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contents
SEPTEMBER 2008
LESSONS LEARNED: JEFF COFFIN 26
Saxophonist Jeff Coffin of Béla Fleck & The Flecktones offers some tips for staying healthy while on the road.
FOCUS SESSION: ALTERED PENTATONICS 30
Guitarist and educator Chaim Burstein expands the topic of his last column, exploring the uses of altered pentatonic scales.
KENNY G 34
Is it a drag to consistently be called on the carpet by jazz purists for being “too soft,” for not truly being an improvisational artist, for not playing “real jazz?” Does selling millions and millions of albums soften the blow? As JAZZed found out in a recent conversation, Kenny G isn’t really thinking about any of that – he’s just doing his own thing.
BASIC TRAINING: LEAD SHEETS 44
Educator, clinician, and performer Keith Felch shares suggestions for effectively unlocking leadsheets.
ONE-ON-ONE: JEN’S MARY JO PAPICH & DR. LOU FISCHER 50 GUEST CLINICIAN: RUSS NOLAN 54
Bandleader and clinician Russ Nolan discusses how to help students develop an effective vocabulary in the language of jazz.
™
2 JAZZed September 2008
™
SEPTEMBER 2008 Volume 3, Number 5
GROUP PUBLISHER Sidney L. Davis sdavis@symphonypublishing.com PUBLISHER Richard E. Kessel rkessel@symphonypublishing.com Editorial Staff EDITOR Christian Wissmuller cwissmuller@symphonypublishing.com
69
ASSOCIATE EDITOR Eliahu Sussman esussman@symphonypublishing.com STAFF WRITER Denyce Neilson dneilson@symphonypublishing.com Art Staff PRODUCTION MANAGER Laurie Guptill lguptill@symphonypublishing.com GRAPHIC DESIGNER Andrew P. Ross aross@symphonypublishing.com GRAPHIC DESIGNER Laurie Chesna lchesna@symphonypublishing.com Advertising Staff ADVERTISING SALES Iris Fox ifox@symphonypublishing.com CLASSIFIED SALES Maureen Johan mjohan@symphonypublishing.com
26
14
departments PUBLISHER’S LETTER 4 NOTEWORTHY 6 DAVID SANBORN: WHAT’S ON YOUR PLAYLIST 14 JAZZ EDUCATOR'S NETWORK SECTION 17 • PRESIDENT'S LETTER • JEN CALENDAR OF COMING EVENTS • NETWORTHY NEWS • SIGHT LINES • WELCOME NEW MEMBERS
CROSSWORD PUZZLE 57 GEARCHECK 58 HOT WAX 67 BACKBEAT: LEE YOUNG 69 CLASSIFIEDS 70 AD INDEX 72 Cover photograph: Michael Muller
Business Staff CIRCULATION MANAGER Melanie A. Prescott mprescott@symphonypublishing.com ADMINISTRATIVE ASSISTANT Popi Galileos pgalileos@symphonypublishing.com WEBMASTER Sanford Kearns skearns@symphonypublishing.com Symphony Publishing, LLC CHAIRMAN Xen Zapis PRESIDENT Lee Zapis lzapis@symphonypublishing.com CHIEF FINANCIAL OFFICER Rich Bongorno rbongorno@symphonypublishing.com Corporate Headquarters 26202 Detroit Road, Suite 300 Westlake, Ohio 44145 (440) 871-1300 www.symphonypublishing.com Publishing, Sales, & Editorial Office 21 Highland Circle, Suite 1 Needham, MA 02494 (781) 453-9310 FAX (781) 453-9389 1-800-964-5150 www.jazzedmagazine.com
Member 2008
RPMDA
JAZZed™ is published six times annually by Symphony Publishing, LLC, 21 Highland Circle, Suite 1, Needham, MA 02494, (781) 453-9310. Publisher of Choral Director, School Band and Orchestra, Music Parents America, and Musical Merchandise Review. Subscription rates $30 one year; $60 two years. Rates outside U.S. available upon request. Single issues $5. Resource Guide $15. Standard postage paid at Boston, MA and additional mailing ofces. Postmaster: Please send address changes to JAZZed, 21 Highland Circle, Suite 1, Needham, MA 02494. The publishers of this magazine do not accept responsibility for statements made by their advertisers in business competition. No portion of this issue may be reproduced without the written permission of the publisher. © 2008 by Symphony Publishing, LLC. Printed in the U.S.A.
JAZZed September 2008 3
publisher’s letter
RICK KESSEL
A New Affiliation: JAZZed & JEN
W
e are proud to announce that, beginning with instructing and encouraging future jazz players this issue, JAZZed magazine has an exciting new and jazz lovers. It is our very specific focus on affiliation as the official publication of the Jazz jazz education that has enabled this synergistic Education Network – JEN! You’ve read about this relationship between JAZZed and JEN. In addinew association in recent issues of JAZZed and tion to JAZZed magazine, both of our Web sites, know that this group was formed not only to fill www.jazzedmagazine.com and www.jazzplayer. the void left by the recent demise of the IAJE, but com will have special, JEN members-only areas. also to chart a new course and network with music We will also provide a digital version of JAZZed educators, industry executives, publishers, record magazine and a JEN specific bulletin board for companies, trade associations, and jazz educators. others to bring them into the fold. I have had the honor of working “It is critically JEN is made up of a diverse group closely with the executive board of of individuals who are dedicated to Mary Jo Papich, Dr. Lou Fischer, important to jazz education and whose mission Bruce Silva, and Julie Trankenschue have an orga“is dedicated to building the jazz arts and the rest of dynamic group of nization whose community by advancing education, individuals who make up the JEN sole mission is promoting performance and developing board of directors, to help bring new audiences.” Beginning with this this new network and relationto support and issue, there will be a dedicated secship to fruition. There are many promote jazz tion in each edition of JAZZed that opportunities and goals which JEN education.” provides the latest news and events will be pursuing in the coming from JEN. In the near future, there years and many ways in which will also be an editorial advisory board to provide new members can be actively involved in their suggestions on interviews, technique articles, important mission. I encourage you to join this news, and other important topics. important new group to help provide support and JAZZed magazine has had a fast rise to promiinsight from your area of expertise. As JEN is still nence within the field of jazz education in the in its early phases there is an opportunity to cultitwo years since our inception. We have featured vate it into an entity that is vital and truly represuch luminary artists as Joshua Redman, Wynton sentative of jazz education. It is critically important Marsalis, Gary Burton, and Mike Stern, but equal- to have an organization whose sole mission is to ly important, we have included educators from a support and promote jazz education, so we look variety of institutions who dedicate their lives to forward to having you involved!
rkessel@symphonypublishing.com
4 JAZZed September 2008
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noteworthy Jazz Education Network
T
he board of directors of the Jazz Education Network held their first annual board meeting at Capital University in Columbus, Ohio from August 7-9, 2008. In attendance were (back row): Andrew Surmani , Steve
Crissinger, Michael Kenyon, Bob Breithaupt, Dr. Lou Fischer, Rick Kessel, Paris Rutherford, (front row) Jarrard Harris, Mary Jo Papich, Julie Traenkenschuh, and Bruce Silva. To learn more about JEN, visit www.jazzednet.org.
Jazz Guitarist Mark Elf’s Online Jazz Guitar Conservatory Master jazz guitarist Mark Elf, who has worked with, Dizzy Gillespie, The Heath Brothers, Clark Terry, Wynton Marsalis, Jon Hendricks and many others, opens his revolutionary online Jazz Guitar Conservatory. Students can log on from anywhere in the world and study with this jazz guitar master. The Web site features over 200 videos, music, PDF, and midi files that students can view, download, and print. Students can enter the chat room
6 JAZZed September 2008
and talk to Mark live, ask questions in the forum, and have them answered promptly. Students can upload videos of their playing to Mark and get prompt and direct feedback on their progress. Elf, who has over 35 years of teaching, performing, recording, and writing experience, has been teaching students on his site since May of 2008. For more information, visit www.markelfconservatory.com.
noteworthy 2008 Music Industry Award from Texas Bandmasters Association
T
he 61st annual convention of the Texas Bandmasters Association (TBA) was held July 27-30 in San Antonio. At a spirited awards ceremony to conclude the show, Paul Lavender, vice president of instrumental publications for Hal Leonard Corporation, received the organization’s 2008 Music Industry Award. At Hal Leonard Corporation, Lavender directs the product development and marketing of performance publications for orchestra, concert band, marching band and jazz ensemble, as well as instrumental books, collections, and methods. He supervises the creative work of the industry’s most respected composers and arrangers, overseeing more than 600 new publications a year.
Lavender is also one of the most widely played writers today. He has contributed more than 1,000 arrangements and compositions to the educational and concert repertoire. He co-authored and edited Hal Leonard’s highly successful Essential Elements 2000 method for beginning bands. His association with renowned film composer John Williams has produced the prestigious John Williams Signature Series, featuring Williams’ authentic film scores and concert music for professional orchestras. The Texas Bandmasters Association Music Industry Award has been bestowed since 2000. Past recipients recognized for their commitment and dedication to music education include Remo Belli, Bill Ludwig, Fred Fruhauf, Vito Pascucci and others.
Jazz
at
MICHIGAN Degree Programs BFA in Jazz Studies BFA in Jazz and Contemporary Improvisation BFA in Jazz and Contemplative Studies MM in Improvisation
Jazz Faculty Ellen Rowe, Chair; Piano, Improvisation, Advanced Arranging, Jazz Ensemble Geri Allen, Piano, Graduate Improvisation, Combos Andrew Bishop, Saxophone Michael Gould, Drums and Percussion Marion Hayden, Bass, Combos
Robert Hurst, Bass, Combos Mark Kirschenmann, Creative Arts Orchestra Ed Levy, Guitar Bill Lucas, Trumpet Frank Portolese, Guitar Steve Rush, Digital Music Ensemble Ed Sarath, Contemporary Improvisation, Creativity and Consciousness, Combos Martha Travers, Creativity and Consciousness Studies Dennis Wilson, Trombone, Jazz Lab Ensemble, Jazz Arranging
A World of Possibilities
For more information, contact the Office of Admissions, smtd.admissions@umich.edu, 734-764-0593, or visit our web site at www.music.umich.edu 8 JAZZed September 2008
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Blues by Five t Circle t Eighty One t Flamenco Sketches t Fran Dance t Green Haze t Mood t Petits Machins t Pfrancing (No Blues) t Swing Spring.
Au Privave t Billie’s Bounce (Bill’s Bounce) t Confirmation t Donna Lee t Moose the Mooche t My Little Suede Shoes t Now’s the Time t Ornithology t Scrapple from the Apple t Yardbird Suite.
Caravan t Don’t Get Around Much Anymore t In a Mellow Tone t In a Sentimental Mood t It Don’t Mean a Thing (If It Ain’t Got That Swing) t Perdido t Prelude to a Kiss t Satin Doll t Sophisticated Lady t Take the “A” Train.
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Blue Train (Blue Trane) t Countdown t Cousin Mary t Equinox t Giant Steps t Impressions t Lazy Bird t Mr. P.C. t Moment’s Notice t Naima (Neima).
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Billie’s Bounce (Bill’s Bounce) t Birk’s Works t Blues for Alice t Blues in the Closet t C-Jam Blues t Freddie Freeloader t Mr. P.C. t Now’s the Time t Tenor Madness t Things Ain’t What They Used to Be
Blue Train (Blue Trane) t Comin’ Home Baby t Footprints t Impressions t Killer Joe t Moanin’ t Sidewinder t St. Thomas t Stolen Moments t Well You Needn’t (It’s over Now).
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Agua De Beber (Water to Drink) t Chega De Saudade (No More Blues) t The Gift! (Recado Bossa Nova) t Invitation t Manha De Carnaval (A Day in the Life of a Fool) t Mas Que Nada t Ran Kan Kan t So Nice (Summer Samba) t Sweet Happy Life (Samba de Orpheo) t Watch What Happens.
Angela t Cast Your Fate to the Wind t Feels So Good t Give Me the Night t Just the Two of Us t Minute by Minute t Morning Dance t Songbird t Street Life t This Masquerade
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noteworthy
Sixth Annual Tranquility Jazz Festival The Sixth Annual Tranquility Jazz Festival is set to take place on the island of Anguilla, on November 6-9, 2008. The lineup will feature Patti Austin, Christian Scott, Dee Dee Brightwaters, Dean Fraser, Michel Camilo, and Arturo Sandoval. They will be joined by a host of young, talented Anguillian musicians, ready
to make their mark in the jazz world. Special packages are available island wide at a selection of luxury and affordable accommodations with options for land only and air/land offerings. All packages include festival tickets. For more information, visit www.anguillajazz.org
Meredith Music Publications Donates Royalties to PAS The Drum and Percussion Cookbook: Creative Recipes for Players and Teachers edited and with a forward by Rick Mattingly, is a collection of quick-to-read yet insightful learning strategies. With outstanding records of performance, workshop-clinics, recordings, research, composition, leadership, and teaching, the 57 authors provide their favorite â&#x20AC;&#x153;recipesâ&#x20AC;? that cover an extreme range of topics
10 JAZZed September 2008
form rudiments to rock, drum set to symphonic playing and keyboard percussion to interpretation. Royalties from this project are being donated to the Percussive Arts Society (PAS), a non-profit music service organization promoting percussion education, research, performance, and appreciation throughout the world. Interested parties can visit www.pas.org.
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BERNARD PURDIE Legendary Groove Great: Aretha Franklin, Steely Dan
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JIMMY COBB Legendary Jazz Great: Miles Davis, Cannonball Adderley
noteworthy John Wojciechowski Endorsing Artist for Conn-Selmer Conn-Selmer, Inc announced that John Wojciechowski is a new addition to its artist endorsement roster for Selmer saxophones. Hundreds of professional musicians and instructors endorse instruments from Conn-Selmer, including instruments by Bach, Selmer, C.G. Conn, King, Leblanc, Ludwig/Musser, and others. Saxophonist John Wojciechowski, a native of Detroit, is currently living and performing in the Chicago area. He studied at Western Michigan University, Wayne State University, and the Manhattan School of Music. His principal saxophone teachers include George F. Benson, Trent Kynaston, Ralph Lalama, and Donald Sinta. He also studied composition with Jim Hartway. Wojciechowski was a finalist in the 1996 Thelonious Monk International Jazz. He has lead his own jazz groups and has recorded or performed with The Chicago Jazz Orchestra, The Chicago Jazz Ensemble, The Woody Herman Orchestra, The Chicago Symphony Orchestra, The Detroit Symphony Orchestra, Clark Terry, Toshiko Akiyoshi, Char-
PlayJazz
“Recognized as one of the top 50 collegiate jazz programs in the United States”
- DownBeat Magazine
Music and Academic Scholarships available Application Deadline: December 15, 2008 For up-to-date information, please visit www.music.tcu.edu
12 JAZZed September 2008
lie Haden, Kurt Elling, and Kenny Burrell. As an active musician, Wojciechowski has been performing with The Chicago Jazz Orchestra and fellow jazz artists Dana Hall, Joel Spencer, Tom Garling, Rob Parton, Steve Million, Laurance Hobgood, Kurt Elling, Dennis Carroll, Tito Carrillo, Dan Trudell, and Kelly Sill. In addition to performing, Wojciechowski served on the faculties of Northern Illinois University and Northwestern University. He is also a National Board Certified Teacher and an avid jazz educator who is in demand as a guest artist/clinician. Wojciechowski currently teaches music theory and directs jazz bands at St. Charles North High School in St. Charles, Illinois. His groups have been invited to perform at state and national conventions including the Midwest Band and Orchestra Clinic, the Illinois All-State Music Educator’s Conference, and the International Association of Jazz Educators (IAJE) Conference.
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What’s on Your Playlist? For the past 40+ years, David Sanborn has been perhaps the most influential saxophonist in the worlds of R&B, jazz, rock, pop, and crossover, spawning countless imitators. The iconic saxophonist has added his distinctive touch to recordings by such diverse artists as David Bowie, Gil Evans, Guru, Ween, Ron Carter, Stevie Wonder, B.B. King, George Benson, and Bruce Springsteen. For his new disc, Here and Gone (Emarcy Records), the six-time Grammy winner teamed up with the likes of Eric Clapton, Derek Trucks, Christian McBride, and Steve Gadd to pay tribute to the blues and R&B music of his youth. 1. E.S.P. – Miles Davis It’s the first recording of the Miles Davis quintet including Wayne Shorter, along with Herbie Hancock, Tony Williams & Ron Carter (and Wayne’s tunes are featured on the record). 2. Born Under A Bad Sign – Albert King Both the song and the record are quintessential Albert King. 3. Unity – Larry Young This redefined the sound of an organ group and features extraordinary playing by Woody Shaw, Joe Henderson and Elvin Jones. 4. Voodoo – D’Angelo Everything about this album is great: the songs, the production, the singing, and Roy Hargrove’s trumpet playing. 5. There’s a Riot Going On – Sly Stone (Sly and the Family Stone) Sounds like the music is happening in Sly’s head. Tunes like “Family Affair” and “You Caught Me Smilin’” are classics. 6. Crescent – John Coltrane There are so many great John Coltrane albums it’s hard to choose, but I picked this one because it’s got some
great tunes on it like “Lonnie’s Lament,” “Bessie’s Blues,” and the title track, “Crescent.” 7. Kind of Blue – Miles Davis Because it’s a classic! 8. Blond on Blond – Bob Dylan This album is scary, funny, and deep. There are so many levels that this album operates on it’s kind of amazing. 9. Juju Music – Sonny Ade This album is great because there are so many layers of rhythm going on and the kind of spooky joyful singing on the record is extraordinary. 10. Saxophone Colossus – Sonny Rollins This record is on every saxophone player’s top ten list. 11. Impressions – John Coltrane This is another record I also have to include. It is a live album that is, to me, the ultimate live recording of the John Coltrane Quartet including Elvin Jones, Jimmy Garrison, and McCoy Tyner.
David Sanborn’s album, Hear and Gone (Emarcy Records), was released in August of 2008. www.davidsanborn.com 14 JAZZed September 2008
The 2008–09 Jazz at Lincoln Center High School Jazz Band Program
Free membership includes: ·Three Duke Ellington charts ·Three Benny Carter charts ·Reference Recordings and much more! Starting this year, Essentially Ellington includes charts by Ellington and other seminal big band composers and arrangers. And membership is now absolutely free. Funding for Essentially Ellington is provided by The Jack and Susan Rudin Educational and Scholarship Fund, the Surdna Foundation, The Irene Diamond Fund, the New York City Department of Cultural Affairs, the National Endowment for the Arts and Alfred and Gail Engelberg. Additional support is provided by the Ella Fitzgerald Charitable Foundation, The Heckscher Foundation for Children, The Charles Evans Hughes Memorial Foundation, The New York Times Company Foundation and other generous funders.
To join now, go to EssentiallyEllington.org Phone: 212 258 9812 Email: ee@jalc.org
Introducing the newly launched
JAZZ EDUCATION NETWORK! A MESSAGE FROM JEN PRESIDENT MARY JO PAPICH September, 2008
As Louis Armstrong once said… “to Jazz or not to Jazz”…there is no question. So there was no question that a new jazz organization would and should emerge as we experienced the happenings of last spring. I was inspired and encouraged by the many e-mails and voice mails from friends, past leaders, and jazz fans from far and near. Colleague and friend Lou Fischer agreed, so we started to get to work. For more details, see the companion article in this issue. We have been working ‘round the clock all summer. Your volunteer board has spent time, energy and money on the development of JEN. The Executive Committee of Bruce Silva, Julie Traenkenschuh, Lou Fischer and myself have all been working overtime to launch the Jazz Education Network. Friends, I must share with you that I am proud to work side by side in the creation and development of JEN with vice president Lou Fischer. Dr. Lou is the hardest-working, most organized jazzer with whom I have ever served. It is that kind of determination and dedication that has brought the Jazz Education Network to the forefront! Launching this new organization is a fresh start for the future of jazz education. We have learned from the past and are connected to an exciting future. We are now member led, member driven… you have our pledge to be honest, hard-working, committed, dedicated, and real. This organization will be what YOU want it to be. We represent YOU and are ready to listen to you. We are establishing partnerships with Symphony Publishing, MidWest Clinic, Music For All, NAMM and others, and have scheduled Open Forums/Idea Exchanges where we can connect with members and potential members to hear what you have to say. At this time we have the following meetings planned for you to attend: JAZZed September 2008 17
JAZZ EDUCATION NETWORK
December 19, 2008:
MidWest Band & Orchestra Clinic Open Forum/Idea Exchange Chicago Hilton & Towers Chicago, IL www.midwestclinic.com
January 16-18, 2009:
NAMM Trade Show Open Forum/Idea Exchange Jazz Education Panels/Clinics Eligibility to attend the NAMM Trade Show/Concerts Eligibility to attend NAMM Music Educator Day Anaheim Convention Center Anaheim, California www.NAMM.com & www.jazzednet.org
July 17-19, 2009:
NAMM Summer Trade Show/JEN Mini-Conference MINI-CONFERENCE/OPEN FORUM Eligibility to attend the NAMM Trade Show/Concerts Eligibility to attend NAMM Music Educator Day Nashville, Tennessee
Why join JEN? It’s about connections! Understanding our fledgling financial state, businesses and corporations who support jazz educators are stepping up and joining JEN right now. We extend special thanks to a few key supporters: Steve Crissinger, owner of 12 Pts. Graphics has developed and is maintaining our Web site, www.JazzEdnet.org. Steve’s already donated countless hours of work. CEO Joe Lamond and producer Kevin Johnstone of NAMM (National Association for Music Merchants) have also been supportive and encouraging.
“NAMM believes in jazz educators and we are very pleased to offer our support to the newly formed Jazz Education Network,” said Joe Lamond, president and CEO, NAMM. “We are honored that JEN has chosen the 2009 NAMM Show for their inaugural meetings and we look forward to working with this very important segment of the music education community in the future.”
18 JAZZed September 2008
In working with Joe and Kevin, I feel nothing but sincere support for our new association. This historic (107 years!) organization of the music products industry encourages music making of all ages…and JEN does too! We are important to one another – we need them (especially at this time) and they need us. NAMM has their finger on the pulse of what is happening today and it’s time for jazz education to find today’s pulse. I envision informative, exciting clinics with today’s top artists (already attending NAMM shows) at the upcoming JEN/NAMM gatherings. We are also honored that Symphony Publishing, a JEN founding corporate sponsor, has named the JAZZed magazine the official publication of the Jazz Education Network. In reading this leading jazz educators magazine you will still find the same great articles – now with JEN’s addition of “Networthy News” of what is happening with our members, a President’s Message with the latest list of events and happenings, a listing of new members, institutions, affiliate groups, corporate sponsors and exciting reviews, teaching tips and more. If you have ideas of what you want to see in this magazine, let us know! We chose the word “Network” because that is what we do…we make connections to enhance your jazz experience…whether it be teaching, performing, producing, managing, or listening.
Jazz education must be accessible to all people and relative to all culture. Jazz is the universal cultural connector! Why join JEN? It’s about time! We are in a revolutionary moment – it is time to re-ignite our jazz arts community! We are here because there is a need – a need to know more about America’s art form…that lives globally. It’s time for us to acknowledge that JAZZ is an evolving art form that lives globally. Why join JEN? It’s about value! We will provide our members with quality conferences, workshops, and clinics at reasonable prices because we know the value of your hard-earned dollar. Why join JEN? It’s about the music! The music itself is reason enough… The skills used in improvisation are the very creative problem solving skills needed in the work world today. We must inspire improvisation in all that we do. As Bill Strickland says, “Life is jazz, jazz is life!” Be sure to read Bill’s inspirational book, Make the Impossible Possible: One Man’s Crusade to Inspire Others to Dream Bigger and Achieve the Extraordinary. Why join JEN? It’s about YOU! With your assistance, this organization will be the resource for educators, students, performers, and industry professionals…
Our JEN Web site will be: • A place to get answers to your questions as you “Network with an Expert” online (just wait till you see our terrific lineup of greats!) • A forum for discussions online and at upcoming events • A place to host a calendar for workshops/ events/ conferences • A place to network with other jazzers of all ages • A place to download free jazz charts (elementary to pro – that will pay for your membership cost within months) • A place that will offer podcasts of clinics and concerts • A place to access our online magazine version of JAZZed by Symphony Publishing • And much more!!!
ly awaiting the next exciting groove. I cordially invite you to attend one or all of the special Open Forums that have been planned for members and potential members – mark your calendar to come and meet the volunteer leadership and get more involved at the Midwest Clinic in Chicago – Dec. 19th and the NAMM trade show in LA (Anaheim) – Jan. 17th and Nashville in July – with more activities and opportunities to be announced!
Dr. Lou Fischer
Plans are to roll out a cool “Student Members Only” section as well as a “Kid’s Corner” to connect with our youth raised on computers, iPods and video games. Monthly e-newsletters and e-blasts, along with our terrific Web site will keep us in touch. We invite the young and not-so-young, the professional and not-so-professional to join our network – as we promote traditional and not-so-traditional jazz! This organization will be what you need it to be. Talk to us… we represent YOU… the teacher, the student, the musician, the technician, the producer, the businessman, the fan. We are all lifelong learners of jazz… eager-
Stay tuned, as together we network, transform and plan the future of Jazz Education. I remain sincerely and… Totally Committed, Mary Jo Papich President Jazz Education Network www.JazzEdnet.org Highland Park High School 433 Vine Avenue Highland Park, IL 60035 224-765-2161 mjpapich@yahoo.com The Jazz Education Network is founded in the spirit of collaboration, creativity and commitment. This organization is supported by professionals in music education, business, industry, and journalism…all believing in creative collaborations. JEN has applied for a non-profit status as an educational service organization and all that relates to it.
JAZZed September 2008 19
JAZZ EDUCATION NETWORK
Jazz Education Network at workâ&#x20AC;Ś. Building Partnerships in Jazz Education! Upcoming Events: Stay tuned for more exciting details! December 19, 2008: MidWest Band & Orchestra Clinic Open Forum/Idea Exchange Chicago Hilton & Towers Chicago, IL www.midwestclinic.com January 16-18, 2009: NAMM Trade Show Open Forum/Idea Exchange Eligibility to attend the NAMM Trade Show/Concerts Eligibility to attend NAMM Music Educator Day Anaheim Convention Center Anaheim, California www.NAMM.com & www.jazzednet.org
Future Festival/Event Partnerships on the Network stage: March 2009 National Honors Festival/National Honors Jazz Ensemble Music For All Indianapolis, IN April 2009 JamFest (Junior Arts & Music) New Orleans, LA June 2009 Music For All Summer Symposium Jazz Educators Workshop Normal, IL
February 14-15, 2009: Vallarta Jazz Festival Showcase H.S./Collegiate level performances/adjudication Malecon Downtown Puerto Vallarta Puerto Vallarta, Jalisco, Mexico www.amclass.com/Pages/Events/Schedule/ Sched_Nav.html July 17-19, 2009: NAMM Summer Trade Show/ JEN Mini-Conference MINI-CONFERENCE/OPEN FORUM Eligibility to attend the NAMM Trade Show/ Concerts Eligibility to attend NAMM Music Educator Day Nashville, Tennessee www.NAMM.com & www.jazzednet.org
20 JAZZed September 2008
And MORE to come! Stay tuned to www.jazzednet.org
networthynews This column of JEN’s JAZZed magazine will feature “what’s happening in your jazz world” items that are worthy of interest. This debut column features happenings from our JEN Volunteer Board of Directors and Steering Committee… From Ellen Rowe, chair of the Dept. of Jazz and Contemporary Improvisation, University of Michigan – “University of Michigan Jazz faculty was well represented at the Detroit Jazz Festival over Labor Day weekend. Robert Hurst performed with Dianne Reeves, Ellen Rowe played a set with her quartet, JEN’s Network with an Expert Dennis Wilson led the UM Jazz Trombone Ensemble and directed the Big Band Jam, Andrew Bishop performed with Gerald Cleaver’s “Violet Hour” as well as the Ellen Rowe Quartet and Geri Allen was featured with Ravi Coltrane, The Detroit-Philly Connection Concert led by Christian McBride, and was a member of a panel focusing on the life and work of Alice Coltrane. Ed Sarath, director of The Program in Creativity and Consciousness Studies, is at work on a new theory text, “Improvisation, Music Theory, and Aural Skills” to be published by Routledge in the spring 2009, and Michael Gould has just completed a recording with Grammy winning artist Alberto Rojo entitled Alberto Rojo Trio–Amaicha. He will also be featured in a new drumset DVD and Web site published by the Swedish company Play Along which comes out in the winter of 2009. Featured guest artists for the UM Jazz Dept. this year include Gerald Cleaver, Michael Holober, Ron McCurdy’s Langston Hughes Project, Donny McCaslin, Thom Buckner, and Lee Konitz. Steering Committee member Judy Shafer, education director for Jazz Arts Group says, “Jazz education now has the opportunity to develop audiences as well as players. And we have so much to offer… Kindergarten and first graders are learning about sets, sequence and predicting by studying and writing their own blues.” In Columbus Ohio, Judy Shafer’s professional development in arts integration includes working with classroom and arts teachers, K-12, to discover teaching methods that can be modeled after a jazz ensemble. Teachers are investigating cooperative learning, differentiated instruction, and collaboration. Local musicians provide live music and interaction. The teachers are developing an understanding of jazz while discovering ways to include creative thinking in history, mathematics and social studies lessons. Contact Judy directly through the “members only” section of Network with An Expert! Members Reuben Alvarez and Mary Jo Papich (Chicago), Bob Sinicrope (Milton Academy-MA), Jim Repa (MIT), and John Baboian (Berklee) performed in workshops and concert at the South African Jazz Educators Conference at the University of Capetown this spring. They were hosted by Mike Rossi, director of the conference and SAJE. They also spent an afternoon at the Nyanga Township schools working with students (various photos are show on the JEN website at www.JazzEdNet.org ). They were guests at the Capetown Jazz Festival produced by Rashid Lombard.
JAZZ EDUCATION NETWORK
Board Member Paris Rutherford’s contribution for the Networthy News section: Jazz flourishes at the University of North Texas. Check the One O’Clock’s July tour of Europe - www.unt. edu/jazzeurope/ and related links. The UNT Jazz Singers looks forward to performing in December at the Midwest Clinic, representing both University of North Texas and JEN. We’re excited and proud to be a part of Jazz Education Network!
Sierra Music Publications is proud to announce the release of 23 brand new publications from the libraries of the Count Basie Orchestra, the Stan Kenton Orchestra, the Bill Holman Band, Pat Metheny & Lyle Mays, the Woody Herman Orchestra, the Bob Curnow Big Band and others. Please go to www.sierramusic.com for all the latest information about this amazing catalog of 535 big band charts, well over 400 of these charts have been recorded by the best bands in the history of jazz. Sierra is celebrating 32 years of providing the essence of jazz orchestration.
The Bob Curnow Big Band (Bob has been a continual mentor in the formation of JEN) continues to work quite regularly in and around Spokane, Wash. The band features performances of the many charts that Bob has done with the music of Pat Metheny & Lyle Mays. The band also features Bob’s original music for big band.
JAZZed September 2008 21
networthynews Board member Andrew Surmani of Alfred Music reports that one of their artists, Gordon Goodwin and the Big Phat Band will be releasing their new album, Act Your Age on September 30th. He says, “It’s a great album, as I have heard an advanced copy of it. There is a track on there where they have synched the band up with an old Art Tatum recording.” He is also pleased to have just released 57 new jazz ensemble charts for beginning through advanced levels for the 2008-2009 school year through Alfred. They are also proud to release five new charts from the Essential Ellington Series by Jazz at Lincoln Center, where Alfred serves as the official print music publisher. In addition, Alfred released Jazz Standards for Vocalists with Combo Accompaniment by David Wolpe, which contains ten great jazz standards for solo vocalist with a nine or ten piece combo accompaniment. Other new books include Playing Jazz Piano by Bob Mintzer, a medium difficulty book for the instrumentalist who is not an accomplished piano player but desires basic jazz piano skills and vocabulary, and the Best of Belwin Jazz: Young Jazz Collection for Jazz Ensemble, which includes twelve arrangements for the young jazz ensembles in a variety of styles and tempos.
Board member Daniel Gregerman will be hosting his annual vocal jazz retreat from Sept. 19-21. He takes all three vocal jazz ensembles and rhythm sections, to Wisconsin for the weekend. The retreat consists of Team Building, Leadership Skills, Ice Breakers, Individual and Group Goal Setting as well as all of the musical elements that are involved. The Niles North H.S. Jazz Vocal concert is Friday, November 14, 2008 at 7:30 pm in the Niles North Auditorium in Skokie, Illinois. Also happening on the North Shore of Chicago…The Niles North H.S. orchestra under the direction of Pam Hendrix is combining with the Niles West H.S. orchestra under the direction of Steve Katz, for the Barrage Concert on Tuesday, November 18, 2008, at 7:30 pm at Niles North High School Auditorium.
Board member Rubén P. Alvarez will be featured as clinician and the keynote speaker at the Colorado Music Educators Association Clinic/Conference on January 22, 2009 in Colorado Springs, Colorado. Ruben teaches at Columbia College Chicago, Roosevelt and Northwestern University and is looking forward to working with JEN “to develop an organization whose true mission is to preserve and and nurture the Jazz Arts worldwide by serving and uniting jazz educators, their students and the Jazz Arts Community worldwide.”
JEN sponsor Capital University welcomes Scott Belck to the Conservatory faculty! Trumpeter Scott Belck earned his Doctor of Musical Arts from the University of Cincinnati, and his MM in trumpet performance at the University of North Texas. His professional credentials include various solo, orchestral, commercial and sideman credits including: Minnesota Ballet Festival Orchestra, Dayton Philharmonic Orchestra, Air Force Band of Flight, Cincinnati Pops with Erich Kunzel, Doc Severinsen Big Band, Glenn Miller Orchestra, Columbus Jazz Orchestra, Blue Wisp Big Band, Dayton Jazz Orchestra, Maritime Jazz Orchestra of Canada, Aretha Franklin, Linda Ronstadt, Michael Feinstein, Manhattan Transfer, Yes, the Temptations, Olivia Newton-John, Randy Brecker, Slide Hampton, Marvin Stamm, Gerry Mulligan, Diane Schuur and many others. Scott has additionally served as the Artistic Director for the Cincinnati Contemporary Jazz Orchestra and the Dayton Jazz Orchestra.
Jazz Education Network Members are invited and encouraged to send news items for possible publication in NETWORTHY NEWS to Julie Traenkenschuh at julie. traenkenschuh@psd150.org. The next NETWORTHY column will feature news items from our NETWORK WITH THE EXPERT Team. JAZZ EDUCATION NETWORK
22 JAZZed September 2008
JAZZ EDUCATION NETWORK
“Sightlines: Jazz on Display at the Museum of Modern Art” BY DR. CHUCK BERG
Just when many of us were still feeling blue over the recent demise of the International Association of Jazz Educators, in stepped the Museum of Modern Art with a spectacular five-month show, “Jazz Score,” which opened on April 16th and continued through September 17th. Since its founding in the 1930s, New York City ’s MoMA has been in the vanguard of showcasing film as a quintessentially modern American as well as international art form. And although it has occasionally spotlighted jazz in its evening Sculpture Garden concerts, “Jazz Score” is MoMA’s most ambitious celebration of the potent synergies inherent in the combination of both jazz and film, arguably, two of the United State’s greatest gifts to the global arts scene. The capstone event of this unprecedented show was “Anatomy of a Jazz Score: A Panel Discussion,” whose participants, including Oscar-winning composers Johnny Mandel and David Shire, took the stage at 6:30 p.m., on Wednesday, September 17th, with noted critic Gary Giddins presiding. At the MoMA on W. 53 Street, there was a chance to catch an extensive gallery exhibition of jazz film posters and ephemera. You will also have perhaps been fortunate enough to have scored tickets for screenings for feature films including Elia Kazan’s A Streetcar Named Desire (1951; jazz score by Alex North) or documentaries such as Spike Lee’s When the Levees Broke: A Requiem in Four Acts (2006; jazz score by Terence Blanchard), as well as animation works like John and Faith Hubley’s Adventures of an * (1957; jazz score by Benny Carter). It is heartening that the world-renowned Museum of Modern Art is putting the weight of its considerable cultural capital behind the jazz film via “Jazz Score.” For jazz educators, it is particular noteworthy that an annotated catalog of jazz films – features as well as documentaries and more experimental fare– is available through the Museum’s link (www.moma.org/exhibitions/exhibitions.php?id=8162#top). Here, one can meet icons of Hollywood and 52nd Street such as Louis Armstrong, Duke Ellington, Stan Getz, Sonny Rollins, Henry Mancini, and that’s just for starters. Coda: kudos to curator Joshua Siegel and his staff for the vision and research that has made “Jazz Score” the must-see/must-hear jazz event of 2008! Chuck Berg, Ph.D.; Film and Media Studies The University of Kansas JEN Expert - Film & Video Resources cberg@ku.edu JAZZed September 2008 23
Is
Your GROUP
The Jazz Education Network (JEN) is ready! We’re prepared to connect and embrace members of all jazz and jazz education related groups. The JEN board has chosen a business model offering an Affiliate Membership level that allows existing or re-structured organizations, for example: the Missouri Association for Jazz Education or the Hot Springs Hot Jazz Society, to join the network at a reasonable rate, without any individuals having to make a choice between the two groups. The idea in this model is that the independent organization maintains autonomy, remains in control of existing membership, finances, bookkeeping, governance structure, local clinics, et cetera.. Should the potential Affiliate organization recognize JEN’s service offerings as advantageous to their membership (and we hope they do!), then the organization should: complete an Affiliate application online and become members of JEN, bringing in those identified members as eJEN members of the network. The fee is structured very simply. There is an annual $25 processing fee plus $10 per member for each individual within the group that desires to join JEN’s network. Members so designated then have an option to upgrade their individual membership, depending upon what level of involvement in the governance structure of JEN one wishes to participate. As stated above, this system guarantees the individual members of existing organizations do not have to choose between their present organization or JEN. It is win-win for both groups and all involved. Further, this model avoids a rebate structure involving dues payable to a parent organization, then trickling down to members under the umbrella of the parent organization.
Welcome! Members of the Jazz Education Network… United States: Bruce Gates Bill Halbrook J.B. Dyas Arthur Lapierre Joel Leach Sherry Luchette Kerry Marsh Thom Mason Nick Phillips Charles Richard Andrew Surmani Mike Vax H. David Caffey Christine Harrington John Hasse Lisa Kelly Bob Radock Bill Reinecke Bruce Silva Craig Saxton Frank Alkyer Ruben Alvarez Paul Chiaravelle J. Richard Dunscomb Dan Gregerman Scott Hall Jarrard Harris Dana Legg Howard Levy Mary Jo Papich Julie Traenkenschuh Michael Kenyon Eric Martin Virginia Rezac Nancy Grant John Baboian Sid Davis
AZ AZ CA CA CA CA CA CA CA CA CA CA CO CT DC FL FL FL FL GA IL IL IL IL IL IL IL IL IL IL IL IN IN KS KY MA MA
24 JAZZed September 2008
Charter Charter Founding Charter Founding Charter Charter Charter Charter Charter Founding Founding Founding Charter Founding Charter Charter Charter Founding Charter Founding Founding Founding Founding Founding Charter Founding Charter Charter Founding Founding Founding Founding Charter Charter Charter Founding
ready to connect?
For your organization, society, group, or association to qualify for Affiliate membership, your Mission Statement will be reviewed upon application to make certain the Missions align, and someone will need to supply membership information on an annual basis. You can find all of this information on our current website under the JOIN button. FYI, this website is a temporary shell, as we are in the very near future, planning to unveil a new design which incorporates a new Content Management System, allowing for: online credit card application processing, a members only Discussion Forum, Calendar of Events, direct link to JAZZed Magazine on line, the distribution of merchandise through the JENeral Store, music, video, newsletter capabilities, etc. Other plans in the future include specific areas for Kids, categorized as 12-17, and under 12. As detailed in this issue of JAZZed, the official magazine of the Jazz Education Network, JEN now has a list of events being prepared for 2009 which will offer face to face Open Forums, Panels, Clinics, Festivals, etc. Stay tuned as things happen quickly due to the wonderful world of technology! We look forward to your group joining JEN by December 31st to be considered CHARTER AFFLIATES! We will feature YOUR group’s name in the JAZZed magazine and be happy to report to others the exciting things you are doing to further jazz education. Onward and Forward! Dr. Lou Fischer vice president/Membership chair, Jazz Education Network Visit: www.JazzEdNet.org for additional information. Africa: Mike Rossi
Rick Kessel Chuck Iwanusa Ellen Rowe Dennis Tini Dennis Wilson Doug Snapp Jim Widner Erika Paul Ken Druker Laura Johnson Harry Marvin Jr. Cecelia Smith Damian Boyd Steve Crissinger Thomas Croghan Dr. Lou Fischer Mary Ann Fischer Ben Huntoon Rocky Reuter Judy Shafer William Ravel Linda Scarborough Michele Bousquet Jennifer Jablonski Cathy Benford Richard Birk Katchie Cartwright Rick Dillard John Gates Sparkey Koerner Randy D.Marble Dwayne Pedigo Paris Rutherford Lynne Rutherford Warren Sneed Steve Stevenson Nancy Terry Paul Watson Bob Curnow Lori Lacey
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Founding Founding Founding Founding Charter Founding Founding Charter Founding Founding Charter Charter Charter Founding Charter Founding Founding Charter Founding Founding Charter Charter Charter Charter Charter Charter Charter Founding Charter Founding Charter Charter Founding Founding Charter Charter Charter Charter Founding Charter
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Canada: Michele
Bousquet Qu, Charter
United Kingdom: Steve King
WM
Corporate Partners: 12 Points Graphics Steve Crissinger OH Alfred Music Publishing Andrew Surmani CA American Classic Music Festivals Rick Dillard TX Buffet Crampon Bruce Silva FL Hal Leonard Music Publishing, Inc. DougLady MI Symphony Publishing Sid A Davis MA Symphony Publishing Rick Kessel MA Jupiter Band Instrument Co. Charter Stanton’s Sheet Music Ben Huntoon OH
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Founding Founding Founding Founding Founding Founding Founding
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Institutional Partners: Jazz Arts Group of Columbus Bob Breithaupt OH Jazz at Lincoln Center Laura Johnson NY Jazz MN Doug Snapp MN University of Miami Shelly Berg FL
Founding Founding Founding Founding
Jazz Performance Education at This Country’s Premiere Conservatory
Juilliard Jazz JUILLIARD JAZZ Carl Allen Artistic Director Laurie A. Carter Executive Director Artists-in-Residence Benny Golson Christian McBride Visiting Artists Benny Green Wynton Marsalis Faculty Kenny Barron Ron Blake Kendall Durelle Briggs Ron Carter George Colligan Xavier Davis Richard DeRosa Billy Drummond Ray Drummond Mark Gould David Grossman Eddie Henderson Christian Jaudes Rodney Jones Frank Kimbrough Gregory Knowles Ted Nash Phil Schaap Bob Stewart Joe Temperley Steve Turre Kenny Washington Joseph Wilder Ben Wolfe
Photo: Peter Schaaf
Accepting applications for Bachelor of Music, Master of Music, and Artist Diploma Programs in Jazz Studies � Perform and Tour � Participate in Master Classes � Study with extraordinary faculty and top performing guest artists
A curriculum tailored to the practical performance needs of its young artists at all levels
� Bachelor of Music high school diploma or equivalent required � Master of Music bachelor of music degree required � Artist Diploma college degree or extensive experience required for this post-graduate, tuition-free program All applicants must meet Juilliard’s jazz audition requirements. Auditions take place in February/March Send Applications and Pre-Screen Recording to: Juilliard Admissions 60 Lincoln Center Plaza New York, NY 10023 (212) 799-5000 www.juilliard.edu Joseph W. Polisi, President
Building an extraordinary future
lessons learned
JEFF COFFIN
Staying Healthy on Tour
T
Photo: Roxanne Haynes
BY JEFF COFFIN
he focus of this article is to discuss ways to stay healthy while on the road. With Béla Fleck & the Flecktones, we do a fair amount of overseas touring and, even without a time zone change, the travel can wear me, and the others, out. Most times airplane flights come way too early on the road! Jeff Coffin
We have to deal with all sorts of unforeseen conflicts while traveling and our road manager always rolls in extra time to get to the airport, through customs, and to the gate with time to spare. This has saved us potentially huge hassles more than once. Giving yourself more time than you think you need also reduces stress. As most acknowledge, and doctors who practice different types of medicine around the world have concluded, stress can really break down and compromise your immune system.
the road as an opportunity to make music with people I love and respect as well as a time to experience other cultures and other music from around the world. It’s also a lot of fun. Needing to be 100 percent for the gig, I feel, is a must whether in the U.S. or overseas. Anything short of the best I can do is selling myself and the audience short. I want to give myself every opportunity to be at the highest physical and emotional level I can even if I am not feeling as well as I would like. Here are some of the ways I stay on top of my health while touring over 200 days a year:
Go to bed!
• At the top of my list is get as much sleep as your body will take. You may think that you can handle getting four or five hours a night without too much trouble – and you may be able to for a very short while. After a few days of that lifestyle, however, you (and probably others) will more than likely notice your performances and your attitude starting to
The biggest health enhancer a musician can have on the road is sleep! A lot of people think being on the road is a 24-hour traveling party. It’s not. Well, not for us. I see it as hard work with many sacrifices and dedication necessary to be at the top of my craft. I also see being on
26 JAZZed September 2008
FALL 2009 AUDITION DATES FALL 2009 AUDITION DATES Saturday, January 31 Saturday, January 31 Sunday, February 8 Sunday, February 8 Saturday, February 21 Saturday, February 21 Sunday, March 1 Sunday, March 1
JAZZ AT TEMPLE UNIVERSITY JAZZ AT TEMPLE UNIVERSITY Terell Stafford, Jazz Studies Program Director PROGRAMS OF STUDY Terell Stafford, Jazz Studies Program Director PROGRAMS OF STUDY Temple University’s Boyer College of Music and Dance offers a diverse curriculum, Bachelor of Music Temple University’s Boyer College of Music faculty, and Dance offers students a diversefor curriculum, wide array of degree programs and exemplary preparing careers Bachelor of Music wide array ofperformers, degree programs and exemplary faculty, preparing students for careers > Jazz Performance as educators, composers and arrangers. > Jazz Performance (Instrumental and Voice) as educators, performers, composers and arrangers. > Student exchange program with the Amsterdam Conservatory (Instrumental and Voice) > Jazz Arranging/Composition > Student exchange program with the Amsterdam Conservatory > Performance at the Hague Jazz Festival and Detroit > Jazz Arranging/Composition > Music Education with Jazz > International Performance Jazz at the Hague Jazz Festival and Detroit Festival > Music Education with Jazz > Music Therapy with Jazz International Jazz Festival > Annual jazz band performances at Dizzy’s Club Coca-Cola and > Music Therapy with Jazz > Kimmel Annual Center jazz band at Arts Dizzy’s Club Coca-Cola and forperformances the Performing Kimmel Artists-in-residence/Guest Center for the PerformingArtists: Arts Village Vanguard > 2007-09 Benny Golson, Slide Hampton, Frank Wess, > Orchestra, 2007-09 Artists-in-residence/Guest Artists: Village Vanguard Clark Terry,Benny Jimmy Golson, Heath and JoeHampton, Wilder Frank Wess, Orchestra, Slide Clark Terry, Jimmy Heath and Joe Wilder
FACULTY FACULTY Piano Bruce Piano Barth Mike BruceFrank Barth Tom MikeLawton Frank
Guitar Craig Ebner Guitar Ed Flanagan Craig Ebner Greg Kettinger Ed Flanagan
Voice Carla VoiceCook Joanna Pascale Carla Cook Julie Bishop Joanna Pascale
Bass Tom Lawton Mike Boone Bass Madison Rast Mike Boone Madison Rast
Drums Greg Kettinger Saxophone Julie Bishop Steve Fidyk Dick Oatts Drums Saxophone Dan Monaghan Ben Schachter Steve Fidyk Dick Oatts Dan Monaghan Ben Schachter
For more information, please contact: 215-204-6810 or music@temple.edu For more information, please contact: 215-204-6810 or music@temple.edu
www.temple.edu/boyer www.temple.edu/boyer
Trumpet Mike Natale Trumpet Terell MikeStafford Natale John Swana Terell Stafford Trombone John Swana Luis Bonilla Trombone Business Luis Bonilla of Music Business Kim Tucker of Music Kim Tucker
or abusing yourself too much can translate into bad moods, being late for the bus call, or not being able to perform at your potential – and that’s not good for anyone. The potential of losing your gig is only one of the many reasons to keep yourself together.
slip. One of the ways I catch up is with short “power naps” of 1020 minutes before or after sound check, or I get some sleep after dinner and before the gig, when possible. Sleep deprivation can, and eventually will, affect your mental health, so please take that into consideration in your journeys. I cannot stress enough how important sleep is to your overall wellbeing on the road! • We should also have respect for our bodies. In saying this, I recognize that there is bound to be lots of “hanging out” while on tour. At the same time, I also recognize it is important to remember that there is a job we are there to do. We are all responsible for carrying our weight and for being a full participant in the process of making music while on the road. Just as we are all responsible for having good rhythmic time in a group and being prepared musically, we are all responsible for taking care of ourselves on the road. Don’t be the person who makes it hard on everyone else by not having yourself together for soundchecks and shows. Sometimes not enough sleep 28 JAZZed September 2008
• Exercise and eating right are both very important. Your body will burn for fuel and energy whatever you put into it, so be aware and thoughtful about what you give yourself for that energy. Everyone has different ideas about the best way to do this but, for me, being a vegetarian on the road keeps me pretty healthy – especially when most people are going to late night truck stops. I have witnessed others who have been subjected to food poisoning after eating some kind of questionable meat (late night bacon – bad idea). Try different eating styles and see which ones work best for you as an individual. Be aware of how you feel after you eat particular foods. Take care to eat something that doesn’t have much of a chance of being tainted by being left out or the like.
• Concerning exercising, I find that doing even a little something everyday really helps a lot. I can take a 30-minute walk and get a nice feel for the city or town I am in. Doing some sit-ups or pushups and stretches in my hotel room or at the gig for 10-15
THE POTENTIAL OF LOSING YOUR GIG IS ONLY ONE OF THE MANY REASONS TO KEEP YOURSELF TOGETHER. minutes a day helps, too. I have found that some basic yoga exercises also make a big difference for me. Staying healthy has to be like practicing, you have to make time every day for basic minimum maintenance! If you are already on some kind of exercise regimen, keep it up. If not, use your common sense when on the road and find an approach that work for you.
lessons learned Don’t deny yourself the bright moments you might find after the gig, like some late night samba music in a small club in Sao Paulo, Brazil or in NYC at some tiny jazz club
where the music is alive and ripping, or some flamenco music in a cellar club in Madrid, Spain. There are adventures and music to be experienced everywhere in the world and these experiences can and will influence your life and, thereby, your music and your perspective of both. Be sure that you take care of yourself so you can fully integrate your travels and adventures into your life and art. Staying healthy and being proactive in your own personal overall health will help you realize your fullest artistic and personal potential. Good luck & good health! Oh, and wash your hands. A lot! Now, go get some sleep. Jeff Coffin is an accomplished performer and recording artist, most well-known as the saxophonist with Béla Fleck & the Flecktones. Jeff is currently sitting in with the Dave Matthews Band. Jeff’s new CD, Mutopia (Compass Records) was released on July 15th. Visit Jeff online at: www.jeffcoffin.com, www.flecktones.com, and www.myspace.com/jeffcoffinmutet.
JAZZed September 2008 29
focus session
A LT E R E D P E N TAT O N I C
The Power of Altered Pentatonics
Photo by: Lauren Hansen Fleish
BY CHAIM BURSTEIN
L
ast time we covered a few different ways to utilize major and minor pentatonics to create a more structurally focused intervallic approach to our lines. This time, we’ll expand upon those concepts by taking a look at altered pentatonics and their uses in various harmonic situations. Altered Pentatonic Scales
Altered Pentatonic Patterns
While many players are familiar with the major and minor pentatonic scales, very few seem to have a solid grasp of altered pentatonics and their uses. This raises the question; What is an altered pentatonic? In a nutshell, an altered pentatonic is any scale with five notes per octave that is not a major or minor pentatonic. Unfortunately, this leaves us with 322 different scales, many of which are not very useful. Hence, I’ve chosen to cover three of the more common altered pentatonic scales and their uses. This includes the ƌ6 pentatonic, the ƌ3 pentatonic and the ƌ2 pentatonic. Notice how each scale is essentially a major pentatonic with the exception of one ‘altered’ or changed note. (Example 1) This should simplify the learning process. Rather than memorizing a whole new set of scales, you simply play a major pentatonic while lowering the appropriate scale degree to achieve the desired altered pentatonic.
To familiarize yourself with these scales, I suggest creating a number of different patterns. These patterns will come in handy later on when you’re generating structurally based lines. Due to the fact that pentatonics are not made up entirely of whole or half steps, patterns must be discussed in terms of skips and steps. A step occurs when the next note is an adjacent note while skips occur when we ‘skip’ over a note in the scale to play the next available note. Example 2a-b shows two examples of altered pentatonic patterns. Example 2a is a scalar pattern based upon a ƌ6 Pentatonic and is comprised entirely of steps. Example 2b is an intervallic pattern derived from a ƌ2 pentatonic. The formula for the ascending pattern in Example 2b is as follows: skipϮ, stepϫ, skipϮ, stepϫ. The descending pattern from Example 2b would read: skipϫ, stepϮ, skipϫ, stepϮ. Try to create a few of your own patterns. They will help create new ideas, assist you with the memorization of the new scales and will acclimate your ear the new sounds you are generating.
“REMEMBER THAT IMPROVISING MEANS THINKING OUTSIDE OF THE BOX AND EXPANDING YOUR CREATIVE ABILITIES.”
30 JAZZed September 2008
focus session Example 1: Altered Pentatonics Major Pentatonic b6 Pentatonic
b3 Pentatonic
b2 Pentatonic
Example 2a: Scalar Pattern with b6 Pentatonic
Example 2b: Intervallic Pattern with b2 Pentatonic
Chord Scale Relationships
Altered pentatonics can be very useful over a variety of different chord types. Example 3 is a chart which depicts the various uses of each altered pentatonic scale. The first column shows the chord type (e.g. Major, Minor, Dominant), the second column presents the scale degree from which to build the major pentatonic, and the third column displays the resulting chord tones and tensions that each chord/scale relationship will produce. To further acquaint yourself with these new sounds, try playing each scale over its respective chord. Next, try to incorporate some of the patterns you’ve created with the chord scale you’re improvising with. Example 4 utilizes the pattern found in Example 2b to create a new line over the Chord C7(13,#11,ƌ9#9). This happens to be one of my favorite uses of altered pentatonic scales. Notice how each measure the pattern is transposed up a ƌ3 and repeated. This can be done with any ƌ2 pentatonic cell or pattern when applied to a Dominant 7 with 13, #11, ƌ9/#9.
Example 3 3 Example
Running Changes
b2 Pentatonic 1 b2 3 5 6
Once you’ve mastered the concept of playing altered pentatonics over a single chord or harmonic situation, it’s time to move on to running some changes. Example 5 displays one of my favorite ways to use b6 pentatonics in the context of a minor II-V-I progression. The trick to remember this sequence is that you will be building the ƌ6 Pentatonic off of the root ƌ3 and 5 of the tonic minor triad. Over Dm7ƌ5 you will see a C ƌ6 Pentatonic, over G7alt you will find an Eb ƌ6 Pentatonic and over the Cm6 there is a G ƌ6 Pentatonic. Notice how the pattern links each idea to the previous one. Example 6 displays a mix of different pentatonics over a I-VIII-V progression. Notice how the last three bars in Example 6 all begin on the same note. This creates a reference point for the listener’s ear and brings out the minute differences between each pentatonic scale.
b6 Pentatonic 1 2 3 5 b6 Chord Type
Pentatonic Scale
Note Functions
Major 7 # 5
III
3
#11
#5
7
R
Minor (Maj 7)
V
5
6
7
9
b3
Minor 6/9
V
5
6
7
9
b3
Dominant
II
9
3
#11
6
b7
Half Diminished
bVII
b7
R
9
11
b5
b3 Pentatonic 1 2 b3 5 6 Chord Type
Pentatonic Scale
Note Functions
Altered Dominant
bII
b9
Sus 4 (b9)
bVII
Half Diminished
III
Chord Type Dominant 13 #11 b9/#9
#9
3
b7
R
b9
4
5
b3
11
b5
b7
R
Pentatonic Scale I
#5
b7
Note Functions 1
b9
3
5
bIII
#9
bV
#11
VI
13
6
3
5
b7
R
5
b7
b9
#9
b7
b9
3
#11
Pentatonic Practice
Hopefully the techniques outlined in this article have gotten your creative juices flowing. I often find that limiting myself to one scale or sound can be liberating. Every note might not fit over every chord, but forcing myself to find out what does work is often a very enlightening experience. Remember that improvising means thinking outside of the box and expanding your creative abilities. Use your own ears as a guide
JAZZed September 2008 31
focus session Example 4: Intervallic Pattern over C7(13, #11,b9,#9) with b2 Pentatonics from the Root b3 b5 and 6
Example 5: b6 Pentatonics from the Root b3 and 5 of Tonic (minor) Triad
Example 6: Mixing it up!
G Pentatonic
for what works and what doesn’t and you’ll never be lead astray. Until next time, Good Luck!
F b6 Pentatonic
F Pentatonic
Chaim Burstein holds a M.M. in Jazz Studies from the University of the Arts in Philadelphia and a B.M. from Berklee College of
F b3 Pentatonic
Music. He is currently residing in Philadelphia where he is working as an active musician and educator. www.myspace.com/chaimburstein
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Every year I have attended the Midwest Clinic, I am reminded of why I chose this profession: to inspire and motivate young people through the art of music. The clinics, concerts and exhibits are creative and inspirational, giving me the boost I need in my own classroom.– – 2007 Midwest Clinic Attendee
The Midwest Clinic
An International Band and Orchestra Conference
December 16-20, 2008 | Chicago, Illinois The comprehensive program of 70 clinics includes: Anyone Can Improvise – Jamey Aebersold Got Rhythm? - A Guide To Coaching School Rhythm Sections – Jeff Jarvis ,Doug Beach Sound Reinforcement and Recording of Jazz and Large Ensembles - Practical and Easy to Use Basic and Advanced Ideas – Jim Warrick ,Mark Morette,Scott Bauer,Scott Steiner The Basie Style – Dennis Wilson Plus the premier performance of Dennis Wilson’s Count Basie Midwest Suite, a three movement original composition honoring and including Count Basie Band musical traditions, commissioned by The Midwest Clinic. Also featured will be the annual jazz band new music reading session, presented by The Jazz Ambassadors.
The 62nd Annual Midwest Clinic includes performances by: Edison Middle School Jazz Band 1 Champaign,Illinois Bloomington High School North Advanced Jazz Ensemble Bloomington,Indiana Pacific Crest Jazz Orchestra Portland,Oregon The Crescent Super Band American Fork,Utah
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Wheeling High School Jazz Band I Wheeling,Illinois
w w w . m i d w e s t c l i n i c . o r g
“I’m just doing my own thing, too”
i
BY CHRISTIAN WISSMULLER
n addition to being a staggeringly successful solo instrumentalist since the mid-‘80s, saxophonist Kenny G has also served as perhaps the lightning-rod for purists who balk at the perceived misapplication of the term “jazz” to music that doesn’t adhere to strictly set guidelines. However, love him or hate him, Kenny’s albums consistently top Billboard’s “Contemporary Jazz” chart (including 2008’s Latininspired Rhythm and Romance) and, for many, he is the face and sound of jazz music. As the saying goes (or as a variation of it might go, in this case): “Over 50 million CD-buyers can’t be wrong.” So why does the classification of Kenny G as a jazz artist get so many jazzers bent out of shape? The question is, of course, rhetorical – I get it, JAZZed’s readers (both those who are foaming at the mouth that we’d place Kenny on our cover and those who are perhaps a little more tranquil about such things) get it, and as I was happy (but not surprised) to learn, Kenny himself gets it: he’s neither a torchbearer for traditional jazz, nor is he a bold pioneer of heretofore unexplored musical territories that stretch and challenge the boundaries of what it means to play jazz or fusion. Kenny G writes and plays pleasant songs with pretty melodies which people enjoy. A lot of people.
“There are certain people out there who think that they need to ‘protect’ traditional jazz… I’ve never really understood that.”
JAZZed September 2008 35
Those who consider Kenny or other popular-but-not-“authentic” jazz musicians to be pariahs on the scene would do well to let this last point soak in. If one well acknowledged challenge facing jazz’s very future is the need to create new fans/scholars/musicians, is it wise to reject an artist who connects with such a huge segment of the populace? Much as health officials often refer to marijuana as a “gateway drug”
to harder stuff, maybe try thinking of Kenny G as a “gateway artist” – as Kenny put it in our recent conversation: “Maybe if people like my music, they may delve into a Charlie Parker record or something they wouldn’t have thought they’d like.” If some small fraction of Kenny’s enormous fanbase decides to take the plunge and explore the larger world of jazz culture, that’s unquestionably a good thing.
Kenny G Précis Selected Discography: Kenny G, G Force, Duotones, Silhouette, Breathless, Miracles: The Holiday Album, The Moment, Six of Hearts, Classics in the Key of G, Paradise, Ultimate Kenny G (Arista), Rhythm and Romance (Concord/Universal) Awards & Accolades: Grammy Award – Best Instrumental Composition (“Forever in Love” – 1993); Best Selling holiday album of all time – Miracles; #1 Ranking in Golf Digest “Top 100 in Music” (1996) Web site: www.kennyg.com
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ANYway… Kenny was recently kind enough to sit down with JAZZed to talk about his own journey as a musician, his thoughts on music education, and his place in modern music. Read on – and to those who might still be sniffing derisively at our choice to run a Kenny G coverstory: the guy opened for Miles Davis and has sold more albums than Canada has people. What have you done? JAZZed: Talk to me briefly about your own early experiences as a music student.
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Kenny G: I was a product of Seattle public schools. I went to my weekly half-hour lesson, starting at the age of 10. Pretty standard stuff. Save $
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JAZZed: So it’s not like you got an extremely early start or anything. KG: I don’t know – in my day, 4th grade was when you started instruments. JAZZed: Were you on sax from the getgo? KG: Yes, I started on the alto sax.
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36 JAZZed September 2008
JAZZed: What first got you excited about music?
KG: I just did the normal stuff – nothing extraordinary. When I got to high school – Franklin High in Seattle – they had a composer in residence and that was one of the things that got me really excited. He would write charts for our jazz band that were different from the regular, standard charts, so that was cool. JAZZed: Was it high school, then, when you got really into jazz?
KG: Yeah, that was at 17. That was my first paid gig, ever. JAZZed: Not a bad start for a young kid. KG: [laughs] Yeah, a pretty good first gig. The reason I got the job was because the composer in residence at Franklin High was having a conversation with a friend who was in charge of booking all the extra mu-
sicians who were necessary for the Barry White Group while they were in town. The guy mentioned that he needed a sax player and, so my teacher said, “Well I’ve got this high school kid who could probably do it.” They were so reluctant to let me do it – I mean, I was 15 years younger than anyone in the group. But he got me the gig in the end.
KG: I didn’t really listen to any jazz until I was about 15 or 16. It just wasn’t on my radar. I was just doing my normal stuff, practicing whatever exercise I was supposed to practice. I didn’t play that much when I was a kid, either – maybe an hour or half an hour a day. When I was 15 or 16 I just decided I really liked playing the saxophone, so I started practicing a couple hours a day. Then I started to listen to more records by saxophone players and my teachers would give me stuff to listen to: from Grover Washington Jr. all the way to Charlie Parker, so I was exposed to a big spectrum of styles. JAZZed: The Grover Washington influence is apparent in some of your playing. Who else influenced you? KG: Well, I love Cannonball Adderley. You probably wouldn’t know by my playing, but I do. I really listen to him a lot. Stanley Turrentine, I loved his playing. Of course, everyone loves Coltrane and when I started playing tenor I began to listen more to him and loved his sound. JAZZed: What happened after high school? KG: Well, I just started getting good. [laughs] At 15 I was just OK; at 16 or so I was starting to get really pretty darn good. I don’t know what happened. It was just one of those years where my mind got clearer and I figured out what I was supposed to do on that thing. JAZZed: Your first gig was playing with Barry White, yes? JAZZed September 2008 37
“It’s tough to be a music educator because you need to be extremely exible. There are different answers for everyone.”
You’ll
be inspired! Come experience four days of outstanding student performances, artist workshops and clinics, and remarkable world-class jazz concerts.
www.jazz.uidaho.edu 208-885-6765
38 JAZZed September 2008
Artistic Director John Clayton is leading the celebration February 25 - 28, 2009
JAZZed: Aside from school, did you take any private lessons or were you mostly just learning on your own? KG: I’m pretty self-sufficient. That’s the way I am. I did take some lessons from a sax teacher in Seattle, Johnny Jessen. This was during high school, but it was maybe once a week for about a year. I think a lot of it was clarinet playing, actually. I don’t know exactly what I learned from him, but he was good. It was just more time on the instrument. That was kind of my deal – anything that I do, I’m kind of in charge of how I learn things, so in terms of sax playing I figured: the more I play, the better I’m going to get. Then the better I got, the more encouragement I got, which made me practice more, which made me better and that cycle kept going until here I am today; I still put in a couple hours of practice each day. JAZZed: All genres of music – and, seemingly, jazz in particular – ultimately foster players and aficionados who sort of wind up as the self-appointed arbiters of what is “real” or “good” – the protectors of the music, if you will. Because of both your popularity and also the style of music you write and play, you’ve frequently been criticized by jazz purists. What’s your take on all of that? KG: That’s a fair question and well put. First of all, I got really lucky early on with my parents. Whatever they did – I don’t know exactly what it was, because as
JAZZed: And selling a couple million units every few years doesn’t hurt, either. KG: [laughs] Sure it doesn’t hurt, but even if I didn’t sell that many, I still have a feel for what I’m doing and that’s why I do it. I didn’t create the idea that this music’s going to sell; I just made music and people liked it and they bought it, which is cool for me. Yeah, there are certain people out there who think that for some reason they need to “protect” traditional jazz and that anything that people do that’s not traditional jazz is somehow going to hurt that whole area of music. I’ve never really understood that. A lot of people don’t know this about me, but I was the opening act for Miles Davis for many, many gigs and, nowadays, people would say, “Well, that doesn’t make any sense!” JAZZed: It must’ve made sense to Miles. KG: Exactly. If he didn’t want me as his opening act he wouldn’t have had me. When I watched Miles play, night after night, I’ll tell you that I didn’t hear one lick of “traditional jazz,” but yet he gets the accolades from the types of guys who consider themselves the protectors of the music. But here’s a person who started with be bop and traditional jazz and then just kind of went on and did his own thing – I’m just doing my own thing, too. I don’t care about the labels. In general I think people need labels because it kind of helps weed out what they like or don’t like. For example, if I don’t like Japanese food and somebody says, “Hey, we’re going to go have some sushi,” well I already know I don’t like Japanese food, so I may say, “Let’s go to another restaurant.” Now on the other hand, they might say, “Well wait
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I parent I’m trying to do it, myself, for my kids – allowed me to wind up with a lot of self esteem. So when I do get the critic who doesn’t like what I do – and I’ve received those comments, certainly – it just doesn’t really bother me. I already know what kind of a player I am and what kind of music I like to do and I’m doing that.
JAZZed September 2008 39
“The way that I improvise is just my style and it should be my style… To me that’s the whole point of playing music.”
Kenny G with students from A Place Called Home.
40 JAZZed September 2008
Rico Reeds & Kenny G Promote Music Education
Rico Reeds and Kenny G have continued their partnership this time focusing on promoting music education around the world. In addition to celebrating the launch of the Kenny G “G-Series” saxophone lines for both professionals and students, Rico announced it will offer reeds and accessories exclusively for Kenny G’s line. The arrangements for this are still underway. In celebration of the launch and developing partnership, Kenny G and Rico made a donation to A Place Called Home - an organization that helps at-risk youths achieve their dreams through educational enrichment. The D’Addario Music Foundation and Kenny G’s donation gave over $20,000 and another $5,000 worth of product donations to A Place Called Home. A press conference was held earlier this year to present the check and provide the children from A Place Called Home a tour of the Rico Reeds plant hosted by Kenny. “Rico has always been dedicated to building awareness for music education,” says Robert Polan, Rico Product manager, “and the partnership between Rico and Kenny G is the perfect opportunity to help this cause. From posting educational videos on our Web sites to supporting teachers and clinicians, and now by going into partnership with Kenny G, we know that our efforts will encourage more students to make music.”
a minute, you may not think you like Japanese food, but why don’t you try a couple of different items – maybe there is something for you.” So, people could say they don’t like jazz, but then they do find themselves liking my music. If people like my music, they may
delve into a Charlie Parker record or something they wouldn’t have thought they’d like. There’s good in all of it. The categories are good for people to help them a little bit, but in terms of musician-to-musician, I look at it like: do you improvise or do you not improvise? I improvise and the way that I improvise is just my style and it should be my style. I should be doing exactly what makes me unique. To me that’s the whole point of playing music. JAZZed: A big part of jazz is personal expression and identity, so: yes, I can’t see how it’d somehow benefit the genre, or you, or any listener for you to try and not do what comes naturally to you. KG: Thank you. I think that for music educators, it’s not bad if a kid finds somebody they really like and tries to emulate him or her. I think that’s a great way to start and the more artists that you can get into that mix, the better because then it comes out as something different in the end. Maybe you like some of my licks, maybe you like some of Michael Brecker’s style, maybe you like a little of David Sanborn, and a little of Sonny Stitt – you throw all that in there and the kid comes out sounding unique. So I don’t discourage somebody from copying someone else. The reason I say that is, I mean, I’ve got the technique – I can copy every lick that Charlie Parker ever played. I can play that fast, it’s not hard to me, but to me it’s like… Ok, well he already did that and it sounded great, and I could copy it, but I’d rather do what I feel, personally. JAZZed: Do you ever give lessons or conduct masterclasses? KG: I haven’t done any private lessons, but every now and then I’ll do a clinic. It’s been pretty impromptu. I’ll just find myself in situations where I’ll notice that I’m surrounded by students and it’s just like: “Hey, do you want me to show you some stuff?” JAZZed: Can you give me a recent example? KG: One of my cousins has a son who was in a band class and I was in JAZZed September 2008 41
town for a show and my cousin suggested that I come in and say hello to the band. So I dropped by, took over the class, the teacher sat down, and I said “Hey, here I am – if you guys want to ask me questions about anything I’ll talk about it.” They were pretty shy, but I came up with some ideas and talked to them about the way I practice, what it’s like being on the road, what the difference is be-
tween being an amateur and a professional musician. I really like doing that kind of thing and I’d like to do more and more of it. It just needs to be pre-planned and hopefully this year there’ll be more of it because I’m excited about my own saxophone line [www.kennygsaxophones] and being able to show it off. I’m not doing this sheerly for the marketing, but it is a great saxophone and as a sax player
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I know what it takes to start and like an instrument and I want to be able to provide that for kids. JAZZed: What’s your favorite thing about those types of teaching experiences and the interaction with younger players? KG: It’s fun to share some of the idiosyncrasies that I’ve figured out through my 30-plus years out here. I like seeing a student get something that they didn’t get before. I like to show them something sensational that makes them go, “Wow! I didn’t even know a saxophone could play like that.” Plus I’ve been lucky enough to be pretty successful, so I want to give back. When you’re successful you always feel like you have an obligation to share what you know, because I’ve gotten the good stuff. JAZZed: Whether you’ve experienced it yourself or can just imagine it conceptually, what do think is – or would be – the most difficult aspect of teaching jazz?
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KG: The hardest part about teaching is that when you’re telling one student that they need to do “this” it doesn’t mean that the next student needs to hear the same words. It’s hard to talk in front of 10 or 20 people and make one statement on a topic when you know it may not be right for everybody. That’s why it’s tough to be a music educator because you need to be extremely flexible. There are different answers for everyone. It’s a big responsibility to be a music educator, so that should be taken seriously. It’s a great thing that there are a lot of people out there who are passionate about teaching jazz. It’s a really essential part of the whole picture.
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basic training
LEADSHEETS
Unlocking Leadsheets THE TOP TEN CHORD APPROACH
M
BY KEITH FELCH
astering the top ten chords used in jazz will enable you and your students to be ready for any lead sheet or set of solo changes. Picture this: you (or a students) arrive at a rehearsal or gig and are faced with some
daunting chord changes, which, at first glance, appear intimidating and scary. ■ “If only I’d gotten ready in advance to face this,” you say, panic stricken. But how can so much complex-looking information become easier to decipher and play on the spot?
The reality of life is that students and teachers only have so much time to devote to scales and chords studies. We all agree that regular practice of the chords and scales we’ll face in our solos is necessary for all of us, but where does one start? So many choices: transcribed solos, traditional scale methods, and play-alongs all seem good, but what’s the best choice if that gig or rehearsal is coming up where anything can happen, and time is of the essence? Having taught over 45,000 private lessons, I felt the need for a new, concise method to expose all players on a regular basis to the top-10 basic chords and scales that he or she will need for that next solo, which can be studied in a very short amount of time. This will allow the player to feel confident (read “not terrified”) when faced with that next set of changes.
Problems with Traditional Preparation Methods Traditional scale methods are great, and we as educators work from and recommend them to our students all the time. But aside from improving technical and reading skills, traditional scale methods don’t pack enough focused punch when it comes to meeting all the needs of the jazz player. Patterns methods written by jazz players are also good, but are sometimes not much more than practice diaries of what good players have found fascinating. They also may not lead the student logically from one step to the next. Transcribed solos are also terrific, but usually only cover one tune in one key, and may not apply to your next solo very specifically.
“THE REALITY OF LIFE IS THAT STUDENTS AND TEACHERS ONLY HAVE SO MUCH TIME TO DEVOTE TO SCALES AND CHORDS STUDIES.”
44 JAZZed September 2008
basic training A New Way: The Top-10 Chord Approach I propose a different approach, as covered in my book Chord/Scale Mastery. Here are the top 10 chords used in jazz, presented in the key of C:
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You’ll notice that the chords are grouped by triad, and just the 7th/9th is being pushed around. This helps illustrate the commonalities between the chords in the mind of the player. The following are excerpts from this method in the Key of C. Note about the scale modes you see below: the roman numerals listed next to the scales below give a clue as to where the scale came from. The first scale obviously is a C major scale starting on the first degree, the second scale is the G major scale starting on the fourth degree, and the third scale is an E Harmonic minor scale starting on the sixth degree.
Let’s begin:
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Notice that in the above example the basic triad is in parentheses, and there are instructions to the right of the C Major 7 chord.
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basic training First, play the C Major Triad full range of your instrument (examples below in saxophone range). Full Range Triad:
Now play the C Major 7 Chord full range:
Now continue with scale practice by picking just one scale from the list and practicing it using the full range of your instrument. There are many more choices than what Iâ&#x20AC;&#x2122;ve listed here, but letâ&#x20AC;&#x2122;s pick the most commonly used one at the top of the list, the C Major Scale:
Now go on to the next chord:
46 JAZZed September 2008
basic training You’ve already practiced the basic triad for this chord, so now follow the instruction to the right of the C7 chord example and play the 7th chord like so:
And choose just one scale to go with it. Let’s choose the top, most commonly used one again, the V in Major, the Mixolydian Mode:
Notice that the source of the scale (the V of major) and the name (Mixolydian) are there to familiarize the player with musical terminology, as well as basic construction of the scale (b7). In the book, a long list of scales are presented for each of the top ten chords for the player to choose from, so the player can choose from the very basic listed at the top to the more “outside,” depending on their level. Here are the remaining chords, and their most fundamental assigned scales:
JAZZed September 2008 47
basic training
48 JAZZed September 2008
H I6 G H
basic training After the player finishes practicing the four triads matched with the ten chords with a chosen scale for each, a leadsheet is presented with the chords in the same order, four bars for each chord. I test my students’ knowledge by having them only look at the chord change, play the chord to the 7th/9th, and then play the scale in one octave. They may not read any notes, and may only read the chord change, executing the chord and scale from memory. This helps assess whether or not a student has internalized what he or she has just practiced. Now it’s time to improvise with a play-along track that corresponds to the leadsheet. On the first few passes improvising with the rhythm section, the player may only solo using chord tones. After that’s done successfully, the entire scale may be used. All of this material, and many other helps, are written out in all twelve keys, so the player gets great ear/technical/theoretical training in all keys. I hope you enjoy using this method with your students as I have, and that you’re able to more effectively get yourself and your students ready for that next solo at every practice session. Have fun, and happy practicing!
Va### Va# c ^ \ ^ g d 7Z Z Vc dg^\^c Jh
Wish YOU Were Here?
Keith Felch has been a freelance woodwind performer, teacher, and clinician for over 25 years. He has performed all over the world for Yamaha Music Education, and his book Chord/Scale Mastery is a textbook used by jazz educators internationally. He has teaching studios in South Orange County, Calif. and can be visited at www.KeithFelch.com, or e-mailed at Keith@KeithFelch.com.
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one-on-one
MARY JO PAPICH AND DR. LOU FISCHER
JEN’s Mary Jo Papich and Dr. Lou Fischer
I
n the wake of IAJE’s demise this past spring, the woman who was slated to be that organization’s next president quickly stepped to the plate and began spearheading efforts to form a new group that would build upon the traditions and successes of IAJE while learning from – and avoiding – the mistakes that ultimately led to the association’s downfall. With considerable assistance from a number of like-minded collaborators, in particular Dr. Lou Fischer, Mary Jo Papich was able to officially launch the fledgling group, Jazz Educators’ Network (JEN), on June 1. JAZZed (now the official publication of JEN) recently spoke briefly with Papich and Fischer – president and vice president, respectively – about the formation of the new association and their plans for the immediate future.
JAZZed: Can you talk briefly about your perspective on the demise of IAJE and discuss the catalyst behind the formation of JEN? Dr. Lou Fischer: The catalyst behind it was there was a huge void in relationship to an advocacy group 50 JAZZed September 2008
for jazz and jazz education due to the demise of IAJE, so we felt that an important enough mission to start something new. Mary Jo Papich: A year ago I would never have dreamed I would be starting a new jazz education organization. I knew IAJE
Mary Jo Papich
Dr. Lou Fischer
was facing financial struggles, but none of us knew just how serious the situation was until it was too late. Experiencing this demise was the biggest challenge of my professional career and it was as a volunteer leader. There was not one reason for the downfall, but many,
one-on-one including weak managementâ&#x20AC;Śeventually I resigned because I felt that I had to distance myself before the association went down and because I felt my voice was not being heard. Committed board member/colleague Lou Fischer and I had presented several possible emergency plans in hopes of saving IAJE and they were not recognized. It was then that I realized what was really needed was a new organization. Starting JEN was just something that was a heartfelt conviction. All the past presidents of IAJE, through their devastation, came forward to support the birth of the new organization and all of my efforts. Lou and I had like thoughts, like goals, and total commitment and determination to forge ahead and we certainly knew the pitfalls to be aware of in developing an organization.
what was perhaps the best model to allow the independent jazz organizations all throughout the world to join with us, but still remain autonomous. We wanted to embrace a governance structure that allowed them to do that. We wanted to
create a network to allow members to share info and resources, so beyond the individual and corporate memberships, weâ&#x20AC;&#x2122;ve created what we call an Affiliate Membership. Any already existing organization can choose to try and join and
JAZZed: How did JEN evolve? MJP: On the weekend of May 31- June 1, we gathered a group of supporters together in Chicago who had e-mailed us repeatedly and asked to be involved in the formation of a new group. We added more invitees to the list to add ethnic and gender diversity and asked them to cover their own expenses, as we had no budget. The outcome of the meeting of 35 (educators, publishers, businesses, and performers), led by Arts Consultant Gene Wenner (www.aecwenn.com) was: a title, a mission statement, by-laws draft, temporary volunteer board officers, a fledgling treasury, a Web site domain, a potential magazine, and a total commitment to the future. LF: We made a huge effort to balance the attendees at the organizational meeting: academic representatives, artists, industry figures, people with business experience, and legal and not for profit management experience. We also wanted balanced racial and gender diversity. We looked at many models of many different organizations and we chose
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w w w. m u s i c . m i a m i . e d u JAZZed September 2008 51
one-on-one they can do so at a fairly reasonable rate and that brings in their entire membership base to the network. MJP: JEN was created by a group of visionary and passionate individuals and founded in the spirit of collaboration and excellence. “We all know we have an enormous responsibility to stay true to the core values of jazz. The great players, composers, educators, and audiences who gave the best of their lives to this music are expecting us to take it forward,” says my mentor, Kahil Elzabar. JAZZed: In simple terms, what is the mission statement of JEN? MJP: The mission of Jazz Education Network to advance jazz education, promote performances of all styles and ages,
“I’M AMAZED AT HOW MUCH WE’VE BEEN ABLE TO PULL TOGETHER IN THE FIRST MONTHS OF THE ORGANIZATION.” and to advance the development of new audiences. We must give the listener, the fan some attention…we must educate the public. We must teach more than the 20 students in our jazz band. What about the other students? We must educate the public about their musical legacy in this country. We must address the question
of: “Why is jazz more appreciated abroad than here at home?” LF: The real common denominator is, it’s all about the jazz community. Our plan is to be an organization that helps connect teachers, students, artists, and everyone out there with a passion for jazz. If we don’t develop new listeners, who’s really going to care? MJP: The fact that MENC and former president Willie Hill are recognizing Jazz along with Band, Choir, and Orchestra is far-reaching and wonderful for jazz education. I have been a longtime advocate of requiring all music ed majors to take a jazz class. The more teachers we have teaching jazz, the more educated the listeners, and the bigger the future audience. I look forward to working with MENC, so our
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52 JAZZed September 2008
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one-on-one events and projects planned will be offered to as many teachers as possible. JAZZed: What are some immediate plans for the future? MJP: What are we planning? In the true spirit of collaboration and networking we have established a solid working partnership with NAMM. Plans for the near future include gathering opinions online (www.survemonkey.com ) and in person at upcoming Open Forums around the country (see JEN’s “Events Page” on page 17). Another exciting and unique performance showcase we are planning came about from my personal performing experiences with school groups in my beautiful coastal Sister City of Puerto Vallarta. I have visited there often and know the mayor and tourism and city officials and they are welcoming a Jazz Festival Showcase and promising us a crowd at the Malecon. I have traveled often with student groups and saw this as a way to have a musical and cultural experience at a reasonable cost and at the same time bring jazz to this lovely town. The only requirement is that you include at least one Latin chart in your repertoire! (www.amclass.com/Pages/ Events/Schedule/Sched_Nav.html) Other partnerships we are working on include events in the spring and summer of 2009 which see us collaborating with Music For All, JamFest, and others. As you can see, until we are financially able to stand alone, which I predict in a year or two, we are being welcomed as partners with successful organizations. All the board pays for everything themselves and, to date, all work has been donated. Things are looking great. We truly pledge to be the organization the membership wants and needs. JEN has been born, she is crawling – just waiting to walk and run! LF: I’m amazed at how much we’ve been able to pull together in the first months of the organization. The first six to eight weeks were really spent addressing nuts and bolts issues: bylaws,
paperwork, 501(c)(3) paperwork, the Web site, et cetera. Every significant relationship that I’ve enjoyed during my long, and fortunately very fruitful career, I developed through an organization of this type – that being IAJE – and that ability to network and share information
with colleagues and friends is so crucial to what we all do. It’s just crucial to life. Mary Jo often quotes, “Life is jazz, jazz is life!” and it’s really very true. Interested parties can join JEN by logging onto www.jazzednet.org.
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JAZZed September 2008 53
guest editorial
THE LANGUAGE OF JAZZ
Teaching Jazz As A Language
O
BY RUSS NOLAN
Photo: Todd Weinstein
ne of the most challenging aspects of learning how to improvise or how to teach improvisation is knowing where to start. Most of us did not grow up listening to jazz around the house. However, we did grow up listening to one or two spoken languages that gradually became our own. It’s by the same process that we learn the jazz language. How does one develop a vocabulary? I have found that easiest way to start is with the Blues Scale. These six notes not only cover over the basic Blues changes, but can be applied in various harmonic situations. Just as a child’s first words are ‘mama’ or ‘dada’, we can use the notes of the Blues Scale as the same building blocks. When teaching in a group setting, I will use a ‘Call and Response’ format. Many students I encounter, even at the high school level, have never had a formal jazz improvisation lesson. I’ll start by playing a rhythm with the tonic and have the students imitate it. Then I will ask them to come up with their own. After a few students have tried this on their own, I will ask, ‘If you can improvise with one note, why not try two?’ And so it goes until we have progress through all six notes. The following is just one set of examples:
Building a Melodic Blues Line From the F Blues Scale Note by Note First 2 Notes
First 3 Notes
First 4 Notes
54 JAZZed September 2008
guest editorial First 5 Notes
First 6 Notes
Now play 2- to 6-Note Lines going down the scale – Make up your own! That’s improvising!
By adding one note at a time, the students are not overwhelmed or intimidated by the information. They leave the workshop with tools that they can immediately apply and the confidence to try it again. If the students show a basic understanding of the Blues Scale, I will move on to the Bebop Scale. One of the dividing lines between high school jazz students and college jazz students is the use of this scale. Outside of transcribing, most of my own practicing and concepts of the Bebop Scale come from David Baker’s series entitled, How To Play Bebop (volumes 1-3). I site his books in my clinic reference materials. This scale is the basic tool used by advanced improvisers to smooth out their lines and land on chord tones on the strong beats (if they so choose—but that’s another discussion). The Bebop Scale is typically played in a descending fashion. By adding a half step in between the root and the b7, the root, 3rd, 5th, and b7th land on the beats. F7 Bebop Scale--Has both major 7th and dominant (flat) 7th Half Step Half Step
Practice this scale from the root, 3rd, 5th, and b7th in descending fashion, keeping the original two half-steps (F-E-Eb) in place. Now we can apply our new scale to the Blues Progression:
F7
Bb7
F7
Bb7
F7
D7b9 (Bebop scale w/b9, b6)
G-7
C7
F7
C7
JAZZed September 2008 55
guest editorial Finally, as important as it is to give beginning improvisers the proper tools to build with, it’s equally important to reinforce the idea that these tools are
only the means to the end, not the end in themselves. Let’s go back to the ‘jazz as a language’ analogy. Just like English, Spanish, German, French, Latin, et
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56 JAZZed September 2008
cetera, jazz is a language. It is another medium of communication with an intended audience. Do you enjoy listening to someone who speaks in a monotone, or at one volume, carries on with run-on sentences, or jumps from topic to topic without finishing any of them? What about the person who tries to impress you with their vocabulary? You probably don’t – so let’s try not to do it with the Jazz language. Why do we enjoy reading books or going to movies? If they are good, it’s because they tell a good story and involve their audience. ‘Telling a Story’ in Jazz doesn’t mean you have to play a ton of notes and have brilliant technique on your instrument. Mastering one’s instrument and jazz theory are only means to a musical end. A memorable solo is one that communicates to the audience that you love playing and it’s shown through passion, good time feel, good rhythm, and melodic development. I remember Kenny Werner once asking me in a lesson, “Are you relevant?” and “Is your music or message relatable to an audience outside of your peers?” “Jazz is best when it satisfies its peers on an intellectual level, and relates to non-musicians on a soulful level” is a phrase my former mentor, David Bloom used all the time. Nonmusicians respond to story telling, tension-and-release, and group interaction aspects of music, rather than theory. We can still be true to ourselves and yet reach more than the three percent that typically listen to jazz. Wouldn’t that be great? Since arriving in the Big Apple in March 2002, Russ Nolan has begun to emerge as a bandleader, performing in various New York City jazz clubs and other performance venues. As a Selmer Artist and Clinician, he has performed 25 educational clinics and six school concerts in the last year and his clinician schedule continues well into 2008. Nolan’s debut recording, Two Colors (Rhinoceruss Music), has received rave reviews. Look for Russ’ new release, With You In Mind (Rhinoceruss Music), with the Kenny Werner Trio at http://cdbaby.com/cd/rntkwtrio.
crossword 1
2
3
5
6
12
11 15
17 22
23
36 40
37 41
71
Across
34
31 35
47
51
52
56
60
62
63 66
69 72
1. Earl ___, Weatherbird pianist 5. Lawrence ___, jazz clarinetist and member of Sugar Johnnie’s New Orleans Creole Orchestra 8. Eddie ___, he is considered one of the best rhythm guitar players of all time 11. Mena locale 12. Curry cuisine? 13. “___ in Paris,” Count Basie tune 15. Rhythm, with time? 17. Melody 19. Annoy 21. ___ Records, King Oliver’s record label 24. Pianist, Makowicz 26. That is, for short 27. Hospital room 29. OJ Judge 30. “How High the ___,” Ella favorite 32. Tonight at ___, Charles Mingus record 33. Coleman Hawkins’ nickname 35. Polo maker, initials 36. ___ out, take the final chorus 38. Event alert card 39. Winter sport 41. Sheep cry 43. Technical ability 45. “He’s a good ___ boy...”
53
57 61
68
44
48
65
64 67
26
43 46
55 59
20
25
42
50
54
10
38
45
58
19
30 33
9
14
18 24
32
49
8
29
28
39
7
13
16 21
27
4
Crossword by Myles Mellor
70 73
46. “Bloom___,” Charlie Parker tune 50. New, in a way 51. Bum 52. Spider site? 54. Johnny Dodds’ little bro 55. Santa sound 57. Nat King Cole’s musical director, Young 58. A cola 59. Any musical score 63. Head wreath 64. Pitch perceiver 65. Glasses type 67. Billboard feature 68. The Jazz ___ 69. People person, abbr. 70. Weight measure, for short 71. ___ Jarrett, the “American Quartet” member 72. ___ Goodman, “The Professor” 73. ___ Venuti, he is considered the father of jazz violin
Down
1. Lil ___ Armstrong, Louis’ lady 2. Composer Gershwin 3. Friendly alien 4. ___ music, printed form of musical notation
5. ___tonic, the contrary of chromatic 6. ___ Bop, Art Blakey’s style 7. Extended play record, abbr. 8. “The Song Don’t ___,” Marcus Miller tune 9. Pub purchase 10. “On ___ Dolphin Street,” Miles Davis song 14. Engine power measure 16. “Ready, set, ___!” 18. Poetry parts 20. 16th century stringed instrument 22. ___ Oliver, “Sweet Like This” composer 23. Rabbit action 25. Now, now, now! 28. “___it,” Herbie hit 31. Dairy dunker 34. Enterprise value, briefly 37. Yusef Lateef instrument 38. Sun ___, aka Herman Poole Blount 39. “___ What,” Miles Davis favorite 40. “___ a Sentimental Mood,” Coltrane and Ellington favorite 42. Hawaiin hello 43. Type of jazz style of the early 50’s 44. Pumpkin dessert 46. Lawrence or Tracy 47. Letters of debtors 48. Decibel, abbr. 49. Superficial appearance 50. New York City, for short 52. Think ___ of Me, Jack Teagarden album 53. B section 54. A transitional passage in which a soloist plays unaccompanied 56. The sun, for example 60. “Groovin ___,” Dizzy ditty 61. Broken ___, irregular, improvised syncopation 62. ___ Coltrane, “Giant Steps” artist 66. “___ Me A River,” Arthur Hamilton song 68. Location indicator 70. Knock out, for short
For the solution to this issue's crossword, visit:
www.jazzedmagazine.com JAZZed September 2008 57
Gearcheck Honor Jazz Weekend February 13–15, 2009 Special guest: Stefon Harris
The Business of Audio Engineering
The Business of Audio Engineering by Dave Hampton is a practical guide to the working life of an audio engineer. From
The UNL School of Music will host the 2009 Honor Jazz Weekend for high school students (sophomores, juniors, and seniors). Don’t miss this opportunity to work with vibraphonist and composer, Stefon Harris, “one of the most important young artists in jazz.” (LA Times) For more information, go to www.unl.edu/band/jazzfest.shtml Order your copy of UNL Jazz Ensemble I’s CD, “Beyond The Plains.” www.unl.edu/band
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attracting clients to keeping them, from being employed by studios to working independently, from dealing with problem artists, producers, and labels to handling a crisis and keeping one from happening, The Business of Audio Engineering contains the information needed to successfully manage an audio engineering career. www.halleonard.com
V&R Remote Pedalflex
V&R Remote introduces Pedalflex, an accessory that allows you to control your pedals and pedal boards from your microphone stand. The control unit simply clips to your mic stand, and it works with any pedal or pedal board. Prices range from $69 to $99. www.pedalflex.com
Gearcheck Method Books from Mel Bay
Fiddling Method Grade 1 by Mary Ann Willis provides the basic elements for absolute beginning musicians to get started playing. Including a comprehensive method of step-by-step instructions and slow, me-
microphones captures rehearsals and live shows, or musicians can plug directly into the instrument input to record with amp simulation and effects. The GT-R1 includes a rhythm player for instant inspiration, and a 1GB SD Card and rechargeable battery are included to get started right away. www.tascam.com
dium, and normal speed play-along tracks for each tune on the two accompanying CDs, this Fiddling Method book introduces numerous techniques and establishes a solid foundation in first position playing. School of Country Guitar: Advanced Rhythm, Steel Bends & Hot Licks by Joe Carr contains solos, licks, and tricks in several country styles including bluegrass, western swing, rockabilly, classic country, and more. It also includes a section on string bending and special chords, as well as an accompanying CD. www.melbay.com
TASCAM GT-R1 Portable Recorder
TASCAM has launched the GT-R1, a new portable recorder for guitar and bass players. A pair of built-in condenser
JAZZed September 2008 59
Gearcheck Cecilio â&#x20AC;&#x153;Z Seriesâ&#x20AC;? Brass Cecilio Musical Instruments is currently shipping their 2Series trumpets and saxophones. The 2Series trumpets come with features such as 1st and 3rd
valve tuning slides, Monel Pistons, and medium bore tubing. It also includes a plush lines nylon case with backpack strap, 7C mouthpiece, valve oil, gloves, and cleaning cloth. The 2Series saxophones are offered in soprano, alto, and
tenor models. They come with large bore tubing, hand engraved bell decoration and come with plush lined nylon cases with backpack strap, neck strap, cleaning rod, and extra 10 reeds. www.ceciliomusic.com
MusicMedic.com Leak Tester and Post Fitting Pliers
MusicMedic.com has just finished the first production run of their new Post Fitting Pliers. Head tool designer Matt
Scott in collaboration with professional saxophone repair technician Curt Altarac have developed a new post truing tool that takes out the play between the post and the rod on any non-threaded woodwind post. The MusicMedic.com Leak Tester is a very sensitive leak detection machine for woodwind repair. It will find leaks in any instrument or tubing and is easy to use. It is also possible to use the Leak Tester to test for leaks in individual pads on flute, wooden instrument bodies, brass tubing or any part of any instrument that can be sealed on both ends. The Magnehelic gauge on the face of the Leak Tester gives a reading that quantifies the amount of air leaking from an instrument. www.musicmedic.com
60 JAZZed September 2008
Gearcheck König & Meyer Jazz Saxophone Stand
König & Meyer’s Jazz stand is made primarily from solid, black anodised square
aluminium profiles and weighs only 0.4 kg. With a practical, central locking screw the stand can be set up quickly. The attachment brackets, which can be folded out for the instrument bell and the support arms have protective, abrasion-proof rubber covers; the legs are fitted with integrated rubber
feet. In spite of the high degree of stability the stand can be folded compactly (L 360 mm x 50/70 mm), and slips into the included velour bag for convenient, safe in-bell storage. Two versions are offered for Eb alto and tenor saxophones. www.connollymusic.com
Miles Davis Classics
For use with all Bb, Eb and C instruments, the Jazz Play-Along Series is a great learning tool for all jazz musicians. With musician-friendly lead sheets, melody cues, and other split-track choices on the included CD, this first-ofits-kind package makes learning to play jazz easier than ever before. For study, each tune includes a split track with melody cue with proper style and inflection, professional rhythm tracks, choruses for soloing, removable bass part, and removable piano part. For performance, each tune also has an additional full stereo accompaniment track (no melody and additional choruses for soloing. The 10 songs featured are: “Blues by Five”, “Circle,Eighty One”, “Flamenco Sketche”, “Fran Dance”, “Green Haze”, “Mood”, “Petits Machins”, “Pfrancing (No Blues)”, and “Swing Spring”. www.halleonard.com
JAZZed September 2008 61
Gearcheck Korg Pa588
Korg introduces the Pa588, combining interactive workstation features with Korg’s RH3 graded hammer action, to provide songwriting tools with an authentic
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Learn jazz by living it in the heart of Greenwich Village. Here, your mentors are legendary professionals from New York City’s renowned jazz community. Your classmates are brilliant musicians from around the globe who are passionate about their art and ready to take their talent to the next level. t Perform in the city’s hottest clubs, including Sweet Rhythm and Dizzy’s Club Coca-Cola t Take advantage of the resources of a major university t Get real-world performance experience through the professional Gig Office t Consider the five-year, dual-degree BA/BFA option (available with Eugene Lang College The New School for Liberal Arts) For application and audition information, call 212.229.5896 x4589 or visit us online.
www.newschool.edu/jazz3
62 JAZZed September 2008
feel for the accomplished or amateur pianist. Additionally, a new “Play Piano” switch transforms the Pa588 into a traditional digital piano instantly. The Pa588 combines the piano sound and feel of Korg’s flagship C-720 Concert Piano with the interactive composition and performance features of its popular Pa500. It delivers 80-note polyphony along with 880 pre-loaded sounds (plus 128 user locations) and 56 preset drum sounds (64 user-programmable kits) and includes a GM2 soundset. In addition, four simultaneous effects (124 types) can be used. A USB jack allows the Pa588 to communicate with a computer and supports USB/MIDI. The onboard stereo sound system features 10cm bass speakers and high resolution tweeters powered by dual 15-watt amplifiers, all housed in a bass reflex enclosure with a tuned EQ for rich musical sound quality. www.korg.com
Classic Hammond Organ
Classic Hammond Organ: Know the Players, Play the Music from Backbeat Books’ Master series chronicles not only the “who’s” and “when’s” but also the “how’s of this intimidating instrument. Author Steve Lodder lays down a solid foundation for novices and offers a refreshing take for more experienced players. Learn the essentials of keyboard splits, foot pedals, drawbars as well as signature licks from a broad range of styles. The book – with beautiful photos throughout – also includes an extensive list of essential listening and CD with numerous musical examples to complement each lesson. Retail price is $24.95. www.backbeatbooks.com
Gearcheck Gretsch Rosewood Snare Drums
Three new Rosewood snares have been added to Gretsch’s Full Range Snare lineup. Each 9-ply, 100 percent Rosewood snare drum features 30-degree bearing edges, die cast hoops, 10-lugs (20-lugs on 8 x 14) and 20-strand snares. Adjust-
Get With a Winning Program! The University of Kentucky Jazz Studies Program ...award winning
”multiple awards” Downbeat Student Music Awards Notre Dame Collegiate Jazz Festival Elmhurst College Jazz Festival Ohio State Jazz Festival
...critically acclaimed
Characterizes the best of today's college band output - **** Downbeat You won't believe these are students! - Jazz Times One of the best university jazz ensembles in the land - Jazz Player [the UK Jazz Ensemble] is one of the best of its style - JAZZIZ
...invitational performances
International Association of Jazz Educators Conference Midwest International Band & Orchestra Clinic study with:
Raleigh Dailey
•Professor of Jazz Studies Jazz Piano - UK Lab Band - UK Combos Jazz Theory, Improvisation & Arranging
Miles Osland
•Director of Jazz Studies Professor of Saxophone UK Jazz Ensemble Director, UK Mega-Sax program
able throw-off and Evans G1 batter side with Evans clear snare side heads included. Models:S-514-RW 5.5 x 14 Renown Purewood Rosewood Snare Drum $770, S-6514-RW 6.5 x 14 Renown Purewood Rosewood Snare Drum $845, S-8014RW 8 x 14 Renown Purewood Rosewood Snare Drum $925. www.gretschdrums.com
contact:
Miles Osland Director of Jazz Studies University of Kentucky 105 Fine Arts Building Lexington, KY 40506-0022 Jazz Studies Office: 859.257.8173 mosax@pop.uky.edu
Bebop Guitar from Centerstream
Bebop Guitar: Basic Theory and Practice for Jazz Guitar in the Style of Charlie Parker, the latest book/CD pack from Joseph Weidlich, shows guitarists how to transform basic jazz improve techniques into bebop figures in Bird’s famous “with strings” style by making chromatic and rhythmic alterations. Includes many musical examples, most in the user-friendly key of G major, to accommodate players not well-versed in jazz flat keys. Price is $25.95. www.centerstream-usa.com
JAZZed September 2008 63
Gearcheck M-Audio Studiophile Monitors
Learn more about Eastman’s jazz degrees including the DMA in jazz studies, plus profiles of our award-winning faculty, summer jazz offerings for high school students, and more. JAZZ FACULTY Harold Danko department chair, piano Jeffrey Campbell double bass Bill Dobbins composition/ arranging Clay Jenkins trumpet Mark Kellogg trombone
Dave Rivello ensembles Bob Sneider guitar Dariusz Terefenko theory Rich Thompson drum set Walt Weiskopf saxophone
www.esm.rochester.edu/departments/jazz APPLICATION DEADLINE DECEMBER 1
800 388 9695 or 585 274 1060 admissions@esm.rochester.edu 64 JAZZed September 2008
M-Audio unveiled the Studiophile DSM1 and DSM2 reference monitors with built-in DSP for powerful sound processing. The new monitors were developed in collaboration with Digidesign. The collaboration makes reference technology accessible to a broad array of creative and professional environments. The monitors feature an onboard DSP engine, which provides clear and accurate audio imaging by compensating for phase differences between the two drivers at the crossover point. The onboard DSP also manages a number of functions that enable users to tailor each speaker to their unique space and placement needs. The custom-voiced components ensure hours of accurate listening without fatigue. The professional analog and digital inputs support studio-grade audio resolutions up to 24-bit/192kHz, in order to reveal every detail of music created with a digital audio workstation. Studiophile DSM1 and DSM2 Features: • 1” Teteron soft fabric, high-frequency dome with Neodymium magnet and ferrofluid cooling – accurate to 27kHz • custom low-frequency driver with anodized aluminum cone provides exceptionally low distortion (6.5” on DSM1, 8” on DMS2) • onboard DSP manages the complex, 4thorder digital crossover for pristine imaging • DSP-based EQ and Acoustic Space Controls optimize the monitor for difficult acoustic environments • bass-reflex port delivers controlled extended bass response • high-density cabinet yields good damping and reduced acoustic interference • professional digital inputs (up to 24bit/192kHz): S/PDIF and AES • balanced analog inputs: XLR and 1/4” • bi-amplified with Class D power amps: 100 watts (low frequency) and 80 watts (high-frequency) The Studiophile DSM1 and DSM2 monitors are currently expected to ship in the fourth quarter of 2008 and carry MSRPs of $649.95 per unit and $749.95 per unit, respectively. www.m-audio.com
tery Chord/Scale Mas Master the Top Ten
Jazz Chords and their Scales Treble Clef
n Versio
ts men str u all In For cluded! ng CD in Play-alo
lch Keith Fe Felch.com
© Keith Felch
- All Rights
Reserved
www.Keith
Gearcheck Metric Halo’s Mobile I/O 2882 Expanded
w w w. m u s i c . u i u c . e d u ”Chip” McNeill saxophone
Ron Bridgewater saxophone
Tito Carrillo trumpet
A R FT AI S C TU L T Y
Metric Halo announces the release of their new 24-bit/96kHz Mobile I/O 2882 Expanded multi-channel processor and FireWire interface for recording and mixing in the studio or on the road. The portable 18-input/20-output 2882 Expanded incorporates the new 2d Card, which provides a nearly six-fold increase in the DSP power available for processing, routing and mixing in Metric Halo’s FireWire audio interfaces. The 2882 Expanded features eight mic/line/instrument analog inputs, eight mic preamps with individually switchable phantom power, eight analog outputs on balanced TRS connectors, 24-bit/96kHz converters on all channels, eight channels of ADAT I/O (switchable to TOSLINK), and AES-S/PDIF Digital I/O with selectable SRC. It also includes a headphone amp with front panel mute/dim, front panel metering, and remote level control on all channels. Newly added ADAT implementation includes optical S/PDIF support (independently switchable on both input and output) with asynchronous SRC for the optical S/PDIF input. Version five of the MIO Driver and MIO Console software, included with the 2882 Expanded, provides direct access to the power of Mobile I/O and the 2d Processing Architecture. It features a new customizable mixer, as well as unified control of all the mixing and processing resources of all connected Mobile I/O Expanded hardware. Metric Halo’s character processing selectively adds 15 different flavors of euphonic low-order distortions, found in classic analog devices to the inputs and mix busses of the system. The 2882 Expanded also includes a bundle of basic production plug-ins, including MIO Strip (a full featured channel strip with gate, compressor, and six-band EQ), Halo Verb, Mid-Side Decoder, Sample Delay and Dither. The mixer also provides inserts that greatly simplify and accelerate the process of adding exceptional +DSP plug-ins to the signal path. The MSRP of the 2882 Expanded is $1,895. A +DSP bundle software license is $699. www.mhlabs.com
Larry Gray bass
Dana Hall drums
KARL KRAMER, DIRECTOR
Joan Hickey piano
Jim Pugh trombone
Chip Stephens piano
Glenn Wilson saxophone
• Consistently ranked among the best American music schools • Excellent facilities • Numerous financial awards • Thousands of successful alumni VA R I E T Y O F A C A D E M I C P R O G R A M S
Bachelor’s, Master’s, and Doctoral degrees For more information, contact: Music Admissions Office Phone: 217-244-7899 E-mail: musicadmissions@uiuc.edu
Accredited institutional member of the National Association of Schools of Music since 1933.
FRED LIPSIUS
PLAYING THROUGH THE BLUES This intermediate-level reading book with accompanying CD (12 listening tracks; 12 play-along tracks) contains very melodic, fun to play blues lines and riffs in various styles/feels. The keys and tempos are comfortable. It’s an excellent tool for learning what jazz soloing is all about. Besides reading, you can improvise over the play-along tracks using the chords for the tracks shown in the book. Rhythm Section: Fred Lipsius - piano, Bruce Gertz - bass, John Wheatley - guitar, Bob Kaufman drums, Yoron Israel - drums
ALTO SAX EDITION Alto soloist: Fred Lipsius Order No. 14900 (Book with CD)
FLUTE EDITION Flute soloist: Matt Marvuglio Order No. 14904 (Book with CD)
Other editions for tenor sax, clarinet, trumpet, trombone, guitar and violin are in preparation.
a
Available through your favorite music dealer or contact
www.advancemusic.com JAZZed September 2008 65
Gearcheck SKB Shock-Rack Line
SKB introduces two new 4U shock rack models. The 24” deep (3SKBR904U24) Shock-Rack model expands the 24” series to seven different sizes while the 30” deep model (3SKBR904U30) expands the 30” line to four different models. As with all SKB 24” deep shock mount cases, the 4U Roto ShockRacks provide a rotationally molded tough shell with integrally molded valance, and they each come standard with eight elastomeric shocks (load up to 150 lbs). The load range can be enhanced by adding an additional shock on each mounting point. The 4U Roto Shock-Racks feature field-replaceable, black powder coated stainless steel latches, as well as a patent pending compound hinge door system that allows the lid to swing out and around and lie flat against the main body of the case (or alternately go lid-less with an effortless lift motion) and then be reinstalled with the same ease in seconds. The front and rear lids are designed to protrude into the base of the case approximately 1”, and their unique double wall structure makes them incredibly stiff where this intersection occurs. Each 4U Roto Shock-Rack is securely stackable with the wheels on or off. Other features include removable 4” casters, gasketed doors and pressure relief valve. Street pricing as follows: 3SKB-R904U24 24” deep x 4U Roto Shock-Rack $949.99 and 3SKB-R904U30 30” deep x 4U Roto Shock-Rack $1,149.99
If you are interested in participating in upcoming JAZZed music education surveys, please contact Editor Christian Wissmuller at cwissmuller@ symphonypublishing.com
Surve
66 JAZZed September 2008
y
HotWax August 5
Kenny Barron – The Traveler [Uni-
versal Jazz]
Erroll Garner – Portrait [Documents Classics]
Chico Hamilton – Complete Studio Recordings [Fresh Sound]
Earl Klugh – Solo Guitar [JDC]
New & Notable Music Releases All dates are subject to change
Tribal Tech – Primal Tracks [Wounded Bird]
August 19 Gary Bartz – West 42nd Street [Candid]
Eddie Henderson – Heritage [Blue
Note]
David Liebman – Negative Space
Tsuyoshi Ichikawa – The Solo Guitar of Tsuyoshi Ichikawa [Art of Life]
[Universal Jazz]
Art Pepper – Mucho Calor [Jazz
Track]
Weather Report – Black Market/
Heavy Weather [Legacy]
Art Tatum – The Art of Jazz Piano
Jack Jezzro – Romance in Rio [Century]
Aaron Parks – Invisible Cinema [Blue Note]
August 12
Heikki Sarmanto – Counterbalance
lection [Wounded Bird]
Five Play – What the World Needs Now [Arbors]
Ku Jazz Ensemble – Best Is Yet to
Come [Sea Breeze Vista]
Gene Ludwig – Duff’s Blues [18th
& Vine]
Niou Bardophones – Champ d’Anes
[Buda]
S.M.V - Thunder [Heads Up]
Sea [Decca]
[Cheap Lullaby]
Aldo Romano – Just Jazz [Dreyfus]
Stanley Clarke – Griffith Park Col-
Danilo Perez – Across The Crystal
Robin McKelle – Modern Antiques
[Screen Edge]
Paul Austerlitz – Journey [Innova]
[MCG Jazz]
Pete Yellin – How Long Has This Been Going On? [Jazzed Media]
Carl LeBlanc – New Orleans Sev-
enth Ward Griot [Preservation Hall]
Bob Mintzer Band – Swing Out
[Porter]
Jeff Steinberg – Big Band Romance
[Century]
The Three Sounds – Elegant Soul [Blue Note]
Portinho Trio – Vinho Do Porto [MCG Jazz]
Barry Tuckwell – Sure Thing [DRG] Under the Lake – People Together [Nu Groove]
Reuben Wilson – Set Us Free [Blue Note]
August 26 John Abercrombie – Sargasso Sea [ECM]
Kenny Barron – The Traveler [Sunnyside]
Chick Corea – Trio Music: Live in
Birth of Hip Bop [Jazzheads]
[NDM]
Europe [ECM]
September 2
Marc Johnson – Bass Desires [ECM]
Beegie Adair – Dancing in the Dark
Charles Lloyd – Dream Weaver:
Too Blue Lou & The Groove – The
Lin Roundtree – Sumthin’ Good
[Green Hill]
The Charles Lloyd Anthology [Warner Jazz]
Mario Castro Neves – Brazilian Mood [Dutton Vocalion]
Pat Metheny – American Garage
Lou Donaldson – Lou Takes Off
[ECM]
[Blue Note]
JAZZed September 2008 67
HotWax Note]
Curtis Fuller – The Opener [Blue
Javon Jackson – Once Upon a Melody [Palmetto]
Michael Lington – Heat [Nu
Hank Mobley – Peckin’ Time [Blue
J.R. Monterose – J.R. Monterose
Jenny Scheinman – Crossing the
Sadao Watanabe – Basie’s at Night
Reuben Wilson – Got to Get Your Own [Dusty Groove]
Al Williams – Heart Song [Pacific
September 23
Groove]
[Blue Note] [Koch]
Coast 3]
September 9
Note]
Field [Koch]
Charles Duke – Feel [Verve]
Anat Cohen – Notes from the Vil-
lage [Anzic]
Lowell Davidson – Lowell Davidson Trio [ESP]
Carlos Franzetti – Film Noir [Sun-
nyside]
Gunter Hampel – Music from
Europe [ESP]
Randy Klein – The Flowing [Jaz-
zheads]
La Bigband – From Acid to Zen
Fourplay – Energy [Heads Up]
[Oglio]
Charlie Haden – Energy [Heads Up]
Paul Motian – Live at the Village Vanguard, Vol. 1 [Winter & Winter]
Herbie Hancock – The Definitive
South Florida Jazz Orchestra
Steve Million – Remembering the Way Home [Origin]
– South Florida Jazz Orchestra [Mama]
M. Dee Stewart – Trombone Orna-
Herbie Hancock [Verve]
Luis Perdomo – Pathways [Criss Cross]
ments [Summit]
Mike Ruby – Play Time [Alma]
Maria Winther – Dreamsville [Opus
Theo Travis – Thread [Inner Knot]
3]
Eri Yamamoto – Redwoods [AUM]
Grover Washington, Jr. – All the King’s Horses [Verve]
September 16 Atomic – Retrograde [UME] Patricia Barber – The Cole Porter
Mix [Angel]
Michael Bates – Clockwise [Koch] Sonny Clark – Leapin’ and Lopin’
[Blue Note]
Ari Hoenig – Bert’s Playground
[Dreyfus]
68 JAZZed September 2008
If you have information on an upcoming album or music DVD release which you’d like to have included in the next issue of JAZZed, please e-mail editor Christian Wissmuller at: cwissmuller@symphonypublishing.com
Backbeat
Lee Young 1914-2008
Lee Young was born in New Orleans, Louisiana and was the son of musicians, Willis and Lizette Young. Beginning at the age of four, Lee toured and performed in a carnival act with his father and siblings – late saxophonist Lester Young, and his late sister Irma. In 1928 the family settled in Los Angeles, where Lee and his sister entertained at the dance marathons that were the rage during the Depression. It was at this time that Lee began to perform as a drummer, having switched from the trombone, and did some of his first recordings with Fats Waller during the 1930s. He also played with Duke Ellington, Count Basie, Lionel Hampton, and Nat King Cole. His accomplishments helped build a vibrant jazz scene along the West coast, and earned him credit as the first black artst to become a regular film studio musician in Hollywood. Lee also worked in A & R for several record companies. He began at Vee-Jay Records and went onto work at a number of labels, which included United Artist, Motown, Dunhill, and ABC. It was during his time at ABC that he discovered and signed the jazz fusion act, Steely Dan. Lee said in a 1999 interview, “I don’t see how you can separate music where color is concerned. That’s why I think I was successful in the record business, because it’s colorless to me. Either it’s a good song or it’s not a good song. I don’t care who wrote it, just let me hear the song” Lee Young passed away in Los Angeles on July 31 at the age of 94.
JAZZed September 2008 69
Classifieds Books
Instruction
Merchandise
JAZZ SAXOPHONE ETUDES & DUETS BOOK & CD PLAY-ALONG SETS BY GREG FISHMAN Endorsed by Michael Brecker, Dave Liebman, Jerry Coker, James Moody, Mark Colby & Bob Sheppard. Visit: WWW.GREGFISHMANJAZZSTUDIOS.COM for free sample etudes and duets.
Instruments
CDs Guy Lee
"The Hurricane Waltz" All-Instrumental Guitar Oriented CD
www.guytar.com
Help Wanted
CASES CASES CASES
Factory Direct! Any ATA Case For $99 Mixers, Amps, Heads, or Keyboards www.discount-distributors.com
800-346-4638
Jazz Videos
JAZZ DVD’S Concerts, films. TV, documentaries, instructionals.
(Armstrong to Zorn). Free JAZZ DVD CATALOGUE JAZZWEST, PO Box 3515(ED). Ashland, OR 97520 (541) 482-5529 www.jazzwestdvd.com
Advertise in the Classifieds!
Call Maureen 1-800-964-5150 ext. 34 • mjohan@symphonypublishing.com
70 JAZZed September 2008
Classifieds Publications
Publishing/Teaching
CARIS MUSIC SERVICES The source for Germany’s Advance Music publications Celebrating 20 years of USA distribution
Write for a free catalog or visit the Caris Music Services homepage Also distributing other fine publications including Universal Edition, Schott, Mr. Goodchord plus select European imports and self published artist works
2206 BRISLIN ROAD STROUDSBURG, PA 18360 USA phone: (877)267-9797 or (570)476-6345 fax: (570)476-5368 e mail: caris@ptd.net webpage: http://www.carismusicservices.com
Advertise in the Classifieds!
Call Maureen 1-800-964-5150 ext. 34 mjohan@symphonypublishing.com
Print Music
www.JAZZedmagazine.com
Travel
EARN FREE AIR MILES! When your Group Travels with
American Tours & Travel Travel anywhere throughout the world
800-243-4365 JAZZed September 2008 71
AdIndex Company
Email/Web
Advance Music JJ Babbitt Berklee College of Music Big Bandman Jazz Cannonball Music Instruments Capital University Chord/Scale Mastery Claude Lakey Mouthpieces Columbia College Cultural Tour Consultants Cuyahoga Community College DIVA Jazz Orchestra Eastman School Of Music Five Towns College Frost School of Music Golden Sound Distribution/Kenny G Saxophones Hal Leonard Corp. Hamilton Stands Inc. Indiana University Jacobs School of Music Jazz at Lincoln Center Jazzmobile, Inc JodyJazz John Fedchock Juilliard School of Music Jupiter Band Instruments Manchester Craftsmenâ&#x20AC;&#x2122;s Guild Midwest National Band Clinic New Horizons Tour & Travel New Horizons Tour & Travel NS Design Pacific Coast Jazz Pearl Corp. PJLA Music Products Pro Winds Sabian Ltd. San Jose State University Sher Music Co. Sierra Music Stanford Jazz Workshop Temple University Texas Christian University The New School for Jazz United States Air Force Heritage of America Band University of Illinois University of Idaho University of Kentucky University of Michigan University of Nebraska Lincoln University of North Carolina Wilmington University of Nevada-Las Vegas University of Toledo University of Tennessee, Knoxville University of the Arts Vandoren Virgin Entertainmet Group Wayne State University Yamaha Corporation of America
www.advancemusic.com www.jjbabbitt.com www.berklee.edu www.BigBandmanJazz.com www.cannonballmusic.com www.music.capital.edu www.keithfelch.com www.claudelakey.com www.colum.edu/music www.culturaltourconsultants.com www.tri-c.edu www.divajazz.com www.ems.rochester.edu www.ftc.edu www.music.miami.edu www.goldensounddist.com www.halleonard.com, www.halleonard.com/d www.hamiltonstands.com www.iu.edu www.jazzatlincolncenter.org www.jazzmobile.org www.JodyJazz.com www.johnfedchock.com www.juilliard.edu www.jupitermusic.com www.mcgjazz.org www.midwestclinic.org www.nhtt.com www.nhtt.com www.NedSteinberger.com www.pacificcoastjazz.com www.pearldrum.com www.pjlamusc.com www.prowinds.com www.sabian.com www.music.sjsu.edu www.shermusic.com www.sierramusic.com www.stanfordjazz.org www.temple.edu www.music.tcu.edu www.jazz.newschool.edu www.heritageofamericaband.acc.af.mil/ www.uiuc.edu www.jazz.uidaho.edu www.uky.edu www.music.umich.edu www.unl.edu/music www.uncwil.edu/ www.unlv.edu www.jazz.utoledo.edu music@utk.edu www.uarts.edu www.dansr.com www.virginmega.com www.music.wayne.edu www.yamaha.com
72 JAZZed September 2008
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