SEPTEMBER 2010 • $5.00
THE JAZZ EDUCATOR'S MAGAZINE
Esperanza Spalding
This Music Should be Known Educator Roundtable: Saxophone Mouthpieces Focus Session: Characteristic Mode Tone
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JAZZ EDUCATION NETWORK
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ESPERANZA SPALDING “There’s really a value to these young people learning this music.”
contents
SEPTEMBER 2010
ESPERANZA SPALDING – THIS MUSIC SHOULD BE KNOWN 24
A musical prodigy who, at age 25, already has a handful of top-selling and acclaimed recordings under her belt and served as the youngest-ever faculty member at Berklee College of Music, Esperanza Spalding is one of the premier torchbearers for the continued relevance of jazz.
ROUNDTABLE: SAXOPHONE MOUTHPIECES 32
JAZZed speaks with three of the jazz world’s premier sax players - Ralph Bowen, George Garzone, and Dave Glasser – to get their input and advice on selecting the appropriate mouthpiece.
FOCUS SESSION: MODES 38
Acclaimed educator, author, and frequent JAZZed contributor Lee Evans discusses characteristic mode tone.
WASHINGTON’S BEST-KEPT MILITARY SECRET... 42
DC-based writer and jazz scholar Steven Marks sheds some light on our underappreciated and often overlooked elite military ensembles.
THE LEADING EDGE 48
In this first installment of many “The Leading Edge” columns to come, New York composer and bandleader Anita Brown asks nine prominent lead players to discuss their most significant early influences. ™
2 JAZZed September 2010
™
SEPTEMBER 2010 Volume 5, 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
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ASSOCIATE EDITOR Eliahu Sussman esussman@symphonypublishing.com STAFF WRITER Denyce Neilson dneilson@symphonypublishing.com Art Staff PRODUCTION MANAGER Laurie Guptill lguptill@symphonypublishing.com GRAPHIC DESIGNER Andrew P. Ross aross@symphonypublishing.com GRAPHIC DESIGNER Laurie Chesna lchesna@symphonypublishing.com Advertising Staff ADVERTISING SALES Iris Fox ifox@symphonypublishing.com CLASSIFIED SALES Maureen Johan mjohan@symphonypublishing.com
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departments PUBLISHER’S LETTER 4 NOTEWORTHY 6 AMINA FIGAROVA: WHAT’S ON YOUR PLAYLIST 12 JAZZ EDUCATION NETWORK SECTION 16 • PRESIDENT’S LETTER • NETWORTHY NEWS • JEN STUDENT COMPOSITION SHOCASE • JEN CONFERENCE
CROSSWORD PUZZLE 37 JAZZ FORUM 52 HOT WAX 54 GEARCHECK 57
CD SHOWCASE 60 CLASSIFIEDS 62 AD INDEX 63 BACKBEAT: AHMAD S. ALAADEEN 64
Photo Provided By Montuno Productions, Taken By Sandrine Lee
SALES & MARKETING MANAGER Jason LaChapelle jlachapelle@symphonypublishing.com Business Staff CIRCULATION MANAGER Melanie A. Prescott mprescott@symphonypublishing.com ADMINISTRATIVE ASSISTANT Popi Galileos pgalileos@symphonypublishing.com Symphony Publishing, LLC CHAIRMAN Xen Zapis PRESIDENT Lee Zapis lzapis@symphonypublishing.com CHIEF FINANCIAL OFFICER Rich Bongorno rbongorno@symphonypublishing.com Corporate Headquarters 26202 Detroit Road, Suite 300 Westlake, Ohio 44145 (440) 871-1300 www.symphonypublishing.com Publishing, Sales, & Editorial Office 21 Highland Circle, Suite 1 Needham, MA 02494 (781) 453-9310 FAX (781) 453-9389 1-800-964-5150 www.jazzedmagazine.com
Member 2010
RPMDA JAZZ EDUCATION NETWORK
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. © 2010 by Symphony Publishing, LLC. Printed in the U.S.A.
JAZZed September 2010 3
publisher’s letter
RICK KESSEL
String Players in Jazz
I
n the past, with the exception of the bass, there had more young players to make their mark in this field been relatively few opportunities for string players of playing. to get a full education focused on jazz. Although Apparently, the educational options for string there have been some stellar string players in jazz, players appear to be improving, as more young viothey have been in relatively small numbers com- linists, violists, and cellists look to jazz as an outlet for pared to those in the classical genre. According to their creativity, and an alternative to the orchestral the Web site nfo.net/usa/violin.html, “Rarely men- and small ensemble settings in the classical world. tioned now, the violin (and viola) was an important Music colleges, conservatories, and schools are takpart of jazz during its formative years! It was heard ing notice of the increased level of interest and are in the earliest New Orleans bands.” Additionally, adding more performance and educational options violins, violas, and cellos have been for students, although they are still used in background settings with far behind those opportunities availThe educational many of the big bands, including able for the more traditional jazz inArtie Shaw, Tommy Dorsey, and options for string struments. Berklee College of Music, others. There have been some very has been on the leading players appear to however, successful jazz violinists, includedge of this trend, and has featured be improving. ing Eddie South, Stuff Smith, Paul a jazz string ensemble for many years, Nero, and, of course, Stefane Grapwhich offers improvisational opporpelli. Plus, there are some standout tunities for these musicians. Other musicians in today’s scene, like: violinist Regina schools are just beginning to establish programs both Carter; David Baker, who has brought the cello in the United States, Europe, and beyond. into the jazz world; and even Tanya Kalmanovitch, Our cover story this month on Esperanza who has established a niche as a jazz violist. The Spaulding provides an insightful look at one of the eclectic Turtle Island Quartet has also made a name most astonishing young musician/teacher/composfor themselves as a unique, pioneering group of ers on the scene today. Although she is known prijazz string players. marily as a bassist and singer, her start came as a With the advent of electric pickups, which took classically trained violinist who also played some place decades ago, however, it is a bit surprising oboe and clarinet before migrating to the bass at that there have not been a greater numbers of the age of 15. Although she didn’t make the violin string players. With the technical capabilities as her primary instrument, she is certainly in a posiwell as the expressive nature of these instruments, tion to help encourage more high-string players to along with more recent innovations in electric get onto the jazz bandwagon, regardless of their stringed instruments, there is certainly room for specific instrument of choice…
rkessel@symphonypublishing.com
4 JAZZed September 2010
noteworthy Jazz Educators Take New Orleans!
J
oin the Jazz Education Network (JEN) on January 6-8, 2011 at the historic Roosevelt Hotel in New Orleans, La. for the organization’s second annual national conference. Enjoy meeting other jazz educators, attend exhilarating school ensemble performances or enlightening clinics, hear exciting headliners, visit industry exhibits, and jam with the best. Visit www.JazzEdNet.org to learn more.
National Jazz Museum Acquires “Savory Collection”
On August 16, the New York Times reported that the National Jazz Museum in Harlem acquired the “Savory Collection.” Recorded from radio broadcasts in the late 1930s by audio engineer William Savory, the collection includes live performances by some of the biggest names in jazz. The National Jazz Museum has begun digitizing the collection of nearly 1,000 12- or 16-inch discs, made of aluminum or acetate. The recordings were at the height of the swing era, featuring performances by Louis Armstrong, Benny Goodman, Billie Holiday, Count Basie, Coleman Hawkins, Lester Young, and many others. The Savory Collection also contains examples of underappreciated musicians playing at peak creative levels not heard anywhere else, putting them in a new light for music fans and scholars. For more information, visit www.jazzmuseuminharlem.org. 6 JAZZed September 2010
JAZZ EDUCATION NETWORK
RS Berkeley Welcomes Albert Rivera & Gregory Tardy As Endorsers
R
S Berkeley’s new endorser, Albert Rivera, has enjoyed the opportunity to play and learn alongside some of the greats in jazz performance, like Don Braden, Jimmy Greene, and Claudio Roditi. Rivera currently teaches at the Litchfield Jazz Camp, where he is now on the faculty coaching both young and old players. He also is starting new programs to expose and teach a greater number of children about jazz. Gregory Tardy has performed and recorded with a large array of prominent artists including: Tom HarAlbert Rivera rell; Dave Douglas; Wynton Marsalis; Betty Carter; James Moody; Bill Frisell; Andrew Hill; Joe Lovano; Mark Turner; Chris Potter; Dewey Redman; and Ravi Coltrane. Tardy currently teaches at the University of Tennessee and is preparing to tour around the world during the summer and fall. RS Berkeley specializes in student, intermediate and professional woodwind, brass, and string instruments. For more information, visit www.rsberkeley. Gregory Tardy com.
noteworthy Mel Martin Performance & Clinic
Westchester Jazz Orchestra To Honor Michael Brecker
Saxophonist, flutist, composer, arranger, and educator Mel Martin is touring the mid-west this month. He will be appearing at the Hot Springs Jazz Festival in Hot Springs, Arkansas on September 18 with trombonist Scott Whitfield, drummer Paul Shaw, bassist Rufus Reid, and pianist/artistic director Clyde Pound. In addition, he will be conducting a free one-hour clinic presented by the Hot Springs Jazz Society and The University of Arkansas at Monticello, co-sponsored buy Conn Selmer (Yanagisawa Saxophones) and D’Addario (Rico Reeds) corporations. For more information, visit www.melmartin.com.
The Westchester Jazz Orchestra will begin their 2010-11 season with a special concert honoring one of Westchester’s own: multi-Grammywinning saxophone giant Michael Brecker, who passed away in January 2007. Michael’s brother Randy Brecker, a musician and multiGrammy winner himself, will join WJO for this celebration of Michael’s musical legacy.
The Rhythm Road: American Music Abroad Jazz at Lincoln Center and The U.S. Department of State’s Bureau of Educational and Cultural Affairs are collaborating for a sixth year on The Rhythm Road: American Music Abroad. JALC is now accepting band applications for the 201011 season. American music quartets from throughout the United States specializing in jazz, urban/hip hop, bluegrass, blues, Cajun, country, gospel, and zydeco are invited to apply for the opportunity to tour internationally and share their music with the world. The application deadline is November 1. Auditions will be held in New York City at Frederick P. Rose Hall, home of Jazz at Lincoln Center and, for the first time in the history of the program, in New Orleans. The jazz ensemble group, Nasar
Abadey and Supernova, will tour Eastern Africa with The Rhythm Road: American Music Abroad program. The jazz ensemble from Washington, D.C. was selected from a pool of 132 applicants to travel abroad and promote cross-cultural understanding. International tour activities will include public concerts, master classes, lecture-demonstrations, workshops, jam sessions, collaborations with local musicians, and media outreach. As part of The Rhythm Road, Nasar Abadey and Supernova will also perform in Washington, D.C., on December 2, 2010, at the Grosvenor Auditorium and at Jazz at Lincoln Center on, December 11, 2010, in New York City. To learn more, visit www.exchanges. state.gov.
Spectra Records Launches New Jazz Label Spectra Records, known for its roster of classic rock pioneers, has expanded to provide a division dedicated to jazz. Spectra Jazz plans to offer releases from traditional, classic, and progressive jazz artists with releases worldwide. For more information, visit www.spectrajazz.com.
8 JAZZed September 2010
The concert will take place on September 25 at the Irvington Town Hall Theater, in Irvington, N.Y. Randy Brecker and WJO’s artistic director Mike Holober will discuss Michael’s music and career in a preconcert talk, free for ticket holders. During his career, Michael Brecker won 15 Grammy awards, numerous accolades, as well as the prestigious Edison Jazz Award after his death. For more information, visit www.westjazzorch.org.
Win a Spot on the Stages of the 54th Annual Monterey Jazz Festival! Enter the Next Generation Jazz Festival Competition! Open to Middle School, High School, Conglomerate High School, and College Big Bands; High School Combos; High School and College Vocal Ensembles; and our newest division, Open Combos, open to any combination of College and/or Conglomerate High School Ensembles. Individual musicians are invited to audition for our Next Generation Jazz Orchestra, performing at the Monterey Jazz Festival Presented by Verizon and on a summer tour of Japan! Enter our Big Band Composition Competition and see your piece performed by the Next Generation Jazz Orchestra on the Jimmy Lyons Stage at the Monterey Jazz Festival! Win scholarships, trophies, cash prizes, and more! Enjoy performances, clinics, workshops, and more with our 2011 judges and MJF's 2011 Artist-In-Residence!
Presented by the Monterey Jazz Festival
April 1-3, 2011 Monterey Conference Center / Monterey, California Visit montereyjazzfestival.org or call 831.373.3366 for applications and information. Entry deadline for all ensembles is January 21, 2011. Entry deadline for videotaped Next Generation Jazz Orchestra auditions and for the Composition Competition is March 4, 2011. Funding for the Next Generation Jazz Festival comes from Joseph Drown Foundation, D’Addario Music Foundation, Community Foundation for Monterey County, and individual donors. Thanks to our Partners: City of Monterey, DownBeat Magazine, and Yamaha Instruments!
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Music for All Announces New Leadership Music for All, Inc. has announced that Eric L. Martin has been named the organizationâ&#x20AC;&#x2122;s president and CEO. Previous president and CEO Scott McCormick has resigned his position with the organization. The executive leadership of the organization will be Mr. Martin and Nancy H. Carlson, vice president and chief financial officer. For more information, visit www.musicforall.org.
Berklee Launches Program for Blind and Visually Impaired Students
Aimed at leveling the playing field for blind and visually impaired students, Berklee College of Music launched a five-week pilot program this summer to integrate basic Braille music nota-
tion and music hardware and software specifically designed for blind students with music theory and ear training. The program is led by blind Berklee alumnus Chi Kim, who helped design the curriculum and supervise the technology purchases. The pilot has been so successful that it will be integrated into the curriculum this fall and be taught by Kim. For more information, visit www.berklee.edu.
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MADE IN THE USA 10 JAZZed September 2010
Music should never be harmless. ~ Robbie Robertson
For Additional News in JAZZed, please visit
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Annual Kansas City Memorial Juneteenth Jazz & Arts Festival “A Juneteenth Tribute to Horace Peterson & Kansas City Jazz Great Jay McShann” Saturday, June 11, 2011, 6:00pm Marriott Country Club Hotel 4445 Main Street Kansas City, MO 816-218-0244
Annual Washington, DC Juneteenth Jazz & Arts Festival “A Juneteenth Tribute to DC Legends Duke Ellington & George Johnson” Saturday, Thursday, June 16, 2011, 6:00pm Westminster Presbyterian Church Washington, DC 202-484-7700
Annual Indiana Juneteenth Jazz Legacy Observance “A Juneteenth Tribute to Indiana Jazz Legends Noble Sissle, Sidney & Wilbur De Paris, JJ Johnson, Wes Montgomery, David Baker, Leroy Vinnegar, Willis Kirk, Freddie Hubbard & Larry Ridley” Friday, June 24, 2011, 6:00pm Madam C.J. Walker Theatre Center 617 Indiana Avenue
Indianapolis, IN 317-236-2099
Family events brought to you by the National Juneteenth Observance Foundation, Juneteenth America, Inc. & the National Association of Juneteenth Jazz Presenters featuring Rev. Ronald V. Myers, Sr., M.D., National Juneteenth Jazz Artist
www.JazzMissouri.com
www.JazzIndiana.net
www.JuneteenthJazz.com
In Association with:
African American Jazz Caucus, Inc. (AAJC) www.AAJC.us
Celebrating the Legacy of HBCU Jazz Education in America! www.juneteenthjazz.com/hbcu.htm
“June is Black Music Month!”
CELEBRATING JUNETEENTH JAZZ “Preserving Our African American Jazz Legacy!” www.NationalJunteenth.com
What’s on Your Playlist?
1. The Cutting Edge – Sonny Rollins I heard this recording just recently on KCSM while driving to a gig in the Bay Area. McCoy was and is one of my great inspirations. On this album, and particularly on the title track, there is amazing synergy between McCoy Tyner and the other great players — Ron Carter, Al Forster and Sonny Rollins — that brings it all to a very different level. 2. Sci-Fi – Christian McBride Brilliant album by Christian McBride, and my favorite track is “Xerxes” with an absolutely amazing solo by my hero, Herbie Hancock. It is so complex, energetic and sophisticated – true Herbie. 3. Concert in the Garden – Maria Schneider I love Maria Schneider’s sound, it so symphonic and complex; at the same time it’s so clear and transparent. Concert in the Garden is probably one of my favorite Maria Schneider recordings. 4. Keith Jarrett A Journey that never ends – the more you listen, the more
Photo by Robbert Beck.
Amina Figarova has been earning recognition not only as a captivating pianist, but also as, “among the most important composers to come into jazz in the new millennium” (Thomas Conrad, JazzTimes). A native of Baku, Azerbijan, Figarova studied classical piano before switching to jazz after a 1988 trip to the Moscow Jazz Festival. She then studied at Berklee, was accepted into the Thelonious Monk Jazz Colony in Aspen, Colorado, and began recording. Amina currently lives in the Netherlands and tours the globe with her sextet, which recently performed at the Newport Jazz Festival to celebrate the release of their new CD, Sketches. The group then toured America with stops at Jazz at Lincoln Center, the San Jose Jazz Festival, and many more before heading back to Europe for more touring. you discover. To be honest it’s hard to point out my most favorite CD, but the ones I listened to most recently are The Out-of-Towners and Testament. 5. New Standard – Herbie Hancock Herbie Hancock is always on my playlist. But the reason I chose this album is because it’s a great statement that Herbie does here using the “standards “ of today – songs written by Stevie Wonder, Peter Gabriel, Prince, et cetera. The arrangements are beautiful, sophisticated, intriguing. I can listen to it over and over again. 6. Bounce – Terence Blanchard I love Terence Blanchard as player and composer, he is always innovative, and he never forget his New Orleans roots. That’s what makes his music so unique. 7. Esta Plena – Miguel Zenon What a wonderful fusion of purity of Puerto Rican folk music and sophisticated arrangements and harmonies of Miguel. Brilliant.
Amina Figarova’s latest album, Sketches (Munich Records), was released in late March. 12 JAZZed September 2010
THE JUILLIARD SCHOOL
Carl Allen Artistic Director Laurie A. Carter Executive Director Benny Golson Artistic Consultant Christian McBride Artist in Residence Benny Green Visiting Artist Saxophone Ron Blake Joe Temperley Trombone Steve Turre Trumpet Eddie Henderson Christian Jaudes Joseph Wilder
|
JOSEPH W. POLISI, President
Juilliard
JAZZ
Jazz Performance Education Bachelor & Master of Music Artist Diploma Curriculum Tailored to Each Student’s Need Perform, Tour, Participate in Master Classes Extraordinary Faculty & Top Guest Artists Apply by December 1 for February/March auditions in New York at Juilliard
Guitar Rodney Jones
All applicants must meet Juilliard’s jazz audition requirements.
Piano Kenny Barron Frank Kimbrough
M.M. requires bachelor of music
Drums Carl Allen Billy Drummond Kenny Washington Bass Ron Carter Ray Drummond David Grossman Ben Wolfe
B.M. requires high school diploma or equivalent Artist Diploma (a post-graduate, tuition-free program) requires college degree or extensive experience Send Applications and Pre-Screen Recording to: Juilliard Admissions, 60 Lincoln Center Plaza, NY, NY 10023 (212) 799-5000 • www.juilliard.edu/jazz Photo: Jazz Bassist, alumnus, and Juilliard Jazz Artist-in-Residence Christian McBride performs with student Eddie Barbash, on alto sax. Photo: Hiroyuki Ito
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14 JAZZed September 2010
8. Piano – Wynton Kelly I’ve been always fascinated by Wynton Kelly. I think you can hear Kelly’s influence on many great players today. Piano was my first Wynton Kelly album. 9. Both Worlds – Michel Petrucciani I will never forget the first time I saw Petrucciani in The Netherlands at a Jazz Festival – I cried. It was magic. And since then, live or on the recordings, he touches and inspires me. It’s a big loss that he’s gone. Beautiful line-up on this album: Steve Gadd, Anthony Jackson, Bob Brookmeyer, Flavio Boltro, Stefano Di Battista... 10. Lost and Found – Ledisi I grew up listening to lots of Motown and soul music. I love it and hope one day to create a project in that direction. A few years ago I heard Ledisi’s album, Soulsinger, for the first time – I fell in love with the music, her voice, and the arrangements. Lost and Found became my “therapy.” Whenever I feel blue I listen to “Alright” or “Today” and it makes me feel so good.
Our network is growing A MESSAGE FROM JEN PRESIDENT LOU FISCHER “A teacher affects eternity; he can never tell where his influence stops.” – Henry Brooks Adams As we approach Fall, those of us involved in Education begin our preparations for the new academic year. I am sure most of you would agree that it is a privilege and an honor to go to work every day and do something you absolutely love to do! As President of JEN and as a full-time educator, I currently enjoy this privilege two-fold. The quote above proclaims, “a teacher affects eternity”, and I am convinced that JEN will prove to do the same… never knowing where the influence stops! I think we would all concede that, students of music, perfect their skills as musicians through; weekly music lessons, endless scales and arpeggios, ear training classes, hours of listening to the masters, nightly rehearsals, recitals for friends and family, and juries with faculty members and the like. While often singing or playing an instrument is viewed as a hobby by some, the serious music student, educator and/or professional transforms this act into a way of life. Many of us in jazz and/or jazz education realized early on in our musical lives, that the music chose us, not the other way around! When the Board began planning conferences in 2009, we decided to base the theme of the first three years on the three major components within our mission statement... ...advancing education, promoting performance and developing new audiences. The theme in St. Louis 2010 was “Shaping the Future of Jazz Education”, while the 2011 theme will be “Honoring Performance in the Birthplace of Jazz!” While supporting the chosen theme of promoting performance, you can be assured the JEN Board of Directors during the August 2nd-5th summer meetings was focused on making sure the “E” in JEN remained as a strong emphasis, while striving to continue advancing education and developing new audiences. Towards that end, twenty-seven student jazz ensembles will be front and center in New Orleans! Most of the groups will perform in concert on the dedicated JENerations Showcase Stage in the Orpheum Ballroom, while a select few will be presented on the Main Stage. Additionally, we have established the new Student Composition Showcase. A select group of participants will be invited to attend the 2011 conference and hear a professional performance of their music and receive adjudicated comments. In addition to the impressive array of student talent, check out the prestigious list of thirty plus pro ensembles!... then take in the assortment of topics covered in the sixty-five or so clinics and panels to be placed on the schedule! A detailed listing of all of the above follows in the JEN pages. As January draws closer, we will begin to unravel a golden thread of New Orleans culture and heritage in the conference offerings. As we all know, New Orleans is where the seeds of this great music were planted, and therefore it is important to honor the music from its humble beginnings, to where it has evolved currently, embracing all developments along the way. You should know...choosing the final slate was indeed an arduous task, and a tremendous amount of effort went into balancing the offerings in terms of genres and interests, while including topics relative to enthusiasts, vocalists, instrumentalists, arrangers, composers, administrators, managers, agents, journalists, historians, archivists, improvisers, educators, and students of the music from all age groups. We truly wish we were able to offer enough slots to present all who submitted, but with the enormous amount of clinic and performance submissions received, that unfortunately is not possible. We do encourage all to apply again next year for 2012! In closing, I would share my personal ideal that the conference is a carefully chosen curriculum featuring the best of the best, within which all of us will find something new to peak our interests... “Who dares to teach must never cease to learn.” -- John Cotton Dana Bass-ically Yours; Dr. Lou Fischer JEN Co-Founder, President lfischer@JazzEdNet.org
JEN Board of Directors (2010-11): Ruben Alvarez, Paul Bangser, Paul Chiaravalle, John Clayton-Vice President, Orbert Davis, Jose DiazSecretary, Dr. Lou Fischer-President, Monica Herzig, Willard Jenkins, Rick Kessel-Treasurer, Mary Jo Papich-Past President, Paris Rutherford, Bruce Silva, Bob Sinicrope, Terell Stafford, Andrew Surmani-President Elect. Office Manager/Webmaster: Steve Crissinger Our goal is to be a vital resource for a constantly evolving global art form today and for JENerations to come.
www.JazzEdNet.org
networthynews The Jazz Education Network is proud to announce that The JENerosity Project, a two year initiative chaired by JIM WARRICK (IL) and UMSL student KIM AUBUCHON (Women In Jazz Recipient) generated approximately $10,000 of music and instruments to assist the devastated music programs of New Orleans schools affected by Katrina via Tipitina’s Foundation. Be JENerous! Attendees to the 2nd JEN Conference are encouraged to bring used or new instruments to New Orleans to help students in need. Many thanks to the 2010 donors. Alto/soprano saxophonist/flautist TIA FULLER’s newest Mack Avenue release Decisive Steps is a sumptuous CD of ten tracks that illustrate her artistic fearlessness. A member of Beyoncé’s band for four years, Fuller’s agile, buoyant and elegant full-bodied sax lines effortlessly improvise a number of moods and grooves, as evidenced by the take-no-prisoners tempo of the title track. Decisive Steps features Tia’s Beyoncé bandmate, drummer Kim Thompson; bassist Miriam Sullivan; Fuller’s sister, Shamie Royston on piano and Fender Rhodes; with special guests, trumpeter Sean Jones and bassist Christian McBride; vibraphonist Warren Wolf; and tap dancer Maurice Chestnut. Check out her website to learn more.
In August the Crescent Super Band, under the direction of CALEB CHAPMAN (UT), was featured at the 2010 Telluride Jazz Celebration as the backing band for the legendary pianist, composer, and NEA Jazz Master TOSHIKO AKIYOSHI. While many professional bands would be wary of taking on such a difficult set, the band took the challenge head on and received a standing ovation
for their efforts. The band of Utah high school musicians also performed two sets of their own music at the festival with special guests, Lew Tabackin and Terreon Gully. ROB PARTON (IL) has just been named Professor of Trumpet at the Conservatory of Music at Capital University in Columbus, Ohio. For the past 17 years Professor Parton has held a full-time position at Roosevelt University’s Chicago College of Performing Arts, including many years serving as a department head. Rob, a highly sought clinician and adjudicator, brings with him a truly national and international profile to CU as both an educator and performer. He has presented concerts and clinics at educational institutions and music festivals, as well as the Midwest Band and Orchestra Clinic, IAJE, MENC, and numerous other music education conferences throughout the nation. Rob has been a front man and a side man in many reputable groups, including his own Rob Parton Big Band, performing in some of the nation’s finest entertainment establishments. Rob’s students have matriculated to successful careers in both the performance and educational arenas, following in their mentor’s footsteps. Good Luck Rob! Organizers of the DETROIT INTERNATIONAL JAZZ FESTIVAL (DJF-Institutional Partner) unveiled a unique concept to share the 2010 festival with the world on DJF’s Jazz Planet tv - an interactive web experience that will stream via the internet live and taped performances, news flashes, interviews and behind-the-scenes commentary throughout Labor Day Weekend, Sept. 3 - 6. The mission of the project is to showcase Detroit as an important center for American music, to provide a unique platform for musicians to showcase to the world, and to reacquaint the mainstream with jazz through social media outlets. In partnership with Show Ads Network, Livestream.com and Detroit Public Television, DJF’s Jazz Planet stage at Campus Martius will stream via the web what is cool about Detroit and in particular, Detroit Jazz Fest, in real time. Viewers everywhere - from London to Afghanistan - will experience the uniqueness of one of the world’s largest free jazz festivals, how it blends urban chic and a hip and diverse audience with some of the best music on the planet. “It will be fun, spontaneous, and capture the unique vibe of the festival that Russ Davis (Voice of America) described as “Jazz Disneyland” last year,” says Festival Director TERRI PONTREMOLI (MI). ORBERT DAVIS (IL Founding Board member), founder of the Chicago Jazz Philharmonica, held a two week sumJAZZed September 2010 17
networthynews JAZZ EDUCATION NETWORK
mer Jazz Academy for approximately 150 inner city youth at University of Illinois Chicago sponsored by the CJP and UIC. The Concert finale was a focus on process and the product was inspirational! A panel of arts educators entitled “BEYOND ADVOCACY” included DIANE CHANDLERMARSHALL (IL), MARY JO PAPICH (IL past president), MARK INGRAM (IL Founding Member), and others from
imaginative peak, free to be totally creative playing the music he loves the most. As on Moody 4A the leader is once again reunited with longtime friend and fellow NEA Jazz Master pianist KENNY BARRON who first made his mark playing together with the virtuoso saxophonist in his quartet and later upon his recommendation joined the saxist as a member of Dizzy Gillespie’s band. “Kenny is a master and I always love working with him,” Moody says affectionately. “ I first played with him when he was 18 years old and I have loved him ever since. He is a very spiritual person and it comes through in his music.” Joining the pair are bassist Todd Coolman, who Moody says “is like my right hand,” noting their 25 plus years of working together; and drummer Lewis Nash, who has played off and on together with the leader for many years and of whom Moody says “I admire him as a person and a musician.” The leader continues, “Choosing the music was a collaborative effort. I value everyone’s opinion and each musician had input and great suggestions. Of course, Kenny, Lewis and Todd are all masters in their own right and each always contributes greatly to any project in which they are involved.”
National Endowment for the Arts and Illinois State Board of Education, UIC, DePaul and officials from Chicago Public Schools.
Lamont Alumni Association is sponsoring the first Lamont Alumni Jazz Jam Session on Sunday, Oct. 17 from 3 - 4:30 in Hamilton Recital Hall in the Newman Center. There will be a reception following. LAMONT SCHOOL OF MUSIC (CO Affiliate member) is located at the University of Denver. All alums visit the website!
GAIL BOYD Management announces that SACHAL VANSANDANI was named as the Rising Star-Male Jazz Vocals in the 2010 Downbeat Critics Poll recently. See Sachal at the 2nd Annual JEN Conference in New Orleans January 6th-8th, 2011. What’s up in NYC? Celebrating Ornette Coleman: Jimmy Katz Presents in co-production with The Jazz Gallery, Sept. 24-26 at Jazz Gallery, 290 Hudson Street in New York City Visit www.jazzgallery.org The Jazz Gallery NEA Jazz Master JAMES MOODY (CA) returns to the recording scene with his sixth appearance on IPO, Moody 4B, the swinging sequel to last year’s critically acclaimed Moody 4A. Made in New York City in July of 2008 the disc marks Moody’s 60th year as a recording artist. Of the many great records that he’s made during those six decades he considers these among his most special. Moody says, “This recording was a total pleasure because producer Bill Sorin let me be me, musically. So many of the previous producers of my albums wanted a “concept.” Well, how about the concept being “Moody”? With the spotlight focused on Moody’s brilliant playing, without the demands of trying to squeeze his ingenious improvisations into someone else’s preconceived model, we hear this jazz icon at his 18 JAZZed September 2010
On this the 40th anniversary of All Nite Soul, the Jazz Ministry of Saint Peter’s Church – the Jazz Church – is thrilled to honor National Endowment for the Arts (NEA) Jazz Master, saxophonist and flutist FRANK WESS. The event will have over 80 musicians celebrating All Nite Soul and honoring Frank Wess. An “exhibit wall” in the Living Room of Saint Peter’s Church will tell the story of Frank Wess with memorabilia. Frank Wess is revered as a smoothly swinging tenor saxophone player in the Lester Young tradition, as an expert alto saxophonist, and as one of the most influential, instantly recognizable flutists in jazz history. This will all take place Sunday, October 10 at Saint Peter’s Church, 619 Lexington (at 54th Street), New York City with 5:00 PM: Jazz Vespers Free Will Offering, 7:00 PM: All Nite Soul Concert – $25 Suggested Ticket Donation at the door. Tickets in advance at http://www.saintpeters.org/ jazz / http://www.facebook.com/saintpetersjazz Young jazz lion ADAM LARSON (IL), Rico Reeds artist, just got back from an amazing tour of Europe with drummer Bastian Weinhold (www.myspace.com/bastian-
weinhold), and was honored at Illinois State University on Monday, June 21st. Adam was one of the nin finalists at the 22nd Annual Yamaha Young Performing Artists Competition. The concert was part of the nightly concerts of the Bands of America/Music For All Summer Symposium. Adam is from Normal, IL and attended the camp when he was younger. JEN is proud of Adam, who was a performer at the Inaugural JEN Conference this spring in St. Louis.
SEATTLE’s CORNISH COLLEGE OF THE ARTS (WA) announces the appointment of jazz vocalist JOHNAYE KENDRICK to the position of Assistant Professor of Jazz Voice. Ms. Kendrick has garnered increasing praise for her vocal performances with the Ellis Marsalis Quartet, Nicholas Payton SEXTET, and the Grammy-awarding-winning New Orleans Jazz Orchestra, as well as with her own quartet. “Cornish has long been known as a hot-bed of innovative exploration in the arts, and for having one of the most forward-looking jazz programs in the nation,” said KENT DEVEREAUX (WA), music department chair. “I believe our ability to recruit top-caliber talent like Johnaye speaks well for Cornish’s continued commitment to building a truly world-class jazz program.” ANDREW SURMANI (JEN President-Elect) and JEN member PETE BARENBREGGE (D.C.) toured Europe this July with the Columbia Jazz Band, Columbia , MD , with Andrew playing lead trumpet and Pete on lead alto. The band toured the Netherlands, Belgium, London, Edinburgh, Scotland and at the Wigan Jazz Festival hosted by IAN DARRINGTON. In 2008, this community big band performed at the Montreux Jazz Festival and toured Italy , Croatia , Slovenia and Austria . The band is directed by Pete BarenBregge, former director of the USAF Airmen of Note. JEN’s President, DR. LOU FISCHER, also was a guest performer at the Wigan Jazz Fest in Northern England and confirms the band was grooving! Advance Music (Germany) www.advancemusic. com will publish a new series of compositions by Prof MIKE ROSSI (SA) of University of Cape Town for mixed ensemble in October 2010. Advance Music is one of the leading publishers of jazz books and music in the world and has published two of Rossi’s past books. “Beyond the Common Practice; developing a chromatic language from common bebop concepts and scales” is due for release in late 2010 or 2011.
Holly Wallace of the THELONIUS MONK at Loyola University in New Orleans hosted a JEN and New Orleans community meeting to prepare for the upcoming January conference. Participating were: • ArtistsCorps/Music National Service – Sonia Robinson • Arts Council of New Orleans – Mary Len Costa, Gene Meneray • NARAS/Grammy Foundation – Reid Wick • Historic New Orleans Collection – Daniel Hammer • InterFaith Works – Erik Schwartz , Allison Bailey, • Louisiana Association for Jazz Education – Lee Hicks • New Orleans Jazz & Heritage Foundation – Scott • Aiges, Don MarshallNew Orleans Jazz Institute (UNO) - Robin Ligon-Williams • New Orleans Jazz Orchestra – Michael Indest, Jr. • Quincy Jones Musiq Foundation – Madelyn Bonnot • New Orleans Center for Creative Arts (NOCCA) – Michael Pellera • Delgado Community College – Peter Cho • Dillard University – Lucian Zidaru • Loyola University New Orleans – Anthony DeCuir, Tony Dagradi • Southern University at New Orleans – Michael Pierce • Tulane University – John Doheny, John Dobry • University of New Orleans – Steve Maskowski, Missy Bowen, Victor Atkins The Diaz Music Institute, under the direction of founder JOSE DIAZ (TX/JEN Secretary), is proud to announce that the Presidents Committee on the Arts and the Humanities and its partner agencies, the Institute of Museum and Library Services, the National Endowment for the Arts, and the National Endowment for the Humanities has selected the Institute as a semifinalist 2010 “Coming Up Taller Award”. 459 nominations were received from 48 states, the District of Columbia, and Puerto Rico. Our organization’s selection as one of the 50 semifinalists distinguishes the academy as one of the top arts- and humanitiesbased programs in the country.
JAZZed September 2010 19
networthynews JAZZ EDUCATION NETWORK
SANFORD JOSEPHSON has a new book entitled, Jazz Notes: Interviews Across the Generations (Praeger/ABCClio) . Jazz is a vibrant and a living art, and this volume serves to remind us of that fact through interviews with Art Tatum, Maynard Ferguson, Dizzy Gillespie, and Dave Brubeck along with 20 other jazz greats. The book is available from Amazon.com or BarnesandNoble.com, but the latter is offering it at a 20% discount. The Jazz Journalist Association says “....Josephson has an ability to capture the essence of his subjects in the limited space available to him, and does so in a literate and informative manner. “ The new JEN Board of Directors met in New Orleans August 2-5 at the luxurious Roosevelt Hotel for board meetings which included planning for the upcoming JEN Conference January 6th-8th and future conferences. While in attendance many of them enjoyed the great sounds of the UPTOWN JAZZ ORCHESTRA (LA affiliate) under the direction of DELFEAYO MARSALIS!
Jazz trio Three As One features Bassist Lou Fischer (OH/JEN President), drummer Steve Houghton (IN), and pianist Stefan Karlsson. Their new cd release on SUMMIT Records is titled Decisions and features original compositions and three reharmonizations of classical pieces penned by Bach, Beethoven, and Chopin. Incredible musicianship and synergy from three musical veterans create a ‘fused’ jazz trio offering of original (and classically composed) enlightenment - an extremely enjoyable listen from the real deal. Check it out directly on the Summit website at: www.summitrecords.com
Send your NETWORTHY NEWS items to: networthynews@JazzEdNet.org
JEN Student Composition Showcase The Jazz Education Network is pleased to announce a new program, designed to spotlight young jazz composers currently enrolled in school during the 2010-2011 academic year, whether in the USA or abroad. The JEN Jazz Composition Showcase is designed to give students an opportunity to have their original jazz compositions recognized at the international level. The work must be in a jazz or jazz-related style, composed within the past two years, and submitted with a recording of a live performance of the work. Complete information related to this project may be seen online at www.jazzednet.org - including submission details and the application form. Submission deadline is October 1st, 2010, midnight EST. A select group of participants will be invited to attend the 2011 JEN Conference in New Orleans and hear a professional performance of their music. Complimentary conference credentials will be given to the selected composers, plus an additional chaperone credential for each composer under the age of 18. Age groups for student entries: Group I: ages 14 through 17 and Group II: age 18 and above, as of October 1, 2010 Submissions will be reviewed by a committee of well-known jazz composers, whose comments will be forwarded to the student composers. The Network is excited and looks forward to an outstanding group of submitted compositions, and artistic growth for the composers.
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Second Annual JEN Conference Updates! NEW ORLEANS - January 6-8, 2011 Honoring Performance in the Birthplace of Jazz! SPECIAL NEWS We’ve added more Celebration in New Orleans! The demand on the conference hotel has been more than we anticipated on Wednesday evening. As a result, we decided to add a Special Evening Concert featuring some of the best music New Orleans has to offer! WHEN: Wednesday, January 5th, 9-11pm. WHERE: in the Famed BLUE ROOM! If you arrive on Wednesday, plan to join us and enjoy the festivities. •VOLUNTEER APPLICATIONS JEN needs YOUR Special skills! If you would like to volunteer, log on today and complete the Volunteer Application... a must to be considered. Volunteers will be selected based on unique skillsets and conference needs and are being asked to work a minimum six hours per day. Each volunteer will receive credentials for the entire conference. •OUTREACH APPLICATIONS JEN needs YOUR Special talent! If you would like to volunteer to perform an Outreach clinic or concert while you are in New Orleans for the conference, please log on to the website and complete the Outreach Application located under the 2011 Conference Central button on the Home Page. •CONFERENCE HOUSING The Roosevelt Hotel is filling up fast!!!...The official conference hotel has limited rooms remaining! Contact the hotel directly through http:// www.JazzEdNet.org/roosevelt to book your room today! •EARLY-BIRD REGISTRATION Individual, Spouse, and Student Rates available. Sign up at www. jazzednet.org/2011_registration •JAZZ INDUSTRY EXHIBITION Exhibit Booths are limited and they are going fast! Reserve your space today at www.jazzednet.org/2011_registration Exhibitors include universities, instrument manufacturers, music publishers, record labels, tour companies, military bands, music dealers, individual artists, arts organizations and more... JAZZed September 2010 21
JAZZ EDUCATION NETWORK
•A JENerosity PROJECT Donate your used instrument and/ or combo/full band arrangements and our partnership with the Tipitina Foundation will put them to good use in New Orleans schools! Details on line at www.jazzednet.org/jenerosity_project •WHO SHOULD ATTEND Attendees are expected from upwards of 18 countries! Conference programming will cover a broad spectrum of topics and issues of interest related to anyone involved in the teaching, performing, composing/arranging, business, broadcast, presentation, or appreciation of jazz music and jazz education. •STUDENT COMPOSITION PROJECT SHOWCASE JEN announces a new initiative that is a Student Composition Showcase and your talented student will want to be involved! Visit the website for details! •JOHN LaPORTA AWARD Berklee and JEN are collaborating together to present the John LaPorta Educator of the Year Award to a deserving elementary or secondary education jazz teacher. Deadline for application is October 1, 2010. Submission details on line at the JEN website. •COVER DESIGN COMPETITION Show us your artistic flair! Enter the JEN Program Cover Design Contest and have YOUR artwork grace the cover of the Second Annual Conference Program Book! Deadline is October 1, 2010. Details on the JEN website at www.jazzednet.org/2011_program_ cover •HOSTING A SPECIAL MEETING OR RECEPTION? If you are in need of a location to hold your own Special Event meet22 JAZZed September 2010
ing or Reception during the 2011 JEN Conference, we are able to pass on special low rates on a per hour basis to you as a JEN member benefit. Want to bring your alumni together? Want to bring your constituency group together? Three size groups of rooms available at very reasonable rates: Small (up to 1,000 sq. ft.) $100 per hour; Medium (from 1,000-2,000 sq. ft.) $150 per hour; and over 2,000 sq. ft. $150 per hour. Log onto the website to reserve your space soon as availability is limited and only being offered on a first come-first served basis. •SPONSORSHIPS Various levels of sponsorship for the 2011 Conference are currently available to you and/or your organization. Visit http://www.jazzednet.org/2011_ sponsorship •THE ARTISTS Selected Clinicians and clinic titles, pro performers, school and community ensembles, and soloists follow on the next couple of pages. The Jazz Education Network reserves the right to make program changes as necessary. Visit www.JazzEdNet.org soon! Stay tuned and be the first to get the latest news by clicking on the 2011 Conference Central button on the home page of the JEN website...YOUR Portal to the Global Jazz Community! Selected List of School/Community Ensembles • • • • • • • • •
American River College Vocal Group Bellevue College Vocal Jazz Ensemble “Celebration” Berklee Global Jazz Institute Combo Booker T. Washington High School Combo I Caleb Chapman’s Little Big Band Caliente! - Latin Jazz/Salsa Big Band East Baton Rouge All Parish Middle School Jazz Band Fountainebleau HS Jazz Band HBCU Honors Alumni Big Band
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Louisiana All State Jazz Band Loyola Jazz Band 1 The Thelonious Monk Institute Instrumental Combo Mt. Hood Community College “Genesis” Vocal Jazz Ensemble New Collection Community Vocal Jazz Acappella Ensemble New England Conservatory Combo New Trier High School Jazz Ensemble & Swing Choir Combination Northwestern High School Combo Pensacola Junior College Jazz Ensemble San Francisco JAZZ High School All-Stars The Louisville Leopard Percussionists The Mid Atlantic Collegiate Jazz Orchestra The University of Memphis Southern Comfort Jazz Orchestra The University of Miami Frost Concert Jazz Band The University of Miami Jazz Vocal Group The University of North Texas One O’Clock Lab Band The University of New Orleans Jazz Guitar Ensemble The University of Southern California Honors Combo
Selected List of Professional Ensembles/Soloists • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
Rubén Alvarez Latin Jazz Pro Jam Lynne Arriale Group Alan Baylock Big Band Andrew Bishop Group Randy Brecker Jeff Coffin and The Mu’tet Tony Dagradi and Astral Project Angie Doctor Jazz Vocal Quartet Dirty Dozen Brass Band HighTIME featuring Ndugu Chancler John Fedchock Sextet Tia Fuller Aaron Goldberg Trio Slide Hampton Aaron Jensen Vocal Group Aubrey Johnson Combo Dave Liebman John Mahoney Bop Big Band Junior Mance Quintet Matt Marantz Quartet Thomas Marriott Jazz Quintet Delfeayo Marsalis’ and the Uptown Jazz Orchestra Kerry Marsh Vocal Jazz Quartet Chuck Owen & the Jazz Surge Ali Ryerson Jazz Quartet Mark Shilansky Sextet University of North Florida Faculty & Alumni Jazz Group University of Southern California Faculty Jazz Quartet U.S. Air Force Airmen of Note U.S. Army Jazz Ambassadors U.S. Army Blues Swamp Romp
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Matt Vance and the Buffet Crampon Saxophone Section
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Selected list of Clinics & Panel Discussions
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Jamey Aebersold: The II V7 I Progression And Altered Dominants Bill Banfield/David Baker: The Quincy Jones American Music Curriculum Jennifer Barnes: Choices For Vocal Jazz Ensembles Alan Baylock: Setting Standards - A New Approach to Arranging Old Favorites Bob Bernotas: “But Who Was The Bass Player?” Radio As A Medium For Jazz Education Robert Breithaupt: Successful Communication Techniques For The Young Drum Set Player And The Director William Brower/Hon. John Conyers/Larry Ridley: Federal Government Support For Jazz – The Next Opportunity William Burns: Jazz As A Tool For Classroom Integration Steve Cardenas: Exploring The Music Of Thelonious Monk Marcie Chapa: Latin Percussion Not Just For Latin Rhythms – An Alternative Approach To Performing On Latin Percussion Jeff Coffin: Improvisation Fundamentals: The Big 5 Jeff Jarvis/Doug Beach: A Day In The Life Of A Jazz Ensemble Director Judy Carmichael: Traditional Jazz Is Alive And Well Lee Mergner, Moderator: The Impact Of Treme And Jazz On Television Orbert Davis: “Jazz – Beyond The Bandroom And The Stage” Darla Hanley: Jazz 4 Kids: Express Your Inner Groove Jose Diaz: Mambo Jumbo And All That Jazz – A Multicultural Approach To Teaching Jazz Ensembles Marc Duby: Musical Performance, Flow, and The Ensemble Paul Evoskevich: How To Teach Jazz History Carlos Ezequiel: Brazilian Contemporary Drumming Christy Farnbauch: New Knowledge For Engaging Jazz Audiences – Part 2 John Fedchock: The Trombone And The Jazz Ensemble Mark Flaherty: Off The Charts! – Developing Arrangements By Ear With Your Big Band Erika Floreska: Introducing “Let Freedom Swing” – A New Teaching Resource On Jazz And Democracy Featuring Sandra Day O’Connor And Wynton Marsalis Tia Fuller: Women In Jazz Bruce Gertz: A Colorful Bass Luke Gillespie: Got Voicings?
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• • •
Paul Haar: Building A Better Jazz Ensemble – Effective Methods For Getting The Most Out Of Your Jazz Groups Neil Hansen: Jazz Camp 101 – How To Start And Run Your Own Successful Jazz Camp John Edward Hasse/David Baker: “Jazz – The Smithsonian Anthology” Roger Ingram: Trumpet! Instrumental Reading Session featuring The Army Jazz Ambassadors, Michael Tomaropresiding Catherine Jensen-Hole: Tricks Of The Trade – Arranging For The Vocal Jazz Ensemble Benjamin Lapidus: Latin Jazz 101 And Beyond For The Jazz Guitarist Janet Lawson/Ratzo Harris: TWO AS ONE – The Equal Relationship Of Voice And Bass Amy London: Sing Along With Ella – The Key To Vocal Jazz Improvisation, Take 2-Blue Skies Sherry Luchette: Elementary Education Jazz Roundtable Discussion Mel Martin: The Art Of Tone – Finding And Developing Your Own Sound. Reggie Thomas: Playing Smart And Soulful – Jazz Theory For Teaching Improvisation Sean McGowan: “The Art Of Solo Jazz Guitar – A Unique Niche In A Rich Musical Tradition” Alan Molnar/Stewart Smith: The ALIVE Project – Jazz Education Via Distance Learning Part II Jim Nadel: Combos That Swing – A Recipe For Success With Beginners Chuck Owen: The Arranger’s Approach Nick Phillips: Exploring The Recording Artist / Record Producer Relationship-A Dialogue About Creative Synergy Harry Pickens: How To Help EVERY High School, College, And/Or Graduate Student You Teach Create The Very Best Semester Of Their Academic And Musical Life Dave Pietro: How To Improve Your Jazz Band Saxophone Section Frank Potenza: Guitar Pre-Arranged, Channeling Your Inner Big Band Roberta Radley: Harmonic Ear Training For The Curious Musician Jim Repa: Arranging In A Nutshell – Writing Portable Arrangements For Small Ensembles Suzi Reynolds: Taking Care Of “BUSINESS!” Playing Jazz And Making It “WORK” For You Michael Rossi: Beyond The Common Practice – A Multi-Coloured Language For Jazz Improvisation From Common Bebop Practices Paris Rutherford: Arranging Music For The Vocal Jazz Ensemble Judy Shafer: The Resilient Spirit Of The New Orleans Beat Featuring Herlin Riley Ed Soph: Concepts Of Rhythmic Improvisation And Interaction For The Jazz Drummer
• • • • • • • • • • •
Marvin Sparks: Territorial Bands; A Flashback To The Past – Panel Discussion Featuring Donald Meade Mike Steinel: What Your Band Director Never Told You About Improvisation Gerald Wilson: Arranging For Different Musical Personalities Sachal Vasandani: Interplay Between Vocalists And Instrumentalists Dave Stryker: Guitarists And Pianists Working Together In The Rhythm Section (Or) Guitarists And Pianists: “Let’s Be Friends!” Gordon Goodwin: Phatten Up Your Improv Skills! John Thomas: Getting The Most Out Of Your Trumpet Section Mike Tomaro: Arranging For The “Little Big Band”: Techniques For The 6 and 7 Horn Ensemble Vocal Jazz New Music Reading Session, Paris Rutherford-presiding Matt Wilson: Ride Cymbal Dance Party Horace Alexander Young: Teaching Jazz Improvisation To Elementary And Middle School Students
Selected list of Jazz Industry Exhibitors • • • • • • • • • • • • • • • • • • • • • • • • • •
Advance Music Veronika Gruber GmbH Jamey Aebersold Jazz African American Jazz Caucus Alfred Music Publishing Antiqua Winds, Inc. Arcadian Arts/Bret Primack the Jazz Video Guy Buffet Crampon USA Capital University Cultural Tour Consultants D’Addario & Company, Inc. DANSR Inc. G. Edward Lutherie ejazzlines/Jazz Lines Grammy Foundation Kendor Music Hal Leonard Corporation Jupiter Band Instruments, Inc. Monterey Jazz Festival Music For All Pender’s Music Company Sher Music Company Stanton’s Sheet Music Symphony Publishing Inc. The University of Miami The University of North Texas Yamaha Corporation of America
...and much more to come! The Jazz Education Network reserves the right to make Program Changes.
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24 JAZZed September 2010
Esperanza Spa lding This Music Should be Known
By Christian Wissmuller
A
musical prodigy from a single-parent household in a rough part of town who grows up not “fitting in” with normal society, but who rises above it all to find massive success at an extremely young age, all the while remaining grounded, humble, approachable... Esperanza Spalding’s Capra-esque life story is inspiring and uplifting, and she serves as one of the brightest beacons for the future of jazz.
In addition to having worked with the likes of Pat Metheney, Patti Austin, Stanley Clarke, and Joe Lovano, Spalding has made the most impact as a solo artist and bandleader in her own right. Her first recording, 2006’s critically acclaimed Junjo, was followed in 2008 by Esperanza, which stayed in the upper regions of the Billboard Jazz charts for well over a year. The just released (August 17, 2010) Chamber Music Society has already topped the CMJ Jazz chart, debuted at #1 on Billboard’s Heatseeker Chart, and registered as the top-selling Jazz Album for both iTunes and Amazon during its first month. In addition to well-received recordings, big-name collaborations, and a number of high profile concert and television appearances, Spalding has background as an educator, having served as the youngest-ever faculty member at Berklee College of Music. JAZZed recently had a chance to sit down Esperanza to get her thoughts on approaches to learning and teaching jazz, and to discuss the importance of effectively passing on jazz to the next generations.
– how did you first really get involved with playing music?
JAZZed: As we often do with these interview things, let’s start at the beginning
JAZZed: The “process” – Can you expand on that?
ES: [laughs] I guess I was around five years old and I saw an episode of “Mr. Rogers Neighborhood” with YoYo Ma as the guest. Even though he’s a cellist, for some reason I walked away thinking, “Whoa, that is amazing. I guess it’s called ‘the violin’ and I want to do that.” My mother went and found some programs in Portland that offered instruments and instruction and that’s how that took off. JAZZed: You had a unique schooling experience – some years in a standard school setting, some years of home schooling. How do you feel that impacted your study of, and approach to, music? ES: That’s a really good question. I guess I don’t know yet, clearly, how being home-schooled affected my music or my approach to music. I do think that maybe learning how to self-study, maybe especially at a younger age, provides a degree of self-sufficiency. Also, just understanding the process.
“You can check out a book from the library and learn all you could ever want to know about jazz theory and jazz harmony – it doesn’t mean that you’ll use it in any meaningful way.”
26 JAZZed September 2010
ES: Just… you know, going out to the library and gathering resources and taking my own time to learn, asking the questions and answering them, myself: What do I need? What am I missing in my work? Where can I get what I need? Theorizing how to get the resources I need and extract that information in an orderly manner, so that I know a given topic and I can show that I know it. That’s not abstract to you or I now, but it is a skill that you have to cultivate and learn and I guess I like the way that I came to learn all that. JAZZed: Can you tell me how your primary instrument went from violin to bass? ES: Basically I went into this music room in my high school when I was, I think, 15 and I just saw an upright bass and started noodling on it. I immediately loved the sound of this big weird violin [laughs]. Then this teacher at the school explained basic blues progression and explained the basic premise behind improvised music – blues, jazz. We played a blues right there, with my first walking bass line, and it was just immediately accessible to me. I kind of fell in love and knew that this was it for me. JAZZed: You attended Berklee at a young age. How’d you wind up there? ES: When I was 16, I auditioned and got a scholarship to go to Portland State University, which has a really excellent music program – really excellent. A lot of the musicians from the Oregon Symphony teach there, as well as a few of the prominent jazz musicians on the scene. I got a partial scholarship to go for the classical program and study with Ken Baldwin, who I had been studying with privately. He passed, unfortunately, but he was just an amazing teacher, an amazing gentleman. I did Jazz Studies for my minor while at Portland State. In one of these classes, Darrell Grant suggested I go to auditions that Berklee was holding in Seattle. So I filled out the application and was, like, the last person that they put in the last slot on the last day. Anyway, I drove to the audition in Se-
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attle, and they told me then and there that they’d give me a full scholarship to Berklee. JAZZed: In keeping with an already established trend of advancing to stages at a far speedier rate than the norm, you soon were teaching at Berklee. How did you go from being a student to being the youngest teacher ever at the school? ES: Ha! I don’t really know! JAZZed: Well, had you been giving any private lessons prior to the official appointment? Tutoring? ES: Not really. Not more than we all do as students – you know how it is. You get together with your peers and you show them what you know, and they show you what they know. I felt like I could teach, though. I love the process of, once I’ve figured out something, figuring out how I learned it and how I can explain it to another. So I certainly felt it was accessible to me and I could be good at it. JAZZed: So how did the position at Berklee come about? ES: I was playing a lot with Joe Lovano, who had been hired a couple years before, and when he was speaking with the president one day he suggested asking me to teach.
JAZZed: That’s a pretty nice advocate to have in your corner. ES: Oh, yeah, definitely! So the president [Roger H. Brown] called me into his office and told me, “I really want to offer you this job, but what’s most important to us is your professional career. You have to promise me that if the teaching job ever gets in the way of your career as a performer, you’ll stop.” JAZZed: Very supportive. ES: It was great. He’s a very cool, cool guy. So I started teaching that summer. They hired me as a teacher in the five-week Summer program – I think to sort of see how it would go – and then I was on staff in the fall. JAZZed: What appealed to you about teaching at Berklee? ES: Helping people figure something out and watching them come back the following week after having really worked at it, and they’ve got it, and they cant wait to show you what they did – that’s really satisfying. It’s also really educational for me to look at these processes and figure out how they work. How come I do that? How come I know that? And to try to understand where it all comes from. Some things you just “get” intuitively, and
*VSSLNL )PN )HUK -PUHSPZ[ 4VU[LYL` 5L_[ .LULYH[PVU 1Haa -LZ[P]HS UNLV Jazz Studies Area )HJOLSVY HUK 4HZ[LYZ +LNYLLZ PU 1Haa :[\KPLZ 7LYMVYTHUJL HUK *VTWVZP[PVU FACULTY: 'DYH /RHEċ+PYLJ[VY VM 1Haa :[\KPLZ QHaa IHUKZ QHaa WPHUV 7RP :DUULQJWRQċ QHaa IHZZ QHaa JVTIVZ 1DWKDQ 7DQRX\HċQHaa [YVTIVUL QHaa IHUKZ QHaa JVTWVZP[PVU -RH /DQRċQHaa N\P[HY HYYHUNPUN -RKQ $EUDKDPċKY\TZ 3KLO :LJIDOOċQHaa ZH_VWOVUL *LO .DXSSċQHaa [Y\TWL[ YLJVYKPUN [LJOUPX\LZ -REHOOH <RQHO\ċQHaa ]VJHS %HUQLH 'UHVHOċKY\TZ HY[PZ[ PU YLZPKLUJL RECENT GUEST ARTISTS IN RESIDENCE: 1VL 3H)HYILYH .LVYNL .HYaVUL >H`UL )LYNLYVU *OYPZ 7V[[LY ;PT /HNHUZ )VI :OLWWHYK 7L[LY ,YZRPUL *SH` 1LURPUZ ,YPJ 4HYPLU[OHS 4HYSLUH :OH^ 9PJO 7LYY` ZJOVSHYZOPWZ HUK NYHK\H[L HZZPZ[HU[ZOPWZ HYL H]HPSHISL for audition and scholarship information contact: +H]L 3VLI KH]L SVLI'\US] LK\ \US] LK\
JAZZed September 2010 27
getting to break down every tiny detail and aspect and explain things in a methodical way – that was really fun and exciting when it worked. JAZZed: Anything that was maybe less enjoyable? ES: One challenge for me was that I really wasn’t there enough. I was already working a lot and traveling a lot.
Ultimately, I felt I wasn’t there enough to do the job correctly and that wasn’t fair to the students and wasn’t fair to me. The thing that was most frustrating and part of the reason I left was I really thought that my skills as a musician would be best used by teaching what I’m best at. JAZZed: Explain? What were you teaching?
“The Sound”
as requested by you.
You asked for the playability and sound of the early Otto Links. We listened. With structural changes both inside and out, “the sound” of yesteryear has been recaptured.
ES: I was teaching private lessons, which I thought was really great and meaningful. That was my favorite thing. But then I also taught these labs that anyone could’ve been teaching. Pre-requisite type classes: Reading labs, bass line construction labs. I thought that anybody qualified could’ve done that, but not just anybody could teach my approach to singing and playing, my approach to being a bandleader, and all these different things that I thought I had unique strengths in and I really wanted to share. JAZZed: So those combined factors led to you leaving the school’s faculty. ES: Yes. I taught there for three years and left in 2008. JAZZed: Are you still teaching in any capacity? ES: Oh yeah. I do a lot of lessons. If I’m in town and I have an hour and somebody really wants to study with me, I’m happy to do a lesson. I do a lot of little workshops, too. If I’m playing and there’s a good music program at the local college I’ll run a couple days of workshops. JAZZed: How would you compare the one format/setting to the other? ES: I like the mentor/peer thing – I think that’s really crucial and I miss being a part of that relationship on either end. I know that all of the people who have been most influential in my life, it was borne out of a very open, mentor-type relationship and I like to create that with people whose musical ability I believe in. I like to be there with and for them as they develop and grow. Right now I just have that with my friends and my fellow-musicians. I miss that aspect of teaching very much, though. It’s not always possible in a school setting and I appreciate that.
Otto Link Vintage for tenor sax.
JAZZed: Do you feel that more “structured” school settings still have value in terms of learning music? www.jjbabbitt.com 28 JAZZed September 2010
MOUTHPIECES FOR CLARINETS AND SAXOPHONES
ES: Sure. There are so many incredible things being done in a very
“I know it can be challenging, but get to know your students.”
regimented environment, like a high school big band program. I just recently did this thing with Jazz House Kids [www.jazzhousekids.org] and Melissa [Walker. Founder - Ed] had invited in
this high school big band from Camden, New Jersey. I don’t know what this director’s process is – he seemed much more open minded and less into this, “this is the pedagogy and this is
how we’re going to teach it, end of story,” approach. His kids sounded incredible. It takes all ways, but in any environment you can make that connection and get results.
Y L L ! A I N T N I N TO O J SSE NG E LLI E
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JAZZed September 2010 29
JAZZed: Having worked with a number of true jazz giants, presumably you feel that sort of exposure and interaction serves as an educational experience, in its own right? ES: Those are the educational experiences. I learn much more from playing with Joe Lovano than anything that’s ever happened in a class. Playing with Joe for the last… Oh,
my God… 7 or 8 years – what!!? [laughs]… How can I say this? You can learn a lot about jazz music, you can learn a lot about the inner structures of harmony and the relationships of scales and how to “solo” using these tools and how to apply them to chords and time – but the music you learn from the players. Just being around Joe Lovano, hearing him talk about records or musicians
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30 JAZZed September 2010
he’s worked with – the learning that comes from that is so much deeper and so much more meaningful to me. You can check out a book from the library and learn all you could ever want to know about jazz theory and jazz harmony – it doesn’t mean that you’ll use it in any meaningful way or even feel motivated or incentive or know where to look in yourself or how to share it on the bandstand. Unfortunately there aren’t as many bands that younger kids can really come through and have that experience. JAZZed: What advice or encouragement would you share with jazz educators? ES: I know it can be challenging, but get to know your students. Really learn who your students are because everybody learns so differently. I know, as teachers, it’s so busy and there’s so much stress that sometimes it’s hard to really look and understand the unique challenges of this person. How can I best tailor my approach to help this person have access to this thing that I think is so worth knowing? I feel like this music should be known – I want to share this with another generation of young people. That mission is a big motivation for most jazz educators, but that message can get lost with within all the business and madness that goes along with teaching. There’s really a value to these young people learning this music. When I could find the time and compassion and patience to understand what was it that a particular student wasn’t grasping and was able to cater my approach to the situation… the results were miraculous. Being a student who did not thrive in traditional learning environments, myself, those few teachers who would just slow down a bit and say, “Hey I notice that you’re having a problem with this – what if we look at it this way, instead?” That was literally lifechanging for me and I’m eternally grateful for it.
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roundtable
MOUTHPIECES
Sax Stars Discuss the Pursuit of the Perfect Mouthpiece WHAT OTHER EDUCATORS NEED TO KNOW BY KEVIN M. MITCHELL
R
alph Bowen, George Garzone, and Dave Glasser recently sat down with JAZZed to shoot the breeze about blowing through horns. Bowen is a staple on the New York Jazz scene, has just released his sixth solo CD, and is associate
professor of Jazz Studies at Rutgers University. Garzone is a member of The Fringe jazz trio, has appeared on over 20 recordings, and is currently teaching at the Berklee College of Music and the New England Conservatory. Dave Glasser just released his fifth solo CD, and has been teaching at the New School Jazz program since 1996. All three are active clinicians. JAZZed: The topic, mouthpieces. What’s your earliest experiences with them? Ralph Bowen: My path is probably not too dissimilar from many. I started on a Selmer C Star, then later I moved to an Otto Link hard-rubber, and stayed with that for a while. George Garzone: I came from a musical family, and I grew up playing Stan Getz [style] hard-rubber mouthpieces. I later switched to metal ones and used those for over 10 years. Dave Glasser: I’m probably unusual in the sense that I never spent too much time on the mouthpiece [issue]. When I was 13 I had a teacher who suggested a Brillhart mouthpiece and I played that for a while. Another teacher suggested a Meyer 5 and basically I’ve played that since
roundtable JAZZed: And today?
JAZZed: What about tip openings?
Ralph: I am an endorsee of Vandoren, and exclusively play their mouthpieces and reeds and am really thrilled with them. I’ve settled into a few different Vandoren models for my different saxophones.
George: I gave Jody [Jazz] my Otto Link 10, and he modeled the HR 10 on it. Until he met me he was only making 8 or 9s, and I pushed him to 10.
George: Jody Espina [of Jody Jazz] was one of my students, and I had him send me his hard rubber mouthpiece. I’ve been an endorser of his for six years now, and the JodyJazz HR is a really great mouthpiece. Dave: I’ve tried a couple of other things, but I always end up going back to my Meyer 5. I’m from the old school: Get a mouthpiece, then a reed, and just work your sound. I think if you look at the history of jazz, most great players find something they like and stay with it.
“Sometimes you’ll try a mouthpiece and the first few blows if seems like it’s the best thing in the world, you’ll buy it, and then you’ll find out later it’s not what you thought it was.” – Ralph Bowen
Dave: I had a number 6, which I used for years. Then in my older age, I’m getting tired of all that brightness, and now I’m using a Meyer 5 [again]. Ralph: I started at a six, and then went to a seven.
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roundtable JAZZed: What’s your thoughts regarding the mouthpieces that come with beginner Saxes? Dave: When you first put a reed on, there’s a lot of squeaking going on, so I don’t think it matters right away. Once the kid
gets going and has been playing for a year, then maybe get a Meyer or a Vandoren, or if they are studying classical, Selmers are good, and have uniform consistency. Ralph: When they have, say, a Selmer horn, they’re going to come with
George Garzone
a good mouthpiece. I’m not familiar with what is being packaged with the Asian horns, but I know they can be sketchy. George: When you’re a beginner, the instruments come with a stock mouthpiece, and I think it’s better to get the younger players started on good mouthpieces quickly. Something that is hard rubber, something that is easy to play… it’s more of a muscle thing, and it’s best to use something that easy to blow. You can go right to metal, but I think it’s easier for younger players to deal with hard rubber. JAZZed: How soon should the educator start talking mouthpieces with a student? George: Yamaha knows enough to put a hard metal mouthpiece on their beginner horns, and those basic mouthpieces are good. Then once the student gets going, then it’s time to discuss mouthpieces. Dave: I got my Meyer in junior high and never thought once of trying a new one. Everybody’s oral cavity is different, and they have to figure it out. Everybody’s sound is going to be a little different.
34 JAZZed September 2010
roundtable Ralph: I think it should be dealt with immediately. I have played a lot of cheap mouthpieces over the years, and if it’s not designed and manufactured well, the student will get off on the wrong foot. When the student is having a problem, you want to work on correcting the problem, not wondering if it’s the equipment. Limit as many variables as possible. If the equipment is working, you can focus on the student. Good reed, good mouthpiece, good mouthpiece fit, and good instrument in good repair – then you can start teaching! [laughs]
up from that. But then it’s a matter of when you become a better player and really know your instrument before going into a shop and playing 10 mouthpieces. If he or she isn’t a consistent player, if they aren’t able to get the reed to vibrate consistently,
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JAZZed: What is a good mouthpiece? Dave: Rather then going with one out of the box with the new instrument, I think it’s better to go a step
“I think if you look at the history of jazz, most great players find something they like and stay with it.”
they won’t have the proper perspective on which mouthpiece is best for them. Ralph: A good mouthpiece should be easy to play, respond quickly, have good intonation, and play through the range of the instrument well.
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JAZZed September 2010 35
roundtable Some are great in the low range but not so much in the high range, and you want one where you can play the full range easily. George: It’s a matter of preference, a matter of the sound he or she wants – everything about playing the sax comes into play. Ralph: But sometimes you’ll try a mouthpiece and the first few blows if seems like it’s the best thing in the world, you’ll buy it, and then you’ll find out later it’s not what you thought it was. The reed is important as well – it’s all about the math between the mouthpiece and the reed. JAZZed: Are manufacturers experimenting too much, not enough? Dave: There’s value in experimenting. Crystal mouthpieces… I played one yesterday. I remember them being popular in the 1980s but they break. Ralph: Manufacturers are always experimenting with different ideas and materials. But Vandoren, for example, is pretty set on the materials they use. They do have metal mouthpieces in the tenor line. There are some experimental materials other companies are trying. George: It’s like people who get into making anything – cars, boats… everyone gets into it. It just depends on who is into what and what is happening. I’ve played them all, and to me, to date, the Jody Jazz mouthpieces are the best. I went to Australia for two weeks, and then the sales of Jody’s mouthpieces shot up dramatically!
36 JAZZed September 2010
JAZZed: Are their any misconceptions about mouthpieces? Dave: I think the misconception is that mouthpieces can make a big difference. Sometimes that may be true… but a mouthpiece can only do so much. Ralph: One is that the more open mouthpiece equates to a bigger sound and more volume, and that’s not necessarily the case. By jazz standards, there are some, including me, who play with modest opening mouthpieces. It’s all a matter of what you feel comfortable with. The younger players will sometimes blindly purchase an open mouthpiece thinking it’s the thing to do, that it’ll ultimately mean a bigger, louder sound. That’s not always true. JAZZed: What is your advice to nonreed playing jazz educators? George: Rubber mouthpieces are going to be better… and make sure they are playing long tones! Ralph: Band directors who are non-reed players tend to look to professionals for advice. What tends to happen is a young player hears someone they like, looks into what equipment that person uses [and follows suit]. During the normal course of events he or she buys that mouthpiece. It can work. But depending on how someone blows, a certain mouthpiece may or may not be right. Dave: Have a sax player come in and work with the kids – that’s much more helpful then just telling them to use a certain kind of mouthpiece.
crossword
Across 1 Bud Powell helped develop it 4 Aka Latin jazz (2 words) 9 Another word for coda 10 Major figure in the development of modern jazz, Dizzy _____ 11 Precious one 13 “This Masquerade” singer, first name 14 Greeting 15 Group of pieces 18 Very long stretch 19 Blues and jazz guitarist, ____ Bunn 21 Bassist and jazz composer, ____ Reid 22 Tone quality 24 Compass point 25 “Now ___ wants a butter an egg man” Louis Armstrong 27 Slang for one’s instrument 28 Contrary to chromatic 31 Silver-gray color
Crossword by Myles Mellor
32 Key establishing chord progression 35 “U.O. Project” drummer, _____ Owens Jr. 39 ___ Speedwagon 40 “Love __ love you, baby” 41 Grant Green album 44 ____ in the Groove, by Joshua Redman 47 Where it’s __ 48 Sinuous swimmer 50 Cool Struttin player, ____ Clark 51 “Hello, ____” Louis Armstrong
Down 1 Improvise 2 Blues vocalist and harmonica player, Paul ____ 3 Series of chords 4 Raised by a half step
5 New Orleans jazz trumpet player, Teddy ___ 6 Symbol on a staff 7 Danced bebop 8 Christmas carol 12 Concept of self 15 “Comprende?” 16 N.F.L. scores 17 Plays on TV 19 ____ Beyond “Saudades” 20 “___, lovers that bless the dark,” Charlie Parker from “Autumn in New York” 23 Music contained between two bar lines 26 “Prelude to a ___,” Ella Fitzgerald 29 Rapper who played with cornetist Olu Dara on “Freedom Jazz Dance” from Miles Davis remix Evolution of the Groove 30 Jazz trumpeter Baker 33 QB Manning 34 Lord of the Rings good guy 36 ____ Morgan, The Sidewinder 37 Alpine song 38 Heart and ___, Kenny G 42 “Funeral in Berlin” writer Deighton 43 24 hours 45 Henry ___ Allen 46 “__, myself and I” 49 Trumpeter __ Allen who was a member of the Sharps and the Flats
For the solution to this issue's crossword, visit:
www.jazzedmagazine.com JAZZed September 2010 37
focus session
MODES
Characteristic Mode Tone BY LEE EVANS
A
ll of the diatonic modes (Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian) have distinguishing characteristics. Some have one especially distinctive tone. In order to best capture the unique sound of a particular mode in a musical composition, the modeâ&#x20AC;&#x2122;s fundamental tone (first note of the mode) and characteristically distinctive scale step should be emphasized. For example, the Lydian Mode may also be heard as a major scale (also known as the Ionian Mode) with the fourth degree raised one-half step.
C Major Scale (Ionian Mode)
C Lydian Mode
Therefore, to best achieve C Lydian sound, the fundamental tone of the mode (C) and the raised 4th (F#) should be prominent tones in that musical composition. Similarly, the Phrygian Mode may be heard as a natural minor scale (also known as the Aeolian Mode) with the second scale degree lowered one-half step.
G Natural Minor Scale (Aeolian Mode)
G Phrygian Mode
Therefore, to best achieve G Phrygian sound, the fundamental tone of the mode (G) and the lowered 2nd (Ab) should be prominent tones in that musical composition. 38 JAZZed September 2010
focus session
The Phrygian Mode forms the basis of a good deal of Spanish, Hungarian and Jewish music, both classical and popular. As an example from the classical music literature, the following is a G Phrygian Mode excerpt from the Debussy String Quartet in G Minor:
Note that the distinctive characteristics of the Phrygian tetrachord interval arrangement (see below) are the half-step interval between the 1st and 2nd degrees of each tetrachord, and that the lower and upper tetrachords both have the same interval pattern of half-step, whole-step, whole-step.
Further, note that although the triad built on the fundamental mode tone of the Phrygian Mode is minor (G, Bb, D in the G Phrygian Mode)â&#x20AC;Ś
â&#x20AC;Śa great deal of Phrygian music (Spanish Flamenco and certain types of Jewish music, for example) ends in major (G, B, D), as does my piano solo composition, Flamenco Jazz, featured on the next two pages. The work is in G Phrygian Mode and naturally reflects a Spanish influence.
JAZZed September 2010 39
focus session
40 JAZZed September 2010
focus session
Lee Evans, Ed.D., is professor of Music at NYCâ&#x20AC;&#x2122;s Pace University. The above article is based on his Hal Leonard publication Modes & Their Use In Jazz. His most recent books, published by The FJH Music Company, are the late elementary solo-piano volumes Color Me Jazz, Books 1 & 2; and the intermediate/late intermediate solo-piano volume Ole! Original Latin American Dance Music. Musical excerpts are from the Hal Leonard Publication, Modes & Their Use In Jazz HL00009043.
JAZZed September 2010 41
Washington’s Best Kept Military Secret BY STEVEN MARKS
G
roucho Marx is credited with the observation that military justice is to justice as military music is to music. Clearly, the great comedian never heard the US Army Blues, or its sister jazz big bands the Navy Commodores, the Airmen of Note, and the Jazz Ambassadors; for if he had, this chestnut might never have seen the light of day.
As the distinguished writer Doug Ramsey observes in his historical chronicle of the big band published in the Oxford Companion to Jazz, the elite military ensembles deliver a sound that is “distinctly unmilitary.” Although perhaps not as adventurous as such exponents of big-band modernism as the Maria Schneider Orchestra or Bob Brookmeyer’s New Art Orchestra (to be fair, the bands include both Schneider’s and Brookmeyer’s arrangements in their books), the military ensembles perform novel arrangements of jazz and pop standards, as well as original compositions,
that venture rhythmically and harmonically off the beaten path. All are played with a technical precision that is at once virtuosic and light of touch. And most important, the Blues, the Note, the Commodores, and the Ambassadors, as they are known familiarly, swing as hard as, for instance, the Basie “New Testament” band or the Blanton-Webster Ellington ensembles did in their prime. This is toe-tapping music for an age decidedly in need of emotional up-lift. Put another way, they are a Washington rarity – a federal program that really does work.
Delivering the Goods I had the opportunity to confirm my impressions in August when three of the groups (the Ambassadors were absent) held their annual Joint Services battle of the bands at the Carter-Barron Amphitheatre in Washington, DC. (All of the bands are based in the nation’s capital, where the musicians are permanently stationed, although they perform
42 JAZZed September 2010
across the country and around the world.) This free event is the only time during the year that the bands play together, each performing a 30minute set of tunes drawn from their extensive repertoire. The evening air was reasonably cool and dry, at least for the District in the dead of
First up were the Commodores, followed by the Blues, with the Note bringing the concert to a rousing close with a tribute to the servicemen in the audience and overseas. While the bands may appear dif-
“THEY ARE A WASHINGTON RARITY – A FEDERAL PROGRAM THAT REALLY DOES WORK.” summer, and the audience a mix of military vets, local jazz fans, and even some younger listeners, who may have been enticed away from their strolls in Rock Creek Park by the sounds emerging from the band shell.
ficult to distinguish on first hearing – each of the sets featured arrangements of densely woven colors, with shimmering solos washing over tight horn accompaniments and unshakeable
JAZZed September 2010 43
rhythmic support – differences became apparent. Most obviously, the Navy and Air Force ensembles featured vocalists, with Yolanda Pelzer taking the lead on the old Marlene Dietrich tune “Falling in Love Again (Can’t Help It),” and Paige Martin on “It’s a Brand New Day,” a composition written by Note pianist Steve Erickson. (All of the musicians, it should be noted, are enlisted men and women.) More important, the Commodores’ saxophone section, in particular band leader Philip Burlin and Luis Hernandez on tenor, seemed especially confident, precise, and full-bodied on this night. The Blues has a particularly strong trumpet section, and the arrangements selected for this performance were carefully written to exploit each musician’s distinct sound. For instance, Graham Breedlove, who grew up physically and musically in Louisiana, brought his funky down-home plunger mute work to the Basie band’s “Blues in Hoss’ Flat,” while Kenny Rittenhouse’s peppy and pellucid lines captured beautifully the emotional underpinnings of Michael Brecker’s “African Skies.” Most striking about the Note were the unexpected voicings and rhythmic colors contained in Alan Baylock’s arrangement of Joshua Redman’s contem-
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porary standard “Jazz Crimes” and original compositions by members of the band, including the set opener, “Everyday Adventures,” by trombonist Ben Patterson. The final number, a medley of the several armed forces theme songs – Wild Blue Yonder, Anchors Aweigh, the Marine Corps Hymn, The Army Goes Rolling Along – literally brought the audience to its feet. The good vibes continued even after the music stopped, as the crowd was sent home with free copies of the Note’s latest CD. (Audio downloads of selected tracks from all of the bands recent
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recordings, along with their concert schedules, are available gratis on the groups’ Web sites: www.navyband. navy.mil/commodores, www.usafband.af.mil/ensembles, and www. usarmyband.com/blues.
Unsung Greats For bands that have been kicking around as long as have the Note, Commodores, and Blues, surprisingly little has been written about them beyond a historical survey the Air Force commissioned in 2000 to recognize the band’s golden anniversary. The Note is, in fact, the oldest of the three groups, having been created in 1950 to honor the legacy of the Glenn Miller Army Air Corps dance band. The Commodores were formed 19 years later, with the Blues becoming an official part of the Army
Band, collectively known as “Pershing’s Own,” in 1972. The groups are not referenced in George Simon’s standard history, The Big Bands, nor in the New Grove Dictionary of Jazz. While Ramsey’s big band overview cited above makes passing mention of the Commodores and Note, none of the other leading jazz writers, such as Whitney Balliet, Gene Lees, Gary Giddins, Nat Hentoff, or Dan Morgenstern, has covered the bands in either a thematic analysis or concert review, so far as I can ascertain. Why might this be so? For one thing, the Commodores, Blues, and Note have a distinctly non-commercial mission. Burlin told me before the concert that, as arms of the military services, the three jazz bands have a largely “public relations function.” “Obviously,
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our job is to represent the armed forces on active duty,” he said. “But beyond that, our role is education, outreach, and, not incidentally, jazz preservation.” As musical ambassadors, the bands are part of a venerable American tradition, stretching back to Dizzy Gillespie’s and Louis Armstrong’s exercises in Cold War diplomacy on behalf of the State Department in the 1950’s and ‘60s. However, unlike the earlier, wellpublicized tours, the Commodores, Blues, and Note tend to travel beneath the radar, visiting small towns, playing in high school and university auditoriums, participating in jazz conferences and festivals, and bringing the nearly lost art of swinging big band music to communities that more famous orchestras simply, well, fly over.
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JAZZed September 2010 45
For another, jazz improvisation and military service are not two ingredients one would naturally think to put in the same dish. In the past, most jazz musicians viewed their peers in the service bands, with their short hair, sharply pressed uniforms, and well-shined shoes, as people who sold out their aesthetic souls to work for outfits decidedly unpopular in liberal, artistic circles. But times have changed. Since Desert Storm, supporting the troops has become acceptable behavior, even for avant-garde trumpet players and drummers. More important, a steady gig is a steady gig for any musician, especially when the economy is less than ideal. Tony Nalker, the pianist and enlisted leader of the Blues, told me that nowadays upwards of a hundred musicians audition every time a chair opens up, which, it turns out, rarely happens. Band members believe in national service, and the military and musical obligations, which include performing in parades, funerals at Arlington National Cemetery, and high-level government functions, encourage longevity. “I can’t think of a musician who doesn’t like to get paid to rehearse,” Breedlove added. The musicians are encouraged to compose and arrange their own works, and spin-off groups, such as the Blues’ Swamp Romp, a combo co-led by Breedlove and trombonist Harry Watters that performs a kind of nouvelle traditional jazz, offer another creative outlet. As a consequence, the competition for an open seat is fierce.
46 JAZZed September 2010
The candidates tend to be conservatory trained – many have master’s degrees – are able to sight-read any style of music, and, not incidentally, can play their keisters off. Consider that the Blues held an audition in July for a trombone spot. Fifty musicians sent in tapes, and 12 were selected to perform in person. Included among them were a couple of college music professors, a veteran of the Basie Orchestra, and two players who once backed up Harry Connick, Jr. Curiously, none of them made the final cut. Nevertheless, an unlikely connection between the arts of jazz and warfare can be postulated. Nalker recounted reading an interview with a former Secretary of the Navy, who said that improvisation lies at the heart of strategic operations, both on the battlefield and back at headquarters. Pre-determined plans must be modified and new tactics deployed in real time, with little guidance other than historical precedence (what has worked before), theoretical possibility (what the rules permit), and pure instinct (what feels right in the gut). That’s as good a description of what goes on during the act of jazz creation as any, and suggests, however fancifully, why the Pentagon may be so keen to promote the music – admirals and alto saxophonists must think and react alike. Of course, unlike the sounds of battle, jazz, the music Whitney Balliet once described as the “sound of surprise,” is created in performance for pure pleasure. Few bands play it as well as the Blues, Commodores, and the Note. The fact that almost no one has heard of them is evidence there is no justice in the world, military or otherwise. Steven Marks is DC-based writer and former jazz editor of the music industry magazine, Cash Box. He has written numerous liner notes and served as a contributing writer for DownBeat and other arts publications.
JAZZed September 2010 47
The Leading Edge BY ANITA BROWN
I
have had the privilege of learning about leading a professional jazz orchestra through both my experiences as a New York jazz composer and as a loyal supporter of the great New York ensembles, particularly The Vanguard Jazz Orchestra, Maria Schneider Orchestra, and John Fedchock’s New York Big Band.
Spanning over a decade of observation and inquiry with a number of lead players, I have learned that a band’s sound and ability to communicate are strongly rooted in the concepts and prowess of its individual lead players. This often-overlooked role is critical in defining the sound of a band or an arranger. My affinity for these players’ contributions inspired a series of interviews. The players quoted here were selected for their significant roles in shaping my own music and concepts. They include three lead players of each section of the big band: lead alto, trombone, and trumpet.
Who were your earliest influences as a lead player before you turned thirty? Dave Pietro Alto; Anita Brown Jazz Orchestra, Toshiko Akiyoshi Big Band: When I first started subbing with the Vanguard Jazz Orchestra I used to tune into Dick Oatts’ lead playing. He’s one of the greatest lead alto players whose distinctive sound and style have been an integral part of that band
48 JAZZed September 2010
for decades. Subbing in Toshiko’s band I listened similarly to how Jerry Dodgion played lead. He has such a beautiful sound; so lyrical. Jim Riggs was my saxophone professor at the University of North Texas. I learned the most from him from playing second to him on gigs. I sat directly in front of him playing lead in the Two O’Clock Band. He constantly gave me pointers and critiques; like having a private lead alto lesson daily.
Steve Wilson Alto; Maria Schneider Orchestra, Smithsonian Jazz Masterworks: Johnny Hodges, Marshall Royal, Jerome Richardson and Jerry Dodgion became references for me. Jerry and Dick Oatts in the Thad Jones/Mel Lewis Orchestra were heavy influences. Having had opportunities to perform with both, I continue to learn from them. They both lead by example. I met Kenny Garrett in 1983. He was playing lead in the road show of Sophisticated Ladies. He was a total, professional musician. I remember seeing him do long tones and exercises and realizing, “Ah, he’s getting his foundation together!” It showed me that
you’ve got to be on top of things even when you’re on the road and that he is a serious musician who is not just about improvising solos; it’s about learning the instrument.
Dick Oatts Alto; Vanguard Jazz Orchestra, Carnegie Hall Jazz Band: Marshall Royal had a great, commanding sound, time, and style, defining every musical phrase. I had the incredible opportunity to play under Jerry Dodgion with the Thad Jones/Mel Lewis Orchestra. He is one of the most natural lead players I have played with. Jerry could carry a section based on his own passion for the music. He never said much but had an amazing ability to inspire you to follow him. His sound was deep and rich, not edgy and hard. His beat was wide and he had the warmth of Johnny Hodges. What made Jerry a great lead player is that he knew how to play second alto so supportively. He was my biggest influence and is my personal favorite.
Mark Patterson Trombone; Anita Brown Jazz Orchestra, Dennis Mackrel Big Band: My early influences as a lead trombone player were Lawrence Brown and Jim Pugh. Lawrence Brown’s manner of barking out rhythms with his section goosed the time. His sound had a ringing quality that I thought of as an ‘ar’ feel, because when I would try for that type of sound my mouth would gravitate toward a wide open feel, like saying the syllable ‘ar.’ Jim Pugh’s lead sound was also distinctive, with its straight
tone and purposeful vibrato to shape the ends of notes within a phrase. My conception was also largely framed by trumpet players; Snooky Young and Danny Stiles from the Thad Jones/Mel Lewis Orchestra
and the Basie band. What I love about Snooky is the way he can make a note sing and move, using vibrato and dynamics [as vocalists do] to move the phrase forward and shape it.
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Keith Oâ&#x20AC;&#x2122;Quinn Trombone; Maria Schneider Orchestra, Bob Mintzer Big Band: The first trombone player that really grabbed my attention was Phil
Wilson on Woody Herman-1963, Swinginâ&#x20AC;&#x2122;est Big Band Ever. I had just started playing lead trombone in the Jr. High school jazz band. Phil plays a solo on the ballad, â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;s a Lonesome Old Townâ&#x20AC;? that amazed me. I still remember how I felt when I
heard it. He comes in on a Double A and plays this gliss down into the melody that I listened to hundreds of times trying to figure out how he did it. (I never did.) He also ends the tune on another Double A. I loved his approach to playing. Later, Phil was my teacher at Berklee School of Music.
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I first became interested in the jazz trombone at the age of 16, when I discovered the 1950s recordings of Urbie Green with Woody Hermanâ&#x20AC;&#x2122;s band. His sound and command of the instrument were astounding, and his versatility in styles was uncanny, which I tried to emulate most in my early years. He was not only a jazz player, but also one of the greatest lead trombonists of all time. While I was in high school I saw Woodyâ&#x20AC;&#x2122;s band play several times. Jim Pugh was the lead trombonist. I made a point of buying all the albums that band released, including those with Jim. It eventually paid off five years later when I joined Woodyâ&#x20AC;&#x2122;s band.
Jon Owens Trumpet; Anita Brown Jazz Orchestra, BMI New York Jazz Orchestra: My early influences were the players on the touring bands, some of whom I saw perform live as a teenager. One concert I remember was Toshiko Akioshiâ&#x20AC;&#x2122;s band with Joe Mosello playing lead, opening up for Maynard Fergusonâ&#x20AC;&#x2122;s band. I heard the Buddy Rich band with Eric Miyashiro, among many others. I listened to tons of re-
cordings and got hold of some tapes of Dave Stahl playing lead. The Woody Herman 50th Anniversary album with Roger Ingram is a particular standout, as were all the great horn section session players; Jerry Hey, Chuck Findley, and guys like Lew Soloff and Jon Faddis. Of course everyone heard Doc Severinsen wailing on The Tonight Show, and the list goes on. I have always loved that sound of a trumpet soaring over a band.
Tony Kadleck Trumpet; Maria Schneider Orchestra, Gotham Jazz Orchestra: Bobby Shew was the first lead player I heard who could also play great jazz. He used that sensibility in his lead phrasing. I studied with Lew Soloff and always admired his fearlessness, which is something needed to play lead. Of the guys I worked with, John Frosk had the sound; wide and rich with overtones. He played with the NY Tonight Show Band and was on Pizzarelli’s first record, All Of Me. Do yourself a favor and listen to The More I See You. I’d never heard a sound like that before. I couldn’t believe it. It was vibrant and wide! If Johnny was three guys away from you, you could feel his bell vibrate; a wide, fat, enormous sound.
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Earl Gardner Trumpet; Mingus Big Band, Thad Jones/ Mel Lewis Orchestra: I played in the house band at a major club called “The Latin Casino” in Cherry Hill, NJ. Bill Pusey was the lead player. I really learned what lead playing was about from him on that gig. Conrad Gozzo, who played with Sinatra, was an influence soundwise, and Snooky for phrasing. They’re kind of similar; big, brilliant sounds, like a sizzle but fat, not edgy. Of course, Maynard had everything; a great sound and he could do it all. Al Porcino taught me how to play lead with Thad and Mel. Originally I was playing third and he was playing lead when I joined the band. [Eventually] that turned out to be my first lead trumpet gig. Anita Brown is an award-winning composer/arranger and founder of Anita Brown Jazz Orchestra, performing around NYC since 2000. She is a veteran of the BMI Jazz Composers’ Workshop, an experienced, certified teacher of Music K-12 and teaches and lectures on jazz composition & arranging. For bookings or to continue reading on this topic visit Anita’s blog at www.anitabrownmusic.com.
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jazzforum Dr. Larry Ridley, AAJC Executive Director & Bassist Extraordinaire: “The AAJC and the NAJJP (National Association of Juneteenth Jazz Presenters, directed by Dr. Ronald Myers) are pleased to announce a new collaboration with “The ALIVE Project”. Two outstanding educators and artists, Mr. Allan Molnar and Mr. Stewart Smith, direct the ALIVE Project. The collaboration will focus on creating access to Jazz programs designed for underserved national and international communities. The following is Mr. Molnar’s description of the “The ALIVE Project.”
The 2010 JEN Conference Virtual Outreach by Allan Molnar www.percussionstudio.com The ALIVE Project: My colleague, Stewart Smith and I initiated The ALIVE Project (Accessible Live Internet Video Education) in early 2004. It has been a highly successful mechanism for connecting many well-known performers and teaching artists with schools across the globe via live videoconference links. The intent of this article is to provide a pedagogical context for the use of this and other technologies in the traditional music classroom. Making Connections: Stewart and I were honored to be invited to give an ALIVE Project presentation at the 2010 First Annual Jazz Education Network (JEN) Conference held in St. Louis, Missouri in May. JEN had established an outreach opportunity as a means of supporting music programs in the St. Louis public school system so I proposed the idea of conducting a “virtual outreach” in advance of our JEN presentation. I was put in touch with Mr. Chris Becker, Director of Bands at Parkway South High School in Manchester, Missouri. Together we worked with the cooperation of the Parkway South Information Technology Department to establish the “digital handshake” needed for the videoconference link. I videoconferenced into the band room at Parkway South HS from my home studio in New York on Friday, May 7, 2010 and gave two presentations: “Technology and the Home Studio” and “Technology and Creativity.” I also performed for the students on my digital vibraphone and they reciprocated by performing a few jazz standards for me. Chris Becker was fully engaged as a team teacher during these presentations and both sessions were very successful. Technology and Creativity: I have designed a curriculum for teaching Electronic Music that is based on the musical foundation of jazz. I guide my students through the process of jazz discovery by way of an exploration of the various technological tools that are now readily at our disposal. My students learn about digital audio, MIDI recording, animation and movie editing through a project-based process that exposes them to the musical innovations of Miles Davis, the multi-faceted artistry of Quincy Jones and many other important historical and theoretical considerations associated with this art form. I taught this curriculum at Lehman College (Bronx, N.Y.) this past year and shared an introduction to this KoSA students and Allan Molnar videoconferenve course with the Parkway South with Dr. Ridley.
52 JAZZed September 2010
www.aajc.us
music students when I videoconferenced in for my online presentation prior to the JEN conference. Kind of Blue: Stewart Smith traveled from Winnipeg, Canada to New York in February to present a lecture on Miles Davis’ Kind of Blue album for my students at Lehman College. Stewart used Apple’s “Keynote” software as the delivery vehicle for this multimedia presentation that integrated text, audio, music, pictures and video. As a follow-up, the students were asked to select a historically important jazz album to be the subject of their own “Keynote” presentation. They deployed their newly acquired technological skills in the development of these multimedia projects and then shared their research with the class during finals week. Three students made presentations online to the Parkway South students prior to the JEN Conference. To date my Lehman College music students have presented their work at music institutions in five countries via videoconference. Student Teachers: I was very pleased with the three Lehman College students who “went the extra mile” and shared their work as part of the JEN outreach. Brad Jensen spoke about the Stan Getz/Charlie Byrd album Jazz Samba, Robert Ciccone introduced Wes Montgomery’s Bumpin’ and Hugh Glover discussed Monk and Trane at Carnegie Hall. Brad explored the origins of Bossa Nova in relation to jazz while Robert’s telephone interview with Bumpin’s arranger Don Sebesky became the centerpiece of his presentation, and Hugh shared his personal account of having heard Coltrane live in New York. Extraordinary! A First-Hand Account: The best way to culminate an educational experience such as this is to take the students on a field trip that brings them directly to the source. Renowned jazz drummer Ndugu Chancler of Los Angeles joined us in this exploration when he videoconferenced in for my final class lecture at Lehman. Ndugu brought my series of classroom projects and lectures full-circle when he gave my students a first-hand account of his experiences on the road with Miles Davis and in the studio with Quincy Jones. Ndugu, Stewart and I also spoke via videoconference
jazzforum and in person to the students in St. Louis to conclude the JEN outreach project. Making Reconnections: I had the privilege of first meeting Dr. Larry Ridley 32 years ago. I was a music student at Mary College in Bismarck, North Dakota. Dr. Ridley was visiting Bismarck Junior College as part of an annual All Star Jazz Artists Residency organized by Dr. Lloyd Anderson. Larry was a featured performer on bass along with trumpeter Clark Terry, pianist Jaki Byard, guitarist Herb Ellis, saxophonist/composer/arranger Ernie Wilkins and drummer Alan Dawson. The experience of attending that music residency was an inspiration that I continue to savor to this day. When Dr. Ridley and I reconnected at JEN following the ALIVE Project presentation, we had the opportunity to reminisce about that workshop in Bismarck. Without hesitation we began to explore ways of creating similar experiences for students through the use of distance learning technology and to plan our first collaboration. Our first opportunity to work together occurred in July 2010 at the KoSA International Percussion Workshop in Vermont (www.kosamusic.com). I invited Dr. Ridley to videoconference in to address the jazz vibraphone class that I was teaching onsite at the camp. The class opened with YouTube videos featuring Lionel Hampton and Milt Jackson. Dr. Ridley was live onscreen while the videos played and subsequently spoke of his personal friendship, experiences on and off the bandstand with these two great musical artists. The students were enthusiastic and inspired by the ability to ask questions and interact with such a renowned artist of his caliber, expertise and reputation. It was a privilege to invite such a distinguished musician into my classroom. The inspiration Dr. Ridley brought to the KoSA students was reminiscent of my experience in Bismarck, ND 32 years ago. Videoconferencing is an ideal way to connect over distance and we continue to look forward to exploring the possibilities through the ALIVE Project. The AAJC and NAJJP Partnership’s Current and Developing Plans: The African American Jazz Caucus, Inc. (AAJC), along with our partnership with the National Association of Juneteenth Jazz Presenters, Inc. (NAJJP) is proactively working to further the broadening and defining of our working collaboration with the ALIVE Proj-
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Roland Vazquez Band – The Visitor [Aaron Copeland Fund]
August 17 Hakan Brostrom – Refraction [Art of Life]
Conrad Herwig – The Latin Side
of Herbie Hancock [Half Note]
Chie Imaizumi – A Time of New Beginnings [Capri] Lull – Zipper [Leo] Michael Pagan – Twelve Preludes and Fugues [Tapestry]
Esperanza Spalding – Chamber Music Society [Heads Up]
HotWax Kenny Werner â&#x20AC;&#x201C; No Beginning No End [Half Note]
August 24
DISCOVER
MUSIC AT
Dave Douglas â&#x20AC;&#x201C; Spark of Being:
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The Marsalis Family â&#x20AC;&#x201C; Music Redeems [Marsalis Music]
D I R E C T O R
Manhattan School of Music proudly congratulates MSM Artist in Residence Dave Liebman on being named a 2011 NEA Jazz Master.
Jâ&#x20AC;&#x2122;Epouse Une Ombre [Emarcy]
Colin Stranahan â&#x20AC;&#x201C; Life Condition
[Tapestry]
August 31 Mina Agossi â&#x20AC;&#x201C; Just Like A Lady
[Naive]
Chris Colangelo â&#x20AC;&#x201C; Elaineâ&#x20AC;&#x2122;s Song [C Note]
Bill Frisell â&#x20AC;&#x201C; Beautiful Dreamers [Savoy Jazz]
LabďŹ eld â&#x20AC;&#x201C; Collab [Hubro] Elisabeth Lohninger â&#x20AC;&#x201C; Songs of Love and Destruction [LoďŹ sh]
INFORMATION Manhattan School of Music 212 749 2802 WWW.MSMNYC.EDU
Dave Liebman and Justin DiCioccio with the MSM Jazz Orchestra.
Justin DiCioccio, Assistant Dean / Chair Jazz Arts Program
Moody â&#x20AC;&#x201C; 4B [ipo] Hankus Netsky â&#x20AC;&#x201C; Fables [Tzadik] Philippe Sarde â&#x20AC;&#x201C; Le Choc
K R A M E R ,
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K A R L
Photo by Brian Hatton
JAZZed September 2010 55
Wynton Marsalis It is up to us to educate future generations and to perform this music with integrity. Ellington, Monk, Parker, Roberts and many others have and continue to give us high quality art. Of course, there will always be some new talent creating other ways to play. Their innovations will become part of one glorious mainstream.
HotWax Danilo Perez – Providencia [Mack Avenue]
Jacques Schwarz-Bart – Rise Above [Dreyfus]
September 7 Ed Bennett – En Route [Saphu] Mina Cho – Originality [Blink Music]
September 21
Dmitry Baevsky – Down With It [Sharp Nine] Kora Band – Cascades [Oa2] Geof Bradfield – African Flowers
[Origin]
Joyce Breach – Odds and Ends [Audiophile]
Exploding Star Orchestra – Stars
have Shapes [Delmark]
Joe Gilman – Americanvas [Capri] Brad Goode – Tight Like This [Delmark]
EDUCATION MATERIALS FOR THE INDIVIDUAL MUSICIAN, BAND DIRECTOR OR TEACHER:
Randy Halberstadt – Flash Point [Origin]
Alison Ruble – Ashland [Origin] Grant Stewart – Around the Corner
DVDS
[Sharp Nine]
Fingerprints – Dream Life [South Memephis Music]
Hidden Jazz Quartet – Walzer [Agogo]
Chris Laurence – New View [Basho Sheet Music and Solo Transcriptions
Avishai Cohen – Introducing Triveni [Anzic]
Warne Marsh – Ballade For You
Records]
[Amj/Zoom]
Chris Massey’s Nue Jazz Project
Imelda May – Mayhem [Phantom] Oregon – In Stride [Cam Jazz] Heiner Stadler – Retrospection
– Vibrainium [Chris Massey Music]
TP & Company – Steppe Forward [Corner Mushroom]
Ken Vandermark – Acoustic Machine [Atavistic]
September 14 Lygia Campos – Meu Nome E BraBOOKS
September 28
sil [Galileo]
Denise Donatelli – When Lights Are Low [Savant]
Chris Donnelly – Solo [Alma Music] Jazz Baltica Ensemble – One For Three [Ejw]
[Labor]
Greg Ward’s Fitted Chards
– South Side Story [19/8 Records]
Sarah Wilson – Trapeze Project [Brass Tonic]
Lizz Wright – Fellowship [Verve
Forecast]
November 1 Karl E.H. Seigfried – Portrait of
Jack Johnson [Imaginary Chicago Records]
Bob Lark – Cathy’s Song [Jazz Media]
If you have information on an
Charles Lloyd – Mirror [ECM] Helen Sung – Going Express [Sunny
upcoming album or music DVD
Side]
Jessica Williams – Next Step [Hep]
release which you’d like to have included in the next issue of
JAZZed, please e-mail editor Christian Wissmuller at: cwissmuller@symphonypublishing.com
wyntonmarsalis.com
56 JAZZed September 2010
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Mark Boling welcomes
Donald Brown
Greg Tardy Assistant Professor of Music in Jazz Saxophone
Keith Brown
;]XMZQWZ KWV[MZ^I\WZa \ZIQVQVO I\ I _WZTL KTI[[ ZM[MIZKP ]VQ^MZ[Q\a 8ZM[\QOQW][ ZM[QLMV\ NIK]T\a IVL M`KMX\QWVIT [\]LMV\ \ITMV\ 1\¼[ ITT PMZM" ___ U][QK ]UQKP ML]
1Haa -HJ\S[` Rusty Holloway
to the University of Tennessee, Knoxville
Jazz Faculty Vance Thompson
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JAZZed September 2010 57
Gearcheck The Softone Mute
The Softone Mute for trumpet and trombone is made of soft neoprene rubber and is light-weight. The nontoxic neoprene design will not stain or scratch the bell of the instrument. The Softone Mute can be used for bucket mute, hat, plunger, or stopped French horn sounds and can be rolled up or crumbled to fit into small spaces without any getting damaged. www.iranepusmusic.com
Colors for the mutes may vary.
Valentino Directors Fix Kits
Valentinoâ&#x20AC;&#x2122;s Directors Series Fix Kits offer quick and easy service of instruments from piccolo to tuba and features an illustrated instruction manual. The top section of the case contains an assortment of tools necessary for maintenance of woodwinds and brasswinds. The lower section houses the Directors woodwind and brasswind supply assortments. Individual replacement assortments of supply items are available for each instrument. www.jlsmithco.com
58 JAZZed September 2010
Gearcheck RB Continental Alto Sax Case
Reunion Blues is expanding their RB Continental line with the introduction of a new alto saxophone case that “combines contemporary design with instrument protection.” On the outside, a one inch thick shock-absorbing Flexoskeleton exterior is lined with reinforced impact panels, and a knurled abrasion grid cradles the bottom to help resist scuffing. A large zippered “quickstash” accessory pocket is provided, along with an adjustable shoulder
strap. A Ballistic Quadraweave exterior features high-strength corded edges and all seams are double-stitched with high tensile thread and reinforced at tested stress points. This new case also includes a Zero-G palm-contoured handle with weight distributing foam core to help reduce hand fatigue when the instrument is carried for a long period of time. The inside features a bell area suspension system and a rubberized protector pad crafted with a plush, quilted double helix velvet lining. Like all Reunion Blues products, this new RB Continental also sax case comes with a limited lifetime warranty and retails for $179.95. www.reunionblues.com
Gibraltar’s iPod/MP3 Stand Mount
Gibraltar’s iPod/MP3 Stand Mount secures an iPod or MP3 player to stands. The mount’s heavy-duty nylon clamp fits stand tube diameters from 5/8” to 1-5/8”, ideal for placement on cymbal and hi hat stands, thrones, and even some L-rods. The Stand Mount can also be used as an accessory for singers and guitarists to secure to their mic, music, or accessory stand. The mount also features a nine inch gooseneck and is fully padded with adjustable clamping arms that accommodate most sizes and styles of iPods or MP3 players. Simply adjust the mount to any position and lock into place. Protection is guaranteed by a security tether. www.gibraltarhardware.com
Peterson StroboClip Tuner
Peterson Strobe Tuners has added a clip-on style strobe tuner to their Virtual Strobe series line-up. The StroboClip is designed for acoustic instruments and contains many new features not found in traditional clip-on tuners. The large strobe display maximizes the StroboClip’s screen area by moving the
strobe bands horizontally, rather than vertically as in previous strobe tuner models. Exclusive Sweetened Tuning presets for banjo, mandolin, and ukulele offer dedicated settings for players of these instruments to facilitate tuning. A variety of other presets including Dobro, lap steel, and settings for the violin family come standard in the StroboClip. Settings for eclectic instruments such as lute, bagpipes, and oud are also covered along with additional eastern temperament settings for instruments of the like.
The StroboClip also features an exclusive Sustain mode. In Sustain mode, the StroboClip can be set to hold the tuning pattern for a short time after the note has decayed so that instruments with short voices, such as banjo and mandolin, can be tuned quickly. For regular tuning, the Sustain mode feature can be turned off. The StroboClip is encased in a brushed aluminum shell and comes with a metal carrying case. Soft, rubber pads in the jaws of the StroboClip protect the instrument’s finish while providing a firm grip for maximum signal conductivity. The retail price is $89.99. www.petersontuners.com
JAZZed September 2010 59
CDShowcase Sherrie Maricle & The present
Jazz Orchestra
s e i r e S y a K y e l n a t S e h T r. J T D F M M B O F P V T * O T U S V N F O U 3 J T J O H 4 U B S s %PXOCFBU "OOVBM $SJUJDT 1PMM r ' J O B M J T U 1 M B Z F S P G U I F : F B S r +B[[ +PVSOBMJTUT "TTPDJBUJPO s5IBOLT UP 4NJUI B NBKPS TPMP JOTUSVNFOU JO +B[[s %PXOCFBU r+B[[qT 1SFNJFS #BTTPPOJTU s KB[[JOL DPN r(SPVOECSFBLJOH B USVMZ TQFDJBM BMCVNs +B[[ *OTJEF .BHB[JOF r)JT UFDIOJRVF JT GBVMUMFTT BT JT IJT NVTJDBM UBTUFs )PU )PVTF r5IF HSFBUFTU CBTTPPO QMBZFS PG IJT HFOFSBUJPOs /: %BJMZ /FXT
THREE OF DIVAâ&#x20AC;&#x2122;S MOST POPULAR ARRANGEMENTS, AS RECORDED ON â&#x20AC;&#x153;SOMETHINGâ&#x20AC;&#x2122;S COMINGâ&#x20AC;? AND â&#x20AC;&#x153;LIVE IN CONCERTâ&#x20AC;?
Â&#x2021; DID YOU DO THAT? Â&#x2021; HOW YA DOINâ&#x20AC;&#x2122;? Â&#x2021; THREE SISTERS AND A COUSIN
â&#x20AC;&#x153;Carl ďŹ rms his place in a lineage of truly great trumpet players.â&#x20AC;? â&#x20AC;&#x201C; Billy Joel - 2010. â&#x20AC;&#x153;Carl Is one of the best jazz trumpeters of today.â&#x20AC;? The Late Trumpet Virtuoso â&#x20AC;&#x201C; Maynard Ferguson.
For ordering, mp3s, and pdf score samples visit www.divajazz.com/skseries.html :DQW WR KDYH 6KHUULH 0DULFOH 7KH ',9$ -D]] 2UFKHVWUD ),9( 3/$< RU 7KH ',9$ -D]] 7ULR SHUIRUP DW \RXU FRQFHUW VHULHV MD]] IHVWLYDO RU HGXFDWLRQDO HYHQW" &RQWDFW XV E\ HPDLO RU SKRQH PDQDJHPHQW#GLYDMD]] FRP ',9$ -$== WROO IUHH RU
www.divajazz.com
Downloadable on itunes.com CD available at cdbaby.com. Yamaha performing Artist/Clinician. Available for Concerts/Clinics. Check out and contact Mr. Fischer at:
www.ďŹ schmusic.com
60 JAZZed September 2010
Feature Your CD on CD Showcase For Maximum Exposure!
Call: 1800-964-5150 Sidney Davis x13 Richard E. Kessel x14 Maureen Johan x34 Iris Fox 954-973-3555
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matt niess www.mattniess.com
Ted Piltzecker has a distinctive compositional voice. The master vibraphonist joins exquisite young improvisers to embrace both jazz and world music.
Leader, The Capitol Bones Director, The National Jazz Workshop Jazz Studies, Shenandoah Conservatory Lead Trombone, US Army Blues Jazz Ensemble Courtois Trombone Artist
â&#x20AC;&#x153;The group luxuriates and grooves with excitement, charm, and lyricismâ&#x20AC;? - Musicianâ&#x20AC;&#x2122;s Ombudsman
artist clinician
Order at CD Baby.com and iTunes More info at TedVibes.com
Donâ&#x20AC;&#x2122;t miss this one!
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A Morning Glory
Artist
0HO 0DUWLQ
$YDLODEOH IRU &OLQLFV 0DVWHU FODVVHV DQG *XHVW 6RORLVW
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Dotti Anita Taylor Flutist, Pianist, Composer, Arranger, Transcriber
Special Discount at Grace Notes Music
VOCALIST - CLINICIAN Arranger, Composer, Keyboardist
0DVWHU :RRGZLQG -D]] 6RORLVW %LJ %DQG $UUDQJPHQWV $YDLODEOH 5LFR DQG <DQDJLVDZD $UWLVW "I like it. I like it"
³$ JUHDW WHDFKHU ´ 6WDQ *HW]
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"one of the best flute recordings to debut in years" ...Peter Sanchez, All About Jazz Available at www.cdbaby.com/dottianitataylor Cover:original oil painting by Dana Gray Visit www.dottianitataylor.com Bookings:718-468-7376
Faculty: NYU SCPS Director: The Singers Center Co-writer with Chick Corea & Kenny Barron Â?Â?Â?Â? All Music Guide
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"...If
you like your singers bold and sassy, Grace Testani delivers on both counts!â&#x20AC;? ~ Jazz Times
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Www.gracetestani.com www.GraceNotesMusic.com
JAZZed September 2010 61
Classifieds Accessories
iHearit
Books
Merchandise
JAZZ SAXOPHONE ETUDES & DUETS BOOK & CD PLAY-ALONG SETS BY GREG FISHMAN
Slow Down, Loop, and Transcribe Music on your iPhone for
Endorsed by Michael Brecker, Dave Liebman, Jerry Coker, James Moody, Mark Colby, Bob Sheppard, & Jamey Aebersold.
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Visit: WWW.GREGFISHMANJAZZSTUDIOS.COM for free sample etudes and duets.
Available on the App Store, or go to http://ihearit.net for more info.
www.JAZZedmagazine.com
DVDs
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Instruments
Need some expert Advise? Guitar & Bass EncycloMedia 13 years of Fretboard Excellence. www.12tonemusic.com 1-937-256-9344
MUSICAL INSTRUMENT-N-MORE Grand Opening!!! Quality new and Used instruments for the student or professional. www.minmore.com Highland Park, NJ 732 227-0776
www.JAZZedmagazine.com
Instruments Advertise in the ClassiďŹ eds!
Call Maureen 1-800-964-5150 ext. 34
mjohan@symphonypublishing.com joesaxwoodwinds@gmail.com
62 JAZZed September 2010
Classifieds Merchandise
Print Music
Advertise in the ClassiďŹ eds!
Call Maureen 1-800-964-5150 ext. 34
mjohan@symphonypublishing.com
AdIndex Company African American Jazz Caucus American Federation of Musicians Bari Woodwindso. Inc. Brighter Music Enterprises Cannonball Music Instruments Capital University Cultural Tour Consultants Daniel Smith DIVA Jazz Orchestra Fisch Music Production Five Towns College Indiana University Jacobs School of Music Jamey Aebersold Jazz Aids Jazz at Lincoln Center JJ Babbitt Jody Jazz Juilliard School of Music Long Island University Manhattan Concert Productions Manhattan School of Music Superscope Technologies Mel Martin Monterey Jazz Festival MusicFactoryDirect.com National Jazz Workshop Northwestern University P. Mauriat Pearl Corp. C.F. Peters Corporation Phil Barone Saxophones PJLA Music Products Rada Mfg. Co. Rick Stone San Jose State University SaxQuest, Inc. Snow College SopranoPlantet Stanford Jazz Workshop Ted Piltzecker The New School for Jazz University of Cincinnati University of IdahoUniversity of Illinois - Urbana University of Michigan University of Nevada-Las Vegas University of Toledo University of the Arts University of Tennessee,Knoxville USC Thornton School of Music Vandoren Wynton Marsalis Enterprises
Email/Web www.aajc.us www.justiceforjazzartists.org www.bariwoodwinds.com www.iranepusmusic.com www.cannonballmusic.com www.music.capital.edu www.culturaltourconsultants.com www.danielsmithbassoon.com www.divajazz.com www.fischmusic.com www.ftc.edu www.iu.edu www.jazz.books.com www.jalc.org www.jjbabbittt.com www.JodyJazz.com www.juilliard.edu www.LIU/edu/brooklyn/music info@ManhattanConcertProductions.com www.msmnyc.edu www.superscopetechnologies.com www.melmartin.com www.montereyjazzfestival.org www.musicfactorydirect.com http://nationaljazzworkshop.org/ www.music.northwestern.edu www.monteverdemusic.com www.pearldrum.com www.cfpeters-ny.com www.PhilBarone.com www.pjlamusc.com www.RadaCutlery.com www.rickstone.com www.music.sjsu.edu www.saxquest.com www.snow.edu/jazzworkshop www.sopranoplanet.com www.stanfordjazz.org www.TedVibes.com www.jazz.newschool.edu www.ccm.uc.edu www.jazz.uidaho.edu www.uiuc.edu www.music.umich.edu www.unlv.edu www.jazz.utoledo.edu www.uarts.edu music@utk.edu www.usc/edu/music.je www.dansr.com www.wyntonmarsalis.com
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JAZZed September 2010 63
Backbeat
Ahmad S. Alaadeen 1934 - 2010
Saxophonist, composer, educator, and author Ahmad Alaadeen, whose career spanned more than six decades in the jazz world, passed away on August 15. Best known for his skill on the saxophone, Alaadeen performed with jazz icons such as Jay McShann, Miles Davis, Ella Fitzgerald, Stan Kenton, Lester Bowie, Billie Holiday, Duke Ellington, and Count Basie. In 2009, he authored The Rest of the Story: Jazz Improvisation and History â&#x20AC;&#x201C; a jazz manual designed to give a foundation to the art of improvisation for students and their educators. During his career, Alaadeen received several awards, including a congressional award and Billboard songwriting competitions. Last spring, he accepted a Lifetime Achievement Award from the American Jazz Museum. Alaadeen lost his battle with cancer and passed away at his home in Overland Park, Kansas at the age of 76.
64 JAZZed September 2010
SAVE THE DATE!
2nd Annual JEN Conference January 6-8, 2011 New Orleans, LA Historic Roosevelt Hotel – Famed Blue Room Details online NOW! • Exciting Headliners • Enlightening Clinics/Panels • Exhilarating School Ensemble Performances • Enticing Exhibits – 20,000 sq. ft.! All under one roof, two blocks from the French Quarter! Registration, Housing, Exhibitor & Volunteer Applications available online NOW!
Check the website often for updates as they materialize! www.JazzEdNet.org Your portal to the global jazz community!
Feel.
ROLANDO morales-matos
LIKE NO OTHER
The Adams Vibraphone family offers feel like no other instrument. Our advanced damper mechanism allows easy access to spring tension control for featherlike pedal feel and ďŹ nesse. This feature is standard thoughout our line from the student level Soloist Series to our professional Artist Series. The choice of international recording artist Rolando Morales Matos whether playing in the orchestra pit in the Broadway production of The Lion King or the intimate setting of a jazz quartet at Birdland. See them all at pearldrum.com
The nucleus of feel. Our feather touch damping mechanism.
Artist Series AV-1
Adams instruments are proudly distributed in the U.S. by Pearl.