NOVEMBER 2012 • $5.00
THE JAZZ EDUCATOR'S MAGAZINE
Mark Kasparian & Jim Page
‘New Paths to Young Milestones’
Nat Hentoff: The Jazz Foundation of America Anniversary: Sherrie Maricle’s DIVA Band Celebrates 20 Years The Official Publication of
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Mastering music is more than a destination. It’s about all of the experiences you have along the way. We give you the freedom to experiment, find your own solutions, and evolve. But we also give you a structured and demanding curriculum that will test even the most talented musicians. You’ll be prepared to succeed in the world of music. Wherever it takes you. Learn more at berklee.edu
WHERE MUSIC TAKES YOU
MARK KASPARIAN
"People enjoy jazz and higher art forms as if they're guarded secrets."
contents
NOVEMBER 2012
GUEST EDITORIAL: JAZZ REVOLUTION VS. RADIO STATION SLASHING JAZZ 20
Esteemed jazz journalist Nat Hentoff reports on the important support given to musicians’ health care needs by the Jazz Foundation.
LESSONS LEARNED: “YOU DON’T HAVE TO BE JEWISH” 24
Longtime jazz educator Lee Evans offers thoughts on race and authenticity in jazz.
NEW PATHS TO YOUNG MILESTONES 26
Proven middle school jazz educator Mark Kasparian and advocate Jim Page are building a new system for supporting jazz studies throughout Fresno with their new Milestones Jazz program.
ANNIVERSARY: DIVA JAZZ 32
Sherrie Maricle’s all-female jazz group, DIVA Jazz, celebrates 20 years as one of the world’s foremost big bands.
FOCUS SESSION: HARMONIC TIME 38
Jerry Leake investigates a technique he teaches to internalize and orchestrate musical time, groove, and mathematics into the entire body.
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November 2012
Volume 7, 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 ASSOCIATE EDITOR Matt Parish mparish@symphonypublishing.com Contributing Writers Chaim Burstein, Dennis Carver, Kevin Mitchell, Dick Weissman Art Staff PRODUCTION MANAGER Laurie Guptill lguptill@symphonypublishing.com GRAPHIC DESIGNER Andrew P. Ross aross@symphonypublishing.com GRAPHIC DESIGNER Laurie Chesna lchesna@symphonypublishing.com
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departments PUBLISHER’S LETTER 4 NOTEWORTHY 6 MARIA NECKAM: WHAT’S ON YOUR PLAYLIST? 10 JAZZ EDUCATION NETWORK SECTION 12 • PRESIDENT’S LETTER • CONFERENCE EXHIBITORS AND SPONSORS • JENEROSITY PROJECT • LEJENDS GALA FUNDRAISER • MENTOR PROGRAM • PEOPLE OF JEN • NEWS
JAZZ FORUM 44 GEARCHECK 46 CROSSWORD 48 CD SHOWCASE 49 CLINICIANS CORNER 49
CLASSIFIEDS 50 AD INDEX 51 BACKBEAT: EDDIE BERT 52
Cover photograph: Craig Kohlruss JAZZed™ is published six times annually by Symphony Publishing, LLC, 21 Highland Circle, Suite 1, Needham, MA 02494, (781) 453-9310. Publisher of Choral Director, School Band and Orchestra, Music Parents America, and Musical Merchandise Review. Subscription rates $30 one year; $60 two years. Rates outside U.S. available upon request. Single issues $5. Resource Guide $15. Standard postage paid at Boston, MA and additional mailing offices. Postmaster: Please send address changes to JAZZed, 21 Highland Circle, Suite 1, Needham, MA 02494. The publishers of this magazine do not accept responsibility for statements made by their advertisers in business competition. No portion of this issue may be reproduced without the written permission of the publisher. © 2012 by Symphony Publishing, LLC. Printed in the U.S.A.
Advertising Staff ADVERTISING MANAGER Iris Fox ifox@symphonypublishing.com CLASSIFIED & Display Steven Hemingway shemingway@symphonypublishing.com Business Staff CIRCULATION MANAGER Melanie A. Prescott mprescott@symphonypublishing.com ADMINISTRATIVE ASSISTANT Popi Galileos pgalileos@symphonypublishing.com Symphony Publishing, LLC CHAIRMAN Xen Zapis PRESIDENT Lee Zapis lzapis@symphonypublishing.com CHIEF FINANCIAL OFFICER Rich Bongorno rbongorno@symphonypublishing.com Corporate Headquarters 26202 Detroit Road, Suite 300 Westlake, Ohio 44145 (440) 871-1300 www.symphonypublishing.com Publishing, Sales, & Editorial Office 21 Highland Circle, Suite 1 Needham, MA 02494 (781) 453-9310 FAX (781) 453-9389 1-800-964-5150 www.jazzedmagazine.com
Member 2012
RPMDA JAZZ EDUCATION NETWORK
JAZZ EDUCATION NETWORK
JAZZed November 2012 3
publisher’s letter
RICK KESSEL
Perpetuating the Craft
L
et’s face it, when you’re playing second tenor in cal community music school, The Joy of Music in your high school jazz ensemble, there may be very Worcester, Mass., that has a strong jazz program run little opportunity for improvising during rehearsals by musicians/teachers who provided extensive perand concerts. A forward thinking director will al- formance opportunities in small ensemble settings. ways find a spot for a student who has an interest in It was somewhat of a “trial by fire” experience, as soloing, but with 18 or more players, some students young players immediately began improvising durmay only have – through no fault of his or hers, ing each rehearsal with four or five other students, or of the teacher’s – fairly limited opportunities to which complemented the skills that they learned in their public school jazz ensemble. Beginning at an hone certain skills. early age made my children less Unfortunately, as more and afraid of improvising and thus almore public school districts are “There are now more lowed them to make the music getting squeezed, jazz programs, options on the horizon, more naturally than those who along with other musical ensemoutside of school, for the begin improvising at a later stage. bles, are being cut at the expense Presenting students with these of our students. However, it apstudent who has a taste options may actually be a reasonpears that there are now more opfor jazz.” able substitute for the earlier days tions on the horizon, outside of of jazz when all anyone who wantschool, for the student who has a taste for jazz and wants to develop talents in a ed to learn had to do was to go to nightclubs and variety of ensembles. Our cover story this month, bars and try to soak up as much knowledge as posfeaturing Mark Kasparian and Jim Page, provides an sible. Of course, there is a cost to these types of proin-depth look at how their new program, Jazz Mile- grams, but there are often scholarships and grants stones, a private organization, can act as an adjunct available to those whose families may not have the resources to absorb the additional financial burden. to helping students learn their craft. Allowing students from a very early age to be- The fact that there are more of these types of orgacome immersed in the vocabulary of jazz gives them nizations coming onto the scene suggests that there a distinct advantage over their counterparts who are also opportunities for entrepreneurially orientmay have had little education in jazz prior to high ed jazz educators to launch their own programs to school. My own kids benefited from a very fine lo- help perpetuate the craft…
rkessel@symphonypublishing.com
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PlayMonterey
Win a Spot
on the Stages of the 56th Annual Monterey Jazz Festival! Enter the Next Generation Jazz Festival Competition! Open to Middle School, High School, Conglomerate High School, and College Big Bands; High School Combos; High School and College Vocal Ensembles; and Open Combos, open to any combination of College and/or Conglomerate High School Ensembles. Individual high school musicians are invited to audition for our Next Generation Jazz Orchestra, performing at the 56th Annual Monterey Jazz Festival and on a summer tour! Enter our Big Band Composition Competition and see your piece performed by the Next Generation Jazz Orchestra on the Jimmy Lyons Stage at the Monterey Jazz Festival!
Win Scholarships...Enjoy Clinics! Win scholarships, trophies, cash prizes, and more! Enjoy performances, clinics, workshops, and more with our 2013 judges and the Festival’s 2013 Artist-In-Residence, Joe Lovano.
Next
April 5-7, 2013
Monterey Conference Center Monterey, California Applications and Information montereyjazzfestival.org 831.373.3366 Entry deadline for all ensembles is January 18, 2013. Entry deadline for videotaped Next Generation Jazz Orchestra auditions and for the Composition Competition is March 2, 2013.
JOE LOVANO / 2013 ARTIST-IN-RESIDENCE
Major funding for the Next Generation Jazz Festival comes from the Clarence E. Heller Charitable Foundation, the Joseph Drown Foundation, the Nancy Buck Ransom Foundation, the Surdna Foundation, and individual donors. Thanks to our Partners: City of Monterey, DownBeat Magazine, and Yamaha Instruments!
noteworthy
Jacobson Named Percussive Arts Society and Rhythm! Discovery Executive Director
T
he Percussive Arts Society (PAS) recently announced Larry Jacobson as the new executive director of PAS and Rhythm! Discovery Center. Jacobson holds a Bachelor of Music degree in percussion performance from the University of Maryland, Master of Music degrees in both Jazz Studies and Percussion Performance from Indiana University, and a Master of Business Administration degree from Pepperdine University. He is currently a doctoral candidate pursuing an EdD in Organizational Leadership from Pepperdine University. Mr. Jacobson’s most recent position was as the North American vice president of Financial Services for the Universal Music Group (UMG). The Percussive Arts Society (PAS) is the world’s largest percussion organization and is considered the central source for information and networking for percussionists and drummers of all ages. The Rhythm! Discovery Center is the world’s foremost percussion museum providing innovative programs; interactive, standardsbased educational exhibits; and artist performances. www.pas.org Larry Jacobson
Jazz at Lincoln Center Opens Venue in Qatar October marked the unveiling of JALC’s new outpost in the Middle East, Qatar’s Doha at The St. Regis Doha. Performances opened the venue with the Wynton Marsalis Quintet, featuring members of the Jazz at Lincoln Center Orchestra. The debut marks the first in a series of jazz clubs that St. Regis and JALC aim to create together as part of a unique global partnership announced last year. “In the spirit of jazz ambassadors – Louis Armstrong, Duke Ellington, Dave Brubeck, and Dizzy Gillespie – we continue the legacy of bridging cultures around the world through Jazz at Lincoln Center Doha, the
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first Lincoln Center branded venue outside of New York City,” said Wynton Marsalis, managing and artistic director, Jazz at Lincoln Center. The venue’s programming will be led by Marsalis and will feature live performances six nights a week with a menu inspired by the musical genre. The 4,500 square foot jazz club, with acoustics and sound system designed by SIA Acoustics, will seat up to 100 guests in a theatrical ambience that recalls a legendary jazz venue of the golden era. www.jalc.org
noteworthy Montreal Hosts Benefit Concert for Victim of Canadian Political Shooting Jazz and pop stars alike recently gathered to perform at a benefit concert in memory of Denis Blanchette, a technician shot and killed at a post-election party thrown by the Parti Québécois. The benefit and memorial event was held at a sold out Métropolis and featured passionate and emotional performances by homegrown artists. The 2,000 spectators took in touching appearances by artists like Céline Dion, Arcade Fire, Cœur de pirate,Patrick Watson, Vincent Vallières, and more. Rufus Wainwritght gave a show-stopping performance of Leonard Cohen’s “Hallelujah,” a nod to his appearance at the Montreal International Jazz Festival earlier this year. At press time, fundraising organized by L’Équipe Spectra has thus far amassed a total of $238,943, which will be allocated in its entirety to the Fiducie Denis Blanchette. www.equipespectra.ca
Jazz for Kids Program Hits 10 Years New York jazz club the Jazz Standard is beginning its tenth season of the popular “Jazz for Kids” Sunday series this year. The season kicked off with a concert by the Jazz Standard Youth Orchestra with guitarist Howard Paul and vocalist Paul Jost. For the past 10 years, Jazz Standard has been hosting live audiences of all ages as part of its weekly brunch series. The Jazz Standard Youth Orchestra (JSYO) has served as an important training ground for more than 30 talented musicians between the ages of 11 and 18. At the Standard, the orchestra has the weekly chance to burn through jazz classics such as “Cherokee,” “How Insensitive,” and “Billie’s Bounce” every Sunday afternoon from 2:00pm-3:00pm. The Jazz Standard Youth Orchestra was designed to provide New York City children an opportunity to hone their skills outside of the classroom. It provides professional leadership and guidance as well as an opportunity to lead, host and perform each and every week on a highly regarded jazz stages. This program has worked with over 300 kids, many of whom have gone on to college and professional careers as musicians. These alumni include award-winning composer and saxophonist Danny Rivera and Presidential Scholarship-winner Davis Whitfield. www.jazzstandard.net/mobi/kids
Monterey Jazz Festival a Success
The 55th Monterey Jazz Festival recently wrapped up after a weekend
and engaging exhibits. Memorable performances included those by Melody Gardot, Tammi Brown, Jack DeJohnette, winners of the Next Generation Jazz Festival, Bill Frisell’s Beautiful Dreamers, Pat Methany Unity Band, and Dee Dee Bridgwater, among many others. www.montereyjazzfestival.org
Songwriter Hal David Dies of stunning weather and incredible performances by debut artists, returning masters, and new favorites. 38,000 fans came through the gates of the Monterey County Fairgrounds during the weekend of September 21 23, which featured music from around the globe, and from all styles of classic jazz, blues, contemporary sounds, compelling conversations and films,
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Influential songwriter and longtime Burt Bacharach creative partner Hal David died of complications from a stroke on September 1. The 91-yearold musician had penned scores of pop hits covered by a variety of jazz artists throughout the years and was awarded the Library of Congress’s Gershwin Prize for Popular Song award this spring. Some of his most memorable songs include “Do You Know the Way to San Jose?,” “Alfie,” “What the World Needs
Now,” “Raindrops Keep Fallin’ on My Head,” “This Guy’s in Love With You” and “The Look of Love.” Artists from every nook and cranny in jazz have recorded his songs, including people like Sonny Rollins, Stan Getz, Frank Sinatra, Tony Bennett, Diana Krall, Bill Evans, Count Basie, the Bad Plus, and Bill Frisell. Hal David
THE
CHOICE OF
LEGENDS. Š2012 Avedis Zildjian Company
Roy Haynes & Terri Lyne Carrington
zildjian.com
What’s on Your Playlist?
Photo by Ursula Schmitz
Singer and composer Maria Neckam’s unparalleled sound slips across genre lines and expectations, and her pure, fresh vocals have been acclaimed by critics from around the world. After growing up in Vienna and studying in Amsterdam, Neckam moved to NYC to study and perform. She moves effortlessly from idiosyncratic jazz riffs to haunting pop hooks, blurring boundaries with skill, well-honed technique, and range. She’s worked with a wide range of top musicians including Lewis Nash, Thomas Morgan, Dan Weiss, David Binney, Jeff Ballard, Jon Cowherd, Aaron Goldberg, Jonathan Kreisberg, Aaron Parks, Mark Guiliana, Mike Moreno, and Colin Stranahan. Maria Neckam is earning acclaim for the wildly inventive, unapologetically beautiful music on her third album, Unison, released on Sunnyside in June 2012. 1. Court and Spark – Joni Mitchell
3. Heartcore – Kurt Rosenwinkel
I’m a big fan of Joni Mitchell, and this is probably my favorite album of hers. It’s so rich in content, both musically and lyrically. Nothing is predictable or generic, and even when things sound straightforward, they are actually not. (Try covering one of these songs!) The production and orchestration is beautiful, too. I love surprises in music, and there are many on this album. At the same time it’s never heavy; it still has that making-me-feel-good effect that makes you want to sing along. The lyrics are critical, honest, touching and witty – So are her vocal performance and the instrumental playing. Little imperfections make it even more charming and heart-warming. I love everything about it!
I used to be a bit of a Kurt Rosenwinkel stalker, going to all of his gigs in town. Every time I heard him play, I was transfixed. His music felt like something from another planet, but at the same time incredibly familiar and personal. It has always touched me in a very deep way. I love the sound, the composition and the playing/singing on this album. It has all the elements I love in his music, plus that personal feel you get when you record something yourself, in your living room. I think you can hear that this was not recorded in two days in some big, expensive studio, and that all musicians on the album are in it with their heart. I find Kurt Rosenwinkel to be an extremely tasteful and sensitive artist, both as a composer and an improviser. His statements are always very clear, and he uses subtle details effectively. His music is exciting without having to be crazy all the time.
2. North and South – Luciana Souza I got this album before I moved to New York and fell in love with it. Sometimes I can be very determined, and one of the things I knew I wanted was to study with Luciana Souza. Luckily that worked out when I transferred to Manhattan School of Music, and she was one of the best teachers I’ve had. I love how she brings together her two cultural and musical backgrounds here – jazz and Brazilian music – in such an organic way and takes the music to a whole new place in her unique, unaffected, and delicate way. The arrangements and the playing are also beautiful, and her voice has a lot of soul. Just as with Joni Mitchell’s album, I have come to particularly love the little imperfections on this record that are rare to find on today’s recordings, since they are mostly edited out.
4. “Symphonies of Wind Instruments” – Stravinsky Stravinsky is another one of my heroes. This piece is a bold, in-your-face statement that never pauses to reconsider. It’s like a woman’s passionate, multifaceted attempt to convince her husband that she’s right. I love how he juxtaposes pretty and nasty, power and grace. I also enjoy how he develops motives in a very clear, almost building-block kind of way and how he has a few different themes that alternate. Still there is a consistent thread going through the whole composition.
Maria Neckam’s latest album, Unison (Sunnyside Communicat), was released on June 5, 2012. www.marianeckam.com. 10 JAZZed November 2012
5. Homogenic – Björk Björk is one of those artists that you learn to love. It took me a few attempts to get her, but when I did, she had me forever. This one is still my favorite album because of its beautiful soundscape of strings and genius beats/ programming. I love the organic, deep sound of the album. It’s very warm and soothing, the perfect backdrop for Björk’s often-intense singing. “Jóga” and “Unravel” are songs of eternal beauty, so simple, honest, and unique. I also think the string arrangements are amazing. Every note has meaning, there is no randomness or carelessness to be found.
6. “String Quartet” – Maurice Ravel Ravel and Debussy both have amazing string quartets that are often paired or analyzed together. I personally like Ravel’s slightly more. Maybe because it’s a bit more clear in the way he wrote the different movements and gave each string part equal importance. Right from the beginning, he comes right to the point, then he moves the melody around between the instruments. It feels very purposeful and balanced, but in a natural way, as if the quartet is but one evolving body, expanding and contracting. It’s beautiful how each player gets to make a statement, then dives back into the whole.
7. I Do Not What What I Haven’t Got – Sinéad O’Connor Sinéad O’Connor is a very courageous artist, which inspires me. When I got this album a long time ago I only bought it for its hit, the Prince cover. Luckily I gave it a few more listens. These are great songs, but not much about them is conventional. Everything is weird and slightly rough: the instrumentation, the form, the lyrics, the dynamics, the singing. That’s what makes it a special album, one you might sneer at, at first, but truly respect and love once you listen with an open mind.
8. Old World Underground – Metric I discovered this album in one of the country’s last well-assorted CD
stores, Twist and Shout in Denver. Whenever I’m in the city, I spend a few hours in this store digging and listening to staff recommendations. I wish there were more stores like this left. This album is powerful rock music with great, creative melodies, harmonies, lyrics, and Emily Hines’ lovely voice. It makes me want to dance and cheers me up, and it is full of musical gems. You can hear that these people know what they are doing.
THAT’S MY SOUND!
9. In Rainbows – Radiohead This band obviously has more than one fantastic album. I particularly like this one, because it’s both deep and light. This music has their typical melancholy to it, but also a joyfulness that just makes you want to get up and get going. It’s rhythmically complex and accessible (danceable) at the same time, and the melodies are catchy without getting annoying. The combination of electronics and live instruments gives the album a rich sound quality that I like, because I only like synthetic when it still has that human feel to it.
GREG OSBY
10. “Ich bin der Welt abhanden gekommen” – Gustav Mahler (Kathleen Ferrier & Wiener Philharmoniker) My composition teacher, Nils Vigeland, recommended this to me and said I’d die when I hear it. And really, this piece is so moving, it gets me every time I listen to it. The lyrics are beautiful. The title means something to the effect of, “I am lost to the world.” It’s part of a five-song-cycle for voice and orchestra by Gustav Mahler, based on poems written by Friedrich Rückert. The music is flawlessly beautiful. It’s nothing crazy or complicated, but so pure, well orchestrated ,and perfectly reflecting the meaning of the words. The theme of the song is feeling disconnected from the world, and I can relate to that very well.
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JAZZed November 2012 11
PRESIDENT’S LETTER A Message from JEN President Andrew Surmani Dear JEN Members,
We are less than two months out from our 4th Annual JEN Conference. There are so many exciting things happening in our organization right now, thanks to the countless hours put in by a host of dedicated volunteers. We invite you to attend our Open Board Forum in Atlanta on Friday, January 4, 2013 from 9-9:50 a.m. in Room 226/ Atrium Tower, where you can meet our board members in person and hear about these recent developments. At this upcoming conference we will be hosting 5 performance venues featuring school groups of all ages plus professional ensembles and soloists (85 concerts in total). We will also present 74 clinics in 6 clinic rooms, plus the JENerations Jazz Festival performance/clinic venues where 30+ ensembles will receive expert mentoring and adjudication immediately following their performance. We are proud to host a number of great exhibiting companies, schools and organizations that will be supporting JEN and offering attendees a host of wonderful products and services to explore. It will be a veritable candy store for jazz musicians, educators, fans, enthusiasts, and students. So many great companies have stepped up to support JEN through cash and in-kind donations. Without their tremendous support and the support of our exhibitors, JEN would have a difficult time remaining financially strong. Please show your thanks by telling them thank you at the conference and by buying their products and services. You can preview the concerts presented by pros and school ensembles, as well as clinics, workshops, exhibitors, sponsors, and more, at JazzEdNet.org on the Conference Central menu. We are very pleased to announce the recipients of the LeJENds of Jazz Education Awards for 2013. Legendary jazz educators and jazz musicians Rufus Reid and Dave Liebman are the honorees for this year. We will be recognizing their contributions to the world of jazz education in our LeJENds of Jazz Education Gala Fundraiser on Friday evening, January 4, 2013 from 5:30-7:30 p.m., with cocktails starting at 5 p.m. in the International Ballroom North. We are also very excited to have the legendary Larry Rosen as our keynote speaker for the JENeral Session on Saturday night, January 5 at 7 p.m. In addition to co-founding GRP Records 30 years ago this year, Larry is also the founder of the Sarah Vaughan International Vocal Competition, the Jazz Roots Concert and Educational Series, Legends of Jazz TV shows and various other projects that help advance jazz education, which is one of JEN’s key goals as outlined in our Mission Statement. I look forward to seeing you in Atlanta. Please stay connected to JEN and its members by following us on our social media pages. Warm Regards,
Andrew Surmani | JEN President
JEN Board of Directors (2012–13): Rubén Alvarez, Paul Bangser, Bob Breithaupt, Caleb Chapman, John Clayton (Vice President), José Diaz, Dr. Lou Fischer (Immediate Past President), Dr. Darla Hanley, Dr. Monika Herzig (Secretary), Judy Humenick, Willard Jenkins, Rick Kessel (Treasurer), Mary Jo Papich (Past President), Bob Sinicrope (President-Elect), Andrew Surmani (President). Office Manager: Larry Green; Webmaster: Gene Perla; Marketing & Communications: Marina Terteryan; Web Hosting: AudioWorks Group, Ltd./JazzCorner.com
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CONFERENCE EXHIBITORS & SPONSORS Industry Partners: Sponsorships Are Still Available The 4th Annual JEN Conference is being presented in partnership through generous support from the following JEN members. There is still time for industry partners to support the conference. Visit JazzEdNet.org to browse available sponsorship opportunities. Conference Sponsors
Conference Exhibitors Aebersold Jazz Aids (C) African American Jazz Caucus Alfred Music Publishing, Inc. (F) American Classic Tours and Festivals (F) Antigua Avedia Zildjian Co. Bach Berklee College of Music (C) Brubeck Institute Brumfield & Associates Buffet Group USA (F) Cannonball Music Capital University Conservatory of Music (F) C.G. Conn Chamber Music America Columbia College Chicago (F) Conn-Selmer, Inc. Cultural Tour Consultants, Inc. (C) D’Addario Strings Dansr Inc. Disney All American College Band DownBeat Magazine Eastman Music Company ejazzlines/Jazz Lines Publications (C) French Woods Festival
Scholarship & Awards Sponsors
Gemeinhardt Music Instruments, LLC. Georgia State University Global Gurus Global Music Supply, LLC Grammy Foundation Guitar Center Mark Gridley/Jazz Styles Hal Leonard Corporation (F) Wm. S. Haynes Holton Jazz Apps Mobile JAZZed Magazine (F) JodyJazz Inc. Jupiter (C) Kendor Music, Inc. (F) King Leblanc Manhattan School of Music Mapex (C) Marina Music Service P. Mauriat Music Instruments McNally Smith College of Music MEII Enterprises Monterey Jazz Festival Music Factory Direct New England Conservatory Rovner Products
Sabian Ltd. Saxquest, Inc. Selmer Paris Sher Music Co. Smart Chart Music Soulo Mute Stanton’s Sheet Music, Inc. (C) Suzie Reynolds & Associates Symphony Publishing, Inc. (F) Taylor Trumpets The Rush University of the Arts University of Illinois University of Miami Frost School of Music (F) University of Michigan University of North Texas University of Northern Colorado Jazz Studies USC Thornton School of Music Vic Firth Company (C) Warburton Music Products Woodwind & Brasswind XO (C) Yanagisawa Yamaha, Inc. (C) (F) Founding Member (C) Charter Member
JAZZed November 2012 13
JENEROSITY PROJECT Donate to the Atlanta Music Project at the 2013 Conference As part of our mission to serve the jazz community, JEN sponsors a donation program called “A JENerosity Project” during each annual convention. This year’s recipient is the Atlanta Music Project (AMP). The program is in its fourth year and we are again asking conference attendees and the Atlanta local community to donate gently used instruments or other music education resources, such as mouthpieces, jazz and concert band music, music stands, band uniforms and other things related to a functioning instrumental music program. The items will be collected during the conference and delivered to the Atlanta Music Project, which will distribute them to music students in need. AMP, a 501(c)(3) non-profit, provides intense music education for underserved youth right in the neighborhood of our 2013 convention. AMP currently runs three after-school youth orchestra sites in inner-city Atlanta, providing 110 students, free of charge, with over 300 hours of stellar music instruction and performance opportunities annually. Its mission is “to inspire social change by providing Atlanta’s underserved youth the opportunity to learn and perform music in orchestras and choirs.” For the 2012-2013 school year, the Atlanta Music Project offers, for the first time, orchestra and choir ensembles as two full separate programs. Both programs are rigorous, with classes taking place from three to five days a week, for two hours each day. With the belief all children are musical, AMP does not hold entrance auditions or require students to have any musical experience. The only thing required for a student to be in AMP: commitment to attending all classes.
A new Atlanta Music Project student tries a flute head joint on the first of 2012 classes. Photo by Lauren Thomas.
14 JAZZed November 2012
Approximately $25,00 worth of instruments, music and other items have been donated to area programs from JEN Conference donations to date. Please drop off all donations to the JENeral store during the conference.
LEJENDS GALA FUNDRAISER LeJENds of Jazz Education Gala Honors Rufus Reid and Dave Liebman JEN will host its annual fundraiser gala during the 2013 conference on Friday, Jan. 4th from 5:30-7:30 p.m. in the stunning International Ballroom of the Peachtree Hyatt in Atlanta, Georgia. Co-sponsored by the Atlanta Jazz Festival, the evening includes a silent auction, plenty of networking opportunities, and honors this year’s LeJENds of Jazz education award recipients Rufus Reid and Dave Liebman. Following the JEN tradition of serving local cuisine at each annual gala, the menu will include a rich selection of Southern comfort food, including two courses and dessert. The dinner ticket also includes entertainment by Mike Vax and Friends plus priority seating at the Friday evening concert featuring Wycliffe Gordon with the U.S. Army Blues Jazz Ensemble, John Patitucci with the Berklee Global Jazz Institute and more. All are invited to celebrate this momentous occasion and congratulate these two LeJENds in person. Reserve your tickets today at JazzEdNet.org.
Rufus Reid Rufus Reid is a musician, educator, and composer and one of today’s premiere bassists on the international jazz scene. He has written for string orchestra, jazz ensembles large and small, concert band, double bass ensemble pieces and a solo bass composition. Rufus Reid is equally known as an exceptional educator. He and Dr. Martin Krivin created the Jazz Studies & Performance Program at William Paterson University. He retired after 20 years, but continues to teach, conducting Master Classes, workshops, and residencies around Photo: Chuck Gee the world. Rufus’ book, The Evolving Bassist was published in 1974 and continues to be recognized as the industry standard and the definitive bass method. His major professional career began in Chicago and continues since 1976 in New York City. He has toured and recorded with Eddie Harris, Nancy Wilson, Harold Land & Bobby Hutcherson, Lee Konitz, The Thad Jones & Mel Lewis Jazz Orchestra, Dexter Gordon, J.J. Johnson, Art Farmer, Stan Getz, Kenny Burrell, Kenny Barron and countless others. He continues to
enjoy associations with Tim Hagans, Bob Mintzer, Frank Wess, Marvin Stamm, and Benny Golson.
Dave Liebman David Liebman is considered a renaissance man in contemporary music with a career stretching over forty years. He has played with many of the masters including Miles Davis, Elvin Jones, Chick Corea, John McLaughlin, McCoy Tyner and others; authored books and instructional DVDs which are acknowledged as classics in the jazz field; recorded as a leader in styles ranging from classical to rock to free jazz; awarded NEA Masters of Jazz; founded the International Association of Schools of Jazz (IASJ); multiple Grammy nominee and Downbeat/Jazz Times Critics Poll winner (soprano sax); French Order of Arts and Letters; Honorary Doctorate from the Sibelius Academy (Helsinki, Finland). He has performed on several hundred recordings with over 100 as a leader/co-leader featuring several hundred original compositions.
JAZZed November 2012 15
MENTOR PROGRAM JEN Continues Mentor Program Last January at the JEN annual conference, in Louisville, KY, JEN launched a unique mentoring program that pairs experienced professionals with aspiring college student jazz musicians. The JEN Mentor Program is designed to provide jazz students with an experienced advisor for a one-year period. For this second round, the JEN Mentor Program is also being extended to high school jazz students, through their teacher or jazz director. High school student participation is limited to their high school classroom setting, occurring only in a teacher directed/monitored setting. JEN Mentors are available in the following areas of professional expertise: - Music Performance - Music Composition - Music Education - Music Festival production & artistic direction - Conference Production - Music Production (recordings) - Music Journalism - Music Publishing - Music Technology Interested college jazz students and high school jazz teachers and directors may complete an application at JazzEdNet.org.
Featured Mentee: Christian Euman “In December of 2011, I was nominated by one of my professors to be a mentee in the JEN Mentor program. Little did I know how beneficial it would be for my development as a musician. I met percussionist Rubén Alvarez at the JEN conference a month later and, from there, we established what would become a great mentorship and friendship. He gave me advice on being in the music industry, helped me write my first biography, and even gave me a free hand drumming lesson. However, the highlight of our mentorship was being in a professional pit orchestra together, where I was able to perform with him and learn from him while on the gig – an amazing experience I will never forget. I am forever grateful to JEN for connecting me to an incredible musician, educator, and person.” -Christian Euman, undergraduate music major at Western Michigan University and JEN mentee
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MENTOR PROGRAM
Featured Mentor: Rubén Alvarez “One of the true highlights of choosing music as a profession has been the opportunity to teach and to share my passion of making music, in particular the Latin jazz and Afro Latin rhythms, styles, and percussion performance techniques. At the 2012 JEN conference held in Louisville Kentucky, I joined fellow board members in volunteering to participate in the inaugural year of the JEN Mentorship Program. Initiated and coordinated by fellow board member and fellow mentor Willard Jenkins, this program was approved by unanimous vote by our board of directors as part of our efforts to develop programs that fulfill the part of the JEN mission statement which states that JEN “is dedicated to building the jazz arts community by advancing education.”
This is a brief summary of what we both agree transpired during the mentorship. After some trial and error in establishing a meeting schedule we came to the conclusion that the time frame for meetings and the length of the relationship and nature of the relationship should be flexible and take into consideration both the student’s and mentor’s schedules. We then had a series of phone meetings to “break the ice” and establish who we both were, what the program was about, and mutually determined how I could help him achieve his goal of developing a successful career as a performer. Once we were able to establish how I could best serve as a mentor, our mentoring sessions resulted in the following: 1. A discussion on the importance of timely communication and response to e-mails. This initially was a challenge due to his incredibly busy schedule.
As the year winds down and JEN prepares to launch the second year of this program, I am pleased to give this brief assessment of my experience as a mentor.
2. We identified and Christian articulated who he was, where he wanted to go career-wise, and where he felt he was at in the process.
First of all let me state that I was very fortunate in mentoring a young man who in my opinion guarantees that the future of music and the treasure that is jazz has a bright future.
3. Discussed, identified, and reviewed marketing skills and tools necessary to establish and develop a successful career as a professional musician.
Christian Euman is an undergraduate music major now in his senior year of studies at Western Michigan University. He was nominated to participate in the program by fellow JEN member, professor of drum set studies at WMU, master drummer Keith Hall. Christian, like myself, grew up in Chicago area. He is the son of a fellow musician and has pursued his dreams at WMU by continuing to develop his skills as an exceptional drummer and excelling as a talented young composer and arranger.
4. Christian drafted and wrote his first resume. 5. I had the opportunity to review a recording of his junior recital during which he played drumset as well as arranged and composed all of the music and led the band that accompanied him. 6. Since he is originally from the Chicago area, during a break from studies at WMU, we met at my house for a master class on the history, basic rhythms, musical
styles and performance techniques of Afro Cuban percussion. This included discussing the principles a drumset artist needs to utilize in order to experience successful musical collaborations with Latin percussionists. Our mentor/mentee relationship came to what we both felt was a successful conclusion, when we performed together in the pit orchestra for the Goodman Theatre’s production of the gospel musical “Crowns” written and directed by award winning actress/director Regina Taylor. This performance opportunity allowed us to discuss and apply the content of our lessons in a professional setting. Serendipitously, the set drummer for the show was fellow JEN member and band director at Rich South High school, Mr. Y.L. Douglas, Christian’s high school band director. Y.L.’s band was invited to perform at the London Olympics, which opened this door of opportunity for Christian. Incidentally, I had introduced Y.L. to Latin Percussion during his senior year at Chicago State University. The opportunity to apply to serve as mentors and participate as mentees at both the college and high school level will once again be offered to JEN members in 2013. I encourage you to take advantage of this truly rewarding program. I want to thank my fellow board members for moving forward with this and other programs that will insure that future music industry professionals receive guidance and assistance in their journey to success in the global jazz community.” - Rubén P. Alvarez, percussionist/ educator and JEN mentor
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PEOPLE OF JEN
Meet Some of the Faces Behind JEN Larry Green, Office Manager/Membership Committee Chair Larry Green is currently the JEN Office Manager, a consultant for Bob Rogers Travel, and an independent consultant/clinician under WhipLash Consultants, his educational company focused on working with school groups in grades 7-12. He also remains very active in judging and convention presentations. Having taught instrumental music for 22 years in Iowa, Larry continues to commit his energies to helping young students and educators through clinics and mentorship activities. In addition, Larry was the National Band Association Jazz Chair for 12 years, the Co-Chair of the International Association of Jazz Educators’ Leadership Committee for 6 years, and Co-Founder of the Iowa Jazz Championships. His bands have performed at the Midwest International Band & Orchestra Clinic, NBA National Band Conference, International Jazz Educators Conference, Iowa BandMasters Convention, Montreux International Jazz Festival, and numerous Midwest regional events and concert tours. Larry’s educational degrees include: BS in Music Education, Kirksville State Teachers College, MA in Musical Composition, Northeast Missouri State University, and Post Graduate work in Music Theory at the University of Iowa. Lynda Chavez, Bookkeeper Lynda Chavez is the Bookkeeper for JEN. A former Internal Revenue Service employee of 35 years, she is currently an Independent Tax Preparer. During her time with the IRS, she received numerous awards and served 18 JAZZed November 2012
as a Senior Tax Advisor, working in various positions including management, teaching tax law classes, answering complex tax law questions, customer service, and overseeing the operations of a satellite office. A former clarinet player, Lynda lives in Dickinson, Texas with her family and has two daughters and two grandchildren. Her youngest daughter, Kim, plays trumpet in the College of the Mainland Community Ensemble, which will be performing at the 2013 conference. Marina Terteryan, Marketing/Communications Coordinator Marina Terteryan is the Marketing and Communications/Coordinator for JEN, managing the advertising, print, web, social media, and email communications, as well as promotion of the annual conference. As Chair of the Marketing/Communications Committee, she led the team for the recent JEN website redesign and was a panelist and moderator for social media marketing presentations at two previous JEN conferences. Marina currently serves as a Marketing Manager for Alfred Music Publishing, specializing in jazz and string product marketing. She also serves as an independent scriptwriter for commercials and as an analyst and writer for a market research firm that examines consumers’ psychological responses to branding/packaging. A former concert producer, she attended California State University, Northridge, receiving degrees in Public Relations, and Finance/ Business Law. An avid jazz fan, Marina is a classically-trained violinist learning to play jazz and currently performs the Dhol, an Armenian folk hand drum. In her spare time, she is a clothing designer, published fiction writer, and journalist. Find her on twitter: @musicalmyrrh.
NEWS
JEN Announces Advocacy Initiative with NAfME
Larry Rosen to Keynote 2013 Conference
The National Association for Music Education (NAfME) and JEN have entered into a strategic relationship to enhance jazz education-related professional development opportunities and promote awareness of the importance of all aspects of music education.
Larry Rosen, musician, producer, executive producer, and music industry entrepreneur, will serve as the keynote speaker during the JENeral session at the 2013 Conference. See Larry at the JENeral session on Saturday January 5th at 7 p.m. in the Inspirations/Centennial Ballroom.
NAfME is among the world’s largest arts education organizations; its mission is to advance music education by encouraging the study and making of music by all. Among many other initiatives, NAfME orchestrates success for music educators and music students through professional development–both online and in-person–and programs that promote and encourage student leadership. The strategic relationship will include: 1) Visibility for each organization the other’s conferences. 2) Promotion of JEN resources for classroom teachers through NAfME online and print publications. 3) NAfME advocacy resources links on the JEN website. 4) Opportunities for JEN members to contribute content to NAfME online and in-person professional development. “We are thrilled to be working with NAfME,” said JEN President Andrew Surmani. “Advocacy for music education is more important now than ever before, and the combination of both organizations’ members and leadership will be a very powerful force in serving the music community!”
Larry is the Chairman of Larry Rosen Productions, Inc., creator and producer of Jazz Roots - A Larry Rosen Jazz Series, co-founder of GRP Records, co-founder of LRSmedia, and co-founder and past Chairman of N2K, Inc. (NASDAQ). He is the creator and producer of the PBS television series Legends of Jazz, and is the creator and producer of multi-media TV series Recording: the History of Recorded Music, with hosts Quincy Jones and Phil Ramone. Larry began his musical career as a drummer with the Newport Youth Band while attending the Manhattan School of Music. He has since received Ernst & Young’s prestigious “Entrepreneur of the Year” award in New Media & Entertainment and been named an “Internet Icon” by Forbes magazine. Mr. Rosen served as a member of The Board of Governors of the New York Chapter of the National Association of Recording Arts and Sciences and served on The Grammy Screening Committee. He received the NARAS Governor’s Award and was inducted into the A&R/Producers Honor Roll. Mr. Rosen serves on the boards of the National Foundation for Advancement in the Arts, the Music for Youth Foundation, NAfME, The Brubeck Institute, UM Frost School of Music Deans Visiting Committee, and along with Mr. Grusin, he co-founded the National Foundation for Jazz Education, a philanthropic group which helps young jazz musicians.
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guest editorial
Saving Jazz Musicians, One at a Time BY NAT HENTOFF
O
nce I moved from being a fan of jazz musicians and actually came to know more of them as a jazz journalist, I became aware – sometimes vividly – of how hard it was for some of them to make a living. What I hadn’t seen in the jazz magazines was that many players, even leaders, had no health insurance, let alone pensions.
And in a revealing National Public Radio series in April, 2005, Felix Contraras reported that, “like the working poor, many jazz players and their families don’t have regular doctors, so in a crisis they wind up in emergency rooms.” In the 1950s, while I was working for Down Beat in New York, I used to see fundraising ads in movie theatres for the Will Rogers Home where elderly actors and seriously ailing younger ones were well taken of and I’d grumblingly wonder if there’d ever be some kind of equivalent for jazz musicians in deep need. And, wow – there came into being the Jazz Foundation of America, which now accurately describes itself as, “the only national organization dedicated to saving the homes and lives of elder jazz and blues musicians in crisis.” Though the elderly are the majority being brought back to life and their instruments, a player of any age in an emergency is not turned down. In its current 2011-2012 report, executive director Wendy Oxenhorn – who, at times has fed a hungry musician in her own home – reports that during these national recession blues, “We stayed true to our mandate to provide Social Services to jazz and blues musicians in the form of housing, emergency services,
health care, and employment. In addition, we continued to help promote jazz and blues by creating nearly 3,700 performance opportunities [many in schools]…” “As the recession deepened,” Wendy Oxenhorn continued, “for so many people… Even more so for our musicians, as live music and paying venues and even festivals are at an all-time low.” Many of the musicians who count on the Jazz Foundation are over 50, but younger players are far from immune to life-changing crisis. But, as the Foundation notes, “because of physical limitations as a result of aging, it is harder for the elderly to travel [and when work is available] to keep up a demanding work schedule.” Says Freddie Hubbard: “When I had congestive heart failure and couldn’t work, the Jazz Foundation paid my mortgages for several months and saved my home! Thank God for these people!” Another jazzman: “When [Hurricane] Katrina hit, I lost all my belongings and all my music and was relocated to Texas. The Jazz Foundation made it possible for me to come home and go back to work.” In providing medical care, the Foundation – thanks to – FREDDIE HUBBARD Dizzy Gillespie – makes possi-
“WHEN I HAD CONGESTIVE HEART FAILURE AND COULDN’T WORK, THE JAZZ FOUNDATION PAID MY MORTGAGES FOR SEVERAL MONTHS AND SAVED MY HOME! THANK GOD FOR THESE PEOPLE!”
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ble a singularly historic breakthrough. Dizzy was more of an active humanitarian than anyone I’ve known in any field. And as a number of his sidemen told me, he was a mentor to them, not only in jazz. When Dizzy was dying of cancer in 1993 at Englewood Hospital in New Jersey, he asked his physician, Frank Forte, to “get the hospital to give jazz musicians the kind of medical care I’m getting that they can’t afford.” The result: The Dizzy Gillespie Memorial Fund at Englewood Hospital by which, explains the Jazz Foundation, “When a musician comes to us with a health issue, we send them to Englewood in New Jersey and they take them in – without charge – for exams, x-rays, MRIs, blood work, surgeries. We have seen over the years that this can even mean the diagnosis and treatment of late-stage cancer for an uninsured musician.” No musician is ever turned away. The Foundation is always at the ready to prevent evictions and homelessness, paying rent and utilities costs. I’ve known desperate musicians who had gathered all they could of their instruments, arrangements, and other possessions in fear of being thrown out on the street. The Foundation arrived and, they’re still where they want to be – at home. The Agnes Varis Jazz in the Schools Program, named for one of the Foundation’s most dedicated funders, during the 2011-2012 Report, as related to me by associate director Joseph Petrocelli, “created 3,692 performance opportunities [along with other projects], reaching nearly 86,000 audience members of all ages, from public school children to seniors in elder care.” Letters I’ve seen from public school teachers about these gigs make clear that these students now having been introduced to jazz, even dancing to it, will learn to be exposed to much more. Moreover, Petrocelli added: “Wendy Oxenhorn launched Jazz in the Schools to also preserve the legacy of jazz by enlisting elder masters of jazz and blues who are in need of work to
Carl Allen, Artistic Director Laurie A. Carter, Executive Director
Juilliard
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Professional Development Coaching by Juilliard’s Dedicated Faculty Benny Golson, Artistic Consultant Wycliffe Gordon, Artist-in-Residence Christian McBride, Artist-in-Residence Benny Green, Visiting Artist SAXOPHONE Ron Blake Joe Temperley Steve Wilson TRUMPET Eddie Henderson Christian Jaudes Joseph Wilder TROMBONE James Burton Steve Turre GUITAR Rodney Jones PIANO Kenny Barron Frank Kimbrough BASS Ron Carter Ray Drummond Ben Wolfe DRUMS Carl Allen Billy Drummond Kenny Washington
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guest editorial
JAZZed November 2012 21
guest editorial play educational performances introducing these public school children to jazz. Since then, the performances have included venues like children’s hospitals and nursing homes.” Further indicative of the Foundation’s range of creativity, “The Musicians Legacy Program funds one-on-one les-
sons by elder, established musicians with young up-and-coming musicians. It provides a paid gig for the musician giving the lesson and a learning opportunity for a student who might otherwise not be able to afford it.” Also, in addition to the already cited first-ever Musicians Emergency Hous-
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ing Fund to prevent homelessness, the Foundation keeps planning for a central residence for jazz musicians where they can also be reached for engagements. Included would be a rehearsal hall and various other amenities. There’s a lot more to tell about the Jazz Foundation of America, including the far-ranging aid it gave abandoned New Orleans musicians after the Katrina hurricane. It’s basic contact information: Jazz Foundation of America, 322 West 46th Street, 6th Floor, New York, N.Y. 10036. Phone: (212) 245-3999. Fax: (646) 786-4999. www.jazzfoundation.org. Contributions are decidedly and harmoniously welcome. On coming to recognize the partial extent of what I have reported about the Foundation’s mission, it is, I find, inspirational to know the actual number of its workers who keep doing so much. Says the JFA: It consists of, “seven full-time staff, and averages nearly 6,000 cases a hear as it continues its mission of saving jazz and blues, one musician at a time.” In the interest of full disclosure, I’ve long been on the Board of the Foundation, but because of my octogenarian arthritis in a foot that makes walking difficult, I don’t go to the meetings and vote there. I’ve made it my gig to keep reporting on why the Jazz foundation gets responses from such musicians as drummer Rudy Walker: “JFA is an incredible blessing. Thanks to them, I had hip-replacement surgery. And when my house burned down, there were there for me.” I often refer in my writings to “the family of jazz.” The Jazz Foundation keeps it grooving.
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Nat Hentoff is one of the foremost authorities on jazz culture and history. He joined Down Beat magazine as a columnist in 1952 and served as that publication’s associate editor from 1953-57. Hentoff was a columnist and staff writer with The Village Voice for 51 years, from 1957 until 2008, and has written for The Wall Street Journal, Jazz Times, The Atlantic, and The New Yorker, among many other outlets.
22 JAZZed November 2012 jjbPortnoy.indd 1
2/28/12 12:09:18 PM
At North Central College, being well-rounded doesn’t mean losing your musical edge. When we say music is central at North Central College, it means we expect you to build a full and complete life around your music studies. Students choose from majors in Music, Music Education, Musical Theatre or Jazz Studies—but they also dance, act, explore, study abroad, volunteer, mentor, pole vault and pursue countless other passions. Jazz Faculty
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lessons learned
“You Don’t Have to Be Jewish...” BY LEE EVANS
“Y
ou don’t have to be Jewish to love Levy’s Jewish Rye,” was the catchy lead phrase of one of the world’s most famous advertising campaigns. It got me to thinking about jazz and about the very controversial notion held by some people that, because jazz had been invented by blacks, one had to be African-American in order to play jazz authentically.
I own a videotape of Miles Davis in which he states that when he listens to a jazz recording, within a few seconds he can unfailingly tell if the jazz players are black or white. Whether he was correct or not, the question I’d like to pose is: “What difference does it make, with respect to jazz performance, what the color of one’s skin may be?” There have been, and still are, players of all stripes who have totally mastered the vernacular of jazz and play it interestingly, brilliantly and convincingly. This issue is comparable to one in which there are those who insist that one must ideally be French to play Debussy and Ravel well; or German to play Beethoven authentically; or American to play Gershwin with appropriate feeling. Acclaimed and convincing performances of the original works of the world’s greatest classical composers have been performed and recorded by legendary performers of all nationalities. Do you suppose that the impressive new young Chinese concert pianist Lang Lang and the fabulous Japanese concert pianist Mitsuko Uchida have any problems playing Western classical
music with appropriate authenticity? The very thought of that is patently absurd! For the last four years I have registered for, and have loved attending, an exceptional course in the evening division of NYC’s The Juilliard School, entitled “The World of the Piano,” taught by the incomparable piano historian and music educator David Dubal; a course in which he presents students from Juilliard and The Manhattan School playing classical repertoire, and offers comments on the historical background of the music as well as critical remarks about the performances. Every time I walk the corridors of Juilliard to get to class, for a moment it seems as though I have been transplanted to Seoul, Korea, or Beijing, China; that’s how many Asian phenoms there are studying at that great institution and playing Western classical repertoire with astonishing expertise and authenticity of interpretation. I challenge anyone to listen to a classical recording and either identify the nationality of the performer or convince me that the performance was inauthentic because the player was not born and
“WHAT DIFFERENCE DOES IT MAKE, WITH RESPECT TO JAZZ PERFORMANCE, WHAT THE COLOR OF ONE’S SKIN MAY BE?”
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lessons learned raised in the same country as the composer whose music he or she was playing. The same holds true for jazz! It is totally irrelevant, as far as I’m concerned, whether the musician playing jazz is black or white, or even American or European or Asian, for that matter. The Color of the Audience
I do, however, have some observations to offer regarding the skin color of those who attend jazz performances. I have always found it perplexing that most of the people who attend jazz performances in New York City nightclubs or concert halls I have visited have been white and Asian, with relatively few blacks represented, certainly in percentage terms. After all, the jazz idiom was invented by blacks, and the population of New York City has no dirth of blacks, including those of middle and upper incomes who can afford to attend jazz performances; so why haven’t black music lovers been more interested in attending live performances of this incomparable music whose invention was a by-product of their own history and culture? In a July 16, 1989 New York Times article written by the late jazz historian and trumpeter Richard Sudhalter – entitled, “Does The Jazz Of The Past Have A Future?” – he wrote: “For reasons not entirely understood, but often guessed at, prewar jazz has become a music listened to... by the white and generally affluent middle class. Traditional jazz-oriented programs on the public radio networks attract generally upscale professional white listenerships.” In other words, black audiences don’t seem to be very interested in the music, despite the fact that contemporary AfricanAmerican jazz luminaries such as Wynton Marsalis assiduously and unrelentingly promote the music of such significant jazz figures as Louis Armstrong in public schools, universities and important performance venues, including Jazz At Lincoln Center, of which Marsalis happens to be the standard bearer.
Sudhalter suggests in his article that blacks view their distant history as having been painful, and that “their perception of the music is intimately bound up with that.” So as a result, according to him, blacks have tended to avoid attending jazz performances. He also quotes the late jazz pianist and historian Dr. Billy Taylor as having said that “the absence of black players in traditional jazz is part of a larger breakdown in which jazz in general no longer plays a central role in black culture. Revulsion for the old Uncle Tom images and postures, coupled with an emergent militancy and black awareness drove entire generations away from the jazz past.” End Note
In my jazz history course (Jazz, MUS 110) at NYC’s Pace University, which I have been teaching at this institution since 1989, I have been heartened to see blacks registering for my course in greater and greater numbers. It has
been a source of immense satisfaction to me that I have been able to introduce this unique art form to some 60-70 students annually, an art form with which most of them had previously little or no contact. I consider the development and nurturing of new audiences (of any color) for jazz (of any color) to be one of the most important responsibilities I have as a college professor. Lee Evans, Ed.D., is professor of music at NYC’s Pace University. In addition to his extensive catalogue of Hal Leonard piano publications, his solo-piano books for The FJH Music Company include the late beginner/early intermediate levels Color Me Jazz, Books 1 and 2; the intermediate/upper intermediate levels Ole! Original Latin-American Dance Music and Fiesta! Original Latin-American Piano Solos. Also, Dr. Evans is a co-author, along with Dr. James Lyke and three other writers, of Keyboard Fundamentals, 6th Edition (Stipes Publishing), a formerly two but now one-volume beginning level piano method for adult beginners of junior high school age and older.
JAZZed November 2012 25
New Paths to Young Milestones A seasoned middle school music teacher and a visionary jazz advocate have big plans for jazz in Fresno By Matt Parish Growing up in Central California in the ‘60s meant you were a stone’s throw from the legendary early years of the Monterey Jazz Festival. Longtime jazz educator Mark Kasparian’s father made sure he made it out there as a budding music fan, soaking up music during one of its most vital periods of innovation. Kasparian and college friend Jim Page, both members of the Fresno State marching band, maintained a love of jazz throughout their careers. Kasparian developed one of the top middle school jazz programs in the state at Tenaya Middle School, a school of nearly 1,000 students in the sprawling Fresno Unified School District. His groups have won top honors at both the Reno and Fullerton Jazz Festival. But there’s a familiar second act to this story. In the face of declining budgets and increased pressure to meet standardized test scores, less attention is afforded to arts and music programs. As a result, and combined with what Kasparian says is a declined attention given to
26 JAZZed November 2012
jazz in general, jazz programs have been difficult to maintain. But Page hopes to solve that by creating a jazz education program for elementary beginners to advanced high school students that works outside of schools. His new Milestones Jazz program will serve as a supplement to school music programs. Enlisting the expertise of Kasparian (who has recently shifted his focus to elementary students at his day job) along with instructors Edward Hull, Larry Honda, and Brian Hamada, Page has worked with the flourishing JazzFresno organization to lay the groundwork for the program’s inaugural season this year. These types of independent jazz schools are starting to flourish – Caleb Chapman Music in Salt Lake City and Seattle JazzED, for starters – and this one hopes to continue with that success, following in those giant steps to create a thriving, sustainable home for young jazz hopefuls.
JAZZed November 2012 27
Dawning of a New Era in Fresno JAZZed: First off, congratulations to both of you on this inaugural school year of Milestones! Can you talk about the impetus for building this sort of program in Fresno? Jim Page: It sort of just dawned on me one night when I was at a jam session that I just wasn’t seeing any kids from the Fresno Unified School District. There was my son, but no one else was participating. The opportunity for this kind of music was really only there for a really small percentage of kids in the district. Jazz has meant so much to me. I played in high school and it created so many opportunities that I thought it just wasn’t fair that these programs are only accessible for kids who just happened to attend the right schools. Mark Kasparian: There’s an incredible level of high school musicians, middle school musicians, and elementary level kids, some of whom are full-fledged beginners. And it’s all kids that really want to be there. We’ve had people come in from 30 miles away. My piano player now is at a private school that doesn’t have ensemble groups. Mark Kasparian and Jim Page.
She’s incredible, but has never played with other people. Practicing to your metronome isn’t the whole story – you need to interact with people to make this music and I can tell she’s digging it. JAZZed: How would you describe the relationship of this program to the music and band programs already established at the schools?
ple to help make them stronger at no cost to them than to try to fight against them. JAZZed: It seems like the way kids are exposed to jazz is different than the way it used to be, both institutionally and in day-to-day life. How do you two remember coming to the music when you were younger?
I think any jazz band director will tell you the same thing. Kids just blossom overnight because of the confidence they gain. MK: We’re being careful to design it as a supplement to other music programs – not an alternative. JP: I recognized that we’re not going to be able to do that if we’re pulling kids out of your program. I’m proud to say that all of our students are active participants in their school music programs if there is one at their school. Once the school band directors realized that was our goal, it was easier to get them to pass out the postcards and let the kids know what was going on. I think it’s better to work with peo-
MK: My dad was a disc jockey and he used to go the Monterey jazz festival when I was a little kid. I was listening to big band and all kind of stuff as a kid. I’m a trumpet player myself and I was always an ear player. Al Hirt and Doc Severinson were my idols as a kid, so I’d try and listen to them and figure things out by ear to mimic them. That was me learning to improvise. JP: I come from a musical family – my dad was a band director and my sister is a recently retired middle school educator. With my dad, we had all kinds of swing records and Dixieland stuff, so I grew up listening to Bennie Goodman and Gene Krupa and Count Basie and Glenn Miller. All the great big bands. I acquired the taste for all of that early on. For me, it all started at home with what my parents had on the record player. MK: I was also a pro trumpet player for quite awhile. I played at things like the Ice Capades and the circus – all that stuff. I tell people that I was fortunate to be good enough that in a small town, you’d have those opportunities. Nowadays, those kinds of opportunities are few and far between. In those days there were live acts everywhere.
Technique in the Classroom JAZZed: Mark, you’ve gained some renown over the last 20 years or so as an extremely successful middle school jazz teacher at Tenaya Middle School, winning the Reno and Fullerton Jazz Festivals multiple times. Can you give us some 28 JAZZed November 2012
background on that district and the challenges facing it? MK: The Fresno Unified district is a rather large one and it’s fraught with all the problems that typically go with that. I ran the program for 23 years and we had some really good bands. Back in the early ‘90s, I had overseen three different middle school programs in three years. Those middle school kids put me through so much early on that I almost thought I’d go back and make pizzas for a living. But in that first group there was a drummer who was just a natural. I’d never seen anything like it. When he first came in, I’d ask him to play a few different patterns and he’d always say, “How about this?” And he’d play these Latin beats. I said, “You’re hired.” He couldn’t read music, but I said we could fix that. He went on to be the drummer for the All-California Jazz Band. So he was sort of the nucleus of that whole program. The year after that, we won Reno. I never had a ton of numbers – I only had one trombone in that first group, and I think I had twelve saxes, ten trumpets, a baritone and a trombone. Two keyboards and a couple drummers. It was really out of proportion, but I let them all play.
the young ones who we didn’t really know well were coming in that jazz is not a foreign language. It’s just like real music. We would play for a couple weeks – easy blues types of tunes, even “Louie Louie.” Things that were easy and fun that could get the hook in them. Then, towards then end of those weeks, I’d audition. Eventually, the kids without the skills would drop. But the kids that could hang with it would go as a big band and start on basic form blues scales or minor pentatonic. I really play for the kids a lot. I do a lot of call-and-response to try to get them improvising. As they get a little mature, then I try to explain how the ii-V-I’s are working and that kind of thing. I’d have them pick out one note lines and I’d always try to get their ears trained. It could be something simple, like maybe
three notes of the minor pentatonic. They usually have no problem with that – I’ve done that with fourth graders as well. It’s astounding how good people’s ears are and how we never use that much in education.
JAZZed: You must have been excited to develop that middle school program. MK: I really like those younger kids. I love starting from a clean slate and showing them how to sit and put their instrument together and produce sounds. With kids starting in 5th grade and moving on to 8th grade – I just really enjoy the growth that you see in that segment of their education as opposed to any other part of their lives. JAZZed: What was your method when you were deeply involved in that program? MK: It wasn’t until you got kids into the middle school or junior high level that you could really experiment. To start with, I don’t really audition kids at the beginning of the year. I just get as many kids involved in the jazz band as we can – whoever is interested. So I just wanted to make sure that, for
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I try to teach the whole class how to go up and down the major scale and how you can build 7th chords on every one. For some kids at that age, they don’t want to do that. They just play. But some do and for them I’ll help them with that – practice these scales and get them in your brain. JAZZed: Do you see major confidence boosts when students realize they have the skills to just improvise and performance? JP: Definitely. Jazz is a totally different art form in that regard. I read something about trying imagine if you went to a poetry reading and the poet was required to make something up on the spot. Or a painter who had to do the same thing – “I’m going to paint live and in four minutes, it’s going to be a masterpiece.” Jazz is really unique in what is expected of kids who can improvise. It’s sort of a sink or swim thing.
JAZZed: Had you found any advantages to using new technologies with any of this? MK: You can show a kid something and tell them to download it and put it on their iPod or just stream it for free. For these last few years, that’s been great, just to let them listen. I’ll give the kids a real easy arrangement of a song we’re doing, and a student might come back to me the next day with, like, 14 different versions he’d downloaded from different groups – Chick Corea doing it, a big band version – I thought that’s amazing. I’m still catching up and these kids can just go out and do it like it’s no big deal. I can also go in GarageBand and set up jazz arrangements where you can just record out the backing combo for students to practice solos to – tell them to bring in their flash drive and take it home.
Moving Miles Ahead JAZZed: Jim, how did you go about setting up the Milestones program with people like Mark once you had the green light from JazzFresno? JP: There were three aspects to it – getting the directors, getting the facilities, and getting the participants. I went after the directors first because that’s the best marketing tool, right? I can say, “These are the guys we have, they’re among the best in the area and this is what we’re going.” So then I had to tackle the questions of facilities and I went to Fresno Unified for that and they were awesome. I said that this is a program I want to put together because the school doesn’t offer it comprehensively across the district. They could have taken the attitude of, “We don’t want you showing us up by offering something we don’t.” But they thought it was a great thing. I let all of them know that we have a participation
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agreement. Our goal is that we wanted to make programs stronger by building better musicians. They said their goal was that there would be a jazz band in every middle school and every high school in the district. So this is hopefully a step toward that, event though it’s something that is run independently. I really do consider them a partner. The third aspect was just getting to the band directors to get the word out to the kids. So really, I spend a lot of time doing that – just trying to get appointments with folks and telling them what it is. We said that we wanted any kid who’s able to play, even if they can’t afford to do it. We have more than enough in scholarships. We ask how much you can afford and if the answer is nothing, you can still play.
Shifting Attitudes JAZZed: What do you think is the source for declining support of arts education? JP: I think it’s like everywhere else in life – there are some people who recognize the value of arts education and there are some who, despite the overwhelming numbers, fail to recognize it. When you combine that with the fact that these folks are under so much pressure to raise test scores, sometimes it’s hard to insist that we should have a jazz band and they need to meet every day after school or in fourth period or whatever it is. I appreciate that problem.
dence that this stimulates parts of their brain that help facilitate higher test scores, too. But really, I think the main thing is the confidence kids get from it. MK: To me, I look at kids like a plant. If you plant a seed and give it the proper fertilizer and hover over it and nurture it, it’s going to have potential. If you don’t, it will atrophy. And I think the younger kids can learn really fast. It all depends on what you expose them to. If your objective is to have them learn “Hot Cross Buns” for two years, then that’s all you’ll get out of them. JAZZed: It never hurts to have high expectations of your students’ abilities. MK: It’s a mindset. You’re playing music that’s in tune and sounds good? Of course kids are capable. They’re capable as elementary students, but no one expects that. And yet everyone has high expectations for these kids when it comes to subjects like Algebra – “The Koreans are ahead of us!” and things like that. Why would you act differently about the best subject in school? We’re driven by that federal mindset, unfortunately. Meanwhile people enjoy jazz and higher art forms as if they’re guarded secrets.
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JAZZed: What do you think is the greatest benefit to kids who are able to participate in jazz programs growing up? JP: Number one is that I think you could ask any school jazz band director, “Does this music breed confidence?” For a kid who can learn to stand up in front of an audience and play without the benefit of having music in front of them where they’re reading the notes, just using the knowledge they’ve gained, that breeds a tremendous amount of confidence and it carries on to the rest of their lives. I think any jazz band director will tell you the same thing. Kids just blossom overnight because of the confidence they gain. There’s a lot of eviJAZZed November 2012 31
anniversary
PERFORMANCE
Are You Ready for This? Sherrie Maricle’s DIVA Jazz big band celebrates 20 years as an all-female musical force. Has the rest of the world caught up?
A
s a child of the ‘70s, Sherrie Maricle admits that she didn’t have a substantial amount of female musical role models to choose from. Especially in jazz. Maricle had committed herself to a rigorous drum practice regimen and a gradually developing gigging career around her home town near Binghamton, N.Y., but her blueprint for success did not involve any notions of femininity.
“It wasn’t even in my psyche to pay attention to that kind of thing,” she says. “All I cared about was jazz.” Years later, her attitude toward the music hasn’t changed much, but the landscape of notable jazz musicians certainly has – you’d be hard-pressed to point to a time when a more diverse group of female musicians performed in jazz venues and on recordings. Maricle has played a significant role in that – her DIVA Jazz all-female jazz ensemble is celebrating its 20th year in action this season. In a way, DIVA is a throwback band, formed by an old school manager, the late Stanley Kay, and harkening to the old touring big band days, using jazz to entertain and please audiences and provide its members with real-world experience. Its mission to bring swinging big band-style jazz to the masses (while just happening to be an all-girl group) has built a foundation for a no-nonsense, no-gimmicks environment where top-flight wom-
IT’S REALLY JUST OTHER PEOPLE WHO BRING UP IDEAS LIKE, ‘WOMEN IN JAZZ THIS,’ AND ‘WOMEN IN JAZZ THAT.’ en musicians stand on solid ground with their male counterparts. These are times, after all, when Esperanza Spalding wins out over Justin Beiber at the Grammys and headlines jazz festivals nationwide, when Teri Lyne Carrington can gather an impeccable 32 JAZZed November 2012
anniversary roster of female guests for an album like last year’s Mosaic Project. It’s an era when post-bop trailblazer Joanne Brackeen enjoys significant presence at Berklee College of Music and the New School. Perhaps the most important thing to Maricle, though, is that her band swings. “My concept of what DIVA is the same as what Stanley’s was – a highpowered, energy charged band that’s very straight ahead but completely swinging,” she says. “It can be as modern as you want in orchestrations and harmonies and this and that, but I like to swing and that’s the focus of the band.” The group has built a substantial resume – it’s been voted among the top big bands in the world in jazz polls and has performed at high profile venues everywhere (Carnegie Hall, Birdland, the Kennedy Center, Le Meridien Hotel in Paris, the Teatro de Sistina in Rome) not to mention worldwide jazz festivals. It’s shared the stage with anybody and everybody, and counts influential contemporary stars like Anat Cohen and Ingrid Jensen as members and alumni. Maricle has been the key part of the band from the beginning.
DIVA MEMBERS AND ALUMNI:
Built to Last
It’s been an uphill battle. “My development, like that of every other woman in jazz, was not really influenced by female role models,” says Maricle. “They’re basically omitted from the history of music except for vocalists. Maybe a Mary Lou Williams and Maryann McCartlin. Very few.” Maricle steadily went about her early career performing at jazz and Broadway gigs in New York City in the ‘80s, modeling herself after her childhood hero,
Buddy Rich. She earned her Masters in Jazz Performance at New York University in 1986 and continued freelancing and teaching lessons until, one day, legendary drummer and artistic manager Stanley Kay saw her drumming in 1990. Kay had been a drummer with artists like Josephine Baker and Patty Paige and worked as a back-up drummer for the Buddy Rich Band in the ‘40s. He enjoyed a long career managing artists like Rich, Maurice Hines,
In its 20 years, the band has served as a pivotal experience for many of jazz’s most promising talent. Here are a few notable musicians to have called DIVA Jazz home: Claire Dailey
Ingrid Jensen
Anat Cohen Virginia Mayhew
Erica von Kleist
Ellen Rowe
JAZZed November 2012 33
anniversary and Paul Burke and, eventually, serving as the entertainment director for the New York Yankees. Kay began thinking of building a smart, all-woman jazz group and realized that Maricle would be the perfect anchor – as a percussionist, he wanted to make sure the drums were solid. The project quickly grew into a landmark group of musicians that bucked expectations everywhere they went. “When we show up to concerts, people are first excited about the quality of music that we’re playing, this concert jazz-oriented music,” says Maricle. “Then they’re excited to see that it’s all women. Which is always interesting, because I can tell you truthfully – any woman who pursues music as a career never thinks about the fact that she’s a woman. It’s really just other people who bring up ideas like, ‘Women in jazz this,’ and ‘Women in jazz that.’” Instead, DIVA operates on a strictly artistic basis – assembling crack interpretations of classics, showcasing authentic big band sounds for audiences who have a diminishing familiarity with the music, and ushering into the fold a new generation of top-notch musicians.
34 JAZZed November 2012
“It’s conceptually along the lines of the Woody Herman band or the Basie band,” says Maricle. “It’s like those bands that really just like to swing like crazy and not do any more esoteric or ambiguous music. Sometimes people listen to different big bands and think, ‘Oh is this jazz?’ It takes on so many different identities.” The musical terrain, still, is vast. To hold it together, Maricle looks to longtime primary writers and arrangers – Michael Abene, Ellen Rowe, Tommy Newsome, Scott Whitfield, and more. Thanks to their efforts, the band’s library has grown quite large, and the personnel (many also long-term members) have grown a close relationship with the music, adding a unique personal energy to every performance. That’s true not only for the big band, but also the quintet (“Five Play”) and trio (“DIVA Jazz Trio”) that Maricle has built for presenters looking for a smaller scale operation. This Is How Girls Play
Here’s a backhanded compliment Maricle hears from time to time: “You don’t play anything like a girl!”
All along the way, the ensemble has had to deal with the inevitable surprised audience member or stage manager at the sight of an all-female band – surprised looks strikingly similar to the ones facing women for decades. “I think it’s still an interesting conversation,” says Maricle. “There are many fields that are traditionally male-dominated even though there are women in all of them. It can take awhile to crack the social conventions and roles of things like, ‘This is a man’s job.’” “There’s a really great film that we’re part of called ‘The Girls in the Band’. It’s a history of women instrumentalists from back in the ‘30s all the way up to Esperanza Spalding. It’s really interesting when you hear some of the 90-year-old women discussing some of their experiences through the Swing Era. Some of it is really the same in many regards. Then there are some of the women today like Terri Lynn Carrington who grew up in an environment of musicians and was supported by people her entire life.” Maricle, who still takes part in her share of outreach programs (such as the one run by the New York Pops) and conferences, has noticed similar atti-
anniversary On Education
Sherrie Maricle is a strong believer in road smarts. Having honed her chops early on by taking every job on the horizon, she encourages students nowadays to do the same whenever possible. But she also makes sure to connect with students across the country in every way possible. Both as part of DIVA Jazz, her duties with the New York Pops, and as a private instructor, Maricle always reserves time for education and outreach of students and community members. What role do educational outreach events play in DIVA’s scheduling? We love it. We have lots of general educational offerings as part of our booking that involve some or all of us going into schools or a senior center. I love any opportunity to reach out further into the community. We see a lot of kids who’ve never seen an acoustic bass or anything. With DIVA Jazz, we offer lectures, clinics and masterclasses. Clinics in big band performance to help with improvisation and lead playing. We coach rhythm sections, offer group lessons, and even adjudicate jazz festivals when the opportunity arises.
tudes happening at the academic level. At one conference, which included 300 educational participants, she counted four women total participating as teachers.
How do you approach teaching on your own? I used to teach at NYU for a number of years and have since gone on sabbatical. But in the meantime, I teach at my house where I have a really nice studio and I also have a few different studios in New York. I teach high school kids and a lot of adults who want to continue their education. I love teaching. There are a lot of things you’re not able to teach, but it’s great to talk about it. Jazz education has always continued to change – how have you noticed it affecting the students that you see? Nowadays if you tell people, “This chart is a mambo,” they all have a million different reference point, way more than back when Dizzy Gillespie was doing Afro-Cuban music 60 or 70 years ago. Nowadays you think of all these different sources recorded and just in places like, say, the Bronx. It makes everyone’s playing more unique, I think, to be able to study anything of Paquito D’Rivera or Tito Puente or in Brazil, Elis Regina or one of my favorite groups in NY, Trio da Paz. I think it makes you a better player and gives you more interesting options to apply to jazz or any swing-feel tune.
CHICAGO PERFORMS. SO WILL YOU.
Focus on the Future
In its 20 years, DIVA Jazz has yet to resort to gimmicky dress-up or campy cliché to woo audiences, sticking to jazz fundamentals and a strong artistic background to build a reputation as one of the best bands around. And as the workings of live music economics has changed, band members have adapted to make the most of a one-of-akind place in the music universe. Most members have started their own bands on their own or with friends outside of the group. “I think a lot of artists have found that they need to do that, especially in the jazz world,” says Maricle. “They have to create their own opportunities. You can’t say, ‘I’ll just join Woody Herman’s band and be on the road for five years.’ That’s not happening anymore. There aren’t touring opportunities.
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anniversary There aren’t seven-nights-a-week gigs.” Maricle contrasts the career of a young musician now to the one she experienced in her early 20s in Binghamton, where she was able to perform music constantly in a variety of styles and circumstances. “I got to work like a lunatic,” she says, and she’s not kidding. She lists traveling circuses in town, wedding bands, musicals, pop orchestras, jazz groups, and live comedy shows as early gigs. Nowadays, those kinds of jobs are tough to come by. “I think the depth of knowledge is greater now for sure but, unfortunately, the depth of experience is much less,” she says. “I really did play all the time and it was an amazing way to grow up and I don’t know if anybody in their 20s that can do that anymore. Not because they’re young, but there’s just no need for that.” DIVA Jazz offers its members as many chances as it can for that kind of playing, though. Most significantly, there’s a growing list of anniversary tour
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dates scheduled this season throughout the US and Europe. They also recently finished a live recording straight from Dizzy’s Club Coca-Cola at Lincoln Center in New York City with vocalist Marlena Shaw (it will be the group’s eleventh recording since their 1995 debut, Something’s Coming). It’s all in the name of maintaining a busy working schedule – something that Maricle says is irreplaceable in developing a true musical background. “I love Bonnie Raitt’s story,” Maricle says. “She traveled all over the place playing in blues dumps and dives and she got on The Tonight Show once when she made her huge breakthrough, and said, “Last night I made $50, now I make $50,000.’ “But all that experience she had of touring and playing for all different people and crowds is what makes her such a deep performer. I don’t believe you can manufacture stage presence or charisma.”
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focus session
HARMONIC TIME
Harmonic Time
INTERNALIZING MUSICAL TIME, GROOVE AND MATHEMATICS
BY JERRY LEAKE
S
ince its birth in the early 1900s, “jazz” has expanded to include a broad range of categories, interpretations, and styles from ragtime, blues, New Orleans, big band swing, bebop, West Coast, cool, avant-garde, Afro-Cuban, modal, free, Latin, jazz fusion and jazz rock, smooth jazz, and so on. Over the last few decades, jazz pioneers began to explore World Music influences from India and Africa to expand their palette of sounds and possibilities. Of course, the African influence on the development of jazz has been both well documented and hotly debated for many years.
What is lesser known is the influence of Indian melodic and rhythm systems on the growth of jazz, often called “Indo Jazz.” John Coltrane, Yusef Lateef, and John McLaughlin were early pioneers who incorporated Indian concepts into their compositions and improvisations. McLaughlin’s ‘70s groundbreaking band Shakti perhaps best epitomizes the fusion of modal jazz, North Indian, and South Indian traditions. Alto saxophonist Rudresh Mahanthappa prominently incorporates South Indian (Carnatic) melodic and rhythmic elements in his music. Learning any new style of music requires years of dedication and hard work. This article will reveal how world rhythm systems can be learned without having to play a traditional drum. The languagebased rhythm method I developed to teach
non-drummers is called “Harmonic Time.”
Harmonic Time Harmonic Time (HT) incorporates three levels of activity to internalize and orchestrate musical time, groove and mathematics into the entire body and not just the intellect, profoundly “feeling” how patterns combine and interact and not just “hearing” them. HT places all musicians on the same playing field for learning from the ground up, using stepping, clapping, and vocal patterns (drum vocals/songs). Students also incorporate ankle bells and rhythm stick to enhance musicality. HT borrows from the African tradition of dancing, drumming and singing to “own” the concept or exercise. South Indian mridangam master Trichy Sankaran states: “Music is about weaving designs within the fabric of time.” Using HT, the fabric of time is the step/pulse with designs woven with vocal and counter-stick-
“WHAT IS LESSER KNOWN IS THE INFLUENCE OF INDIAN MELODIC AND RHYTHM SYSTEMS ON THE GROWTH OF JAZZ.”
38 JAZZed November 2012
focus session ing patterns. HT requires a high level of discipline, especially for musicians who play single-lined instruments or have little or no experience with moving (or dancing) to music. Ask a room of musicians how many people dance and few hands go up. HT only requires one to move in a side-to-side manner, to feel a sense of empowerment and ownership of the beat: the ultimate fabric of time.
Discipline = Freedom The discipline a student acquires allows them greater freedom to explore the perpetual boundaries of any style. With polished and organized tools in our proverbial “toolbox” the easier it is to grab and apply that tool in the moment of improvisation. As challenging as HT is, it is also fun and engaging. Even when patterns do not align, it becomes a sort of game for you to fix the phrase as it is happening. Playing music is difficult and we are glad that it is, but it should also be fun!
HT Exercises: Binary Cells We will begin by developing three layers of time: slow 2 (quarter note) stepping, medium 4 (8th) sticking, and fast 8 (16ths) using the voice. •
speak clap step
ONE X R (in)
TWO X R (out)
ONE X L (in)
TWO X L (out)
I’ll say this right off the bat: “We hate numbers!” Any form of counting in music is not good. It may help unlock a phrase but it must be avoided as much as possible. Our goal is to speak abstract Indian syllables—TA KA—to create a more musical contour: speak clap step
TA X R (in)
KA X R (out)
TA X L (in)
KA X L (out)
Maintain the stepping and move the voice and clap to the 4-phrase (8th notes). Bold print marks the “downbeat” of each 2/4 bar. speak 1 clap X step R (in)
2 X
3 4 X X R (out)
1 X L (in)
2 X
3 X L (out)
4 X
di X L (out)
mi X
Stepping in 2 (2/4 meter) Now speak Indian syllables: TA KA DI MI
Start with the feet together and step in place with the RIGHT foot for beat one, then RIGHT step outward for beat 2 (transferring weight). Do not step far apart to avoid losing balance and causing the beat/pulse to waiver. The LEFT foot would now step inward, next to the right foot, then the LEFT foot steps outward to complete the entire sequence before starting over on the right foot. The INNER step is always beat 1, the outer step is beat 2. The RIGHT foot represents one bar of 2/4 and the LEFT the 2nd bar, creating balance between the two halves of your body. R R L L (in) (out) (in) (out) Say the words RIGHT, RIGHT, LEFT, LEFT to internalize the action. Add the stick/clap in unison to the phrase: speak clap step
RIGHT RIGHT X X R R (in) (out)
LEFT X L (in)
LEFT X L (out)
Now count the numbers “one” “two” to mark the two beats of each bar:
speak ta clap X step R (in)
ka X
di mi X X R (out)
ta X L (in)
ka X
Next, apply the 8-phrase (16ths) to the voice using numbers: speak 1 2 clap X step R (in)
34 X
56 78 X X R (out)
12 34 X X L (in)
56 78 X X L (out)
Speak Indian syllables: TA KA DI MI TA KA JU NU speak ta ka di mi ta ka ju nu ta ka di mi ta ka ju nu clap X X X X X X X X step R R L L Sing scales and melodies, bridging the gap between numbers, syllables, and song. When rendered in a circle, everyone would be stepping in unison like a large gear moving to the right, then left.
JAZZed November 2012 39
focus session • 3+3+2 and 9 levels of language We can now apply syncopation using 332 groupings. The step (beat) and this stick (332) will remain constant while introducing different languages that will alter how you perceive the phrase (cognition). These levels explore drum languages, academic POV, and singing a blues bass line to Elvis Presley’s “Hound Dog”. The “x” (clap) coincides with the spoken number, the dash “-“ marks a rest. Always accent the “1” with your voice (bold print). The downbeat of each 2/4 bar is also marked with an underline (“1”).
lg - x - R
- -
lg - - sh - lg - - lg - - sh x - - x - x - - x - - x - R L L
Level 7: “Academic” (“SANG” = 3 cells / “SI” = 2 cell) (sg=sang, si=short) sg - x - R
- -
sg - - si - sg - - sg - - si x - - x - x - - x - - x - R L L
Level 8: “notation” 332 Languages (stage 1) Level 1: “numbers” 1 2 x - R (in)
3 -
1 x
2 3 - - R (out)
1 x
2 -
1 2 x - L (in)
3 -
1 x
2 3 1 2 - - x - L (out)
Level 2: “Indian Syllables” (“Rhythm Scales”) (“TA KI TA” = 3 / “TA KA” = 2) ta ki ta ta ki ta ta ka ta ki ta ta ki ta ta ka x - - x - - x - x - - x - - x - R R L L Level 3: “Tabla Syllables” (called “bols”) (“TU NA NA” = 3 / “TU NA” = 2) tu na na tu na na tu na tu na na tu na na tu na x - - x - - x - x - - x - - x - R R L L Level 4: “African Shaker” (Ewe people of Ghana) (“PA” = stick stroke / “TI” equals beat 2, empty step) pa x R 1
- -
- -
pa ti x - R 2
- -
pa - x -
pa - x - L 1
- -
pa ti - pa x - - x - L 2
Level 5: “Arabic Dumbek” (“DUM” = 3 cells / TEK = 2 cell) (dm=dum / tk=tek) dm - x - R
- -
dm - - tk - dm - - dm - - tk x - - x - x - - x - - x - R L L
Level 6: “Academic” (“LONG” = 3 cells / SHORT = 2 cells) (lg=long, sh=short)
40 JAZZed November 2012
1 - x - R
- -
ah 2 - & - 1 - - ah 2 - & x - - x - x - - x - - x - R L L
Level 9: “12-bar blues bass line” (“Hound Dog”) (boom = bm) bm - x - R
- bm - - bm - bm - - bm - - bm - x - - x - x - - x - - x - R L L
You can also sing the blues with PA TI / DUM TEK / SANG SI mixing combinations: 4xs ea, 2xs, 1x. Stage 2 : stick variations So far you have been clapping/sticking on all of the “1s” of the 332 (1 - - 1 - - 1 -). Now stick on all of the “1 2” of the 3 cells. Speak the numbers “1 2 – 1 2 – 1 –” then TA KA and TA. Also sing the blues: ta ka - ta ka - ta - ta ka - ta ka - ta x x - x x - x - x x - x x - x - R R L L Now leave out all the “1”s and speak – 2 3 – 2 3 – 2 with numbers, syllables (shown), bass line. - ta ka - ta ka - ta - ta ka - ta ka - ta - x x - x x - x - x x - x x - x R R L L Try two other stick combinations: 1 – 3 1 – 3 1 – / 1 – 3 1 – 3 – 2, speaking just “TA” to retain the 332 cells. Finally, go back to the beginning of this study and incorporate 323 and 233 arrangements with all languages and stick variations, tripling the mass of possibilities.
focus session Long Forms in 4/4
Stage 3: counter-sticking patterns
The entire exercise can also be realized in 4/4 by first altering our stepping to establish a 4-pulse. Beats 1 and 4 are now marked by the RIGHT foot; beats 2 and 3 marked by the LEFT. 1 R (out)
2 L (in)
3 L (out)
4 R (in)
Next, double the mass of the 332 to 333322. The 4/4 phrase can be rotated to 5 other positions by moving the first number to the end: 333223 / 332233 / 322333 / 223333 / 233332. Shown below is 333322 using ta ki ta syllables. The beginning of each struck cell (ta) is in bold. Explore all 9 languages, stick variations (discussed next), and rotations in the long form. ta ki ta ta ki ta ta ki ta ta ki ta ta ka ta ka x - - x - - x - - x - - x - x R L L R (out) (in) (in) (out)
Stage 1 and Stage 2 involved simultaneously speaking and sticking the same pattern to strengthen awareness. Stage 3 introduces counter stick patterns. Let us revisit 332 and speak just three languages: 1) ta ki ta, 2) pa ti, 3) dum tek. The stick (“X”) will introduce a 3rd element, creating three unique layers. Each stick pattern has a cultural connection that will be briefly mentioned. Repeat phrases and improvise freely. Take chances and have fun. Counter sticking patterns (“X”) # 1: “gospel off-beat” ta ki pa dm - R (in)
ta X
ta ki ta pa ti dm - - - R (out)
ta ka pa tk X -
ta ki pa dm - L (in)
ta X
ta ki ta pa ti dm - - - L (out)
ta pa tk X
ka -
# 2: “African Kagan” (Ewe people)
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focus session ta ki pa dm - R (in)
ta X
ta ki ta pa ti dm - X - R (out)
ta ka pa tk X X
ta ki pa dm - L (in)
ta X
ta ki ta pa ti dm - X - L (out)
ta pa tk X
ka X
ta X
ta ki ta pa ti dm - X X L (out)
ta pa tk X
ka X
ta pa tk -
ka X
# 3: “Bongo Bell” (Afro-Cuban) ta ki pa dm X R (in)
ta X
ta ki ta pa ti dm - X X R (out)
ta pa tk X
ka X
ta ki pa dm X L (in)
# 4: “Pandero” (Brazilian tambourine) ta ki pa dm X R (in)
ta -
ta ki ta pa ti dm - X X R (out)
ta ka pa tk - X
ta ki pa dm X L (in)
ta -
ta ki ta pa ti dm - X X L (out)
Conclusion We have explored one binary “seed” that was meticulously nurtured and grown into a giant sequoia of possibilities. An extensive HT study exists in the ternary world of 6/8 and 12/8, with polyrhythms and cross-rhythms dissected, rotated and sung using African and Indian syllables. Additional studies explore odd meters in 5, 7 and beyond. By taking small steps every day, focusing on the “process” and not the “product”, by stepping away from your primary instrument and learning from a different cultural and physical awareness, you will earn great rewards from “doing the work.” By always retaining an “all ways and always” perspective you will never tire from even the most basic seed of possibilities. Yes, playing music is difficult… Thank goodness it is also fun!
Jerry Leake is on the faculties of Berklee College of Music, and at New England Conservatory, which celebrates the 40th anniversary of its groundbreaking Contemporary Improvisation department in 2012-2013 with a year-long series of concerts and events in Boston and New York City. Leake has authored eight books on world percussion, leads the band “Cubist,” and co-leads “Natraj.”
jazzforum
www.aajc.us
Celebrating Virgil Jones by AAJC executive director, Dr. Larry Ridley and AAJC resident, Bill Myers Virgil Timothy Jones was born in Indianapolis, Indiana on August 26, 1939 to Virgil and Lucille Jones. As a child, he grew up in the Lockefield Gardens Housing Development, the second African American Development built by President Franklin Delano Roosevelt’s Administration. Lockefield sat on the western border of Indiana Avenue, the main stem of the African American section of town where he, Larry and Michael Ridley, James Spaulding, Melvin Rhyne, Freddie Hubbard, David Baker, and others were exposed to the various genres of music that permeated the atmosphere along that long stretch of African American entertainment establishments. J.J. Johnson, Wes, Buddy and Monk Montgomery, Jimmy Coe, Willis Kirk, Benny Barth, Pookie Johnson, Errol Grandy, Ben Holiman, Noble Sissle, Madame C.J. Walker, and other artists/entrepreneurial role models were also a substantive part of the Indiana Avenue environment. Virgil attended Booker T. Washington School #17 where his first music teacher was Russell Brown, who taught him to read music. He related, “I was always good in math, which helped me to read music.” (He also was blessed with “Virgil put so much of himself and his perfect pitch.) In 1952 Virgil entered Crispus Atmusical personality into the show.” tucks High School where - Murray Horwitz he emerged as an honor student scoring in the top 10 percent on the National Scholastic Achievement Examination. At the age of 15, he refused a four-year science scholarship to Morehouse College, preferring to graduate from Crispus Attucks High School. While attending Crispus Attucks, he joined the band and orchestra. During his senior year, David Baker served as a student teacher and this relationship would become very significant in Virgil’s future jazz career. During Virgil’s formative years as a developing musician, he would often go to hear Wes Montgomery at the Missile Room. He also stated that the best part of his early music education was jamming in George’s Bar on the Avenue sometimes with his friend Melvin Rhyne playing piano and his “Lockefield” neighbor and childhood friend Larry Ridley playing bass, James Spaulding on alto sax, Freddie Hubbard on trumpet, Jimmy Coe on alto and tenor, Pookie Johnson on tenor, David Young on tenor, Paul Parker and “Killer” Ray Appleton on drums, and Claude Bartee on alto sax. He reflects, “Many of us would travel in groups to Chicago to hear such popular jazz musicians as Miles Davis with John Coltrane, Wynton Kelly, Paul Chambers, Philly Joe Jones, Kenny Dorham, Max Roach, Hank Mobley, Billy Wallace and George Morrow. Chicago was a ‘hot’ jazz town in those days in the 1950s.” David Baker recommended Virgil in 1960 to Lionel Hampton, who was a regular visitor to Indianapolis. Virgil joined the Hampton big band touring the United States, Europe, Argentina, and Japan. He relocated to New York City where his musical career blossomed.
44 JAZZed November 2012
Virgil Jones built a stellar reputation through traveling, performing and recording with the likes of Roland Kirk, Milt Jackson, Charles Earland, Frank Foster, Barry Harris, Clark Terry, Dizzy Gillespie, Thad Jones/Mel Lewis, McCoy Tyner, Philly Joe Jones/Dameronia, Bobby Rosengarden, the Smithsonian Jazz Masterworks Orchestra directed by David Baker, Louis Bellson, Jimmy Heath, Illinois Jacquet, Carmen McRae, Stevie Wonder, Quincy Jones, Shirley Scott, Joe Henderson, Ruth Brown, Benny Carter, Eddie Palmieri, Sonny Stitt, Teddy Edwards, Harold Mabern, T.S. Monk, Larry Ridley, Ray Charles, Phyllis Hyman, DeeDee Bridgewater, Rusty Bryant, and more. He performed with the Bobby Rosengarden Band on the Dick Cavett Show for two years in the 1970s. More recently, Virgil worked with Larry Ridley’s Jazz Legacy Ensemble from 1997 through 2002 at the Schomburg Center for Research in Black Culture of the New York Public Library System in Harlem and other venues. He also played with Bobby Short’s nine-piece band at the Carlyle Hotel in New York City from 1998 through 2004. In 1969, the first Broadway show Virgil worked in was written by Oscar Brown Jr., Big Time Buck White, starring heavyweight boxing champion Muhammed Ali. Through the years, Virgil also played in other Broadway shows such as Sophisticated Ladies, Ain’t Misbehavin’, Blues In The Night, Black and Blue in which Virgil was featured as a trumpet player, and Jelly’s Last Jam, which starred Gregory Hines and Savion Glover. Virgil is also featured on the sound track of Spike Lee’s movie, She’s Gotta Have It. He is also documented in the book Trumpet Kings by Scott Yanow and The Biographical Encyclopedia of Jazz by Leonard Feather and Ira Gitler. Virgil Jones is one of the most respected jazz artists in the history and evolution of the jazz art form!
jazzforum Virgil Jones Memorial 7:00 p.m. - 10:00 p.m. Monday, October 22, 2012 @ Saint Peters Church 54th & Lexington Ave., NYC Participating Musicians: Trumpet: Jon Faddis Saxophone: Loren Schoenberg; Patience Higgins; Charles Davis; James Spaulding; Doug Harris; Trombone: Kiane Zawadi; Bass: Larry Ridley; Paul West; Kim Clarke; Don Moore; Frank Tate Letter received from Murray Horwitz, directtor of development, Washington D.C. Performance Arts Society: Larry, thanks. Alas, I can’t be there tonight. It was strange, I didn’t think I had a lot to say about Virgil, but then I thought about WHY I didn’t have a lot to say. I’m cc’ing Jon Faddis and Loren Schoenberg, and if one of you thinks it’s appropriate to share this with what I hope is a big crowd at St. Peter’s tonight, please do. It’s safe to say that I’ve actually heard Virgil Jones play the trumpet more times than I’ve heard any other trumpeter - and maybe more than anybody there tonight - probably over a thousand times. For several years, Virgil played in the Ain’t Misbehavin’ onstage band on Broadway - along with Hank Jones, Seldon Powell, Eddie Bert, and Arvell Shaw, among others. It’s a show I co-wrote, but for Virgil and me, there was a special bond, because we had met years before, when I was a frequent hangeron at Thad Jones & Mel Lewis’s Village Vanguard Band’s Monday nights. To have heard Virgil in that earlier context - and in other adventurous musical settings over the years - gave me even more respect for what he did every night at the Longacre Theater, and for him as a musician and a man. He brought exactly the right sound to the ensemble - and, to my ear, to every ensemble in which he played. To this day, when I think of our show, the first sound I hear is of Virgil’s trumpet soaring above the band in Luther Henderson’s arrangements. He gave it exactly the right majestic tone, and - even when it was impossible for a show arrangement to swing - always gave the impression of swinging. Believe me, there were musicians over the years who somehow resented having to play 1930s and ‘40s music, as though it were somehow beneath them. But Virgil put so much of himself and his mu-
Drums: Paula Hampton; Jimmy Wormworth; Greg Bufford; Ray Appleton; Piano: Richard Wyands; Barry Harris: Kenny Barron; Ed Stoute; Bertha Hope; Burt Eckoff Guitar: Roni Ben-Hur Tap Artist: David Gilmore; Video excerpts: Hakim Ankh Ra sical personality into the show - all of us associated with Ain’t Misbehavin’ will always be grateful to him. There was, to me, a purity about Virgil and his music. Quiet, even taciturn, the real Virgil was always present in everything he played. To hear him was to know him - and to know a good man, indeed.
Capital University Conservatory of Music Jazz Studies at both the Undergraduate and Graduate levels Graduate program in Jazz Pedagogy offered over three summers Study with internationally acclaimed faculty
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JAZZed November 2012 45
Gearcheck Jazz Standards for Students, Books 1–3 from Alfred Music Publishing
Jazz Standards for Students, Books 1–3, is a collection of much loved jazz pieces and standards, arranged for the late-elementaryto intermediate-level pianist. Arranged by pianist, composer, arranger, editor, and teacher Sharon Aaronson, the series includes jazz favorites that have become classics over the years. This carefully graded series is sure to bring out the jazz lover in any student, and lets them perform accessible arrangements of titles by Dave Brubeck, Paul Desmond, Duke Ellington, George Gershwin, Johnny Mercer, Charlie Parker, Billy Strayhorn, and others. Book 1 contains eight arrangements at the late-elementary level with the pieces placed in approximate order of difficulty. Eighth notes are used sparingly and only 4/4 and 3/4 meters are included. Key signatures contain no more than one sharp. Titles include “Blues in the Night,” “Dill Pickles Rag,” “Duke’s Place,” and more. Book 2 contains seven arrangements at the early-intermediate level with the pieces placed in approximate order of difficulty. Sixteenth notes and triplets have been avoided; however, passages containing chromatic scales are explored. In addition to simple 4/4 and 3/4 time signatures, 6/8 meter is introduced. Book 3 contains ten arrangements at the intermediate level with the pieces placed in approximate order of difficulty. Sixteenth notes, triplets, and compound meters are used. Some pieces contain two voices in one hand, as well as finger substitutions. Titles include “Ain’t Misbehavin’,” “Blue Rondo a la Turk,” “Blues in the Night,” “My Funny Valentine,” and more. www.alfred.com
46 JAZZed November 2012
Yamaha ACP Acoustic Conditioning Panels Yamaha’s ACP Acoustic Conditioning Panels offer an ultra-thin, low-cost solution to transform any small space into a dedicated music room. The panels can transform spaces big or small into dedicated music rooms with high-quality, ear-pleasing sound. Measuring only three centimeters deep, the Acoustic Conditioning Panels are easy to install virtually anywhere, greatly enhancing sound clarity and balance from low to high frequencies, 80-4k Hz, in a process enabled by the panel’s unique acoustic absorption and acoustic scattering properties. Because the panels also work to scatter sound waves, they enable the creation of a space with clear, pleasant sound and minimal acoustic interference. This remarkably slim design also means that creating a dedicated music room no longer requires major installation work. Simply attach the Acoustic Conditioning Panels to the walls with the fittings provided. www.yamaha.com
Roland VT-12 Vocal Trainer
The pocket-sized VT-12 is a convenient traveling vocal coach. With a variety of built-in exercises and warm-ups for improving vocal skills, the VT-12 provides real-time analysis of a singer’s pitch. The illuminated pitch meter displays a vocalist’s pitch, and can even detect two singers simultaneously for two-part harmony training in equal temperament and just intonation. The VT-12 also has onboard vocal guides and backing tracks based on the bundled book from Berklee Press (the publishing division of Berklee College of Music), plus 50 etudes from the world-standard Concone classical vocal lessons. Other features include the World-standard Concone Op. 9 Fifty Lessons classical voice exercises with piano accompaniment and melody guide tracks (the VT12 displays the pitch of the guide melody and pitch simultaneously) and a review function for instant playback. An input enables recording songs and other lesson content, while an attachable template is included for teaching and practicing in the Solfége format with moveable “Do.” The VT-12 includes a metronome with tap tempo, a built-in tilt stand for desktop use, and is powered by two AA-size batteries (alkaline or Ni-MH rechargeable). It is available in three colors: black, metallic orange, and aqua blue. www.rolandus.com
Gearcheck Sonor Safari and Bop Drum Kits in Red Galaxy Sparkle Finish
up the player’s left foot for double bass or auxiliary percussion. To return to normal play, simply step on the hi-hat pedal to reengage. In addition, each clutch includes an optional “wash control” device to control the spacing between the cymbals in the closed position for greater versatility. The Inventor Ultimate Clutch Combo includes all of the above plus a trip arm to trigger the release of the clutch without committing a single stroke. www.stlouismusic.com
The Safari kit is a more affordable version of the Sonor Jungle Kit, offering compact size with uncompromised sound. This shell pack includes a 16” X 16” bass drum with riser, a 10” X 8” tom with mounting hardware, a 14” X
vides the ability to improve frequency response, depth, and dynamics for any style of music. The limited edition Candy Apple Red finish SE style joins the current KickPort 2 lineup available in the following finishes: Black, White, Chrome, Gold. www.KickPort.com
Levy’s Freak Show Guitar Straps
Dixon Inventor Series Drop Clutch 12” floor tom, and a full-size 14” X 5” snare. The Bop kit is easy to transport and a smaller, more affordable alternative to typical larger kit configurations. This shell pack includes an 18” X 16” bass drum, a 12” X 8” tom with mounting hardware, a 14” X 14” floor tom and a full-size 14” X 5” snare. www.sonorusa.com
Dixon Drums & Hardware recently announced the debut of the Dixon Inventor Series, starting with the Magnetic Drop Clutch and the Ultimate Clutch Combo. This two-piece clutch is joined by magnets and attaches to the top hi-hat cymbal and pull rod like any conventional clutch. With little effort, the player
Limited Edition Candy Apple Red KickPort 2 SE
The KickPort2 SE model updates KickPort International’s sonic enhancement accessories, which offer a unique design to help maximize the tone, feel, and subfrequency response for essentially every brand of bass drum and drumhead. Like all KickPort models, the KickPort2 SE features the Firm-Flex™ collar and reinforcement ring for fast and easy installation. The KickPort2 SE pro-
This new series of guitar straps from Levy’s Leathers are 2” polyester with sublimation-printed “cirque du freak” designs, complementary leather ends, and tri-glide adjustment. Pictured is model MPFS2, available in six original designs. www.levysleathers.com gently strikes the disk causing the clutch to pivot causing the top hi-hat to drop closed without missing a beat. This frees
JAZZed November 2012 47
crossword 1
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Crossword by Myles Mellor
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Across 1. King ____’s Creole Jazz Band 5. Frankie Trumbauer’s instrument 10. Compass direction 11. Ludwig’s middle name, Morrison’s first 12. Now He Sings. Now He sobs musician 14. Johnny Dodds’ plumy and fluid instrument 17. Started a fire 18. Clarinetist, Pee Wee ____ 20. Django Reinhardt’s ____ guitar 23. Blue Ridge Mountains locale 24. Saxophonist, Ben ___ 26. Gentleman 27. Fastidious bebop pianist, Al ___ 29. Hello! 30. Like, in the 60s 31. Creator of “Kind of Blue” 36. The girl from Ipanema came from here 37. Wayne Shorter’s Speak __ Evil
48 JAZZed November 2012
43 48 51 53
38. Keyboard virtuoso 39. Alto saxophonist, Pepper 40. Elton John title 41. Standard 42. Ding 44. 20s jazz singer, Bessie ____ 46. Fletcher Henderson album (2 words) 49. Assistance 50. Instant messenger, for short 51. Negative alternative 52. Clifford Brown’s instrument 53. Lexus letters
Down 1. Fairy tale start 2. Mississippi born trumpeter, ___ Smith 3. Collaborator with Miles Davis, Gil _____ 4. Royal Academy, for short 6. Rock’s partner
7. Jelly Roll ____ 8. Have 9. Chow down 13. Cuban dance 15. Melody 16. Sound like a trumpet 19. Night before 21. Nathaniel ___ Coles 22. ___-band jazz 24. “I did it my __” Frank Sinatra 25. Be victorious over 26. James Blunt’s “____ of Gold” 28. The first vibes virtuoso, ____ Hampton 32. Roman 6 33. Thelonius Monk’s “Brilliant ____ “ 34. Fats Waller’s piano style 35. Spike Hughes and Benny ____ 37. Symbol for nickel 40. First name of the creator of the album Focus 42. Deaden 43. Compass point 44. Bleeding Gums Murphy’s instrument 45. Detroit’s state 47. Badly lit 48. TV control: Abbr.
For the solution to this issue's crossword, visit:
www.jazzedmagazine.com
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Backbeat
Eddie Bert 1922-2012
Pioneering bebop trombonist Eddie Bert passed away at his home in Danbury, Connecticut on September 28 at the age of 90. Bert appeared on 336 recording sessions and was known for an aggressive style that made him a studio regular from the ‘40s onward. Eddie Bert was born in Yonkers, New York and found his first band job with the Sam Donahue Orchestra. He later performed with Dizzy Gillespie and Woody Herman, as well as in the Army band led by Bill Finegan during World War II. Bert later served important roles with Stan Kenton, Charles Mingus, Charlie Parker, Thelonious Monk, and Tito Puente. His most well-known solo, in June Christy’s version of “How High the Moon,” was recorded in New York in 1947. Eddie Bert was inducted into the Rutgers University Jazz Hall of Fame and taught at several colleges, performing until his death.
52 JAZZed November 2012
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THE
START ACADEMY SERIES OF SOMETHING BIG.
The Ultimate Entry Level Instrument Starting at $895. The Xstand adjusts to 3 playing heights and locks securely into place to safely cradle the instrument. Easy to move with built-in carry handle.
Academy Series brings the World renowned quality and sound of Adams to the student percussionist. Available in a 3.0 octave marimba and a 3.5 octave xylophone for school or home use. Adams All New Academy Series maximizes the learning experience with quality from the very ďŹ rst note. Adams Academy Series is The Start of Something Big.
AMPD30 3.0 Academy Padouk Marimba
AXLD35 3.5 Academy Light Rosewood Xylophone
Please scan the QR Code to learn more about Academy Series.
www.pearldrum.com Adams Instruments are proudly distributed in the U.S. by Pearl Corporation