best of Belwin Jazz: Young Jazz Collection includes 12 jazz arrangements for the young grade two ensemble. Each chart is written by experienced educational jazz arrangers and composers in a variety of styles and tempos: swing, ballad, holiday, rock, Latin and pop. The collection is written for a full ensemble, but can easily accommodate reduced instrumentation. The conductor’s book includes full-length CD recordings of all titles. www.alfred.com
Elixir’s Holiday Promotion
Elixir Strings is getting into the holiday spirit. Starting now, while supplies last, musicians can get a free Elixir Strings microfiber polishing cloth with the purchase of two sets of specially packaged acoustic Elixir Strings. The promotion is available at your local Elixir Strings dealer. Two sets of acoustic strings (one version with Light, one with Medium) are shrink-wrapped together with a 20x30cm microfiber polishing cloth in its own package. www.elixirstrings.com
JAZZed November 2008 59
HotWax
New & Notable Music Releases All dates are subject to change
October 7
John Klemmer – Arabesque [Verve] Hendrik Meurkens – Dig This
The Art Ensemble of Chicago
– Les Stances a Sophie [Soul Jazz]
Samba [Candid]
Marc Ayza – Offering [New Talent
John Patton – Along Came John
Spain]
[EMI Japan]
Kenny Burrell – Bluesy Burrell
Grover Washington, Jr. – Soul Box [GRP]
[Prestige]
Clive Wilson – Heart Full of Rhythm,
Laika Fatien – Misery [Blujazz] Henriette Groth – Dufugl [Ilk] Harmonious Wail – Resist Tempta-
Herbie Hancock – Future Shock/ Head Hunters [Legacy]
Vol. 2 [GHB]
Stomu Yamashta – Freedom Is Frightening [Esoteric]
tion [Range]
Bob James – Christmas Eyes [Koch]
Eldredge Jackson – Listening Plea-
Amina Figarova – Above the Clouds
Joe Zawinul – 75 [BHM]
sure [Hi Five]
[Munich]
Dick Oatts – Gratitude [Steeple-
Passport – Hand Made [Wounded
October 28
chase]
Bird]
Jeff Richman – Aqua [Mascot]
Jenny Scheinman – Crossing the
Sun Ra – Secrets of the Sun [Atavis-
tic]
Toots Thielemans – Amazing Sound of Toots Thielmans [Fresh Sounds]
Field [Koch]
Tom Scott – Desire [Wounded Bird] Johnathan Voltzor – More to Come
[Kol Yo]
The Vanguard Jazz Orchestra
The Art Ensemble of Chicago – Full Force [EMC]
Art Blakey – Moanin’ [JCT] Bill Carrothers – Home Row [Pir-
ouet]
Gerry Eastman – Brown Skin Gal [Pacific Coast Jazz] Gilfema – Gilfema+2 [ObliqSound]
– Can I Persude You? [Steeplechase]
Jack Walrath – Ballroom [Steeplechase]
October 14 Steve Allee – Colors [Owl] Moon Baker – ABC of Romance [Challenge]
Alain Caron – Conversations [Ghost
October 21
Note]
Air – Air Time [Nessa]
The Cool Yule All-Stars – Big Band
Christmas [Immergent]
Warren Battiste – Quiet Storm in New Orleans [Progressive]
Joe Henderson – Page One [JCT]
Bill Cunliffe – Blues and the Ab-
Avishai Cohen – Flood [Anzic]
Huntsville – Eco, Arches and Eras
stract Truth [Resonance]
Dejan’s Olympia Brass – Dixieland Christmas [Sheridan Square]
Brian Culbertson – Christmas & Hits Duos [Universal]
note]
George Duke – I Love the Blues,
Oregon – Ecotopia [Touchstones Series] [ECM]
The Here and Now – Break of Day
Jean-Michel Pilc – Discover: JeanMichel Pilc [Dreyfus]
Khan Jamal – Cool [Porter]
[Emarcy]
Ruslan Khain – For Medical Purposes Only [Smalls] Klaus Doldinger – Back to Brazil
She Heard My Cry [Verve]
Amina Figarova – Above the Clouds [Munich]
60 JAZZed November 2008
Hank Mobley – Soul Station [Blue-
Chano Dominguez – Cuetos del
Mundo [Sunnyside]
[Wounded Bird]
[Rune Grammaphon NW]
[Origin]
Sonny Rollins – Road Shows, Vol. 1
HotWax Dino Saluzzi – Kultrum [ECM] Wayne Shorter – Speak No Evil [JCT]
Various Artists – Women of Jazz
Bireli Lagrene – Electric Side [Dreyfus]
Muzzy– The Boathouse Sessions
[FOF]
[Putumayo]
Walter Norris – Drifting [Enja]
Kim Waters – I Want You/Love in the Spirit of Marvin [Shanachie]
Tish Oney – Dear Peg [Rhombus]
November 4
Fighters [Zig Zag Territories]
Peter Brotzmann – The Brain of the Dog in Section [Atavistic]
Mark Egan – Tell Me a Bedtime Sto-
ry: The Big Apple [Universal Japan]
Bela Fleck – Jingle All the Way
[Rounder]
Ronnie Lynn Patterson – Freedom Ray Reed – Plays Ray Reed [Rhombus]
Revolutionary Ensemble – Revolutionary Ensemble [Enja]
Red Rodney – Spirit Within [Wound-
November 25 Arild Andersen– Live at Belleville [ECM]
Dan Cavanagh – Pulse [Oa2]
Dan Baraszu– Christmas Time is Here [Blue Canoe]
Arnold Cheatham – Thing [Porter]
Roberta Gambarini– Roberta & Her Friends [3d Japan]
Stan Getz– Live in London (Deluxe Edition) [Cleopatra]
Terumasa Hino – Jakkou [Epic
Herbie Hancock – Thrust [Colum-
Japan]
bia]
Christian Scott – Live at the New-
The Hot Club of San Francisco
port Jazz Festival [Concord]
– Bohemian Maestro: Django Reinhardt and Impressionist [Azica]
Uncle Funkenstein – Together
Again [P-Vine Japan]
Julia Hulsmann – The End of a
Sunset Swish – Asunaro [Sony
Summer [ECM]
Japan]
Jack Foster III – Jazzraptor’s Secret
[Prog Rock]
Jerry Fuller – Clarinet Portrait
[VSOP]
Clay Giberson – Spaceeton’s Ap-
Bujo Kevin Jones – Live [Montema]
proach [Origin]
George Kellaway – Live at the Jazz
Brad Goode – Polytonal Dance Party
Standard [Ipo]
[Origin]
Lee Konitz – Round and Round [Nimbus]
Jerry Gray – Flag Waver [Montpellier]
Charles Langford – That’s Wassup
Tim Green – Change of Seasons
[Blue Canoe]
Wheeler [Sackville]
Big Bang – From Acid to Zen [Oglio]
[Delmark]
Paul Bley – Barrage [ESP Disk Ltd.]
[Candid]
Don Thompson – For Kenny
Mark Colby – Reflections [Origin]
teros [World Village]
Tom Richards – Smoke and Mirrors Joe Sample – Soul Shadows [Pra]
November 18
Diego Amador – Rio de Los Canas-
[Moonjune]
Alan Sondheim – Ritual All 7-70 Alex Wilson – Tell Me Why [Oarfin]
November 11
Alex Maguire – Brewed in Belgium
ed Bird]
[ESP Disk Ltd.]
George Freeman – Birth Sign
Steve Hobbs – On the Lower East
Side [Candid]
[Oa2]
Return to Forever – Returns
[Eagle]
Sabertooth – Old Days & The Island [Arena Rock]
Sista O & d’ Vine Praize – Medita-
tion [R.N.I.G.]
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
JAZZed November 2008 61
Backbeat
Dave McKenna 1930-2008
Jazz pianist Dave McKenna was best known for his solo work and his trademark left-handed bass style. He began his musical career at the young age of 15 when he started playing with Boots Mussulli. In the years that followed, he collaborated with the likes of Charlie Ventura and Woody Herman’s Orchestra. In 1954, after returning from two years in the army, McKenna began working with musicians such as Gene Krupa and Stan Getz. He made many recordings as an accompanist, but most markedly as an unaccompanied soloist. In 1966, McKenna and his family moved to Cape Cod, and he began to work less frequently with bands and more often as a solo pianist, performing mainly in the New England area. During the 1980s, he was the pianist in residence at the Copley Plaza Hotel in Boston. McKenna once said of himself, “I don’t know if I qualify as a bona-fide jazz guy. I play saloon piano. I like to stay close to the melody.” His modesty seemed a contrast to the vibrant piano playing he was best known for. Dave McKenna passed away on October 18th at the age of 78.
62 JAZZed November 2008
Classifieds Books
Instruments
Merchandise
JAZZ SAXOPHONE ETUDES & DUETS BOOK & CD PLAY-ALONG SETS BY GREG FISHMAN Endorsed by Michael Brecker, Dave Liebman, Jerry Coker, James Moody, Mark Colby & Bob Sheppard. Visit: WWW.GREGFISHMANJAZZSTUDIOS.COM for free sample etudes and duets.
CDs Guy Lee
"The Hurricane Waltz" All-Instrumental Guitar Oriented CD
www.guytar.com
Group Travel
EARN FREE AIR MILES!
Jazz Videos
JAZZ DVD’S Concerts, films. TV, documentaries, instructionals.
(Armstrong to Zorn). Free JAZZ DVD CATALOGUE JAZZWEST, PO Box 3515(ED). Ashland, OR 97520 (541) 482-5529 www.jazzwestdvd.com
Merchandise
When your Group Travels with
American Tours & Travel Travel anywhere throughout the world
800-243-4365 Instruction
FOR SALE
www.JAZZedmagazine.com
Advertise in the Classifieds! Call Maureen 1-800-964-5150 ext. 34 • mjohan@symphonypublishing.com
Combo & Big Band Arrangements Dedrick, Leeds, Stocks Music for Piano, Guitar & Bass Guitar Music Accessories 50% off most items List SASE (2 stamps) Bambauer Music 1212 Elm Fairbury, NE 68352 (402) 729-5418
JAZZed November 2008 63
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;cW_b%M[X
FW][
Alfred Publishing Co.
www.alfred.com
30
J.J. Babbitt Co. Inc.
www.jjbabbitt.com
44
Big Bandman Jazz
www.BigBandmanJazz.com
15
Cannonball Music Instruments
www.cannonballmusic.com
29
Chord/Scale Mastery
www.keithfelch.com
50
Claude Lakey Mouthpieces
www.claudelakey.com
15
Columbia College
www.colum.edu/music
46
Dâ&#x20AC;&#x2122;Addario & Co.
www.daddario.com
9
DIVA Jazz Orchestra
www.divajazz.com
50
Five Towns College
www.ftc.edu
10
Hal Leonard Corp.
www.halleonard.com
John Fedchock
www.johnfedchock.com
49
Juilliard School of Music
www.juilliard.edu
11
Jupiter Band Instruments
www.jupitermusic.com
Marian University
www.marianuniversity.edu
56
New Horizons Tour & Travel
www.nhtt.com
31
New Horizons Tour & Travel
www.nhtt.com
cov 3
NS Desigs
www.NedSteinberger.com
North Central College
www.northcentralcollege.edu
Pacific Coast Jazz
www.pacificcoastjazz.com
Pearl Corp.
www.pearldrum.com
Saxquest, Inc.
www.saxquest.com
61
Sher Music Co.
www.shermusic.com
47
Sierra Music Publications
www.sierramusic.com
51
Superscope Technologies
www.superscopetechnologies.com
47
The New School for Jazz
www.jazz.newschool.edu
49
Vandoren
www.dansr.com
Wayne State University
www.music.wayne.edu
64 JAZZed November 2008
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